This is the first new album by American guitarist Jeff Coleman in three years, since 2021. The album is an all-guitar instrumental album by the talented guitarist, who has played in the progressive metal band COSMOSQUAD as well as supporting many other Japanese artists. The album features many of the rock scene's most talented musicians, including guests Chad Smith (Ds), Shane Garaas (Ds), and Jimmie Johnson (B). Jeff himself is also a highly recognized guitarist in the rock scene, as he is consistently ranked high in the rankings of popular guitarists by specialized magazines!
Official Release #81. The Dub Room Special is an album by Frank Zappa, released in August 2007. It is a soundtrack for the film of the same name, and combines recordings from a TV-show performance on August 27, 1974, and from a concert in New York City on October 31, 1981. The album, originally prepared for vinyl release by Zappa, was first sold at Zappa Plays Zappa shows in the United States during August 2007. Shortly thereafter, it became available for mail order.
From the producer of The Prog Collective comes a new supergroup of unparalleled musical virtuosos who cut loose on this jazz-rock fusion album! Features performances by members of the biggest names in fusion including Mahavishnu Orchestra, Yellowjackets, Brand X, Soft Machine, and Spyro Gyra PLUS Yes, Dream Theater, King Crimson, Tool, Porcupine Tree, Hawkwind and more!
As Frank Zappa was focusing more on his computer and orchestral music in 1985-1986, he put together an album and a video of live material from his then-last tour from 1984. Does Humor Belong in Music? was released in January 1986, in Europe and Japan only. In 1995, Ryko issued it for the first time in the U.S. (a reissue for the rest of the world) with a thorough remix, new cover artwork, and a different edit of "Let's Move to Cleveland" (adding one extra minute). Asking the title question is answering it, at least when Zappa is concerned. It expresses a way for him to get back at music critics who despised his stage antics and scatological humor in the early '80s – from a man who was trying to affirm himself as a "serious" composer.