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Fall 1989: The Long Island Sound is a six-CD live album by the Jerry Garcia Band and by Bob Weir and Rob Wasserman. It was recorded on September 5 and 6, 1989, at the Hartford Civic Center in Hartford, Connecticut and the Nassau Coliseum in Uniondale, New York. It was released by ATO Records on December 17, 2013.

Fall 1989: The Long Island Sound is a six-CD live album by the Jerry Garcia Band and by Bob Weir and Rob Wasserman. It was recorded on September 5 and 6, 1989, at the Hartford Civic Center in Hartford, Connecticut and the Nassau Coliseum in Uniondale, New York. It was released by ATO Records on December 17, 2013.

Fall 1989: The Long Island Sound is a six-CD live album by the Jerry Garcia Band and by Bob Weir and Rob Wasserman. It was recorded on September 5 and 6, 1989, at the Hartford Civic Center in Hartford, Connecticut and the Nassau Coliseum in Uniondale, New York. It was released by ATO Records on December 17, 2013.

Rhiannon Giddens’ You’re the One is the Grammy - and MacArthur - winning singer, composer, and instrumentalist’s third solo studio album and her first of all original songs; her last solo album was 2017’s critically acclaimed Freedom Highway. This collection of 12 songs written over the course of Giddens’ career bursts with life-affirming energy, drawing from the folk music that she knows so deeply, as well as its pop descendants. The album was produced by Jack Splash (Kendrick Lamar, Solange, Alicia Keys, Valerie June, Tank and the Bangas) and recorded at Criteria Recording Studios in Miami with a band composed of Giddens’s closest musical collaborators from the past decade alongside musicians from Splash’s own Rolodex, topped off with a horn section, making an impressive ten to twelve-person ensemble.

Taken from the high-energy harpist's first three albums for Verve following his split from Muddy Waters (including the entirety of his fine eponymous 1967 debut), this 20-track anthology is a fine spot to begin any serious Cotton collection. In those days, Cotton was into soul as well as blues – witness his raucous versions of "Knock on Wood" and "Turn on Your Lovelight," backed by a large horn complement. Compiler Dick Shurman has chose judiciously from his uneven pair of Verve follow-ups, making for a very consistent compilation.

Just as the title implies, Raw is Bobby Rush at his most elemental: a man, his acoustic guitar, and his foot stamping out a beat on an amplified board. A little harmonica now and then, and a Dobro played with a bottleneck slide on the rollicking "Glad to Get You Back," but that's it for ornamentation. Although most of 13 songs are Rush originals, he also essays three standards, Larry Williams' early rock classic "Boney Maroney," Muddy Waters' "Good Morning Little Schoolgirl," and – fearlessly – "Howlin' Wolf" itself, which he slows down into a funereal dirge. Rush calls his music "folk funk," but in reality, Rush is the modern equivalent of the first country bluesmen, before the moves to Memphis and Chicago added full-band arrangements and electricity. But Rush isn't a hidebound traditionalist attempting to resurrect a past form for its own sake; Raw crackles with the energy of a musician who knows that he's working in the style that best suits his own personal gifts. This is a hundred times more listenable than yet another blues band plodding through a set of tenth-generation rewrites of "Sweet Home Chicago," and could well be the blues recording of 2007.