Mike Heger

It’s back. The debut album that blew up the ’90s blues scene. The songs that announced the touchdown of a major new talent. In modern times, as an established solo star and former member of the globally acclaimed Royal Southern Brotherhood, Mike Zito’s reputation precedes him. But turn back the clocks. Rewind the film reels. Slip through the wormhole to 1998, when a 27-year-old punk kid took his first shot in the studio. “Blue Room,” he reflects, “is the beginning of me becoming an artist.” By 1998, Zito had been around the block. Raised at the sharp end in St. Louis, Missouri, he’d witnessed the lean years of the ’70s, as his father – a union employee at the local Anheuser-Busch brewery – grafted to support five kids in a cramped apartment.

A few years back Gonzo released the original soundtrack for Tony Palmer's "The Space Movie" 1979 documentary by Mike Oldfield. It consisted of consists of the un-edited sountrack (movie commentaries and all) which includes pieces from Oldfield's released "Tubular Bells", "Hergest Ridge", "Ommadawn" and "Portsmouth" and also excerpts from what was Oldfield's then-new album, "Incantations". The film also made use of the orchestral arrangements of Oldfield's first two albums, "The Orchestral Tubular Bells" and notably "The Orchestral Hergest Ridge" (with the Royal Philarmonic Orchestra), which has never been released before. And now… The demos.

With all of its members exercising their expertise, the debut album from Mike + the Mechanics posted two Top Ten singles in the span of three months. The songwriting comes out on top before anything else, with the somber stir of "Silent Running," the record's first release, peaking at number six. "All I Need Is a Miracle" followed at number five, with its Genesis-like tempo and polished chorus, and even "Taken In" cracked the Top 40, a simple ballad that's bettered by Paul Young's genuine emotional charm. Carrack sounds just as sharp as he did with Ace or Squeeze throughout the album's nine tracks, while Rutherford's overseeing of the entire project is apparent. While Mike Rutherford's guitar work isn't overwhelming, both his six-string and bass guitar contributions complete a sound foundation for the vocals…

In 1973, Mike Oldfield burst onto the British music scene with his debut album Tubular Bells, two long instrumental suites in which Oldfield stitched together a series of melodies into a grandly scaled work in which he played the many instruments himself. The album was an audacious beginning to a career than saw him become one of the most respected artists in progressive rock, as well as a successful film composer. The Complete Mike Oldfield is a collection released in 1985 which features selections from his first ten solo albums, as well as highlights from his score for the film The Killing Fields.

With all of its members exercising their expertise, the debut album from Mike + the Mechanics posted two Top Ten singles in the span of three months. The songwriting comes out on top before anything else, with the somber stir of "Silent Running," the record's first release, peaking at number six. "All I Need Is a Miracle" followed at number five, with its Genesis-like tempo and polished chorus, and even "Taken In" cracked the Top 40, a simple ballad that's bettered by Paul Young's genuine emotional charm. Carrack sounds just as sharp as he did with Ace or Squeeze throughout the album's nine tracks, while Rutherford's overseeing of the entire project is apparent. While Mike Rutherford's guitar work isn't overwhelming, both his six-string and bass guitar contributions complete a sound foundation for the vocals…

Six of New York City's heaviest hitters convene at the legendary Rudy Van Gelder studios and presents music built to tickle your mind, hit you in the heart & get your feet tappin with nine tracks written by pianist Mike LeDonne and tenor sax player Eric Alexander.

This album is simply exceptional. You get a hearty dose of a musical genius's compositional skills and vocabulary, but you don't come away feeling as though you were "taken to school"; the music is very accessible…

Morgan's seventh album for the Black Top imprint brings some new and welcome twists to the mix. First is the production chores being handled by label head Hammond Scott. Second is the return of harmonica ace/vocalist Lee McBee after a three-year hiatus from the lineup to pursue a solo career. The third notable feature is the abundance of fine original material. Rather than a set of bandstand ready-mades, you can tell some time and work went into the production of this album. McBee's harp work is as strident as ever, and Morgan's guitar still maintains its blazing Texas fury, but framing it with a horn section here and there, Riley Osborne on piano and Hammond B-3 organ and Rhandy Simmons subbing on bass for six of the 11 tracks keeps this album from ever getting samey or predictable. Particularly noteworthy are "Bad Luck and Trouble," "You're Gonna Miss Me" and the title track.