Mother 1996

It takes just one listen to Skin Alley's eponymous 1970 debut album to explain the band's popularity in Britain's underground college and club scenes. Here was a group who refused to play by the rules, a band whose diverse musical influences were given free rein, but who beautifully stitched together their eclectic stylings into a sound quite uniquely their own. Like most British acts of the day, Skin Alley were beholden to the blues, and the band paid off part of the debt with the barrelling "(Going Down The) Highway." But as passages in that song made just as clear, the group were equally enthralled by jazz, a style that would be explored more intimately on the atmospheric stunner of a track "All Alone."

One of trombonist Nils Landgren's early inspirations was Cannonball Adderley's group. Paint It Blue is dedicated to Adderley with Landgren performing five songs associated with the altoist plus seven originals that pay tribute to Cannonball's bands. Some of the music is in the soul-jazz vein while other tunes (particularly the originals) are more modern, even incorporating a little bit of rap in a couple places. Landgren is a fine trombonist (sometimes a little reminiscent of Wayne Henderson) and he manages to keep up with Michael and Randy Brecker, who in this situation are superior supportive soloists. Without merely copying the past, Landgren expands on the legacy of Adderley quite successfully.

The first half of Sometimes I Believe She Loves Me captures a nine-song 1964 improvisational jam between Barbara Dane and Lightnin' Hopkins which remains a charming, if not revelatory, meeting of the minds. The remainder of the record consists of Dane's solo performances of such standards as "Careless Love" and "Betty & Dupree."

"Brainscapes" is a hauntingly beautiful instrumental ezperience from mide wizard Alain Eskinasi and yedaki (Australian didgeridoo) player Jim Wafer. The ultimate exploration of ambient inner space.

As Queen's second live album, Live Magic might appear to be a bit unnecessary, but a closer look reveals that it's a better record than the previous Live Killers. Culled from a variety of dates from the 1986 Kind of Magic tour but concentrating on the final show at Knebworth, Live Magic captures Queen, and Freddie Mercury in particular, at the height of their powers. While the set list might rely a bit too heavily on mediocre mid-'80s material for some tastes, the band is tight and professional, and Mercury has an undeniable hold over the crowd. It's to Queen's credit that the energy rarely dips over the course of the record.