Radio Times 21 May 2022

When Waylon Jennings passed away in 2002, he was rightfully hailed as one of country music's first true "Outlaws" alongside such artists and fellow Highwaymen as Johnny Cash, Willie Nelson, and Kris Kristofferson. But Jennings paid his dues on the Nashville scene before "crossing over" to superstardom with such landmark records as Dreaming My Dreams (1975), Are You Ready for the Country (1976), Ol' Waylon (1977), and I've Always Been Crazy (1978). Cherry Red's country-focused Morello label has already released two collections of four albums apiece chronicling Jennings' pre-outlaw days at his longtime home of RCA Victor. On February 11 (in the U.K.) and February 18 (in North America), the label will turn the clock back to the singer's first four RCA long-players on one 2-CD set: Folk-Country (1966), Leavin' Town (1966), Nashville Rebel (1966), and Waylon Sings Ol' Harlan (1967). It affords a great opportunity to revisit these early recordings in which Jennings was still developing his true voice.

'Black Radio' and 'Black Radio II' are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large. For 'Black Radio III', 4-time grammy winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie). 'Black Radio III' is also a statement for these times. It is Glasper's most direct statement of the frustration and opportunity of a world disrupted by social change. It is at once beautiful, powerful and innovative.

Over 13 years ago the DJ duo from Cologne (Blank & Jones) decided to strike quieter, more relaxed tones. From the passion for Ambient, Chill Out, Downbeat, Lounge Music, Beach House, Bar Grooves and Co. was created the idea of ​​Milchbar Seaside Season - a summer soundtrack for the cult Norderneyer Location milk bar. On the first compilation followed in recent years regularly further new Chillout compilation.

Haitian American singer-songwriter Leyla McCalla (Our Native Daughters), who now calls New Orleans home, chronicles a vital part of Haitian history with a groundbreaking concept album made in partnership with Duke University. Breaking the Thermometer draws inspiration from the story of Radio Haiti, a now-defunct independent radio station that, in addition to playing Creole music and broadcasting primarily in Creole language in the French-dominated country, used its platform to challenge corruption in Haiti. McCalla spent time with Duke’s archive of Radio Haiti recordings and devised a multidisciplinary stage show around the material, the music from which makes up Breaking the Thermometer. Primarily performed in Creole, Breaking the Thermometer is part homage, part time capsule, part journalistic reporting, all anchored by McCalla’s dynamic voice, masterful banjo picking and deep connection to her roots. Highlights include “Fort Dimanche”, named for an infamous French-built former prison known for torturing inmates, and the jazzy, English-language “You Don’t Know Me”.

Toronto has long played a sizable role in the myth-making of The Rolling Stones. It’s been a home away from home for the group for decades, a place where they’ve set up shop to prep before hitting the road since at least as far back as 1989’s Steel Wheels tour. And during those months-long rehearsal stays, they’ve regularly held secret shows around town at small venues, such as the Horseshoe Tavern, RPM, and The Phoenix Concert Theatre. But the Stones’ Toronto club stint that started it all was a pair of shows at Spadina Avenue’s El Mocambo Tavern that took place March 4-5, 1977.