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It has been six years since the debut disc by the Other Two (The Other Two & You), an off-shoot band from New Order featuring Gillian Gilbert and Steven Morris. Their first album has a very strong pop music feel; while pleasant enough, it is not a brilliant record. Six years and many struggles later this album appeared. It seems that this was a difficult album to release…

Formed by New Order band members Stephen Morris and Gillian Gilbert in 1990, The Other Two & You was recorded in part at Real World Studios in 1990 and produced by Stephen Hague with contributions from A Certain Ratio’s Jez Kerr. The lead track, “Tasty Fish,” was released to critical acclaim that year, with the album coming in 1993 on London Records, following the closure of Factory Records. The record started life as a collection of tracks while composing for the 90’s hit TV show “Making Out,” the main theme of which was an adaptation of New Order’s track “Vanishing Point.”

Formed by New Order band members Stephen Morris and Gillian Gilbert in 1990, The Other Two & You was recorded in part at Real World Studios in 1990 and produced by Stephen Hague with contributions from A Certain Ratio’s Jez Kerr. The lead track, “Tasty Fish,” was released to critical acclaim that year, with the album coming in 1993 on London Records, following the closure of Factory Records. The record started life as a collection of tracks while composing for the 90’s hit TV show “Making Out,” the main theme of which was an adaptation of New Order’s track “Vanishing Point.”

Formed by New Order band members Stephen Morris and Gillian Gilbert in 1990, The Other Two & You was recorded in part at Real World Studios in 1990 and produced by Stephen Hague with contributions from A Certain Ratio’s Jez Kerr. The lead track, “Tasty Fish,” was released to critical acclaim that year, with the album coming in 1993 on London Records, following the closure of Factory Records. The record started life as a collection of tracks while composing for the 90’s hit TV show “Making Out,” the main theme of which was an adaptation of New Order’s track “Vanishing Point.”

Arriving just a little over a year after an eponymous live album, High Water I is not only positioned as the first official studio album from the Magpie Salute, but as the initial installment of a two-part album. It's an auspicious beginning for a group led by two Black Crowes guitarists, but the Crowes always showed some measure of ambition, slowly expanding that ambition along with their musical horizons. High Water I doesn't find the Magpie Salute stretching out so much as embracing everything that Rich Robinson and Marc Ford already considered theirs, anchoring themselves on a Southern-fried rock that allows them to indulge in flower-powered country-rock, crunchy blues, back-porch picking, even a bit of funk.

Slide guitarist Lil' Ed Williams & the Blues Imperials bring the energy of live performance to their seventh Alligator release, Full Tilt. The highlights on this disc tend to reflect that of the album's title, especially the spirited cover versions of the Contours' "First I Look at the Purse" and Hound Dog Taylor's "Take Five," along with the originals "Hold That Train," "Candy Sweet," and "My Baby Moves Me." Lil' Ed's raucous guitar chops are at center stage on those tracks and the additional backing from horn players Eddie McKinley and David Basinger and pianist/organist Johnny Iguana add some extra kick. There are a few lukewarm tracks that are a bit too rote and, unfortunately, bring down the overall good-time party appeal of this disc. Still, fans of Lil' Ed & the Blues Imperials, or electric modern blues in general, will want to add this to their collections.

Slide guitarist Lil' Ed Williams & the Blues Imperials bring the energy of live performance to their seventh Alligator release, Full Tilt. The highlights on this disc tend to reflect that of the album's title, especially the spirited cover versions of the Contours' "First I Look at the Purse" and Hound Dog Taylor's "Take Five," along with the originals "Hold That Train," "Candy Sweet," and "My Baby Moves Me." Lil' Ed's raucous guitar chops are at center stage on those tracks and the additional backing from horn players Eddie McKinley and David Basinger and pianist/organist Johnny Iguana add some extra kick. There are a few lukewarm tracks that are a bit too rote and, unfortunately, bring down the overall good-time party appeal of this disc. Still, fans of Lil' Ed & the Blues Imperials, or electric modern blues in general, will want to add this to their collections.