Thanks Citrobal

Bob Margolin gives THANKS to celebrate 50 years since he joined Muddy Waters Band. He plays the same Gibson archtop electric guitar that he played next to Muddy and The Band in The Last Waltz on every song here. He recorded one song by Muddy from 1952 and one that he and Muddy wrote together in 1977. He sings The Shape I’m In by The Band as a Blues with 4-part harmony.”

By 1997, Crosby, Stills & Nash were without a label thanks to a drastic artistic slump, but they began working on a new album, paying for studio time out of their own pockets. Neil Young expressed interest in the tapes, and suddenly, a new CSNY album was in the works. Even though Young's continual tinkering pushed its release back by months, Looking Forward still feels rushed and half-finished. It's immediately apparent that the record began as a self-financed project; it sounds weirdly muted, as if all the levels weren't set accurately; similarly, it's possible to hear sometimes awkward overdubs added to basically completed tracks. While they may have named the album Looking Forward, CSNY are alternately nostalgic and haunted by the past, which colors their attempts to look toward the future. All four of Young's songs fit squarely within the Harvest tradition, as he tries to balance his restless nature with growing old…

Even more impressive than his previous Alligator set, thanks to top-flight material like "Don't Cloud Up on Me," "Let the Chips Fall Where They May," and "Locked Out of Love," the fine house band at Greenlee's King Snake studios, and Peterson's own rapidly developing attack on two instruments.

Given the spare, textural soundscapes of 2016's Skeleton Tree and 2019's Ghosteen, it was not hard to wonder just how much Nick Cave still needed the Bad Seeds to bring his visions to life. 2021's Carnage suggests he may not need them at all outside of his longtime collaborator Warren Ellis. Cave and Ellis collaborated on Carnage while they were in lockdown thanks to the COVID-19 pandemic of 2020, and in most respects it's of a piece with Skeleton Tree and Ghosteen, with Cave's dour, doomstruck lyrical meditations taking center stage while the musical accompaniment hovers in the background.

John W. Duarte was not only one of the most prolific composers for the solo classic guitar in the 20th century; he was also concerned with the instrument in an ensemble context. He made a lasting contribution to the concept and musical chemistry of the guitar quartet, a much-neglected feature until his innovations. This area of his creative work proved something of a goldmine for both professional quartets and educational settings where the guitar was taught as a serious instrument, worthy of deep study, and indeed for Summer Schools worldwide. In this the composer offered arrangements and original works of taste and delicacy, a hitherto unprecedented development in the expanding repertoire of the guitar.

John W. Duarte was not only one of the most prolific composers for the solo classic guitar in the 20th century; he was also concerned with the instrument in an ensemble context. He made a lasting contribution to the concept and musical chemistry of the guitar quartet, a much-neglected feature until his innovations. This area of his creative work proved something of a goldmine for both professional quartets and educational settings where the guitar was taught as a serious instrument, worthy of deep study, and indeed for Summer Schools worldwide. In this the composer offered arrangements and original works of taste and delicacy, a hitherto unprecedented development in the expanding repertoire of the guitar.

John W. Duarte was not only one of the most prolific composers for the solo classic guitar in the 20th century; he was also concerned with the instrument in an ensemble context. He made a lasting contribution to the concept and musical chemistry of the guitar quartet, a much-neglected feature until his innovations. This area of his creative work proved something of a goldmine for both professional quartets and educational settings where the guitar was taught as a serious instrument, worthy of deep study, and indeed for Summer Schools worldwide. In this the composer offered arrangements and original works of taste and delicacy, a hitherto unprecedented development in the expanding repertoire of the guitar.

He didn't go so far as to call it Silk Degrees II, but Dig is as close as Boz Scaggs is likely to come to recording the sequel to his most commercially successful and, for many, best-loved record (unless you count 1977's underrated follow-up, Down Two Then Left). Reunited after all these years with Silk Degrees collaborator David Paich, Scaggs makes a successful return to the blue-eyed soul of his late-'70s works on tracks such as "Desire" and "Thanks to You," the latter featuring tastefully muted trumpet work from Roy Hargrove.