The Drones Book 10th Edition 2021

Steven Wilson’s new album The Future Bites is an exploration of how the human brain has evolved in the Internet era. As well as being Wilson’s phenomenal sixth album, The Future Bites is also an online portal to a world of high concept design custom built for the ultra-modern consumer. Where 2017’s To The Bone confronted the emerging global issues of post truth and fake news, The Future Bites places the listener in a world of 21st century addictions. It’s a place where on-going, very public experiments constantly take place into the affects of nascent technology on our lives. From out of control retail therapy, manipulative social media and the loss of individuality, The Future Bites is less a bleak vision of an approaching dystopia, more a curious reading of the here and now.

Pretenders was first issued in December 1979 and features the singles ‘Stop Your Sobbing’, ‘Kid’ and UK chart-topper ‘Brass in Pocket’. Less than two years later the follow-up Pretenders II was issued. Hits included ‘Talk of the Town’ (issued much earlier in April 1980), ‘Message of Love’ and ‘I Go To Sleep’. Both albums featured the classic line-up of Chrissie Hynde (vocals and guitar), James Honeyman-Scott (guitar), Pete Farndon (bass) and Martin Chambers (drums).

Herb Ellis's first record for the Dot label was also his last, and his last solo project (apart from a Columbia release around the same time) for the next eight years, during which time he mostly played sessions on other people's albums. With tenor saxman Teddy Edwards, organist Ron Feuer, bassist Monty Budwig, and drummer Stan Levey, he has put together a tight pop-jazz ensemble, in which Ellis' guitar is surprisingly understated in its prominence. This may actually disappoint some fans, though the playing by Edwards and Feuer is certainly pleasing enough, even if Ellis does most of the really interesting improvising, most notably on Ray Brown's "AM Blues." "Tennessee Waltz" is also well worth hearing, for Ellis' and Edwards' playing. And the group has fun with "Besame Mucho" as well.

Before becoming a slick, sharp-dressed pop star in the 1980s, Robert Palmer was a soul singer deeply rooted in R&B and funk. Those influences are on full display on his debut album Sneakin' Sally Through the Alley. With a backing band including members of Little Feat and the Meters, the music has a laid-back groove whether Palmer's covering New Orleans legend Allen Toussaint (the title track) or singing originals ("Hey Julia," " Get Outside"). While the music is tight and solid, it is Robert Palmer's voice that is revelatory – he sounds supremely confident among these talented musicians, and they seem to feed off his vocal intensity. Fans of the Meters or people who want to discover the funky side of Robert Palmer should check this one out.