Jerry Evanoff

A characteristically humongous (8-CD) box set from the wonderful obsessive-compulsives at Bear Family, documenting the Killer's '60s tenure at Smash Records. Lewis made consistently good music during this period, but the combination of his personal scandals and the British Invasion made him a pariah to radio programmers until mid-decade, when he returned to his country roots. Highlights of the set include the entirety of a Texas live show, with Lewis and his crack band rendering various early rock standards at dangerously high (i.e., proto punk) speed, some excellent duets with his (then) wife Linda Gail, and gorgeous renditions of standards like Willie Nelson's "Funny How Time Slips Away" and Merle Haggard's "Lonesome Fugitive." Lewis fans with deep pockets should grab this one immediately…

Electric on the Eel is a live album by the Jerry Garcia Band. It contains three complete concerts on six CDs. The shows were recorded on August 29, 1987, June 10, 1989, and August 10, 1991 at French's Camp in Piercy, California, near the Eel River. The album was released on March 15, 2019. The three performances were promoted by Bill Graham and Wavy Gravy as benefit concerts for the nearby Hog Farm commune. They featured the mid-1980s to early-1990s lineup of the Jerry Garcia Band – Jerry Garcia on guitar and vocals, Melvin Seals on keyboards, John Kahn on bass, David Kemper on drums, and Gloria Jones and Jaclyn LaBranch on vocals.

Fall 1989: The Long Island Sound is a six-CD live album by the Jerry Garcia Band and by Bob Weir and Rob Wasserman. It was recorded on September 5 and 6, 1989, at the Hartford Civic Center in Hartford, Connecticut and the Nassau Coliseum in Uniondale, New York. It was released by ATO Records on December 17, 2013.

The impeccable steel guitar sound of the great Russ Hicks is the driving force behind Barefoot Jerry, whose 1971 debut Southern Delight and self-titled 1972 follow-up make up this welcome reissue.

In the midst of a global pandemic, John Hiatt walked into Historic RCA Studio B to record a record. Hiatt teamed up with multi-grammy award winning artist and producer, Jerry Douglas and his band, The Jerry Douglas Band. The result of those sessions would be the album, Leftover Feelings. There's no drummer, yet these grooves are deep and true. And while the up-tempo songs are, as ever, filled with delightful internal rhyme and sly aggression, the Jerry Douglas Band's empathetic musicianship nudges Hiatt to performances that are startlingly vulnerable. In life, leftover feelings can remain unresolved. Explicated in a place of history, a place of comfort. A sacred place, if you believe the documentation of human expression to be a holy thing. Here are Hiatt and Douglas, creating love songs and road songs, sly songs and hurt songs. Their songs, and now our songs. Leftover feelings that edify and sustain.

For fans of Jerry Goldsmith's score for Ridley Scott 1978 movie Alien, this two-disc Intrada set is the ultimate fantasy. Everything is here and then some. Disc 1 contains Goldsmith's entire score as he originally intended it with every cue in place, including those that were later cut from the film plus his recomposed versions of cues the director made him change (Goldsmith's original main theme, for example, appears without its signature heroic trumpet melody because the director thought it wasn't creepy enough). Disc 2 includes the original soundtrack as issued on LP plus six other bonus tracks of demonstration takes and even the brief except from Eine kleine Nachtmusik used in the film. The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. With its mixture of the ecstatic chromaticism of Scriabin, the skittering strings of Penderecki, the harmonic waves of Ligeti, and the atmospheric percussion of Herrmann, Goldsmith's score became a template for all subsequent science fiction/horror movies. But as this splendid release so amply shows, the original still can't be beat.