Steve Thomas

Carlos Santana seemed to kick off an early-21st century music industry craze – by combining a crusty classic rock veteran with other star-studded talent (as evidenced by Santana's highly commercial yet mega-hit Supernatural). On first glance, it appears as that longtime Yes guitarist Steve Howe also followed this guideline to a degree with his 2003 solo release, Light Walls…

Steve Miller had started to essay his classic sound with The Joker, but 1976's Fly Like an Eagle is where he took flight, creating his definitive slice of space blues. The key is focus, even on an album as stylishly, self-consciously trippy as this, since the focus brings about his strongest set of songs (both originals and covers), plus a detailed atmospheric production where everything fits…

The Joker is, without question, the turning point in Steve Miller's career, the album where he infused his blues with a big, bright dose of pop and got exactly what he deserved: Top Ten hits and stardom. He also lost a lot of fans, the ones who dug his winding improvs, because those spacy jams were driven by chops and revealed new worlds. The Joker isn't mind-expanding, it's party music, filled with good vibes, never laying a heavy trip, always keeping things light, relaxed and easygoing. Sometimes, the vibes are interrupted, but not in a harsh way – the second side slows a bit, largely due to the sludgy "Come in My Kitchen" and "Evil," the two songs that were recorded live but lacking any kinetic energy – but for the most part, this is all bright and fun, occasionally truly silly, as on "Shu Ba Da Du Ma Ma Ma Ma."

Alarm Will Sound's recording of Steve Reich's monumental orchestral/choral works The Desert Music and Tehillim, released on the Cantaloupe label in 2002, greatly benefits from the group's close connections with the composer: the ensemble's conductor, Alan Pierson, and several of the performers studied at the Eastman School with Brad Lubman, a conductor frequently enlisted by Reich. Also, Pierson's arrangements, which reconcile the chamber and orchestral versions that exist for both works, were prepared in close consultation with the composer; thus, this may well be the definitive recording of these pieces. Brilliantly sonorous in their climaxes – the burst of light near the end of Desert Music, the "Alleluias" that close Tehillim – the players also articulate Reich's intricate canonic textures with nimble precision.

A great album cover should give an indication of the sound of an album, or at least its sensibility. Happily, that much is indeed true with Steve Walsh's solo debut, Schemer-Dreamer, which sports what very well could be the greatest album cover in rock history…