Way of Cobra

Stereolab took an unprecedented two years between 1997's Dots & Loops and 1999's Cobra and Phases Group Play Voltage in the Milky Night, as they tended to personal matters. During those two years, Stereolab's brand of sophisticated, experimental post-rock didn't evolve too much, even as colleagues like Tortoise, Jim O'Rourke, and the High Llamas tried other things. Since each Stereolab album offered a significant progression from the next, it would have been fair to assume that when they returned, it would be with a leap forward, especially since Tortoise's John McEntire and O'Rourke were co-producers. Perhaps that's the reason that the album feels slightly disappointing. The group has absorbed McEntire's jazz-fusion leanings – "Fuses" kicks off the album in compelling, free-jazz style – and the music continually bears O'Rourke's attention to detail, but it winds up sounding like O'Hagan's increasing tendency of making music that's simply sound for sound's sake.

2013 release from the Blues legend. While Buddy Guy's music is often labeled Chicago Blues, his style is unique and separate. His music can vary from the most traditional, deepest blues to a creative, unpredictable and radical gumbo of the blues, avant rock, soul and free jazz that morphs at each night's performance. In the early '50s he began performing with bands in Baton Rouge. Soon after moving to Chicago in 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records and Artistic Records. This is the first domestic compilation of the Hall of Fame winner's earliest sides in over 20 years.