Those who became aware of Robert Randolph's considerable musical gifts on either the awesome Live at the Wetlands or on the underrated Unclassified are in for a surprise. Colorblind expands the Robert Randolph & the Family Band's palette – on tape anyway, they've been doing stuff like this on the stage for years – stretching out from the blues ledge into gospelized, gritty funk and soul, and expanding those genres in the process. Using a group of producers from cut to cut, the Family Band takes no prisoners in this wildly crazy and utterly joyous mix of musical forms and flavors. Sure, it's a bit slicker than Live at the Wetlands, but not in any detrimental way. This is what these cats have been laying down for awhile now. It's been their vision and they've finally brought it into the studio. The opening joint is a stomping wail called "Ain't Nothing Wrong with That" that features the Family Band chanting a refrain, handclaps, and killer female backing vocals as well as Jason Crosby's B-3, as Randolph's pedal steel hovers above before coming in for the killing groove.

In the summer of 1999, Steps Ahead founder/vibraphonist Mike Mainieri joined Eliane Elias, Bob Berg, Marc Johnson and Peter Erskine for a reunion tour of Europe. They recorded several of those shows but Mainieri didn’t listen to the tapes for two years. He eventually did, and the result is the two-CD set Holding Together (N.Y.C.). The musicians perform the tunes with great sensitivity to one another, both as an ensemble and in solo spotlights. “Uncle Bob” just swings along, while Mainieri’s gliding vibes impart an almost magical quality to a lovely version of Ellington’s “In a Sentimental Mood,” and “The Time Is Now” is a 22-minute-plus opus that gives everyone a chance to shine. There are too many high points on this solid set to mention, but it should be noted that Berg’s playing is vigorous and inventive throughout and provides a poignant reminder of the profound loss the jazz world suffered when he was killed in a car accident.

Evgeny Kissin appeared in Salzburg in 2021 with compositions of the late Romantic and classical modern periods in the Großes Festspielhaus. Since his debut in 1987, the pianist has been a welcome guest at this festival, impressing with the maturity and brilliance of his playing. Kissin loves the dialogue with the audience and the direct power of the concert moment.

Rising from the ashes of pub rock band Ducks Deluxe, the Motors began life as Status Quo lite, a boogie band with better ideas and hooks than other bands in the same mold. Led by talented singer/songwriters Nick Garvey and Andy McMaster, the Motors' 1977 self-titled debut sounded better on paper than it did on the home stereo. Scoring a semihit with the single "Dancing the Night Away" was a surprise to all, but certainly gave Virgin enough confidence to back a second album. When Approved by the Motors hit the shelves in 1978, the band had become one of the finest pop/rock bands in the U.K., refining their sound (the boogie was nowhere to be found) and writing songs filled with great melodies. Garvey and McMaster's harmonies had become as unique as fellow popsters Difford & Tilbrook's, although the Motors sound was far more gritty than the duo from Squeeze. Even lead guitarist Bram Tchaikovsky and drummer Ricky Slaughter seemed to have an expanded role in the sound of the band. Standout tracks like "Forget About You," "Sensation," "Soul Redeemer," and the beautiful "Today" were the heart and soul of this fabulous sophomore release, and the album even garnered them a bonafide hit with "Airport".

Fans of live material will thoroughly enjoy this handpicked hit-and-miss 18-track compilation of REO Speedwagon's hits recorded during the band's mid- to late-'80s tours. Most of the songs work well in a live environment, with songs like "Tough Guys," "I Do' Wanna Know," and "Keep the Fire Burning" coming out on top, harnessing the most energy while keeping with their original form. Only six of the tracks are from the studio, with "Shakin' It Loose" being the most spirited, as the others are mediocre REO efforts ("L.I.A.R," "Live Every Moment," "Love Is a Rock"). As a hits package, though, The Second Decade of Rock and Roll should be spared, especially since their best song, "Keep on Loving You," has been replaced by a poorly ventured reggae version that sounds silly and out of place. While the ballads are kept to a minimum, some of their less accomplished material could have been replaced with some of their '70s work from Tuna Fish or even REO. Tracks like "Live It Up" and "One Too Many Girlfriends" represent their late-'80s disappointments in The Earth, a Small Man, His Dog, and a Chicken and Life As We Know It, sounding a wee bit uninspired.

London-born singer Labi Siffre has spent his career breaking down boundaries. The openly gay singer built a small cult following with works that dealt squarely with homophobia and racism. In addition to his many albums, the multi-talented Siffre has written several books of poetry and has also written for the stage. Musically, Siffre is known for his soulful, high-pitched voice and thought-provoking lyrics. His single "I Got The…" from his 1975 album Remember My Song received a modicum of fame decades after its release when its funky piano hook was sampled in Eminem's 1999 debut smash single "My Name Is." In 1988, Siffre had a hit with his anti-apartheid anthem "(Something Inside) So Strong," a song that embodied his vocal talents and his social conscience.

Illinois Speed Press was a guitar-driven rock quintet on this, their first recording. Produced by Chicago's producer and mentor, James William Guercio, this album sounds at times like Chicago Transit Authority without horns. ISP is important in rock history primarily as the band from which co-leader Paul Cotton emerged to replace Jim Messina in Poco, whom he would help guide to commercial success. "Get in the Wind," later recorded by Poco in a completely different form, rocks hard in this version, while Cotton's "P.N.S. (When You Come Around)" hints at the sound of From the Inside era Poco. The bouncy acoustic number "Here Today" is another highlight, standing out amidst the bluesy rock that makes up the bulk of this recording. The liner notes, designed like a newspaper, were written by Firesign Theatre.