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Aug
14
Ringo Starr’s 18th studio release, POSTCARDS FROM PARADISE, includes 11 original tracks and is the first to include a song written and recorded by Ringo Starr and his current All Starr Band – Steve Lukather, Todd Rundgren, Gregg Rolie, Richard Page, Wally Palmer and Gregg Bissonette. POSTCARDS FROM PARADISE was produced by Ringo and recorded at his home studio in Los Angeles and, as always, features friends and family. As Ringo often says, ‘If I am recording and you’re in town and drop by, you’re going to be on the record!’ The album’s guest artists include: Joe Walsh, Benmont Tench, Dave Stewart, Ann Marie Simpson, Richard Marx, Amy Keys, Peter Frampton, Nathan East, and Glen Ballard.
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The Fast and the Furious franchise manages to outdo itself with each new movie. The same could be said for its companion albums, which go just as hard. Fate of the Furious, a.k.a. Furious 8, is heavy on trap, electronic, and R&B vibes. “Gang Up,” “Go Off,” and “Horses” are posse cuts featuring a who’s-who of 2017 rap elite: Young Thug, Lil Uzi Vert, Travis Scott, PnB Rock, Kodak Black, and many more. Turn this up in your PZEV, but remember to keep both hands on the wheel.
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Aug
13
Joe Satriani may have retained the services of keyboardist Mike Keneally for Shockwave Supernova, the guitarist’s 15th studio album — Keneally has been in Satch’s orbit for a while now — but he chose to invite bassist Bryan Beller and drummer Marco Minnemann (from the inventive instrumental rock band the Aristocrats) to be his rhythm section for the bulk of the record. This slight shakeup reinvigorates Satriani, who already sounded spry on Unstoppable Momentum. Where that record hearkened back to his ’80s heyday, splitting time between arena-friendly riffing and lyrical solos, Shockwave Supernova exists in the heady world of intricate time signatures and elastic instrumental interplay; it is more the child of pre-MTV AOR — a world where Rush and Allan Holdsworth split time on the stereo of MAD Magazine readers. It’s proud egghead music that grooves on its own technical acumen, where Satch and company love to mess with expectations by sliding into a swinging blues groove or dabbling in a bit of bossa nova. What matters, as it always does on a Satriani album, is the instruments, but more so than on his other records, Shockwave Supernova feels like a collaborative record; it’s as fun to hear him play with his band as it is to hear him soar on his own. [Shockwave Supernova was also released on LP.
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