2×10″ album originally produced exclusively for u2.com subscribers – fantastic find if you can get it for a reasonable price. I’m not as much of a fan of side 4, a spoken word interview – but the live set is cracker.

They played the Marquee Club seven times in 1980 (per u2tours.com) – this set was recorded on Sept 29th, recorded by Tim Painter and mastered by Scott Sedillo (at Bernie Grundman Mastering Studios).

My copy via the Record Exchange in Salem MA.

Sixth studio album from Norah Jones, and the only one so far I’ve managed to locate on vinyl (I’ve been looking). Produced by Eli Wolf and Jones, and recorded in Brooklyn, this LP has Jones going back to the piano driven vocal-centric approach of Come Away With Me. Wayne Shorter shows up on four songs playing soprano sax.

Includes a great cover of Neil Young’s “Don’t Be Denied” as well as Horace Silver’s “Peace” and Duke Ellington’s “Fleurette Africaine.”

My copy—via the Record Exchange in Salem MA—is a Pallas pressing with lacquer cut by Bernie Grundman – sounds great.

Its popularity has recently resurged, due in no small part to Luke Combs’ cover version and their duet at the Grammy’s but this record never went out of rotation for me.

Technically I know it’s not true, but I like to imagine Tracy Chapman’s voice was still echoing around Boston from her busking days when I arrived for college in the fall of 1988. Reality is she was already out promoting her debut album.

My copy—which replaced the aging CD I used to listen to it on—is the 35th Anniversary edition Rhino put out in 2025 on 180g vinyl, which sounds great. I know there are folks who will say “the first pressing is better” and I will keep my eyes out for one but haven’t ever seen it in the wild.

Classic west coast jazz from Contemporary Records – sometimes just gets call Art Pepper + Eleven, sometimes Modern Jazz Classics. Not sure if 12 people counts as a big band – Wikipedia says “a small big band.” Marty Paich did the arranging.

Songs composed by Dizzy Gillespie, Horace Silver, Charlie Parker, Gerry Mulligan, and Sonny Rollins among others. A must have for people (like me) who are fans of the west coast “cool jazz” and the late big band era.

My copy—via private sale—is the Acoustic Sounds Series reissue from 2022 mastered by Bernie Grundman and pressed at QRP. This is a great reissue series, and they reproduce the original labels (albeit with a new catalog number).

This has long been one of my favorite U2 songs whether in this “Club Version” or the Francois Kevorkian remix or the original. I love the photo here of the lads out in a wheat field.

My copy—via Music DNA in Methuen MA—is a UK pressing 12″ 45 rpm on the vibrant Island labels.

This was the first Rollins album with Ray Brown and Shelly Manne, and the first time he recorded with only bass and drums. I love this cover photo emphasizing the New York native was out west.

My copy—direct from Craft Recordings—is the 2009 Original Jazz Classics reissue which was remastered back in 1988 and repressed in 2009. It reproduces the yellow Contemporary labels but with a catalog number OJC-337.

3xLP box set featuring Lightnin’ Hopkins, Sonny Terry & Brownie McGhee, and Jimmy Witherspoon. On a couple of sides Hopkins plays with Terry & McGhee.

The recordings were all made in Los Angeles – the first two LPs are taken from the Ash Grove on July 6th and 7th, 1960, and the third LP says it was recorded in LA in September 1959.

My copy via Flip Over Records in Acton MA. I love finding old box sets for a reasonable price.

One of my favorite U2 singles from the early 80s, released as the lead single just ahead of The Unforgettable Fire. Also has one of my favorite mistakes, when they sing “Early Morning, April 4.” I always figured the lads were not used to the American habit of not using 24 hr time. (They fixed this on Songs of Surrender).

I’m not normally much of a singles collector, but for 12″ singles from this era (and for U2) I grab whatever I can find for a reasonable price.

My copy—via Music DNA in Methuen MA—is a 12″ 45 rpm single pressed by EMI in the UK (an import). I love this version of the cover with MLK Jr. on the back side.

Recorded by Rudy Van Gelder in Hackensack NJ, Jordan is joined by John Jenkins (alto sax), Art Taylor (drums), Ray Bryant (piano), Curtis Fuller (trombone) and Lee Morgan (trumpet). This is one of two Blue Note LPs he put out in 1957 (the other was Blowing in From Chicago with John Gilmore).

My copy—via Amazon—is the 2024 Blue Note Tone Poet Series reissue, with lacquer by Kevin Gray and pressing at RTI. Although they used the “mono” labels here and the spine also says mono, the LP is clearly in stereo.

Recorded across four live performances between July 1985 (Montreux Jass Festivale) and July 1986 (Austin Opera House and Dallas Starfest). Includes his take on “Mary Had a Little Lamb,” “Superstition,” and “Vodoo Child (Slight Return).”

The CD versions leave off “Live Without You.”

Brother Jimmie Vaughan guests on four tracks, other personnel are Tommy Shannon (bass), Chris Layton (drums), and Reese Wynans (keys).

My copy—via Music DNA in Methuen MA—is an Indianapolis pressing in great shape. It’s a gatefold with credits and photos inside.

Another late sixties (December 1969) set from Evans, Eddie Gomez, and Marty Morell, recorded at Ronnie Scott’s. (Live at Ronnie Scott’s, released in 2020, came from recordings made in July of 1968). Great production and packaging.

My copy—via private sale—is the Record Store Day 2019 2xLP deluxe edition, numbered and limited.

Solo debut from the man more well known (to me at least) as the lead singer of Men At Work, which he fronted from 1978 to 1986. He’s actually had quite a lengthy solo career and done a lot of really interesting work.

This album may not be the pinnacle of that work, but it has consistent quality songwriting and vocals, if the band sometimes feels a bit generic. Even the cover makes it feel somehow rushed out, perhaps hoping to capitalize before the reputation of Men At Work faded. Herbie Hancock joins in the piano on the title track.

My copy via Beverly Coin & Jewelry.

The quintent here is Silver joined by Blue Mitchell (trumpet), Junior Cook (tenor sax), Gene Taylor (bass), and Roy Brooks (drums). Recorded by Rudy Van Gelder in Englewood Cliffs, with Alfred Lion producing.

My copy—via Amazon—is another Blue Note Tone Poet Series reissue from 2024. Yes, I realize there are other jazz labels and other reissue series – but so many of these are so good they are hard to resist.

Vega’s tenth studio album and her first of new material since 2014. Bob Dylan gets cowriting credit on “Chambermaid” as a kind of alternate version of “I Want You.”

“Speaker’s Corner” is a great song as well:

I have a newfound sympathy

For the madman in the square

Who rants and raves his rhetoric

Into the midday air

My version—direct from the artist at a live show at the Cabot Theater in Beverly MA—is a signed copy on grey smoke vinyl.

Freddie Roach’s third album as a leader, recorded by Rudy Van Gelder in Englewood Cliff with Blue Mitchell (trumpet), Hank Mobley (tenor sax), Eddie Wright (guitar), and Clarence Johnston (drums).

Tunes include “It Ain’t Necessarily So” (Gerswhin) and Pastel (Garner) as well as “T’Ain’t What You Do (It’s The Way That You Do It).” Great soul-jazz organ here.

My copy—via Amazon—is the Tone Poet Series reissue from 2024, with lacquer cut by Kevin Gray and pressing at RTI. As you can expect from this series it’s a great sounding pressing with lovely packaging.

M. Ward’s 7th studio album, including a cover of Daniel Johnston’s “Sweetheart.” He’s joined by Mike Coykendall, Mike Mogis, Jordan Hudson, Adam Selzer and others, including vocals from Zooey Deschanel. M. Ward produced.

I just love M. Ward’s voice and his approach to songwriting and production – across his solo work and She & Him. (No, the “Me and My Shadow” is not the Irving Berlin/Al Jolson tune but a new song).

My copy—via Magnolia Record Club—is a signed 2024 reissue on metallic swirl vinyl with lacquer cut at Chicago Mastering Service by Jason Ward.

Patton joined by Otis Finch (drums), Grant Green (guitar), and Bobby Hutcherson (vibes), and recorded by Rudy Van Gelder in Englewood Cliffs, NJ. Fantastic Hammond B3 driven mid-sixties Blue Note jazz – can’t go wrong.

My copy—direct from Amazon, which often has deals on these—is the Blue Note Tone Poet series reissue from 2023, with lacquer cut by Kevin Grey and Joe Harley and pressing at RTI.

Recorded live in July 1987 during the six-city tour of that summer. While the shows from that tour typically had a first set of Dead material followed by a set with Dylan, this recording highlights the Dylan songs with the Dead serving as a backup band.

Got some harsh critical reviews a the time as a kind of commercial sellout record for both, I think it stands up really well and I was excited to find a good vinyl reissue.

My copy—via the Record Exchange in Salem—is a 2018 reissue pressed at Memphis Record Pressing.

Zev Feldman of Resonance Records teamed up (as Producer, Liner Notes, and Researcher) with Elemental Music for yet another Bill Evans live set from the 1960s. These were often bootlegged but get official high quality treatment here.

The recordings were made at KRO Studio I in Hilversum March 26th, 1969 and RAI Congrescentrum Amsterdam November 26th, 1969. Evans is joined by Eddie Gomez and Marty Morell. The release was mastered by Bernie Grundman and pressed by Standard Vinyl, with an insert booklet with photos, essays, and interviews. It’s a great package.

My copy—via private sale—is the 3xLP 2021 deluxe edition, numbered, on 180 gram vinyl, which was issued for Record Store Day 2021.

Donaldson joined here by Leo Morris (drums), George Benson (guitar), Lonnie Smith (organ) and Blue Mitchell (trumpet). Very groovy soul-jazz LP from late sixties Blue Note.

Recorded by Rudy Van Gelder in Englewood Cliffs and produced by Francis Wolff.

My copy—via Amazon—is the Blue Note Tone Poet reissue from 2024, mastered by Kevin Gray and pressed at RTI.