2013 release from the rooster-haired Rock icon, his first album of new material in almost 20 years. Time marks Stewart's long-awaited return to his songwriting roots and features 12 tracks, 11 of which he wrote and produced. Time was born from a burst of inspiration from which he rediscovered his voice as a songwriter and rekindled his gift for writing the honest, nerve-touching narratives that have been the cornerstone to the first three decades of his career. Since 1991, Stewart, the lyricist and melodist behind such staples as Tonight's The Night, You Wear It Well, You're In My Heart, The Killing of Georgie and the indelible Maggie May, had simply lost his songwriting muse. But, beginning in 2011, during the period he began working on what would become his internationally best-selling autobiography, Rod, it returned.

Danny Bensi, Saunder Jurriaans, and Gregory Rogove, the three members of Priestbird, were calling themselves Tarantula A.D. only two years ago when they released Book of Sand. That would make In Your Time their sophomore album rather than a debut, except that they have changed in the interim, notably by adding vocals. In Your Time also has the feel of a first album, however, in the sense that it seems intended to showcase the band's range of talents, even at the risk of coming off somewhat scattered. By whatever band name they employ, multi-instrumentalists Bensi, Jurriaans, and Rogove are nothing if not eclectic, and their music never sounds like any one thing for long. Generally speaking, the songs on In Your Time are inclined more toward rock -- hard rock, in fact -- early on, while things get much calmer in the last half. But even when there is a guitar riffing on a power chord and the drums are pounding, the arrangement may call for a sudden shift to acoustic piano, or one of Bensi's string instruments, violin or cello, may be heard. The effect is a little like switching back and forth between a radio station playing classical chamber music and one doing a Black Sabbath marathon. Then there's Jackyl, the seventh of 11 tracks, an acoustic guitar instrumental that wouldn't be out of place on a Leo Kottke album, followed by Last to Know, which sounds like one of those Indian-influenced songs one might hear on a psychedelic rock album in the late '60s. Although most of the songs have vocals, they tend to be breathy and restrained, the lyrics either impressionistic or simply repeated incantations. It may be symptomatic of the trio's approach to music that they had trouble settling on a name; even if you know what to call them, it's hard to know what to call their work. As it is, they seem like a bunch of different kinds of musicians co-existing on the same disc rather than a coherent ensemble, and that's no doubt deliberate. ~ William Ruhlmann, Rovi

The Time: Morris Day (vocals); Jesse Johnson (guitar, vocals, drums); Jimmy Jam, Monte Moir (keyboards, vocals); Stacy Adams, Terry Lewis (bass, background vocals); Jellybean Johnson (drums, percussion).Personnel: Jesse Johnson (vocals, guitar); Jimmy Jam, Monte Moir (vocals, keyboards); Terry Lewis (vocals, background vocals); Morris Day (vocals); Jellybean Johnson (drums, percussion); Vanity 6 (background vocals).Recording information: Hollywood Sound; Studios, Sunset Sound.Photographer: Al Beaulieu.What time is it? shouts Morris Day to kick off the album of the same name. Time to get Wild And Loose! is the resounding response he gets from The Time, the often unjustly overshadowed funk outfit from Minneapolis.This album oozes attitude. From its opening Wild And Loose, Morris never quits with his rantings (Ain't nobody cool but me). But his real talent, aside from his alleged sexual prowess, is his ability to get the most out of his band. What makes these grooves timeless are the immensely musical an

Import version of this out-of-print in the US Special Edition. Young crooner Michael Buble delivers an album of love songs as powerful as chocolate and candlelight. From covers such as Ray Charles' You Don't Know Me' to 'Home', penned by Buble and Amy Foster-Gillies, the album is a romantic treat. With total sales of his CDs and DVDs in the U.S. well over 1 million units, plus glowing reviews and standing ovations everywhere, Buble is set for an even bigger and better year. Special Edition has 2 extra tracks and special Digipak packaging. Warner. 2005.

Import version of this out-of-print in the US Special Edition. Young crooner Michael Buble delivers an album of love songs as powerful as chocolate and candlelight. From covers such as Ray Charles' You Don't Know Me' to 'Home', penned by Buble and Amy Foster-Gillies, the album is a romantic treat. With total sales of his CDs and DVDs in the U.S. well over 1 million units, plus glowing reviews and standing ovations everywhere, Buble is set for an even bigger and better year. Special Edition has 2 extra tracks and special Digipak packaging. Warner. 2005.

The Los Angeles-based Big Sandy and His Fly-Rite Boys play roots music that calls to mind the days when country and western and rock & roll were but two sides of the same coin. They're unabashedly retro, right down to their vintage clothes and period instruments. They even recorded It's Time! on vintage equipment at Joey's Place, the former home of Hollywood's famed Electro Vox studio, where folks like the Maddox Brothers and Rose and Tex Ritter once laid down tracks. None of that would mean a thing, of course, if the music wasn't any good--and it is. Instrumentally, the Fly-Rite Boys are tight as a drum, but the big weapon remains Sandy's sweet croon of a voice, which evokes Buddy Holly, Gene Vincent, Johnny Burnette, Faron Young, and even Elvis, among others. He uses it to great effect throughout this delightful album, as on the bouncy Chalk It Up to the Blues, the Cajun-flavored Bayou Blue, the surf-tinged Catalina, and the twangy (You Mean) Too Much to Me. --David Hill

Young crooner Michael Buble delivers an album of love songs as powerful as chocolate and candlelight. From covers such as Ray Charles' You Don't Know Me to Home, penned by Buble and Amy Foster-Gillies, the album is a romantic treat. With total sales of his CDs and DVDs in the U.S. well over 1 million units, plus glowing reviews and standing ovations everywhere, Buble is set for an even bigger and better year.

Family Time is Ziggy Marley s third solo album and first full-length offering especially for children and families. Marley produced the album with legendary producer Don Was, known for his Grammy®-winning work with such artists as Bonnie Raitt as well as with his own hit-making group, Was (Not Was). With original songs newly-composed by Marley himself, the album features a variety of family and friends as guests including Rita Marley (Ziggy s mother), Cedella Marley (sister), Judah Marley (daughter), Paul Simon, Jack Johnson, Willie Nelson, Toots Hibberts (of Toots and the Maytals), Elizabeth Mitchell, Laurie Berkner, Paula Fuga and two stories narrated by Jamie Lee Curtis. Growing up music was an important part of my childhood, Marley says. I see it being just as important in my children and all children growth and development. Music helps children to grow with open minds and open hearts and this is my message. This record represents my daily family life and is inspired by my three-year-old daughter Judah and baby Gideon. It was a joy to make and opened up new avenues in my creativity. Family Time is for all families and especially the world family. Ziggy has contributed to a variety of children s programming including Nick Jr. s Dora the Explorer, the PBS children s show Arthur, and the animated film Shark Tale, in which he played the character of Bernie the Jamaican jellyfish and re-recorded his father s Three Little Birds with Sean Paul and his brother Stephen Marley for the soundtrack.

Orestes Vilató isn't a huge name in salsa/Afro-Cuban music; most salseros won't recognize his name as quickly as they recognize names like Eddie Palmieri, Tito Rodriguez, Celia Cruz, Héctor Lavoe, Oscar D'León, and Tito Puente. Nonetheless, the Cuban percussionist has some impressive credentials; his résumé includes associations with the Fania All-Stars, Ray Barretto, Johnny Pacheco, and Cachao, among many others. Vilató has spent much of his career as a sideman, but It's About Time gives listeners a chance to hear him performing as a leader. With pianist Rebeca Mauleón serving as producer, Vilató delivers a salsa-oriented album that is dominated by vocal offerings but occasionally detours into instrumental Latin jazz. Nothing groundbreaking occurs, but all of the performances are solid and inspired -- and Adonis Puentes (the album's main lead singer) brings a lot of passion to Consuélate Como Yo, Olvido, Toca Vilató, and other energetic offerings. Another noteworthy track is Remembering Ray, a jazz-influenced cha cha written in memory of the late Ray Barretto; the tune recalls Cocinando (one of Barretto's major hits for Fania Records) as well as Oye Como Va, the Tito Puente classic that, in 1970, received the Latin rock treatment from Carlos Santana (who Vilató, by the way, has played with). It's About Time was recorded in 2008 in Los Angeles, a city that, historically, hasn't had nearly as many salsa/Afro-Cuban recording sessions as New York City or Miami. Los Angeles, one of the biggest hotbeds of Mexican culture, is a place where one is more likely to hear mariachi, banda, norteño, or duranguense in a recording studio than salsa/Afro-Cuban music. But It's About Time is most definitely a salsa/Afro-Cuban album, and it is an album that Vilató can easily be proud of. ~ Alex Henderson, Rovi

2012 release from the Nashville-based band. These Times is a a scintillating hookfest of arena-ready rock anthems, offering unequivocal proof that the group has the goods to break wide open. Working with producers Howard Benson, Espionage (the New York-based Norwegian team of Espen Lind and Amund Bjorklund) and OneRepublic's Ryan Tedder, these four skilled and remarkably self-assured musicians have cooked up a strikingly melodic, sharply drawn, viscerally immediate album filled with songs that stick in the head and heart.

Silence, on joue! is a gathering of familiar themes from the movies, some of which -- like John Williams' Schindler's List and Memoirs of a Geisha -- originally featured the violin, but most of which have been arranged for Angèle Dubeau and her ensemble La Pietà. What is appealing about this album is that even though the music is often bittersweet or tender, there is little bathos in the way the musicians play it. Their sound is lush, warm, and expressive without being too overpowering, allowing the music to generally speak for itself and the listener to construct his/her own images to go with it. The arrangements are also done interestingly enough so that not everything is a simple melody with orchestral accompaniment. There is also a pleasant sprinkling of whimsical humor (Concerning Hobbits) and dance (Suite Far and Away and Por una Cabeza - La Cumparsita). Some might still argue that this is a saccharine collection, but the album would suit many casual movie fans looking for background ambience with some recognizable melodies. ~ Patsy Morita, Rovi

Good Time reunites superstar Alan Jackson with longtime producer, Keith Stegall and it marks the first time Jackson has been the sole writer on an entire album. As a songwriter, he has written 21 of his 31 #1 singles. The Jackson-penned 'Small Town Southern Man' is the disc's first single and after only five weeks on the charts, it's fast become a country radio smash and the youngest record inside the Billboard country airplay Top 30. After releasing not one, but two chart-topping albums in 2006, Good Time returns the spotlight to Jackson as a songwriter, as well as a vocalist. Additional songs include the sweetly poignant 'Sissy's Song', inspired by a friend who passed away, the nostalgic '1976' and the joys of being a 'Country Boy'.

Right on Time was recorded live in 2002 at the Temple of Deliverance Church in Memphis, TN. These 12 tracks incorporate a mixture of Lee Williams & the Spiritual QC's' urban contemporary soul vocal arrangements, augmented musically by synth strings, organ, and the occasional use of a wah-wah pedal. All the songs on Right on Time were written by Lee Williams, including the highlights Nobody But U, Next Time, and the title track. This is a spiritually uptempo affair that modern gospel fans are sure to enjoy. ~ Al Campbell, Rovi

Widely considered one of the more soulful voices of hard rock, Glenn Hughes has appeared on countless releases over the years in a career spanning four decades. And with such a long and steady output, it may be a bit difficult for fans to have checked out the majority of all the projects that he's been involved with over the years. But with the arrival of the 2007 double-disc compilation, This Time Around, Hughes' career is finally properly put into perspective. And as evidenced by the set's 29 tracks (which mix studio and live versions), Hughes' voice has remained in top form throughout -- straight up to the modern day. Name a project that Hughes has had his name linked to at one point or another, and it's sure to be here. Top standouts include a pair of tracks from Trapeze (the moody Medusa and the funky You Are the Music), Deep Purple (two more funk-rockers -- You Can't Do It Right and Gettin' Tighter), and Black Sabbath (the monstrous ballad, No Stranger to Love). Additionally, you'll find several fleeting-yet-worthy collaborations with others, including Pat Thrall (Muscle and Blood), Gary Moore (Reach for the Sky), and Tony Iommi (Dopamine), and of course, there's plenty of solo Hughes material, as well. For a fine overview of one of rock's more underrated (yet highly talented) vocalists, This Time Around succeeds in shining the spotlight on Glenn Hughes. ~ Greg Prato, Rovi