Following along in their series of expanded and remastered releases, Rhino presents the most famous of Yes’ releases, the chart-topping 90125. Featuring the mega-hit “Owner Of A Lonely Heart”, the Grammy winning instrumental “Cinema”, a slew of alternate mixes, unreleased tracks and the ballsy guitar of Trevor Rabin, I can’t imagine why anyone wouldn’t already have it.

As legend has it, this was supposed to be the debut of the band Cinema, comprised of Yes with Rabin but not with Jon Anderson or Steve Howe (who was now with Asia ). When some tunes needed a little something-something, Chris Squire suggested Jon sit in to add it. What happened was an album that both exemplified and transcended the 80s rock sound.

My favorite track? “Changes”, by far for the tricky vibes in front and a melody that I still have difficulty shaking.

Speaking of expanded and remastered, the sonic wonderland of Fleetwood Mac’s Tusk is finally ready to blast from loudspeakers and played sedately in all places in between. While not as ubiquitous as the tunes from Rumours, this release finds the band doing it strictly for the art of music and the science of recording. Witness Lindsey Buckingham stretching out both lyrically and audibly, using the studio as another instrument just as one of his heroes Brian Wilson did.

This release is huge, with not just a remastering to develop every previously buried tone but a second disc with demos, sketches, unreleased tracks, a veritable kit-und-kaboodle for the rabid Mac fan. While you will remember the hits like the title track, Christie McVie’s “Think About Me” and Stevie Nicks’ “Sara”, you also get another seventeen carefully crafted tunes.

For me, one tune alone is worth the price of the set. I heard “Never Make Me Cry” as the b-side of Tusk when it came out as a 45 (remember those?). Christie McVie’s soft, heartbroken chanteuse spoke volumes about the band’s internal conflicts (including her conflicts with husband / bassist John McVie) and did so ever so gently.

Here’s another one you don’t know about. When he’s not playing the lead of The 77s, one of the best bands you’ve never heard, or singing with the Lost Dogs, the best Americana-Rock group you’ve never heard, Michael Roe puts out these expansive solo discs full of soul, groove, power and boot-scoot. And again, you never heard it, but you should.

This time out, it is Roe with his acoustic guitar in various degrees of overdub but, believe it, that’s enough. Opening with the call to get back to some real stuff, “The Itch Is Back” had me at hello with a chorus that begged sing alongs. Closing the disc, the potent “Hobo Messiah” made me a little sad and made me think a lot, the way good folk songs can when they’re not laden with hokum. If you fell in love with the honest simplicity of Johnny Cash’s acoustic American masterpieces, you’d do well to check out this young buck.

Steve Winwood has had one of the more varied careers in rock music, is a well-known name, and yet never really hit the big time a la his buddy Clapton ("hey, when's the next Winwood album comin' out, man !?"  Nope, never heard that.)

Starting out with the great Spencer Davis Group at age 16 (his mum wouldn't let him tour w/o older brother Muff in the band, so Muff played bass) in the 60s, he had one of the most recognizable voices in the business on such hits as 'Gimme Some Lovin'  and 'I'm a Man' , and he smoked the Hammond B3 organ.

He then started Traffic, did a great one-off with Blind Faith, restarted Traffic, had a solo career w a few hits, and was forever in high demand for studio work on the B3 (played on Hendrix' 'Electric Ladyland' sessions among many others).

With 'About Time', a reclusive Winwood has returned with a most aptly named CD.  He plays only the B3 (no guitar or synths), with guitar and drums accompaniment (no bass guitar, he walks the B3's bass pedals) and sings with a somewhat gruffer-with-age but still recognizable Steve Winwood voice.  He's back to his roots, smokin' the B3 again and groovin' and jammin' like the best stuff Traffic did (maybe better).  This album is just plain smooth, cool, and groovy!  (Dig his take on Timmy Thomas' 'Why Can't We Live Together?' - all other songs written or co-written by Winwood.)  An excellent engineering job puts it all in your room, and that's what you should do - buy it and put it in your room.  Welcome back, Steve.  Great stuff!