The Roadkill Orchestra
Live at the Emporium: Greatest Hits Volume 3
(independent)

This album from the Worcester-based house band of Dr. Gonzo’s Uncommon Condiments Emporium is replete with keys-driven, jazz-influenced classic rock. The entire album was recorded live in the Emporium. The album’s piano blends with snarling electric guitar, the occasional horn section, and the throaty, deep growl of singer John Vittori. The songs are mainly up-tempo rock and roll numbers, from tales of heartbreak and lost loves to drinking ballads. Here and there a more strictly jazz song emerges, but the band tends to stick to classic rock. The album is more of a jam session—every song features long guitar solos. Most songs run over five minutes in length, and two top out at well over seven minutes, and so many long songs can seem slightly overwhelming.  —Josh Ernst

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Amy Briggs
Tangos for Piano
(Ravello)

I’m not sure why I was surprised by my first impression of Amy Briggs’ Tangos for Piano. Maybe it was because I was expecting to hear songs that were romantically chaotic, that evoked various unidentifiable emotions which would sweep me into an Argentine musical frenzy. In reality I was met with crisp and concise piano-playing perfection. Amy Briggs demonstrates her extremely well-developed technique on tracks that are deliberate and controlled, made with academically trained composure. Despite such clear talent, it almost makes me want to trade her flawless ivory tickling for something that sounds a little messier and a little more emotive.  —Magdalene Nutter

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Gary Lucas & Gods and Monsters
The Ordeal of Civility
(Knitting Factory)

It’s pleasantly hard to place the music of Gary Lucas & Gods and Monsters. Lucas possesses a weird, almost off-pitch warble that somehow works just fine, in the vein of talented but just-off singers like Lou Reed and Neil Young. Behind those raw vocals he employs tasty, full and clear guitar tones and a brand of rock that seems to span decades, equally at home in the late ’70s and today. The sounds get weird at times in intentional derailments, then return to a rollicking equilibrium complete with pleasant backup singing. Lucas is often referred to as a “guitar hero,” a particularly well-placed accolade considering his penchant here for warm tones and interesting accompaniment in lieu of the manic sound and fury of the more usual aspirants. The whole album is a fun ride.  —James Heflin