Joey Willis

The Craft Recordings reissue of Howard McGhee and Teddy Edwards’ Together Again!!!! is a celebration of two monumental figures in post-bop jazz, brought back into the sonic forefront with pristine detail. This 180-gram vinyl edition, mastered from the original tapes by the legendary Bernie Grundman, is not just a reissue but a reverent preservation of a unique moment in jazz history. Originally released in 1961 on Contemporary Records, this album marked the rekindling of a collaborative spark between McGhee and Edwards after a gap in their respective careers. The pairing of McGhee’s robust trumpet and Edwards’ lyrical tenor sax is both nostalgic and invigorating, filled with the kind of chemistry that only happens when two jazz giants meet on equal footing.

Héctor Lavoe’s sophomore album, De Ti Depende, released in 1976, builds on the success of his debut La Voz and elevates his artistry, firmly establishing him as one of salsa’s most compelling voices. While La Voz

Craft Latino’s reissue of Traigo de Todo, marking Fania Records’ 60th anniversary, breathes new life into the 1974 classic from Ismael Rivera—a seminal figure in Latin music, often affectionately known as “Maelo.” This album, released during Rivera’s post-prison renaissance, radiates the sounds of resilience, cultural pride, and spiritual rebirth. Traigo de Todo finds Rivera at a pivotal moment in his career, where his profound personal transformation mirrored the blossoming complexity of the salsa genre. His voice, famously smooth yet smoky, weaves through infectious rhythms, offering both fervent uplift and contemplative depth.

The 50th anniversary reissue of Celia & Johnny, a 1974 masterpiece from Celia Cruz and Johnny Pacheco, celebrates an album that redefined salsa music and cemented Cruz’s status as an icon. Originally released on Vaya Records, Celia & Johnny captures the electrifying synergy between the Cuban singer, affectionately known as “The Guarachera of Cuba,” and Pacheco, the Dominican-born Fania Records co-founder and pioneering bandleader. With hits like “Quimbara” and “Toro Mata,” this album marked a turning point in Cruz’s career, reigniting her journey to global stardom.

Sonora Ponceña’s Sabor Sureño is a sparkling gem from the salsa golden era, and the 50th-anniversary reissue highlights why this album remains a cornerstone of Puerto Rican music. Released in 1974, Sabor Sureño captures the band’s inventive fusion of traditional Afro-Caribbean rhythms, jazz, and intricate storytelling. Bandleader Papo Lucca’s signature touch on the piano and the tight interplay of brass, percussion, and vocals come together in an electrifying performance throughout the record. For its 50th anniversary, Craft Latino is reissuing this classic album on a 180-gram vinyl cut from the original master tapes (AAA).

As the holiday season approaches, Barenaked Ladies fans have an extra reason to celebrate with the worldwide vinyl debut of Barenaked for the Holidays, brought to listeners for the first time by Craft Recordings. Originally released in 2004, this festive album quickly became a favorite among fans of the Canadian alt-pop group, known for their clever lyricism, infectious energy, and genre-blending sound. The band, which first rose to fame in the early ‘90s with their witty and playful approach to pop, rock, and folk, has always had a unique ability to mix humor with heart. From chart-topping hits like “One Week” to their acoustic-driven ballads, Barenaked Ladies’ signature blend of lighthearted fun and sincere emotion has won them a dedicated following across the globe. Now, Barenaked for the Holidays gets new life on vinyl, giving long-time fans and new listeners alike a chance to experience the joy of this eclectic holiday album in a warmer, more nostalgic format.

Finally!, the debut from Jake Sherman and Abe Rounds (Jake and Abe), feels like an intimate jam session where the magic of groove and melody takes center stage. This project, seven years in the making, leans heavily into funk, jazz, and soul, but what sets it apart is the dynamic way these genres are deconstructed and reshaped into something wholly unique. Sherman’s wizardry on the keys and Rounds’ masterful rhythmic precision blend into a sonic adventure that feels timeless yet undeniably fresh.

When Hallowed Ground was released in 1984, Violent Femmes were already known for their self-titled debut’s raw, stripped-down punk-folk energy. But rather than serving more of the same, the band took a sharp left turn, delivering an album that is darker, more complex, and undeniably polarizing. With Hallowed Ground, the band embraced a more experimental sound infused with gospel, country, and avant-garde elements with Gordon Gano’s cryptic, often unsettling songwriting. The result is a record that challenges as much as it rewards. As the divisive album celebrates its fortieth anniversary, Craft Recordings is giving it a wide vinyl release for the first time in over a decade, remastered from the original tapes.

Blind Gary Davis, also known as Reverend Gary Davis, was a towering figure in the world of American music. Born in 1896, Davis lost his sight at a young age but developed a remarkable ability to channel his experiences into music. Self-taught on the guitar, he mastered the intricate fingerpicking style of the Piedmont blues tradition and blended it with his deep spiritual faith, creating a unique sound that was both virtuosic and deeply emotive. Finding a home in the burgeoning folk revival of the 1950s and 1960s culminated in his unforgettable performance at the inaugural Newport Folk Festival in 1959, which catapulted him to national prominence and paved the way for the recording of Harlem Street Singer the following year. Released in 1960 and recorded in a single three-hour session by the legendary Rudy Van Gelder, Harlem Street Singer captures Davis at his creative and technical peak. As part of their Bluesville series, Craft Recordings is reissuing Harlem Street Singer on 180-gram pressed at Quality Record Pressings.

Jimmy Reed’s I’m Jimmy Reed is the kind of record that feels less like a debut and more like a mission statement. Released in 1958 on Vee-Jay Records, this collection of blues standards laid the groundwork for a musical career that would stretch far beyond the boundaries of its genre. Reed’s unassuming style, a hypnotic groove, conversational lyrics, and deceptively simple instrumentation, offers a refreshing sense of intimacy, as though he’s playing directly for you in a smoke-filled Chicago dive bar. While I’m Jimmy Reed