So what brought me to Tribaljazz? The Doors connection is the simple answer. I’ve been a Doors fan for years and have listened to several of the band members’ solo projects, from Ray Manzarek’s self-indulgent The Golden Scarab to Robbie Krieger and Friends technically brilliant but uninspired album. I’ve always hoped to find some of the magic of the Doors recordings but I’ve always been disappointed. The Doors connection on this album is twofold, first Doors drummer John Densmore is the driving forces behind the band and secondly…well we’ll save that second connection for a little later.

Of the Doors members I’ve always had Densmore down as the weakest link, so it’s with some surprise that I say this is by far the most enjoyable solo project I’ve heard from any of the surviving band members. It’s often the drummer that gets overlooked in a band and that seems to have been the case with Densmore, here he’s much more in the driving seat with much of the album built on his solid rhythms, the skeleton that the other musicians add flesh to.

Densmore’s partner in crime is Art Ellis who not only provides some emotive flute and Soprano/Alto Sax playing but also wrote the bulk of the songs and co-produced the album with the drummer. The album is a blend of traditional jazz with world music as evidenced by the Cuban rhythms on “La Tormenta” or the African inspired sound of “Orange Midnight”.

On the track “Vegetable Wizard” it’s more than just the French vocal of Marcel Adjibi that evokes images of smoky bars is Paris. In fact this is what much of the enjoyment of this album comes from, allowing the music to transport you to exotic locals.

Desperate Housewives star Alfre Woodard provides spoken vocals on “The First Time (I Heard Coltrane)”, celebrating the influence of the legendary musician John Coltrane. This time it’s not just space we’re transported through but time as well. It may be Alfre providing the voice but it’s clear the words are describing events from Ellis past.

Now for that other Doors connection, a cover version of “Riders on the Storm” that uses a whispered Jim Morrison backing track from the original Doors recordings. I think this is a mistake on Densmore’s part as the album and band are strong enough to stand on there own without having to rely on the past glories of Morrison and the Doors. Having said that, as an instrumental piece the song works extremely well.

The infectious Violet Love is one of the albums stand out tracks, and it comes in three varieties, an instrumental, a vocal version featuring Michael Franti and a bonus version not listed on the sleeve that adds (I think) the albums other vocalists Marcel Adjibi and Alfre Woodard to the mix. Frant’s 9/11 inspired stream of conscience lyrics provide a vocal outlet for the music’s primal emotions and guarantee the song stays with you long after the albums final notes.

Of course Tribal jazz is more than just Densmore and Ellis. Quinn Johnson makes his mark on the piano and African drummers Marcel Adjibi and Azziz Faye help put the tribal in Tribaljazz. In fact it’s clear everyone involved is having a ball and hopefully this will just be a starting point for the band.

This album will have an appeal for both traditional jazz lovers and those like myself who’ve previously neglected the art form. In fact I may have to look into this jazz thing a little closer. Maybe I’ll start with Mr Coltrane…

Buckingham is Mac’s best kept secret and that’s not just a crime it’s a sin. While Peter Green is an instantly recognisable name (I’m sure Tony would have known him) the man who replaced him in the band and who’s probably had an even bigger influence on their sound and certainly their success is virtually unknown outside the bands fanbase.

One of the reasons for this of course is the fact that he’s not exactly prolific. This collection of 11 songs is his first solo release since Out of the Cradle in 1992. That makes this something of an event, at least for fans. Being one of them, my expectations were high but my initial feeling was one of disappointment. Stripped down to just acoustic guitar and vocals but with his usual over the top production style it just didn’t seem to gel. The hooks didn’t hook, where were the catchy tunes of old?

I needn’t have worried. A few listens and things began to come together. The opening track “Not Too Late” that had originally sounded as if the lyrics and the beautiful acoustic guitar didn’t belong in the same song became inseparable and once that happened the rest of the album soon followed suit.

This is obviously a deeply personal album for Lindsey, a man who’s had a few turbulent relationships in his time. He takes the opportunity to celebrate finding happiness on “It Was You” and a hauntingly beautiful version of the Stones’ “I Am Waiting.”

Three of the songs on offer date back to an aborted solo project in the 90′s but they feel perfectly at home with the new ones. In fact it’s hard to separate the songs. It’s not that they all sound alike but rather that they fit perfectly together. The album is like an aural painting and you don’t dissect a work of art; you just revel in it’s beauty.

Buckingham’s guitar playing has often gone underappreciated, overshadowed by his song writing and production gifts. The pared down arrangement here means his pickin’ really shines. It’s never showy (one reason it doesn’t get the attention it deserves) but always a joy, particularly on the country flavoured “Down On Rodeo.”

He sounds damn good too. His voice is one of the most unique in rock and at 57, his vocals are as strong as ever. Lindsey’s gift for multi layered harmonies is well presented, never more so than on one of the album’s most upbeat numbers “Show You How.”

It’s hard to understand why Fleetwood Mac have million selling albums while Buckingham languishes in semi-obscurity. Everything that makes Mac great is here with the exception of Stevie Nicks’ dulcet tones. Hell, there are even guest spots from the Mac’s rhythm section (Fleetwood and McVie) on a couple of tracks.

If you like lovingly crafted acoustic rock then treat yourself to this gem by one of the music industry’s true geniuses. I don’t think you’ll be disappointed.

The album breaks down into two halves – the first nine songs stand on their own while the final ten make up the mini-opera “Wire & Glass”.

The first track, “Fragments” starts with a repeated keyboard refrain before that distinctive Townshend guitar breaks in along with drums from Zak Starkey and bass from master session player Pino Paladino. They’re soon joined by the unmistakable voice of Roger Daltrey. The song itself deals with man’s individuality and the possibility of unity through music. It’s a good way to start but things get better.

“Man In a Purple Dress” was inspired by the film The Passion of the Christ and sees Townshend railing against the pomposity of organised religion, where men need to play dress up in order to commune with god. The arrangement is simple, just acoustic guitar and vocals and it’s very country in style. It’s one of Roger Daltrey’s finest moments, not just singing the words but feeling them as well.

I’ve often wondered how Mr Townshend feels about his tunes being used for TV themes and with “Mike Post Theme” he gives me his answer – he thinks it’s cool. Here he pays tribute to the master of the catchy TV theme, Mike Post. After the subtlety of the previous track, it gives Roger a chance to show us he can bawl with the best of them. It’s an incredibly catchy song with a typical Who hook and would make an excellent single (or C.S.I. theme).

Pete does a passable Tom Waits impression on “In The Ether”, a song about an aging rock star whose drug abuse has left him confined to a sanatorium. He doesn’t just sing the song but acts it out for the listener and he’s accompanied by some emotive piano and gentle acoustic guitar.

“Black Widow’s Eyes” at first seems like a standard love song but a closer listen reveals the black widow of the title to be a terrorist bomber. Love defies reason and can happen in the blink of an eye and sometimes we fall for the wrong people… even a suicide bomber. It’s the kind of infectious rock song with a brain that epitomises the band.

The Passion of the Christ obviously had a profound effect on Townshend as “Two Thousand Years” is another song he wrote after seeing it. It’s about man’s wait for the second coming and Judas’ wait for redemption – mostly just vocals and acoustic guitar with an arrangement that again shows off Daltrey’s amazing voice.

Pete pays tribute to one of his heroes with “God Speaks of Marty Robbins.” The leanest arrangement on the album, it features some beautiful acoustic guitar and Roger (obviously a fan as well) sings the song Robbins-style. It’s a simple song and all the more beautiful for it’s simplicity.

Back in full on rock mode again for “It’s Not Enough” and Townshend shows he can still deliver a stunning guitar solo. Sometimes no matter how much we love someone it will never be enough and Roger rails against this fact with a magnificent bluesy vocal performance. The title comes from a line by Bridget Bardot in Godard’s Le Mepris.

“You Stand by Me” is the final track before the rock opera half of Endless Wire kicks in. It’s another simple song about loyalty and love and was written for Rachel Fuller, Townsend’s partner, and also for Roger Daltrey. They may have had numerous bust-ups over the years but they’re still together and here Pete takes the opportunity to give thanks for that.

If that was the end it would be more than enough to make this listener thankful that these old curmudgeons are still making music together but now we get Townshend’s semi-autobiographical rock opera.

The story starts off with “Sound Round” as a young rock star in the ’70s named Ray High has a vision of a future where the world will be chocked by miles and miles of wire. It’s the first of a double whammy of rockers that continues with “Pick Up the Peace” which finds modern-day Ray institutionalised. He remembers his past while observing three youths through his hospital window and has a vision of them in the future as big stars. These two songs show Townshend’s gift for writing a perfectly good rock song while also incorporating a bigger story within.

“Unholy Trinity” continues the trio’s journey to stardom while slowing the tempo a little. “Trilby’s Piano” is next and it’s the weakest track on the album with Roger’s vocal sounding a little forced.

Ray High and the kids’ stories merge with “Endless Wire” as they plan to put his idea for a world unified by music into practice. “Fragments of Fragment” is that concept brought to life. It’s a more music-focused version of the first track on the album.

“We Got a Hit” follows the kids to adulthood and superstardom; the lyrics could apply just as well to the Who as the fictional band The Glass Household. It’s a rise that Ray High observes from his cell in “They Made My Dream Come True.” He also has a vision of impending tragedy at the band’s biggest show.

That tragedy is brought to life in “Mirror Door” as one of our heroes ends up in that great gig in the sky. The song features a roll call of rock greats that includes among others Elvis, Bobby Darin, Johnny Cash and the not yet departed but surely destined for heaven Doris Day.

The album reaches its conclusion with “Tea & Theatre” and it’s a lovely, gentle, sad tune that gives Roger one last chance to give his tonsils a workout and he rises to the challenge beautifully.

Daltrey has described the late John Entwistle as the equator keeping himself and Pete Townshend in balance and one could question whether they should have used the band name without him. One thing is for sure – although this may not be The Who of old, they have managed to create a superb album that doesn’t just hope to recapture past glories but create brand new ones. Daltrey, now 62, still sounds as good as anyone around today and he relishes having songs worthy of his ability.

Both Roger and Pete are talented individuals in their own right, but it’s only when they come together that we witness true genius.

Yes I said LP’s. This is a tale that starts in ancient times before shiny metal discs and long before music downloads. When PC referred to a police constable and in the office where I worked the only windows were the ones you spent the day staring through while you daydreamed of a less mundane existence, one filled with fast cars, beautiful girls and endless highways.

So a Scottish pop group playing songs with references to the likes of Norman Mailer and Leonard Cohen wasn’t something I’d usually buy. Yet there was something about Lloyd Cole’s laid back, bordering on morose, delivery that appealed to me almost from the minute I heard “Perfect Skin,” the first single from his debut album with the Commotions. I picked up the album on the strength of that single, and the fact that I was intrigued by the title. Rattlesnakes sounded more like something my American rock idols would put out; after all, there weren’t any rattlers in Glasgow.

That album is still one of my all time favourites and while many of the references went over my head at the time (‘she looks like Eve Marie Saint in On the Waterfront’) his ability to deliver a lyric that could cut with rapier sharpness didn’t (‘must you tell me all your secrets when its hard enough to love you knowing nothing.’) Catchy upbeat pop music with literate lyrics and a downbeat delivery was now the order of the day on my phonograph.

Lloyd Cole and the Commotions followed Rattlesnakes with two more albums (Easy Pieces and Mainstream) before calling it a day. They were both good albums but they lacked the spark of that first, magnificent opus. So Lloyd headed for the USA and a solo career.

Lloyd Cole, his solo debut was an altogether rockier affair with obvious Lou Reed influences. It was also his best album since Rattlesnakes. Then came Don’t Get Weird On Me, Babe. After the electric guitar sound of his first solo record the addition of strings was a major turn off at the time and Mr Cole and I parted company for a few years.

By the time I gave Don’t Get Weird On Me, Babe another chance he’d released two further albums. Something had changed in those four years and it wasn’t the CD so it must have been me. During that time I’d finally left home and got a place of my own. Songs like “Weeping Wine,” and “Man Enough” are made for listening to alone, preferably on rainy winter nights with only a bottle of wine for company, and this was how we renewed our acquaintance.

I quickly picked up the albums I’d missed, Bad Vibes and Love Story. These two recordings saw Cole’s music maturing into what has become his sound, a touch of pop, a dash of country and a helping of folk all mixed with that unique vocal. Since then only the instrumental Plastic Wood has deviated to any great degree with Etc, Music In A Foreign Language and his album with The Negatives just refining the sound.

And the latest refinement is Antidepressant a collection of ten new songs and a cover of Moby Grape’s “I Am Not Willing.” Given he’s now in his forties it’s fair to say a mid-life crisis would seem the order of the day for Lloyd, yet this album contains a collection of tunes that could almost be described as optimistic. Then again, perhaps it’s resignation rather than optimism.

That certainly seems the case with the album’s opener “The Young Idealists” and its central character who’s realised he’s not going to change the world and has settled down to suburban family life. He seems surprised and even amused by this domestic bliss.

It’s a theme the album returns to on songs like “I didn’t See it Coming” and “Everysong.” When Cole sings ‘Having been wrong so many times it’s hard to believe I might get it right’ on “I Didn’t See it Coming” he gives hope for a happy ending to those who identified with albums like Don’t Get Weird On Me, Babe. “Eversong” may be the most lyrically and musically upbeat song he’s ever written but then you ‘can’t cry every song.’

He’s not above mocking his public image as a poster boy for depressed introverts on the albums title track, singing ‘with my medication I will be fine’ like a mantra.

“Travelling Light” shows Cole’s country leanings and could be a huge hit if covered by someone like Tim McGraw, but it wouldn’t improve on the original.

It’s not all wine and roses though. “How Wrong Can You Be?” sees him treading the more familiar turf of doomed relationships. It’s a great song with some beautiful acoustic guitar at the start.

Lloyd is widely acknowledged as a master songwriter but he’s also a consummate musician and on this album he plays drums, keyboards and of course guitar. Probably the finest compliment I can pay is to say that it sounds like there was a band in the studio recording these songs, they sound real and alive. He’s not completely alone, ex-Commotion Neil Clark plays some slide guitar and the string arrangements come from Dave Trenholm of King Radio.

The album’s finest moment is its swansong. “Rolodex Incident” starts with an almost two minute instrumental passage, with a melody that drips with sadness before Mr Cole, the troubadour of the broken hearted once more, paints us a musical picture of lost love and regret.

This may be Lloyd’s most positive album but he ends it in downbeat fashion. Perhaps the medication was wearing off.