Sarah Shea has been dreaming about this day since she was a little girl. She remembers sitting in the cart and singing the letters S-A-F-E-W-A-Y in perfect pitch at the store while her mother shopped. As she got older, she’d harmonize to the lifts while skiing. Ever since she can remember, music was “in” her. Now, after years of hard work, determination and more than a few bumps in the road, Shea, 34, will celebrate the release of her first album, “The Nearness of You,” during Wine on the Waterfront at The Landing Mall in Port Angeles at 7:30 p.m., Saturday, July 30. She invites all her friends, family and fans to join the fun. “I’m very excited about this CD,” Shea said. “I’ve wanted to make a CD for a number of years but it always just seemed out of reach.”

On his first studio outing in eight years, the mythical Okie troubadour turns in a solid set of his trademark dusty blues tunes. What is not so typical, as with Travel Log from 1990, is that Cale steeps himself in technology and evokes the moods and frameworks of music that intersect with the blues or stand in opposition to them. The keyboards, drum loops, and horns on this record are as pervasive as the guitars. Needless to say, this requires an attitude adjustment on the part of the listener. This is not to say there aren't plenty of live musicians here; there are. It's just that the sheeny beats and clean synth lines feel odd when juxtaposed against the murky lyrics and Cale's wispy, smoke-weathered voice.

"De capo" - an orchestral "best of" in the original line-up, quasi "back from where we started", as one of the De-Phazz singers sang on the penultimate album … With the words "orchestra" or "best of" you may be inclined to rather grimace and kindly thank you to leave the advertised work on the left or on the shelves of the few remaining "local music dealers" … - but as luck would have it, the solid boxes sound like a stroll through the solid boxes A sound that irresistibly leads you to ask what is going on …

Essential: A masterpiece of progressive rock music
This live from "Barclay James Harvest" (BJH) is a cornerstone in regard to progressive rock, this concert is for promotion their 5th album "Everyone is everybody else" (their best with any doubt.) All songs are a little masterpieces.

90 years young Jimmy Johnson returns to the recording studio for the first time in over a decade. It has been precisely forty years since his Delmark debut 'Johnson's Whacks'. Delmark celebrates Jimmy's homecoming by releasing 'Every Day of Your Life', an album comprised of four original songs and Jimmy's unique take on five other tunes including a solo performance of Jimmy singing and playing piano on the Bobby 'Blue' Bland hit 'Lead Me On'. Two different stellar Chicago bands back Jimmy throughout this album. Johnson was born in Holly Springs, Mississippi. He has playing professionally in Chicago since 1959 and has worked with Freddy King, Albert King, Magic Sam and Otis Rush among many others. Jimmy has always had an R&B style of blues and he brings it to this new album, his fourth for Delmark.

About 'Barclay James Harvest,' I can safely say they've 2 works to the best progressive rock I have ever heard and are the following: I am presenting today 'Everyone Is Everybody Else' and the double live LP called 'Barclay James Harvest - Live ', both published in 1974, a key date for me.

Excellent addition to any prog rock music collection.
The band's growing confidence is apparent on this their third album. "Ursula", "Medicine Man", and "Someone there you know" all bear the hallmarks of a band at ease with itself, while developing its own hallmark sound.

Excellent addition to any prog rock music collection
BJH had been around for a while before this their first album was released. Their previously unsuccessful singles had given little indication of the talent and sophistication which was to reveal itself over the coming years.

Otis Taylor is among the most mercurial of bluesmen. While his signature vocal phrasing and playing whether it be on guitar, mandolin, or banjo is rooted in several blues traditions his music almost never strictly conforms. Taylor's ability to morph his elliptical "trance blues" into any sound he pursues is beguiling. My World Is Gone is no exception. Its title refers to a comment made to him by Native American guitarist Mato Nanji of Indigenous after a concert. Nanji and his guitar are key players on about half the record. Most of these cuts address various issues in Native American history (from the Indian's side), especially the ill treatment of this first world people by the United States government and populace. Yet, in typical Taylor fashion, there are a couple of curveballs too.

Enzo Pietropaoli premieres his album The Princess in DSD from Fonè. A crescendo of songs that testify to the wide range of musical passions throughout a lifetime: from John Lennon to Bob Dylan, Cole Porter to Peter Gabriel, from Neil Young to Pearl Jam, topped off with The Beach Boys — all brought together and punctuated by Pietropaoli's original compositions.