Tom Moon

The only thing we know for sure about new posthumous studio albums from Leonard Cohen, Harry Nilsson, Prince, Arthur Russell and others: Final approval did not come from the artists themselves. At some point, a producer – or manager, or official from the estate or other individual a step removed from the name on the marquee – acted as the artist's proxy and gave an OK to release the work to the public.

An anthology devoted to early Nat King Cole recordings was recently released, and it offers a new window into his artistic development. The collection is called Hittin' the Ramp: The Early Years (1936-1943), and this massive 7-CD, 10-LP package is clearly aimed at obsessives. It's a deep dive that traces Nat King Cole's evolution — from smooth, unflappable piano player into a singing star with an endearingly smooth style all his own.

It almost sounds like a twisted science experiment: Invite a dozen rock and roll warriors to spend a week at a ranch in the California desert, encourage them to write songs and play together, then capture the results.

The "profession" of rock criticism was still in its tender adolescence in 1969. Daily newspapers were beginning to hire writers to cover pop, rock and what was sometimes described as "youth culture." Alternative weeklies like the Village Voice became trusted early warning systems for new bands. And Rolling Stone magazine, which began in San Francisco in 1967, had by 1969 become the rock and roll "paper of record."

Updated at 10:42 a.m. ET

There are lots of firsts and superlatives in the career of Ginger Baker, the drummer and bandleader who died Sunday morning at age 80. His death was announced by his family on social media; they had said on Sept. 25 that he was "critically ill," without giving details.

The wild-eyed son of a South London bricklayer, Baker was the engine room of rock's first and still most revered power trio, Cream. He played a similarly key role in shaping the more finessed work of one of rock's first supergroups, Blind Faith.

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AILSA CHANG, HOST:

All right, it's Tool time. Today, progressive metal band Tool releases its first album in 13 years.

(SOUNDBITE OF SONG, "FEAR INOCULUM")

TOOL: (Singing) Immunity long overdue. Contagion, I exhale you.

Hidden inside the three minutes and eight seconds of "Holyfields," are the basic schematics for i,i, the deceptively ambitious fourth Bon Iver album.

The official history of rock and roll in the late 1960s is usually written festival-to-festival, Fillmore lineup to Fillmore lineup. Here are the reputation-making gigs, here are the moments when youngsters became rising stars.

In his vast catalog of music, Radiohead's Thom Yorke has trembled like a broken man on his knees. He has screamed in tormented six-part harmony; he has manic-whispered diaries worth of existential fear. Still, he just can't shake the techno-dread. Most recently, that dread has manifested in Yorke's third solo project, ANIMA, released on June 27.

From a casual distance, the music of João Gilberto sounds like it might belong to that ancient realm known as "easy listening."

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