Velvet Darkness (1976, 2017), by Allan Holdsworth

Allan Holdsworth’s unofficial first solo album is far, far better than the legendary master guitarist ever gave it credit for being, proving that the artist certainly was his own worst critic.

Recorded in Englewood Cliffs, New Jersey, in 1976 when Holdsworth was 29 going on 30 (and I was a 3-year-old toddler driving my parents insane across the river in Washington Heights, Manhattan), this historically important rarity provides a window into the past for a unique look at a genius in the making (at least in terms of being a solo artist).

Even at this early, nascent stage, Holdsworth delivers dazzling displays of virtuosity on electric and acoustic guitars and violin, backed by a spry musical ensemble including Alan Pasqua on keyboards, Alphonso Johnson on bass, and Narada Michael Walden on drums.

While the album doesn’t have the glossy, high-tech sheen of Holdsworth’s forward-looking work from the 1980s and beyond, it stands as a masterpiece of punk funk fusion (assuming anything else at the time qualifies as such).

--Raj Manoharan

Collage (2017), by Eric Johnson

The veteran Texan guitarist's first solo electric guitar studio album since 2010's fiery Up Close marks a fine return to form and the classic Eric Johnson sound.

This is a more laid back and relaxed affair, with a nice mix of instrumentals and vocals and covers and originals, blending jazz and rock with hints of new age.

But don't let the mellow atmosphere fool you – Johnson's playing is as nimble and seamless as ever, with clean, crisp tones and lightning-fast lead lines.

And Johnson's eternally youthful vocals are still so smooth and silky even at 63 years of age.

Standout tracks include Stevie Wonder's "Up Tight (Everything's Alright)," The Beatles' "We Can Work It Out," and The Ventures' "Pipeline," and Johnson's "Morning Sun," "The Fade," and "To Whom It May Concern."

Collage is proof positive that after forty-plus years in the music business, Eric Johnson's still got it.

--Raj Manoharan