Various Artists

“ORK RECORDS: NEW YORK, NEW YORK”

The Numero Group

In September 1975, Terry Ork released Television’s “Little Johnny Jewel,” an amazing seven-minute song divided between two sides of a 45 rpm single. It was the first of what would become a five-year run of 45s on his tiny label, Ork Records.

None became a hit, but many became definitive documents of the nascent New York punk scene and they are all collected, along with some previously unissued tracks, on the two-CD, 49-track “Ork Records: New York, New York.”

The boxed set includes debuts from artists who became well-known in punk and power-pop circles: Richard Hell (“Blank Generation”), the Feelies (“Fa Ce La”), and Chris Stamey of the dB’s (“That Summer Sun”) — plus a handful of songs from Big Star’s Alex Chilton.

Other stalwarts of the CBGBs scene turn up: Richard Lloyd, Lenny Kaye, Cheetah Chrome, and writer Lester Bangs. Some tracks are rough period pieces, but along with the extensive liner notes, this collection functions as a history of the remarkably fertile late-’70s New York punk-rock scene.

— Steve Klinge,

The Philadelphia Inquirer

Dan May

“HEARTLAND”

Self released

In “The Glory Years,” Dan May warns against dwelling on past successes: “It’s where you go from here,” he advises.

Though the singer-songwriter has not gotten nearly the attention deserved for the five previous albums he released after switching from a career in opera, he remains focused on the moment and as inspired as ever. “Heartland” is another collection that showcases all his talents: a warm, Gordon Lightfoot-like baritone, and folk-pop songs with rootsy embellishments that brim with hooks and heart as well as intelligence and grace.

May works some neat variations on that basic style: “No Business of Mine” opens the set at a bluesy, J.J. Cale-style lope as he dispenses some sage advice with mordant humor, and “Chaussee Liaison” is a jaunty, trumpet-accented paean to his hometown of Sandusky, Ohio.

Perhaps no number, however, better encapsulates May’s skills as a writer and performer than “Forever Home.” Sung from the point of view of a homeless canine — although that’s never explicitly stated — it could have been a saccharine mess. But instead May turns in a deeply moving plea with universal appeal. Any smart animal-rescue organization will adopt this number immediately.

— Nick Cristiano,

The Philadelphia Inquirer

Pusha T

“DARKEST BEFORE DAWN: THE PRELUDE”

Def Jam Recordings / G.O.O.D. Music

Pusha T’s second album examines America’s dark side, individually and as a society. “M.F.T.R.,” featuring Dream, delves into the desire to be more famous than rich, with artists making bad business decisions for the sake of stardom — even if it’s temporary.

This leads into “Crutches, Crosses and Caskets,” which Pusha has said represents how he sees the rap game: “Crutches, crosses and caskets, all I see is victims. / Rappers is victimized at an all-time high, but not I.”

For the most part, it’s difficult to stay focused on this album. There’s a sameness. One track and set of lyrics bleeds into the next. But one standout and likely favorite is “Sunshine,” featuring Jill Scott. On that track, Pusha tackles the onslaught of police-related deaths while pointing out it’s nothing new.

He raps, “They’ll never rewrite this, the way they rewrote history.” Ending the album with that track, which is a call for a miracle, lives up to the album’s title. There is a dark side, and Pusha thinks we’re getting too caught up.

ON TOUR: March 6, 2016 — McMenamins Crystal Ballroom, Portland; www.etix.com.

— Sofiya Ballin,

The Philadelphia Inquirer