Just in time for the coronation of King Charles III comes this release, featuring music written for the coronations of George II in 1727 and of George I before him. The Handel works, written for the 1727 event, are the pure public Handel, with imposing choral-orchestral chords interspersed with straightforward but not simple episodes of counterpoint. They are meant to be crowd-pleasers, and indeed, they are; they're hard to ruin. What is on offer here from the RIAS-Kammerchor Berlin and the Akademie für alte Musik Berlin under conductor Justin Doyle are elegant but undersized performances characteristic of the Continental historical performance movement. Reports from Handel's time indicated an orchestra of 160; here are but 20 players. The choir, at 36 singers, is closer to Handel's 40, and this veteran group delivers a rich, satisfying sound with a rounded tone from the smaller solo group (not indicated in the score but often performed as it is here). The anthem The Lord Is a Sun and Shield is not by Handel but by William Croft, and one will be struck by how close it is to Handel stylistically. The overture to Handel's Occasional Oratorio, HWV 62, serves as an overture to the whole program, and there is a typically odd Chaconne by John Blow as an interlude. These are less-splendid but highly enjoyable performances for reliving the coronation atmosphere.© James Manheim /TiVo

Murder Ballads brought Nick Cave's morbidity to near-parodic levels, which makes the disarmingly frank and introspective songs of The Boatman's Call all the more startling. A song cycle equally inspired by Cave's failed romantic affairs and religious doubts, The Boatman's Call captures him at his most honest and despairing -- while he retains a fascination for gothic, Biblical imagery, it has little of the grand theatricality and self-conscious poetics that made his albums emotionally distant in the past. This time, there's no posturing, either from Cave or the Bad Seeds. The music is direct, yet it has many textures, from blues to jazz, which offer a revealing and sympathetic bed for Cave's best, most affecting songs. The Boatman's Call is one of his finest albums and arguably the masterpiece he has been promising throughout his career.© Stephen Thomas Erlewine /TiVo

Following the 40th anniversary of Simple Minds' New Gold Dream in 2022, the group headed to the 12th century Paisley Abbey to pay tribute to the record. The one-off recording captures the band performing the album in full.© Rich Wilson /TiVo

Award-winning film composer Brian Tyler is no stranger to franchises, having helmed seven installments of the Fast & Furious, The Expendables Trilogy, and multiple Marvel projects. Tyler joined Nintendo's Mario video game franchise with his score for the computer-animated adventure film The Super Mario Bros. Movie. Incorporating new melodies with the original themes from longtime Mario composer Koji Kondo, Tyler infuses the past with a fresh coat of paint, turning 8-bit motifs into epic orchestral moments. Also included are the singles "Mario Brothers Rap" and "Peaches," the latter of which was co-written and performed by Jack Black. © James Christopher Monger /TiVo

One of Scotland's finest exports, Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s.© MacKenzie Wilson /TiVo

Zappa in New York was recorded in December 1976 at the Palladium and originally intended for release in 1977. It was held up due to arguments between Frank Zappa and his then-record label, Warner Bros. When the two-LP set finally appeared in March 1978, Warner had deleted "Punky's Whips," a song about drummer Terry Bozzio's attraction to Punky Meadows of Angel. The Zappa band, which includes bassist Patrick O'Hearn, percussionist Ruth Underwood, and keyboard player Eddie Jobson, along with a horn section including the two Brecker brothers, was one of the bandleader's most accomplished, which it had to be to play songs like "Black Page," even in the "easy" version presented here. Zappa also was at the height of his comic stagecraft, notably on songs like "Titties & Beer," which is essentially a comedy routine between Zappa and Bozzio, and "The Illinois Enema Bandit," which features TV announcer Don Pardo.© William Ruhlmann /TiVo

Cyrus Chestnut's 2016 effort, the superb Natural Essence, benefitted greatly from his pairing with the duo of bassist Buster Williams and drummer Lenny White. Thankfully, the pianist has followed up with another engaging set featuring the same veteran luminaries. An adept virtuoso talent, Chestnut soars alongside Williams and White on 2017's There's a Sweet Sweet Spirit. Elder jazz statesmen, Williams and White have decades of experience under their hats with credits for such legends as Herbie Hancock, Freddie Hubbard, Art Blakey, Woody Shaw, and many others. Similarly, Chestnut has worked with such luminaries as Terence Blanchard, Betty Carter, Wynton Marsalis, and more. While all of his albums are worth checking out, there is something inspired and kinetic about his playing with Williams and White, as if they are all three pushing each other to discover new avenues of expression. Joining them this time on several tracks is yet another volcanic talent in vibraphonist Steve Nelson. Though he only appears on three cuts, his warm harmonic resonance contrasts beautifully with Chestnut's as they dig into an expansive late-'60s jazz sound on two of vibraphonist Bobby Hutcherson's best-known compositions, "Little B's Poem" and "The Littlest One of All." Away from Nelson, Chestnut displays his genre-bending skills on "Chopin Prelude," transfiguring the classical piece first with a cubist Thelonious Monk-style intro and later with a swinging Ellingtonian mid-section. Similarly compelling are the group's muscular and exotic take on Miles Davis' "Nardis" and a spritely reading of Williams' "Christina." Elsewhere, they deliver a languid and romantic take on the Stylistics' 1973 classic "You Make Me Feel Brand New," and dive headlong into the pianist's own Latin-infused "CDC." Ultimately, if there's one overriding sentiment that drives all of There's a Sweet Sweet Spirit, it's Chestnut and his band's spirit of soulful camaraderie.© Matt Collar /TiVo

Rogue One: A Star Wars Story is the official score for the first stand-alone installment in the Star Wars anthology film series by Michael Giacchino. Being the first composer since John Williams to apply his skills to a Star Wars movie, Giacchino introduces a fresh and revised musical palette with overtones and flavors of Williams’ much revered scores. Comprising cascading brass sections, nostalgic string motifs, and huge, bombastic percussion, the score also incorporates some of Williams’ best-known themes such as "The Imperial March" and "The Force Theme."© Rob Wacey /TiVo

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian "Cannonball" Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on "Prayer (Oh Doctor Jesus)," "I Loves You, Porgy," and "There's a Boat That's Leaving Soon for New York" are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks' (alto flute) solos, which commence on "Fishermen, Strawberry and Devil Crab." Or the emotive bass and tuba duet that runs throughout "Buzzard Song." The impeccable digital remastering and subsequent reissue -- which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set -- only magnifies the refulgence of Porgy and Bess. Likewise, two previously unissued performances have been appended to the original baker's dozen. No observation or collection of American jazz can be deemed complete without this recording.© Lindsay Planer /TiVo

The harsh hangover to Hollywood's Bleeding, Post Malone's fourth full-length outing, Twelve Carat Toothache, is a brutally honest confessional that hammers the point home that fame isn't all it's cracked up to be. He's working through a lot -- lamenting bad decisions, relationship woes, and struggles with drinking -- but, as usual, he delivers this less-than-chipper material with deceptively catchy hooks and engrossing production. "Emo rap" is too reductive a tag for his melodic skill and ability to craft an earworm, but Toothache does lean hard into that moody, self-pitying, and dour territory, a tortured and vulnerable point of view that is put on full display in opener "Reputation." With his signature quavering trill, he cries, "I'm the same damn fool.... I know I f*cked up and I can't make it right." No matter how many platinum plaques and chart-topping hits, Post is still human, flaws and all. That sentiment carries throughout the set to various extremes, but the variation comes mainly with his production choices, which shift from straight-ahead rap to mainstream pop and surprising guitar-backed dramatics. "Cooped Up" with Roddy Ricch and "I Cannot Be (A Sadder Song)" with Gunna will sate the old-school fans with thick, slapping beats and slick verses, while the haunted "Insane" is a hard-hitting burst of self-loathing and casual misogyny, with irresistibly hazy atmospherics reminiscent of Travis Scott. Meanwhile, "Euthanasia" rides a sparse heart-monitor blip-beat, building tension without ever providing a sweet release (a voice-memo demo of the track, "New Recording 12, Jan 3, 2020," closes the album). On the poppier, radio-friendly end of the spectrum, Post flexes his hitmaking muscles with the breezy, pop-punk-lite of "When I'm Alone"; the neon funhouse duet with Doja Cat "I Like You (A Happier Song)"; the Kid LAROI-featuring "Wasting Angels"; and the "Circles"-redux hit-in-waiting "Wrapped Around Your Finger." Of course, "One Right Now" with the Weeknd -- already a Top Ten, platinum-certified hit at the time of the album's release -- is also included. Beyond the mainstream-ready highlights and mournful rap, Toothache's most interesting moments continue to tease Post's potential shift to more guitar-based alternative, as heard on the downcast "Lemon Tree," a pensive acoustic number that drops country twang amidst sour lines like "Life is pretty sweet I'm told," and the standout track "Love/Hate Letter to Alcohol" featuring Robin Pecknold of Fleet Foxes. Through an eerie curtain of layered vocals and cinematic production, Post shares unflinching details of his inebriated setbacks and his complicated relationship with his vices. Teeth and booze on the floor, it's an exciting hint at what could be if he committed to this style for a future album. While the rap-preferring fans will still gravitate to his first two efforts, listeners with an appreciative ear for his genre-sampling maturation into the mainstream will find Twelve Carat Toothache to be a fascinating emotional exploration of a conflicted artist who can't help but churn out star-making hits at the expense of his own happiness.© Neil Z. Yeung /TiVo

That album recording of the sold-out tour The Wall Live 2010-2013. This series of concerts by Roger Waters is the first comprehensive interpretation of the concept album by Pink Floyd since 1990. Mixing explosive scenic rock performances with strong message of peace and compassion, The Wall Live attracted more than 4.5 million spectators in more than 200 concerts across four continents! Produced by Nigel Godrich (Radiohead, Beck, Paul McCartney), the disc offers a rather exhilarating listening experience of the masterpiece originally published back in 1979, which was the first narrative concept album of Floyd. Three decades later, this scenic reinterpretation demonstrates the sheer timelessness of these particular songs. Above all, the versions offered here shed new light that all Pink Floyd fans worthy of the name will treasure. © CM/Qobuz

Given Alison Krauss' tremendous popularity and her status as the first female bluegrass singer to cross over into genuine pop marketability, and given the fact that her guitarist, Dan Tyminski, is the voice behind "Man of Constant Sorrow" (or at least the version that served as an idée fixe in the blockbuster movie O Brother, Where Art Thou?), a live album was inevitable. That it should be a two-disc set can simply be chalked up to good luck. Unless you're a bluegrass purist, that is, looking for music that preserves the traditional Appalachian sounds of Ralph Stanley and Bill Monroe. Listeners of that mindset will be bitterly disappointed by the presence of modern singer/songwriter fare ("Lucky One," "Let Me Touch You for a While"), by the drums on "Oh, Atlanta," and, most of all, by those dreadful call-and-response vocals on the chorus of "Man of Constant Sorrow" (which, you can hear them sniff, Tyminski takes at about twice the appropriate speed). All of this would explain why bluegrass purists are no fun to be around and, one suspects, don't have very much fun in private either. The simple fact is that every time Krauss opens her mouth to sing, angels stop what they're doing and take notes. There may be no musical pleasure quite as pure and sweet as listening to Krauss sing "Baby, Now That I've Found You" or "When You Say Nothing at All." And when she starts in on the impossibly beautiful gospel tune "Down to the River to Pray," the effect is almost disturbingly moving. Which brings listeners to the problem with this album, which is the amount of time it spends on stuff other than Alison Krauss singing great songs. The instrumental bits, the Jerry Douglas showcases, and Tyminski's requisite rendition of "Man of Constant Sorrow" are all fine, but they end up feeling like filler. Still, this album can be solidly recommended to modern bluegrass fans in general and to Krauss' many fans in particular.© Rick Anderson /TiVo