“This is my life in Songs. Some of them reconstructed, some of them refitted, some of them reframed, and all of them with a contemporary focus.” That is the description of Sting’s latest record, making this more than just a collection of his biggest hits (either solo or with The Police). It was a particular kind of rhythm that he wanted to work in, so as to eliminate the ‘dated’ feel to some of his songs (according to Sting himself). More striking than the original, the drums of Demolition Man, If You Love Someone Set Them Free, Desert Rose and even Englishman in New York will take listeners by surprise. Regarding this famous tribute to gay icon Quentin Crisp, the song released in 1988 is seasoned by pizzicatos and a soprano sax solo.As for the other ballads, it’s more in the singer’s texture and vocal prowess that the reinvention is most noticeable. Less pure but more structured than before, Sting’s voice carries a new dimension in Fields of Gold and Fragile, two songs that also prove that the Englishman’s talent as a melodist has not aged a bit. The same goes for tracks taken from his Police years too, in particular Message in a Bottle and Walking on the Moon, as well as the ubiquitous Roxanne (presented here as a live version). © Nicolas Magenham/Qobuz

Released in 1976, this fifth album from the Eagles would remain their greatest success. Opened by the eponymous hit single, Hotel California marked a turning point in the career of the American group. Bernie Leadon, the most country-orientated band member, jumped ship and Joe Walsh came on board. For his part, Don Henley also seemed to take more control the business. The result was a much more mainstream record than the album’s predecessors with truly enveloping sounds at the peak of their tracks. Everything is XXL here! The production, the solos, the melodies… everything! A masterpiece of classic rock, this is above all a work that crosses decades and makes the crowds go wild. Glenn Frey, Don Felder, Joe Walsh, Randy Meisner and Don Henley would never again find again such impressive complicity and efficiency… Published in November 2017, this 40th anniversary edition offers an original remastered album as well as an energetic Californian live session recorded at The Forum in Inglewood, October 1976. © CM/Qobuz

The fourth studio album by Long Island brother duo Brian and Michael D'Addario—aka The Lemon Twigs—finds them still digging through the crates of the '70s for inspiration. Having already played around with the histrionics and bombastics of Cheap Trick, ELO and Jim Steinman, the two have moved over to a different section. "When Winter Comes Around" is a perfect distillation of John Denver-style singer-songwriter sincerity and immediately uncovers one of the big new revelations this time around: fraternal harmonies. "On previous records, whoever wrote the song might do most, if not all, of the harmonies on their track, but not so much on this one. Our blend is a strength that we tried to exploit as much as possible," Brian D'Addario has said of the record. The melded vocals of "Every Day Is the Worst Day of My Life," mesmerize, while "Corner of My Eye" is so much like an Everly Brothers track it sounds lifted from some lost Felice Bryant archive. "Any Time of Day" nods to the toothy, wholesome balladry of family groups like the Carpenters or the Osmonds and gives Brian in particular a chance to hit a whole new array of high notes. "Sometimes you have to crawl/ To know that gravity is working/ 'Til you're one day walking tall/ And know that nothing is for certain/ And no one can close the curtain," he sings on the track, which the band has said came about over a business deal gone wrong after the were "hired to write material and act in an interactive TV show about an imaginary '70s brother band" for the now-dead streaming service Quibi. "Ghost Run Free," which comes the closest to tapping into the soaring upbeatness of 2020's Songs for the General Public, truly sounds like it should have been the theme to a That Girl-style sitcom. The D'Addarios apply melancholy horns on the ballad "I Don't Belong To Me," sweeping strings to the ambitious title track, and a waltz beat and carousel melody to "Born to Be Lonely." Starry-eyed "What Happens to a Heart," meanwhile, is pure chamber-pop pomp, complete with dreamy pin-up vocals. And when they revisit Badfinger-style power pop—on "What You Were Doing" and the chiming "In My Head"—here, it is whipped-cream-cloud perfection. © Shelly Ridenour/Qobuz

While the recordings of highlights and hits from Rodgers & Hammerstein's still-popular Oklahoma! have been issued over the years, the complete, as originally orchestrated score (by Richard Rodney Bennett) had yet to be recorded. However, following a live-staged performance at the 2017 BBC Proms, conductor John Wilson took it upon himself to deliver this premiere. He sticks with the original orchestra dimensions as well, which is a good thing since the handpicked members of his Sinfonia of London are powerful enough in this smaller group. Wilson also took advantage of the quality theaters around London, bringing in soloists and a cast ensemble of veterans from stages across England. He does well in selecting a cast here; while all are more than capable singers, they are also able to deliver the vocal acting that is necessary to pull this off. Leading the cast are Nathaniel Hackmann, reprising his role as Curly from the Proms performance, and Sierra Boggess as Laurey. The vocalists and orchestra take full advantage of the space and recording setup, which allows the orchestra to play full out while not overstraining the singers. The beauty of Rodgers' music paired with Hammerstein's book is evident, even if you are unfamiliar with anything but the titular state (if even that!); the imagery of ranches and open cattle land easily comes to mind. This recording should be welcomed with open arms by those who are familiar with the musical, be it either from a stage (generally edited and with cuts) or in its film version with its edits. Oh, what a beautiful mornin', indeed.© Keith Finke /TiVo

The group's second album, with Anderson (vocals, flute, acoustic guitars, keyboards, balalaika), Martin Barre (electric guitar, flute), Clive Bunker (drums), and Glen Cornick (bass), solidified the group's sound. There is still an element of blues, but except for "A New Day Yesterday," it is far more muted than on their first album, as Mick Abrahams' blues stylings are largely absent from Martin Barre's playing. The influence of folk music also began to manifest itself ("Look Into the Sun"). The instrumental "Bouree," which could've been an early Blood, Sweat & Tears track, became a favorite concert number, although at this point Anderson's flute playing on-stage needed a lot of work; by his own admission, he just wasn't that good. Bassist Cornick would last through only one more album, but he gets his best moments here, on "Bouree." As a story song with opaque lyrics and jarring tempo changes, "Back to the Family" is the forerunner to Thick as a Brick. The only major flaw in this album is the mix, which divides the electric and acoustic instruments and fails to find a solid center. The LP comes with a "pop-up" jacket interior.© Bruce Eder /TiVo

Producer Kanye West's highlight reels were stacking up exponentially when his solo debut for Roc-a-Fella was released, after numerous delays and a handful of suspense-building underground mixes. The week The College Dropout came out, three singles featuring his handiwork were in the Top 20, including his own "Through the Wire." A daring way to introduce himself to the masses as an MC, the enterprising West recorded the song during his recovery from a car wreck that nearly took his life -- while his jaw was wired shut. Heartbreaking and hysterical ("There's been an accident like Geico/They thought I was burnt up like Pepsi did Michael"), and wrapped around the helium chirp of the pitched-up chorus from Chaka Khan's "Through the Fire," the song and accompanying video couldn't have forged his dual status as underdog and champion any better. All of this momentum keeps rolling through The College Dropout, an album that's nearly as phenomenal as the boastful West has led everyone to believe. From a production standpoint, nothing here tops recent conquests like Alicia Keys' "You Don't Know My Name" or Talib Kweli's "Get By," but he's consistently potent and tempers his familiar characteristics -- high-pitched soul samples, gospel elements -- by tweaking them and not using them as a crutch. Even though those with their ears to the street knew West could excel as an MC, he has used this album as an opportunity to prove his less-known skills to a wider audience. One of the most poignant moments is on "All Falls Down," where the self-effacing West examines self-consciousness in the context of his community: "Rollies and Pashas done drive me crazy/I can't even pronounce nothing, yo pass the Versacey/Then I spent 400 bucks on this just to be like 'N*gga you ain't up on this'." If the notion that the album runs much deeper than the singles isn't enough, there's something of a surprising bonus: rather puzzlingly, a slightly adjusted mix of "Slow Jamz" -- a side-splitting ode to legends of baby-making soul that originally appeared on Twista's Kamikaze, just before that MC received his own Roc-a-Fella chain -- also appears. Prior to this album, we were more than aware that West's stature as a producer was undeniable; now we know that he's also a remarkably versatile lyricist and a valuable MC.© Andy Kellman /TiVo

After belatedly celebrating three decades in the game with 2022's 30 Something, Orbital released their tenth studio album, Optical Delusion, in 2023. The duo emerged as pioneers of rave culture back in the late '80s, and they've always produced dance music with a social conscience as well as a concern for the environment. They released a silent track in reaction to the anti-rave Criminal Justice Bill in 1994, and they recorded 1996's "The Girl with the Sun in Her Head" using a mobile solar power generator belonging to Greenpeace. 2018's Monsters Exist commented on the corruption of the planet's political leaders without naming names, and urged listeners to consider the state of the world and embrace progress. The visuals during the album's live tour drove home these points, yet the shows were clearly meant as raves and not political rallies, and the new material fit perfectly alongside updated versions of the duo's classics. Optical Delusion is Orbital's post-pandemic album, and it conveys the panic of witnessing the world fall apart while also remaining thankful to be alive and involved with the dance music scene. Most of the album's tracks feature guest vocalists, giving Orbital's concerns more of a voice than ever. On the effervescent dance-pop tune "Are You Alive," Penelope Isles' Lily Wolter defiantly resists being screwed over by capitalism, then clears the way as the splashy synths and elevated beats take over during the track's second half. Jason Williamson, the bloke from Sleaford Mods, directly blames the masses who keep voting crooked politicians into office over the rumbling punk bassline and pounding kicks of "Dirty Rat." Mediæval Bæbes appear on "Ringa Ringa (The Old Pandemic Folk Song)," reminding listeners that an innocent nursery rhyme has a longstanding association with the Black Death. Dina Ipavic's near-operatic vocals soar along with the sublime glide of "Day One," while Anna B Savage provides a more introspective narrative over the shuffling house rhythms of "Home." The two instrumental tracks are highlights, with "The New Abnormal" being an exuberant breakbeat-driven crowd-worker, while "Requiem for the Pre Apocalypse" is a chest-rattling drum'n'bass number that gradually reveals a brilliant light shining through the oppressive darkness. The nightmarish "What a Surprise" dices sinister voices into trap beats, and "Moon Princess" warns of computers that "try to make rational decisions." Even at their most dystopian, Orbital never lose their excitement for exploring new sounds, and Optical Delusion doesn't get bogged down in cynicism or nostalgia.© Paul Simpson /TiVo

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.© Scott Yanow /TiVo

While there's no debating the importance of Jonathan Demme's classic film record of Talking Heads' 1983 tour, the soundtrack released in support of it is a thornier matter. Since its release, purists have found Stop Making Sense slickly mixed and, worse yet, incomprehensive. The nine tracks included jumble and truncate the natural progression of frontman David Byrne's meticulously arranged stage show. Cries for a double-album treatment -- à la 1982's live opus The Name of This Band Is Talking Heads -- were sounded almost immediately; more enterprising fans merely dubbed the VHS release of the film onto cassette tape. So, until a 1999 "special edition" cured the 1984 release's ills, fans had to make do with the Stop Making Sense they were given -- which is, by any account, an exemplary snapshot of a band at the height of its powers. Even with some of his more memorable tics edited out, Byrne is in fine voice here: Never before had he sounded warmer or more approachable, as evidenced by his soaring rendition of "Once in a Lifetime." Though almost half the album focuses on Speaking in Tongues material, the band makes room for one of Byrne's Catherine Wheel tunes (the hard-driving, elliptical "What a Day That Was") as well as up-tempo versions of "Pyscho Killer" and "Take Me to the River." If anything, Stop Making Sense's emphasis on keyboards and rhythm is its greatest asset as well as its biggest failing: Knob-tweakers Chris Frantz and Jerry Harrison play up their parts at the expense of the treblier aspects of the performance, and fans would have to wait almost 15 years for reparations. Still, for a generation that may have missed the band's seminal '70s work, Stop Making Sense proves to be an excellent primer.© Michael Hastings /TiVo

Few bands from the post punk revival that began in the 2010s are led by women. Florence Shaw is redressing the balance with brilliance. The Londoner who heads up Dry Cleaning has above all a uniquely serious, warm and rather sensual voice that balances perfectly against the roughness of the abrasive, dark rock'n'roll played by guitarist Tom Dowse, bassist Lewis Maynard and drummer Nick Buxton. This singing sometimes borders on spoken-word (Grace Jones, Annette Peacock or a female Baxter Dury come to mind). This voice plays hide-and-seek with a soundtrack that refers to the classics (Joy Division, Magazine, Gang of Four, Feelies, Wire) without ever going overboard. This all dresses up a collection of collages à la William Burroughs, in the famous and rather extreme cut-up style, which inspires as much love as hate... At the console, we have John Parrish, PJ Harvey's faithful accomplice. He has tailored an impeccable sonic suit for New Long Leg: one that's full of heady compositions. These compositions stand out from those of their colleagues like Shame, Fontaines D.C., Girl Band, Idles and Murder Capital. This is real original Dry Cleaning material. It's one to discover urgently. © Marc Zisman/Qobuz

Pulling back slightly from the raw, dance-oriented Technique, New Order took a break for four years and then crafted another slice of prime guitar pop. In keeping with previous work, Republic simply borrows elements of contemporary innovations in club music to frame a set of effortlessly enjoyable alternative pop songs. As on Technique, the singles ("World," "Spooky") are the most danceable on the record, while lyrical concerns are among the most direct of the group's career, including "Ruined in a Day" and "Times Change," sure signs of the demise of Factory Records.© John Bush /TiVo

After belatedly celebrating three decades in the game with 2022's 30 Something, Orbital released their tenth studio album, Optical Delusion, in 2023. The duo emerged as pioneers of rave culture back in the late '80s, and they've always produced dance music with a social conscience as well as a concern for the environment. They released a silent track in reaction to the anti-rave Criminal Justice Bill in 1994, and they recorded 1996's "The Girl with the Sun in Her Head" using a mobile solar power generator belonging to Greenpeace. 2018's Monsters Exist commented on the corruption of the planet's political leaders without naming names, and urged listeners to consider the state of the world and embrace progress. The visuals during the album's live tour drove home these points, yet the shows were clearly meant as raves and not political rallies, and the new material fit perfectly alongside updated versions of the duo's classics. Optical Delusion is Orbital's post-pandemic album, and it conveys the panic of witnessing the world fall apart while also remaining thankful to be alive and involved with the dance music scene. Most of the album's tracks feature guest vocalists, giving Orbital's concerns more of a voice than ever. On the effervescent dance-pop tune "Are You Alive," Penelope Isles' Lily Wolter defiantly resists being screwed over by capitalism, then clears the way as the splashy synths and elevated beats take over during the track's second half. Jason Williamson, the bloke from Sleaford Mods, directly blames the masses who keep voting crooked politicians into office over the rumbling punk bassline and pounding kicks of "Dirty Rat." Mediæval Bæbes appear on "Ringa Ringa (The Old Pandemic Folk Song)," reminding listeners that an innocent nursery rhyme has a longstanding association with the Black Death. Dina Ipavic's near-operatic vocals soar along with the sublime glide of "Day One," while Anna B Savage provides a more introspective narrative over the shuffling house rhythms of "Home." The two instrumental tracks are highlights, with "The New Abnormal" being an exuberant breakbeat-driven crowd-worker, while "Requiem for the Pre Apocalypse" is a chest-rattling drum'n'bass number that gradually reveals a brilliant light shining through the oppressive darkness. The nightmarish "What a Surprise" dices sinister voices into trap beats, and "Moon Princess" warns of computers that "try to make rational decisions." Even at their most dystopian, Orbital never lose their excitement for exploring new sounds, and Optical Delusion doesn't get bogged down in cynicism or nostalgia.© Paul Simpson /TiVo

With A New Day Now, Joe Bonamassa revisits his debut album A New Day Yesterday. The American bluesman has even rerecorded his vocal parts. According to him, the reason behind this project relates to the lack of experience and rigour that can be heard on the original record. The first release by the young man, then aged 22, came ten years after his noteable performance as the support act for B.B. King and marked the beginning of his artistic blossoming. For Bonamassa, this retrospective album is also an homage to producer Tom Dowd, his former mentor whose demanding approach, both technically and musically, helped him to progress from a child prodigy to the best bluesman of his generation. © IF/Qobuz

Although Revenge, Eurythmics' fifth album, failed to generate a substantial hit single and sold poorly in the U.S. compared to previous efforts ("I Need a Man" and "You Have Placed a Chill in My Heart" both charted, however), the album hit the Top Ten and spun off four chart singles in the more faithful U.K. Musically, Eurythmics, for the most part, abandoned the more conventional pop/rock they recently had been pursuing, returning to the synthesized dance music and arch tone of their early hit "Sweet Dreams (Are Made of This)."© William Ruhlmann /TiVo