Does the cliché of the artist improving with time, just like good wine, apply to Van Morrison? For several years now, the old bard from Belfast has been unstoppable, publishing up to two albums a year. With Three Chords and the Truth (his sixth in four years!), he proves it is possible to have both quantity and quality. Composed of 14 previously unpublished songs (not covers, as was often the case on his previous records from the 2010’s), this 2019 vintage encapsulates all of Van The Man’s art. His unique style of jazz and blues tinged with gospel soul is supported by a refined, warm instrumentation. With his slick double bass, groovy vintage organ, raspy brass and inimitable voice, Van Morrison carries on carving his own path and the result often touches the sublime. His old guitarist Jay Berliner (found on Astral Weeks, his 1968 masterpiece) even brings a delicate touch to the record. And Bill Medley from The Righteous Brothers sings with him on Fame Will Eat the Soul. Ultimately, Van Morrison is never a parody of himself, and the pleasure that making music brings him at 74 years old is more than obvious. © Max Dembo/Qobuz

This 25-track collection breathes new life into each of the Bond themes over the years. Recorded in 2019 at Abbey Road Studios, the Royal Philharmonic Orchestra reimagine all 25 themes, including Billie Eilish's 2020's "No Time to Die"© Rich Wilson /TiVo

Much of the press surrounding the release of Sleep Through the Static recounted Jack Johnson's claim that he gave all his peppy pop tunes over to the Curious George soundtrack and how that, combined with personal losses -- including the death of his cousin Danny Riley, to whom the album is dedicated -- led the surfing singer/songwriter into darker territory for his fifth album. To a certain extent, all of that is true, as the album does open with an atypically stark, moody number in "All at Once" and there are some darker sentiments lurking within the 14 songs here, but it takes some close listening to find the sorrow flowing through some of the words. Some very close listening, really, as Johnson's sand-brushed, gentle voice doesn't command attention. His voice lulls and soothes, so it takes concentrated effort to hear beyond his tone and hear what he's actually saying. Then again, the meaning of Johnson's music doesn't matter as much as the mellow mood, a feeling that he's sustained throughout his albums and doesn't change here. Johnson may use more electric guitars than acoustics on Sleep Through the Static, but he's strumming them like acoustics and his overall aesthetic has not changed at all: he's still a laid-back guy singing songs that roll so easy they glide into the background. No matter what instrument he's playing or what he's singing about, his music still feels the same, which is enough to satisfy his fans but not to win him many new ones. © Stephen Thomas Erlewine /TiVo

For All Time opens with a swish lover-man theme flecked with Clavinet, brass, woodwinds, and Jessica Childress' breathy vocal. Over the course of Andrew Cohen's sixth Mayer Hawthorne album, multiple variations on that intro bubble up as brief interludes, conceivably serving a second purpose for Hawthorne shows -- breaks for Cohen to switch outfits or maybe wheel out a mobile wine cellar. Although the peacocking could come off as histrionic, it befits an album exhibiting easy confidence and fully satisfied romantic indulgence. It also helps that Cohen, despite having leveled up with outside writing and production for Doja Cat, Jordan Ward, and Chika, still doesn't present Hawthorne as too-serious a character. Typifying the man's innate aptitude for applying a little self-deprecation to his debonair persona, "The Pool," a spangled psych-soul fantasy, carries a cautionary line about the dangers of being fair-skinned in blistering sunlight. Other than that escapist highlight, For All Time glows with real-life conviction offered with subtle winks that somehow don't make a listener doubt Cohen's sincerity. The wedding playlist-bound title song from a lyrical standpoint is simple love balladry, but it's elevated by a nuanced lead from Cohen that communicates delight, relief, and gratitude. Brighter and even more effective are the relaxed disco throwback "On the Floor" (quoting and name-checking Shalamar over a melodic Blu DeTiger bassline), the churning ballad "Deeper Vibration," and the future lowrider oldie "Tell Me," along with the funkier slink of the Jesse Boykins III collaboration "Physical Touch" ("Send me that pin, I'm on the way/Get the job done like Big Daddy Kane"). Overall, there's more sonic likeness to the first Hawthorne LP, A Strange Arrangement, than there is to any of the relatively polished and varied four that followed it. Cohen as usual is the primary musician, playing an average of six instruments per song -- the basics to glockenspiel and Mellotron -- and produces with some help from Rodaidh McDonald, Imad Royal, and Michael Brun. A fleet bonus cover of the Edge of Daybreak's 1979 dancefloor soul obscurity "Eyes of Love" is an inspired finishing touch, not something Cohen could have pulled off with as much vocal and multi-instrumentalist skill back in 2009. Take that to the bank.© Andy Kellman /TiVo

Named after Frampton's touring band at the time, Frampton's Camel has a harder-rocking feel than its predecessor Wind of Change, with Mick Gallagher's percussive electric piano and organ taking a prominent position in the mix and Frampton getting a harder sound from his electric guitars (though his acoustic playing is so lush and lyrical that it dominates the album here and there in its quiet way). The sound on this recording lays out the formula that Frampton would take to mega-success three years later with the release of Frampton Comes Alive. The songs are all first-rate or close to it -- included here is the original studio version of the group composition "Do You Feel Like We Do," a quicker-tempo, extended (albeit less majestic) version of which appeared on the latter album and became a staple of classic-rock radio, but the Frampton-composed "I Got My Eyes on You" and "Don't Fade Away" and the Frampton-Gallagher "All Night Long" are also compelling examples of '70s hard rock at its commercial best. This album also includes a nice cover of Stevie Wonder's "I Believe (When I Fall in Love With You It Will Be Forever)," the power ballad "Lines on My Face," the rollicking "White Sugar," and Frampton's gorgeously lyrical, all acoustic "Just the Time of the Year." As on Wind of Change, Frampton's use of dynamics and mix of acoustic and electric guitars keeps the music from becoming one-dimensional. The October 2000 CD reissue, remastered in state-of-the-art sound, adds an even more expansive feel to this album and enhances its melodic richness. © Jim Newsom & Bruce Eder /TiVo

In many ways, Sinatra at the Sands is the definitive portrait of Frank Sinatra in the '60s. Recorded in April of 1966, At the Sands is the first commercially released live Frank Sinatra album, recorded at a relaxed Las Vegas club show. For these dates at the Sands, Sinatra worked with Count Basie and his orchestra, which was conducted by Quincy Jones. Throughout the show, Sinatra is in fine voice, turning in a particularly affecting version of "Angel Eyes." He is also in fine humor, constantly joking with the audience and the band, as well as delivering an entertaining, if rambling, monologue halfway through the album. Basie and the orchestra are swinging and dynamic, inspiring a textured, dramatic, and thoroughly enjoyable performance from Sinatra. © Stephen Thomas Erlewine /TiVo

Take the title Mr. Sun to heart. This, Little Big Town's tenth proper studio album, is filled with sweetness, hope, and light, a record built for comfort, not speed. Consider the overwhelming sweetness as the band's way of processing the upheaval generated by the COVID-19 pandemic. Instead of wallowing in sorrow, they bask in the sunshine; even the slower ballads act as a balm, serving up soothing melodies instead of sadness. Such relentless positivity isn't monochromatic in the hands of Little Big Town -- which is good, as the record runs a very long 16 tracks. At that length, there's no avoiding a bit of sag. A whole lot of sweetness and light can be slightly stultifying, even when the slow tunes are executed with the precision of a pro. As good as those ballads are, Mr. Sun really springs to life when there's a slight spring in the group's step. The opener "All Summer" is candied perfection, a 1970s soft-rock melody given a spiffy reupholstering," "Heaven Had a Dance Floor" is a new wave spin on adult contemporary new wave, "Gold" is a bright rewrite of Maren Morris' "Rich," "Song Back" is a bright, pulsating number for a mature dance floor, while "Whiskey Colored Eyes" provides an ideal soundtrack for a sepia-toned sunset. These are the songs that give Mr. Sun its pulse and help keep things humming on this amiable affair.© Stephen Thomas Erlewine /TiVo

The anthemic indie rock sound of Snow Patrol provides a bit of hope and promise among the many acts attempting to fit into a certain genre or scene. Snow Patrol belongs to their own scene, and their third album, 2004's Final Straw, proved that with several global hit singles such as "Run," "Chocolate," "How to Be Dead," and the reissue of "Spitting Games." British fans once more proclaimed their beloved Snow Patrol as a true rock & roll band while American audiences finally took notice of the Scottish collective. The band's fourth album, Eyes Open, doesn't fall short from where they left off; in fact, Snow Patrol's hungry rock sound only gets bigger and better this time around. All guitar hooks and singalong choruses are firmly in place, and Gary Lightbody is an underrated frontman. On Eyes Open, he once again writes songs that are from the heart and true to self-reflection without getting too sappy and too overjoyed. From the playful name-dropping of Sufjan Stevens on "Hands Open" to their passionate delivery on "It's Beginning to Get to Me" and "Shut Your Eyes," Snow Patrol's approach is epic. They are the kind of band that embraces simplicity as beautiful and human flaws as art. The lullaby-like "You Could Be Happy" and the passionate buildup of "Make This Go on Forever" are evident of that. This 11-song set is a masterpiece, so keep your ears and eyes open for Snow Patrol. They're onto something big.© MacKenzie Wilson /TiVo

Roberta Gambarini was a virtual unknown outside of Europe before coming to the United States and dazzling both seasoned jazz musicians and critics alike. Under the wing of Benny Carter for several years prior to his death in 2003, the Italian singer with an expressive, clear, and consistently swinging vocal style has seen her reputation spread widely, culminating in this initial American release. Her delightful take on the standard "Easy to Love" includes a bit of soft scatting in tandem with Chuck Berghofer's bass. Her expressive interpretation of "On the Sunny Side of the Street" finds her scatting to each of the demanding solos from a recorded collaboration by Sonny Stitt, Dizzy Gillespie, and Sonny Rollins, as well as adding some original vocalese to each of the solos. She is just as effective handling Bill Evans' bittersweet ballad "The Two Lonely People" and Billy Strayhorn's overlooked gem "Multi-Colored Blue." Tenor saxophonist James Moody is a special guest on "Lover Man" and the swinging "Centerpiece," on the latter playing in unison with Gambarini and engaging in a friendly, often hilarious scat duet with her as well. With this first-rate 2006 release, Roberta Gambarini makes a strong case for consideration as one of the most impressive jazz vocalists to arrive on the scene over the previous two decades; her attractive voice, impeccable taste, and skills as an arranger make her impossible to resist.© Ken Dryden /TiVo

The anthemic indie rock sound of Snow Patrol provides a bit of hope and promise among the many acts attempting to fit into a certain genre or scene. Snow Patrol belongs to their own scene, and their third album, 2004's Final Straw, proved that with several global hit singles such as "Run," "Chocolate," "How to Be Dead," and the reissue of "Spitting Games." British fans once more proclaimed their beloved Snow Patrol as a true rock & roll band while American audiences finally took notice of the Scottish collective. The band's fourth album, Eyes Open, doesn't fall short from where they left off; in fact, Snow Patrol's hungry rock sound only gets bigger and better this time around. All guitar hooks and singalong choruses are firmly in place, and Gary Lightbody is an underrated frontman. On Eyes Open, he once again writes songs that are from the heart and true to self-reflection without getting too sappy and too overjoyed. From the playful name-dropping of Sufjan Stevens on "Hands Open" to their passionate delivery on "It's Beginning to Get to Me" and "Shut Your Eyes," Snow Patrol's approach is epic. They are the kind of band that embraces simplicity as beautiful and human flaws as art. The lullaby-like "You Could Be Happy" and the passionate buildup of "Make This Go on Forever" are evident of that. This 11-song set is a masterpiece, so keep your ears and eyes open for Snow Patrol. They're onto something big.© MacKenzie Wilson /TiVo

Released just over a year after their blockbuster double-platinum debut, Ratt's second album, Invasion of Your Privacy, contained all of the same ingredients that helped launch the band to MTV and radio success: a batch of commercially savvy pop-metal tunes and a half-naked model on the cover. This may seem like an overly simplistic analysis, but it helps make the point that, for all its many positive attributes (including a number nine chart peak), Invasion of Your Privacy was very much a creative holding pattern for the group. If anything, returning producer Beau Hill merely helped Ratt fine-tune their songs and give them a brighter pop sheen (including some telltale electronic percussion), but although there were still hit singles to be had via riff-driven opener "You're in Love," "Lay It Down," and "What You Give Is What You Get," none of these challenged the first album's "Round and Round" in terms of commercial or cultural ubiquity. Nonetheless, another largely consistent selection of tracks (including fan favorites "Give It All" and "Between the Eyes") helped Ratt avert most accusations of looming creative stagnation, and the full flowering of budding guitar hero Warren DeMartini (while still leaving some lead work for co-axeman Robbin Crosby -- the band's heart and soul) was a highlight in and of itself. Ultimately, no after-the-fact nitpicking can change the fact that Invasion of Your Privacy was a perfectly respectable effort, much loved by Ratt's fans, and easily avoided any hints of a sophomore slump.© Eduardo Rivadavia /TiVo