Few are the career artists who can create music over the long haul that continually sounds fresh and contemporary without seeming faddish or desperate. Across eight solo studio albums, Norah Jones has effortlessly embraced the here-and-now, followed her muse and allowed her assured sense of self to carry her forward without any embarrassing missteps. Jones wanted to explore darkness on 2020's Pick Me Off the Floor, her most recent studio album, so she flipped the switch. Two years later she swerved to record Playing Along, an oft-buoyant album of duets with artists including Mavis Staples, Valerie June and Jeff Tweedy. It succeeded on its own terms. For Visions, Jones wanted to write with a single collaborator, Leon Michels, to make a mid-tempo record with session players and solo artists who've recorded with Sharon Jones and the Dap-Kings, Brazilian Girls, Joni Mitchell and others. So she invited him into the studio, shut the door and made Visions.Billed by Jones' label as a more carefree, upbeat record, Visions sets a mood across twelve soulful, wood-paneled originals. Despite mentions of dance or dancing in a few songs, it's often bliss driven by solitude that's suggested. The happy-go-lucky "On My Way" floats across its measures, a joyful ode to moving forward not with a partner or lover, but alone, where the notion that "no one cares what you have to say" lives in the same space as "in the dark you can dance and sway." That many of the ideas for Visions, as Jones has said, "came in the middle of the night or in that moment right before sleep," it makes sense that she's focused on solitude, and that she's embracing it."Everyday we do God's little dance," she sings on "Staring at the Wall," an uptempo groover with a twangy, Sun Records-suggestive guitar line and a piano-propelled counter melody that, combined with sturdy snare-drum snaps, could power a Saturday night dance floor at a dive bar. "Running" gets energy from a piano melody, a reverbed drum pattern and a layered chorus of Jones' voice adding responses. "Swept Up in the Night" is a ballad of longing set after midnight. Lost in a dream, Jones can't shake her memories of a certain someone: "I find you a thousand times/ Underneath the stones in my mind." These are sturdy songs, the kind that not only linger in the psyche, but are so well crafted as to be indestructible. © Randall Roberts/Qobuz

The blockbuster sequel Spider-Man: Across the Spider-Verse has an impressive hit soundtrack, courtesy of producer Metro Boomin and a whole multiverse of guest stars. Aligned with the film's themes of heroism, destiny, duty, and love, these tracks complement the film perfectly, whether they're referencing the relationship between Miles Morales and Gwen Stacy or tackling the internal turmoil conflicting each of those main characters. Although more subdued than one might expect from an animated action flick, Metro Boomin captures the mood with confidence. Highlights include the menacing lead track "Annihilate" with Lil Wayne, Offset, and a returning Swae Lee (who delivered the first movie's smash "Sunflower"); the tender, atmospheric alt R&B "Hummingbird" with a lilting James Blake on vocals; and the towering epic "Nas Morales" by Morales' fellow Brooklynite, Nas. For fans in search of the frantic, blaring compositions that were set to the main action pieces in the movie, pop over to Daniel Pemberton's wonderful score; for those willing to dive into the heart and soul of the film's characters and struggles, Metro Boomin has you covered.© Neil Z. Yeung /TiVo

Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion -- something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana's finest accomplishments.© Alex Henderson /TiVo

As the Rolling Stones' most ambitious album since Some Girls, Undercover is a weird, wild mix of hard rock, new wave pop, reggae, dub, and soul. Even with all the careening musical eclecticism, what distinguishes Undercover is its bleak, nihilistic attitude -- it's teeming with sickness, with violence, kinky sex, and loathing dripping from almost every song. "Undercover of the Night" slams with echoing guitars and rubbery basslines, as Jagger gives a feverish litany of sex, corruption, and suicide. It set the tone for the rest of the album, whether it's the runaway nymphomaniac of "She Was Hot" or the ridiculous slasher imagery of "Too Much Blood." Only Keith's "Wanna Hold You" offers a reprieve from the carnage, and its relentless bloodletting makes the album a singularly fascinating listen. For some observers, that mixture was nearly too difficult to stomach, but for others, it's a fascinating record, particularly since much of its nastiness feels as if the Stones, and Jagger and Richards in particular, are running out of patience with each other.© Stephen Thomas Erlewine /TiVo

Perhaps it was inevitable that Bob Dylan would change direction at the end of the '70s, since he had dabbled in everything from full-on repudiation of his legacy to a quiet embrace of it, to dipping his toe into pure showmanship. Nobody really could have expected that he would turn to Christianity on Slow Train Coming, embracing a born-again philosophy with enthusiasm. He has no problem in believing in a vengeful god -- you gotta serve somebody, after all -- and this is pure brimstone and fire throughout the record, even on such lovely testimonials as "I Believe in You." The unexpected side effect of his conversion is that it gave Dylan a focus he hadn't had since Blood on the Tracks, and his concentration carries over to the music, which is lean and direct in a way that he hadn't been since, well, Blood on the Tracks. Focus isn't necessarily the same thing as consistency, and this does suffer from being a bit too dogmatic, not just in its religion, but in its musical approach. Still, it's hard to deny Dylan's revitalized sound here, and the result is a modest success that at least works on its own terms.© Stephen Thomas Erlewine /TiVo

Riding the coattails of the John Hughes flick The Breakfast Club, Simple Minds finally broke into America with their theme song "Don't You Forget About Me," and their 1985 release Once Upon a Time captured the heart-wrenching excitement found in bands such as U2. They were now one of the biggest names in music, and Jim Kerr's thirsting vocals became the band's signature. Once Upon a Time, featuring producer Jimmy Iovine (U2, Stevie Nicks, Bruce Springsteen), showcased more of a guitar-driven sound. The band's heavy synth pop beats had relaxed a bit and Charlie Burchill's charming playing style was most noticeable. Also enlisting the choir-like beauty of Robin Clark, Simple Minds' popularity was expounded on songs such as "Alive & Kicking" and "Sanctify Yourself." This album was one of their best, most likely leading the pack in the band's album roster, because it exuded raw energy and solid composition not entirely captured on previous albums.© MacKenzie Wilson /TiVo

Korn first talked reinvention with 2003's Take a Look in the Mirror. Self-produced, it was a muscular, effectively brief record that nodded in some intriguing new directions. After that they talked celebration -- 2004's greatest-hits set looked back on a decade of influence and intensity. And yet, it's 2005's See You on the Other Side that's Korn's real reinvention celebration. It's their first album as a quartet after getting left behind by born-again guitarist Brian "Head" Welch. It's also their first venture for new label Virgin. But really Other Side is Korn's acknowledgement that their life isn't all that bad, and it's time to party. It's a heavy record that swings, an album that takes Korn's rap-metal template toward the red-light swagger of the Dirty South's rap revolution. Is it really surprising that Lil Jon plays Jonathan Davis in the video for "Twisted Transistor"? That song's one of eight on Other Side produced and co-written by the Matrix, and it shows. It's Korn all the way, cocky and funky. But it's slick too, concerned more with the shock value of groove than trying to be some poor kid's slap bass confidant, his surrogate therapy session. And it works. It's cool to hear the Matrix getting down with Korn; they keep each other honest, balancing the sheen with the sleaze. Davis, Munky, Fieldy, and David Silveria still bring it, but in a way that's aware of the manufacturing. And that's key, since after ten-plus years, their act was getting a little tired. Why not embrace the cash, embrace the slinkier side of Fieldy's vertical rhythms? The target of "Politics" is obvious, and "Hypocrites" rails against organized religion. But beneath the polemic is the Korn sound stripped, made truly economized and catchy. Diehards are going to gnash their teeth, and clog the message boards with dismissive comments. But isn't it about time for them to move on, too? Other Side is a little too processed at times -- "Love Song" says "Motherf*cker!" just to know it's alive. But then there's "Open Up," running a NIN influence through weird processing, and "Getting Off," which wavers and lurches like Korn chopped and screwed. If rap-metal were ever meant to evolve, See You on the Other Side is the record that does it.© Johnny Loftus /TiVo

The Offspring may have been a product of the Southern California hardcore scene, but their instincts have always been more metal than punk. Their guitars plod along with a heavy backbeat, and even their speedier numbers are weighed down by clumsy riffs, which is evident on Ixnay on the Hombre, the follow-up to the group's unexpected hit Smash. Despite Jello Biafra's opening assertion of the Offspring's punk credentials, Ixnay on the Hombre sounds like a competent hard rock band trying to hitch themselves to the post-grunge bandwagon. The riffs don't have hooks, and Dexter Holland yelps his vocals tunelessly. Of course, much hardcore followed this formula, but it got by on its self-righteousness and visceral forward force. Since the Offspring slow down the tempo of hardcore, it doesn't have either the undiluted rage of hardcore or the four-on-the-floor groove of hard rock. Also, they haven't come up with a ridiculous hook on the level of "Come Out and Play" or "Self Esteem," which leaves Ixnay on the Hombre as a tedious, turgid mess of anemic punk metal. © Stephen Thomas Erlewine /TiVo

The starring roles in Once, the little movie that could by writer/director John Carney, are played by the Frames' Glen Hansard and Czech singer/songwriter Markéta Irglová. The songs, representing those of the character Guy and his collaborator Girl, are made up of simple and attractive acoustic pop, full of guitars, piano, a small drum kit, and electric bass, with some supplemental instruments. Sung by one, the other, or the two musicians together, they offer a sweet and moving little soundtrack to this quirky film that offers no easy answers and asks plenty of questions. Interestingly enough, Hansard and Irglová are real life musical partners who recorded an album together in 2006 called Swell Season. Five of the 13 tunes on this soundtrack originally appeared on that album. For the film, however, additional tweaks to the original material (and the recording of supplemental songs written specifically for the movie) was done in a studio in Ireland. While the film has garnered a sizeable audience for such a small budget project, the soundtrack may have a more difficult time. It's not because the songs are so personal, but because they are so small in and of themselves. Fans of the Frames may score copies, and those who are charmed by the film might like the music enough to be curious, but it's one of those recordings you have to be specifically in the mood for. The wispy nature of much of this material makes for an intimate listen and one that is as skeletal yet elegant as the film itself.© Thom Jurek /TiVo

After the steady release of EPs and mixtapes in the three years following their debut, Philadelphia rapper Lil Uzi Vert finally issued their first official studio full-length in 2017. A sequel to their 2015 mixtape, Luv Is Rage 2 celebrated Uzi's rapid ascent in the hip-hop world, marking their mainstream breakthrough with the single "XO Tour Llif3" and peaking at the top spot of the Billboard 200. While production -- courtesy of Don Cannon, TM88, Metro Boomin, WondaGurl, and more -- improved upon that of the mixtapes, the colorful lyrical content remained as dark, hedonistic, and candid as ever, with Uzi layering rhymes about sex and drugs atop vulnerable moments relating to a tough breakup. Despite featuring high-profile guests like Pharrell Williams ("Neon Guts") and the Weeknd ("UnFazed"), Uzi fares better on their own, their oddball personality and endearing uniqueness adding flavor to highlights like "Two®" and "Sauce It Up." A sample of Oh Wonder's "Landslide" elevates the single "The Way Life Goes," a melodic pop moment that finds Uzi in a tender and yearning state. The catchiness of the track is contrasted by its dour subject matter, giving Luv Is Rage 2 an appreciable depth. The hypnotic "For Real" bounces along a blipping beat; provided by DJ Plugg and Bobby Kritical, it's one of the best-produced moments on the album. For pure thrills, "Early 20 Rager" booms, a stomping standout that injects an undeniable energy into Luv Is Rage 2. Although Uzi's post-breakup pain rears its head throughout the entirety of the album, many of the tracks are too fun to get too bogged down in emotions.© Neil Z. Yeung /TiVo

With The Eclipse Sessions the country-blues singer from Indianapolis continues his journey with New West Records. Since his previous record, Terms of My Surrender released in 2014, John Hiatt has grown older and wiser. Impacted by all the changes that life can throw at someone, and feeling the marks of time on his face, he can finally play the role of an old sage. The Eclipse Sessions is a contemporary record which embraces its cracks and rough appearance. Using the evolution of his career as a central theme, Hiatt certainly doesn’t lack substance as he juggles between lyricism and spirituality, humour and sorrow but most of all, authenticity. The album was recorded in under six days, during the lunar eclipse on 21st August, adding a mystical dimension to the work. Accompanied by Patrick O'Hearn on the bass and Kenneth Blevins on the drums, Hiatt recorded this album at his friend Kevin McKendree’s farm, a musician himself. It’s simple and efficient with a warm and relaxed atmosphere. Even McKendree's son, Yates (just 15 years old), joins in on his guitar. Hiatt opens the album with his rough and lively voice with a rock roots song called Cry To Me, a track for all the broken and lonely hearts . His quirky and intelligent humour soon surfaces, for example on Poor Imitation Of God. The album’s groovy styled blues makes you forget that the singer is already 66 years old. © Clara Bismuth/Qobuz