Welcome To The Jungle, It’s So Easy, Nightrain, Mr Brownstone, Paradise City, My Michelle, Sweet Child O’ Mine, You’re Crazy… Look no further to explain the success of this monument that sold over thirty million copies worldwide: right from the start, it feels like a best-of album rather than a first studio effort… Even Out Ta Get Me, Think About You, Anything Goes and Rocket Queen, the four “weak tracks” of this masterpiece, would have satisfied fans of other bands who were sick of Guns N’ Roses at the time. Add to this two tracks that were sidelined at the time mostly for copyright reasons and are unearthed here, Shadow Of Your Love and Move To The City, as well as the studio version of Reckless Life. Though they feel like a walking disaster, this mighty gang had something others didn’t have in the microcosm of the Los Angeles hard rock scene: the ability to give birth to rock classics in record time. Some will no doubt find it unjust that the controversial track One In A Million was a kind of collateral victim of the reissue of Lies, from which it was removed. But this improved rerelease goes to show that, even if it wasn’t necessarily their goal, the musicians’ sound and performance are also two major components in any masterpiece. The reason they decided to include the before and after Appetite For Destruction, meaning the two EPs Live?!*@ Like a Suicide (the false live) and G N' R Lies, is because it is clear that all the ingredients were far from being in place at the Sound Studio where the twenty-ish alternative versions were recorded, featured here as a “bonus”. Mike Clink’s expert production, and Steve Thompson and Michael Barbiero’s calibrated and well-balanced mixing obviously helped give the selected original twelve songs their ultimate form. And therefore optimal efficiency. But other live or acoustic titles gleaned here and there to close out this reissue (Bob Dylan’s Knockin’ On Heaven’s Door (Live), It’s So Easy (Live), AC/DC’s Whole Lotta Rosie (Live), November Rain (Acoustic), the very short but promising The Plague, the instrumental Ain’t Goin’ Down No More or the Rolling Stones’ Jumpin’ Jack Flash (Acoustic)) prove that the band’s five members went through a period, albeit much too short, in which they were touched by grace. And there will most likely be further proof if one day Axl Rose decides to unearth the version of the album he re-recorded in 1999 with the new Guns N’ Roses line-up, without Slash, Izzy Stradlin, Duff McKagan and Steven Adler. It was with this winning cast that Guns N' Roses beat the ultimate sales record for a first album in the United States. And although the multiple line-up evolutions that followed didn’t lead to any commercial disasters, they never gave the band the opportunity to repeat the feat of Appetite For Destruction. © Jean-Pierre Sabouret/Qobuz

The yang to Astral Weeks' yin, the brilliant Moondance is every bit as much a classic as its predecessor; Van Morrison's first commercially successful solo effort, it retains the previous album's deeply spiritual thrust but transcends its bleak, cathartic intensity to instead explore themes of renewal and redemption. Light, soulful, and jazzy, Moondance opens with the sweetly nostalgic "And It Stoned Me," the song's pastoral imagery establishing the dominant lyrical motif recurring throughout the album -- virtually every track exults in natural wonder, whether it's the nocturnal magic celebrated by the title cut or the unlimited promise offered in "Brand New Day." At the heart of the record is "Caravan," an incantatory ode to the power of radio; equally stirring is the majestic "Into the Mystic," a song of such elemental beauty and grace as to stand as arguably the quintessential Morrison moment.© Jason Ankeny /TiVo

Real Power is Gossip's first album in 12 years, when singer Beth Ditto walked away to launch a solo career, act, start a clothing line and model. She has admitted to needing a break, but that "in the music industry you're not allowed to have that. So you end up making things you don't like. You become a product." Indeed, Gossip's last record, A Joyful Noise, felt a bit phoned-in after the hurricane force of their mid-aughts, indie sleaze-defining output. Now, the band is recharged, but bearing battle scars—Ditto divorced her wife, who she had been with since she was 18; lost her father; and fell out of sorts with co-founder and guitarist Nathan "Brace Paine" Howdeshell after he became a born-again Christian. The two have repaired their relationship and, along with drummer Hannah Blilie, they're not just re-treading the same old ground. For one thing, producer Rick Rubin—a Buddhist and Transcendental Meditation devotee who can rock out with the best of them—was a fascinating choice to oversee their comeback, and Ditto has said he brought a needed calm and peace to the proceedings. That does not mean boring. Songs like "Tough" and "Don't Be Afraid" feel stripped down and vulnerable compared to old Gossip records; that's not to say stark, but the air shifts to allow Ditto to bare a tender, Freda Payne-esque side. "Crazy Again" is subdued but with sunny guitar and a great kick-in, as Ditto seems to sing about finding love after divorce: "Don't invite me home/ I'm fragile at the moment/ Heart of glass." "Turn the Card Slowly," meanwhile, feels haunted—its edgy, lone-wolf guitar line tracking lines such as "Is it the last time?/ Was it the first time?/ Your love is a swinging door"; it's like a transmission from some alternate Stevie Nicks universe. "Edge of the Sun" is velveteen dance-floor pop, "Give It Up for Love" plays with New Wave disco, and "Light It Up" applies a sing-song melody to emo-pop mid-tempo balladry. "Act of God" is an absolute fearless delight: a thick slab of Motown soul set to cheeky organ and a great galloping rhythm, conjuring wild horses tromping across a landscape. And the title track sounds like revolution via the revelation that it's not enough just to make a difference in an insular community. Accompanied by cool funk guitar and buzzy synth, Ditto sounds every bit the soul diva as she declares "Rhythm in my blood, my heart is pounding … I want real power." © Shelly Ridenour/Qobuz

Having apparently exorcised his demons by releasing the cathartic Tonight's the Night, Neil Young returned to his commercial strengths with Zuma (named after Zuma Beach in Los Angeles, where he now owned a house). Seven of the album's nine songs were recorded with the reunited Crazy Horse, in which rhythm guitarist Frank Sampedro had replaced the late Danny Whitten, but there were also nods to other popular Young styles in "Pardon My Heart," an acoustic song that would have fit on Harvest, his most popular album, and "Through My Sails," retrieved from one of Crosby, Stills, Nash & Young's abortive recording sessions. Young had abandoned the ragged, first-take approach of his previous three albums, but Crazy Horse would never be a polished act, and the music had a lively sound well-suited to the songs, which were some of the most melodic, pop-oriented tunes Young had crafted in years, though they were played with an electric-guitar-drenched rock intensity. The overall theme concerned romantic conflict, with lyrics that lamented lost love and sometimes longed for a return ("Pardon My Heart" even found Young singing, "I don't believe this song"), though the overall conclusion, notably in such catchy songs as "Don't Cry No Tears" and "Lookin' for a Love," was to move on to the next relationship. But the album's standout track (apparently the only holdover from an early intention to present songs with historical subjects) was the seven-and-a-half-minute epic "Cortez the Killer," a commentary on the Spanish conqueror of Latin America that served as a platform for Young's most extensive guitar soloing since his work on Everybody Knows This Is Nowhere.© William Ruhlmann /TiVo

Within half a decade from their debut, K-pop quartet Blackpink crashed the international mainstream, topping charts around the world and breaking records along the way with their bombastic singles, EPs, and live albums. Two years after issuing their Japanese debut, they finally released their first Korean-language effort, The Album. Effortlessly blending both Korean and English, the group delivered a short-but-sweet set of empowering anthems, led by the characteristically thundering banger "How You Like That." Overflowing with confidence, Jisoo, Jennie, Rosé, and Lisa conquer each track on The Album with their vocal ability (both singing and rapping) and effortless charm, switching up styles to offer something for every type of fan. They bare their teeth on the glitter-trap "Pretty Savage," a collective middle finger to the haters, just as well as they take a stand for self-worth on the delightful kiss-off "Love to Hate Me." On "Crazy Over You," they long for romance over sexy, slinky production, before flipping the script on the gloriously rousing "Lovesick Girls." Following collaborations with Dua Lipa and Lady Gaga, Blackpink further bridge the East-West gap by recruiting Selena Gomez for the playful pop gem "Ice Cream" and Cardi B for the enticing "Bet You Wanna," two surefire moments designed to increase their global reach. Beyond the upbeat and energetic fare, the group close The Album with the inspirational "You Never Know," adding heart and vulnerability to their range. While it would be nice if The Album had a few more songs, there's enough variety to keep fans sated, excited, and empowered until the next big release. © Neil Z. Yeung /TiVo

An abiding love of classic soul, twangy rock, and R&B has always been at the core of Rick Astley's pop sound. It's an organic blend that he's been increasingly digging into since 2016's 50 and one which underpins all of 2023's Are We There Yet? His third album to be produced out of his home studio in London, the album feels like a love letter to the earthy, blues-influenced work of artists like Bill Withers and Otis Redding. Central to the album is "Dippin' My Feet," an infectious, country- and gospel-tinged rocker that nicely evokes the similarly rootsy, throwback style of Oklahoma singer JD McPherson. In fact, it's easy to imagine Astley hearing the rise of roots-inspired artists like McPherson and even singers like Hozier (another possible touchstone for the sounds at play on Are We There Yet?) and finding common pop ground. Here, he takes a back-to-basics approach, framing his resonant baritone in ringing piano and organ flourishes, crisp acoustic guitars, handclaps, and warm backing vocal harmonies. While the album certainly has a lovingly crafted, analog quality, there's a raw immediacy to many of these tracks, as if they were recorded live-in-studio or captured at a passionate church service. It's an earthy vibe reflected in Astley's vocals, as on the gospel-influenced "Never Gonna Stop," where he takes on the throaty intensity of a blues singer. Other evocative sounds pop up elsewhere, as on "High Enough," a minor-key number with echoey vibraphone accents that brings to mind the yearning atmosphere of a Chris Isaak song. Similarly, "Forever and More" has the crisp, guitar-driven soulfulness of an '80s Style Council track. Certainly, all of the rootsy soulfulness Astley embraces on Are We There Yet? is far removed from the studio sophistication of his early hits. That said, it feels genuine and hard-won by age and experience. With Are We There Yet?, Astley hasn't just arrived, he's come into his own.© Matt Collar /TiVo

This draped in light rerelease of Purple Rain is an opportunity to take a beautiful trip back in time… For Prince, the 1999 advent coincides with several disputes with his entourage. The pinnacle is reached when the guitarist Dez Dickerson leaves, soon replaced by Wendy Melvoin. The star goes back to work and mulls over a project even crazier than a double album: a quasi-autobiographical movie! With their head on the chopping block, his managers are tasked with finding a film without delay. Warner’s movie division is rather lukewarm and wants warranties. Prince and his ever growing family (The Revolution, The Time, Vanity 6) perform regularly at the First Avenue club and spend the rest of their time locked away in a gigantic warehouse rehearsing and taking drama and dance classes to prepare for the movie. Prince even transferred his own studio in this warehouse to record the soundtrack of his crazy project. He also sets up a mobile studio in front of the First Avenue, where he makes live recordings of other songs. In the end, Warner Studios pay up for what will probably be one of the worst movies they’ve produced so far, a dud that will however give an exuberant and awesome soundtrack: Purple Rain reaches the top of the R&B and Pop charts. Let's Go Crazy, When Doves Cry, Take Me With U, Purple Rain and I Would Die 4 U are all Princely hits that will dominate the airwaves in 1984 and 1985. His decadent funk rock and his frilled-shirted pimp style seduce the entire planet. Once again, the musician manages to mix his different foibles like a new Sly Stone. Containing pop melodies reminding of the Beatles and Hendrixian guitars with a funk groove rhythm, Purple Rain offers above all a complete revamping of these fundamentals of music… This Purple Rain Deluxe – Expanded Edition includes the remastered original album (the remastering was made in Paisley Park in 2015 with the original master tapes, and Prince supervised the whole process a few months before his passing), as well as eleven new titles, but also all the edit versions of the singles and their B sides. Taken from Prince’s numerous unreleased archives, the new tracks are true gems, like the 1983 instrumental version of Father’s Song. Some of them, like the studio version of Electric Intercourse, never even got out of Paisley Park before! Those gems have been mastered by Bernie Grundman, who worked on the original album. © MD/Qobuz

Coming on the heels of the commercially and artistically successful Pump, the fitfully entertaining Get a Grip doesn't match its predecessor's musical diversity, but it's not for lack of trying. In fact, Aerosmith try too hard, making a stab at social commentary ("Livin' on the Edge") while keeping adolescent fans in their corner with their trademark raunch-rock ("Get a Grip" and "Eat the Rich"), as well as having radio-ready hit ballads ("Cryin'," "Amazing," and "Crazy"). It might be a studied performance, but since the album sounds good, many listeners will be willing to overlook those flaws and simply enjoy the ride.© Stephen Thomas Erlewine /TiVo

Genius Loves Company is the last studio album Ray Charles completed before his death in June 2004. Prior to this, the last studio album he released was Strong Love Affair in 1996, which was a stab at modern pop, filled with new songs and given an adult contemporary sheen. It was not one of his most distinctive efforts, even when judged against his latter-day albums, and it disappeared not long after its release. Charles left Warner and, years later, signed with Concord, who released Genius Loves Company, which had a decidedly different approach than the all-modern Strong Love Affair. As the title acknowledges with a wink, this is a duets album, which may be a little commonplace as far as latter-day superstar albums go but is still a step up from his previous studio album since it puts Ray Charles in a comfortable, relaxed situation that plays to his strengths. Instead of trying to put Charles in a modern setting, producers John Burk and Phil Ramone (Burk helmed seven of the album's tracks, Ramone is responsible for the other five, and their work fits together seamlessly) go for a clean retro setting with a few guitars, synths, and a rhythm section, occasionally dressing it with an orchestra or some strings. In other words, apart from the glistening production, it's not far removed from any of Charles' crossover records from the '60s, and he's also given a strong set of songs, largely familiar pop classics, from "Fever" and "Somewhere Over the Rainbow" to "Sorry Seems to Be the Hardest Word" and "Crazy Love." His duet partners are fairly predictable -- classy newcomers like Norah Jones and Diana Krall, but also old stalwarts like Elton John, B.B. King, Johnny Mathis, James Taylor, Bonnie Raitt, and the ubiquitous Willie Nelson (who has never sounded older than he does here on "It Was a Very Good Year") -- but they're also reliable, never overshadowing Ray yet never shrinking in his shadow either; in short, it sounds more like a real duets album than most superstar duet records. The end result is modest, friendly, laid-back, and pleasing, one that remains faithful to Charles' music while sounding relatively fresh. It may not be weighty enough to be a career-capping masterpiece, but it's sweet enough to be an appropriate final album -- which is far more than can be said of Strong Love Affair, or any of the other albums he cut in the '80s or '90s for that matter. © Stephen Thomas Erlewine /TiVo

J.J. Cale's debut album, Naturally, was recorded after Eric Clapton made "After Midnight" a huge success. Instead of following Slowhand's cue and constructing a slick blues-rock album, Cale recruited a number of his Oklahoma friends and made a laid-back country-rock record that firmly established his distinctive, relaxed style. Cale included a new version of "After Midnight" on the album, but the true meat of the record lay in songs like "Crazy Mama," which became a hit single, and "Call Me the Breeze," which Lynyrd Skynyrd later covered. On these songs and many others on Naturally, Cale effortlessly captured a lazy, rolling boogie that contradicted all the commercial styles of boogie, blues, and country-rock at the time. Where his contemporaries concentrated on solos, Cale worked the song and its rhythm, and the result was a pleasant, engaging album that was in no danger of raising anybody's temperature.© Thom Owens /TiVo

After the release of Savage Amusement in 1988, the Scorpions expressed disdain toward the album, feeling that it was too polished when compared to their other work. Their longtime producer, Dieter Dierks, was replaced with well-known rock producer Keith Olsen, who would produce Crazy World and assist in making it one of the Scorpions' greatest recordings. Their music had certainly changed since Savage Amusement, sounding a little bit heavier and less glamorous. But even with the metal sound, the songs remain melodic and catchy. The power ballads on the album, "Wind of Change" and "Send Me an Angel," are arguably two of the band's greatest slow numbers, boasting soothing harmony and lyrics. Crazy World remains the Scorpions' finest '90s album and is sure to please its listeners.© Barry Weber /TiVo