With Iechyd Da - “good health” in Welsh as he comes from West Kirby, a small town nestled in the Wirral peninsula between Wales and Liverpool - Bill Ryder-Jones begins 2024 with grace. This fifth record follows the hazy shoegaze of Yawn, released 5 years earlier, and Yawny Yawn, his stripped-back piano version. The ex-guitarist of The Coral embarked on his solo journey in 2008 with a definitive departure from the rock quintet, whose glory had become as overwhelming as its stresses. These difficulties and his own melancholy have formed the basis, throughout his career, of the Englishman’s intimate music of languid, chamber-like folk ballads.They roll out here with an immensity that is more organic and luminous, releasing the pain of thwarted love with soaring strings. Opting for orchestral pop, sometimes reminiscent of the 60s, the gritty songwriter always writes of his struggles but is now fuelled by hope. Mirroring contortions of the heart and mind, the rhythms speed up and fade out, and the orchestration builds and diminishes, illustrating his emotions with melodic precision and luxury. In this optimistic production, the mixing once again entrusted to James Ellis Ford, we hear for the first time a village children’s choir (“We Don’t Need Them”, “It’s Today Again”), which brings an innocent warmth. The whole thing gently closes with the delicate notes of the instrumental song “Nos Da” (“good night” in Welsh). Astounding. © Charlotte Saintoin/Qobuz

Proving that she's both fearless and capable of almost anything musically, Dolly Parton has taken her induction in the Rock & Roll Hall of Fame seriously and made a rock album built from a slew of favorite mainstream covers and several originals she wrote for the occasion. The respect she commands as a worldwide celebrity is reflected by the massive guest list whose vocal tracks were recorded elsewhere and mixed together in Nashville by producer Kent Wells and a veritable horde of engineers. Vocalists who make an appearance on the songs that they originally made famous include Sting ("Every Breath You Take"), Steve Perry ("Open Arms"), Elton John ("Don't Let the Sun Go Down"), Debbie Harry ("Heart of Glass"), and Paul McCartney and Ringo Starr ("Let It Be"). The voice of Lynyrd Skynyrd lead vocalist Ronnie Van Zant returns from the grave to sing a verse and duet on the choruses in the epic and appropriate closer, "Free Bird."  While Parton could have allowed a smile to peak out here or there on this massive undertaking, she plays it straight throughout.  Not surprisingly, women receive commendable attention as songwriters and guest players with performances by Ann Wilson, Parton's goddaughter Miley Cyrus, Stevie Nicks, Joan Jett, Lizzo and others. There are also flashes where Parton stops playing rock star. Her original "World on Fire" is a plea for unity and common sense to will out: "Now tell me what is truth/ Have we all lost sight/ Of common decency/ Of the wrong and right/ How do we heal this great divide/ Do we care enough to try?" What makes these 30 tracks work is that no one can sell it quite like Parton. While her voice strains on some  numbers—she's always been more of a careful interpreter than a furious belter—she's full of old pro wiles and is the soul of authenticity throughout; she gives her all to every number. In the rousing "(I Can't Get No) "Satisfaction" with P!nk and Brandy Carlile, Parton's between-line exhortations are heartfelt and spot on. Rather than arty re-interpretations or an empty marketing concept, this is an abundance of what Parton does best: feel the songs she's singing.  © Robert Baird/Qobuz

Yaeji's fans have been eagerly awaiting the release of her debut full-length album since a pair of 2017 EPs, the second of which featured club essential "Raingurl." With a Hammer showcases the Korean American singer, producer, DJ, visual artist and writer's talents across thirteen tracks as she takes listeners on a journey into the depths of her mind, addressing both societal and self-imposed repression accumulated over her lifetime. Despite the upbeat and club-ready sound of the second track, "For Granted," it's essential to note that With a Hammer is a deeply introspective vessel for Yaeji's inner thoughts. In a letter to fans accompanying the announcement of the album, Yaeji explained that she began tackling her inner demons by writing a story of herself and a hammer, which she crafted from her own anger. This narrative would guide Yaeji in her studio recording sessions. While tracks like "Passed Me By," which could easily be interpreted by a rock band as a head-banging anthem, or "Ready or Not" and "Happy"—which have elements of R&B supported by surprising drum beats—show glimpse of other genres, there's always a sprinkle of Yaeji's fun, glitchy aesthetic, which ties everything together into a beautiful sound collage. "I want to begin this album with intent. I want to take all that I've suppressed and let it breathe and live through this process of creation. I want my music to be free," Yaeji has stated. With a Hammer is an instant Qobuzissime; there is a weightlessness and lost-in-time feeling as you experience the intimate and delightful insight into her eclectic world. It is safe to say that her goal has been achieved. © Jessica Porter-Langson/Qobuz

Although Janet Jackson had released two records in the early '80s, they were quickly forgotten, and notably shaped by her father's considerable influence. Janet's landmark third album, 1986's Control, changed all that. On the opening title track, Jackson, with passion and grace, declares her independence, moving out of the gargantuan shadow of her brother Michael and on to the business of making her own classic pop album. The true genius of Control lies in the marriage of her extremely self-assured vocals with the emphatic beats of R&B production wizards Jimmy Jam and Terry Lewis. The duo was already well established in the music industry, but the practically flawless Control showcased Jam and Lewis' true studio mastery. For the better part of two years, Janet remained on the pop chart, with two-thirds of the album's tracks released as singles, including the ever-quotable "Nasty," the assertive "What Have You Done for Me Lately," the frenetically danceable "When I Think of You," and the smooth, message-oriented ballad "Let's Wait Awhile." Jackson achieved long-awaited superstar status and never looked back. © Jason Thurston /TiVo

During the late '50s, Ella Fitzgerald continued her Song Book records with Sings the George and Ira Gershwin Song Book, releasing a series of albums featuring 59 songs written by George and Ira Gershwin. Those songs, plus alternate takes, were combined on a four-disc box set, Sings the George and Ira Gershwin Song Book, in 1998. These performances are easily among Fitzgerald's very best, and for any serious fan, this is the ideal place to acquire the recordings, since the sound and presentation are equally classy and impressive.© Leo Stanley /TiVo

Just nine months after the release of Let’s Stay Together featuring the single with the same title, Al Green teamed up once again with production partner Willie Mitchell, aka the boss of Hi Records music label, for yet another legendary album. The minimalist and introspective I’m Still in Love With You has a refined, sexy soul sound and even explores country (a raunchy version of Kris Kristofferson’s For the Good Times) and rock ‘n’ roll (an original cover of Roy Orbison’s Pretty Woman). And of course, Al Green’s unique, suave tone is showcased right the way through this fifth album, released in 1972. The singer-reverend from Arkansas croons, scats, whispers and shouts; like a preacher on the verge of sin. The key ingredient to this soulful magic is the pared-down musical backdrop provided by Mitchell and his musicians, especially Al Jackson on drums (original member of Booker. T & The M.G.’s) who provides the music with its vital heartbeat. Never a trumpet too loud, never a string out of place or a note too many, no, everything runs as smoothly as a well-oiled machine in this album that ages beautifully like a fine wine. © Marc Zisman/Qobuz

The songs Emeli Sandé released as previews of her fourth studio album -- her first for the relaunched Chrysalis label -- were connected by little more than the singer/songwriter's voice and words. "Family" exuded rejuvenation and invincibility with Sandé's vocals, so modulated at points that they conflicted with the song's humanity, bursting through a mechanized rhythm and a blur of strings. More promising was "Look What You've Done," a lovestruck garage-flavored track Sandé produced herself. Add to those a clap-and-stomp optimist anthem ("Brighter Days") and a hopeless ballad resembling a refurbished mid-'80s torch song ("There Isn't Much"), plus an undaunted belter evoking the same era ("Ready to Love") and a woozy ballad in which Sandé is unfulfilled but reassuring ("Oxygen"). What to make of all that? Thematically and sonically, Let's Say for Instance does have some cohesion, if only in its final quarter, where it shifts from heartbreak to soul ache. There's palpable grief and anger regarding racist killings, theatrical consolation and affirmation for a loved one in a dark place, followed by "Brighter Days" and two closing songs overflowing with praise and encouraging platitudes. The first three quarters bounce around in style and emotion. They're most enjoyable when Sandé radiates uninhibited joy about her new love. Brightest of all is "My Pleasure," a delectable tropical bliss-out that tickles, flutters, and bobs like Sandé and producers Prince Galalie and Aquarelle aimed to make an undefeatable homage to Mariah Carey and Timbaland. The beaming "Look in Your Eyes" retrofits deep and funky post-disco (Prime Time's "I Owe It to Myself). "Summer," its tone set with gentle whirls from Oli Morris' saxophone, is Sandé's airiest love song yet, pure expression rather than a performance. A whole album of moments like those wouldn't have worn out its welcome. © Andy Kellman /TiVo

Drake’s highly anticipated follow up to the platinum Thank Me Later is full to the brim. Made up of beautiful contradictions, tender vocals, tight flows and big name collaborations, Take Care is a more than worthy successor to the Toronto rapper’s first studio album. Amongst the 19 tracks on the album are collaborations with the likes of Rihanna, The Weeknd, Kendrick Lamar, Rick Ross, Nicki Minaj, Lil Wayne and even Stevie Wonder (a harmonica solo on Doing It Wrong). Drake lays everything on the table here, displaying everything from sheer confidence (Headlines, HYFR) to mellow and fragile insights into his love life (Marvins Room, Doing It Wrong). The mix of deep, soulful singing and sharp rapping is what makes this album brilliant, and these two aspects don’t remain separated as Drake often combines the two in order to make his raps more melodic, something that has given him a more original sound during his rise to the top. Take Care also steps it up in terms of production with a team including T-Minus, 40, Jamie xx, Boi-1da, The Weeknd, Illangelo, Doc McKinney and Supa Dups. Despite the generally ambient style, the extensive list of producers makes for a reasonably diverse mix of techniques, influences (in terms of genre) and tempos.There are certainly some rap classics in waiting on Take Care, including the title track on which Drake and Rihanna play the love game by exchanging heartfilled verses over Jamie xx’s production. Headlines and Crew Love (featuring the Weeknd) have “hit” written all over them with their hard-hitting and confidence filled lyrics. Marvins Room soothes the soul with its tender vocals and jealousy driven lyrics, a classic emotionally charged (lost) love song. Drake and his mentor Lil Wayne shrug off all the meaningless questions coming their way on HYFR, a track radiating swagger. And finally he concludes the album with The Motto (featuring Lil Wayne and Tyga), a piece of pure rap brilliance. By the looks of things, Drake is settling into his status as a superstar nicely. © Euan Decourt/Qobuz

Exorcist is Selwyn Birchwood's fourth long-player for Alligator. The Florida guitar slinger and band's "electric swamp funkin’ blues" is again produced by Grammy-winner Tom Hambridge. It was recorded by Aaron Gandia and Pete Lutringer at Phat Planet Studios in Orlando. Where Birchwood's kaleidoscopic musical aesthetic has, in the past, occasionally sounded cluttered, the balance on Exorcist is almost perfect. Birchwood's unique frontline with saxophonist Regi Oliver framing his six-string and lap steel guitars is unchanged as keyboardist Ed Krout, bassist Donald "Huff" Wright, and drummer Byron "Bizzy" Garner, and trio of backing singers (Charlyce Simmons, Vanessa Hawkins, and Eric Green) fill out the personnel. Opener "Done Cryin'" weds soul, blues, and a Santana-esque Latin groove driven by horns, Wurlitzer piano, and a Hammond B-3. Birchwood's deep, sly, baritone vocal indicts a former lover for cruelty. Sunshine State politicians like Governor Ron DeSantis will likely disapprove of "Florida Man." With its lyrics offering tales of the bizarre ripped straight from the headlines -- taking alligators to the beer store, getting high on face-eating bath salts, automotive drinking only at stop lights, shooting at hurricanes, etc. According to Birchwood's lyric Florida is where "... the wild west meets the dirty south." The band opens with a rockist sprint before backing into steamy, horn-driven funk, appended with slap bass, ringing organ, and squalling lap steel breaks. "Horns Below Her Halo" is a sultry midtempo modern blues whose protagonist requires deliverance from bad romantic entanglements. Atop a swampy backdrop Birchwood observes, "I think Satan must be a woman/That’s why they call him Lucif-her…." "Underdog" follows with snaky, labyrinthine guitar- and keyboard-fueled urban funk. Birchwood responds to life's unfairness in the lyric, "My whole damn life people saying you're not good enough… Who are you to think you could measure up?/It's my instinct to give the finger, I just lift it up…." before lighting into a bumping lap steel break as keys, bass, drums, and saxes deepen the fat groove. "Lazarus" is a strolling soul-blues where Birchwood interacts with the chorus and saxophonist in call-and-response. "Plenty to Be Grateful for" gives Chicago blues and gospel a Memphis blues tinge. "Call Me What You Want to Mister" updates T-Bone Walker's and Louis Jordan's jump blues with an electrified, fingerpopping swing. It introduces the scorch and burn of "My Own Worst Enemy," a knotty modern blues with punchy jazz horns atop a funky Latin shuffle. Birchwood's gritty, expressive vocal adds depth, while his angry guitar delivers taut emotional emphasis. Exorcist is Birchwood's tightest, most adventurous set to date in his quest to create a contemporary context for the reinvention of American blues. © Thom Jurek /TiVo

In the year of his 90th birthday (which he would have celebrated on the 23rd of September 2020 had he not died in 2004), Ray Charles is honoured with a new 90-track compilation box set. Just another compilation like all the rest? Yes and no. Ray Charles is undoubtedly one of the most-compiled artists in the history of music. Published by Tangerine, the label that the musician set up at the end of the 50s to keep the rights to his songs, this box set starts out like all the others: with the post-Atlantic hits, Georgia On My Mind, Hit The Road Jack, One Mint Julep, Busted... These are timeless treasures of proto-soul, but there doesn't seem to be much novelty here. The rest is much more interesting, and much rarer: tracks recorded between the second half of the 1960s and the 2000s, many of which were only released on vinyl, never reissued on CD and until now unavailable on digital. This is the first time that Ray Charles' lesser-known years have been given the compilation treatment in this way, and it is a revelation. In the 90s and 2000s, the production of his songs had a synthetic feel, and they did not age too well. These rarer songs are often hidden gems of southern soul, flavoured with country and wrapped in sumptuous symphonic orchestrations. Whether he is singing the Muppets (It's Ain't Easy Being Green) or Gershwin (Summertime, a duet with Cleo Laine), Ray Charles is always deeply moving. Now, the dream is to hear reissues of all these albums in their entirety. © Stéphane Deschamps/Qobuz

Almost ten years after "Mr. Brightside" helped turn the Killers into new millennial rock sensations, the time has come for a hits collection. Calling the compilation Direct Hits -- a punning title that feels timeless but has rarely been used before, a nifty encapsulation of the group's style and attributes -- the Killers cannily use the singles-centric conceit to showcase the band at their overblown best, emphasizing their arena-sized neo-new wave just slightly over their Springsteenisms. Both are on display on the two new songs -- "Shot at the Night" and "Just Another Girl," songs that sound as if U2, Springsteen, and the Cars created a supergroup in 1988 -- but the main benefit of Direct Hits, especially for those listeners who have always doubted the skills of the Killers, is how the operatic ambitions of Sam's Town feel not so extravagant when bookended by selections from Day & Age and Battle Born. All three of the albums -- which are represented by three cuts a piece -- sound strong here but what really has lasted are those singles from 2004's Hot Fuss, especially the initial breakthroughs "Mr. Brightside" and "All These Things That I've Done," which now seem to capture a particular moment in time and yet also transcend it.© Stephen Thomas Erlewine /TiVo