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Hallelujah & Songs from His Albums
Leonard Cohen
Pop - Released June 3, 2022 | Columbia - Legacy
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Ragged Glory - Smell The Horse
Neil Young
Rock - Released October 11, 1990 | Reprise
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Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. Much about the record had a retrospective feel -- the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.© William Ruhlmann /TiVo
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Watch The Throne
Jay Z and Kanye West
Hip-Hop/Rap - Released August 12, 2011 | Roc Nation - RocAFella - IDJ
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The Qobuz Ideal Discography -
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Sélection Les Inrocks
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One More From The Road
Lynyrd Skynyrd
Rock - Released September 1, 1976 | Geffen*
Double live albums were commonplace during the '70s, even for bands that weren't particularly good in concert. As a travelin' band, Lynyrd Skynyrd made their fame and fortune by being good in concert, so it made sense that they released a double-live, entitled One More from the Road, in 1976, months after the release of their fourth album, Gimme Back My Bullets. That might have been rather quick for a live album -- only three years separated this record from the group's debut -- but it was enthusiastically embraced, entering the Top Ten (it would become one of their best-selling albums, as well). It's easy to see why it was welcomed, since this album demonstrates what a phenomenal catalog of songs Skynyrd accumulated. Street Survivors, which appeared the following year, added "That Smell" and "You Got That Right" to the canon, but this pretty much has everything else, sometimes extended into jams as long as those of the Allmans, but always much rawer, nearly dangerous. That catalog, as much as the strong performances, makes One More from the Road worth hearing. Heard here, on one record, the consistency of Skynyrd's work falls into relief, and they not only clearly tower above their peers based on what's here; the cover of "T for Texas" illustrates that they're carrying on the Southern tradition, not starting a new one. Like most live albums, this is not necessarily essential, but if you're a fan, it's damn hard to take this album off after it starts.
© Stephen Thomas Erlewine /TiVo
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Pack Up The Plantation: Live!
Tom Petty & The Heartbreakers
Rock - Released November 26, 1985 | Geffen*
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Considering that Southern Accents took so much time and money to complete, finally hitting the stores two and a half years after Long After Dark, it wasn't surprising that Tom Petty & the Heartbreakers decided to release a double live album, Pack Up the Plantation: Live!, a mere eight months after its release. After all, Southern Accents was criticized from many corners for being too slick, too much in Dave Stewart's corner instead of the Heartbreakers', so it made sense to quickly return the focus to the band, showcasing the group as the rockers they are. Pack Up the Plantation does do that, even if it isn't quite the barnburner it should have been. Part of the problem is that the song selection isn't quite as good as it could have been, relying heavily on Southern Accents material, including the weak "It Ain't Nothin' to Me." Then again, the weaker songs and dubious choices are outweighed by a strong performance and neat surprises like a tough "Insider" and covers of "So You Want to Be a Rock & Roll Star," "Needles and Pins," and "Don't Bring Me Down." That alone makes it worth investigating for dedicated fans, even if it doesn't quite deliver the knockout punch many listeners might have wanted.© Stephen Thomas Erlewine /TiVo
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E.T. The Extra-Terrestrial (Steven Spielberg, 1982) Original Motion Picture Soundtrack
John Williams
Film Soundtracks - Released January 1, 1982 | Geffen*
To coincide with the re-release of a new version of E.T. with previously unseen footage and a digitally remixed soundtrack, this CD -- digitally remastered and remixed, natch -- was issued. The big (well, rather small actually) bonuses this time around are three previously unreleased selections from the score, boosting the track total to 21. Judged purely by the standards of soundtrack music, John Williams' score is nothing special. Its languorous orchestration is delivered with a good deal of restraint, to convey the mystery, uncertainty, and sometimes unease of a melodramatic film about the discovery of extraterrestrial life. Indeed at times you'll be wondering if the volume on your stereo has been accidentally lowered, as some sections fall toward the threshold of audibility. Only occasionally does the mood become jubilant or overtly sentimental. It's for the most part unobtrusive background moods for the film's story, more comforting than eerie, whether or not that was the intention. At 75 minutes of running time it's good value, though.© TiVo
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Sounds... And Stuff Like That!
Quincy Jones
Jazz - Released January 1, 1978 | A&M
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With ears dead set on the trends of the moment but still drawing now and then on his jazz past, Quincy Jones came up with another classy-sounding pop album loaded with his ever-growing circle of musician friends. Disco was king in 1978 and Jones bows low with the ebullient dance hit "Stuff Like That" -- which is several cuts above the norm for that genre -- along with a healthy quota of elegantly produced soul ballads. Yet amidst the pop stuff, Jones still manages to do something fresh and memorable within the jazz sphere with a gorgeous chart of Herbie Hancock's "Tell Me a Bedtime Story." Hancock himself sits in impeccably on electric piano, and violinist Harry Lookofsky painstakingly overdubs one of Hancock's transcribed solos on 15 violins. Despite the cast of hundreds that is now de rigueur for Quincy Jones, the record does not sound over-produced due to the silken engineering and careful deployment of forces. © Richard S. Ginell /TiVo
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The #1's
The Supremes
Soul - Released January 1, 2003 | UTV - Motown
Surprisingly, very few artists can float a digital-age collection of number one singles without resorting to trickery involving foreign countries or obscure charts. The Beatles had little trouble (The Beatles 1) and Elvis Presley managed both a disc of number ones (Elvis: 30 #1 Hits) and one of number twos (2nd to None), but Michael Jackson bent the rules so far that calling his disc Number Ones is tantamount to consumer fraud. Additionally, a collection of number one singles may not be the best representation of an artist's career; the Elvis volume included nothing from his Sun years, and the Beatles' set skipped "Strawberry Fields Forever." The #1's, Motown's collection of chart-toppers by Diana Ross & the Supremes, fares much better. It benefits from two Supremes characteristics: as a pop group through and through, their biggest hits were often their best songs, and, with the help of the solo Diana Ross, they spent a long time on the charts (nearly 20 years separates the Supremes' debut at the top from Ross' last number one single). While Motown's separate volumes on Diana Ross and the Supremes (in the Ultimate Collection series) remain the best source for a single-disc picture of either act, The #1's works remarkably well. It includes 19 number one pop singles (13 from the group, six from the solo Ross), plus various number ones on the R&B and dance charts, and there aren't any glaring omissions. Granted, fans of early Motown can't live without the girl-group chestnuts "Buttered Popcorn" and "Your Heart Belongs to Me," while those who enjoy latter-day Ross won't find "One More Chance" or "Why Do Fools Fall in Love?" -- but of course, this collection wasn't created with them in mind. For the group who recorded more hit singles during the '60s than any other act except the Beatles, and for one of the reigning solo artists of the '70s, The #1's is a worthy tribute.© John Bush /TiVo
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Carpenters
The Carpenters
Pop - Released May 14, 2022 | A&M
The Carpenters' radio-friendly soft rock virtually defined the genre in the early 1970s, and this album -- their third full-length -- was the group's ace card. Following on the heels of the wildly successful Close to You, Carpenters features more breezy melodies marked by rich arrangements and beautiful lead vocals, courtesy of siblings Richard Carpenter and Karen Carpenter, respectively. The record is most notable for two of the duo's strongest and best-loved singles. "Rainy Days and Mondays," written by soft pop gods Paul Williams and Roger Nichols, is a bittersweet pop masterpiece fleshed out by Richard's string orchestrations and smoothly produced backing vocals, while Leon Russell and Bonnie Bramlett's "Superstar," from its melancholic verse to its dramatic chorus, is equally hard to resist. (Both songs showcase Karen's sultry alto.) The rest of the album includes Richard's bubble-gum pop originals, another Williams-Nichols tune ("Let Me Be the One"), and a medley of Burt Bacharach-Hal David tunes. Even more commercially streamlined than its predecessors, Carpenters is a classic of early-'70s pop.© Rovi Staff /TiVo
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All I Know So Far: Setlist
P!nk
Pop - Released May 21, 2021 | RCA Records Label
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Everything I Thought It Was
Justin Timberlake
Pop - Released March 15, 2024 | RCA Records Label
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Take Off Your Pants And Jacket
blink-182
Alternative & Indie - Released January 1, 2001 | Geffen*
Not too much has changed since we last left blink-182. You might hear the same snap, crackle, and pop that the trio has prided themselves on for almost ten years. There's even the continual cabbage-patch screech of Tom Delonge and support for rampant teen angst. But five albums later, these San Diego natives grab their rosy-cheek punkadelics and add a bit more of a flamboyant, passionate maturation on Take Off Your Pants and Jacket. When Enema of the State leaped onto the charts in 1999, the lyrical direction was 90 percent party-boy mentality, leaving little room for traces of a growth spurt. And while we're still feeling the continual back-drip of tracks from Enema, the fresh plethora of tunes from these rambunctious Toys-R-Us rockers have more purpose than ever. With a fight-for-your-right joviality that's often irresistible, songs like "Anthem Part 2" and "Stay Together for the Kids" house a indomitable school-kid voice where a surging vapor of knockout speed chords meet wrecking-ball percussion. The meanings are bucketed and spilled, with lines like "If we're f*cked up/You're to blame" ("Anthem Part 2"). And forget about escaping lyrics such as, "I'll never talk to you again/Unless your dad 'ill suck me off," which stems from the hilarious, almost brilliant 42-second clash called "Happy Holidays, You Bastard." "First Date" and "Roller Coaster" are only a couple of their tunes that act as therapy for post-pubescent dilemma, also present on previous efforts like Enema and Dude Ranch. Each song about the rotten girlfriend or unhip parent speaks loud and often to the 2000 MTV generation. Nevertheless, the dumped-in-the-amusement-park tone and lyrical progression are sharp, if not entertaining. The band's stint on the Vans Warped Tour, with veteran punksters such as Pennywise and Rancid, has become a supreme outlet for blink-182. Take Off Your Pants is one of their finest works to date, with almost every track sporting a commanding articulation and new-school punk sounds. They've definitely put a big-time notch in the win column.© Darren Ratner /TiVo
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The Presidents of The United States of America: Ten Year Super Bonus Special Anniversary Edition
The Presidents Of The United States Of America
Rock - Released January 1, 1995 | PUSA Music
Presidents of the United States of America employed a bit of synergy on Election Day 2004, releasing lovingly remastered, expanded editions of their 1995 debut and the 2000 LP Freaked Out and Small. It was the debut that blew up originally, positing the Presidents in the midst of the mid-'90s grunge explosion with singles like "Peaches," "Lump," and "Kitty." With their modified lineup -- vocalist Chris Ballew played a "basitar," while cohort Dave Dederer rocked the "guitbass" -- PUSA couldn't create the thick sonics of their fellow Seattle grungers. But their quirky take on punk-pop did help expand the palette of MTV and alternative radio, and make their oddball singles part of the enduring sound of the era. This expanded edition arrives via Ballew, Dederer, and drummer Jason Finn's own PUSA imprint. It includes the original album in its entirety, as well as 12 bonus tracks and demos dating from the same era. (And mindset, as "Carolyn's Booty" proves. "I caught a glimpse of Carolyn's booty/As she was going from the bathroom into my bedroom....") Presidents fans will dig the demos, especially. Taken from Ballew's four-track cassette demos, they're a gloriously weird jumble of muffled Mellow Gold-era Beckisms ("Stranger" and "Boll Weevil," particularly) and the kind of loopy humor that would bloom on Presidents itself. If that's not enough bonus material, this "Ten Year Super Bonus Special Anniversary" edition includes a "Super Bonus Thrillpack DVD," with videos, live material, and commentary from the band. Vote yes on the Presidents!© Johnny Loftus /TiVo
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Let Me Up (I've Had Enough)
Tom Petty & The Heartbreakers
Rock - Released April 21, 1987 | Geffen*
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Tom Petty & the Heartbreakers spent much of 1986 on the road as Bob Dylan's backing band. Dylan's presence proved to be a huge influence on the Heartbreakers, turning them away from the well-intentioned but slick pretensions of Southern Accents and toward a loose, charmingly ramshackle roots rock that harked back to their roots yet exhibited the professional eclecticism they developed during the mid-'80s. All of this was on full display on Let Me Up (I've Had Enough), their simplest and best album since Hard Promises. Not to say that Let Me Up is a perfect album -- far from it, actually. Filled with loose ends, song fragments, and unvarnished productions, it's a defiantly messy album, and it's all the better for it, especially arriving on the heels of the well-groomed Accents. Apart from the (slightly dated) rant "Jammin' Me'" (co-written by Dylan, but you can't tell), there aren't any standouts on the record, but there's no filler either -- it's just simply a good collection of ballads ("Runaway Trains"), country-rockers ("The Damage You've Done"), pop/rock ("All Mixed Up," "Think About Me"), and hard rockers ("Let Me Up [I've Had Enough]"). While that might not be enough to qualify Let Me Up as one of Petty & the Heartbreakers' masterpieces, it is enough to qualify it as the most underrated record in their catalog.© Stephen Thomas Erlewine /TiVo
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DS2
Future
Hip-Hop/Rap - Released July 17, 2015 | Epic - Freebandz - A1
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Pitchfork: Best New Music
Perhaps it was the threat of Young Thug beginning to rise, but whatever the reason, 2015 was the year when Future leapt forward artistically, captivating the mixtape circuit with three releases (56 Nights, Beast Mode, and Monster) that all pushed the envelope. His massive hit "Commas" -- which only appears on the "Deluxe" version of this album -- was more of an expected move coming from a party rapper who's always drenched in Auto-Tune, and often with purple drank in hand. With the release of the album DS2 -- Dirty Sprite 2, named after his hit mixtape -- he becomes a hip-hop version of Lee "Scratch" Perry, a strange and yet in command figure standing at the center of a slick, inventive swirl of music. Strange as in "I ain't got no manners for sluts/I'ma put my thumb in her butt," which he declares during the Xanax-fueled highlight "Stick Talk." Singer Miguel might make that sound smooth, but butt man Future also notes "Started sipping syrup, I've been geeked ever since." Could be true, since hallucinatory seems to be home base for everything here, including the persuasive "Rich $ex," which is Ludacris' "Pimpin' All Over the World" melting into a Salvador Dali painting. The love of drugs comes from the quest to see something new as "Groupies" declares "Sip on my cup, it's a movie/I pop a perc, it's a movie" before delivering the album's ultimate punch line, "I smoke that ooh-la-la like a Fugee." "Slave Master" is the album's bad trip, and still a highlight, as slowly dissolving keyboards and a melancholic Future pay homage to the late A$AP Yams, who died of accidental acute mixed drug intoxication, an irony the rapper seems to acknowledge by drifting over words as the song comes to a close. Even so, "I just took a piss and saw codeine comin' out" is the way he rolls, so consider this a Schedule 2 album and lock up the medicine cabinet because Future makes it sound like the gateway to a magical, luminous place.© David Jeffries /TiVo
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Alone Together
Dave Mason
Rock - Released January 1, 1970 | Geffen*
Dave Mason's first solo album was one of several recordings to come out of the Leon Russell/Delaney & Bonnie axis in 1970. (Other notables included Eric Clapton's solo debut and Joe Cocker's Mad Dogs & Englishmen.) Alone Together contains an excellent batch of melodically pleasing songs, built on a fat bed of strumming acoustic guitars with tasteful electric guitar accents and leads. Mason's vocals are embellished with harmonies from Rita Coolidge, Claudia Lennear, and Delaney & Bonnie. Besides the well-known semi-hit "Only You Know and I Know," and which was also a number 20 hit for Delaney & Bonnie, highlights include the bouncy gospel-inflected "Waitin' on You" and the banjo-bejeweled "Just a Song." "Look at You Look at Me" and the wonderfully wah-wahed "Shouldn't Have Took More Than You Gave" are reminiscent of Mason's former band, Traffic, whose drummer, Jim Capaldi is among the all-star cast assembled here. Alone Together represents Dave Mason at his peak. Later releases would betray lyrical shallowness, forced rhymes, and clichéd guitar licks. But here, everything comes together perfectly. The original vinyl release of Alone Together was also noteworthy for the marble grain of the record itself -- as the record played on the turntable, the tone arm appeared to be floating through the clouds.© Jim Newsom /TiVo
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Crybaby
Tegan And Sara
Alternative & Indie - Released October 21, 2022 | Mom+Pop
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Blues On The Bayou
B.B. King
Blues - Released January 1, 1998 | Geffen*
B.B. King made his debut as producer with Blues on the Bayou, released in October 1998. He employs the most basic of ideas for this project: record an album of B.B. King tunes, with B.B. King's regular road band, under B.B. King's supervision. Keeping it loose, relaxed, and focused, King cut this album in four days down at a secluded studio in Louisiana and came up with one of his strongest, modern-day albums in many years. No duets, no special guests, just King and his road warrior band, playing his songs with him producing the results -- no overdubs, just simple, no-nonsense blues done like he would do them on-stage. The result is a no-frills, straight-ahead session that shows that King might be have been 73 at the time of this date, but he still had plenty of gas left in the tank. Tracks like "I'll Survive," and the jumping "Shake It Up and Go," "Darlin' What Happened," the minor keyed "Blues Boy Tune," the instrumental "Blues We Like," and the closing "If That's It I Quit" show him stretching out in a way he has seldom done in a studio environment, and the result is one of his best albums in recent memory.
© Cub Koda /TiVo
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The Essential Leonard Cohen
Leonard Cohen
Pop - Released January 28, 2002 | Columbia
The tracks on this two-CD, 31-song anthology, spanning Cohen's career from his 1967 debut album through 2002's Ten New Songs, were chosen by Cohen himself. It could thus be regarded as an accurate mirror of how Cohen sees his own career path and catalog highlights. And there are many of the songs you would expect from any decent Cohen retrospective: "Suzanne," "Sisters of Mercy," "So Long Marianne," "Bird on a Wire," "Famous Blue Raincoat," and "I'm You're Man," for instance. Still, the balance and selection isn't ideal. There's just one song ("Famous Blue Raincoat") from Songs of Love and Hate, and no songs at all from Death of a Ladies Man. Cohen's 1988-2002 period is arguably overrepresented, with about half of the package's tunes dating from that era. And because his later period is so prominently featured, most listeners won't be able to get around the fact that his voice declined in expressive range in the later years, and his material was less striking than his best early songs. Still, for those who've enjoyed Cohen all along, it's a good dose of much of his better work, and certainly doesn't skimp on the running time, with each of the discs lasting 78 minutes.© Richie Unterberger /TiVo
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