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Dominique Fils-Aimé Nameless
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Nameless

Dominique Fils-Aimé

R&B - Released February 2, 2018 | Ensoul Records

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Youn Sun Nah Elles

Elles

Youn Sun Nah

Vocal Jazz - Released January 26, 2024 | Warner Music Central Europe

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After a period of introspection, personal as well as artistic, Korean musician Youn Sun Nah returns to her first loves as a “jazz singer” by coming out with a new album, soberly titled Elles. During this period, she travelled to the US for the duration of a collaboration with Jamie Saft, focused on a repertoire of pop-rock songs in English (She Moves On), and then definitively affirmed her talents as a songwriter with the release of a record composed entirely of her own pieces for the first time in her career (Waking World). This new album takes the intimate duo format which suits her so well, as she is accompanied on the piano - as well as on the Wurlitzer keyboard and Fender Rhodes - by American Jon Cowherd (member of the Brian Blade Fellowship since 1998 and sought-after partner of singers like Cassanfra Wilson and Lizz Wright). With the vocal expertise we know to expect from her, Youn Sun Nah interprets the abounding seductiveness of an eclectic repertoire consisting of great jazz, pop, and chanson classics made famous by iconic female artists. Passing masterfully from Björk (“Cocoon”) to Édith Piaf (“La Foule”), from Grace Jones (“Libertango”) to Nina Simone (“Feeling Good”), from Grace Slick of Jefferson Airplane (“White Rabbit”) to Roberta Flack (“Killing Me Softly”), the singer yet again her imbues very personal interpretations, magnificently orchestrated by Cowherd’s various keyboards, with an emotional intensity that is so unique. It is paradoxically supported by a sort of expressive modesty founded on a greatly precise sense of phrasing, and uses the subtle art of vibrato to allow the unfathomable depths of these songs that we thought we knew by heart to surface. © Stéphane Ollivier/Qobuz
Toto Toto IV
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Toto IV

Toto

Pop/Rock - Released April 1, 1982 | Columbia

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It was do or die for Toto on the group's fourth album, and they rose to the challenge. Largely dispensing with the anonymous studio rock that had characterized their first three releases, the band worked harder on its melodies, made sure its simple lyrics treated romantic subjects, augmented Bobby Kimball's vocals by having other group members sing, brought in ringers like Timothy B. Schmit, and slowed down the tempo to what came to be known as "power ballad" pace. Most of all, they wrote some hit songs: "Rosanna," the old story of a lovelorn lyric matched to a bouncy beat, was the gold, Top Ten comeback single accompanying the album release; "Make Believe" made the Top 30; and then, surprisingly, "Africa" hit number one ten months after the album's release. The members of Toto may have more relatives who are NARAS voters than any other group, but that still doesn't explain the sweep they achieved at the Grammys, winning six, including Album of the Year and Record of the Year (for "Rosanna"). Predictably, rock critics howled, but the Grammys helped set up the fourth single, "I Won't Hold You Back," another soft rock smash and Top Ten hit. As a result, Toto IV was both the group's comeback and its peak; it remains a definitive album of slick L.A. pop for the early '80s and Toto's best and most consistent record. Having made it, the members happily went back to sessions, where they helped write and record Michael Jackson's Thriller.© William Ruhlmann /TiVo
Nina Simone I Put A Spell On You
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I Put A Spell On You

Nina Simone

Vocal Jazz - Released January 1, 1965 | Philips

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One of her most pop-oriented albums, but also one of her best and most consistent. Most of the songs feature dramatic, swinging large-band orchestration, with the accent on the brass and strings. Simone didn't write any of the material, turning to popular European songsmiths Charles Aznavour, Jacques Brel, and Anthony Newley, as well as her husband, Andy Stroud, and her guitarist, Rudy Stevenson, for bluesier fare. There are really fine tunes and interpretations, on which Simone gives an edge to the potentially fey pop songs, taking a sudden (but not uncharacteristic) break for a straight jazz instrumental with "Blues on Purpose." The title track, a jazzy string ballad version of the Screamin' Jay Hawkins classic, gave the Beatles the inspiration for the phrasing on the bridge of "Michelle."© Richie Unterberger /TiVo
Nina Simone Great Women Of Song: Nina Simone
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Great Women Of Song: Nina Simone

Nina Simone

Jazz - Released February 17, 2023 | Verve

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Muse Origin of Symmetry
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Origin of Symmetry

Muse

Alternative & Indie - Released July 17, 2001 | Warner Records

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In 2001, this second effort by Muse was a great success worldwide and set the stage for the years to come. It was dark: very dark. The often torn voice of Matthew Bellamy offered millions of teenagers a point of reference. Some critics have panned the British band for its grandiloquent, even pompous tendencies. But this group's strength lies precisely in its romantic flights and excessive expressions of emotion, that is how they have touched millions of people who feel the same way. To celebrate and pay tribute to this landmark album which defined an era, Muse have brought out this new version, subtitled XX Anniversary RemiXX. They have called on veteran producer Rich Cosey, who worked on almost every album released since this one first came out. Cosey remixed and remastered all the tracks for a clearer, more dynamic sound, which helps us rediscover sounds which were previously muffled by the rather less subtle first mix. For example, the strings on the pieces Space Dementia, Citizen Erased and Megalomania are much clearer on this version. The same goes for the harpsichord on Micro Cuts. There is also a repeat appearance for another song: Futurism was not in the original track listing, except on the Japanese release, where it featured as a bonus track. It fits harmoniously between Feeling Good and Megalomania. Another novelty for the twentieth anniversary edition is the new cover art by artist Sujin Kim. It is a digital reworking of the original drawing. All in all, anyone who enjoyed Origin of Symmetry the first time around will find that this revamped version offers a stronger, more exciting experience than the original. © Yan Céh/Qobuz
Muse Origin of Symmetry (XX Anniversary RemiXX)
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Origin of Symmetry (XX Anniversary RemiXX)

Muse

Alternative & Indie - Released July 17, 2001 | Warner Records

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In 2001, this second effort by Muse was a great success worldwide and set the stage for the years to come. It was dark: very dark. The often torn voice of Matthew Bellamy offered millions of teenagers a point of reference. Some critics have panned the British band for its grandiloquent, even pompous tendencies. But this group's strength lies precisely in its romantic flights and excessive expressions of emotion, that is how they have touched millions of people who feel the same way. To celebrate and pay tribute to this landmark album which defined an era, Muse have brought out this new version, subtitled XX Anniversary RemiXX. They have called on veteran producer Rich Cosey, who worked on almost every album released since this one first came out. Cosey remixed and remastered all the tracks for a clearer, more dynamic sound, which helps us rediscover sounds which were previously muffled by the rather less subtle first mix. For example, the strings on the pieces Space Dementia, Citizen Erased and Megalomania are much clearer on this version. The same goes for the harpsichord on Micro Cuts. There is also a repeat appearance for another song: Futurism was not in the original track listing, except on the Japanese release, where it featured as a bonus track. It fits harmoniously between Feeling Good and Megalomania. Another novelty for the twentieth anniversary edition is the new cover art by artist Sujin Kim. It is a digital reworking of the original drawing. All in all, anyone who enjoyed Origin of Symmetry the first time around will find that this revamped version offers a stronger, more exciting experience than the original. © Yan Céh/Qobuz
Faye Webster Underdressed at the Symphony
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Underdressed at the Symphony

Faye Webster

Alternative & Indie - Released March 1, 2024 | Secretly Canadian

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Atlantan singer-songwriter Faye Webster is no stranger to blending genres. Like its predecessors, this fifth studio album consistently mixes influences from indie-folk, indie-pop, and jazz, adding hints of R&B ("Feeling Good Today"), rockier sounds ("He Loves Me Yeah!"), and even string arrangements ("Underdressed at the Symphony," "Lifetime"). The band—featuring Bryan Howard on bass, Charles Garner on drums, Nels Cline (Wilco) on guitar, and Matt Stoessel on pedal steel—undeniably deserves a shoutout.  They steep the record in a country-style melancholia native to Webster's southern American home. Everyone is riding the same wavelength, creating a relaxing yet subtly intricate sound with instruments that interweave conversationally, calling and responding to each other while Webster's charming voice floats above everything. Its dreamy quality is emphasised by autotune in "Feeling Good Today" and "Lego Ring," on which she is joined by fellow Atlantan and long-time friend Lil Yachty, who adds distorted harmonies and his own juvenilely humorous verse: "Me and you are the dream team/ Always together like string beans. The album is peppered with surprises that keep it engaging, from tempo changes ("But Not Kiss," "Lego Ring") to interesting percussive accents ("Thinking About You," "eBay Purchase History") to word painting in the string crescendo that interrupts the title track. Underdressed at the Symphony was named after Faye Webster's impromptu visits to symphony concerts as she dealt with a break-up. The juxtaposition aptly reflects the record's understated and easy-going vibe, infused with a certain grandiosity and complexity led by the use of grand piano and coupled with the wistful wit that always permeates her confessional lyrics ("I'm depriving myself of happiness, something I'm really good at."). At times, Underdressed drifts away into repetitive refrains, but provided they are not opposed to getting lost in the band's lethargic lyricism—glossed in her ethereal vocals—Faye Webster fans will not be disappointed. © Ciara Rivers/Qobuz 
Rodney Crowell The Chicago Sessions
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The Chicago Sessions

Rodney Crowell

Country - Released May 5, 2023 | New West Records, LLC

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Not as well-known as his frequent duet partner (and former employer) Emmylou Harris, nor as renowned as other Texas troubadours like Townes Van Zandt and Guy Clark, Rodney Crowell remains a vitally creative forefather in the Americana scene. Crowell, who was also once Johnny Cash's son-in-law, found himself to be an ill fit for the mainstream country machine in the 1970s, but has remained open to new paths to creativity as evidenced by this collaboration with Wilco's Jeff Tweedy. Recorded at the Loft, the band's Chicago studio, these sessions are based on Crowell, who at 72 retains an expressive voice, playing it straight, most conspicuously on a lovely, respectful voice-and-acoustic guitar cover of Townes Van Zandt's "No Place to Fall." In the bluesy "Oh Miss Claudia" Crowell leans on his Houston heritage in a salute to his wife, singer Claudia Church. A collaboration with Ashley McBryde keeps Crowell in touch with the work of younger artists. And thanks to buzzy guitar, "Ever the Dark" lives in a convincing rock groove. Raised in the school of classic singer-songwriters, Crowell ends the album with "Ready to Move On," a summation of his current state of mind. As for Tweedy's influence, the melding of talents here works; he's a light but perceptible presence throughout and Crowell is too established as an artist to let anything change him or his art that dramatically. The recording is sharp, clear, and well-mixed. While their songwriting collaboration "Everything at Once," in which they swap vocal choruses is likable enough, it's in the version of "You're Supposed To Be Feeling Good" that the producer's influence is most audible.  Written by Crowell and featured on Emmylou Harris' 1976 Luxury Liner album when he was a member of her band, this "Wilco-ized" version features changed phrasings and chorus chords, and a more abrupt ending that gives it an overall sunnier hue.  None of these updates are outlandish or in bad taste but they do change the song's trajectory. It's a brave experiment many songwriters would never have had the confidence to try, and a nod to Crowell's continued relevance in the Americana conversation. © Robert Baird/Qobuz 
Bruce Springsteen The Promise
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The Promise

Bruce Springsteen

Pop/Rock - Released November 15, 2010 | Columbia

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Violent Femmes Violent Femmes
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Violent Femmes

Violent Femmes

Alternative & Indie - Released January 1, 1983 | Craft Recordings

One of the most distinctive records from the first days of alternative rock and an enduring cult classic, Violent Femmes brought the tense, jittery, hyperactive feel of new wave to a then unlikely context: raw, amateurish acoustic instrumentation. The music also owes something to both the urgency and straightforwardness of punk, but with minimalistic drums, Brian Ritchie's busy acoustic bass riffing and simplistic, to-the-point songwriting, the Femmes forged a sound all their own. Still, one of the main reasons Violent Femmes became the musical embodiment of young adult angst is lead singer and songwriter Gordon Gano. Naïve and childish one minute, bitterly frustrated and rebellious the next, Gano's vocals perfectly captured the contradictions of adolescence and the torment of making the transition to adulthood. Clever lyrical flourishes didn't hurt either; while "Blister in the Sun" has deservedly become a standard, "Kiss Off"'s chant-along "count-up" section, "Add It Up"'s escalating "Why can't I get just one..." couplets, and "Gimme the Car"'s profanity-obscuring guitar bends ensured that Gano's intensely vulnerable confessions of despair and maladjustment came off as catchy and humorous as well. The songwriting throughout is no-frills but effective, with straight pop structures like "Please Do Not Go" remaining uncluttered enough for every minute detail to be immediately apparent, and fragile closer "Good Feeling" tender and spacious in the same way the best Velvet Underground ballads were. Arriving right when punk rock was mutating into hardcore, Violent Femmes offered a contrarian counterpoint to the overt aggression of the band's more distorted peers. These incomplex songs played on unamplified wooden instruments carried as much bile as the most ear-shattering punk band, and conveyed it all in a toxic mutter that was all the more intense for its relative quiet. The album helped create what became the template for college rock and subsequent movements in alternative music, and the Violent Femmes would refine and revise the formula that arrived here in its perfect, acerbic form for decades to come.© Steve Huey & Fred Thomas /TiVo
Ane Brun Portrayals
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Portrayals

Ane Brun

Alternative & Indie - Released March 10, 2023 | Universal Music AB

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Ane Brun’s unmistakable voice incarnates the sweet softness of her ballads in its tonality; mellifluous and light, with a slight tremble that ushers in a precious ephemerality. Playful as Joanna Newsom and Fiona Apple, powerful as Joni Mitchell and Dolly Parton, this Norwegian has reconstituted the art of her elders to come up with her own music, for her own universe. Her personal touch resonates even throughout her covers. To celebrate the 20th anniversary of her career, Ane Brun has returned to her signature move by releasing four perfect compilations, exclusively covers, of which Portrayals is the first volume. “Covers have been such a big part of my career. It’s almost a career in itself. They have their own dynamic. I wanted to celebrate that by giving these songs their own space. It’s always a real creative process to record your own version of someone else’s song. I’m not interested in doing a cover version that sounds like the original…” Like Nina Simone, or, closer to home, Cat Power, the Scandinavian makes every song her own. Something that is all the more impressive given that the "revisited" artists come from any background in whichever decade. Portrayals features tracks from Sade (By Your Side), Nick Cave (Into My Arms), Bob Dylan (Make You Feel My Love), Radiohead (How to Disappear Completely), Emmylou Harris (All My Tears), Foreigner (I Want to Know What Love Is), Alphaville (Big in Japan), Beyoncé (Halo), Rodgers & Hart (Blue Moon), the Beatles (From Me to You) and many others. Magical. © Marc Zisman/Qobuz
Nina Simone Feeling Good: Her Greatest Hits And Remixes
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Feeling Good: Her Greatest Hits And Remixes

Nina Simone

Jazz - Released February 11, 2022 | Verve

Thanks to a steady stream of reissues and her central role in Questlove's 2021 Summer of Soul documentary, Nina Simone has lately been accumulating some of the overdue praise she was denied in life. This fiercely gifted and intelligent pianist, who out of necessity eventually discovered her distinctive singing voice, was especially productive from 1964 until 1967 when she recorded most of what's on this compilation. That mid-'60s period is also when Simone moved from innocuous pop standards to protest songs, many of which she wrote or rearranged herself. Many of her best-known mid-period tunes are here: "I Put A Spell On You," “Sinnerman," "Don't Let Me Be Misunderstood," and the triumphant and justly famous 1964 live version of "Mississippi Goddam" from Carnegie Hall. This brief best-of is completed by the addition of her first hit, "My Baby Just Cares for Me" from 1957. What's new here are remixes of seven tunes whose original versions also appear on this reissue. Opener "Feeling Good," gets a ready-for-the-club makeover from DJ Joel Corry while dance duo Sofi Tukker, who've worked with Lady Gaga and Rodrigo y Gabriela, emphasize Simone's piano part on "Sinnerman" before settling into a standard dance beat. UK duo HONNE evade the dance beat sameness with a downbeat mix of "My Baby Just Cares For Me" that changes the melody entirely while leaving the words intact—an imaginative if not entirely successful reimagining—while the remix of "Take Care of Business" by drum and bass duo Rudimental adds a rumbling undercurrent to the original. The single comes from UK electro-pop band Hot Chip who slow "Be My Husband" and add a fat bass part on keyboards, synth flourishes, and looped reverb to Simone's voice, finishing with a shaking of tambourine. Though not quite the hoped-for hit, the efforts required for a remix adds to the body of respect and awe Simone's work righteously inspires. © Robert Baird/Qobuz
Oliver Anthony Music Feeling Purdy Good
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Feeling Purdy Good

Oliver Anthony Music

Country - Released March 31, 2023 | 4408066 Records DK

R.E.M. Fables Of The Reconstruction
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Fables Of The Reconstruction

R.E.M.

Alternative & Indie - Released June 10, 1985 | CAPITOL CATALOG MKT (C92)

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For their third album, R.E.M. made a conscious effort to break from the traditions Murmur and Reckoning established, electing to record in England with legendary folk-rock producer Joe Boyd. For a variety of reasons, the sessions were difficult, and that tension is apparent throughout Fables of the Reconstruction. A dark, moody rumination on American folk -- not only the music, but its myths -- Fables is creepy, rustic psychedelic folk, filled with eerie sonic textures. Some light breaks through occasionally, such as the ridiculous collegiate blue-eyed soul of "Can't Get There From Here," but the group's trademark ringing guitars and cryptic lyrics have grown sinister, giving even sing-alongs like "Driver 8" an ominous edge. Fables is more inconsistent than its two predecessors, but the group does demonstrate considerable musical growth, particularly in how perfectly it evokes the strange rural legends of the South. And many of the songs on the record -- including "Feeling Gravitys Pull," "Maps and Legends," "Green Grow the Rushes," "Auctioneer (Another Engine)," and the previously mentioned pair -- rank among the group's best.© Stephen Thomas Erlewine /TiVo
Dave Holland Good Hope
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Good Hope

Dave Holland

Jazz - Released October 11, 2019 | Edition Records

Hi-Res Distinctions 5 Sterne Fono Forum Jazz
Grateful Dead Grateful Dead (Skull & Roses) [50th Anniversary Expanded Edition]
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Grateful Dead (Skull & Roses) [50th Anniversary Expanded Edition]

Grateful Dead

Rock - Released October 24, 1971 | Grateful Dead - Rhino

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Ella Fitzgerald Ella Fitzgerald Sings The George And Ira Gershwin Song Book
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Ella Fitzgerald Sings The George And Ira Gershwin Song Book

Ella Fitzgerald

Vocal Jazz - Released January 1, 1959 | Verve Reissues

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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
Chantal Chamberland Autobiography
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Autobiography

Chantal Chamberland

Jazz - Released April 8, 2016 | evosound

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PJ Harvey Stories From The City, Stories From The SeaDiscothèque Idéale Qobuz
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Stories From The City, Stories From The Sea

PJ Harvey

Rock - Released January 1, 2000 | Universal-Island Records Ltd.

Distinctions The Qobuz Ideal Discography - Lauréat du Mercury Prize
During her career, Polly Jean Harvey has had as many incarnations as she has albums. She's gone from the Yeovil art student of her debut Dry, to Rid of Me's punk poetess to To Bring You My Love and Is This Desire?'s postmodern siren; on Stories From the City, Stories From the Sea -- inspired by her stay in New York City and life in the English countryside -- she's changed again. The album cover's stylish, subtly sexy image suggests what its songs confirm: PJ Harvey has grown up. Direct, vulnerable lyrics replace the allegories and metaphors of her previous work, and the album's production polishes the songs instead of obscuring them in noise or studio tricks. On the album's best tracks, such as "Kamikaze" and "This Is Love," a sexy, shouty blues-punk number that features the memorable refrain "I can't believe life is so complex/When I just want to sit here and watch you undress," Harvey sounds sensual and revitalized. The New York influences surface on the glamorous punk rock of "Big Exit" and "Good Fortune," on which Harvey channels both Chrissie Hynde's sexy tough girl and Patti Smith's ferocious yelp. Ballads like the sweetly urgent, piano and marimba-driven "One Line" and the Thom Yorke duet "This Mess We're In" avoid the painful depths of Harvey's darkest songs; "Horses in My Dreams" also reflects Harvey's new emotional balance: "I have pulled myself clear," she sighs, and we believe her. However, "We Float"'s glossy choruses veer close to Lillith Fair territory, and longtime fans can't help but miss the visceral impact of her early work, but Stories From the City, Stories From the Sea doesn't compromise her essential passion. Hopefully, this album's happier, more direct PJ Harvey is a persona she'll keep around for a while.© Heather Phares /TiVo