This LP featured singer Betty Carter and pianist Ray Bryant at the beginning of their careers. Carter's 25-year-old voice was already quite recognizable, although the improvising style on her 11 titles here is much more conservative than it would be from the 1970s on. However, Carter's scatting on "Frenesi" (which sounds like a wigged-out Carmen McRae) shows individuality, and her renditions of "Social Call," "I Could Write a Book," and "Moonlight in Vermont" are memorable. A historic and enjoyable set.© Scott Yanow /TiVo

The Complete Budokan 1978 captures some of Dylan's very first concert appearances in Japan and is an essential release for diehards, while an intriguing curio for the casual listener. Complete Budokan encompasses all of the material originally issued as a double LP in 1978, plus three dozen additional tracks. This lovingly remastered album, sourced from the original 24-channel multi-track analog tapes, sounds far crisper than the original release (especially the vocals). Released to coincide with the 45th anniversary of the original eight-show run at the infamous Budokan auditorium, we hear the entirety of two shows from February 28 and March 1, 1978. Bob Dylan is at a fascinating crossroads in his career here, and in fine voice. The album finds our hero in between the traveling circus that was the mid 1970s Rolling Thunder tour, and one year before his conversion to Christianity. Dylan shows us what a traditional American great he is, with a near-orchestral band and dramatically reworked takes on classic songs. Some of these arrangements are wonky, especially to modern ears. But they're always intriguingly put together, and intricately executed takes—the highlight being a knockdown, muscular "The Man in Me." It's clear from the start that this is not your grandpa's Dylan. Stirring leads on saxophone, mandolin, and fiddle deliver the vocal melodies to "A Hard Rain's A-Gonna Fall." "Shelter from the Storm" is given a halting, reggae-ish tempo, a positively E Street-worthy sax solo, and the delightful touches one would expect from the Dead. Other tunes stray closer to a Vegas revue. "I Threw It All Away" is transformed into a full-blown showtune, as the backing vocals take center stage. One wonders if a line of chorus dancers were onstage for this or the lilting, tango-esque take on "Love Minus Zero." There is occasional flute, notably on "Mr. Tambourine Man," which we weren't sure about at first, but by the third listen we were absolutely digging it, even as it takes the tune straight to Margaritaville. © Mike McGonigal/Qobuz

Expanding on the concept of Songs for Young Lovers!, In the Wee Small Hours was a collection of ballads arranged by Nelson Riddle. The first 12" album recorded by Sinatra, Wee Small Hours was more focused and concentrated than his two earlier concept records. It's a blue, melancholy album, built around a spare rhythm section featuring a rhythm guitar, celesta, and Bill Miller's piano, with gently aching strings added every once and a while. Within that melancholy mood is one of Sinatra's most jazz-oriented performances -- he restructures the melody and Miller's playing is bold throughout the record. Where Songs for Young Lovers! emphasized the romantic aspects of the songs, Sinatra sounds like a lonely, broken man on In the Wee Small Hours. Beginning with the newly written title song, the singer goes through a series of standards that are lonely and desolate. In many ways, the album is a personal reflection of the heartbreak of his doomed love affair with actress Ava Gardner, and the standards that he sings form their own story when collected together. Sinatra's voice had deepened and worn to the point where his delivery seems ravished and heartfelt, as if he were living the songs.© Stephen Thomas Erlewine /TiVo

Following Tallis and Byrd’s first publishing venture of Cantiones Sacrae of 1575, Byrd waited some 13 years to again wake the presses with his compositions. His 1588 Psalmes, Sonets and Songs of Sadness and Pietie was his first solo publication, for which Elizabeth’s Lord Chancellor (and notable favourite), Sir Christopher Hatton, acted as patron. This is the first complete offering of the collection and was recorded on the grounds of Holdenby House, once the largest Elizabethan country house in all of England. Written at the height of Byrd’s creativity, it contains a treasure trove of musical delights. More famous among the collection includes two funeral elegies for Sir Philip Sidney (Come to me grief forever and O that most rare breast), Why do I use my ink, paper and pen? which is thought to allude to the martyrdom of the Jesuit Edmund Campion in 1580, as well as lighter secular songs from joyful madrigals to pained laments. Byrd here represents practically all levels of human emotion, with works performed by a variety of ‘voyces or Instruments’ as the composer himself directs. © Inventa

Delivery is the Rounder Records debut of eclectic songwriter, singer, and harp specialist Mikaela Davis. Far from a "harp record," though, Delivery features alternately bluesy and poppy arrangements that present the harp as part of a broader, textured front. The opener, "Delivery," for instance, begins with voice and piano before eventually adding bass and drums, which are played on the album by her touring bandmembers Shane McCarthy and Alex Coté. Harp and fuzzed-out guitar then round out the track's palette. It's a varied album, though, and the contrasting "Do You Wanna Be Mine?" is defined by '80s pop-styled synths, while "Get Gone" drifts into funk. It's the spare acoustic ballad "Emily," however, that proves to be an album highlight, with its rhythmic arpeggiated harp and tight three-part backing harmonies by the Staves. The Staves return for the trippy closer, "Pure Divine Love," a swirly, pitch-bending affair that blends electric and acoustic instruments and their melodic trajectories. The album was produced, recorded, and mixed by none other than John Congleton, who produced for the Decemberists and Kimbra, just to name a couple of projects from the same release year. Spanning, as it does, psychedelia, rootsy pop, synth-centric adult pop, and chamber balladry, what stands out more than the production or even performances on the album are memorable, almost anthemic melodies. For those who stick through the stylistic explorations, the songs underneath not only invite repeat listens but even provide a few earworms.© Marcy Donelson /TiVo

This isn't an opera, strictly speaking; this Acis and Galatea by Handel, most likely dating from 1718, is much more a part of the very English genre of the "masque", or pastoral divertimento. That said, its hour-and-a-half running time is redolent of a lot of operas... It seems that Handel wrote it for a rich private patron, in those politically turbulent days when the Royal Theatre had more bad days than good; James Brydge, the count of Carnarvon, had assembled a little troupe of singers and musicians at his manor, as well as a choir, which allowed him to offer purely private musical entertainments of high quality. Of course, the work is sung in English; the orchestration, which is very original, calls for inter alia a soprano recorder for the songbirds; and it unfurls a number of theatrical "tricks" to highlight the personalities of the various characters. Twenty years later, Handel would revise his work for public performances in London, but this is a recording of the 1718 original. Elegance, sensuality, a strong dose of humour in spite of the often-sombre subject matter: this is the best of Handel, and it should be noted that the composer used almost none of his normal "recycling": apart from an aria, all the music here is original, and was not re-used in any other works. Acis and Galatea was one of Handel's most-performed works in his own lifetime, which rather prevented him from re-using any of the tunes too often, as he might have been able to do with a lesser-known piece. The Early Opera Company conducted by Christian Curnyn proves here that private lyrical enterprises, supported by crowdfunding and generous subscriptions from patrons have got a long and happy future ahead of them still. © SM/Qobuz

In the middle of summer 2014 Morrissey reassured us all with World Peace Is None Of Your Business that his inspiration had been refreshed like never before. Three years later, with Low In High School, the former singer of The Smiths has changed his tune with an 11th solo album that’s rather puzzling. Puzzling even by his standards. But the eclecticism of the production, going from a total powerhouse of sounds to almost acoustic refrains, mustn’t mask the power of several of the songs. As usual, Moz is impeccable in his role as a misanthropic pamphleteer and, judging by the cover, we understand that the British dandy is not here to swallow his pride. A pride that he always likes to counteract with a good dose of ambiguity, this art in which he remains a real expert. But when he’s doing Morrissey, like on Home Is a Question Mark or I Bury The Living, once he puts on his quirky crooner habits on a sharpened prose, he is unique… Album after album, Morrissey reminds us that The Smiths saga is buried firmly underground and that he’s dancing on the headstone. © MD/Qobuz

Admirers of Harry Christophers and his exemplary choral ensemble The Sixteen will no doubt have the highest expectations for this 2008 Coro release of George Frederick Handel's Messiah, especially because the group is almost ideal in size, sonority, and technical mastery to render this work in the best period performance style. Even the most demanding listeners will not be disappointed in this recording because Christophers' scholarship is impeccable, and he leads the performance with sharp Baroque rhythms, brisk tempos, vivid interpretations, and a great flexibility in instrumental combinations, which gives the music greater richness through doublings of the stings with woodwinds and supplies a pleasantly varied basso continuo. The four vocalists -- soprano Carolyn Sampson, alto Catherine Wyn-Rogers, tenor Mark Padmore, and bass Christopher Purves -- are all seasoned Handelians, and their arias are eloquent in expression and beautifully delivered with a tasteful modicum of ornamentation, but no more than that. The most thrilling highpoints are the glorious choruses in which The Sixteen sounds utterly seraphic in its pure tone and pristine in its transparent lines. As if this extraordinary performance of Messiah was not enough to compel purchase, the special edition set includes a bonus CD that offers attractive excerpts from Coro's numerous Handel titles. This set is highly recommended for aficionados of recordings of Messiah and newcomers alike.© TiVo

The rules of the game were certainly perfectly clear after their first album: in the third instalment of the Ramones' story, they surpassed themselves. And even refined their art! Once again, with this Rocket to Russia, released on 4 November 1977, at the height of the Cold War, it was all about three-chord symphonies, enthusiastically cretinous and 100% adolescent hi-jinks and above all, taking rock'n'roll back to its birthplace: the garage! But the refrains of Sheena Is A Punk Rocker or Teenage Lobotomy are peerless in their re–imagining of their rock’n’roll, bubblegum pop and surf heritage. And even when they cover the cult tracks Surfin’ Bird by the Trashmen or Do You Wanna Dance? (made famous by Cliff Richard, the Beach Boys and even Bette Midler) our delinquent punks from Queens produced savage and raw rock like nobody else! This edition to mark the 40th birthday of this sublime sonic attack offers two mixes of the album: the original, and a new mix, entitled Tracking Mix by Ed Stasium, the sound engineer on the original release. It also includes 24 rare or unreleased tracks, demos, alternative versions and B–sides. And the cherry on the cake is a dazzling, unreleased live version by the four Ramones brothers (all from other mothers) recorded on 19 December 1977 the Apollo Centre in Glasgow, Scotland. © MZ/Qobuz

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Since his career began in the mid-'80s, Lloyd Cole has been working steadily to carve out a career as one of the most consistent and satisfying singer/songwriters of his era, with the occasional side trip into electronic music for extra flavoring. Despite all the good work he's done, many if not most of his fans hold a special place in their hearts for his early records with the Commotions. From 1983 to 1987, and over the course of a handful of singles and three albums, they crafted some legendary and long-lasting sophisticated guitar pop that stands shoulder to shoulder with the best of the era. Released in 1984, Rattlesnakes, especially, is one of the rare occasions when songwriting, performance, and production all come together to create a perfect moment in time. With this exhaustive box set, fans of Cole and this era of pop will be able to hear everything the Commotions laid down to tape in crisply remastered and lovingly curated fashion. Each album gets its own disc, with Rattlesnakes still the clear favorite, though both 1985's Easy Pieces and 1987's Mainstream certainly have their charms. "Jennifer She Said" from the latter record is one of Cole's career highlights for sure. Along with the studio albums, a disc of B-sides shows that Cole's castoffs were just as good as the songs that made the cut. "You Will Never Be No Good" would have been a fine addition to Rattlesnakes, for example, and taken together the songs provide a nice alternate history of the Commotions. Giving fans who already thought they had everything another reason to buy the set, a full disc of demos and unreleased songs is included, too. It's certainly not as polished as the group's finished products and it's fascinating to get a glimpse behind the scenes as the band got the songs together. The slightly scruffy take on their signature song "Perfect Skin" and an early version of "Are You Ready to be Heartbroken?" are practically worth the cost of the collection by themselves. In addition, there are six previously unheard songs that never made it past the demo stage, like "Poons" and the very Echo & the Bunnymen-sounding "Eat My Words," and their inclusion makes the collection even more interesting. The disc of videos and TV appearances is nice, but inessential. What's most important is that all the Commotions' music is gathered together in one place, showcasing Cole's already brilliant songwriting talents, the band's sympathetic accompaniment, and some of the most accomplished and emotionally satisfying music of the '80s.© Tim Sendra /TiVo

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The Dunedin Consort, led by John Butt, has moved into the niche of recording original or obscure versions of Baroque choral masterworks using forces as close as possible to those of the original performances. Its 2006 performance of the Dublin version of Messiah is one of the liveliest and refreshingly intimate recordings of the work, and won a Gramophone Award for Best Baroque Vocal Album of the year. Here the group turns its attention to a much earlier Handel work, the 1718 pastoral oratorio Acis & Galatea. Through ingenious musical detective work, Butt has reconstructed the most likely constitution of the ensemble that originally performed the piece while the composer was employed at Cannons House in Middlesex. Acis & Galatea is a work stronger on charm than substance, but its charms are considerable, from its lively and lyrical solos and ensembles to its inventive and clever orchestration. While Handel is not known for comedy, and this piece is in fact a tragedy (a rejected suitor kills his rival, but the heroine transforms her slain lover into a fountain, so things don't turn out too badly), the librettists and composer treat the subject lightly and with genuine wit. The villain is portrayed as a buffoon, and Butt and his singers play up the work's humor. Baritone Matthew Brook is vocally virtuosic and comically convincing as Polyphemus; his arias "O ruddier than the cherry" and "Cease to beauty to be suing" are among the highlights of the recording. As Galatea, soprano Susan Hamilton sings with purity and unmannered grace. Tenor Nicholas Mulroy as Acis has a somewhat covered sound that keeps him from being truly heroic. Thomas Hobbs, in the secondary role of role of Damon, has a light but bright and clarion tenor. The orchestra plays with exquisite finesse and expressiveness. Butt and his exemplary forces make a strong case for this odd little piece and give it a depth and coherence that make their performance stand out among the recorded versions.© TiVo

Friday on My Mind, produced by Shel Talmy and recorded in England, captures the Easybeats at just about their peak, combining all of the best elements in the evolution of their sound under one cover. The Easybeats were still one of the most energetic outfits in rock music, with a raw, highly animated guitar attack, but they were trying (and largely succeeding with) ever more complex vocal harmony parts and some staccato guitar harmony as well that was pretty impressive, and at this stage they were working with a brace of gorgeous Harry Vanda/George Young originals. The ubiquitous title track is in excellent company, surrounded by an array of mid- to late-60's British rock treasures: a killer garage punk rendition of "River Deep, Mountain High," with a superb performance by Stevie Wright and what sounds almost like a sitar buried somewhere in the midst of the crisp electric guitars; "Do You Have a Soul," with its abrupt tempo changes, cascading choruses, chiming guitars, and hooks that seem to flow into each other effortless; "Saturday Night," with more sitar-like sounds beneath the radiant choruses and rhythm guitar hooks; the dramatic, angst-ridden "You Me, We Love," on which Vanda's guitar playing becomes as intense as Wright's wrenching vocal performance; "Pretty Girl," with its crunchy rhythm guitar sound and catchy lyric hooks and choruses; and "Made My Bed Gonna Lie in It," a punk anthem nearly as catchy and well-played as "I'm Not Like Everybody Else." Not everything on this album is as successful as these cuts, but it is all good listening, even the eerie, original album finale, "See Line Woman." In fact, only the rendition of Leiber and Stoller's "Hound Dog" may be out of place, and even it works as a change of pace. The label of "Australia's Beatles" may have proved an overstatement to some, but one can get a good look at its basis on this album -- it's loaded with actual and potential hit singles, yet it doesn't come off as lightweight in any way.© Bruce Eder /TiVo

Purcell would seem like a natural fit for Andrea Scholl's voice, but this album of songs, arias, and orchestral selections from Purcell's semi-operas and incidental music is the counter tenor's first foray into recording this repertoire, and it's a fabulous success. This is a recording that takes a while to establish its momentum, but it grows in stature as it progresses. The first few tracks are very fine, but by the time Scholl has finished "What power art thou," (the "Cold Song" from King Arthur), the first of many tracks where one might have to repress the urge to hit replay to experience its wonder again immediately, the music and the performance have cast a net of enchantment that doesn't let up. A few other selections that may elicit a similarly intense response include "One Charming Night," from The Fairy Queen, "Music for a While," from Oedipus, and "Dido's Lament." Seeing this last on the tracklist might reasonably cause a skeptical response, because there are so many superb recordings by sopranos and mezzo-sopranos, and the idea of a counter tenor singing a role that is virtually always, if not always, sung by a woman in the theater seems odd. Scholl's broadly paced and deeply felt singing is fully persuasive, though, and makes it possible to hear the solo not only as a woman's grief at love lost, but as a more universal expression of profound, dignified sorrow. Stefano Montanari conducts Accademia Bizantina in a performance every bit as invested in probing the depths of the music as Scholl's. The violence the orchestra evokes in the "Cold Song" is genuinely startling, fierce enough to make one concerned about the string instruments' withstanding such a battering; it's hugely effective. Scholl is joined on two tracks by counter tenor Christophe Dumaux, with whom he blends beautifully. Their duet, "O dive custos," has a gorgeous Monteverdian lyricism and immediacy. Decca's sound is wonderfully clean, warm, and present.© TiVo

Soprano Grace Davidson has risen to prominence in the early music field, largely on the strength of her pure, unaffected singing and exceptional interpretations of Baroque vocal music by Vivaldi and Handel. With this 2018 release from Signum Classics, Davidson performs the First Book of Songes or Ayres of John Dowland, the Elizabethan composer who cultivated melancholia in the lute song Flow, My Tears, and the instrumental pieces based on that melody, Lachrimae or Seven Teares. The songs in this program reflect Dowland's characteristic poetic misery, encapsulated in his motto, "Semper Dowland, semper dolens," but the brooding feeling is tempered by Davidson's lovely singing, which resembles a light in the darkness. Her sweet voice may at first seem too bright and chaste for these songs of thwarted desire and stylized self-pity, though nothing less than Davidson's eloquent expressions and transparent tone would do. Joined by David Miller on lute, the arpeggiated harmonies are spare and dry, so the vocal line carries the greater emotional weight, all the more reason for Davidson's controlled expression and smooth phrasing to maintain a balance with the fragile accompaniment. Highly recommended as one of the most beautiful albums of 2018, this superb collection will build anticipation for a recording of the Second Book of Songes or Ayres.© TiVo