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Native
OneRepublic
Pop - Released March 25, 2013 | Mosley - Interscope
As a songwriter for other contemporary pop stars, Ryan Tedder has proven his talent for writing intensely catchy songs that stick in people's heads. This is evidenced not only by his success producing songs for such artists as Adele, Leona Lewis, and Maroon 5, but also with his own band OneRepublic. And as with 2006's Dreaming Out Loud and 2009's Waking Up, One Republic's 2013 third studio album, Native, once again gives Tedder a vehicle to turn his hitmaking abilities on himself, and in the process, steal just a little bit of the spotlight away from his more recognizable clients. And why shouldn't he? Tedder has a burnished, resonant singing voice and passionate, emotive vocal style that's perfectly suited for the uplifting crossover songs he so expertly writes. In many ways, OneRepublic are a clearing house for mainstream pop sensibilities, and Native is no exception, with songs such as "If I Lose Myself Again," "I Lived," and "Au Revoir," touching upon the soaring, piano-driven alt-rock of Coldplay, the funky, synthetic, blue-eyed-soul of Maroon 5, and the slick yet earnest R&B balladry of any number of modern divas. Which isn't to say that the songs on Native are unremarkable. On the contrary, Tedder reveals a broad palette of stylistic inspiration, and cuts like the roiling, romantic "Light It Up" and the atmospheric and yearning "Can't Stop" touch upon the ruminative qualities of indie rock, the falsetto-heavy tones of Prince-styled lead vocals, and the wide-eyed drama of '80s Peter Gabriel and Kate Bush. Elsewhere on Native, tracks like "Counting Starts" reveal that Tedder has clearly been listening to the British folk-rockers Mumford & Sons and, as evidenced by the percussive operatic of "Feel Again," Florence and the Machine. Of course, with Tedder having possibly worked with any one of the artists mentioned here prior to recording Native, one could argue that he's merely been listening to his own music. Ultimately, that music, as heard on Native, remains as catchy as ever.© Matt Collar /TiVo
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Structuralism
Alfa Mist
Contemporary Jazz - Released April 26, 2019 | Sekito
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Distinctions
Qobuzissime
No point in checking if Alfa Mist has read all of Roland Barthes, the guru of structuralism... Behind his keyboards, the Brit designed his album Structuralism with a more modest objective: “I have been affected by my environment. My upbringing has shaped me in a way where I do not know how to communicate. Structuralism is about, “I am who I am” because of the structure of society I grew up into. Now I need to learn how to communicate.” What Alfa Mist communicates very well with his second album is an innate sense of soft groove and a vital need for exchange. Yet another proof of the strength of today's British jazz scene, which flourishes in soul, funk and hip hop, the latter being the first chapter of the young musician's saga.After spending his days making beats for grime and rap prods, the Londoner discovers jazz through samples and decorates both J Dilla's albums and those of Miles Davis and even Hans Zimmer-composed soundtracks, one of his great idols. Above all, Alfa Mist is self-taught and immersed in the world of piano and keyboards. With Structuralism, he draws, with the help of a Fender Rhodes and a classical piano, the contours of a melancholic and voluptuous soul jazz. An atmospheric groove under influenced by Herbie Hancock/Robert Glasper, which he sculpts with his collaborators Johnny Woodham the trumpeter, drummers Peter Adam Hill and Jamie Houghton, guitarist Jamie Leeming, bassists Kaya Thomas-Dyke and James Rudi Creswick, violinists Katie Neaves, Simmy Singh and Lucy Nolan and cellist Peggy Nolan, not forgetting Jordan Rakai on the song Door. All in all, this pastel-tinted score (no slapped bass or double drums for Alfa Mist!) confirms the talents of a musician that’s certainly one to watch. © Marc Zisman/Qobuz
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Gallipoli
Beirut
Alternative & Indie - Released February 1, 2019 | 4AD
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Zach Condon quickly realized that he wasn’t always going to be able to wander through the subway carriages with his brass band. That even his hardcore fans would eventually grow tired of him and stop handing him their spare change... On his 2015 album No No No, the brain behind Beirut beautifully transformed his experience in the Balkan folk/Mexican scene into brilliant high-flying pop tracks. He sculpted a more artisanal sound and renewed himself while keeping the dreamy, magical singularity of his universe that’s dominated by brass and percussion.Condon is a true citizen of the world: he was born in Albuquerque, lives in Berlin and writes in New York as well as in Puglia, Italy. It is there that one finds Gallipoli, a coastal city that lends its name to this fifth album. Condon has a voice that’s characterised by a wistful lyricism, giving his songs an undeniably melancholic feel. Sat behind his Farfisa organ or his Korg synthesizer, and surrounded by Nick Petree on drums, Paul Collins on bass, Ben Lanz on trombone and Kyle Resnick on trumpet, Condon builds his songs like Russian dolls. There’s a playful side which is largely amplified by the Farfisa. And through his world music and lo-fi melodies, Gallipoli covers the entire range of everything that Beirut has generated in just over ten years. © Marc Zisman/Qobuz
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The Traveling Kind
Emmylou Harris
Country - Released May 8, 2015 | Nonesuch
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Fully Loaded: God's Country
Blake Shelton
Country - Released December 13, 2019 | Warner Music Nashville
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One Night In Malibu
OneRepublic
Pop - Released February 4, 2022 | Mosley Music - Interscope Records
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Poston: Carols & Anthems
St. Albans Cathedral Girls Choir
Classical - Released November 24, 2023 | Naxos
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The general revival of music by women has not done much for Elizabeth Poston (1905-1987), even though she was quite a familiar figure in her own time. She wrote two carols, The Boar's Head Carol and Jesus Christ the Apple Tree, that remain in common use, was a broadcaster on the BBC for some years, and edited several music collections for Penguin publishing that are still in print. This collection of sacred music from two choirs of St. Albans Cathedral and conductor Tom Winpenny adds a substantial chunk to the relative handful of Poston compositions that have been available up to now, and the album made classical best-seller lists in the autumn of 2023. Both of Poston's familiar carols are included, and those not familiar with Jesus Christ the Apple Tree would do well to sample it here; it has a truly mysterious simplicity. All of the music might be described as artfully simple; even the main attraction, the mini Christmas oratorio The Nativity, has an attractive minimal quality, with texts gathered from folk carols. The second half of the program is largely given over to little carols for children sung by the St. Albans Cathedral Girls Choir; there may be smoother choirs in the English cathedral sphere, but few would get into the spirit of The Dormouse's Carol as these young singers do. Essential for collections of music by women, this would also make a good offbeat holiday gift for 2023 and beyond.© James Manheim /TiVo
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Blossom Dearie Sings (45th Anniversary Edition)
Blossom Dearie
Jazz - Released January 1, 1973 | Daffodil Records, Inc.
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Telecommunication
Azymuth
World - Released January 1, 1981 | Concord Records
A mixed bag that has more strengths than weaknesses, Telecommunication demonstrates Azymuth's ability to occasionally get into trouble when resorting to hi-tech gimmickry for its own sake, but also illustrates how rewarding the Brazilian trio can be. With its vocoder-ish hijinks, the funk-influenced "May I Have This Dance" is a dated and corny bit of silliness unworthy of Azymuth. But there's also much to admire on this CD, including the haunting "The House I Lived In," the sensuous "Country Road," and the sentimental "Last Summer in Rio." Though keyboardist/pianist José Roberto Bertrami and bassist/guitarist Alex Malheiros do not always stretch out enough, the results are quite appealing when they do.© Alex Henderson /TiVo
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This Is The Day
Giovanni Guidi Trio
Jazz - Released February 24, 2015 | ECM
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Native
OneRepublic
Pop - Released January 1, 2013 | Mosley - Interscope
As a songwriter for other contemporary pop stars, Ryan Tedder has proven his talent for writing intensely catchy songs that stick in people's heads. This is evidenced not only by his success producing songs for such artists as Adele, Leona Lewis, and Maroon 5, but also with his own band OneRepublic. And as with 2006's Dreaming Out Loud and 2009's Waking Up, One Republic's 2013 third studio album, Native, once again gives Tedder a vehicle to turn his hitmaking abilities on himself, and in the process, steal just a little bit of the spotlight away from his more recognizable clients. And why shouldn't he? Tedder has a burnished, resonant singing voice and passionate, emotive vocal style that's perfectly suited for the uplifting crossover songs he so expertly writes. In many ways, OneRepublic are a clearing house for mainstream pop sensibilities, and Native is no exception, with songs such as "If I Lose Myself Again," "I Lived," and "Au Revoir," touching upon the soaring, piano-driven alt-rock of Coldplay, the funky, synthetic, blue-eyed-soul of Maroon 5, and the slick yet earnest R&B balladry of any number of modern divas. Which isn't to say that the songs on Native are unremarkable. On the contrary, Tedder reveals a broad palette of stylistic inspiration, and cuts like the roiling, romantic "Light It Up" and the atmospheric and yearning "Can't Stop" touch upon the ruminative qualities of indie rock, the falsetto-heavy tones of Prince-styled lead vocals, and the wide-eyed drama of '80s Peter Gabriel and Kate Bush. Elsewhere on Native, tracks like "Counting Starts" reveal that Tedder has clearly been listening to the British folk-rockers Mumford & Sons and, as evidenced by the percussive operatic of "Feel Again," Florence and the Machine. Of course, with Tedder having possibly worked with any one of the artists mentioned here prior to recording Native, one could argue that he's merely been listening to his own music. Ultimately, that music, as heard on Native, remains as catchy as ever.© Matt Collar /TiVo
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The Last Resort: Greetings From
Midland
Country - Released May 6, 2022 | Big Machine Records, LLC
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As a title, The Last Resort carries a vague air of desperation -- you've run out of options, so you're stuck with this course of action -- but Midland never forget a resort is also a place of relaxation. Filled with candied harmonies and sweeter melodies, The Last Resort: Greetings From is designed to be a record to spin when you unwind. It'll chase away the blues and make a good time even better, as its songs about paychecks, longnecks, cowboys, and sunrises all feel warm and welcoming. Midland don't wallow in sadness, they shrug it away, knowing that there's another day and another margarita around the corner. This laissez faire attitude is accentuated by the group's dedication to the soft sounds of the early '80s, crafting a canny hybrid of slick Urban Cowboy and new traditionalist swagger. Unlike Let It Roll, where their retro fantasias glided by on the surface, The Last Resort: Greetings From teems with distinct shifts in mood, whether it's the introduction of duet partner Jon Pardi on the barroom anthem "Longneck Way to Go," the percolating humor of "If I Lived Here," the hardwood boogie of "King of Saturday Night," or the twilight romance of "Take Her Off Your Hands." It all adds up to an album so easy and assured, it's hard not to get swept up in its cool, breezy concoctions.© Stephen Thomas Erlewine /TiVo
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It's All About
Spooky Tooth
Rock - Released June 1, 1968 | UMC (Universal Music Catalogue)
This full-length debut from British blues-rockers Spooky Tooth has a tone similar to Traffic with its psychedelic take on the influential pop and soul music of the '60s. A few cover tunes including Janis Ian's "Society's Child" and the Nashville Teens' "Tobacco Road" are included, but original songs like the soulful ballad "It Hurts You So" and "Bubbles" (with its Beach Boys sensibility) are the real standouts. The cheery, psychedelic "It's All About a Roundabout" is the catchiest number by far. On this dreamy cut, vocalist/keyboardist Gary Wright demonstrates some sharp melodic and compositional instincts. Although Spooky Tooth eventually became better-known for their straightforward blues-rock, the trippy pop of It's All About counts as a career highlight for the group. Fans of late-'60s British rock are definitely advised to check out this impressive release.© Vincent Jeffries /TiVo
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La Francesina, Handel's nightingale
Sophie Junker
Opera - Released May 22, 2020 | Aparté
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Booklet
For the French soprano Élisabeth Duparc, known as “La Francesina”, Handel composed no fewer than twelve principal roles in major works – operas and oratorios – written towards the end of his life. She took the title role in Semele, for instance, and the parts of Michal in Saul and Nitocris in Belshazzar. Nothing is known of her life: only Handel's works remain to testify to her talent and aura. They are brought to life here by the brilliant and virtuoso voice of Sophie Junker, accompanied by Franck-Emmanuel Comte's Concert de l'Hostel Dieu: sometimes mischievous ("Myself I shall adore"), sometimes penetrating ("In sweetest harmony they lived"), the soprano resurrects her model and magnificently digs out all the nuances of Handel's genius. Sophie Junker and the Concert de l’Hostel Dieu pay tribute to her here through some of her most successful roles as the composer’s muse. © Aparté
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Les enfants terribles
Katia & Marielle Labèque
Classical - Released October 23, 2020 | Universal Music Division Decca Records France
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Katia and Marielle Labèque are known for the fusion and duet energy, supporting both the classical repertoire and the contemporary creation. Composer Philip Glass, whose music occupies a special place with the duo, chose to adapt for them his opera Les enfants terribles in a suite for piano duet, entrusting the adaptation to longtime collaborator/arranger, Michael Riesman. © Deutsche Grammmophon
Piazzolla Reflections
Ksenija Sidorova
Classical - Released February 12, 2021 | Alpha Classics
Booklet
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Riga-born Ksenija Sidorova is today one of the most eminent global ambassadors of the classical accordion. She has proudly borne the colours of her instrument in appearances in the world’s leading halls and with the foremost orchestras. Here she pays homage to Piazzolla in her own way: ‘Piazzolla the revolutionary, the ground-breaker, a man thinking ahead of his time ... Playing this repertoire gave me a sense of artistic freedom and ignited my belief in advocacy of my instrument. For this album, I wanted to celebrate Piazzolla the innovator by pairing some his masterworks with pieces written by other composers for classical accordion, the majority of which I have premiered in recent years. Being of Russian heritage, I couldn’t help noticing the similarity between the nostalgia of the tango and that of Russian composer Sergey Voitenko’s "Revelation". French accordionist-composer Franck Angelis’s Fantasia is based on Piazzolla’s Waltz-tango, and the programme is completed by the Nocturne of Italian accordionist-composer Pietro Roffi and a piece by Sergey Akhunov’. © Alpha Classics
Riga-born Ksenija Sidorova is today one of the most eminent global ambassadors of the classical accordion. She has proudly borne the colours of her instrument in appearances in the world’s leading halls and with the foremost orchestras. Here she pays homage to Piazzolla in her own way: ‘Piazzolla the revolutionary, the ground-breaker, a man thinking ahead of his time ... Playing this repertoire gave me a sense of artistic freedom and ignited my belief in advocacy of my instrument. For this album, I wanted to celebrate Piazzolla the innovator by pairing some his masterworks with pieces written by other composers for classical accordion, the majority of which I have premiered in recent years. Being of Russian heritage, I couldn’t help noticing the similarity between the nostalgia of the tango and that of Russian composer Sergey Voitenko’s "Revelation". French accordionist-composer Franck Angelis’s Fantasia is based on Piazzolla’s Waltz-tango, and the programme is completed by the Nocturne of Italian accordionist-composer Pietro Roffi and a piece by Sergey Akhunov’. © Alpha Classics
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I Lived To Tell About It
Playing for Change
Blues - Released June 21, 2023 | Playing For Change Records
Suppose you have a more precise idea of what you want. If you are searching for the album "Bad" by Michael Jackson, type michael jackson bad. The album in question will be displayed at the top, as it is the most relevant.
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