After experimenting with synthesizers and a pop sound on his solo debut, Don Henley hits the mark on his sophomore release, Building the Perfect Beast. This album established Henley as an artist in his own right after many successful years with the Eagles, as it spawned numerous hits. While the songs seem crafted for pop radio, it's hard to fault him for choosing arrangements that would get his messages to the masses. Unlike most pop in the 1980s, however, Henley had deep intellectual themes layered beneath the synthesizer sounds and crisp production. In the opening song "Boys of Summer," he talks about trying to recapture the past while knowing that things will never be the same. Henley has a gift for writing about the heart and soul of America and for mixing his love for the country and small-town life ("Sunset Grill") with cynicism about government ("All She Wants to Do Is Dance") and modernization ("Month of Sundays"). Although the politics and the sound of the album make the decade of release easy to place, Henley's earnest delivery and universal messages give many of the tracks a timeless feel, which is no small feat. This is Henley's most consistent album, and it is the place to start for those wanting to sample his solo work.© Vik Iyengar /TiVo

As a suburban California kid, DJ Shadow tended to treat hip-hop as a musical innovation, not as an explicit social protest, which goes a long way toward explaining why his debut album, Endtroducing....., sounded like nothing else at the time of its release. Using hip-hop, not only its rhythms but its cut-and-paste techniques, as a foundation, Shadow created a deep, endlessly intriguing world on Endtroducing....., one where there are no musical genres, only shifting sonic textures and styles. Shadow created the entire album from samples, almost all pulled from obscure, forgotten vinyl, and the effect is that of a hazy, half-familiar dream -- parts of the record sound familiar, yet it's clear that it only suggests music you've heard before, and that the multi-layered samples and genres create something new. And that's one of the keys to the success of Endtroducing.....: it's innovative, but it builds on a solid historical foundation, giving it a rich, multifaceted sound. It's not only a major breakthrough for hip-hop and electronica, but for pop music.© Stephen Thomas Erlewine /TiVo

As a suburban California kid, DJ Shadow tended to treat hip-hop as a musical innovation, not as an explicit social protest, which goes a long way toward explaining why his debut album, Endtroducing....., sounded like nothing else at the time of its release. Using hip-hop, not only its rhythms but its cut-and-paste techniques, as a foundation, Shadow created a deep, endlessly intriguing world on Endtroducing....., one where there are no musical genres, only shifting sonic textures and styles. Shadow created the entire album from samples, almost all pulled from obscure, forgotten vinyl, and the effect is that of a hazy, half-familiar dream -- parts of the record sound familiar, yet it's clear that it only suggests music you've heard before, and that the multi-layered samples and genres create something new. And that's one of the keys to the success of Endtroducing.....: it's innovative, but it builds on a solid historical foundation, giving it a rich, multifaceted sound. It's not only a major breakthrough for hip-hop and electronica, but for pop music.© Stephen Thomas Erlewine /TiVo

A gorgeously rendered holiday-themed effort, In Winter finds singer/songwriter Katie Melua backed by the 25-member Gori Women's Choir. The album is Melua's seventh studio production and first since parting ways with longtime collaborator Mike Batt. Recorded in her native country of Georgia (Melua left with her parents at age nine), In Winter is a lushly produced, thoughtfully conceived album featuring arrangements by esteemed choral composer Bob Chilcott. An acclaimed institution, the Gori Women's Choir are famous for their haunting classical harmonies. They prove a superb match for Melua, who both sings along with the choir and frames herself against its angelic, delicately layered harmonies. Although the album is technically a holiday-themed work, it's not a cheery collection of Yuletide favorites. Instead, Melua delivers a handful of ruminative and lyrical originals, many inspired by her memories of growing up in what was then the Soviet Union, as well as the complex and often heartbreaking history of Georgia's civil war. She also weaves in several well-curated covers, including poignant renditions of Joni Mitchell's "River," Sergey Rachmaninov's "All-Night Vigil-Nunc Dimittis," and the hymn "O Holy Night." Melua even finds room to sing in Ukrainian, opening the album with a magical rendition of the traditional song "The Little Swallow," whose melody is better recognized to Western audiences as "The Carol of the Bells." These are warmly arranged, beautifully executed recordings that capture the stark, introspective beauty of a rural Eastern Europe in winter.© Matt Collar /TiVo

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With no desire to ease fans into the explosive terrain of II, Billy Talent immediately detonate the ominous "Devil in a Midnight Mass" with an electrified energy that most bands need cases of Red Bull (or actual electrocution) to pull off convincingly. Presided over by the furiously snotty vocal cords of Ben Kowalewicz -- who can yelp, sing, and scream with the best of them -- the subsequent "Red Flag" is in-your-face, raised-fist anthemic with a savage capital "A," while "Worker Bees" uses a militaristic backdrop in a song that could easily be a castoff from Sum 41's Chuck. Not even a passing whiff of pretension or scenester posturing is perceptible in the ranks of Billy Talent. One can assume their relentless quest for pure catharsis is a product of being fed up with the often hollow nature of passing music trends, from which the band successfully separates itself. They want to put the heart back in rock and, well, they mean it. Maxed-out energy levels are the first tipoff, but then "Where Is the Line?" explicitly spells it out ("Magazines from overseas won't teach you how to feel/They trade in their hearts for indie rock charts...") over curt riffing and assertive rhythms. These guys spell business, packing muscular guitars and impassioned shrieks to prove it to the watered-down punk revival crowd of 2006. Even when the band relatively slows things down for a stretch near the middle, every song pushes full steam ahead with precise, spanking-clean playing and multiple vocal attacks. "The Navy Song" steadily rolls forward alongside Aaron Solowoniuk's unwavering drum kit, and even standard breakup songs ("Perfect World") get a swift kick in the pants, while never losing the band's ever-present cynicism. And icing the already delicious cake further is the liner-note inclusion of engaging artwork matched up to each song courtesy of Henry Fong. There's just so much passion packed in here that Billy Talent easily blaze through almost 50 minutes -- which could be a marathon for some ADD-riddled listeners, but somehow isn't -- with compelling dexterity and power.© Corey Apar /TiVo

Dublin-based Irish rockers Kodaline existed for a good six years as 21 Demands before changing their name in 2011. So while In a Perfect World is technically a debut album, it comes from a band whose members are well-versed in playing and releasing music together, and sounds polished and constructed as such. Following the same softly introspective alternative rock leanings of Coldplay or Snow Patrol, the album includes kickoff single "High Hopes" and other standout tracks such as "Love Like This." Originally released in the summer of 2013, the album entered the Irish albums charts at number one.© Fred Thomas /TiVo

The primary feeling elicited from this live recording by Katie Melua is one of absolute sincerity, thanks to the autobiographical nature of the programme. Recorded in December 2018 at the Westminster Central Hall, the album opens with a traditional Georgian folk song (her country of origin), Tu Ase Turpa Ikavi, before following with Plane Song in which the singer describes her arrival in Northern Ireland (her adoptive country) in 1993. In the space of a few minutes, Katie Melua manages to take us through her journey charged with raw emotion. Accompanied by only a guitar, a piano and a discreet rhythm section, the singer has the power to showcase her velvety voice as well as the quality of her songwriting which blend pop and folk music. Of course, she performs hits like Nine Million Bicycles and The Closest Thing to Crazy, but there are a couple of surprises, like the cover of The Cure’s Just Like Heaven or What A Wonderful World. By slowing down the tempo of Louis Armstrong’s classic and joining forces with the Gori Women’s choir (who feature on several other songs from the album), Katie Melua imbues a relaxed ambience in the London concert hall. If we’re still talking about covers, we should mention the vibrant All-Night Vigil - Nunc Dimittis (a Russian religious song composed by Sergei Rachmaninoff in 1915) and Fields of Gold by Sting. It appears that Katie Melua enjoys plunging herself into as wide an array of genres as possible, but thanks to her melancholic voice and radiant sensitivity, she nevertheless manages to instil a sense of unity to this magical concert. © Nicolas Magenham/Qobuz

A Change of Seasons is a strange disc. There are only five tracks but with a total time that approaches an hour anyway. The first track, the 23-minute, seven-part epic "A Change of Seasons," is one of the most impressive pieces of music ever written in the progressive metal vein. With the same heavy sound that marked Awake, but with many other styles mixed in, the track features incredible playing, dramatic, complex instrumental arrangements, and soaring vocals. New keyboardist Derek Sherinian (formerly of Kiss and Alice Cooper) adds his own stamp to the Dream Theater sound as if he'd always been with them. The remainder of the tracks are live cover tunes, recorded from the band's "Uncovered" gig at Ronnie Scott's Jazz Club; the material varies widely and includes Elton John's "Love Lies Bleeding" and Deep Purple's "Perfect Strangers." The final track, "The Big Medley," has to be heard to be believed; Dream Theater shift musical styles on a dime to cover Pink Floyd, Kansas, Queen, Journey, the Dixie Dregs, and Genesis all in ten minutes.© Phil Carter /TiVo

In the middle of the punk tsunami, late-70s England was experiencing a healthy ska revival led by in part Madness and above all by the Specials. This multiracial gang from Coventry, led by Jerry Dammers, brought the syncopated rhythms of Jamaican rocksteady and its offshoot, ska, back to life. Pork pie hats, fitted black suits, checkered patterns: in the grey depths of Thatcherism, you needed the right outfit, the better to appreciate singles like A Message to You Rudy (a cover of the Dandy Livingstone number), Too Much Too Young and Gangster, and their two albums, Specials (1979) and More Specials (1980). Under the name Special Aka, they released the equally essential In the Studio With in 1984, which was topped off by the hit single (Free) Nelson Mandela... In 2019, the Specials got back together. Some were a little sceptical, as Dammers, who wrote their greatest hits, and Neville Staple were missing from the new line-up. But Terry Hall, Lynval Golding and Horace Panter all pulled it off in the end, with a ska sound that flirted with soul and even vintage disco on the album Yet. And above all, these new Specials for the new millennium are still making commentary on their social and political environment, just like in the old days. And there is plenty of both the political and the social in their well-named Protest Songs 1924–2012, a fine collection of covers ranging from blues to rock, folk, soul and reggae. These are political songs, mostly from the States, by the likes of Leonard Cohen, Talking Heads, the Staple Singers, Big Bill Broonzy, Bob Marley, Chip Taylor, Malvina Reynolds and even Frank Zappa. The trio opts here for an essentially acoustic sound, leaning on a folk'n'soul tradition that highlights lyrics and vocals. And while a touch more madness might have given the whole thing a bit more musical punch, these protest songs nevertheless retain all their historical force. © Marc Zisman/Qobuz

Anyone who encountered his numerous mixtapes can tell you that before his official debut landed, rapper/producer J. Cole had spent some time bringing the whole Drake, Wale, and Big Sean style to a more street level. It’s worth mentioning because Cole World: The Sideline Story has little of that debut desire to cross over, and while the multi-talented Cole is a skilled, interesting beat-maker in his own right, a superstar production would have certainly made this album more approachable. Instead, No I.D. -- the biggest behind-the-boards name here -- turns in a sluggy, druggy construction for “Never Told,” Cole's deep, rich study of father/son confidence. Cole handles most of the rest on his own, turning in B+ stabs at dubstep (“Mr. Nice Watch” with guest and label boss Jay-Z), indie-hop (“Cole World” or “flossin’ with a laptop”), and his own humbler version of the Roc-A-Fella sound (the great single “Lights Please”). Add an “Intro” and then a part III -- the first two parts to be found on earlier mixtapes -- and you’re practically telling the aboveground crowd they’re stale from the start, but the tradeoff is a talent that has matured in the underground and is free of any forced outside influence. Cole’s fantastic style shoots off bold punch lines one minute (“I blow brains, Cobain-style”) and then goes deep the next, with equal skill and all while stringing together eye-level, real-life stories that have that classic flow. The reservation count is high and the flaw count is zero, and in this case, that’s the proper formula for a rich hip-hop album. Take a couple listens, let it sink in, and then discover that Cole World is one hell of a debut.© David Jeffries /TiVo

Madeleine Peyroux took significantly less time than the eight years between her debut and its follow-up to release her third album, Half the Perfect World, which finds a more mature -- or at least less vulnerable -- singer, one who chooses to express herself with nuance rather than overtness. Often, like in the opening "I'm All Right" -- one of four original songs -- this aversion to unconcealed emotion works well, playing off the swelling Hammond, the swinging rhythm of the acoustic guitar (contrasting nicely with the hook of "It's all right, I've been lonely before"), and the simple drums. But at other times, like in "A Little Bit" -- which is bluesy and more upbeat and practically screams for an outburst, a growl, something -- her hesitancy instead almost comes across as a flaw, as a fear of fully expressing herself. On "Blue Alert," where Anjani's voice was full and seductive, rife with curling smoke rings and lipstick-stained wineglasses, Peyroux seems desolate and flat and she simplifies the situation too much, though she does fare much better on the other Anjani/Leonard Cohen piece and title track of the album. Here, she changes its perspective, mixing the characters together and sounding beautifully fragile, yet at the same time strong and certain, as she sings about her love. The same can be said for her version of the Johnny Mercer-penned "The Summer Wind," which uses a cleaner, less dramatic arrangement to convey the feeling that, though she's thinking about past events with some nostalgia, she's also able to accept the outcome and move forward with her life. This kind of resignation hangs heavy throughout the entire album, making every song she covers seem sadder than the original. Joni Mitchell's "River," sung with k.d. lang, is slow and heart-wrenching (lang's voice, especially, brings a sweet melancholy to it), and Peyroux's version of Charlie Chaplin's "Smile" has a kind of dejected resoluteness that makes you wonder if she can even follow the advice she's singing. This subtlety is two-fold, however. It's so prevalent in the music that it's hard to tell if it's hinting at greater depth or if it's really a protective blanket, an affected timidity to prevent exposure. The delicateness of Half the Perfect World is certainly nice, but Peyroux seems to be using it as a device to hide behind instead of an actual expression of feeling, and so while the album is an overall success, it still leaves questions lingering behind the softly clicking hi-hat, the wandering bass, of when the singer's really going to show herself completely.© Marisa Brown /TiVo