Neil Young continues to exploit his massive catalog of original songs in innovative ways. On his 45th studio album, he revisits 12 songs—mixed as a single track—that stretch as far back as his days with Buffalo Springfield. Young is clear about Before and After's intentions: "Songs from my life recently recorded create a music montage with no beginnings or endings. The feeling is captured, not in pieces but as a whole piece … music defies shuffling, digital organization, separation. Only for listening."  The constant subject throughout is the life affirming powers of having and giving love. With few exceptions the critical segues between tracks are seamless and unobtrusive; opener "I'm the Ocean," a classic Young chord progression that was originally on Mirror Ball, easily blends into "Homefires"—first released on Neil Young Archives Volume II 1972-1976. Young is the entire band on this single track, taken from a 96 kHz/24-bit digital source. (Perhaps as an inside joke, Wilco's Jeff Tweedy is listed in the credits as being an "Electric guitar & Amplifier tech.") He switches from acoustic guitar, harmonica and piano to pump organ occasionally, as he does in the transition between "On the Way Home" to "If You Got Love," an unreleased track from the 1983 Trans sessions. With Young's voice as a constant, there is an undeniable sameness to this continuous design. Except for "Comes a Time," he avoids the hits and concentrates on songs that he's felt were unjustly neglected in the past, or that he's found new meaning in today. That's audibly true in a new version of "When I Hold You in My Arms," his paean to life's inevitable changes. Originally on Are You Passionate?, there's now a renewed certainly as Young brings new fervor to familiar lines:  "Old heart's going up/ Old heart's coming down/ My feelings going up/ My feelings coming down/ You gotta hold onto someone in this life."  © Robert Baird/Qobuz

Never before has Beyoncé made her fans wait so long between solo albums. Of course, these past six and a half years haven’t been easy for the singer—far from it. However, such levels of anticipation inevitably lead to impatience. After unveiling the house-pop influenced single Break My Soul, which definitely came as a surprise, you’d be forgiven for expecting her new album to be something more along the lines of Drake’s Honestly, Nevermind released a month prior, but it’s nothing of the sort. Renaissance has electronic rhythms at its core, but it’s extremely wide-ranging. Beyoncé flirts with disco-funk on Cuff It, summons huge choirs fit for a queen on Cozy, and includes a new ode to feminist empowerment with Church Girl (which gives an insight into her soul and gospel influences). Perhaps the best musical synthesis on the album is found in the track Virgo’s Groove, reviving the Latin sounds that feature on Move and Heated. With Renaissance, Beyoncé has really upped her pace, creating a highspeed musical freeway that’ll take you to a lot of different places. © Brice Miclet/Qobuz

With its more ambitious compositions, Help! had made it clear that the Beatles did not intend to stay remain that nice little group from Liverpool much longer. Four months later, Rubber Soul was released in December of 1965, and the Fab Four show that they have indeed grown up artistically. There are more mature texts (written by Bob Dylan, a real influence on the Beatles as confessed by McCartney himself) and more daring harmonies. They even bring their instrumentation to unknown territory as demonstrated by Norwegian Wood or the bass on Think for Yourself. As for ballads like Girl or Michelle, they are beautiful and will remain timeless. Above all, this sixth studio album mixes more musical styles - be it pop (of course) but also R&B, folk, soul and psychedelic. Rubber Soul also marks the point where we see each member of the group affirm their unique personalities, and with the support of producer George Martin, John, Paul, George and Ringo were encouraged to move away from their "youthful" habits. ©MZ/Qobuz, Translation/BM

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get It in Your Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: "Open Letter to Duke" is inspired by Duke Ellington and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.© Steve Huey /TiVo

There were comedic hip-hop records before De La Soul's first album. There were beats that pushed the limits not just of what sampling technology could do, but where those samples came from and how they riffed off each other. There were lyricists who broke so far out of the ABAB rhyme schemes of basic rap that it blew the potential for new flows and structures wide open. And there were eccentrics—artists who didn't appear to adhere to any previously existing formula for hip-hop in style, perspective, or attitude because they couldn't be anybody but themselves. But 3 Feet High and Rising did all those things to such a surprising extent for a debut album that its barrage of audaciously new and unique ideas planted a flag nobody's been able to fully uproot. Rappers Posdnuos and Trugoy, DJ/co-producer Maseo, and beatmaker Prince Paul pulled off a work that might've left more people scratching their heads in bafflement if it hadn't also solidified the appeal of hip-hop's emerging bohemian strain. Maybe it's because there's as much reliance on familiar if transformative referential pop-music hijackings (Steely Dan on "Eye Know"; Hall & Oates on "Say No Go") as on the kind of sublime crate digger silliness that lends cartoonish joy to cuts like the head-swimming shaky-kneed "Plug Tunin' (Last Chance to Comprehend)" or the mellow soul-jazz melange of early Native Tongues teamup "Buddy." Even the interstitial stuff fits, weird as it is—goofy skits about body odor ("A Little Bit of Soap") and passé fashion ("Take It Off") adds to their just-rap-about-whatever approach that acts as both a met artistic challenge and a casual bit of messing around. De La Soul would take great pains to control and define their own multifaceted image—peaking with hit single "Me Myself and I," which declares their defensiveness over being perceived as contrived hippie-fashion poseurs while also nodding to a clear silly-yet-deep musical precedent in Funkadelic. But it only takes a couple close listens of 3 Feet High and Rising—and the lyrical intricacy and storytelling in deep cuts like the empathetic social-struggle analysis "Ghetto Thang" and the stay-posi fable-spinning "Tread Water"—to realize they'd be impossible to pin down for the rest of their careers. © Nate Patrin/Qobuz

The storied reggae artist (and heir to the throne as Bob Marley's second son) Stephen Marley takes a new turn on his fifth solo album Old Soul. After years as a supporting player and behind-the-scenes producer, Marley emerged with solo work in the late 2000s as a powerful hybrid of roots reggae and modernized hip-hop, sometimes speckled with moments of dancehall fun for good measure. Born from nightly acoustic jams at the beginning of the COVID-19 pandemic, Old Soul is considerably mellower, matching soft sentiments on love, family, and the circle of life with spare arrangements that float out of the speakers like a gentle breeze. Tunes like the autobiographical title track and the lover's rock-influenced "Standing in Love" (which features a cameo from Slightly Stoopid's Kyle McDonald) keep the percussion and electric instruments to a minimum, making acoustic guitar melodies and sweet vocal harmonies the main focus. Buju Banton contributes to the perky ska number "Thanks We Get (Do Fi Dem)" and there's a reggae foundation to the brooding "Cast the First Stone" (aided by brother Damian Marley), but even these tracks are lighter readings of traditional reggae and reggae-adjacent sounds. Elsewhere, Marley curiously explores whatever style he feels, drifting through jazz standards like "Georgia on My Mind" and "These Foolish Things (Remind Me of You)" and covering the Beatles' "Don't Let Me Down" before inviting Eric Clapton to join in on lead guitar as they revisit a cover of Marley's father's 1973 hit "I Shot the Sheriff." The lazy ramble of "Winding Roads" closes Old Soul out, sounding more like a folksy, amber-hued jam band tune than anything reggae related. Assistance from the Grateful Dead's Bob Weir and the perpetually affable Jack Johnson enhance the song's laid-back essence, and it's a lovely way to let the thoughtful, even-keeled album naturally decompress. Marley maintains a relaxed energy and a light touch throughout Old Soul, but the songs are built well enough that they feel refreshing and never sleepy. It's a pendulum swing from some of his more intense moments, but the strong material shows his depth as an artist, regardless of the muse he's pursuing.© Fred Thomas /TiVo

The grace of Grace is everywhere! Granted Lizz Wright’s fans know that the Georgian singer has one of the most beautiful voices of her generation, but this album places her on rarely visited summits! A feeling no doubt connected to the theme of this 2017 cuvée, in which Wright provides a striking insight into a network of stories and songs which roots, intimately intertwined, extend deep and connect extremely diverse traditions that make up the soul of the Deep South. Produced by Joe Henry, one of the big shots of Americana, this southern celebration where jazz, blues, rock and gospel interweave allow her to shine in reinterpretations of songs by Ray Charles (What Would I Do), Allen Toussaint (Southern Nights), Nina Simone (Seems I’m Never Tired Lovin’ You), Sister Rosetta Tharpe (Singing in My Soul), k.d. lang (Wash Me Clean) or Bob Dylan (Every Grain Of Sand). In the more intimate sequences, when she doesn’t use her technical virtuosity, Lizz Wright is sublime and further appropriates this repertoire that flows through her veins. Her version of Southern Nights is refined, never complacent, and gifted with a subtlety that defines the entire album. © MD/Qobuz

The Killers have never been a band to do things by half, going all the way back to the arch '80s dancefloor drama of their 2004 debut Hot Fuss. Since then, they've evolved into a big—no, big isn't even a big enough word: massive, capacious, monumental—sound that evokes Bono waving the white flag or Springsteen throwing his Telecaster high above his head. Imploding The Mirage continues that grand tradition, with a few intriguing left turns. Opener "My Own Soul's Warning" starts off spacey and loose before breaking into a big, gorgeous keyboard landscape. "But then I thought I could fly/ And when I hit the ground/ It made a messed-up sound," Brandon Flowers wails in his no-rough-edges clarion call. (Applicable adjective: heart-rending.) "Blowback" gallops with horsepower. Lindsey Buckingham delivers showy guitar bombast on "Caution." "Dying Breed" steadily clicks along, factory-like, before kicking through the roof to expose the whole sky. The atmospheric allusions are apropos: The album was made in Flowers' adopted home state of Utah and the singer has said that, while recording, he noticed the "geography matching the sensation" of the music. It's all good, and energizing. But then something unexpected happens with the record. "Lightning Fields" is as huge as what precedes it, but riding a fascinating wave of moodiness and given lift by a k.d. lang guest vocal turn. "Fire in Bone" struts in on a funky bass, while Flowers tries out Talking Heads' new-wave angularity. Songs like "My God" and "When the Dreams Run Dry" show how the band's synth stylings—more prevalent here than in years—have drifted to dreamy new places. And when Flowers dons Bryan Ferry x Springsteen drag for the closing title track, hiccuping lines like "you were out there chewing fat for probable cause," it's damn fun. © Shelly Ridenour/Qobuz

Does the cliché of the artist improving with time, just like good wine, apply to Van Morrison? For several years now, the old bard from Belfast has been unstoppable, publishing up to two albums a year. With Three Chords and the Truth (his sixth in four years!), he proves it is possible to have both quantity and quality. Composed of 14 previously unpublished songs (not covers, as was often the case on his previous records from the 2010’s), this 2019 vintage encapsulates all of Van The Man’s art. His unique style of jazz and blues tinged with gospel soul is supported by a refined, warm instrumentation. With his slick double bass, groovy vintage organ, raspy brass and inimitable voice, Van Morrison carries on carving his own path and the result often touches the sublime. His old guitarist Jay Berliner (found on Astral Weeks, his 1968 masterpiece) even brings a delicate touch to the record. And Bill Medley from The Righteous Brothers sings with him on Fame Will Eat the Soul. Ultimately, Van Morrison is never a parody of himself, and the pleasure that making music brings him at 74 years old is more than obvious. © Max Dembo/Qobuz

The 400th anniversary year of William Byrd's death gets off to a roaring start with this collection of mostly Catholic choral music from the small (mixed-gender, adult) choir Stile Antico. This justly celebrated group works without a conductor and is recognized for its flexible and sensitive treatment of texts, even in one as well-worn as that of the Catholic mass. Here, sample the "Qui propter nos homines" section from Credo of the Mass for Four Voices, which runs all the way through Christ's crucifixion and resurrection. There are many performances of this Byrd masterpiece, but few that convey so much of the sense of awe and reverence with which Byrd infused these words. The Mass is broken up, as would have occurred in Byrd's time, with motets appropriate to the various parts of the mass. None of these is particularly rare, but the clarity and warmth of Stile Antico's music-making here is consistently remarkable. There are a few Anglican English pieces, and for listeners who do not speak Latin, these will confirm the group's gifts in clear text articulation. A superb job all around on a release that could serve any listener well as an introduction to Byrd's sacred music and made classical best-seller charts in early 2023.© James Manheim /TiVo

Rhapsodic dancefloor intimacy became a new specialization for Jessie Ware with "Overtime," the first in a wave of tracks the singer released from 2018 up to the June 2020 arrival of What's Your Pleasure?, her fourth album. Other than "Adore You," a chiming glider made with Metronomy's Joseph Mount, each one in the series was either produced or co-produced by James Ford, consolidating and rerouting a partnership that started during the making of Tough Love. Unlike Ford and Ware's collaborations on that 2014 LP, the new material didn't merely simmer. Hottest of all, "Mirage (Don't Stop)" worked a ripe disco-funk groove with Ware's opening line, "Last night we danced, and I thought you were saving my life" -- sighed in a Bananarama cadence -- a sweet everything if there ever was one. The loved-up energy was kept in constant supply with the dashing "Spotlight," the Freeez-meet-Teena Marie-at-Compass-Point bump of "Ooh La La," and the sneaky Euro-disco belter "Save a Kiss." All but "Overtime" are included here. That makes the album somewhat anti-climactic, but there's no sense in complaining when the preceding singles keep giving and the new material is almost always up to the same standard. Among the fresh standouts, the bounding Morgan Geist co-production "Soul Control" and the dashing "Step Into My Life" recontextualize underground club music with as much might and finesse as anything by Róisín Murphy. Stylistic deviations are few, well-placed, and maintain lyrical continuity with references to the senses as they relate to emotional and physical connection. "In Your Eyes" recalls Massive Attack's "Safe from Harm" with its hypnotizing bassline, subtly theatrical strings, and aching (if less desperate) vocal. Moving in gradually intensifying and similarly slow motion, "The Kill" enables Ware to let down her guard for an unassured lover. "Remember Where You Are," a stirring finale, takes a little trip to cherish the daybreak in Minnie Riperton and Charles Stepney's chamber folk-soul garden, replete with a goosebump-raising group vocal in the chorus. One can almost smell the baby's breath.© Andy Kellman /TiVo

Smarting from Dazzle Ships' commercial failure, the band had a bit of a rethink when it came to their fifth album -- happily, the end result showed that the group was still firing on all fours. While very much a pop-oriented album and a clear retreat from the exploratory reaches of previous work, Junk Culture was no sacrifice of ideals in pursuit of cash. In comparison to the group's late-'80s work, when it seemed commercial success was all that mattered, Junk Culture exhibits all the best qualities of OMD at their most accessible -- instantly memorable melodies and McCluskey's distinct singing voice, clever but emotional lyrics, and fine playing all around. A string of winning singles didn't hurt, to be sure; indeed, opening number "Tesla Girls" is easily the group's high point when it comes to sheer sprightly pop, as perfect a tribute to obvious OMD inspirational source Sparks as any -- witty lines about science and romance wedded to a great melody (prefaced by a brilliant, hyperactive intro). "Locomotion" takes a slightly slower but equally entertaining turn, sneaking in a bit of steel drum to the appropriately chugging rhythm and letting the guest horn section take a prominent role, its sunny blasts offsetting the deceptively downcast lines McCluskey sings. Meanwhile, "Talking Loud and Clear" ends the record on a reflective note -- Cooper's intra-verse sax lines and mock harp snaking through the quiet groove of the song. As for the remainder of the album, if there are hints here and there of the less-successful late-'80s period, at other points the more adventurous side of the band steps up. The instrumental title track smoothly blends reggae rhythms with the haunting mock choirs familiar from earlier efforts, while the elegiac, Humphreys-sung "Never Turn Away" and McCluskey's "Hard Day" both make for lower-key highlights.© Ned Raggett /TiVo

What better than a 4-CD box set to crown the career of an artist who left us too soon? In 2017, Tom Petty’s sudden passing broke the hearts of all true rock enthusiasts. His wife Dana and his daughter Adria decided to grieve by working on this An American Treasure album. After leaving behind many unreleased treasures, his close ones, such as producer Ryan Ulyate and band members Mike Campbell and Benmont Tench put their heart and soul into this production. A “family” selection that features demos, alternative versions, album tracks and live performances, showing the evolution of the Heatbreakers’ frontman. Outtakes from the 1976 (Surrender), alternative versions from the 1979 (Louisiana Rain) and demos from the 1984 (The Apartment Song), everything here is powerful with a great sound, thanks to the careful remastering work of Chris Bellman, who had already worked on recordings from Diana Ross, Rick James and a few other Motown artists. The album retraces Tom Petty’s debuts with the Heartbrakers as well as the band Mudcrutch, but also his solo career with over 60 tracks in Hi-Res 24Bit. In a chronological order, this four-hour anthology ends with his 2016 live performance of Hungry No More. An emotional experience both for his fans and the younger generations wishing to discover this key artist in American rock history. © Anna Coluthe/Qobuz

Rhapsodic dancefloor intimacy became a new specialization for Jessie Ware with "Overtime," the first in a wave of tracks the singer released from 2018 up to the June 2020 arrival of What's Your Pleasure?, her fourth album. Other than "Adore You," a chiming glider made with Metronomy's Joseph Mount, each one in the series was either produced or co-produced by James Ford, consolidating and rerouting a partnership that started during the making of Tough Love. Unlike Ford and Ware's collaborations on that 2014 LP, the new material didn't merely simmer. Hottest of all, "Mirage (Don't Stop)" worked a ripe disco-funk groove with Ware's opening line, "Last night we danced, and I thought you were saving my life" -- sighed in a Bananarama cadence -- a sweet everything if there ever was one. The loved-up energy was kept in constant supply with the dashing "Spotlight," the Freeez-meet-Teena Marie-at-Compass-Point bump of "Ooh La La," and the sneaky Euro-disco belter "Save a Kiss." All but "Overtime" are included here. That makes the album somewhat anti-climactic, but there's no sense in complaining when the preceding singles keep giving and the new material is almost always up to the same standard. Among the fresh standouts, the bounding Morgan Geist co-production "Soul Control" and the dashing "Step Into My Life" recontextualize underground club music with as much might and finesse as anything by Róisín Murphy. Stylistic deviations are few, well-placed, and maintain lyrical continuity with references to the senses as they relate to emotional and physical connection. "In Your Eyes" recalls Massive Attack's "Safe from Harm" with its hypnotizing bassline, subtly theatrical strings, and aching (if less desperate) vocal. Moving in gradually intensifying and similarly slow motion, "The Kill" enables Ware to let down her guard for an unassured lover. "Remember Where You Are," a stirring finale, takes a little trip to cherish the daybreak in Minnie Riperton and Charles Stepney's chamber folk-soul garden, replete with a goosebump-raising group vocal in the chorus. One can almost smell the baby's breath.© Andy Kellman /TiVo

You never come across something surprising when you’re looking for it (obviously, that goes against the principle of a surprise). For several decades now, nobody has been expecting Scorpions to deliver unforgettable hits like they used to. How can you top albums like Taken by Force, Lovedrive, Love at First Sting and Blackout (which turns 40 in 2022!)? The band has been known for its cult ballads in recent years, though their last full-length albums were rather unexciting. Add to that a so-called farewell tour that ended up lasting 3 years and resulted in the band “having so much fun” they decided against calling it a day anyway, and you’d be forgiven for thinking that Scorpions’ future wasn’t all that bright.No one was expecting Rock Believer; the German rockers have caught everyone off guard. The first singles they released from this album were promising, like the title track Rock Believer, which was just made for live performances, the rebellious Peacemaker and the incredible Seventh Sun (which is in the same bracket as the band’s previous tracks China White and The Zoo) as well as the masterful Shining of your Soul which offers a delicious throwback to the late 70s. And, incredibly, the ballads have taken a backseat! The band has made the decision to return to hard rock, and they’ve proved that they’ve still got it. Thank god the singles are not just for show; they’re representative of what you can expect from the whole album. Roots in my Boots, Knock ‘em Dead and the mid-tempo Call of the Wild wouldn’t be out of place on the much-loved albums from their golden years.Even the inevitable ballad When You Know (Where You Come From) isn’t sickly sweet and reminds us – if anyone needed reminding – that these are the same musicians who wrote gems like Always Somewhere and When the Smoke is Going Down. It’s hard not to attribute this return to serious rock with the arrival of Mikkey Dee (ex-Motörhead) on drums, the man who plays with a tree trunk in each hand. Without overdoing it, he’s given an extra dynamic to Scorpions' music, and it’s clear the rest of the band can feel this too: Klaus Meine has never sung so well (and it’s great to hear his natural voice, free from any unnecessary effects), and soloist Matthias Jabs has treated us to some high-flying riffs that hark back to the days were his guitar was chatty in the best way. In short, Rock believer will make you smile when you hear the name “Scorpions” once more.Comebacks of this level aren’t common, in fact they’re downright rare. At this point in a career, it’s hard to make any predictions for the future, but if Rock Believer was to be Scorpions last release (let’s hope it won’t be), then it would certainly be added to their long list of essential albums. It’s their polite way of saying: “Who’s the boss?” © Charlélie Arnaud/Qobuz