Following a recent break-up, Jasmine Lucilla Elizabeth Jennifer van den Bogaerde, aka Birdy, has revealed that she has been listening to a lot of Etta James and Nina Simone. The Englishwoman embarked on a three-month trip to India before dropping anchor in California, in Topanga, in the Santa Monica Mountains. This region had a connection to the seventies Laurel Canyon scene, which brought together James Taylor, Jackson Browne and Joni Mitchell, whose legendary album Blue Birdy has been playing on repeat. All of these experiences went into giving Young Heart the feel of a mature work, which is no mean feat given that this artist shot to the top of the charts in 2011, aged just 15, with her cover of Bon Iver's Skinny Love. Now she is leaving big production values behind: this is all about a sparse sound, a less-is-more sensibility, and confessional songwriting. And in a crowded field of break-up albums, Birdy is able to stay ahead of the pack thanks to her sharp pen (And dark are my days now that I face them on my own, so long are the nights now that I'm sleeping here alone) and her masterful, shimmering melodies. In the middle section of this fourth album, which is indeed clearly influenced by Joni Mitchell, she demonstrates her confidence by playing a long excerpt from Chopin's Waltz No.19 in A Minor. This album seems to mark the moment when, at the age of just 25, Birdy really found a style and tone to call her own. © Marc Zisman/Qobuz

Disclosure's loping dance-pop single "Latch," a number 11 U.K. hit in 2012, introduced Sam Smith, a London-born vocalist with a deeply emotive voice. Smith grew up listening to R&B giants Chaka Khan, Luther Vandross, and Whitney Houston, but their first impression was unique, not merely for the richness of their voice, but its resoundingly expressive yet naturally delivered manner -- on a level most singers can't match with maximum effort. Early 2013 brought their debut solo single, "Lay Me Down" -- an aching singer/songwriter-soul throwback that scraped the U.K. Top 50. It was quickly eclipsed by a lead role on Naughty Boy's "La La La," a breakbeat-driven tearjerker that went to number one in the U.K. and then reached the Top 20 in the U.S. "Money on My Mind," an upbeat statement of purpose more about the soul than the heart, and "Stay with Me," a torch song with a gospel-inspired chorus, were Smith's second and third solo singles. They preceded the release of In the Lonely Hour, the singer and songwriter's debut album. Those three solo singles are here, along with seven new songs that tend to cast Smith as a heartbroken balladeer. Deep sorrow informs most of the material. Much more about mourning than movement here, Smith is bold for not attempting to capitalize on the Disclosure and Naughty Boy hits. The dominance of stripped-down backdrops -- some with merely piano, acoustic guitar, and conservative strings -- is somewhat surprising. That puts all the more focus on Smith's voice and words, the latter of which switch between borderline maudlin ("What use is money when you need someone to hold?") and disarmingly brazen ("Just leave your lover, leave him for me"). If Smith didn't have such a remarkable voice, they could stay busy composing songs for artists in several genres; the anthemic "Like I Can" could be easily adapted for a contemporary country singer, while a few others could be turned over to young pop artists in need of material that makes them sound more human. This is an understated and promising first step from an unpredictable and distinctive talent.© Andy Kellman /TiVo

If Wild Nothing's debut album, Gemini, consisted of nothing more that the song “Summer Holiday” and 25 minutes of a dial tone, it would still be one of the best records to come out of the lo-fi, reverb pop scene of 2010. The song's four minutes of achingly pretty guitar chime, soaring vocal melodies, and rhythmic charge that’s easy to get swept up in result in what can only be called perfect pop. The vocal-bass-drum breakdown halfway through is the kind of heart-stopping moment that bands dream of capturing in their songs. Incredibly, Gemini is filled with songs that rate just below "Summer Holiday" -- some, like “My Angel Lonely” and “O, Lilac,” are arguably just as good. Wild Nothing's main (and only) man Jack Tatum may have been a recent high-school graduate when the album was recorded, but he proves himself to be a scholar of music that was for the most part dead and buried long before his birth. There are sounds traceable to OMD, the Cocteau Twins, New Order, Echo & the Bunnymen, and scores of post-punk dreamers and synth pop romantics. The cheesy synths, heavily treated guitars, tons of cheapo drum machines and heavily layered production are totally '80s, but unlike most bands of the era he so loves, Tatum’s vocals don’t dominate the sound. Instead, he blends them into the arrangements, using them as just another element of the overall texture and feel. It’s a choice that could have led to the songs losing some impact, but the melodies are so strong and Tatum’s ability to create a mood of quiet desperation is so perfectly calibrated that you wouldn’t want to change a thing sound-wise. It’s a mood with many variations, too -- from the echoing, distant-sounding “The Witching Hour” to the quietly pulsating, almost bleak “Pessimist,“ Tatum makes sure to alter the sound and rhythmic approach enough to keep the listener engaged. His melodic gifts are powerful enough that even if he had no production skills at all, the album would still be great. In fact, he easily could have made 11 variations on "Summer Holiday" and had a hit record. That he explores different avenues and does so successfully bodes well for future releases. © Tim Sendra /TiVo

Disclosure's loping dance-pop single "Latch," a number 11 U.K. hit in 2012, introduced Sam Smith, a London-born vocalist with a deeply emotive voice. Smith grew up listening to R&B giants Chaka Khan, Luther Vandross, and Whitney Houston, but their first impression was unique, not merely for the richness of their voice, but its resoundingly expressive yet naturally delivered manner -- on a level most singers can't match with maximum effort. Early 2013 brought their debut solo single, "Lay Me Down" -- an aching singer/songwriter-soul throwback that scraped the U.K. Top 50. It was quickly eclipsed by a lead role on Naughty Boy's "La La La," a breakbeat-driven tearjerker that went to number one in the U.K. and then reached the Top 20 in the U.S. "Money on My Mind," an upbeat statement of purpose more about the soul than the heart, and "Stay with Me," a torch song with a gospel-inspired chorus, were Smith's second and third solo singles. They preceded the release of In the Lonely Hour, the singer and songwriter's debut album. Those three solo singles are here, along with seven new songs that tend to cast Smith as a heartbroken balladeer. Deep sorrow informs most of the material. Much more about mourning than movement here, Smith is bold for not attempting to capitalize on the Disclosure and Naughty Boy hits. The dominance of stripped-down backdrops -- some with merely piano, acoustic guitar, and conservative strings -- is somewhat surprising. That puts all the more focus on Smith's voice and words, the latter of which switch between borderline maudlin ("What use is money when you need someone to hold?") and disarmingly brazen ("Just leave your lover, leave him for me"). If Smith didn't have such a remarkable voice, they could stay busy composing songs for artists in several genres; the anthemic "Like I Can" could be easily adapted for a contemporary country singer, while a few others could be turned over to young pop artists in need of material that makes them sound more human. This is an understated and promising first step from an unpredictable and distinctive talent.© Andy Kellman /TiVo

Disclosure's loping dance-pop single "Latch," a number 11 U.K. hit in 2012, introduced Sam Smith, a London-born vocalist with a deeply emotive voice. Smith grew up listening to R&B giants Chaka Khan, Luther Vandross, and Whitney Houston, but their first impression was unique, not merely for the richness of their voice, but its resoundingly expressive yet naturally delivered manner -- on a level most singers can't match with maximum effort. Early 2013 brought their debut solo single, "Lay Me Down" -- an aching singer/songwriter-soul throwback that scraped the U.K. Top 50. It was quickly eclipsed by a lead role on Naughty Boy's "La La La," a breakbeat-driven tearjerker that went to number one in the U.K. and then reached the Top 20 in the U.S. "Money on My Mind," an upbeat statement of purpose more about the soul than the heart, and "Stay with Me," a torch song with a gospel-inspired chorus, were Smith's second and third solo singles. They preceded the release of In the Lonely Hour, the singer and songwriter's debut album. Those three solo singles are here, along with seven new songs that tend to cast Smith as a heartbroken balladeer. Deep sorrow informs most of the material. Much more about mourning than movement here, Smith is bold for not attempting to capitalize on the Disclosure and Naughty Boy hits. The dominance of stripped-down backdrops -- some with merely piano, acoustic guitar, and conservative strings -- is somewhat surprising. That puts all the more focus on Smith's voice and words, the latter of which switch between borderline maudlin ("What use is money when you need someone to hold?") and disarmingly brazen ("Just leave your lover, leave him for me"). If Smith didn't have such a remarkable voice, they could stay busy composing songs for artists in several genres; the anthemic "Like I Can" could be easily adapted for a contemporary country singer, while a few others could be turned over to young pop artists in need of material that makes them sound more human. This is an understated and promising first step from an unpredictable and distinctive talent.© Andy Kellman /TiVo

Disclosure's loping dance-pop single "Latch," a number 11 U.K. hit in 2012, introduced Sam Smith, a London-born vocalist with a deeply emotive voice. Smith grew up listening to R&B giants Chaka Khan, Luther Vandross, and Whitney Houston, but their first impression was unique, not merely for the richness of their voice, but its resoundingly expressive yet naturally delivered manner -- on a level most singers can't match with maximum effort. Early 2013 brought their debut solo single, "Lay Me Down" -- an aching singer/songwriter-soul throwback that scraped the U.K. Top 50. It was quickly eclipsed by a lead role on Naughty Boy's "La La La," a breakbeat-driven tearjerker that went to number one in the U.K. and then reached the Top 20 in the U.S. "Money on My Mind," an upbeat statement of purpose more about the soul than the heart, and "Stay with Me," a torch song with a gospel-inspired chorus, were Smith's second and third solo singles. They preceded the release of In the Lonely Hour, the singer and songwriter's debut album. Those three solo singles are here, along with seven new songs that tend to cast Smith as a heartbroken balladeer. Deep sorrow informs most of the material. Much more about mourning than movement here, Smith is bold for not attempting to capitalize on the Disclosure and Naughty Boy hits. The dominance of stripped-down backdrops -- some with merely piano, acoustic guitar, and conservative strings -- is somewhat surprising. That puts all the more focus on Smith's voice and words, the latter of which switch between borderline maudlin ("What use is money when you need someone to hold?") and disarmingly brazen ("Just leave your lover, leave him for me"). If Smith didn't have such a remarkable voice, they could stay busy composing songs for artists in several genres; the anthemic "Like I Can" could be easily adapted for a contemporary country singer, while a few others could be turned over to young pop artists in need of material that makes them sound more human. This is an understated and promising first step from an unpredictable and distinctive talent.© Andy Kellman /TiVo

Ray Charles' seminal recordings for Atlantic have been boxed once before, as the triple-disc 1991 set The Birth of Soul. That box contained 53 tracks, the best moments of what is arguably the best period of Charles' career, but Rhino/Atlantic's 2005 seven-disc sequel, Pure Genius, doesn't bother with merely the highlights: as its subtitle makes clear, this is The Complete Atlantic Recordings (1952-1959). This is undeniably a major historical release, since it gathers all of the recordings Charles made at his creative peak, not just as a leader, but as a sideman for his saxophonist David "Fathead" Newman and sides he recorded with jazz vibraphonist Milt Jackson. Also, it's not limited to studio recordings -- live sessions, later issued on the LPs Ray Charles in Person and Ray Charles at Newport, are here too. Despite the abundance of music here, there's not much that hasn't seen the light of day before. It may not seem that way at first glance, since the seventh disc contains nothing but unreleased material, but the great majority of that is devoted to a full-length rehearsal session with producer Ahmet Ertegun from 1953 -- something that is interesting to hear once, since it does give some insights into Ertegun and Charles' working relationship and how Ray acted in the studio, but even then, it's not exactly revelatory. So, apart from that rehearsal, outtakes of "(Night Time Is) The Right Time" and "Tell Me How Do You Feel" and an excellent DVD of Ray live at Newport from 1960, Pure Genius is devoted to material that has been reissued extensively during the CD era -- which is another way of saying that most fans will have this music already. Still, presented here in chronological order according to recording sessions, it's hard not to marvel at Charles' development as an artist and be astonished by his range. That is what makes this set worthwhile as something more than a library piece -- listening to the first six discs from beginning to end reveals exactly how restless and creative Ray was during this period. Most listeners will be satisfied by more concise collections of this period -- and even those who truly love the hard R&B and soul of Charles' Atlantic hits will likely find The Birth of Soul a more satisfying box, since it is devoted to that sound, whereas the rest of the music here that's not on the 1991 box is largely devoted to jazz sides and live performances -- but any serious fan or historian of American music will find this set essential. (Nevertheless, they may find the packaging of the set somewhat infuriating: it's a clever, well-designed replica of an old-fashioned, all-in-one record player, with the hardcover book and eight discs stored inside. It's a nice package, but a bit impractical, particularly for those who just want the music.)© Stephen Thomas Erlewine /TiVo

Two of singer Chris Connor's finest Atlantic albums are reissued in full on this single CD. The laid-back yet coolly emotional jazz singer is heard backed by top-notch rhythm sections (with either Ralph Sharon or Stan Free being the pianist/arranger) and occasional horns (trumpeter Joe Wilder, flutist Sam Most, tenors Al Cohn and Lucky Thompson, flutist Bobby Jaspar and Al Epstein on English horn and bass clarinet) adding some short solos. Connor (then around 30) was in her prime, and her renditions of such songs as "Poor Little Rich Girl," "Lonely Town," "I'm Shooting High," "Moonlight in Vermont," and even "Johnny One Note" are memorable and sometimes haunting.© Scott Yanow /TiVo

The six-CD box set Keith Jarrett at the Blue Note fully documents three nights (six complete sets from June 3-5, 1994) by his trio with bassist Gary Peacock and drummer Jack DeJohnette. Never mind that this same group has already had ten separate releases since 1983; this box is still well worth getting. The repertoire emphasizes (but is not exclusively) standards, with such songs as "In Your Own Sweet Way," "Now's the Time," "Oleo," "Days of Wine and Roses," and "My Romance" given colorful and at times surprising explorations. Some of the selections are quite lengthy (including a 26-and-a-half-minute version of "Autumn Leaves") and Jarrett's occasional originals are quite welcome; his 28-and-a-half-minute "Desert Sun" reminds one of the pianist's fully improvised Solo Concerts of the 1970s. Throughout the three nights at the Blue Note, the interplay among the musicians is consistently outstanding. Those listeners concerned about Jarrett's tendency to "sing along" with his piano have little to fear for, other than occasional shouts and sighs, he wisely lets his piano do the talking.© Scott Yanow /TiVo

Adam Lambert shakes off the shackles of the past by returning to his roots on The Original High. No longer with RCA, the label who signed him in the wake of American Idol, Lambert seizes this freedom by reuniting with producers Max Martin and Shellback, the team who gave him his big 2009 hit "Whataya Want from Me," but this is by no means a throwback. Martin and Shellback remain fixtures at the top of the pop charts -- they were instrumental collaborators on Taylor Swift's 1989, the biggest album of 2014 -- and they're a comfortable, stylish fit for the clever Lambert, a singer as comfortable with a glam-disco past as he is an EDM present. The Original High cannily synthesizes these two sides of Lambert, an intersection made explicit on "Lucy," where Adam sings about "diamond dogs" while his Queen bandmate Brian May lays down lead guitar over a crawling electro-beat. Elsewhere, Lambert ratchets up either the rock or the dance, but usually favors the latter, sometimes sliding into full-bore glitter ball territory -- "The Original High," where the beat slowly modulates from disco into EDM and the bonus "These Boys," which shamelessly appropriates the polyester styles of the '70s -- but usually finding an expert balance between pulsating rhythms and gleaming surfaces, not to mention insidiously ingratiating pop hooks. This emphasis on the hook and tune distinguishes The Original High, a record where Martin and Shellback's production, like Adam's soaring vocals, is in service of the song. Although the album can linger on moody noir a little too long -- the lightest material is squired away on the three bonus tracks, each an effervescent delight -- the individual components work on their own merits, whether it's the steely clatter of the Tove Lo duet "Rumours," the elegantly skeletal cinemascapes of "Ghost Town," or the cleanly constructed lines of "Things I Didn't Say." Here, and throughout The Original High, Adam Lambert demonstrates he's in perfect control of his style and sound and knows how to combine both into a sterling modern pop record.© Stephen Thomas Erlewine /TiVo

In 1960, pop vocalist Julie London was really cranking out albums for the successful label Liberty Records. The success of her 1955 hit "Cry Me a River" put Liberty into overdrive and London responded by making some of the strongest records of her career. Her ability to interpret a song was at its strongest in the late '50s and early '60s, as is evidenced on the shimmering Around Midnight. While some of her best recordings were front of small jazz combos, Around Midnight proves that London was just as effective in front of larger orchestras and bands. The drowsy "Black Coffee" and lazy "Lush Life" typify the late-night feel of the album, leading right into "The Wee Small Hours of the Morning." [Julie...At Home was released in 1996 as a two-fer as Julie...At Home/Around Midnight.]© Zac Johnson /TiVo

The fourth full-length album from Set It Off, 2019's Midnight, finds the Florida outfit continuing to expand their emo and punk influences with hip-hop and dance influences. The album follows up 2016's Upside Down and features production from Mike Green (State Champs, All Time Low) and Brandon Paddock (Panic! At the Disco, Papa Roach). Included on the album are the singles "Killer in the Mirror," "Lonely Dance," and "Dancing With the Devil."© Matt Collar /TiVo