In the year of his 90th birthday (which he would have celebrated on the 23rd of September 2020 had he not died in 2004), Ray Charles is honoured with a new 90-track compilation box set. Just another compilation like all the rest? Yes and no. Ray Charles is undoubtedly one of the most-compiled artists in the history of music. Published by Tangerine, the label that the musician set up at the end of the 50s to keep the rights to his songs, this box set starts out like all the others: with the post-Atlantic hits, Georgia On My Mind, Hit The Road Jack, One Mint Julep, Busted... These are timeless treasures of proto-soul, but there doesn't seem to be much novelty here. The rest is much more interesting, and much rarer: tracks recorded between the second half of the 1960s and the 2000s, many of which were only released on vinyl, never reissued on CD and until now unavailable on digital. This is the first time that Ray Charles' lesser-known years have been given the compilation treatment in this way, and it is a revelation. In the 90s and 2000s, the production of his songs had a synthetic feel, and they did not age too well. These rarer songs are often hidden gems of southern soul, flavoured with country and wrapped in sumptuous symphonic orchestrations. Whether he is singing the Muppets (It's Ain't Easy Being Green) or Gershwin (Summertime, a duet with Cleo Laine), Ray Charles is always deeply moving. Now, the dream is to hear reissues of all these albums in their entirety. © Stéphane Deschamps/Qobuz

Clocking in at 26 minutes, Weather feels more like an EP than an LP, but there's a reason for the brevity. While Huey Lewis & the News were completing their first album of original material in nearly 20 years, Lewis was diagnosed with Meniere's disease, an affliction that effects hearing. Meniere's meant Huey could no longer hear notes clearly, which meant that he had to retire from performing, which in turn meant that the music the News completed for their new album would in effect be their final album. Since Huey Lewis & the News wrote and recorded Weather without planning it as a goodbye, the album has a light, breezy tone, and that amiability is actually a fitting farewell for a group who always were a hard-working rock & soul combo. Weather finds the News favoring the soul side of that equation, which should come as no surprise considering how their last album a decade prior was a tribute to Stax Records. If the album's production is a shade too precise and polished, the quality of the originals and the presence of a cover of Eugene Church's "Pretty Girls Everywhere" more than compensate. With one notable exception, the tracks are firmly songs for a sunny afternoon, with the opening "While We're Young" carrying not a note of bittersweetness. The exception is the closing "One of the Boys," a sweetly nostalgic, twangy stroll through the past that feels like a nod to the group's country-rock beginnings as Clover. Arriving at the end of this cheerful set of rock & soul, it seems like the one time the News are taking stock of their mortality, but the rest of the record captures them at their best, delivering good-time music with a smile.© Stephen Thomas Erlewine /TiVo

Early in the recording of his third full-length album, 2017's spirited Undivided Heart & Soul, JD McPherson paused the process to take Queens of the Stone Age's Josh Homme up on his offer to come jam at his studio in what amounted to a kind of creative jump-start -- a way to get the juices flowing again. While it's unclear if anything they played made it onto Undivided Heart & Soul, it certainly sounds like it could have. Rife with gritty R&B tones and a driving punk energy, the album sounds like something QOTSA might have made if they'd come into their own in the '60s garage rock era instead of the alt-rock 2000s. Which means, for longtime McPherson fans, the album feels both familiar and like a conscious attempt to shake things up; not a huge leap off the stylistic cliff, but a dance on the edge nonetheless. Recorded in Nashville's historic RCA studio B with producer Dan Molad, Undivided Heart & Soul once again finds the Oklahoma-born belter joined by longtime bassist and collaborator Jimmy Sutton, as well as his regular touring lineup of pianist/organist Raynier Jacob Jacildo, drummer Jason Smay, and guitarist/saxophonist Doug Corcoran. Making guest appearances are Lucius' Jess Wolfe and Holly Laessig, Nicole Atkins, and Raconteurs guitarist Jack Lawrence. Also helping McPherson disrupt his own sound here are several songwriting collaborators including nervy pop stalwart Butch Walker, fellow Oklahoman Parker Millsap, and former Semi Precious Weapons-guitarist-turned Nashville-psych-singer/songwriter Aaron Lee Tasjan. The result is that McPherson's brand of vintage Americana sounds even more stylistically cross-pollinated. Cuts like the lushly romantic "Hunting for Sugar" and the driving "On the Lips" somehow touch upon classic Memphis and Chicago soul sides just as much as they evince '80s Squeeze and the edgy garage rock of the Strokes. Furthermore, while there are certainly a handful of well-honed chorus hooks here, tracks like the yearning "Jubilee" and the Tommy James-esque "Under the Spell of City Lights" deftly subvert anticipation with downplayed choruses that come just a hair later than you'd expect. These are subtle shifts that speak to McPherson's ever-growing songcraft. Thankfully, what hasn't changed is his knack for crafting memorable pop hooks, as evidenced by the Eddie Cochran-esque groover "Crying's Just a Thing That You Do," and the acidically bluesy "Lucky Penny." Both are kinetic anthems that make great use of McPherson's highly resonant, bell-tone vocals and strikingly literate lyrics. A former art teacher who grew up on a ranch, McPherson has always distinguished himself as both imagistic poet and dirt-on-his-boots troubadour. It's a dichotomy that informs much of Undivided Heart & Soul. On "Crying's Just a Thing That You Do," he sings "You're sipping your Darjeeling/And staring at the ceiling/You dream about it splitting in two," and later "I kinda held my head down for most of the ride/Skimming through Rossetti and Poe." Arty tropes aside, with Undivided Heart & Soul, McPherson continues to pull all of his varied stylistic influences together into his own vibrantly coherent brand of visceral, emotive rock that grabs you by the collar and demands your passion.© Matt Collar /TiVo

Given the tightly controlled nature of American Idol, it's a wonder that the televised talent contest has never produced a winner who specialized in country music, since there's no segment of modern popular music that is controlled tighter than contemporary country. Maybe this thought was in the minds of Simon Fuller and the rest of AmIdol's 19 management when they went into their fourth season in 2005, since as soon as fresh-faced Oklahoma blonde Carrie Underwood showed up in the audition rounds, the judges -- alright, specifically Simon Cowell -- pigeonholed her as a country singer, even if there was nothing specifically country about her sweet, friendly voice. From that point on, she was not only the frontrunner, but anointed as the show's first country winner, which apparently proved more enticing to the voters and the producers than the prospect of the show's first rock & roll winner in the guise of the Southern-fried hippie throwback Bo Bice. Which makes sense: cute, guileless young girls have a broader appeal than hairy 30-somethings. They're easier to sell and mold too, and Underwood proved particularly ideal in this regard since she was a blank slate, possessing a very good voice and an unthreatening prettiness that would be equally marketable and likeable in either country or pop. So, the powers that be decided that Underwood would be a contemporary country singer in the vein of Faith Hill -- she'd sing anthemic country pop, ideal for either country or adult contemporary radio, with none of the delightful tackiness of Shania Twain -- and her debut album, Some Hearts, not only hits this mark exactly, it's better than either album Hill has released since Breathe in 1999. Which isn't to say that Carrie Underwood is as compelling or as distinctive as a personality or vocalist as Faith Hill: Underwood is still developing her own style and, for as good a singer as she is, she doesn't have much of a persona beyond that of the girl next door made good. But that's enough to make Some Hearts work, since she's surrounded by professionals, headed by producers Mark Bright and Dann Huff, who know how to exploit that persona effectively. While some of the songs drift a little bit toward the generic, especially in regard to the adult contemporary ballads, most of the material is slick, sturdy, and memorable, delivered with conviction by Underwood. She sounds equally convincing on such sentimental fare as "Jesus, Take the Wheel" as on the soaring pop "Some Hearts," and even if she doesn't exactly sound tough on the strutting "Before He Cheats," she does growl with a fair amount of passion. In fact, the worst thing here is her chart-topping post-American Idol hit "Inside Your Heaven," which is as formulaic as the mainstream country-pop that comprises the rest of Some Hearts, but with one crucial difference: the formula doesn't work, the song is too sappy and transparent, the arrangement too cold. On the rest of Some Hearts, everything clicks -- the production is warm, the tunes inoffensive but ingratiating, it straddles the country and pop worlds with ease, and most importantly, it's every bit as likeable as Carrie was on American Idol. Which means that even if she's not nearly as sassy or charismatic as Kelly Clarkson -- she's not as spunky as Nashville Star finalist Miranda Lambert, for that matter -- Carrie Underwood has delivered the best post-AmIdol record since Clarkson's debut.© Stephen Thomas Erlewine /TiVo

Some 13 years into his recording career, jazz pianist extraordinaire Bill Charlap's first live album is, perhaps, his most exquisite release to date. While virtually all of his studio albums more than adequately showcase Charlap's virtuosity, good taste, and ceaseless imagination at the keys, it took the spontaneity of the live performance -- at New York's fabled Village Vanguard -- to give the first true indication of just what Charlap is capable of creating on the fly. The pinpoint accuracy and sophistication of his solos, whether at breakneck speed or in a ballad setting, are a marvel. Charlap's concentration never strays, and although he feels no compunction to strut, he lets it be known with each passage that he's among the most gifted pianists in jazz today. There is an economy to his playing even when the notes are rippling out faster than most listeners can probably hear them, and his sense of romanticism never flags. Those hot displays, particularly the seven-and-a-half-minute "My Shining Hour" (one of three Harold Arlen songs performed), "The Lady Is a Tramp," and "Rocker" (a horn-less take on the Gerry Mulligan-penned classic made famous by Miles Davis), serve as perfect showcases not only for Charlap's fleet-fingered acrobatics but for the rhythm section, bassist Peter Washington and drummer Kenny Washington, to let loose. The drummer is as impressive skimming brushes across his traps as when wailing on them with a pair of sticks, and the bass player never loses sight of the root of the song as he wanders forcefully but melodically and thoughtfully. Where Charlap shines most brightly, though, is on the ballads. "It's Only a Paper Moon," "Autumn in New York," and Jim Hall's "All Across the City" give voice to Charlap's most vivid pianistics -- his range within a standard is admirable and something to be emulated, as is the discipline that keeps him from shooting off into the cosmos -- and serve as a constant reminder that grace, inspiration, and skill are not mutually exclusive traits. This CD was nominated in 2007 for a Grammy award as Best Jazz Instrumental Album (Individual or Group).© Jeff Tamarkin /TiVo

Looking at the cover of Huey Lewis & the News' Live at 25, it's hard not to think, "Wow! I had no idea that the News had 25 members!" Of course, the middle-aged men crowding the cover of this 2005 release number a mere nine, which means the one-time sextet has been expanded with a full horn section (original guitarist Chris Hayes has been replaced by Stef Burns and bassist Mario Cipollina has been replaced by John Pierce, as well). New members and a horn section don't change the basic nature of the band, which hasn't changed since the beginning of its career -- no matter what they do, Huey Lewis & the News are a good-time, good-natured, unabashedly fun party band. That served them well at the height of their fame in the mid-'80s, and it serves them well 20 years later, as they do those big hits -- "The Heart of Rock & Roll," "I Want a New Drug," "If This Is It," "Do You Believe in Love," "Hip to Be Square" (subtly changed to "(Too) Hip to Be Square," although the lyrics haven't been altered) -- balanced with covers and newer tunes that sound as if they could have been good album tracks on Picture This. Although the liner notes don't mention the date or location of the recording of Live at 25, the specifics don't really matter since the album is designed to be less a historical document than a nostalgic souvenir for longtime fans, capturing the group at a quarter-century mark. In that respect, it works well: the song selection is good, the band sounds tight and professional, the production is clean and punchy, and while it's never especially engaging, it is an enjoyable performance. Not essential, and certainly not nearly as energetic as the original LPs, Live at 25 is warm, friendly, and fun nonetheless, a perfectly respectable way to celebrate the group's anniversary.© Stephen Thomas Erlewine /TiVo

Vocalist Jane Monheit delivers a sophisticated and romantic set of standards on her 2010 effort Home. Once again showcasing Monheit's sparkling virtuosic singing, Home also features the backing talents of the singer's longtime associates pianist Michael Kanan, bassist Neal Miner, and drummer Rick Montalbano. Also featured are guitarist Frank Vignola, trumpeter Joe Magnarelli, violinist Mark O'Connor, and others. Although Monheit takes the spotlight on such American popular songbook tunes as "A Shine on Your Shoes,'' "This Is Always," and "I'll Be Around," she also allows for several exceptional duets, including "Tonight You Belong to Me" with singer/guitarist John Pizzarelli and "It's Only Smoke" with singer Peter Eldridge. Home is an urbane, immaculately produced effort that should appeal to Monheit's longtime fans.© Matt Collar /TiVo

One of Wes Montgomery's finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto. All eight performances are memorable in their own way, with "Cottontail," "I'm Just a Lucky So and So," and a brief unaccompanied "While We're Young" being high points. © Scott Yanow /TiVo

One of Wes Montgomery's finest recordings, a Riverside date that showcases the influential guitarist in a quintet with pianist Hank Jones, bassist Ron Carter, drummer Lex Humphries, and the congas of Ray Barretto. All eight performances are memorable in their own way, with "Cottontail," "I'm Just a Lucky So and So," and a brief unaccompanied "While We're Young" being high points. © Scott Yanow /TiVo

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Standards is a 12-track collection that is culled from the sessions that resulted in the House Party and Home Cookin' albums, both of which featured Jimmy Smith in a trio with guitarist Kenny Burrell and drummer Donald Bailey. All of the songs are familiar standards along the lines of "Bye Bye Blackbird," "I'm Just a Lucky So and So," "September Song," "Mood Indigo" and "It Might As Well Be Spring," and seven of the tracks are previously unreleased. Throughout the album, the trio is relaxed and laidback, resulting in a warm, inviting collection of standards. It's among Smith's mellowest recordings, and it's all the better for it.© Stephen Thomas Erlewine /TiVo

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A casual peruser of conventional jazz wisdom might guess that a Wes Montgomery Plays for Lovers album would surely draw from Universal's A&M and/or Verve holdings. But no, this compilation is part of Concord's look-alike series of that name. Thus, these are Riverside sides from the first few years of Montgomery's recording career, and besides providing a soundtrack for a romantic evening, they prove that Wes Montgomery's taste for a tender ballad -- with the tunes often stated in his patented octaves -- was always there practically from the beginning. Concord didn't have to strain as it gathered material to support this concept, drawing from nine of Montgomery's Riverside albums and finding ballads in all. "Prelude to a Kiss" and "All the Way" come from that premonition of future commercial enterprises, Fusion!, where the romantic mood is a given and Jimmy Jones' charts make a small orchestra sound lusher than its numbers would indicate. Some of the great guitarist's collaborations with other notables also populate this collection. "Stairway to the Stars" features the voluble Milt Jackson on vibes, with Montgomery playing gentle octaves in the center. "If I Should Lose You" has Montgomery Brothers Monk (bass) and Buddy (piano) backing Wes, who is always mellow and songful, and he and his brothers fit right into the George Shearing sound in the sole midtempo track on the CD, "Darn That Dream." Full House, the sole (and celebrated) live album of Montgomery's Riverside period, is represented by "I've Grown Accustomed to Her Face," where he does little more than tenderly state the tune. The album closes with Montgomery's only recorded a cappella solo track, "While We're Young," whose ultra-mellow mood underplays even the most understated ballads in the rest of the package. By no means should this be your only Wes Montgomery Riverside album, nor is it the best-paced Montgomery anthology out there. But those who cotton to his quiet ballad side ought to find a lot of concentrated pleasure.© Richard S. Ginell /TiVo