Jonathan Demme's creative direction and this group's brilliance make for an unusual live performance event. Starting solo with David Byrne, each song brings another band member to the stage until the full band kicks in. With Bernie Worrell on keyboards and a strong hit-filled set from the Speaking in Tongues tour, this is definitely worth checking out.© Scott Bultman /TiVo

With Paranoïa, Angels, True Love, Christine And The Queens embarks on a long spiritual journey, with Madonna as their guiding high priestess. The two artists met in 2015 during a concert by the American, when Madonna had invited him to go on stage to choreograph a few dance steps. For this album, Christine And the Queens called on her to speak instead of sing. Seduced by the sheer madness of the project, Madonna agreed to take part in three songs (Angels Crying in My Bed, I Met an Angel and Lick the Light Out). Christine And The Queens wanted to salute this iconic voice "which speaks with all the facets inscribed in our consciousness, taking on multiple forms and roles, from the maternal figure to the dominatrix". As for the second feature of the album, the American singer and rapper 070 Shake, who can be heard on True Love and Let Me Touch You Once, makes an appearance. The spiritual form of Paranoïa, Angels, True Love owes a lot to the music produced by Mike Dean (who works with Jay-Z and Beyoncé). Often coated with a trip hop colour that reflects the multiple influences of Christine And The Queens, the tracks cede the place of honour to spectrally high strings and ecstatic electric guitar solos. We also hear a mystical cover of Canon de Pachelbel (Full of Life). Finally, this album is a way for Christine and the Queens to showcase the full range of their voice, which has never been so mixed and reverberated, for it to have maximum effect (A Day in the Water). Paranoia, Angels, True Love can be perceived as the singer's tribute to a highly determined English-speaking pop, but the air of strange musical comedy shows that this resolutely atypical object belongs only to them. © Nicolas Magenham/Qobuz

After releasing two "head" records during 1970 and 1971, Stevie Wonder expanded his compositional palette with 1972's Talking Book to include societal ills as well as tender love songs, and so recorded the first smash album of his career. What had been hinted at on the intriguing project Music of My Mind was here focused into a laser beam of tight songwriting, warm electronic arrangements, and ebullient performances -- altogether the most realistic vision of a musical personality ever put to wax, beginning with a disarmingly simple love song, "You Are the Sunshine of My Life" (but of course, it's only the composition that's simple). Wonder's not always singing a tender ballad here -- in fact, he flits from contentment to mistrust to promise to heartbreak within the course of the first four tracks -- but he never fails to render each song in the most vivid colors. In stark contrast to his early songs, which were clever but often relied on the Motown template of romantic metaphor, with Talking Book it became clear Wonder was beginning to speak his mind and use his personal history for material (just as Marvin Gaye had with the social protest of 1971's What's Going On). The lyrics became less convoluted, while the emotional power gained in intensity. "You and I" and the glorious closer "I Believe (When I Fall in Love It Will Be Forever)" subtly illustrate that the conception of love can be stronger than the reality, while "Tuesday Heartbreak" speaks simply but powerfully: "I wanna be with you when the nighttime comes/I wanna be with you till the daytime comes." Ironically, the biggest hit from Talking Book wasn't a love song at all; the funk landmark "Superstition" urges empowerment instead of hopelessness, set to a grooving beat that made it one of the biggest hits of his career. It's followed by "Big Brother," the first of his directly critical songs, excoriating politicians who posture to the underclass in order to gain the only thing they really need: votes. With Talking Book, Wonder also found a proper balance between making an album entirely by himself and benefiting from the talents of others. His wife Syreeta contributed two great lyrics, and Ray Parker, Jr. came by to record a guitar solo that brings together the lengthy jam "Maybe Your Baby." Two more guitar heroes, Jeff Beck and Buzzy Feton, appeared on "Lookin' for Another Pure Love," Beck's solo especially giving voice to the excruciating process of moving on from a broken relationship. Like no other Stevie Wonder LP before it, Talking Book is all of a piece, the first unified statement of his career. It's certainly an exercise in indulgence but, imitating life, it veers breathtakingly from love to heartbreak and back with barely a pause.© John Bush /TiVo

While Jenny Lewis's fifth album, Joy'All, was recorded with country producer-of-the-moment Dave Cobb in Nashville and features the singer wearing a spangled costume that belonged to Skeeter Davis on the cover, it's a stretch to say the Nudie suit-loving Lewis has gone country. In truth, she's as country as she's always been—it's more of a vibe than a defining genre for her, in the way that Stevie Nicks brought a country flair to Fleetwood Mac or that '70s Laurel Canyon loved a cosmic steel guitar. "Apples and Oranges" magically feels like some lost Motown country record. Ballad "Essence of Life," with Jon Brion's vibraphone adding a note of wistfulness, recalls Dottie West, who doesn't get enough love now in Nashville. And "Giddy Up" is no high-octane, Shania-style banger; Lewis is a breathy disco diva singing about the search for true love at 47 over a cool jazz strut: "Take a chance/ On a little romance/ We're both adults." She has said this is a record about relationships—with others but, ultimately, herself. Set to a groove of warm John McVie–style bass, courtesy of regular Cobb contributor Brian Allen, "Psychos" paints a portrait of middle-age dating and getting ghosted by guys you maybe shouldn't be bothering with anyway. Meanwhile, yacht rock-ish "Cherry Baby" keeps the "Giddy Up" mood going as Lewis admits: "'Cause I fall in love/ Too easy, too easy/ With anyone/ Who touches me, fucks with me … Cherry, baby/ Will you be mine?" "Puppy and a Truck" is classic Lewis, with the singer in her own very specific midlife crisis. "I don't got no kids/ I don't got no roots/ I'm an orphan," she sings, confessing, "My forties are kicking my ass/ And handing them to me in a margarita glass …  So I'm 44 in 2020 and thank god I saved up some money." But that's not all she did: "Like a shot of good luck/ I got a puppy and truck." That easy-rolling number, like many others here, features excellently soulful backing vocals by Jess Wolf of Lucius. (It should be noted that Lewis has a particular talent for choosing vocalists who complement her lead, going back to the Watson Twins on 2006's Rabbit Fur Coat.) Fun "Love Feel" namechecks country outlaws and bears a little Miranda Lambert sass and a little of the '50s greaser doll appeal Lewis previously visited on I'm Having Fun Now from Jenny and Johnny, her duo with Johnathan Rice. And the lively closer "Chain of Tears" does, in fact, summon up a Skeeter-style spoken part and even evokes the break-up pain of the late singer's "End of the World," with Lewis lamenting, "I was hoping there was some pill I could take … Some procedure I could undertake/ To have your memory erased." © Shelly Ridenour/Qobuz

This fifth studio album by Kate Bush is often considered one of her masterpieces. The themes explored and the general atmosphere on Hounds of Love once again demonstrate the singer-songwriter’s intelligence, especially in the subtle way she mixes darkness with lightness. The single Running Up That Hill - a huge hit in 1985 - perfectly testifies to this, as Kate Bush suggests how men and women could resolve their differences by walking in each other’s shoes ("And if I only could/I'd make a deal with God/And I'd get him to swap our places"). The driving electronic drums that envelop the song illustrate the singer's never-ending optimism despite the melancholic-tinged melody.Bush’s ambivalence is also palpable on The Big Sky, a song that is innocent and dark in equal measure. Musically speaking, the album echoes her double vision since we find Kate Bush’s beloved synths (especially the Fairlight) mixed with acoustic and sometimes traditional instruments (especially in the very Irish-sounding Jig of Life). As usual, she sprinkles various references to horror movies into her songs. In the disturbing song Hello Earth she quotes Jacques Tourneur (Night of the Demon, 1957) and uses choirs from Nosferatu the Vampyre (Werner Herzog, 1979). Not to mention the lyrics on Hounds of Love, which are worthy of a Hitchcock nightmare. Alongside these tense moments, Kate Bush soothes us with softer songs, such as the ballad Dream of Sheep with its prevailing piano. A rich, intelligent, elegant, audacious album. In one word: a masterpiece. © Nicolas Magenham/Qobuz

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California. The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist. On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism. Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft. In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of "classic rock," music appropriate for the arenas and stadiums the band was playing. The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever.© William Ruhlmann /TiVo

Welcome To The Jungle, It’s So Easy, Nightrain, Mr Brownstone, Paradise City, My Michelle, Sweet Child O’ Mine, You’re Crazy… Look no further to explain the success of this monument that sold over thirty million copies worldwide: right from the start, it feels like a best-of album rather than a first studio effort… Even Out Ta Get Me, Think About You, Anything Goes and Rocket Queen, the four “weak tracks” of this masterpiece, would have satisfied fans of other bands who were sick of Guns N’ Roses at the time. Add to this two tracks that were sidelined at the time mostly for copyright reasons and are unearthed here, Shadow Of Your Love and Move To The City, as well as the studio version of Reckless Life. Though they feel like a walking disaster, this mighty gang had something others didn’t have in the microcosm of the Los Angeles hard rock scene: the ability to give birth to rock classics in record time. Some will no doubt find it unjust that the controversial track One In A Million was a kind of collateral victim of the reissue of Lies, from which it was removed. But this improved rerelease goes to show that, even if it wasn’t necessarily their goal, the musicians’ sound and performance are also two major components in any masterpiece. The reason they decided to include the before and after Appetite For Destruction, meaning the two EPs Live?!*@ Like a Suicide (the false live) and G N' R Lies, is because it is clear that all the ingredients were far from being in place at the Sound Studio where the twenty-ish alternative versions were recorded, featured here as a “bonus”. Mike Clink’s expert production, and Steve Thompson and Michael Barbiero’s calibrated and well-balanced mixing obviously helped give the selected original twelve songs their ultimate form. And therefore optimal efficiency. But other live or acoustic titles gleaned here and there to close out this reissue (Bob Dylan’s Knockin’ On Heaven’s Door (Live), It’s So Easy (Live), AC/DC’s Whole Lotta Rosie (Live), November Rain (Acoustic), the very short but promising The Plague, the instrumental Ain’t Goin’ Down No More or the Rolling Stones’ Jumpin’ Jack Flash (Acoustic)) prove that the band’s five members went through a period, albeit much too short, in which they were touched by grace. And there will most likely be further proof if one day Axl Rose decides to unearth the version of the album he re-recorded in 1999 with the new Guns N’ Roses line-up, without Slash, Izzy Stradlin, Duff McKagan and Steven Adler. It was with this winning cast that Guns N' Roses beat the ultimate sales record for a first album in the United States. And although the multiple line-up evolutions that followed didn’t lead to any commercial disasters, they never gave the band the opportunity to repeat the feat of Appetite For Destruction. © Jean-Pierre Sabouret/Qobuz

Who's Next is not an album lacking for reissues. In addition to a deluxe edition from 2003, there have also been multiple audiophile editions and remasters of the album since its 1971 release. So what could a "super deluxe edition" possibly contain? Quite a bit, as it turns out. As even casual Who fans know, the genesis of Who's Next was as Lifehouse, a multimedia rock opera even more ambitious than Tommy. Pete Townshend had developed a bizarre, dystopian story that somehow merged his devotion to Indian guru Meher Baba, his recent fascination with synthesizers, and the idea that the only thing that could save humanity from a test-tube-bound future was "real rock 'n' roll." Yeah, the aftereffects of the '60s were wild. After some live shows at the Young Vic in London and a series of marathon recording sessions, a 16-song tracklist was finalized, but by this point, it was collectively decided—both creatively and commercially—that perhaps another concept-dense double album might not be the best studio follow-up to Tommy. So, eight Lifehouse songs were re-cut and one new song ("My Wife") was recorded and the leaner, meaner Who's Next was released in August 1971. The album was both an instant success and has become an undisputed part of the classic rock canon, thanks to the inclusion of absolutely iconic tracks like "Won't Get Fooled Again," "Baba O'Riley," and "Behind Blue Eyes."While one could make an argument that the taut and focused power of Who's Next inadvertently proved the point of the Lifehouse story (namely, that rock 'n' roll is most effective when it's at its most primal), it's important to remember that Who's Next was also a giant artistic leap forward for the Who, as it found them at the peak of their powers as a pummeling rock band and as a band willing to be experimental and artful in their approach to being a pummeling rock band. (If any evidence is needed of the group's unrivaled power, check out take 13 of "Won't Get Fooled Again" on this set, which is so immediate and electric that it could easily be mistaken for a concert performance.) While several Lifehouse tracks found their way to other Who and Townshend records, getting a sense of the contours of the project has been difficult. But this massive, 155-track set creates those lines thanks to the inclusion of multiple Townshend demos as well as recording sessions of Life House tracks that occurred both before and after the release of Who's Next, and, most notably, two freshly mixed live shows from 1971 (including one of the Young Vic shows) that provided both the energy and, in some cases the basic tracks, for the album versions. While nothing on this bursting-at-the-seams edition overrides the all-killer-no-filler approach of Who's Next, it does provide plenty of long-desired context and documentation for what made that record so powerful. © Jason Ferguson/Qobuz

Drop everything: it's here! For once, a reissue-plus-rarities set that's worth all the time you have. Revolver, the Beatles' seventh studio album originally issued on August 5,1966, is widely celebrated as the greatest single album of the rock era. It brought psychedelic invention paired with impeccable melodies to the entire world. That first, wildly inventive release remains beyond stunning, and this is not meant to supplant it in any way. The expanded reissue of Revolver shows us the most successful band in the world at the top of their powers, in love with possibility (each song is a different template for sonic possibilities, from blue-eyed soul to avant-garde pop to beautiful melancholic dream music), and still absolutely in love with being a band. The unabashed, youthful enthusiasm for using the studio as an instrument, which would be their path forward as they no longer toured after the release of Revolver, is on special display in all of the outtakes.You likely know the original inside and out, so be prepared. The new mixes by Giles Martin and Sam Okell are truly high fidelity. As you might have read, Martin (son to George) and Okell employ a "de-mixing" technology recently developed by Emile de la Rey and others for the Peter Jackson Get Back documentary project. New details emerge, and the voice separation is spectacular. We're not saying that it's like you are hearing it for the first time, but you will discern new elements in a way that enhances and never detracts. This is so difficult to not only accomplish, but to do well. We've all fallen for reissues that don't live up to the hype. Some grand sonic experiments with reissuing can take years to realize. Perhaps they didn't need to lop off half of the sonic information on the 1990s era Robert Johnson reissues in order to present the music without the crackles and pops of the original 78s. This new de-mix (get it?) is surely a new standard. Hundreds of hours of expert care went into this release. If you haven't listened in a while, the same questions remain, such as why begin their biggest leap forward with a song as lurching and "meh" as "Taxman?" Aside from that song being merely good and not mind-blowing, the only quibble is that the release's track listing presents different outtakes and demos of the same track end to end. One does see them flower and fracture by doing this, but after the first listens, it might be repetitive. This ahead-of-its-time full-length is so close to perfect.Beatlemaniacs and newborn fans alike must consider this the new reference, the new source. As the band infamously sing on "Tomorrow Never Knows" (which has the most revelatory demos of all on this set), invoking both Eastern thought and contemporary enthusiasts of the psychedelic revolution, "Lay down all thoughts, surrender to the void; it is shining, it is shining." © Mike McGonigal/Qobuz

Who We Used to Be is the seventh studio album from English singer/songwriter James Blunt, following the release of 2019's Once Upon a Mind. Alongside the upbeat, breezy songwriting that Blunt has become known for, this record also sees him exploring some darker themes centered around aging, loss, and the passage of time.© Liam Martin /TiVo

Michael Jackson had recorded solo prior to the release of Off the Wall in 1979, but this was his breakthrough, the album that established him as an artist of astonishing talent and a bright star in his own right. This was a visionary album, a record that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus -- it was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, and alluring funk. Its roots hearken back to the Jacksons' huge mid-'70s hit "Dancing Machine," but this is an enormously fresh record, one that remains vibrant and giddily exciting years after its release. This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as "She's Out of My Life" as driving dancefloor shakers as "Working Day and Night" and "Get on the Floor," where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy. This is highly professional, highly crafted music, and its details are evident, but the overall effect is nothing but pure pleasure. Jackson and Jones expanded this approach on the blockbuster Thriller, often with equally stunning results, but they never bettered it.© Stephen Thomas Erlewine /TiVo

Sitting atop the charts in 1975, Elton John and Bernie Taupin recalled their rise to power in Captain Fantastic and the Brown Dirt Cowboy, their first explicitly conceptual effort since Tumbleweed Connection. It's no coincidence that it's their best album since then, showcasing each at the peak of his power, as John crafts supple, elastic, versatile pop and Taupin's inscrutable wordplay is evocative, even moving. What's best about the record is that it works best of a piece -- although it entered the charts at number one, this only had one huge hit in "Someone Saved My Life Tonight," which sounds even better here, since it tidily fits into the musical and lyrical themes. And although the musical skill on display here is dazzling, as it bounces between country and hard rock within the same song, this is certainly a grower. The album needs time to reveal its treasures, but once it does, it rivals Tumbleweed in terms of sheer consistency and eclipses it in scope, capturing John and Taupin at a pinnacle. They collapsed in hubris and excess not long afterward -- Rock of the Westies, which followed just months later is as scattered as this is focused -- but this remains a testament to the strengths of their creative partnership.© Stephen Thomas Erlewine /TiVo

Two years after Honey Moon, Lana del Rey comes back with the much anticipated Lust for Life, her fourth studio album. The voice is magnetic, more sensual than ever; the melodies are solid. If through the eyes of Lana, the world stays affected, slow and pensive, the skillfully chosen featuring tracks offer a few welcome respites. Thereby, the baby doll has invited a few friends to her ball. A$ap Rocky officiates on Groupie Love and Summer Bummer—in which he brings with him Atlanta’s wild youngster, Playboi Carti—The Weeknd on Lust for Life, Jonathan Wilson on Love. Others, and not least among them, have joined the party. Stevie Nicks, Fleetwood Mac’s emblematic singer, pops by on Beautiful People Beautiful Problems, and Sean Ono Lennon on Tomorrow Never Came. 16 tracks, 72 minutes. It’s a mix of genres ranging from hip hop with trap accents to psychedelic, without forgetting ballads on piano, and always a focus on acoustic. It’s a passionate craving for life then, which comes back to the one that has made her queen, Born to Die. It’s almost ironic. Has it gone back full circle? Anyway, this faded color melancholy is as attractive as ever, and its varnish doesn’t only crack to reveal the throes of an idol anymore, but also to tackle a modern America in disarray, between past and future. © MD/Qobuz

Long known as the steady diplomat who kept together the oft on-the-brink alliances of Crosby, Stills, Nash, and Young—until he couldn't—Graham Nash sounds, at 81, feisty on his seventh solo album. There's an edgy urgency to the music and his famous high tenor on the vibrant "Right Now." "Now that I realize just how I am/ When all is said and done/ What a life I've lived ... Here I am/ Still living my life/ Right now/ Right now!" he declares. And his life is not one of easy chairs. "Golden Idol" takes on the politicians who turned the other cheek in the Capitol insurrection of January 6, 2021. "I know they're lying/ 'Cause their lips are moving," Nash sings. "They're trying to rewrite recent history/ When the MAGA tourists took the hill/ They will not stand up/ 'Cause they're bought and paid for." "Stars and Stripes" is jangling folk with excellent harmonies that finds Nash poking at the root of American divisiveness: "Sometimes I wonder why the world is like it is/ Frozen by the fear of change/ If we keep believing all the lies meant to divide us/ There's no one else that we can blame." And while he aims to keep moving forward, he's not exactly looking to reinvent himself. "A Better Life" is imbued with that easy Laurel Canyon familiarity on which he made his bones in America. It almost feels like a follow-up to "Teach Your Children" told from the other side, with Nash singing, "We're going to make it a better life/ Leave it for the kids ... one we can be proud of/ So at the end of the day, we can laugh and say that we left them a better life." Sweet and simple, "It Feels Like Home" is like an echo of "Our House." It's one of several songs written for his new wife of only a few years, along with "Love of Mine," a bit of a heartbreaker with high and lonesome harmonica accompanying an apology for hurt feelings. Sharply bowed strings lead the way for "I Watched It All Come Down," as the singer recalls, "I watched it all come down/ To a rock and roll parade … I watched it all come down/ To a paperweight at the business end of town/ Loaded up and loaded down/ It's a mess." Nash has said that the song is about the thrill of making music with David Crosby, Stephen Still, and Neil Young, but also sadness that they let emotions (and, let's be honest, substances) get in the way of them making more. And looking fondly back on another part of his history is "Buddy's Back," a sweet tribute both to Buddy Holly—complete with a "Peggy Sue"-inspired riff—and his old pal in the Hollies, Allan Clarke. © Shelly Ridenour/Qobuz

Released in 1976, this fifth album from the Eagles would remain their greatest success. Opened by the eponymous hit single, Hotel California marked a turning point in the career of the American group. Bernie Leadon, the most country-orientated band member, jumped ship and Joe Walsh came on board. For his part, Don Henley also seemed to take more control the business. The result was a much more mainstream record than the album’s predecessors with truly enveloping sounds at the peak of their tracks. Everything is XXL here! The production, the solos, the melodies… everything! A masterpiece of classic rock, this is above all a work that crosses decades and makes the crowds go wild. Glenn Frey, Don Felder, Joe Walsh, Randy Meisner and Don Henley would never again find again such impressive complicity and efficiency… Published in November 2017, this 40th anniversary edition offers an original remastered album as well as an energetic Californian live session recorded at The Forum in Inglewood, October 1976. © CM/Qobuz

After her big band beginnings, resolutely anchored in traditional forms of jazz, followed by increasingly notable incursions towards soul, rhythm, blues and pop that describe an agile technique and holistic sense of entertainment, the singer Robin McKelle seems, in recent years, to have naturally returned to her first love. As proof, this magnificent new album is designed, as its name suggests, as a personal and impressionistic evocation of the inimitable vocal art of the brilliant Ella Fitzgerald. Unfussy and faithful to the text and the great standards immortalised by this icon of swing jazz, Robin McKelle showcases a mature mixture of humility and know-how as she deploys all the facets of her outstanding talent: a clear and irresistibly fresh timbre, supple and beautifully articulated phrasing gliding as close as possible to the melodic line with varying intensity, placement and rhythm of great musicality, and a constant emotional commitment offering personal interpretations of the song lyrics. Magnificently accompanied by a sumptuous trio, composed of the pianist Kenny Barron, double bassist Peter Washington, and drummer Kenny Washington, the record is imperial throughout, both in terms of elegance and expressiveness. Robin McKelle has not only put her name to her most touching and personal album to date but has put herself among the greatest real jazz singers of the present day. © Stéphane Ollivier/Qobuz