In an art form such as the blues, there is a tug-of-war between adhering to the roots of the traditional sound and respecting the influences from the ancestors, and the need to create your own art that reflects your life experiences and the zeitgeist. Kevin Moore, also known as Keb' Mo', has straddled that tightrope amazingly well over his long career, and continues to do so on Good to Be—a diverse blues/Americana album with a lot of unique touches. The bulk of the album was written and recorded in Nashville, evident in the laid-back and sure tone of the production, from Vince Gill's hand on the mixing board, to guests such as Darius Rucker on "Good Strong Woman." "The Medicine Man," featuring Old Crow Medicine Show, will have you thinking back to The Band's Music from Big Pink. There's a great, mostly straight-ahead cover of Bill Withers' classic "Lean On Me". The mellow, acoustic opener "Good To Be (Home Again)" frames Keb's soulful voice in a poignant lyric about walking the streets of your youth and being revitalized by the familiar sights and sounds (prompted by Keb's purchase and renovation of his childhood home in Compton). Other nice brushstrokes include the jazzy, smoky horns and after-dark vibe of "All Dressed Up" and the heartfelt, moving lyrics about striving for social justice and young people speaking out for their rights of "Louder." Keb' Mo' is a consummate musician constantly striving to excel and be true to his vision, all the while building on the foundations of the blues and Americana music that fueled his passion in the first place. © Rick Banales/Qobuz

Fully committing to the mainstream-leaning direction of 2015's That's the Spirit, English quintet Bring Me the Horizon takes that ethos ten steps further with their daring sixth album, Amo. While its predecessor was already considered divisive for fans of the formerly deathcore/metalcore outfit, this is the one that could really split the fan base. Amo is the sound of a completely rebooted band. The results are refreshing and exciting, but shouldn't be entirely unexpected given Spirit's poppiest moments and frontman Oli Sykes' ever-changing vocal delivery. Here, Bring Me the Horizon have perfected a post-hardcore/pop blend (popcore?) that is daring and experimental, absorbing elements from the realms of electronic, synth pop, and trap while weaving them effortlessly with their existing base of pummeling drums, crushing riffs, the occasional throat-shredding screaming, and even orchestral embellishments inspired by their 2016 stint at the Royal Albert Hall. The second effort to be produced by Sykes and bandmate Jordan Fish, Amo centers on its titular theme of love, covering the spectrum from pure romance to toxic passion and the shades between that were mainly inspired by Sykes' 2016 infidelity-inspired divorce and his 2017 second marriage. Surprisingly, much of the pain is reserved for the more subdued moments like the atmospheric "I Apologise If You Feel Something"; the patient "In the Dark," which sounds like an angsty Ed Sheeran number; the electro-washed "Ouch"; and the dreamy future house "Fresh Bruises." The pure pop single "Medicine" shocks simply with its accessibility and mainstream-ready hook, while "Mother Tongue" is soaring and sugary, showcasing Sykes' tender and earnest vocal delivery. While this may seem worrisome for listeners expecting a taste of something heavy, Bring Me the Horizon are sure not to completely alienate their loyal fans, reserving the vitriol for Amo's heaviest moments. Lead single "Mantra" is the big singalong anthem, heavy enough to stand alongside the highlights on That's the Spirit, while the apocalyptic "Wonderful Life" with Cradle of Filth's Dani Filth and the cheekily titled "Sugar Honey Ice & Tea" crash and boom with aplomb. One of the album's biggest risks -- and its exhilarating standout -- is "Nihilist Blues," a collaboration with art-popster Grimes that resurrects the throbbing Eurodance of the '90s in a dark rave that recalls the AFI industrial-techno side project Blaqk Audio. While a little old-fashioned bloodletting might be welcome for familiarity's sake, Bring Me the Horizon's early albums are available for those purging needs. Amo is a genre-bending thrill ride that marks a brave new era for the band. Placing a significant amount of trust in their fan base, Bring Me the Horizon deliver an utterly refreshing and forward-thinking statement that finds them in complete control of their vision.© Neil Z. Yeung /TiVo

Basically, there are two things that rock bands do: they make an album and they go on tour. Since Paul McCartney fervently wanted to believe Wings was a real rock band, he had the group record an album or two and then took them on the road. In March of 1976 he released Wings at the Speed of Sound and launched a tour of America, following which he released Wings Over America, a triple-album set that re-created an entire concert from various venues. It was a massive set list, running over two hours and featuring 30 songs, and it was well received at the time, partially because he revived some Beatles tunes, partially because it wasn't the disaster some naysayers expected, and mostly because -- like the tour itself -- it was the first chance that millions of Beatles fans had to hear McCartney in concert properly (the Beatles had toured, to be sure, and had played before millions of people between 1963 and 1966, but as a result of the relatively primitive equipment they used and the frenzied, omnipresent screaming of the mid-'60s teen audiences at their shows, few of those present had actually "heard" the group). Wings were never a particularly gifted band, and nowhere is that more evident than on Wings Over America. Matters aren't really helped by the fact that the large set list gives McCartney full opportunity to show off his vast array of affected voices, from crooner to rocker to bluesman. Also, the repertory, in retrospect, is weighted too heavily toward the recent Wings albums Wings at the Speed of Sound and Band on the Run, which weren't really loaded with great tunes. (It's also hard to believe that there were two Denny Laine vocals so early in the program, or that the concert ended with the plodding rocker "Soily," which was never released on any other McCartney album.) In its defense, the album offers bracing renditions of "Maybe I'm Amazed" -- arguably the best of McCartney's post-Beatles songs and possibly his single greatest composition -- and "Band on the Run," as well as nicely distilling the harder side of his repertory, with a few breaks for softer songs such as "My Love" and "Silly Love Songs"; another highlight is the rippling bass sound, showing off that instrument in a manner closer in spirit to, say, a John Entwistle solo LP than to McCartney's more pop-focused studio work. The triple LP, issued two weeks before Christmas of 1976, was priced so low that it was offered by most stores as a "loss leader" to pull customers in; what's more, the Beatles mystique was still very much attached to record and artist alike -- at the time, John Lennon had seemingly burnt out a major chunk of his talent, George Harrison was losing his popular edge and had done a disastrous 1974 American tour, and no one was expecting great things from Ringo Starr -- and it seemed like McCartney represented the part of the group's legacy that came closest to living up to fans' expectations. Thus the album ended up selling in numbers, rivaling the likes of Frampton Comes Alive and other mega-hits of the period, and rode the charts for months. The double-CD reissue offers considerably improved sound, though the combination of workmanlike performances and relatively pedestrian songs diminishes the appeal of such small pleasures as the acoustic Beatles set or the storming "Hi Hi Hi." Wings Over America is most valuable as a souvenir for hardcore fans and also as a reminder of the excitement -- beyond the actual merits of the group's work -- that attended McCartney and Wings' work in the lingering afterglow of the Beatles.© Stephen Thomas Erlewine & Bruce Eder /TiVo

Following his 2016 debut Age Don't Mean a Thing, Goin' Platinum is the sophomore effort from American blues guitarist and singer/songwriter Robert Finley. Composed of passionate, resonant vocals, arresting guitar leads, and thudding percussion, the release features production work from Dan Auerbach of the Black Keys. The album includes the single "Medicine Woman."© Rob Wacey /TiVo

You may remember Jason Falkner from helping out buddy Eric Matthews craft a tasty bit of pop music in 1995. Well, he's done it again, only all by himself this time. Writing, producing, singing, and playing nearly everything except the occasional guitar overdub (and strings), Jason has released a one-man pop tour de force. Hooks abound and won't let you down. The more you listen, the more you'll find yourself humming along. Standout tracks include "I Go Astray" and "Don't Show Me Heaven," but all are worthy of a listen. It's good ol' pop music. Better still, it's good music.© James Chrispell /TiVo

Even after a 2000 remaster, the clarity of the 50th anniversary edition of Cahoots is a marvel. From that first crisp horn squeal of the joyous "Life Is a Carnival," you can feel the life within. Guitarist Robbie Roberston (along with organist Garth Hudson, the only surviving members of The Band) oversaw the reissue, with a new stereo mix by Bob Clearmountain from the original masters that place you right there in Bearsville studio with them: Levon Helm's idiosyncratic voice and Hudson's accordion stunning on the cover of Bob Dylan's "When I Paint My Masterpiece"; Richard Manuel's vocals and Robertson's slip-sliding guitar total knockouts on "Last of the Blacksmiths." Van Morrison's guest run on "4% Pantomine" is crystal clear, and the horns on "Volcano" are so bright as to make the original recording sound mired in mud. The calling card here, though, is an 11-song chunk of an unreleased recording of The Band's Olympic Theatre concert from May 1971 in Paris. It includes a particularly jaunty take on "Across the Great Divide," as well as live stalwarts "W.S. Walcott Medicine Show" and "The Genetic Method/Chest Fever." There’s a stomping take on "Don't Do it" (aka Marvin Gaye's "Baby Don't You Do It") along with spark-plug covers of Little Richard's "Slippin' and Slidin'" and the Motown classic "Loving You Is Sweeter Than Ever," which was also The Band's Woodstock set closer. And you get bass-forward versions of "The Night They Drove Old Dixie Down" and "Rag Mama Rag" and what was likely one of their last performances of the jokey "We Can Talk." It's strictly a fans-only affair, but then again why else would you be listening to a 50th anniversary reissue? Other extras include a stripped-down mix of "Thinkin' Out Loud" that is absent the original's richness but puts the sweet harmonies on a pedestal, and instrumentals of "Life is a Carnival" and "Volcano." And outtakes like "Bessie Smith'' show The Band's enduring legacy—and its influence on acts from Beachwood Sparks to Dawes. © Shelly Ridenour/Qobuz

Years before Trump, Brexit, and the rise of authoritarianism around the world inspired other artists, PJ Harvey was making music about societal issues. While her second album to tackle these concerns, 2016's The Hope Six Demolition Project, wasn't as consistently brilliant as its predecessor, 2011's Let England Shake, it reflected her commitment to embedding herself (and war photographer Seamus Murphy) in Kosovo, Afghanistan, and Washington, D.C., to tell its stories. However, The Hope Six Demolition Project: The Demos suggests that something may have been lost in translation when Harvey and her creative team went into the studio. While Let England Shake's songs gained a dignified heft in their polished final form, the early versions of Hope Six's songs often have a nimble immediacy that heightens their power. They're often even more pared-down than the demos for her previous album were; frequently, it's just Harvey and her guitar, and fans know how potent that combination is. Her voice and strumming ring out righteously on "The Wheel," "The Community of Hope," and "Near the Memorials to Vietnam and Lincoln," all of which evoke the spirit of '60s protest songs as much as her own early work. Occasionally, as on "Dollar Dollar," Harvey's sketches are so sparse that they threaten to float away. More often, though, the simpler approach on The Hope Six Demolition Project: The Demos lets the songs' moods and details shine through in ways they didn't on the studio versions. The meditative organ on "River Anacostia" is surprisingly affecting, as is the way the demo of "Chain of Keys" homes in on the song's hypnotic melody. The spontaneity of these sessions suits the journalistic feel of songs as different as "The Ministry of Defence," which feels just as startling here as it does on the final album, and the dreamlike version of "Orange Monkey." While The Hope Six Demolition Project: The Demos is one of Harvey's more unfinished-sounding sets of song sketches, sometimes that's for the better -- and, as always, it's fascinating to hear her music in its rawest state.© Heather Phares /TiVo

How good can a bad trip sound? When you're being dosed by the Black Angels, bad karma can conjure up some very impressive sounds, and on the band's fifth full-length album, 2017's Death Song, their moody psychedelic attack is executed with an impressive level of skill and focus. From a performance aspect, Death Song (a title the Black Angels have clearly been waiting to use since they bought their first distortion pedal) ranks with the band's very finest work. Here, the musicians sound tight and full of purpose, without losing the foggy tone that plays a serious role in their music. The clouds of guitar fuzz and waves of echo give the songs the malevolent trippiness they demand while drummer Stephanie Bailey keeps the rhythms crisp and propulsive, and her solid foundation allows the other musicians greater room to move. Alex Maas' lead vocals are at once cool and commanding as he plumbs the depths of numbers like "I'd Kill for Her," "Comanche Moon," and "Medicine," and the guitar army of Christian Bland, Jake Garcia, and Kyle Hunt (all of whom double on other instruments) delivers the shuddery atmosphere that has become the Black Angels' trademark. As is also a tradition with the Black Angels, Death Song is an album that's big on cool sounds and not as strong in terms of songs (despite the title), and if you're searching for compelling melodies or hooks, this album may not be your cup of acid. But if you're in the market for an album that will summon the dark atmospheres, Death Song certainly delivers the goods, and it demonstrates that the Black Angels slowly but surely improve each time they go into the studio. © Mark Deming /TiVo

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With Meaning of Life, Kelly Clarkson opens up a new chapter of her career, moving from RCA to Atlantic Records. Switching labels gives Clarkson the freedom to pursue a different kind of music, an opportunity she seizes here by leaning hard into soul and R&B. Clarkson doesn't entirely abandon adult-leaning pop -- Greg Kurstin, one of the producers du jour in 2017, comes aboard for the sparkling "Would You Call That Love," a song that glistens -- but there's an undeniable soulful undercurrent on Meaning of Life. Certain styles bubble to the surface -- "Love So Soft" has a bounce straight out of Motown, "Heat" has a bit of gospel fire, "Move You" is Southern vamp -- but even if the construction is a throwback, the production on Meaning of Life is thoroughly modern, a seamless hybrid of retro flourishes and crisp electronics. There's a clean sheen to the sound, but Clarkson never seems to be chasing trends. As the title suggests, there's a maturity in the perspective of Meaning of Life: it's filled with songs about love and living, it's rooted in the past and living in the moment. The blend of contemporary and classic suits Clarkson, who sounds assured here in a way that differs from her earliest records. Controlled and confident, she certainly has her share of showstopping moments, but Clarkson always keeps her focus on the songs, which are consistently strong -- maybe her best overall set of songs yet. Even if they're not, Meaning of Life is one of her most satisfying albums: it feels like not just a collection of good tunes, but a statement of purpose.© Stephen Thomas Erlewine /TiVo

For her 15th album, the singer-songwriter explores pain—physical and emotional—and the ways Americans medicate. It’s a call for marijuana legalization, a rallying cry against opioids and a plea for unity. On expansive rocker "Faded By Design," the cancer survivor eschews Western medicine for self-care: "Don't call the doctor / The cure is in my mind." The spare and lovely "Here Comes the Pain" empathizes the root cause of addiction, while "Woman Like You" explores feminism and changing norms against a swirling, McCartney-esque melody. Etheridge has said that she was going for a ’90s rock sound—"moody and fierce." With its giant grunge guitars and swooning chorus, "Shaking," a look at collective national anxiety, hits the bulls-eye. As does the fierce, arena-rock title track which proves that Etheridge can make "e-i-e-i-oh" sound tough as nails. Even drawing courage from the survivors of a mass shooting on period-perfect power ballad "Last Hello" she never condescends. There is nothing small or shy in Etheridge’s songs, and it’s refreshing. © Qobuz

Australian psych pop weirdos Pond existed for a time in the shadows of their somewhat more accessible sister band Tame Impala, both groups sharing multiple members and an obsession with the acid-damaged psychedelia of the '60s and early '70s. When Pond frontman/songwriter Nick Allbrook left his position as touring bassist with Tame Impala in 2013, his cleared schedule kicked Pond into high gear, with Allbrook writing the majority of their dark fifth album, Hobo Rocket, and corralling his band to record the album in just four days. Just over a year later, Man, It Feels Like Space Again emerged as the band's sixth full-length, this time far more ambitious, unexpectedly funky, and cosmically colorful. Even with just nine tunes of moderate length, MIFLSA feels every bit as epic as the mind-expanding double albums of '70s freaker-outers like Pink Floyd and Hawkwind. The production drifts through different styles minute to minute as well as song to song. The band takes flight with all the blissed-out chamber pop friendliness of Super Furry Animals or Spiritualized on album opener "Waiting Around for Grace," moving quickly to a far more swaggering glam rock feel on "Elvis' Flaming Star," which sounds like Ariel Pink imitating Bowie. The album rarely slows down, offering up track after track of blown-out guitar tones, drifting synths, and even the occasional sound effect of atom bomb explosions. Things feel pleasantly crowded, from the laser beam party rock of "Zond" to the Funkadelic-flavored groove of "Outside Is the Right Side." The band finally takes a breather with the beautifully spare Dylanesque acoustic opening of "Medicine Hat." It's a stark contrast to the glimmering psych tones that saturate the rest of the album, but the respite is short-lived. By the second half of the tune, the band is back in full force, layering the song's soft structure with armies of fuzzy guitar tones. Somewhat disorienting, MIFLSA is a messy, incredible collection of damaged pop, and shows a band that's been forming for a while stepping into its full capabilities.© Fred Thomas /TiVo

A worthy live supplement to her studio albums, as many of the songs were previously unrecorded. Taken from shows in 1982 and 1983, Give Yourself to Love features both Kate Wolf compositions and covers of songs by Sandy Denny, John Stewart, Jim Ringer-Mary McCaslin, Robin Williamson, and others. This is identical to the initial Kaleidoscope release of the same name, though the Rhino CD adds an unnecessarily confusing "Vol. 1 & 2" to the title. © Richie Unterberger /TiVo

Old Crow Medicine Show performed a pair of Blonde on Blonde concerts at the Country Music Hall of Fame's theater in May of 2016, celebrating the 50th anniversary of Bob Dylan's double album. Nearly a year later, 50 Years of Blonde on Blonde arrived as their first release on Columbia Records. Containing cherry-picked highlights from the two concerts, 50 Years of Blonde on Blonde finds the Americana group running through the entirety of Dylan's masterwork, and what makes the performance work is that they play with gusto and verve, not respectful reverence. Certainly, the group knows the album backwards and forwards, but that familiarity also means that they're free to turn some songs inside out. "One of Us Must Know (Sooner or Later)" is performed as a ballad, "Obviously 5 Believers" turns the blues song into bluegrass and they treat "Pledging My Time" in similar fashion, plus they give "Sad Eyed Lady of the Lowlands" a strong backbeat. Even when sticking largely to the original arrangements, the group performs with a giddiness that gives the music a fresh kick, and that energy is what makes this record something a little bit more than a run-of-the-mill tribute. Old Crow Medicine Show perform Dylan's songs as if they belonged to the band and, in a sense, that might be true: any album that survives 50 years belongs to the world at large, and what's fun about 50 Years of Blonde on Blonde is hearing how Old Crow Medicine Show hear an album you know by heart.© Stephen Thomas Erlewine /TiVo