Arriving swiftly on the heels of Moving on Skiffle, Accentuate the Positive is certainly a kissing cousin to its 2023 companion: it's another spirited revival of a style that a young Van Morrison held dear. Despite being titled after the Johnny Mercer & Harold Arlen standard, Accentuate the Positive isn't an ode to the Great American Songbook. It's nominally a celebration of the early days of rock & roll, an era that did see various styles, attitudes, and demographics mingle, so Morrison's decision to punctuate classics by Chuck Berry, the Everly Brothers, Little Richard, and Chuck Willis with pop tunes, country hits, and jump blues isn't far afield: all this music was part of the early explosion of rock & roll. Besides, Van Morrison has never been a rockabilly cat, he's a blues shouter and he plays precisely to those strengths here, leading his band through lively and loving readings of rock & roll oldies, never apologizing for the unabashed nostalgia of the entire enterprise.© Stephen Thomas Erlewine /TiVo

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Turnpike Troubadours is one of those IYKYK acts, able to headline Red Rocks but rarely played on mainstream country radio. Often called one of the best groups in contemporary country music (though that's discounting their Red Dirt roots, incorporating folk, rock, bluegrass, Western swing and more), they are also a musicians' band able to attract a catholic list of openers including Dawes, Old 97's, the Avett Brothers, Steve Earle and Ray Wylie Hubbard. But four years ago, there was fear that the magic had disappeared after a high-profile demolition derby—including singer/guitaristEvan Felker temporarily leaving his wife for Miranda Lambert, plus show cancellations and a viral video of Felker seemingly so drunk he couldn't perform—that led to the band taking an open-ended hiatus. The break only reenergized them. Now sober, Felker sounds great, the band is tight, and the songwriting is sure and purposeful. Produced by Shooter Jennings, the Troubadours' sixth album is one of the most exciting of the year. It's also full of regrets and humility and a determination to make it right. Felker, an Americana poet, gets straight to the heart of the messy matter with "Chipping Mill," an apology to his wife, with whom he reunited and started a family. "Ran my heart through a chipping mill/ Sold my soul for rock 'n' roll … Drank my way through a hurricane/ Thinking about your wedding ring/ I done a lot of real dumb things/ But I always kept the best for you." "Mean Old Sun" is killer, all driving guitars and sorrowful fiddle from Kyle Nix, and Felker counting the "Empty promises I've given." Hank Early's steel guitar is like an empathetic echo on the easy-paced and declarative "The Rut," as Felker proclaims, "I don't miss the taste of liquor/ Or really anything about it/ But the temporary shelter." Felker adopts a sort of Billy Bragg delivery for "Brought Me," an excellent bit of winsome folk and Appalachian tent gospel. "Lucille" is stark and moody with a gorgeous chorus, and the title track—keening with eye-watering steel—has an Uncle Tupelo feel. "Three More Days" is lovely neotrad country. "East Side Love Song (Bottoms Up)" strides like a honky-tonk shuffle, while Cajun-swampy "Black Sky" features howling harmonica and fiddle plus creek-baptism chorus harmony. There's joy and redemption to be found in closer "Won't You GIve Me One More Chance," with its high-lonesome harmonica and The Last Waltz vibe. Fans can look forward to a moving singalong in concert: "Won't you give me one more chance/ To make it with you/ Forget about the bad/ I don't believe we're through." © Shelly Ridenour/Qobuz

Joe's Garage was originally released in 1979 in two separate parts; Act I came first, followed by a two-record set containing Acts II & III. Joe's Garage is generally regarded as one of Zappa's finest post-'60s conceptual works, a sprawling, satirical rock opera about a totalitarian future in which music is outlawed to control the population. The narrative is long, winding, and occasionally loses focus; it was improvised in a weekend, some of it around previously existing songs, but Zappa manages to make most of it hang together. Acts II & III give off much the same feel, as Zappa relies heavily on what he termed "xenochrony" -- previously recorded guitar solos transferred onto new, rhythmically different backing tracks to produce random musical coincidences. Such an approach is guaranteed to produce some slow moments as well, but critics latched onto the work more for its conceptual substance. Joe's Garage satirizes social control mechanisms, consumerism, corporate abuses, gender politics, religion, and the rock & roll lifestyle; all these forces conspire against the title protagonist, an average young man who simply wants to play guitar and enjoy himself. Even though Zappa himself hated punk rock and even says so on the album, his ideas seemed to support punk's do-it-yourself challenge to the record industry and to social norms in general. Since this is 1979-era Zappa, there are liberal applications of his trademark scatological humor (the titles of "Catholic Girls," "Crew Slut," "Why Does It Hurt When I Pee?," and "Keep It Greasey" are self-explanatory). Still, in spite of its flaws, Joe's Garage has enough substance to make it one of Zappa's most important '70s works and overall political statements, even if it's not focused enough to rank with his earliest Mothers of Invention masterpieces.© Steve Huey /TiVo

Smart, sophisticated, and timelessly stylish, Steve McQueen (titled Two Wheels Good in the U.S. after threats of a lawsuit from the actor's estate) is a minor classic, a shimmering jazz-pop masterpiece sparked by Paddy McAloon's witty and inventive songwriting. McAloon is a wickedly cavalier composer, his songs exploring human weaknesses like regret ("Bonny"), lust ("Appetite"), and infidelity ("Horsin' Around") with cynical insight and sarcastic flair; he's also remarkably adaptable, easily switching gears from the faux country of "Faron Young" to the stately pop grace of "Moving the River." At times, perhaps, his pretensions get the better of him (as on "Desire As"), while at other times his lyrics are perhaps too trenchant for their own good; at those moments, however, what keeps Steve McQueen afloat is Thomas Dolby's lush production, which makes even the loftiest and most biting moments as easily palatable as the airiest adult contemporary confection.© Jason Ankeny /TiVo

Prefab Sprout was always too good for the radio. Hearing the band's immaculate, gorgeously crafted pop songs alongside disposable, unimaginative records seemed like blasphemy. Perhaps many American radio programmers felt the same way, as most of this best-of compilation is obscure to U.S. listeners. While Two Wheels Good and From Langley Park to Memphis are superior purchases, A Life of Surprises is an engaging introduction to a group that is nowhere near as bizarre as its name. Much has been said about Paddy McAloon's warm, comforting voice, but like Paul Heaton of the Housemartins and the Beautiful South, his soothing croon can sometimes hide some pretty depressing lyrics. "When Love Breaks Down" is classic '80s new wave heartache: teary-eyed synthesizers, downtrodden basslines, and McAloon's whispery talk create a film noir atmosphere of deep sadness. The lyrics are sharpened by his adult observations. "When love breaks down/You join the wrecks/Who leave their hearts for easy sex," McAloon sings. The brutal honesty of those lines easily elevate "When Love Breaks Down" to the top class of breakup songs. Even more powerful is "Goodbye Lucille No. 1 (Johnny Johnny)," sung from the perspective of a man trying to make a close friend get over a girl who has rejected him. The words are frank and painfully realistic as McAloon doesn't sugarcoat the dialogue. McAloon rips into his buddy's futile romantic fantasies and lets the hard light of reality shine upon him: "Ooh Johnny Johnny Johnny you won't make it any better/Ooh Johnny Johnny Johnny you might well make it worse." If this sounds dreary it should be noted that Prefab Sprout isn't one of those grim British raincoat bands. The group has a number of wonderfully upbeat moments, such as on the exhilarating "Hey Manhattan!" and "Cars and Girls," a clever commentary on Bruce Springsteen's preoccupation with automobiles and women.© Michael Sutton /TiVo

A decent but short (nine songs) late '60s set, with somewhat sparser production than he'd employ with the beefier arrangements of the "Thrill Is Gone" era. Brass and stinging guitar plays a part on all of the songs, leading off with the eight-minute title track, a spoken narrative about his famous guitar.© Richie Unterberger /TiVo

Nearly two decades after the first volume, the second installment of the Beatles BBC recordings arrives and, like its predecessor, On Air: Live at the BBC, Vol. 2 condenses the Fab Four's voluminous BBC sessions into an easily digestible double-disc of highlights. The generous 63-track running length is slightly misleading as this, more than the 1994 set, is peppered with dialogue, interviews, and silly sketches -- a total of 24 of them, to be exact, including the five-minute "Pop Profile" interviews tacked onto the end of each disc (CD 1 showcases John and George on the eve of the release of Rubber Soul, CD 2 Paul and Ringo prior to the release of Revolver). Such a heavy emphasis on on-air banter winds up cementing On Air as something like a documentary: it is capturing a specific moment in the Beatles history. Specifically, this moment is 1963, with three quarters of the collection dating from that year. It was a momentous year, of course, the beginning of Beatlemania in Britain and, appropriately, there's a greater emphasis on original Beatles music than there was on the covers-laden 1994 set. This is a mild disappointment, as much of the really interesting material is hearing the Beatles tear into the rock & roll classics that were staples of their club set; not only does their kinetic interplay leap alive, but it's possible to appreciate just how good McCartney and, particularly, Lennon were as interpretive singers (John kills on the Chuck Berry songs "I'm Talking About You" and "Memphis, Tennessee"). Which isn't to say these early Beatles originals are tossed off without a care. They're also treated with exuberance and, at times, the enthusiasm is intoxicating (they punch hard on "I Saw Her Standing There," "Roll Over Beethoven" swings with purpose, "You Can't Do That" retains a glinting, hard edge, and Paul's Little Richard impression always dazzles). Crucially, the banter contains a similar sense of excitement; as this concentrates on 1963, the Beatles have yet to grow tired of their shtick, so it's fun to hear them trade barbs with the BBC hosts and with each other. When the dialogue is combined with those wonderful performances, On Air: Live at the BBC, Vol. 2 helps paint a portrait of the Beatles just reaching the peak of their powers.© Stephen Thomas Erlewine /TiVo

Joe's Garage was originally released in 1979 in two separate parts; Act I came first, followed by a two-record set containing Acts II & III. Joe's Garage is generally regarded as one of Zappa's finest post-'60s conceptual works, a sprawling, satirical rock opera about a totalitarian future in which music is outlawed to control the population. The narrative is long, winding, and occasionally loses focus; it was improvised in a weekend, some of it around previously existing songs, but Zappa manages to make most of it hang together. Acts II & III give off much the same feel, as Zappa relies heavily on what he termed "xenochrony" -- previously recorded guitar solos transferred onto new, rhythmically different backing tracks to produce random musical coincidences. Such an approach is guaranteed to produce some slow moments as well, but critics latched onto the work more for its conceptual substance. Joe's Garage satirizes social control mechanisms, consumerism, corporate abuses, gender politics, religion, and the rock & roll lifestyle; all these forces conspire against the title protagonist, an average young man who simply wants to play guitar and enjoy himself. Even though Zappa himself hated punk rock and even says so on the album, his ideas seemed to support punk's do-it-yourself challenge to the record industry and to social norms in general. Since this is 1979-era Zappa, there are liberal applications of his trademark scatological humor (the titles of "Catholic Girls," "Crew Slut," "Why Does It Hurt When I Pee?," and "Keep It Greasey" are self-explanatory). Still, in spite of its flaws, Joe's Garage has enough substance to make it one of Zappa's most important '70s works and overall political statements, even if it's not focused enough to rank with his earliest Mothers of Invention masterpieces. © Steve Huey /TiVo