If you’d told David Gahan and Martin Gore a year before the release of this latest album (which was still in the making at that time) that its title would be somewhat foreboding, the pair would likely have agreed, but for a rather different reason. Memento Mori roughly translates to ‘remember you’re going to die’—that’s what was on Gahan’s mind having just entered his sixties, whilst also remembering his stepfather, the man who raised and cared for him, who had died at just 61. But fate would prove both twisted and cruel when, without warning, it would take the life of Andy Fletcher on 26th May 2022. Depeche Mode’s third man was just 60 years old.However, this sudden death was not what primarily guided the somber, melancholic content of the record. Most of it was composed during the pandemic, which must have forced the band to ask themselves countless questions about their existence, their future and how these doubts would be manifested within their music (though Fletcher’s death would inevitably alter their approach to these same compositions). This all gives rise to a record which, whilst rejecting any semblance of ‘joie-de-vivre’, is a real return to more gothic, vintage and organic sounds. The album’s quasi-industrial opener, ‘My Cosmos is Mine’, sets the tone for the darker journey to come. The album takes a more stripped-back approach to the melodies, where Gahan’s sobering voice steers clear of all excess.In the midst of this darkness, the emphasis on synthesized sounds from a seemingly bygone era strikes a nostalgic chord without losing its edge (‘Wagging Tongue’, ‘Never Let Me Go’). These textures are accompanied by more saturated tones, taking us right back to their flirtations with rock in the 90s (‘My Favourite Stranger’). Memento Mori sounds like a kind of condensed version of the band’s more delicate songs without becoming a simple reconstruction of them. It has a subtle beauty which surely highlights the expertise of the musicians behind it, despite being somewhat overshadowed by the erratic nature of their discography over the last twenty years. Light filters through the cracks here and there on this album however, like the song ‘People are Good’, reminiscent of the classic ‘People are People’ released almost forty years ago. Remember that you’re meant to enjoy it… © Chief Brody/Qobuz

Whether it's the atmospheric reverb on "Midnight Rambler," Byron Berline's fiddle (recorded outside on the street) on "Country Honk," or the meaty bass part that opens "Live with Me," Let It Bleed has always been an album full of intriguing sound. Add to that Merry Clayton's unforgettable vocal overdubs on "Gimme Shelter" (as well as its opening ghostly voices, washboard guiro scrapes and reverb-drenched guitar) and Let It Bleed, newly remastered by Bob Ludwig for its 50th anniversary reissue, is an album especially suited to the world of high resolution audio. From 1968 through 1972, no popular music act (except The Beatles) made better albums than The Rolling Stones. Their blockbuster run began in late 1968 with Beggars Banquet and continued through Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972). If Beggars Banquet was the sound of the band stripping down their sound and working out their frustrations over their legal tangles and impending departure of Brian Jones (replaced in June 1969 by Mick Taylor), Let It Bleed was the band emerging unbowed, with a new confidence and a dramatic leap in songwriting quality from Jagger/Richards, bookended by the ominous "Gimme Shelter" and the common sense rock gospel of "You Can't Always Get What You Want." Let It Bleed also acknowledges the band's deep roots in the blues with with an acoustic cover of Robert Johnson's "Love in Vain," Richards' prolific slide guitar parts and "Midnight Rambler," the band's "blues opera." Despite its popularity (#1 in UK and #3 in US), there's even a sleeper track—the underrated "Monkey Man," whose lyrics sum up the swinging '60s with impenetrable lines like, "I'm a cold Italian pizza / I could use a lemon squeezer / What you do?” Originally produced by Jimmy Miller and engineered by Glyn Johns, the new remastering is a sonic refresh with a larger soundstage that adds new detail to Jagger's vocal performance of "Love in Vain" and Richards' guitar work in "Midnight Rambler". Like all the recent ABKCO reissues from this period, this may well be the best Let It Bleed will ever sound. © Robert Baird / Qobuz

Whether it's the atmospheric reverb on "Midnight Rambler," Byron Berline's fiddle (recorded outside on the street) on "Country Honk," or the meaty bass part that opens "Live with Me," Let It Bleed has always been an album full of intriguing sound. Add to that Merry Clayton's unforgettable vocal overdubs on "Gimme Shelter" (as well as its opening ghostly voices, washboard guiro scrapes and reverb-drenched guitar) and Let It Bleed, newly remastered by Bob Ludwig for its 50th anniversary reissue, is an album especially suited to the world of high resolution audio. From 1968 through 1972, no popular music act (except The Beatles) made better albums than The Rolling Stones. Their blockbuster run began in late 1968 with Beggars Banquet and continued through Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972). If Beggars Banquet was the sound of the band stripping down their sound and working out their frustrations over their legal tangles and impending departure of Brian Jones (replaced in June 1969 by Mick Taylor), Let It Bleed was the band emerging unbowed, with a new confidence and a dramatic leap in songwriting quality from Jagger/Richards, bookended by the ominous "Gimme Shelter" and the common sense rock gospel of "You Can't Always Get What You Want." Let It Bleed also acknowledges the band's deep roots in the blues with with an acoustic cover of Robert Johnson's "Love in Vain," Richards' prolific slide guitar parts and "Midnight Rambler," the band's "blues opera." Despite its popularity (#1 in UK and #3 in US), there's even a sleeper track—the underrated "Monkey Man," whose lyrics sum up the swinging '60s with impenetrable lines like, "I'm a cold Italian pizza / I could use a lemon squeezer / What you do?” Originally produced by Jimmy Miller and engineered by Glyn Johns, the new remastering is a sonic refresh with a larger soundstage that adds new detail to Jagger's vocal performance of "Love in Vain" and Richards' guitar work in "Midnight Rambler". Like all the recent ABKCO reissues from this period, this may well be the best Let It Bleed will ever sound. © Robert Baird / Qobuz

Ten years after Amy Winehouse's tragic and untimely death, the BBC is unearthing an impressive body of live recordings made by a singer who was unique among contemporary soul artists. This is actually a much-augmented version of At the BBC, which originally came out in 2012 with 24 tracks. This 2021 version of At the BBC packs 38 tracks (from 2004-2009) and over two hours of music: proof of this artist's power, as well as a document of her sometimes-ambiguous relationship with the scene. Here you can find Winehouse's performances on shows hosted by Jo Whiley, Jools Holland, and the late Pete Mitchell, who were always great champions of hers. On top of that, we have concerts recorded by UK radio (two with the Modfather, Paul Weller, making a guest appearance), as well as recordings of more intimate shows. In front of an audience, Amy would sometimes force her singing, as if tempted to go in for vocal pyrotechnics. But everything here is controlled and classy, as when she revisits standards like Lullaby of Birdland and I Should Care, or on a raw, powerful version of Rehab with Mitchell in 2006..During the 2000s, women soul singers were few and far between, and fewer still were those who really tried to develop and build on the eternal soul music laid down by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. As At the BBC reminds us, Amy Winehouse had a lithe, strong voice, real songs (which she wrote herself, unlike most of her peers), production values that felt vintage (but never old-fashioned), and a superb brass section. These unique traits all shine on the final part of this 2021 re-release of At the BBC with a 2007 concert at London's Porchester Hall, ending with a spicy cover of Monkey Man by Toots and the Maytals, which the Specials – adored by Winehouse – also revisited on their debut album. © Marc Zisman/Qobuz

The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. (That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance.) Although Back to Black does see her deserting jazz and wholly embracing contemporary R&B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz vocalist to soul siren. With producer Salaam Remi returning from Frank, plus the welcome addition of Mark Ronson (fresh off successes producing for Christina Aguilera and Robbie Williams), Back to Black has a similar sound to Frank but much more flair and spark to it. Winehouse was inspired by girl group soul of the '60s, and fortunately Ronson and Remi are two of the most facile and organic R&B producers active. (They certainly know how to evoke the era too; Remi's "Tears Dry on Their Own" is a sparkling homage to the Motown chestnut "Ain't No Mountain High Enough," and Ronson summons a host of Brill Building touchstones on his tracks.) As before, Winehouse writes all of the songs from her experiences, most of which involve the occasionally riotous and often bittersweet vagaries of love. Also in similar fashion to Frank, her eye for details and her way of relating them are delightful. She states her case against "Rehab" on the knockout first single with some great lines: "They tried to make me go to rehab I won't go go go, I'd rather be at home with Ray" (Charles, that is). As often as not, though, the songs on Back to Black are universal, songs that anyone, even Joss Stone, could take to the top of the charts, such as "Love Is a Losing Game" or the title song ("We only said good bye with words, I died a hundred times/You go back to her, and I go back to black").© John Bush /TiVo

For their second album, Recovering the Satellites, Counting Crows crafted a self-consciously challenging response to their unexpected success. Throughout the record, Adam Duritz contemplates his loss of privacy and sudden change of fortunes, among other angst-ridden subjects. In one sense, it's no different from the subjects that dominated August and Everything After, yet his outlook is lacking the muted joy that made "Mr. Jones" into a hit. Similarly, the music is slightly more somber, yet the approach is harder and more direct, which gives even the ballads a more affecting, visceral feel. Recovering the Satellites occasionally bogs down in its own pretentiousness -- for a roots rock band, the group certainly has a lot of artsy goals -- yet when they scale back their ambitions to simple folk-rock, such as on the single "A Long December," they are at their most articulate.© Stephen Thomas Erlewine /TiVo

Given Alison Krauss' tremendous popularity and her status as the first female bluegrass singer to cross over into genuine pop marketability, and given the fact that her guitarist, Dan Tyminski, is the voice behind "Man of Constant Sorrow" (or at least the version that served as an idée fixe in the blockbuster movie O Brother, Where Art Thou?), a live album was inevitable. That it should be a two-disc set can simply be chalked up to good luck. Unless you're a bluegrass purist, that is, looking for music that preserves the traditional Appalachian sounds of Ralph Stanley and Bill Monroe. Listeners of that mindset will be bitterly disappointed by the presence of modern singer/songwriter fare ("Lucky One," "Let Me Touch You for a While"), by the drums on "Oh, Atlanta," and, most of all, by those dreadful call-and-response vocals on the chorus of "Man of Constant Sorrow" (which, you can hear them sniff, Tyminski takes at about twice the appropriate speed). All of this would explain why bluegrass purists are no fun to be around and, one suspects, don't have very much fun in private either. The simple fact is that every time Krauss opens her mouth to sing, angels stop what they're doing and take notes. There may be no musical pleasure quite as pure and sweet as listening to Krauss sing "Baby, Now That I've Found You" or "When You Say Nothing at All." And when she starts in on the impossibly beautiful gospel tune "Down to the River to Pray," the effect is almost disturbingly moving. Which brings listeners to the problem with this album, which is the amount of time it spends on stuff other than Alison Krauss singing great songs. The instrumental bits, the Jerry Douglas showcases, and Tyminski's requisite rendition of "Man of Constant Sorrow" are all fine, but they end up feeling like filler. Still, this album can be solidly recommended to modern bluegrass fans in general and to Krauss' many fans in particular. © Rick Anderson /TiVo

France's biggest-selling home-grown female artist, Mylène Farmer's eighth studio album, Bleu Noir, is the first of her career without the input of long-term collaborator Laurent Boutonnat. Instead, the near 50-year-old diva has assembled an array of hotshot producers including RedOne (Lady Gaga), experimental British outfit Archive, and Moby on 12 tracks that combine her trademark melancholic lyrics with a slightly more commercial electro-pop sound, as on the singles "Ouis Mais... Non," "Lonely Lisa," and the title track, as well as two English-language songs, "Light Me Up" and "Inseparables."© Jon O'Brien /TiVo

It's back to business for Sia Furler, whose 2014 surprise smash hit Chandelier is still burning brightly. It featured recently in an advertisement for a French luxury brand featuring Natalie Portman, and is just a few clicks shy of two and a half billion views on YouTube... It was an extraordinary event for an artist who previously had been rather discreet. Having spent some years as a part-time singer of the chic, down-tempo English duo Zero 7, she turning out a string of little-known solo albums, which enjoyed enough success that the celebrity made her want to stop her career for a while. After that, she dedicated herself to writing for others: between 2009 and 2013, Sia would thus write or co-write dozens of songs for Christina Aguilera, Britney Spears, Katy Perry, Beyoncé, Kylie Minogue, Flo Rida and Rihanna…But since 2014 and Chandelier, membership of the exclusive club of big-selling pop stars was awarded to this odd starlet whose haircut hides most of her face, and whose alter ego, young Maddie Ziegler, omnipresent in her videos, has become her visual avatar (and much more popular than she is online). After Chandelier, the Australian has not been resting on her laurels. She has made a series of collaborations, releases and voice appearances in several animated films (My Little Pony, Peter Rabbit, Charming, etc.), and also two albums, This Is Acting (2016) and a Christmas record, Everyday Is Christmas (2017), always accompanied by Maddie Ziegler, whose evolution audiences have followed from teen to young woman. And here is Sia Furler's most ambitious project: Music. This record – which she considers an album in its own right – is also the soundtrack of her first film of the same title. Music is therefore a dozen new ditties, all in the same electronic pop style, with hybrid music that mixes inspirations and trends alike, in the manner of a musical mood board. The film, whose theme is autism, is also the culmination of the collaboration between Sia and her muse Maddie Ziegler. The latter plays the main character, Music Gamble, alongside Kate Hudson (Zu Gamble) and Leslie Odom Jr (Ebo Odom).To concoct her new songs, Furler has found some faithful partners, such as David Guetta with whom she has collaborated many times and who accompanies her here on the single Floating Through Space, which is effective if not unforgettable. The more spontaneous Hey Boy uses colourful vocals by Nigerian Burna Boy. On the song Oblivion, Sia is joined by her friend, the talented Londoner Timothy McKenzie aka Labrinth. The singer Pink is also present on Courage to Change, a kind of return match which revisits a song by Pink entitled Courage (on her 2019 album Hurts 2b Human), which Sia had also co-written. Another guest, the very popular Dua Lipa, joined Sia and Greg Kurstin on a pop ballad, Saved My Life, a song that does not feature in the film, but is one of two compositions inspired by it. In short, a panorama of popular music today. © Yan Céh/Qobuz

Whether it's the atmospheric reverb on "Midnight Rambler," Byron Berline's fiddle (recorded outside on the street) on "Country Honk," or the meaty bass part that opens "Live with Me," Let It Bleed has always been an album full of intriguing sound. Add to that Merry Clayton's unforgettable vocal overdubs on "Gimme Shelter" (as well as its opening ghostly voices, washboard guiro scrapes and reverb-drenched guitar) and Let It Bleed, newly remastered by Bob Ludwig for its 50th anniversary reissue, is an album especially suited to the world of high resolution audio. From 1968 through 1972, no popular music act (except The Beatles) made better albums than The Rolling Stones. Their blockbuster run began in late 1968 with Beggars Banquet and continued through Let It Bleed (1969), Sticky Fingers (1971) and Exile on Main Street (1972). If Beggars Banquet was the sound of the band stripping down their sound and working out their frustrations over their legal tangles and impending departure of Brian Jones (replaced in June 1969 by Mick Taylor), Let It Bleed was the band emerging unbowed, with a new confidence and a dramatic leap in songwriting quality from Jagger/Richards, bookended by the ominous "Gimme Shelter" and the common sense rock gospel of "You Can't Always Get What You Want." Let It Bleed also acknowledges the band's deep roots in the blues with with an acoustic cover of Robert Johnson's "Love in Vain," Richards' prolific slide guitar parts and "Midnight Rambler," the band's "blues opera." Despite its popularity (#1 in UK and #3 in US), there's even a sleeper track—the underrated "Monkey Man," whose lyrics sum up the swinging '60s with impenetrable lines like, "I'm a cold Italian pizza / I could use a lemon squeezer / What you do?” Originally produced by Jimmy Miller and engineered by Glyn Johns, the new remastering is a sonic refresh with a larger soundstage that adds new detail to Jagger's vocal performance of "Love in Vain" and Richards' guitar work in "Midnight Rambler". Like all the recent ABKCO reissues from this period, this may well be the best Let It Bleed will ever sound. © Robert Baird / Qobuz

From 1962 to 1965, the Beatles made 52 appearances on the BBC, recording live-in-the-studio performances of both their official releases and several dozen songs that they never issued on disc. This magnificent two-disc compilation features 56 of these tracks, including 29 covers of early rock, R&B, soul, and pop tunes that never appeared on their official releases, as well as the Lennon-McCartney original "I'll Be on My Way," which they gave in 1963 to Billy J. Kramer rather than record it themselves. These performances are nothing less than electrifying, especially the previously unavailable covers, which feature quite a few versions of classics by Chuck Berry, Little Richard, Carl Perkins, and Elvis Presley. There are also off-the-beaten-path tunes by the Everly Brothers and Buddy Holly on down to obscurities by the Jodimars, Chan Romero (a marvelous "Hippy Hippy Shake"), Eddie Fontaine, and Ann-Margret. The greatest gem is probably their fabulous version of Arthur Alexander's "Soldier of Love," which (like several of the tracks) would have easily qualified as a highlight of their early releases if they had issued it officially. Restored from existing tapes of various quality, the sound is mostly very good and never less than listenable. Unfortunately, they weren't able to include every single rarity that the Beatles recorded for the BBC; the absence of Carl Perkins' "Lend Me Your Comb," which has circulated on bootlegs in a high-fidelity version, is especially mystifying. Minor quibbles aside, these performances, available on bootlegs for years, compose the major missing chapter in the Beatles' legacy, and it's great to have them easily obtainable in a first-rate package.© Richie Unterberger /TiVo

"If the voice don't say it, the guitar will play it," raps Saffron on "Pork-U-Pine," the third track on Jeff Beck's minimally titled Jeff. And he does. Beck teams with producer Andy Wright, the man responsible for his more complete immersion into electronic backdrops on his last outing, You Had It Coming. This time the transition is complete. Beck used electronica first on Who Else!, moved a little more into the fire on You Had It Coming, and here merges his full-on Beck-Ola guitar heaviness with the sounds of contemporary spazz-out big beats and noise. Beck and Wright employ Apollo 440 on "Grease Monkey" and "Hot Rod Honeymoon," and use a number of vocalists, including the wondrously gifted Nancy Sorrell, on a host of tracks, as well as the London Session Orchestra on others (such as "Seasons," where hip-hop, breakbeats, and old-school Tangerine Dream sequencing meet the guitarist's deep blues and funk-drenched guitar stylings). As for atmospherics, David Torn (aka producer Splattercell) offers a shape-shifting mix of glitch tracks on "Plan B" for Beck to wax on both acoustically and electrically, and make them weigh a ton. But it's on cuts like "Trouble Man," a purely instrumental big drum and guitar skronk workout, where Beck truly shines here. With a rhythm section of Dean Garcia and Steve Barney -- and Tony Hymas appears as well -- Beck goes completely overboard: the volume screams and the sheer crunch of his riffs and solos split the rhythm tracks in two, then four, and finally eight, as he turns single-string runs into commentaries on everything from heavy metal to East Indian classical music. The industrial crank and burn of "Grease Monkey" is an outing fraught with danger for the guitarist, who has to whirl away inside a maelstrom of deeply funky noise -- and Beck rides the top of the wave into dirty drum hell and comes out wailing. For those who feel they need a dose of Beck's rootsier and bluesier playing, there is one, but the context is mentally unglued. "Hot Rod Honeymoon" is a drum and bass sprint with Beck playing both slide and Texas-style blues à la Albert Collins, letting the strings bite into the beats. The vocals are a bit cheesy, but the entire track is so huge it's easy to overlook them. "Line Dancing With Monkeys" has a splintered Delta riff at its core, but it mutates, shifts, changes shape, and becomes the kind of spooky blues that cannot be made with conventional instruments. His turnarounds into the myopic rhythms provide a kind of menacing foil to their increasing insistence in the mix. Before gabber-style drum and bass threaten to break out of the box, Beck's elongated bent-note solos tame them. "JB's Blues" is the oddest thing here because it's so ordinary; it feels like it belongs on an updated Blow By Blow. In all this is some of the most emotionally charged and ferocious playing of Beck's career. Within the context of contemporary beatronica, Beck flourishes. He find a worthy opponent to tame in the machines, and his ever-present funkiness is allowed to express far more excess than restraint. This is as fine a modern guitar record as you are ever going to hear.© Thom Jurek /TiVo

Released in time for the 21st anniversary of the Rolling Stones' 1995 live album Stripped, Eagle Rock's Totally Stripped package focuses on the visual element. At its simplest, it's a CD/DVD set, with the DVD containing a documentary following the Stones through studio sessions and rehearsals for their club shows in London, Amsterdam, and Paris, while a super deluxe set contains Blu-rays of the full concerts of each of these gigs. In each incarnation, the CD cherry-picks highlights from these live shows, presenting 13 previously unheard performances plus recycling a "Street Fighting Man" initially released on Stripped. That 1995 album didn't rely strictly on hits: the Stones emphasized their roots, covering Buddy Holly, Willie Dixon, and Robert Johnson, while also finding space for country-rock and such rarely played '60s gems as "The Spider and the Fly" and "I'm Free." Comparatively, the CD on Totally Stripped plays it fairly straight, concentrating on hits and live staples. The curve balls are "Faraway Eyes," the Voodoo Lounge single "I Go Wild," and a cover of "Like a Rolling Stone" that was designed as the emphasis track for the Stripped project. So, there may not be a lot of surprises here, but this particular disc retains the same appeal as the original album. Moving from stadiums to theaters reinvigorated the Stones, letting them reconnect with their lithe essence. Charlie Watts drives these performances, giving them a big, hard swing; Keith Richards and Ron Wood weave their guitars with audible glee; and Mick Jagger doesn't toss off the songs, he sings them with the precision his words deserve. The Stones wound up touring for another 20-plus years but this marks a point when they begin to ease into their veteran status, getting more out of revisiting the old tunes than pushing the new ones.© Stephen Thomas Erlewine /TiVo

Although the best of the Kinks' early work is among the best British Invasion music, their initial pair of albums was far less consistent than those of the Beatles, Stones, and Who. Aside from the great "You Really Got Me," this was a shabby, disappointing set with surprisingly thin production. As R&B cover artists, the Kinks weren't nearly as adept as the Stones and Yardbirds; Ray Davies' original tunes were, "You Really Got Me" aside, perfunctory Merseybeat-ish pastiches, and a couple of tunes that producer Shel Talmy penned for the group ("Bald Headed Woman," "I've Been Driving on Bald Mountain") were simply abominable. The rave-up treatments of the R&B standards "Got Love If You Want It" and "Cadillac" were good, and the simple "Stop Your Sobbing" would eventually be covered by the Pretenders, but overall this is really patchy.© Richie Unterberger /TiVo