The Breeders of Pod and the Breeders of Last Splash seemed like two very different bands, as the astringent indie rock of the band's debut seemed to take a back seat to the highly melodic riff-dealing of their commercial breakthrough. The departure of Slint drummer Britt Walford and Throwing Muses guitarist Tanya Donnelly was certainly a factor, as Jim MacPherson's straightforward drumming has a whole lot to do with the propulsive power of Last Splash. However, Kim Deal's decision to recruit her twin sister Kelley for guitar and vocals is also a big factor. While the Deal sisters' vocal harmonies are justifiably praiseworthy for giving Last Splash some of its most memorable moments (the entirety of "Cannonball," for instance), the quirky muscularity of their deceptively intricate guitar work is the album's secret weapon. The weird combination of multi-tracked and doubled guitar lines (some on acoustic guitars, some on electric guitars, some on distorted acoustic guitars) sounds like effortlessly chunky garage rock, but a close listen to the component parts of a cut like the Blondie-nod of "Flipside" is likely to cause dizziness. This studio intensity is prevalent throughout much of Last Splash, giving it a unique patina that feels as rough and loose as it does meticulously crafted. Much of the album's sonic perfectionism has been variously ascribed to Kim Deal's wish for vengeance after being rudely fired from the Pixies, her escalating drug use, or simply that she's an audiophile spirit trapped in an indie rocker's body. In all likelihood, it was all three things combined with the natural energy that comes from a band working with an exceptional set of material. While "weird Breeders" gets plenty of air time on Last Splash ("Mad Lucas" and "Hag" both could have been Pod outtakes; "Roi" manages to make Led Zeppelin riffs sound like art-rock), the ridiculous quantity of infectious melodies and top-shelf arrangements on the album ("Saints," "Cannonball," "No Aloha," "Divine Hammer" and "Do You Love Me Now?") are evidence of an artist at the peak of her powers who just happens to have a band alongside her that can absolutely deliver on the promise of that material. This 30th anniversary edition benefits from being remastered from the original, long-thought-lost analog tapes (Deal was adamant that the album was recorded in an all-analog chain, so this should be a faithful rendition) as well as two previously unreleased bonus tracks. © Jason Ferguson/Qobuz

Dido’s fifth studio album Still on My Mind was produced with her elder brother and long-time partner in crime Rollo Armstrong (who is also co-founder of the electronic group, Faithless). “It was made in such an easy way, all the vocals recorded on the sofa, a lot of it recorded at home”, the famous performer of the hits Thank You and Here With Me explained. Over the course of 12 songs the two artists tried to encapsulate all the musical styles they loved, from 90’s dance and dream pop to folk and hip-hop. Putting the finishing touches to this colourful array of genres are stunning background vocals (Give You Up) and a melancholic piano (Walking By). The lyrics of the album generally revolve around the theme of love, whether in a positive light relating to the power of music (You Don’t Need a God) or being hurt by someone (Give You Up). Dido (whose real name is Florian Cloud de Bounevialle O’Malley Armstrong), dedicated this collection of songs to her young son which is perhaps the reason why these tracks almost seem like lullabies, especially Still on My Mind and the beautiful melody in Some Kind of Love. Accompanied by a simple acoustic guitar, her gentle voice performs wonders. © Nicolas Magenham/Qobuz

Where Permanent Vacation seemed a little overwhelmed by its pop concessions, Pump revels in them without ever losing sight of Aerosmith's dirty hard rock core. Which doesn't mean the record is a sellout -- "What It Takes" has more emotion and grit than any of their other power ballads; "Janie's Got a Gun" tackles more complex territory than most previous songs; and "The Other Side" and "Love in an Elevator" rock relentlessly, no matter how many horns and synths fight with the guitars. Such ambition and successful musical eclecticism make Pump rank with Rocks and Toys in the Attic.© Stephen Thomas Erlewine /TiVo

Here, Shani Diluka pays homage to the great American minimalist masters of the second half of the 20th century: Moondog, John Adams, Philipp Glass, Julias Eastman. Behind the Pulse title, we have identified a discreet nod to the eponymous work of Steve Reich, leader of the genre and yet curiously absent from the selection. But Pulse is also this notion of an uninterrupted beat, that of the heart, the heart of a country, grappling with its contradictory rhythms: from the frenzy of megacities to time suspended in wide-open spaces. Pianist Shani Diluka takes a tender and fascinating look at these soundscapes which showcase the splendours of a continent-nation (Danny Boy, Shenandoah) and the glaring traumas of its History (The Holy Presence of Joan d'Arc) © Pierre Lamy/Qobuz

Maybe it was his time in prison, or maybe it was simply his signing with Suge Knight's Death Row label. Whatever the case, 2Pac re-emerged hardened and hungry with All Eyez on Me, the first double-disc album of original material in hip-hop history. With all the controversy surrounding him, 2Pac seemingly wanted to throw down a monumental epic whose sheer scope would make it an achievement of itself. But more than that, it's also an unabashed embrace of the gangsta lifestyle, backing off the sober self-recognition of Me Against the World. Sure, there are a few reflective numbers and dead-homiez tributes, but they're much more romanticized this time around. All Eyez on Me is 2Pac the thug icon in all his brazen excess, throwing off all self-control and letting it all hang out -- even if some of it would have been better kept to himself. In that sense, it's an accurate depiction of what made him such a volatile and compelling personality, despite some undeniable filler. On the plus side, this is easily the best production he's ever had on record, handled mostly by Johnny J (notably on the smash "How Do U Want It") and Dat Nigga Daz; Dr. Dre also contributes another surefire single in "California Love" (which, unfortunately, is present only as a remix, not the original hit version). Both hits are on the front-loaded first disc, which would be a gangsta classic in itself; other highlights include the anthemic Snoop Dogg duet "2 of Amerikaz Most Wanted," "All About U" (with the required Nate Dogg-sung hook), and "I Ain't Mad at Cha," a tribute to old friends who've gotten off the streets. Despite some good moments, the second disc is slowed by filler and countless guest appearances, plus a few too many thug-lovin' divas crooning their loyalty. Erratic though it may be, All Eyez on Me is nonetheless carried off with the assurance of a legend in his own time, and it stands as 2Pac's magnum opus.© Steve Huey /TiVo

Best known for its multi-platinum TOTO IV, which earned the group six Grammies, Toto returned after a four-year absence with an album well worth the wait. MINDFIELDS reunited the band with original lead vocalist Bobby Kimball, at a point at which the band hoped to recapture some of its earlier magic.Long regarded as some of rock's best session men and songwriters, Toto's veteran players are at their best on this album. "Cruel" is an upbeat, swingin' jazzy number. "Caught in the Balance" is a fast rocker featuring the guitar work of ace Steve Lukather, who also handles lead vocals on the ballad "Last Love." Kimball digs deep on the bluesy "High Price of Hate." The band turns it down a notch on the wonderful ballad "Melanie" and takes a country rock route on "No Love," which features Clint Black on harmonica. Accessible arrangements, a tight horn section, and polished harmonies are all part of the Toto sound, which MINDFIELDS improves and expands to great measure.© TiVo

Perhaps frustrated by the lack of commercial success Imperial Bedroom encountered, Elvis Costello enlisted British hitmakers Clive Langer and Alan Winstanley to produce its follow-up, Punch the Clock. The difference between the two records is immediately noticeable. Punch the Clock has a slick, glossy surface, complete with layered synthesizers, horns, studio effects, and the backup vocals of Afrodiziak. The approach isn't necessarily a misguided one, since Costello is as much a pop musician as he is a singer/songwriter and many of the best moments on the record -- "Everyday I Write the Book," "Let Them All Talk" -- work well as shiny pop singles. However, the problem with Punch the Clock is that Costello is entering a fallow songwriting period; it is his least consistent set of original songs to date. The best moments, the antiwar ballad "Shipbuilding" and the eerie pseudo-rap "Pills and Soap," are as articulate and effective as any of his past work, but frequently Costello falls short of meeting his standards, particularly when he's trying to write a song in the style of his older songs. Nevertheless, the sheen of the Langer and Winstanley production makes Punch the Clock a pleasurable listen. Costello's uneven writing means that only portions of the album are memorable.© Stephen Thomas Erlewine /TiVo

"Mad in Love," "Greatest Love Story Never Told," "To Be Yours"...the song titles of this ninth album from Jennifer Lopez (ten years after her previous release AKA) speak for themselves: JLO has returned to talk to us about love. Accompanied by a film released simultaneously on Amazon, This is Me…Now serves as a sort of original soundtrack, not only to the film, but also to the New York singer and actress's life. Over R&B, pop, and hip-hop rhythms, she retells the story of a young woman healing from the loss of her first love (actor Ben Affleck). As a reminder, the two stars dated in the early 2000s, before breaking up in 2004 and then going on to marry in 2022. We follow a character named The Artist, who faces three failed marriages. To find a new beginning, The Artist is guided by guardian angels, who rule as an astral council, representing the 12 signs of the zodiac. It's quite an adventure! The tracks that stand out from this musico-cinematographic mash-up include "Dear Ben, Pt. 2." a true declaration of love for her husband, and "Broken Like Me," a guitar/vocal ballad on which JLO gives her all. At 54 years old, on screen as well in the studio, Jennifer Lopez tells her story with touching sincerity, as well as a good dose of self-deprecating humor. © Nicolas Magenham/Qobuz

A sequel two decades in the making, This Is Me…Now finds Jennifer Lopez returning to the territory she first explored on This Is Me…Then: namely, grappling with the strong emotions generated by her relationship with Ben Affleck. Lopez wrote and recorded This Is Me…Then while in the throes of her romance with the actor, releasing the album in November 2002 at what turned out to be roughly the midpoint of their initial union. By early 2004, their engagement was severed. The next two decades were filled with high-profile love affairs by both parties -- they each started families with subsequent spouses -- but the pair reconnected in 2021, leading to marriage in July 2022. This Is Me…Now chronicles this rekindling, and in no small way: the record is accompanied by a full-length film featuring a music video for each of the album's 13 songs, plus there's a documentary called "The Greatest Love Story Never Told," which borrows its name from a series of love letters written by Affleck to Lopez.Separating the album This Is Me…Now from its two interlocking films isn't quite as difficult as it seems. Where the visual components are rife with celebrity cameos -- Jane Fonda appears in both, while the film finds space for Post Malone, Neil deGrasse Tyson, Trevor Noah, and Sofia Vergara, among others -- the album is relatively streamlined and sleek, containing no guest appearances and showing no overt attempts at chasing trends. While she enlists collaborators with impressive contemporary credits -- Roget Chahayed executive-produced Jack Harlow's Come Home the Kids Miss You and produced Doja Cat's "Vegas" -- she's intent on having This Is Me…Now be an answer record to This Is Me…Then, so it's filled with callbacks to glitzy Y2K pop: "Hearts and Flowers" goes so far as to interpolate "Jenny from the Block," the signature hit from Then. Lopez may be looking back but she's not attempting to re-create the past so much as strengthen the bond between two periods of her life that clearly mirror each other; she underscores the connection by delivering "Dear Ben, Pt. 2," an explicit response to an album cut 20 years prior. Occasionally, Lopez lets herself show signs of vocal wear -- she lets her voice crack on the austere ballad "Broken Like Me" -- but her maturation is evident in how she keeps returning to self-help empowerment throughout the album. Almost all of these words are directed to herself and Affleck -- on "Hummingbird," she proclaims, "'Cause you help me be the best version of me/And all I wanna do is help you be the best version of you," while "This Time Around" declares "We're gonna put the house in both our names" -- with a frankness that's simultaneously admirable and slightly alienating. Lopez is so intent on preserving the moment that her love for Affleck reignited that she ended up finding no space for ambiguity or interpretation, a decision that can make This Is Me…Now seem slightly cloistered. In its unapologetic candor, however, it stands as something of a definitive document of celebrity culture in the 21st century.© Stephen Thomas Erlewine /TiVo

Thanks to good timing and some great singles, Last Splash turned the Breeders into the alternative rock superstars that Kim Deal's former band Pixies always seemed on the verge of becoming. Yet in some ways, the group's commercial breakthrough was the most unpredictable music they'd made up to that point. Joined by Deal's twin sister, Kelley, the band builds on the Safari EP's polished production, but instead of merely making their sound bigger or more palatable, they play with more styles, textures, and moods than ever before. Nowhere is this more evident than on the album's blockbuster single "Cannonball." From the foghorn-like vocals that announce it to Josephine Wiggs' bouncing bassline to its singsong vocals, virtually every part of this mischievously sexy, choppy yet grooving song is a hook. Though it became a symbol of the 1990s alt-rock revolution, it's so light and playful that it still sounded fresh years later. The Breeders extend "Cannonball"'s jumps, twists, and tangents to Last Splash as a whole, balancing irresistible pop with whimsical detours. They take this approach to extremes by teasing listeners with the elliptical shuffling and muttering of "Mad Lucas" before delivering two and a half minutes of flirty pop perfection with "Divine Hammer." More often, the album's patchwork offers a wealth of ideas and feelings. "Hag" and "No Aloha," a startling hybrid of desert island balladry and churning punk-pop, update Pod's surreal feminism, a mood that trickles down to the aching independence of "Invisible Man." Then there's the band's obsession with summer, which ranges from "Flipside"s high-tide surf-pop to "Saints," a sunburnt celebration of a state fair complete with braying riffs and lines like "pony in the air" that reflect Deal's brilliance at abstract yet immediately recognizable imagery. Kim and Kelley's mega-watt charm is one of the main reasons Last Splash holds together as well as it does. "Drivin' on 9" (a cover of a song by fellow Dayton, Ohio band Ed's Redeeming Qualities) provides one of the album's best showcases for the pure charisma of the former's voice, while "I Just Wanna Get Along"'s apocalyptic power pop puts the spotlight on the latter's singing and razor-sharp songwriting. Along with its emphasis on fun, Last Splash is one of the defining albums of early-'90s alternative rock precisely because of its anything-goes mood -- an attitude that the Breeders held on to for the rest of their career.© Heather Phares /TiVo

Reinvigorated and confident, Dido returns from a six-year absence with her sparkling fifth album, Still on My Mind. Following 2013's neon-washed Girl Who Got Away, this set features her liveliest, catchiest production since early-era breakthroughs No Angel and Life for Rent, and soundtracks familiar themes of love, loss, desire, and -- as the mother of a young son -- family. Anchored by her yearning and ever-ethereal vocals, the LP delivers on the promising glimmers that were teased on its cool (but ultimately sedate) predecessor, successfully synthesizing the spirit of her early hybrid sound with updated late-2010s sheen. Yet another collaboration with her brother Rollo, Still on My Mind finds the English singer/songwriter in a mature, controlled space -- an elegant but fresh collection of her familiar electro-folk with a hip-hop heartbeat. Strumming to life with the expansive beauty "Hurricanes," Still on My Mind offers moody callbacks to the early 2000s with emotive highlights "Some Kind of Love," "Give You Up," and the title track, which builds to a shiver-inducing beat drop. Lively electro-pop entries "You Don't Need a God," "Mad Love," and "Friends" bubble to life, while the hard-hitting "Hell After This" echoes Depeche Mode synth pop and the glittery "Take You Home" pulses with disco glory. Dido even takes subtle cues from Enya, putting her spin on new age grace with the plaintive "Walking By" and the triumphant "Chances." Two decades after her debut, Still on My Mind stands impressively strong, a late-era peak that is refreshing in its fearlessness and comforting with a familiarity that doesn't rest too heavily upon the past. Considering the long gap between albums, Still on My Mind is more than worth the wait.© Neil Z. Yeung /TiVo

The Pretty Reckless came into their own on 2014's Going to Hell, a sophomore set that found them executing their neo-grunge in a catchier, harder fashion than their debut. Now that they've mastered their vocabulary, it's time for them to expand their horizons on 2016's Who You Selling For. Such ambitions are evident from the somber artwork and the multi-part title of "The Walls Are Closing In/Hangman," the track that gets Who You Selling For off to somewhat of an epic start. While the Pretty Reckless resist the urge to go prog, they do operate with a grander sense of scale here, while also incorporating a stronger sense of swing; the verses of "Take Me Down" percolate to a surprisingly funky groove while "Prisoner" grinds to a heavy stomp. Elsewhere, the Pretty Reckless stretch into territory that can only be called classic rock -- filled with acoustic guitars and piano, "Back to the River" is refried Southern rock, "Already Dead" is a slow Led Zeppelin blues jam by any other name, and the folksiness of "Bedroom Window" recalls Stevie Nicks at her gentlest -- and this winds up contrasting nicely with what remains of the band's revivalist grunge. All these new developments are pretty clear signs that the Pretty Reckless have decided to grow up on Who You Selling For and, thanks to their inherent muscle and the sharp articulation of producer Kato Khandwala, this self-conscious maturation succeeds.© Stephen Thomas Erlewine /TiVo

It's hard to believe that almost a decade passed in between studio albums for someone as ubiquitous as Jason Derulo. Between 2015's Everything Is 4 and 2024's Nu King, the pop star released a slew of well-received singles and collaborations that kept him busy on the charts and social media, but teased full-lengths with titles like 777 and 2Sides never appeared, as it was revealed that he had left his label. So when Nu King arrived, there was clearly a lot of ground to cover, resulting in over two dozen tracks that more than make up for lost time. Reaching back as far as 2017, Derulo was sure to include his biggest hits from the almost-decade: platinum smashes such as "Swalla" with Nicki Minaj and Ty Dolla $ign, "Tip Toe" with French Montana, "Savage Love" with Jawsh 685, "Take You Dancing," "Love Not War" with Nuka, "Acapulco," and "Jalebi Baby" with Tesher are all here, giving his 2016 Platinum Hits set a run for its money. The guest list balloons with Michael Buble, YoungBoy Never Broke Again, Gucci Mane, Quavo, Adam Levine, Dido, David Guetta, Meghan Trainor, and more, lending an already eye-popping collection even more punch. Of the songs that weren't released in the years prior, the best of the bunch sound like sleek, synth-funk variations on the Weeknd's contemporary output; on the other hand, the more forgettable fare -- it's hard to stand out when surrounded by so much competition! -- reminds listeners of much-better R&B-flavored 2020s K-pop. Overall, it's understandable that Derulo had to play catch-up by putting so much onto one release, but Nu King might have packed a more direct punch with some editing and artistic focus. Regardless, he's a master of the dancefloor and can keep a party going, which is likely enough for longtime fans.© Neil Z. Yeung /TiVo

Sinatra and Swingin' Brass, a collection of brash, bold up-tempo numbers, followed the all-ballads effort Sinatra and Strings. Working with Neal Hefti, Sinatra turned in a robust, energetic performance, which was infectious even when his voice was showing signs of wear -- he was suffering from a cold during the sessions. The record captures the spirit of the Rat Pack era nearly as well as Ring-a-Ding Ding!. [This album was later released with three bonus tracks].© Stephen Thomas Erlewine /TiVo

Having reunited with her longtime mentor, former Wombles singer/songwriter Mike Batt, for her 2012 symphonic album, Secret Symphony, vocalist Katie Melua continues in an orchestral vein with her sixth studio album, 2013's Ketevan. Much like its predecessor, Ketevan is a languid, often cinematic-sounding album that builds upon Melua's talents as an interpreter of other people's material as well as her own songs. Having taken a creative detour to work with electronic producer William Orbit for 2010's The House, Melua once again returns to her roots as Batt's protégée. Raised in the Eastern European state of Georgia, Melua moved with her family to England when she was eight. Batt discovered the then 19-year-old Melua while she was attending the Brit School of Performing Arts in 2003. Subsequently, they have worked together on most of her albums. Taking its title from Melua's Georgian birth name, Ketevan features songs and arrangements from Batt, as well as contributions from his son Luke Batt. Melua also earns a handful of co-writing credits herself, as on the sinewy "Love Is a Silent Thief" and the '60s-influenced torch song "Chase Me," both of which beautifully showcase her crystalline technique and softly soulful style. As with other Melua/Batt productions, Ketevan also serves as a vehicle for Batt to flex his melodic skills as a songwriter and arranger. A veteran of '70s bubblegum pop, Batt has also experimented with rock opera and adult contemporary music, all of which he brings to bear on his work with Melua. Here, he frames Melua's voice in grand, sweepingly romantic arrangements on songs like "Sailing Ships from Heaven" and "I Will Be There," which sound something like Kate Bush singing Scott Walker compositions. Similarly, the Melua/Mike Batt/Luke Batt-composed "Where Does the Ocean Go?" is an ambitious folk-inflected epic inspired by poet Samuel Taylor Coleridge's "The Rime of the Ancient Mariner." Fluid and utterly gorgeous, Ketevan is a unique and delicate vessel.© Matt Collar /TiVo

In 1985, a 25-year-old Sheila Escovedo, aka Sheila E., followed up her debut solo album, The Glamorous Life, with the equally Prince-influenced Romance 1600. The album cover found Escovedo and her band members sporting the attire of 17th century Europe, and the musicians were given such names as Dame Kelly, Benentino the Wizard, the Earl of Grey, and Sir Stephan. But once you get past the aristocratic imagery, Romance 1600 isn't much different from The Glamorous Life. Although Escovedo did most of the writing and producing herself, Prince's influence is strong throughout the album -- "Bedtime Story," "Sister Fate," and other selections all have that distinctive Minneapolis vibe. The only track that Prince co-wrote and co-produced with Escovedo is the funk gem "A Love Bizarre," which became a major hit and finds the two of them performing a vocal duet. As a vocalist, Escovedo never had Prince's range, but like Madonna and Janet Jackson, she demonstrates that singing can be meaningful even if the artist doesn't have the world's biggest voice. Although The Glamorous Life remains Escovedo's most essential album of the 1980s, Romance 1600 is a respectable follow-up and is also highly recommended to fans of Minneapolis funk-rock.© Alex Henderson /TiVo