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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

While there's no debating the importance of Jonathan Demme's classic film record of Talking Heads' 1983 tour, the soundtrack released in support of it is a thornier matter. Since its release, purists have found Stop Making Sense slickly mixed and, worse yet, incomprehensive. The nine tracks included jumble and truncate the natural progression of frontman David Byrne's meticulously arranged stage show. Cries for a double-album treatment -- à la 1982's live opus The Name of This Band Is Talking Heads -- were sounded almost immediately; more enterprising fans merely dubbed the VHS release of the film onto cassette tape. So, until a 1999 "special edition" cured the 1984 release's ills, fans had to make do with the Stop Making Sense they were given -- which is, by any account, an exemplary snapshot of a band at the height of its powers. Even with some of his more memorable tics edited out, Byrne is in fine voice here: Never before had he sounded warmer or more approachable, as evidenced by his soaring rendition of "Once in a Lifetime." Though almost half the album focuses on Speaking in Tongues material, the band makes room for one of Byrne's Catherine Wheel tunes (the hard-driving, elliptical "What a Day That Was") as well as up-tempo versions of "Pyscho Killer" and "Take Me to the River." If anything, Stop Making Sense's emphasis on keyboards and rhythm is its greatest asset as well as its biggest failing: Knob-tweakers Chris Frantz and Jerry Harrison play up their parts at the expense of the treblier aspects of the performance, and fans would have to wait almost 15 years for reparations. Still, for a generation that may have missed the band's seminal '70s work, Stop Making Sense proves to be an excellent primer.© Michael Hastings /TiVo

When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing -- he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals. The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff. Dusty Springfield had a minor hit with "Willie and Laura Mae Jones," and White's songs were recorded by other performers through the years, but "Polk Salad Annie" and the gators that got her granny provided his only march in the American hit parade.© Jim Newsom /TiVo

A record as fierce and blunt as its title portends, Who Is This Bitch, Anyway? vaults Marlena Shaw into a brave new world of feminism and funk, updating the sophisticated soul-jazz approach of her previous records to explore a fast-changing musical, political, and sexual landscape. Opening with "You, Me and Ethel," a hilarious satire of the singles bar culture, the album dissects modern romance with uncommon insight and candor, addressing lust ("Feel Like Makin' Love") and loss ("You Been Away Too Long") without pulling any punches. The music is similarly direct and progressive, running the gamut from luminous soul to scorching funk grooves. Not only Shaw's best-selling Blue Note release, Who Is This Bitch, Anyway? represents her creative apex as well.© Jason Ankeny /TiVo

Christian McBride's second studio album in 2013, Out Here, finds the adept bassist leading his trio through a jaunty, exuberant set of straight-ahead acoustic jazz. The album follows on the heels of his equally as appealing quintet album, People Music. However, where that album found McBride delving into the knotty post-bop sound of artists like '60s Bobby Hutcherson, Out Here is more of a classic standards album in the vein of works by Oscar Peterson and Duke Ellington. Joining McBride here is his working trio of pianist Christian Sands and drummer Ulysses Owens, Jr., who was also featured on People Music. Both Sands and Owens are superb, technically adroit musicians who complement McBride's warm, generous bass playing at every turn on Out Here. What's great about McBride leading his own trio is that because he is fundamentally such a monster of a bassist, he can and does take the lead on any given song just as well, if not better, than many of his non-rhythm section instrument-playing brethren. That said, he certainly lets his bandmates shine in the spotlight throughout much of the album. In fact, as on the trio's take on "My Favorite Things," both Sands and McBride take turns interpreting the melody. Elsewhere, they delve into bluesy, gospel-influenced numbers with "Ham Hocks and Cabbage" and "Hallelujah Time," and jump headlong into a swinging rendition of "Cherokee." There are also some gorgeous ballads featured on the album, with McBride's Latin-tinged "I Guess I'll Have to Forget" standing out among them. McBride even summons the spirit of his more funk and soul-influenced albums with the trio's giddy album-closing take on the R&B classic "Who's Making Love."© Matt Collar /TiVo

Through the miracle of high-resolution digital transfer and mastering technology, Bird enthusiasts can now get an earful of the shape of Charlie Parker's musical accomplishments for Savoy and Dial in the 1940s. Available as a three-disc box set, the alto saxophonist is recorded in various configurations as performer and bandleader with such mainstream jazz greats as trumpeters Dizzy Gillespie and Miles Davis, pianists Bud Powell and Erroll Garner, drummer Max Roach, trombonist J.J. Johnson, and bassist Ray Brown, to name but a few. Charlie Parker draws on his pungent roots and rhythms of the Kansas City jazz scene on "Parker's Mood" and makes a deep statement of the existence of the blues in the jazz tradition. His freedom and rapid-fire sax lines on "Yardbird Suite" serve to confirm his excellence in crafting polished improvisations and solos. One of Parker's strongest compositions, "Orinithology," is pure, unadulterated bebop, and the unique sound of Parker's alto saxophone is clearly articulated through smoothly executed phrasings and cutting, focused energy. Parker picks up the tenor saxophone with the Miles Davis All-Stars on such great songs as "Milestones" and "Sippin' at Bell's." Overall, Bird audiophiles, jazz educators, and historians should be prepared to be impressed. This collection is arguably Bird's most important recording studio work. © Paula Edelstein /TiVo

Talking about the first time she harmonized with Emmylou Harris and Linda Ronstadt in 1975, Dolly Parton said, "We all got to singin' and it was absolutely incredible. It gives me chills, even now." Given Parton's remarkable life and career, one would imagine it would take a lot to prompt that reaction, but there's no false modesty in Dolly's words. Parton, Harris, and Ronstadt were all splendid vocalists on their own, but they'd also shown a talent for collaborating with others throughout their careers. And when the like-minded women decided to make an album together, they created something rare, a collaboration between three major stars that never smacks of ego. Parton, Harris, and Ronstadt brought out the best in one another on their brilliant 1987 album, Trio, with the group harmonies sounding even more glorious than their lead vocals. (Trio also found Parton and Ronstadt working with better and more flattering material than they'd had on their solo albums in quite a while.) Trio was enough of a success that the singers carved out time in their busy schedules to make another album together, 1999's Trio II, with similarly impressive results. Ronstadt's health prevents her from making another Trio album in the 21st century, but Rhino Records have given us the next best thing with The Complete Trio Collection. This three-disc set brings together Trio and Trio II in full with a bonus disc of 20 outtakes and alternate versions recorded during the sessions for the original albums. Both Trio and Trio II have aged quite well, especially the first album with its emphasis on acoustic, bluegrass-influenced arrangements that blend well with three-part harmonies. (As Harris quips in the liner notes, they were playing Americana music before it had a name.) And if disc three often covers material that appears elsewhere in the set, Parton, Harris, and Ronstadt tried enough different approaches to these songs that the variants still sound fresh, and the performances are a knockout throughout. At the end of an unreleased take of "You Don't Knock," Harris quietly says, "That one felt real good," and like Dolly, she speaks the truth. For fans of the original Trio albums, buying The Complete Trio Collection to get the disc of unreleased takes might seem a bit excessive, but for anyone with a taste for great country or folk singing who has never heard Parton, Harris, and Ronstadt's work together, this set is nothing less than essential.© Mark Deming /TiVo

Talking about the first time she harmonized with Emmylou Harris and Linda Ronstadt in 1975, Dolly Parton said, "We all got to singin' and it was absolutely incredible. It gives me chills, even now." Given Parton's remarkable life and career, one would imagine it would take a lot to prompt that reaction, but there's no false modesty in Dolly's words. Parton, Harris, and Ronstadt were all splendid vocalists on their own, but they'd also shown a talent for collaborating with others throughout their careers. And when the like-minded women decided to make an album together, they created something rare, a collaboration between three major stars that never smacks of ego. Parton, Harris, and Ronstadt brought out the best in one another on their brilliant 1987 album, Trio, with the group harmonies sounding even more glorious than their lead vocals. (Trio also found Parton and Ronstadt working with better and more flattering material than they'd had on their solo albums in quite a while.) Trio was enough of a success that the singers carved out time in their busy schedules to make another album together, 1999's Trio II, with similarly impressive results. Ronstadt's health prevents her from making another Trio album in the 21st century, but Rhino Records have given us the next best thing with The Complete Trio Collection. This three-disc set brings together Trio and Trio II in full with a bonus disc of 20 outtakes and alternate versions recorded during the sessions for the original albums. Both Trio and Trio II have aged quite well, especially the first album with its emphasis on acoustic, bluegrass-influenced arrangements that blend well with three-part harmonies. (As Harris quips in the liner notes, they were playing Americana music before it had a name.) And if disc three often covers material that appears elsewhere in the set, Parton, Harris, and Ronstadt tried enough different approaches to these songs that the variants still sound fresh, and the performances are a knockout throughout. At the end of an unreleased take of "You Don't Knock," Harris quietly says, "That one felt real good," and like Dolly, she speaks the truth. For fans of the original Trio albums, buying The Complete Trio Collection to get the disc of unreleased takes might seem a bit excessive, but for anyone with a taste for great country or folk singing who has never heard Parton, Harris, and Ronstadt's work together, this set is nothing less than essential.© Mark Deming /TiVo

Karen Carpenter's only solo album, recorded in New York in 1979 with producer Phil Ramone but unreleased until 1996, was also the only album she ever recorded with a producer other than her older brother Richard. The difference is immediately obvious. Ramone, whose biggest client was Billy Joel, prefers a looser, more spacious sound than Richard's note-perfect, almost-antiseptic orchestral pop.Not to take anything away from Karen and Richard's endless string of classic pop singles, but it is refreshing to hear Karen's near-perfect voice, a dusky, melancholy alto with bell-like clarity, in a more relaxed and jazz-influenced setting. Arrangements are by jazz greats Bob James and Rod Temperton, and accompaniment includes most of Joel's backing band. The clear highlight, a sensuous yet melancholy version of Paul Simon's "Still Crazy After All These Years," is easily among the best things Karen Carpenter ever recorded in her short career.© TiVo

Good Times was a bit spotty compared to Music Is the Message, compromising Kool & the Gang's legendary funk instincts for a variety of digressions that don't turn out the way they should. There's much more good than bad though, beginning with the title track, a school's-out jam just in time for summer. "Making Merry Music" is in a similar mold and just as good, while the group leaps into wild, unhinged, horn-driven funk for "Rated X" and "Country Junky." The songs that make it less interesting are the maudlin ballad "Wild Is Love," a salute by music director and tenor Khalis Bayyan to one of his influences with "I Remember John W. Coltrane," and the meandering "North, South, East, West." The closer, "Father, Father," is a solid attempt at recording social-message soul along the lines of Curtis Mayfield, but for much of the time, Good Times sacrifices the group's hallmarks (deep-pocket grooves and fast, intricate ensemble playing) on the altar of artistic experimentation.© John Bush /TiVo

Still Learning is the debut mixtape from British pop star Caity Baser and follows a string of singles and EPs. Inspired by a year of hanging out with friends and the ups and downs of life and relationships, the 14-track set features her feisty and brash take on pop, recalling artists such as Kate Nash and Lily Allen.© Rich Wilson /TiVo

Listeners familiar with keyboardist/vocalist Amp Fiddler before his pair of 2002/2003 12" releases likely knew him through his associations with Detroit house figure Moodymann and, to a greater extent, his run-ins with George Clinton and Prince. In 1990, he also recorded an album with his brother Bubz, released under the name Mr. Fiddler; this project came and went without much notice, mostly because it failed to fit in with much of anything else at the time. Come 2003, however, you couldn't be a house head or read a dance-music-for-grown-folks magazine without hearing him or reading about him. In addition to the singles, Fiddler was the star of the phenomenal Moodymann production "I'm Doing Fine," credited to Amp Dog Knight, as well as Only Child's upbeat disco-house track "U Bring Me Vibes." He also played a role in the Carl Craig-helmed Detroit Experiment, providing keys work and doing the vocal duties on a cover of Stevie Wonder's "Too High." After a couple decades spent floating around, Fiddler finally came up with his first solo album. Most of the cuts from those singles reappear here in slightly different forms, while the remainder is all new. Just like the Mr. Fiddler album, Waltz of a Ghetto Fly is something of an anomaly, mixing up the occasional 4/4 house track with funky R&B that's reminiscent of There's a Riot Goin' On-era Sly Stone (this goes beyond the references to "You Caught Me Smilin'" in "You Played Me") and Fiddler's past connections. Since the house tracks also draw heavily upon '70s funk, the album is more cohesive than you'd expect. Throughout, Fiddler maintains a steady, assured, laid-back flow. Even at his most aggressive -- as on the protest song "Love and War" (with backing courtesy of Moodymann) and the sweaty "Superficial" -- it goes down smoothly and richly, as suitable for background listening as it is a get-together. Hearing Fiddler's voice -- alternating between a butter-smooth croon and a deep-throated yowl -- and sensitive keyboard wriggles throughout the course of an entire album is a pure joy.© Andy Kellman /TiVo

On G. Love's third release, he's joined by his trusty band, Special Sauce, as well as combinations of three others: the All Fellas Band, Philly Cartel, and King's Court. The reason for the joint effort was that prior to the writing/recording of Yeah, It's That Easy, the group split up. G. Love soldiered on with the three other bands, but there was a reconciliation with Special Sauce during the album's recording. Hence, others (including the legendary Dr. John on piano and organ) join in with Special Sauce. The group sheds its raw rock & roll vibe, gloriously present on 1995's Coast to Coast Motel, and replaces it with the soothing sounds of early-'70s Philly soul. The album's approach resembles their 1994 self-titled debut more than their last release, which seems like a step back for the group. Still, the band presents plenty of compositions worthy of the G. Love & Special Sauce name, and there is more consistency and maturity with the lyrics, which deal with such heavy topics as drug abuse and senseless violence, among other things. One of the best songs, "You Shall See," sports a tribal feel, with the drums and guitar playing together percussively. And "Stepping Stones," "Lay Down the Law," and "Take You There" do a good job of introducing the listener to the band's new soul-oriented approach. The words to "I-76" are about G. Love's hometown of Philadelphia, and the title track preaches harmony between the races. A solid album, but not quite as satisfying as their last. Now, if the band could just mix the groove-laden music of their second album with the thoughtful lyrics of this record.© Greg Prato /TiVo

Memphis Rock and Soul -- meaning the kind of integrated, funky, swampy R&B-rock hybrid cranked out of Memphis' American Sound Studio in the late '60s, music that often saw release on the Stax imprint -- is certainly well within the wheelhouse of Melissa Etheridge, who has emphasized the bluesy, soulful undercurrent in her voice since her eponymous 1988 debut. Arriving nearly 30 years after that album, Memphis Rock and Soul -- released on a revived Stax by Concord Records -- is faithful and loving to the original versions, preserving the arrangements but sometimes allowing the band to vamp a bit, as on Sam & Dave's "Hold on, I'm Coming." Usually, Etheridge stays with tried-and-true songs, finding space for both Otis Redding and Albert King, but she slides a couple of left-field choices into the mix, such as William Bell's "Wait a Minute." If Etheridge doesn't necessarily rework these songs, these straightforward interpretations illustrate why the catalog endures and her affection for both the songs and sound of Southern soul in the '60s is evident.© Stephen Thomas Erlewine /TiVo