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The Beatles 1967 – 1970

The Beatles

Rock - Released November 10, 2023 | UMC (Universal Music Catalogue)

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Arcadia

Lily Kershaw

Pop - Released November 15, 2019 | Nettwerk Music Group

On her second album, L.A. singer/songwriter Lily Kershaw takes a dramatic turn right out of the gate with the radiant dream pop opener, "Unrequited Night." It's a sound she hinted at on parts of her atmospheric 2018 EP Lost Angeles, though nothing in that set felt quite so ethereal or luminous as this opening salvo. A lifelong Los Angeleno, Kershaw made her formal debut with 2013's Midnight in the Garden, an album of winsome folk-pop centered around the thoughtful strains of "As It Seems," her breakout song that had featured prominently on the CBS drama Criminal Minds a year before. Since then, she has kept up enough of a profile to keep fans interested, using her scattered singles and EPs to explore various new directions, many of which can be heard here on the full-length Arcadia. As a whole, it's a significant departure from her debut with a number of fine tracks that cross an array of styles from the sultry Fleetwood Mac shimmer of "Always & Forever" to the haunted kalimba and harpsichord strains of "Fears Become Wishes" and the exultant baroque pop uplift of "Here to Us." Produced in partnership with Ben Cooper, Kershaw layers her songs with glowing analog synths, unique orchestral elements, and misty harmonies, while still occasionally revisiting the strummy acoustic framework that marked her earlier work. Of that quieter fare, the hushed acoustic duet with Canadian songwriter Jon Bryant, "The Sea," is a standout. Echoes of Lana Del Rey's detached pop grandeur can be heard in some of Kershaw's moody narratives, but by and large, Arcadia finds its own voice and pushes her into a more ambiguous and challenging creative territory.© Timothy Monger /TiVo
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Forever Autumn: Now, Then & Always

Jeff Wayne

Rock - Released February 18, 2022 | Sony Music CG

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Forever Country

Artists Of Then, Now & Forever

Country - Released September 15, 2016 | CMA Compilation

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Now, Then & Forever

Earth, Wind & Fire

Pop - Released September 10, 2013 | Legacy Recordings

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Now, Then & Forever (Expanded Edition)

Earth, Wind & Fire

R&B - Released September 10, 2013 | Legacy Recordings

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Then, Now and Forever

Skip Mahoney and the Casuals

R&B - Released January 1, 1993 | Wonder Watt

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Forever Now (and never then)

Todd Fredericks

Rock - Released August 29, 2021 | 3000264 Records DK

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Now And Then

The Beatles

Rock - Released November 2, 2023 | UMC (Universal Music Catalogue)

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Silent World

Wolfgang Haffner

Jazz - Released January 27, 2023 | ACT Music

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Wolfgang Haffner has been a prolific drummer on the German jazz scene ever since his 1983 debut at the tender age of 18—the year he joined legendary trombonist Albert Mangelsdorff’s band. In the years that followed, Haffner has infused his unstoppable groove into an impressive number of sessions (appearing on no less than 400 albums alongside some of the greatest modern jazz musicians). He’s also produced nearly twenty records under his own name, each one showcasing his fantastic sense of casting and leadership, as well as his talent for composing and arranging.After a stunning trilogy of recordings that put a modern spin on cool jazz (Kind of Cool) and Spanish and Argentinian tradition (Kind of Spain & Kind of Tango), Haffner is back with Silent World. This album is considerably less referential, containing only original tracks. Heading up a small band composed of the faithful and talented trumpet player Sebastian Studnitzky and pianist and keyboard player Simon Oslender, Haffner welcomes a sparkling array of prestigious guests (including saxophonist Bill Evans, trumpet player Till Brönner, guitarist Dominic Miller, trombonist Nils Landgren and keyboardist Eythor Gunnarsson) to produce a cool and sophisticated jazz-fusion that develops a shape-shifting landscape and pulsates with minimalist grooves. With this landmark album, Wolfgang Haffner thoughtfully and assertively establishes a true sonic and compositional signature. © Stéphane Ollivier/Qobuz
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Chapter I: Forever, For Now

Anoushka Shankar

World - Released October 6, 2023 | LEITER Verlag GmbH & Co. KG

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White Blood Cells

The White Stripes

Alternative & Indie - Released July 3, 2001 | Legacy Recordings

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Despite the seemingly instant attention surrounding them -- glowing write-ups in glossy magazines like Rolling Stone and Mojo, guest lists boasting names like Kate Hudson and Chris Robinson, and appearances on national TV -- the White Stripes have stayed true to the approach that brought them this success in the first place. White Blood Cells, Jack and Meg White's third effort for Sympathy for the Record Industry, wraps their powerful, deceptively simple style around meditations on fame, love, and betrayal. As produced by Doug Easley, it sounds exactly how an underground sensation's breakthrough album should: bigger and tighter than their earlier material, but not so polished that it will scare away longtime fans. Admittedly, White Blood Cells lacks some of the White Stripes' blues influence and urgency, but it perfects the pop skills the duo honed on De Stijl and expands on them. The country-tinged "Hotel Yorba" and immediate, crazed garage pop of "Fell in Love With a Girl" define the album's immediacy, along with the folky, McCartney-esque "We're Going to Be Friends," a charming, school-days love song that's among Jack White's finest work. However, White's growth as a songwriter shines through on virtually every track, from the cocky opener "Dead Leaves and the Dirty Ground" to vicious indictments like "The Union Forever" and "I Think I Smell a Rat." "Same Boy You've Always Known" and "Offend in Every Way" are two more quintessential tracks, offering up more of the group's stomping riffs and rhythms and us-against-the-world attitude. Few garage rock groups would name one of their most driving numbers "I'm Finding It Harder to Be a Gentleman," and fewer still would pen lyrics like "I'm so tired of acting tough/I'm gonna do what I please/Let's get married," but it's precisely this mix of strength and sweetness, among other contrasts, that makes the White Stripes so intriguing. Likewise, White Blood Cells' ability to surprise old fans and win over new ones makes it the Stripes' finest work to date.© Heather Phares /TiVo
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Intruder

Gary Numan

Electronic - Released May 21, 2021 | BMG Rights Management (UK) Ltd

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Following on from the 2017 LP Savage (Songs from a Broken World), Intruder is the 19th solo album from English musician Gary Numan. Working closely in tandem with Numan's most recent projects, Intruder's primary focus is to address environmental issues, described by the musician himself as exploring "climate change from the planet's point of view." Heralded by the release of its despondent title track, Numan's Intruder was launched in May 2021.© David Crone /TiVo
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Now And Then

The Beatles

Rock - Released November 2, 2023 | UMC (Universal Music Catalogue)

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Fear Of The Dawn

Jack White

Rock - Released April 8, 2022 | 2022 Third Man Records, LLC

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The first half of 2022's two solo releases from Jack White (acoustic Entering Heaven Alive is out in July), Fear of the Dawn is a solid reminder the rock 'n' roll isn't dead: Call it White's Sabbath era. "Taking Me Back" is as heavy, and as '70s, as anything he's done, layered with fuzzed-out guitar, underwater drums, and in-and-out effects that make the whole thing sound so big it's shorting out the system. The title track absolutely swings, its bass like an 18-wheeler plowing down a highway at midnight—steady while the guitar squalls, out of control and all over the place, refusing to between the lines. White works himself up into a tent-revival preacher froth—on the cusp of evangelism and madness—on "What's the Trick": "Stomping on a box that I thought was empty/ But there was something sharp inside," he rants as a guitar maniacally runs scales through a monster filter. And that's hardly the weirdest moment. White, a guy who has never seemed casual or like he takes his purpose lightly, is in a playful, experimental mood. "Into the Twilight" starts with a bit of Manhattan Transfer-style vocals, then leaps fearlessly into '70s funk and disco camp, throwing in a William S. Burroughs sample ("When you cut into the present, the future leaks out") and down-and-dirty keys. "Hi-De-Ho" kicks in with mystical vocalization before A Tribe Called Quest's Q-Tip rolls up with some '80s style rap—nodding to the obvious reference ("Hi-de-hi-de-ho is a Calloway vibe") and unleashing some fun top-of-their-game nonsense: "Hurting real bad, like Stevie Wonder with contusions/ It's a guitar chuck coming from Chuck Berry/ Hi-de-high tones from Minnie Rip, Mariah Carey/ Olajuwon post moves, Bron or Embiid/ Everybody got it in 'em, find yours and succeed."  "That Was Then, This Is Now" incorporates '70s bubblegum glam metal á la The Sweet, "Eosophobia" rides a jackhammer rhythm that slides sideways into The Edge-style atmospherics and laser-show effects, and "The White Raven" features both a pounding, industrial grind and haunted-house howls. "My camouflage is invisible … my armor is invincible," White sings, big, freewheeling and refreshed. © Shelly Ridenour/Qobuz
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Welcome To The Cruel World

Ben Harper

Rock - Released February 1, 1994 | Virgin Catalog (V81)

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The full range of Ben Harper's influences would not come to bear until later albums, but his debut, Welcome to the Cruel World, lays a strong foundation. "Like a King" and "Take That Attitude to Your Grave" burn with a political conviction rarely heard during the 1990s. "Forever" has a tenderness which demonstrates Harper's emotional range. Lackluster hippie jams that cultivated his early following may have served a purpose but feel fluffy by comparison when compared to the meatier tracks. Ben closes the album with a song that frequently closes his concerts, "I'll Rise." This song, built around Maya Angelou's 1979 poem "And Still I Rise," reminds one of art's ability to pierce through society, self, and the soul.© Ryan Randall Goble /TiVo
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In The Groove

Marvin Gaye

Soul - Released August 26, 1968 | Motown

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This set, although it doesn't say it anywhere on the cover, is entirely made up of live tracks. That's not a good thing. Marvin Gaye disliked touring, and truthfully, his sweetly nuanced singing style worked best in a studio setting, where every lift and turn of his phrasing could be clearly heard. The concert stage, by contrast, required large, grand gestures from his singing, and while no one would suggest Gaye was ever anything but a solid performer, the hushed intimacy that made some of his greatest songs so magnificent was often difficult to attain on-stage. Bootlegs and cobbled-together packages of live Gaye shows have been on the market for years, often with the venue mislabeled (if it is listed at all) and overly intrusive crowd noise. This set is drawn from Gaye's final tour in 1983, and while it's interesting to hear a ten-minute version of "Sexual Healing," one of Marvin Gaye's greatest songs, and a clear statement of his major theme -- the use of love, lust, and sex to reach out to God -- nothing here is even close to essential.© Steve Leggett /TiVo
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At Least For Now

Benjamin Clementine

Alternative & Indie - Released January 12, 2014 | Universal Music Division Barclay

Hi-Res Distinctions Qobuzissime
After two delectable EPs, Benjamin Clementine has finally brought out his first album, At Least for Now. An impressive record. It is the strong, demanding work of a true voice, literally and figuratively. He is as charismatic a figure as those on whose shoulders he stands. It is hard not to think of Nina Simone, for example, when one hears the grain in Clementine's voice and his connection with the piano. But she is also there in his relationships to the musical styles which he mixes and matches with charm and ease. Jazz, soul, folk, blues and pop: At Least for Now makes no distinctions, eschewing labels because it is confident of its own vision... Even the instrumentation here alternates between the nakedness of a solo piano and the power of a violin section. A great aficionado of Maria Callas, but also of Léo Ferré and Jacques Brel, Clementine is also a fine raconteur. And so we will let ourselves be carried away by his storytelling. A star is well and truly born. © MD/Qobuz
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Alma

Yaron Herman

Contemporary Jazz - Released July 7, 2023 | naïve

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Yaron Herman is never where you expect him to be. He’s recently made a remarkable return to the traditional acoustic trio format (Songs of Degrees in 2019) and rediscovered the joys of interplay through two albums (Everyday, Y) through which the pianist made a conscious effort to open up to other musical aesthetics. However, this new record presents him in the studio, alone at the piano with no safety net, no preparation and no predefined concept. He resolutely plunges into his music sixteen years after his first solo album (Variations, 2006), exploring an array of styles that his listeners won’t be accustomed to hearing him play. In this minimalistic context, Yaron Herman surprises with this deliberately understated music. It’s characterised by a certain gentleness, unfolding its ever-changing and nuanced moods according to his frequently renewing inspiration. Intuitively passing from spontaneous, free improvisations to the more standard (and here, masterfully deconstructed) ‘All the Things You Are’; from pieces borrowed from Israeli popular music (‘Yesh Li Sikuy’ by Eviatar Banar) to a very moving reading of Gabriel Fauré’s ‘Après un rêve’, Yaron Herman offers up a brand of impressionist music that is overtly melancholic but always lyrical, projecting an inexhaustible melodic imagination. © Stéphane Ollivier/Qobuz
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If You're Reading This It's Too Late

Drake

Hip-Hop/Rap - Released February 12, 2015 | Cash Money Records - Young Money Ent. - Universal Rec.

Distinctions Pitchfork: Best New Music
After a typically busy and fascinating 2014, Drake's 2015 started off much the same way. His chart-topping "album" If You're Reading This It's Too Late started off life as a free mixtape, but his label Cash Money stepped in at the last minute and changed it to a full-priced release. This move came amid reports that Drake was ready to follow his mentor Lil Wayne and leave Cash Money because of money issues. The album's number of references to not getting paid by his label shows that even if the rumors end up being false, Drake was plenty upset with Birdman and his business practices while he was recording this tape. Drake is also mad at women trying to play him for a fool, rappers who diss him, and people who think he's soft. Par for the course for a Drake album lately, but the difference here is that there are no pop singles to balance the claustrophobic rants. There are also no huge radio hooks, and most of the album sounds like it was cooked up (mostly by old mates Noah "40" Shebib and Boi-1da) during sleepless nights behind drawn blinds, with more dank atmosphere than the coach cabin of a passenger jet after an 18-hour flight. His raps sport the same snappy wordplay as usual, but Drake sounds like he's rapping to himself this time out, trying to work out issues and feelings instead of broadcasting to the world. He occasionally breaks out of the murk to make some noise, like on the strutting "6 God," but mostly he keeps his head down and the mood subdued. It makes for an album that's hard to love right away, but if you stick with it, is a rewarding listen. Especially at the end of the mixtape/album when Drake drops three songs that would have been highlights on any of his albums (or anyone's albums for that matter). The heartbreaking conversation with/ode to his mother "You & the 6," the slow-motion Prince-inspired R&B ballad "Jungle," and the swaggering "6PM in New York" sound like the core of what could have been his best album. As it is, they are a stunningly good coda to a very confusing detour in his career.© Tim Sendra /TiVo