Download not available

Bluesman Walter Trout returns with a record a little different than his usual output. Survivor Blues is comprised exclusively of covers, and he has chosen to record mainly obscure, old blues songs rather than more well-known picks. The album follows 2017's We're All in This Together and features his take on Jimmy Dawkins' "Me, My Guitar and the Blues."© Bekki Bemrose /TiVo

Following the success of Sundown, Gordon Lightfoot continued his success by releasing a greatest-hits compilation. A double album (now a single CD), it contained the most popular songs from his Warner Bros. years on disc two, and he re-recorded many of his early songs for side one of record one. Although not as good, perhaps, as the originals, this did bring them up to date with his current sound style. Just about all the favorites are here (except "The Wreck of the Edmund Fitzgerald," which hadn't been recorded yet when this set was put together and appears on Lightfoot's second volume of Gord's Gold), making this a good general overview of a strong talent. When Warner transferred the double LP to CD, "Affair on 8th Avenue" was dropped from the program to make the set fit on a single disc. Randy Newman arranged the orchestration on "Minstrel of the Dawn," by the way.© James Chrispell & Steve Leggett /TiVo

The 16-year stint between Since I Left You, the Avalanches' masterful and mind-blowing debut album, and their sophomore release Wildflower is likely to always be something of an inescapable plotline in the Australian group's career story. However, it should be noted that the mere four years that have elapsed between Wildlflower and We Will Always Love You, the group's third album, are both eminently reasonable by 21st century release standards and completely remarkable given the conceptual richness and production complexity at play here. (And that's leaving out the fact that principal member Robbie Chater had a stint in rehab during that time.) We Will Always Love You is an album that is absolutely full to bursting—with 25 tracks (a handful are sub-30-second interludes), more than 20 guest vocalists, and, yes, scores of richly layered samples, the sheer act of composing, recording, and compiling it could forgivably have taken much longer. However, in the case of WWALY, the group benefited from a clear-eyed concept inspired by Ann Druyan (whose face is on the cover). Druyan’s scientific and creative endeavors, her relationship with Carl Sagan, and how those things intersected most notably with her work on NASA's Golden Record project, actual gold-plated LPs sent into space aboard the Voyager 1 and Voyager 2 spacecrafts. The Avalanches have put together their own sort of cosmic mixtape, touching on a wide variety of styles and sounds. Guests range from Johnny Marr, Neneh Cherry, and Vashti Bunyan to Leon Bridges and Denzel Curry; sample sources include Steve Reich, Pat Metheny, Carlinhos Brown and Druyan herself. In keeping with its celestial theme, this is a remarkably adventurous and slightly diaphanous-sounding album, with cuts like the wispy and slightly psychedelic "Gold Sky" (featuring Kurt Vile and Wayne Coyne), the spooky and transcendent "Music is the Light" (with Cornelius and Kelly Moran) and the somewhat on-the-nose "Interstellar Love" (with Leon Bridges) standing as thematic tentpoles. Meanwhile, the more straightforward (and accessible) cuts like the disco groovy "Music Makes Me High," the bouncy and retro "We Go On," and pop/rock treading "Running Red Lights" (which manages to feature a Rivers Cuomo vocal and a David Berman lyric) provide plenty of reminders of terrestrial joy. © Jason Ferguson/Qobuz

Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal. Talking Heads threw you off balance, but grabbed your attention with a sound that seemed alternately threatening and goofy. The music was undeniably catchy, even at its most ominous, especially on "Psycho Killer," Byrne's supreme statement of demented purpose. Amazingly, that song made the singles chart for a few weeks, evidence of the group's quirky appeal, but the album was not a big hit, and it remained unclear whether Talking Heads spoke only the secret language of the urban arts types or whether that could be translated into the more common tongue of hip pop culture. In any case, they had succeeded as artists, using existing elements in an unusual combination to create something new that still managed to be oddly familiar. And that made Talking Heads: 77 a landmark album.© William Ruhlmann /TiVo

Just over a month after the release of her third self-titled album, Aaliyah died at the age of 22 in a plane crash along with nine other people. The shockwaves of sadness only heightened the impact of this record, released on 17 July 2001, which was also graced by the deft and grandiloquent electronic stylings of her producer-mentor Timbaland. From this collaboration were born the timeless singles More Than A Woman, We Need A Resolution and Try Again. But it would be unfair to this record to reduce it to those few strokes of genius, however superb they may be. Other producers like Key Beats, Bud'da, Eric Seats and J-Dub were also architects of this RnB classic. In fact, it was the latter who provided the instrumentation for the track I Refuse, a single that was somewhat forgotten over the years and which stands out for its gravity and tension. Aaliyah's voice is sublime on Rock The Boat, with complex and beautifully mixed harmonies in the tradition of Mariah Carey or Brandy. The singer was killed on her way to the video shoot for the song on 25 August 2001 in Marsh Harbour, in the Bahamas. But the song is full of optimism, sensuality, excellent synthetic arrangements, and it symbolises the artist's thirst for musical discovery. © Brice Miclet/Qobuz

Having cut an album of standards on his first Warner Brothers album, In a Sentimental Mood (1989), Dr. John turned for its follow-up to a collection of New Orleans standards. On an album he described in the liner notes as "a little history of New Orleans music," Dr. John returned to his hometown and set up shop at local Ultrasonic Studios, inviting in such local musicians as Pete Fountain, Al Hirt, and the Neville Brothers and addressing the music and styles of such local legends as Jelly Roll Morton, Huey "Piano" Smith, Fats Domino, James Booker, and Professor Longhair. The geography may have been circumscribed, but the stylistic range was extensive, from jazz and blues to folk and rock. And it was all played with festive conviction -- Dr. John is the perfect archivist for the music, being one of its primary proponents, yet he had never addressed it quite as directly as he did here.© William Ruhlmann /TiVo

On his second offering for the Basin Street label, pianist, guitarist, singer, and songwriter Jon Cleary and his smoking band, the Absolute Monster Gentlemen, take their Crescent City funky groove machine and open it up to the eclectic side of nighttime party music from across the rhythm and blues, jazz, and even Afro-Caribbean spectrum. Working once more with producer John Porter, Cleary and the Gents keep the blues, soul, jazz and second-line grooves that make them such a central live attraction in New Orleans, and slick them up just a bit. These songs have an almost futuristic bent to them, which gives them an off-kilter feel as they encounter the popping rhythm section of bassist Cornell Williams, percussionist Daniel Sadownick, and drummer Raymond Weber. Cleary's voice is smooth enough for a jazzman's croon as he plies his keyboards and guitar fills in concert with Derwin Perkins' wonderful rhythm playing. Cleary is also fortunate to have singers like Perkins, Williams, and Ivan Neville helping him out, creating a chorale of male voices that cannot be topped. For fans of Moonbeam and Absolute Monster Gentlemen, Pin Your Spin is a subtler record: it's far more nocturnal and mysterious. A listen to the opening title track is excellent evidence of this. With the synth bass slowly vamping in groove, the guitars and keyboards strut in concert over skittering rimshots. The slippery "Agent 00 Funk," touches upon the layered soul vocals of Parliament as the half-step syncopated cadences put the listener in a kind of ethereal, finger-snapping, Jetsons-era frightzone. But it's on "Oh No No No," with its Cuban son piano (via a New Orleans Street party) stylings and smooth vocal harmonies that is the real surprise here. The killer "Best Ain't Good Enuf," is an acappella doo wop tune offers the view that this is really Cleary's vocal album. It's flawless, with all the right silky sheen in the harmonies. "Funky Munky Biznis," is right and tight, with dirty-ass guitars and sub-basement bass popping. The futuristic noir in "Is It Any Wonder," would seep completely out to lunch if it wasn't for the beatnik slither in its soulful vocals. For fans of basic New Orleans stomp and stroll, there is the oily "Got to Be More Careful," and the return to Cubana with a host of second-line polyrhythms in "Zulu Strut." In all, this is the most musically satisfying and adventurous outing Cleary has issued to date.© Thom Jurek /TiVo

In the '70s, the sweetly mournful country-rock accents of Some Days You Eat the Bear and Some Days the Bear Eats You and the light R&B/jazz textures of Go for Broke and Hit and Run weren't making much of an impression within Ian Matthews' shrinking fan base, and poor sales led to him being dropped by more than one major label. So Matthews took a more pragmatic approach with his next album, 1978's Stealin' Home; working with a sympathetic producer, Sandy Robertson (who also ran Rockburgh Records), Matthews dove headfirst into a polished pop sound that made the onetime British folkie sound like a member of the L.A. Mellow Mafia. Even though it was recorded in Oxfordshire, Stealin' Home re-created the meticulously crafted sound of West Coast pop with impressive accuracy, and Matthews and Robertson shrewdly front-loaded the LP with tunes from other songwriters whose work was better suited to radio than Matthews' own tunes. (It's worth remembering that despite Matthews' strength as a writer, his biggest previous hit was a cover of Joni Mitchell's "Woodstock.") But if Stealin' Home is a rare example of Ian Matthews playing the game of star-making machinery, never let it be said he didn't play the game well. Matthews' vocals are superb throughout Stealin' Home, his band is tasteful and concise in its arrangements, and with "Shake It" he found a song that could have been a hit (it was penned by Terence Boylan) and gave it all the touches it needed to hit the upper reaches of the American pop charts. Stealin' Home is ear candy, but candy manufactured to high quality standards, and Matthews' own tunes, especially "Slip Away" and "Sail My Soul," made clear his message hadn't changed even if the backdrops were sunnier. (Matthews also included an a cappella version of Rodgers & Hammerstein's "Carefully Taught" that's especially powerful for its spare presentation.) Matthews was clearly aiming for a radio-ready hit with Stealin' Home, but the results are a long way from a commercial sellout.© Mark Deming /TiVo

The musical career of Bea Kristi—beabadoobee—has taken off as they often do with Gen Z: via TikTok. More specifically, "Coffee," a song she wrote and recorded at home (earning her the label "bedroom pop"), was sampled in emo-rapper Powfu's "death bed (coffee for your head)" which ended up being a smash on the social-media platform. "Smash," as in heard more than 10 billion times. As a result, "Coffee" now has more than 50 million Spotify plays. The twist is that Kristi wants little to do with the carefully packaged soundbites of the modern era; she told NME she longs to "live in the '90s." And, as with her female peers Beach Bunny, Soccer Mommy and Diet Cig, the Phillipine-born Londoner—who was born in 2000—wears her three-decade-old influences on her sleeve. On her much-anticipated full-length debut, there are echoes of Juliana Hatfield (the twee "Care"), Cocteau Twins ("Further Away"), Veruca Salt ("Yoshimi Forest Magdalene") and the Sundays ("Emo Song"'s sweetly twinkling sunshine). You can hear traces of both Lush and Nirvana on "Charlie Brown," which kicks in from a pleasant simmer to a roaring grunge thump—like the best artists of the slacker-rock era, Kristi has a masterful understanding of the power of quiet-to-storm dynamics. (Exhibit B: the irresistible "Together.") Also in common with the emotions that fueled so much '90s alt-rock, beabadoobee's lyrics are fueled by alienation and wrestling with romantic complexities. "'Cause I miss all the fuck ups we've had/ 'Cause even then you're the best that I've had," she sings on the truly lo-fi "How Was Your Day?" The dreamy-swirly "Horen Sarrison," written for her boyfriend Soren Harrison, finds her crooning with no rage: "I'm going to keep you quiet and I hope you feel the same ... I don't want you to feel comfortable." It's all familiar but extremely fresh; Kristi is making music for a right-now generation. Strip away today's technological trappings, and you'll find that post-teen, figuring-it-all-out emotions are eternal. © Shelly Ridenour/Qobuz

On Pure Rock Fury, Neil Fallon's narratives provide potent commentaries on popular culture, even as he distances Clutch from more explicitly political musicians by remaining cynical and critical, rather than committing to political action: "At times I'm even tempted to seek the advice of Dr. Laura, but I ignore her/So I take a deep breath and count to ten/Ain't gonna let it get under my skin." Fallon's lyrics remain deliberately vague regarding what precisely the problems are, and draw from myth, literature, and pop culture as they navigate psychedelic landscapes reminiscent, at times, of songs by Black Sabbath or Monster Magnet. Whether singing road songs such as "Sinkemlow" or the anthemic title track, Fallon emerges as the premier wordsmith of stoner rock on Pure Rock Fury. At the same time, unrelenting, driving grooves compel the listener effortlessly into Fallon's landscapes as deep, wide-open riffs swagger beneath wailing solos and pounding rhythms, again recalling the specter of Black Sabbath. Clutch's usual lineup is supplemented with number of cameos, including Scott Weinrich of Spirit Caravan. If Fallon's lyrics are obscure regarding the problem, on thing is made clear: "Pure rock fury is the ultimate solution." This album delivers on its promise and then some as Clutch does what they do best -- and the best they've ever done it.© Rich Goldman /TiVo

After two albums together, it was obvious that a vibrant musical relationship had developed between Israel Vibration and the trio's backing band, the Roots Radics. The Radics' blend of powerful beats with an easygoing, swaying style provided perfect backdrops for the Vibes' vocals, adding strength to the more forceful numbers, while giving the quieter songs a delightfully breezy atmosphere. This relationship reaches an epiphany on Forever, an album vividly shaded in mood and emotion. Once roots was defined by melancholy melodies and ever heavier rhythms, but time had broken this mold, and the Vibes revel in this freedom. Thus, the festive "Reggae on the River" is set to the most ponderous of rhythms, even as it nods to Marley's "Jamming," while the heartfelt sufferer's song "Poor Man Cry" is garbed in a bouncy beat and tight, bright brass -- the superb trio of Dean Frazer, Nambo, and Dave Madden at their most exuberant. "Be Careful" positively sways, and "Red Eyes" rocks, exactly as a song celebrating roots-rock-reggae should. Thematically, Forever is largely cultural, from the aforementioned sufferer's song through "Racial Discrimination" and on to the militant "Soldiers of the Jah Army," while more religious numbers are also featured. Even so, the entire album has a gala feel that washes across all the songs and the three heady accompanying dubs. Join the celebration.© Jo-Ann Greene /TiVo

To his credit, Steve Hackett learned from the mistakes made on Please Don't Touch, and delivered a much-improved mix of songs and instrumentals on 1975's Spectral Mornings. With a workable backing band that includes John Shearer, Nick Magnus, and former Decameron bassist Dik Cadbury, the ex-Genesis guitarist exploits his strengths: progressive instrumentals that skip between heaven and hell, pastoral pop songs, and a healthy dose of English humor. Vocalist Peter Hicks takes the lead on a few tracks, and as the honey-fied "The Virgin and the Gypsy" makes clear, his voice is much better suited to the material than Richie Havens. Hackett's lone vocal cameo, "The Ballad of the Decomposing Man," is a Pythonesque treat. The guitar work is typically top-notch, equally effective in acoustic sections that feature John Hackett's flute and in tempestuous arrangements where Steve's trademark electric guitar pierces through the chaos. The guitarist also extends his range to the Cantonese koto (presumably a variation on the Japanese koto) for the delicate instrumental "The Red Flower of Tachai Blooms Everywhere"; in typically mischievous fashion, it lulls the listener into a false sense of relaxation for the sonic onslaught of "Clocks -- The Angel of Mons." For many, Voyage of the Acolyte is the definitive Hackett record, but Spectral Mornings is more indicative of his range as a solo artist. The music is true to progressive rock in sound if not in scope, a trait which endears Hackett to Genesis fans who found that band's subsequent commercialization distasteful.© Dave Connolly /TiVo