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My Generation
The Who
Rock - Released January 1, 1965 | Geffen
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An explosive debut, and the hardest mod pop recorded by anyone. At the time of its release, it also had the most ferociously powerful guitars and drums yet captured on a rock record. Pete Townshend's exhilarating chord crunches and guitar distortions threaten to leap off the grooves on "My Generation" and "Out in the Street"; Keith Moon attacks the drums with a lightning, ruthless finesse throughout. Some "Maximum R&B" influence lingered in the two James Brown covers, but much of Townshend's original material fused Beatlesque hooks and power chords with anthemic mod lyrics, with "The Good's Gone," "Much Too Much," "La La La Lies," and especially "The Kids Are Alright" being highlights. "A Legal Matter" hinted at more ambitious lyrical concerns, and "The Ox" was instrumental mayhem that pushed the envelope of 1965 amplification with its guitar feedback and nonstop crashing drum rolls. While the execution was sometimes crude, and the songwriting not as sophisticated as it would shortly become, the Who never surpassed the pure energy level of this record.© Richie Unterberger /TiVo
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Wild Is The Wind
Nina Simone
Jazz - Released January 1, 1966 | Verve Reissues
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When Wild Is The Wind was released in 1966, Nina Simone’s name was already closely associated with engagement and struggle. It is therefore only logical that this album, which regroups several sessions recorded for Philips in 1964 and 1965, is marked with dissent and revolt. In her own specific style. Because the 33-year-old singer knew how to do everything, she blended various styles, from bombastic to more intimate, from jazz ballads to more up-tempo titles. Moreover she always approached her art form with a true sense of dramaturgy, driving it through her singular voice or her streamlined piano. She reached a climax with her song Four Women that pieced together the portraits of four Afro-American women. Four stereotypes to expose endemic racism and injustice. Wild Is The Wind is also proof that Nina Simone was above all genres. Not fully jazz, not really blues, not entirely folk, or soul, she created her own language that many have copied but never equalled… © MZ/Qobuz
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True Genius
Ray Charles
Soul - Released September 10, 2021 | Tangerine Records
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In the year of his 90th birthday (which he would have celebrated on the 23rd of September 2020 had he not died in 2004), Ray Charles is honoured with a new 90-track compilation box set. Just another compilation like all the rest? Yes and no. Ray Charles is undoubtedly one of the most-compiled artists in the history of music. Published by Tangerine, the label that the musician set up at the end of the 50s to keep the rights to his songs, this box set starts out like all the others: with the post-Atlantic hits, Georgia On My Mind, Hit The Road Jack, One Mint Julep, Busted... These are timeless treasures of proto-soul, but there doesn't seem to be much novelty here. The rest is much more interesting, and much rarer: tracks recorded between the second half of the 1960s and the 2000s, many of which were only released on vinyl, never reissued on CD and until now unavailable on digital. This is the first time that Ray Charles' lesser-known years have been given the compilation treatment in this way, and it is a revelation. In the 90s and 2000s, the production of his songs had a synthetic feel, and they did not age too well. These rarer songs are often hidden gems of southern soul, flavoured with country and wrapped in sumptuous symphonic orchestrations. Whether he is singing the Muppets (It's Ain't Easy Being Green) or Gershwin (Summertime, a duet with Cleo Laine), Ray Charles is always deeply moving. Now, the dream is to hear reissues of all these albums in their entirety. © Stéphane Deschamps/Qobuz
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The Gilded Age (Soundtrack from the HBO® Original Series)
Harry Gregson-Williams
TV Series - Released March 21, 2022 | WaterTower Music
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Dig Me Out (Remastered) (Édition StudioMasters)
Sleater-Kinney
Alternative & Indie - Released April 8, 1997 | Sub Pop Records
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Dig Me Out pushes Riot Grrrl out of the basement and onto rock ’n’ roll's main stage. Clocking in at under 37 minutes, the album has two gears: intense and more intense. Carrie Brownstein's stinging guitars (as inspired by classic rock as art punk), Corin Tucker's gale-force wail and Janet Weiss's monster drums veer deceptively close to mania on songs like the title track and "It's Enough" but are actually tense, tight and totally in control. "Turn It On" is a masterpiece of dynamics; an ascending squall drops to a low rumble and then flies into a frenzy. Instead of harmonies, Brownstein and Tucker stick to conversation, offering push-and pull sides of a breakup on "One More Hour" and an ironic examination of women's work on "Little Babies." “It’s everything,” Tucker spits on “Not What You Want,” and it truly is — the sound and fury of a young band at the height of their power. © Qobuz
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So It's Like That
Joe Bonamassa
Blues - Released August 13, 2002 | J&R Adventures
Joe Bonamassa may well be a young guitar virtuoso, in line with the likes of Derek Trucks and John Mayer (like Jonny Lang and Kenny Wayne Shepherd before them) to be the Next Blues-Rock Guitar Hero. Unfortunately, he's not much of a songwriter. So, It's Like That, his sophomore solo effort, is filled with subpar tunes bloated with clichés. The production (by Clif Magness) is swell enough, though Bonamassa's guitar sometimes sounds too carefully dirty, and his band -- comprised of drummer Kenny Kramme and bassist Eric Czar -- far too generic. Bonamassa shines when he is allowed to stretch out and explore, on songs such as the sonically varied "Pain and Sorrow." There, on a long improvisation, he works through myriad modes of playing, textures, and musical ideas. And, since it is one of the album's only extended tracks, it is also one of the album's only redeeming moments -- and the only thing that clearly separates Bonamassa from generic boorishness.
© Jesse Jarnow /TiVo
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God's Problem Child
Willie Nelson
Country - Released April 28, 2017 | Legacy Recordings
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Mortality hangs over God's Problem Child, Willie Nelson's first solo album of original songs since 2014's Band of Brothers. Since that record, Willie lost several friends and he's also been the subject of several death hoaxes, a subject he tackles with a grin on "Still Not Dead," one of seven originals Nelson co-wrote with his longtime producer, Buddy Cannon. "Still Not Dead" provides a gateway to the rest of God's Problem Child, where Willie looks at the world with a blend of bemusement and melancholy suiting a road warrior who is still going strong in his eighties. Nelson is in better voice than he was in 2016, when he released two tribute LPs, and his band has a relaxed gait that harks back to his classic outlaw records of the '70s but feels mellowed with age. Not that the album moves slowly. "Little House on the Hill" gets things off with a skip and the record regularly returns to a laid-back groove that's often punctuated by blues, honky tonk ballads, and lazy laments. Whenever Nelson looks at his twilight years, it's either with clear eyes or bemusement: he salutes his friends who have crossed over on the lovely "Old Timer" and admits that "It Gets Easier" when you get older because you can let your feelings fade, but he gets a kick that he's still around to experience it all. His sense of humor remains sharp -- "Delete and Fast Forward" is one of the best expressions of exasperation at the state of the world in the late 2010s -- and his sentiment isn't sticky; he salutes the late Leon Russell by leaving in his old friend's guest vocal on the title track and pays tribute to Merle Haggard with "He Won't Ever Be Gone." All these songs hang together -- they're songs about love, loss, memory, and mistakes -- but God's Problem Child isn't a song cycle, nor is it a major statement. It's simply an uncommonly strong latter-day record from Willie Nelson: there isn't a hint of fussiness and the songs and the performances are so understated, they only seem richer with repeated spins.© Stephen Thomas Erlewine /TiVo
Tom and Will
The King's Singers
Classical - Released January 13, 2023 | Signum Records
Booklet
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2023 marks the quatercentenary of the death of two huge names of the English Renaissance: William Byrd and Thomas Weelkes. Such an occasion calls for a gala of tribute albums and commemorative concerts. Of course, you need a cast worthy of kicking off these festivities, and who better than the legendary a cappella ensemble The King’s Singers and the viol quintet Fretwork? The two ensembles, both of which are internationally renowned for their cutting-edge work on early music, are simply delightful in this new recording, where the works of “Tom” and “Will” are set against each other. It's a stunning combination of secular and sacred, madrigals and instrumentals, dances and elegies. Listeners are also treated to the world premiere of two contemporary creations by Sir James MacMillan (‘Ye sacred muses’) and Roderick Williams (‘Death, be not proud’). These compositions are adapted from two elegies composed by Byrd and Weelkes respectively. Byrd’s elegy was written upon the death of his teacher, Thomas Tallis. Likewise, Weelkes’ was written upon the death of his teacher, Thomas Morley.A special mention must go to Fretwork's gambists, who put forward an assertive take on the melodies and showcase an exceptional mastery of metre and delay. The instruments and vocalists come together in perfect harmony, with the singers becoming one powerful voice that’s always perfectly intelligible. Four centuries after their deaths, "Tom" and "Will" still resonate with an immense grace that will stick with you long after the music stops. © Pierre Lamy/Qobuz
2023 marks the quatercentenary of the death of two huge names of the English Renaissance: William Byrd and Thomas Weelkes. Such an occasion calls for a gala of tribute albums and commemorative concerts. Of course, you need a cast worthy of kicking off these festivities, and who better than the legendary a cappella ensemble The King’s Singers and the viol quintet Fretwork? The two ensembles, both of which are internationally renowned for their cutting-edge work on early music, are simply delightful in this new recording, where the works of “Tom” and “Will” are set against each other. It's a stunning combination of secular and sacred, madrigals and instrumentals, dances and elegies. Listeners are also treated to the world premiere of two contemporary creations by Sir James MacMillan (‘Ye sacred muses’) and Roderick Williams (‘Death, be not proud’). These compositions are adapted from two elegies composed by Byrd and Weelkes respectively. Byrd’s elegy was written upon the death of his teacher, Thomas Tallis. Likewise, Weelkes’ was written upon the death of his teacher, Thomas Morley.A special mention must go to Fretwork's gambists, who put forward an assertive take on the melodies and showcase an exceptional mastery of metre and delay. The instruments and vocalists come together in perfect harmony, with the singers becoming one powerful voice that’s always perfectly intelligible. Four centuries after their deaths, "Tom" and "Will" still resonate with an immense grace that will stick with you long after the music stops. © Pierre Lamy/Qobuz
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The Outsider Tour Live
Roger Taylor
Rock - Released September 30, 2022 | EMI
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Mrs. Harris Goes to Paris (Original Motion Picture Soundtrack)
Rael Jones
Film Soundtracks - Released July 15, 2022 | Back Lot Music
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Dig Me In: A Dig Me Out Covers Album
Sleater-Kinney
Rock - Released October 21, 2022 | Sleater-Kinney
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Black & Blue
Backstreet Boys
Pop - Released November 21, 2000 | Jive
When 'N Sync usurped the Backstreet Boys' record of number of albums sold in a single week early in 2000, it had to hurt the Backstreets, since it was played in the press as if they had lost the teen pop throne. By the time the group released their third album, Black & Blue, Thanksgiving week 2000, 'N Sync was still popular, but the arc of No Strings Attached illustrated that they were weak where the Backstreets were strong -- namely, they couldn't really deliver the seductive mid-tempo pop tunes and ballads that were the backbone of the Boys' crossover success. Songs like "Shape of My Heart," which flows as gracefully as "I Want It That Way," prove that the Backstreet Boys do teen pop ballads better than anyone, but what's interesting about Black & Blue is how aggressively they protect their territory. Of course, it's relative protection, since they, like 'N Sync and Britney Spears, work with Max Martin, the man behind the biggest hits by all three artists. Consequently, it's not a coincidence that "Get Another Boyfriend" is a dead ringer for "It's Gonna Be Me" crossed with "Baby One More Time," but what gives Black & Blue character is that it's clear that the Backstreets want to remain kings of their world. So, the ballads are smoother than ever, and their dance numbers hit harder, all in an attempt to keep their throne. It works, even if it takes a couple spins before the singles stand out, since the Backstreets' material and voices are stronger than that of their peers, adding up to state of the art teen-pop.© Stephen Thomas Erlewine /TiVo
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Billie Holiday With Ray Ellis And His Orchestra
Billie Holiday
Vocal Jazz - Released July 1, 1959 | Verve Reissues
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In many ways, a sad event. 1988 reissue of an album with Ray Ellis and his orchestra. It's poignant in a tragic way.© Ron Wynn /TiVo
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Back On The Right Track
Sly & The Family Stone
Soul - Released October 1, 1979 | Rhino - Warner Records
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