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The Definitive 24 Nights
Eric Clapton
Rock - Released June 23, 2023 | Reprise
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Note to Clapton lovers: here comes the Super Deluxe edition of an expanded compilation of his best tracks, played at the Royal Albert Hall, in London, in 1990 and 1991. It was released in the form of a double LP of fifteen tracks at the time. London’s prestigious concert hall hosted 32 of his Slowhand concerts, 18 of which were performed in succession - breaking his own record - and with four different groups. This new box set of 47 titles, three-quarters of which were previously unreleased, is this time divided into three parts (the first edition was divided into four parts); “Rock”, “Blues”, and “Orchestral”. At the time, Clapton had been accompanied by some high-flying musicians. On the first record, we find Phil Collins on drums for covers of Bob Marley’s I Shot The Sheriff , and Bob Dylan’s Knockin' On Heaven's Door. On the second record, we find Buddy Guy, Robert Cray, and Jimmy - on guitar. Jimmy is the older brother of Stevie Ray Vaughan, who died in a helicopter crash in August 1990. More reserved, performed with the National Philharmonic Orchestra, and conducted by Michael Kamen, the third record offers 10-minute-long scintillating and highly-charged versions of Crossroads, by Robert Johnson, and Layla. Almost six hours of enjoyable listening. © Charlotte Saintoin/Qobuz
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GRRR Live!
The Rolling Stones
Rock - Released February 10, 2023 | Mercury Studios
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GRRR Live! captures the December 15, 2012 concert the Rolling Stones held at Newark's Prudential Center as part of their 50 & Counting Tour. GRRR!, the multi-format 50th Anniversary compilation, was barely a month old at the time, hence the title of this belated 2023 release: the Stones were out hawking their hits, so why not name it after a comp few remember a decade later? As the concert was originally designed as a pay-per-view extravaganza, the show is packed with guest stars, ranging from the Stones' old mate Mick Taylor playing on "Midnight Rambler" and New Jersey's own home state hero Bruce Springsteen jamming on "Tumbling Dice" to young guns Black Keys, Lady Gaga, and Gary Clark, Jr. & John Mayer. The set list offers few surprises -- if you don't recognize a song, that's because it's a new tune added to GRRR! -- but the Stones are in fine form, never seeming tired of playing the hits in a fashion that guarantees a splendid time for one and all.
© Stephen Thomas Erlewine /TiVo
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Old Soul
Stephen Marley
Reggae - Released September 15, 2023 | Stephen Marley (Tuff Gong)
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The storied reggae artist (and heir to the throne as Bob Marley's second son) Stephen Marley takes a new turn on his fifth solo album Old Soul. After years as a supporting player and behind-the-scenes producer, Marley emerged with solo work in the late 2000s as a powerful hybrid of roots reggae and modernized hip-hop, sometimes speckled with moments of dancehall fun for good measure. Born from nightly acoustic jams at the beginning of the COVID-19 pandemic, Old Soul is considerably mellower, matching soft sentiments on love, family, and the circle of life with spare arrangements that float out of the speakers like a gentle breeze. Tunes like the autobiographical title track and the lover's rock-influenced "Standing in Love" (which features a cameo from Slightly Stoopid's Kyle McDonald) keep the percussion and electric instruments to a minimum, making acoustic guitar melodies and sweet vocal harmonies the main focus. Buju Banton contributes to the perky ska number "Thanks We Get (Do Fi Dem)" and there's a reggae foundation to the brooding "Cast the First Stone" (aided by brother Damian Marley), but even these tracks are lighter readings of traditional reggae and reggae-adjacent sounds. Elsewhere, Marley curiously explores whatever style he feels, drifting through jazz standards like "Georgia on My Mind" and "These Foolish Things (Remind Me of You)" and covering the Beatles' "Don't Let Me Down" before inviting Eric Clapton to join in on lead guitar as they revisit a cover of Marley's father's 1973 hit "I Shot the Sheriff." The lazy ramble of "Winding Roads" closes Old Soul out, sounding more like a folksy, amber-hued jam band tune than anything reggae related. Assistance from the Grateful Dead's Bob Weir and the perpetually affable Jack Johnson enhance the song's laid-back essence, and it's a lovely way to let the thoughtful, even-keeled album naturally decompress. Marley maintains a relaxed energy and a light touch throughout Old Soul, but the songs are built well enough that they feel refreshing and never sleepy. It's a pendulum swing from some of his more intense moments, but the strong material shows his depth as an artist, regardless of the muse he's pursuing.© Fred Thomas /TiVo
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Fire on the Floor
Beth Hart
Blues - Released October 14, 2016 | Provogue
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Beth Hart took some risks on 2015's Better Than Home, an ambitious record that sadly saw its co-producer Michael Stevens die from cancer during its recording. Given all this, it's not such a surprise to see Hart loosen up for its 2017 sequel, Fire on the Floor. Feeling the urgent need to exorcize lingering demons, Hart returned to the studio to cut Fire on the Floor before Better Than Home was released, and the record does carry a sense of urgency: It indeed feels fresh, even spontaneous. Certainly, it doesn't feel as weighty as the raw, yearning Better Than Home, not with the humor and swagger that Hart displays throughout the album. Working with producer Oliver Leiber, who helped assemble a selection of studio pros highlighted by the legendary studio guitarist Waddy Wachtel and organist Ivan Neville, Hart seems relaxed and playful -- a sensibility that's evident from the opening "Jazz Man." This song title suggests that she might be headed down a jazzy road, but Fire on the Floor showcases her versatility, bouncing between slinky jazz and grinding blues ("Love Gangster") while finding space for outright rockers ("Fat Man"), Southern soul ("Let's Get Together"), and a gospel-inflected ballad ("No Place Like Home"). None of this feels showy: it flows easily and naturally, the songs connected by their deep Americana roots and the snappy skill of the players. Even if the album is slick and in the pocket, it's soulful; it feels like Hart is reconnecting with the reason why she makes music and that's what gives Fire on the Floor a kick.© Stephen Thomas Erlewine /TiVo
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Live at River Plate
AC/DC
Rock - Released November 19, 2012 | Columbia
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Live At The Royal Albert Hall
Beth Hart
Blues - Released November 30, 2018 | Provogue
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Beth Hart commands the stage with just one click of her fingers! The Californian tigress is still as feisty as ever without getting caught up in the clichés. In this live performance recorded on May 4th 2018 in London’s most prestigious setting, the Royal Albert Hall, she sets up her very own cabaret mixing blues, jazz and vintage soul. A woman who honours Nina Simone, Howlin’ Wolf, Dinah Washington, Buddy Guy and so many other key personalities of rhythm’n’blues, she shows us the full extent of her talent during this two-hour show. With a microphone to hand or sat behind her piano, what impresses us most is Beth Hart’s ability to mix all her musical influences and produce one very personal cocktail. Her secret? Her voice, of course. A kind of unstoppable magnet that pulls every word, every sentence, every chorus and which is made even more powerful by her contact with the audience. © Clotilde Maréchal/Qobuz
Rubber Factory
The Black Keys
Alternative & Indie - Released September 24, 2004 | Fat Possum
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Hysteria
Def Leppard
Rock - Released August 3, 1987 | UMC (Universal Music Catalogue)
Where Pyromania had set the standard for polished, catchy pop-metal, Hysteria only upped the ante. Pyromania's slick, layered Mutt Lange production turned into a painstaking obsession with dense sonic detail on Hysteria, with the result that some critics dismissed the record as a stiff, mechanized pop sellout (perhaps due in part to Rick Allen's new, partially electronic drum kit). But Def Leppard's music had always employed big, anthemic hooks, and few of the pop-metal bands who had hit the charts in the wake of Pyromania could compete with Leppard's sense of craft; certainly none had the pop songwriting savvy to produce seven chart singles from the same album, as the stunningly consistent Hysteria did. Joe Elliott's lyrics owe an obvious debt to his obsession with T. Rex, particularly on the playfully silly anthem "Pour Some Sugar on Me," and the British glam rock tribute "Rocket," while power ballads like "Love Bites" and the title track lack the histrionics or gooey sentimentality of many similar offerings. The strong pop hooks and "perfect"-sounding production of Hysteria may not appeal to die-hard heavy metal fans, but it isn't heavy metal -- it's pop-metal, and arguably the best pop-metal ever recorded. Its blockbuster success helped pave the way for a whole new second wave of hair metal bands, while proving that the late-'80s musical climate could also be very friendly to veteran hard rock acts, a lead many would follow in the next few years.© Steve Huey /TiVo
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American Teen
Khalid
R&B - Released March 3, 2017 | Right Hand Music Group, LLC - RCA Records
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Khalid Robinson made major commercial headway in early 2017 with "Location," a drowsy, teetering ballad the singer and songwriter seemed to deliver while lying on his bed, or maybe someone else's couch, eyes glued to his phone, just after waking up. In that song, and through much of what fills out American Teen, his debut album, Robinson's not one to get worked up. He's in no particular rush, content to drift through life while accepting, and occasionally sort of celebrating, the present. "American Teen" itself -- hollowed-out late-'80s mall pop with a disco-funk bassline -- is a youth anthem of shrugging aimlessness. There's not a whole lot of enthusiasm for revelry, dulled by substances, apathy, a combination of the two, or just the aspiration to look the part: "I'm so faded off of all the things I've taken, and maybe I'm not really drunk, maybe I'm really good at faking." There are points at which Robinson makes Frank Ocean sound like Teddy Pendergrass. On "Young Dumb & Broke," the mere concept of commitment seems so silly to him that he can't be bothered to enunciate the word, or maybe he just lost interest after the second syllable. After a nonchalant chorus that consists primarily of the song's title and a lethargic warble -- surprise -- he dumps one of his best melodies in the bridge. While he opens "Another Sad Love Song" by confessing "I'm not the best at showing my emotions," some bright moments make it apparent that Robinson has clearly sold himself short. Dusty ballad "Cold Blooded," in particular, demonstrates that he's perfectly capable of conveying grief without being overly demonstrative. When alert, he can be a force.© Andy Kellman /TiVo
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Anthology: The Sounds Of Science
Beastie Boys
Hip-Hop/Rap - Released January 1, 1999 | Capitol Records
At the close of the '90s, the Beastie Boys had only released five albums, which may not seem like enough music to provide the foundation for a double-disc retrospective. But between 1981 and 1999, they released countless B-sides, non-LP singles, and EPs, resulting in a sprawling discography ripe for a compilation. So, in 1999, the Beasties released the two-disc compilation The Sounds of Science, which covers every incarnation of the band from Pollywog Stew to Hello Nasty. Inevitably, some well-known songs are missing -- only three cuts from Licensed to Ill are here, and their breakthrough single "Rock Hard" had to be pulled when AC/DC refused permission for a sample. Ultimately, that doesn't matter, since the set captures the spirit of the Beasties so well. Usually, compilations that don't follow chronological order are a little muddled, but The Sounds of Science benefits from its jumbled sequencing, since it emphasizes the band's astonishing musical reach and consistency. After all, every album since Paul's Boutique has followed a similarly unpredictable pattern, as the group moved from hip-hop to punk to funk to jazz. What's remarkable about The Sounds of Science is that it has all the obvious suspects, but since they're rubbing singles with album tracks and B-sides like "Skills to Pay the Bills," two outtakes from the abandoned country album, alternate versions of "Jimmy James" and "Three MC's and One DJ," Fatboy Slim's brilliant remix of "Body Movin'," goofs like the Biz Markie-sung cover of "Benny and the Jets," and the excellent new single "Alive," it all sounds fresh. There's much more than hits here, but The Sounds of Science achieves something most anthologies don't: it summarizes the attitude and spirit of the band, while offering some new revelations even for dedicated fans.© Stephen Thomas Erlewine /TiVo
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Slade Alive!
Slade
Pop - Released March 1, 1972 | BMG Rights Management (UK) Limited
Before the hits really starting coming, Slade showed why they were one of England's best live acts with this fevered concert recording from 1972. Set alight by plenty of stomping beats, lumbering bass, fat guitars, and Noddy Holder's hoarse vocal scream, Slade Alive! finds the lads from Wolverhampton goading on their rabid fans at every juncture ("Wan ya ta really let loose on iss one"). In return, the crowd's handclap choruses and drunken exhortations fire up the band, inspiring them to take pub rock to glam proportions ("In Like a Shot From My Gun"), make a fine mess out of a Steppenwolf classic ("Born to Be Wild"), and add a bit of feedback to John Sebastian's folk-pop ("Darling Be Home Soon"). Plus, hits like the MC5-esque "Know Who You Are" and retro-rocker "Get Down Get With It" are given proper live workouts.© Stephen Cook /TiVo
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She Shot Me Down
Frank Sinatra
Pop - Released January 1, 1981 | FRANK SINATRA DIGITAL REPRISE
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She Shot Me Down is Frank Sinatra's last great album, a dark, brooding record of saloon songs delivered with an understated authority by Sinatra. Arranged and conducted by Gordon Jenkins and produced by Don Costa, the record largely consists of contemporary material, including five that were basically tailored for Sinatra. It's a dense, moody record that works spectacularly -- Sinatra's vocals are more alive and rich in detail than on Trilogy, and the concept is more concise and well-executed. She Shot Me Down might not consist of the classic saloon songs, but it has that feeling more than any of his other albums.© Stephen Thomas Erlewine /TiVo
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Shot Me Down (feat. Skylar Grey)
David Guetta
Electronic - Released February 10, 2014 | Parlophone (France)
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Let Love Rule
Ledisi
R&B - Released September 22, 2017 | Verve
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Ledisi's portrayal of Mahalia Jackson in Ava DuVernay's Selma was widely acclaimed, though that didn't prevent the Recording Academy from prioritizing ratings when they selected Beyoncé to perform in her place at the 57th Grammy Awards in 2015. Ledisi graciously received her ninth Grammy nomination and continues to roll with Let Love Rule, an album rich with her characteristically positive and proud outlook and superhuman vocal skill. It's something of a milestone for Ledisi and long-term collaborator Rex Rideout, who have been recording together since 2007. The four songs they co-wrote are top of the line, showing they've only gained steam since then. The sweetly lingering "Here" and powerhouse ballad "All the Way" resemble covers of missing cuts off Street Player and Whitney Houston, respectively, while the hip-hop soul BJ the Chicago duet "Us 4Ever" and celebratory slow jam "High," comparatively contemporary in approach, are just behind them. Otherwise, there's pitch-perfect rocksteady in the form of the outspoken "Shot Down," fluid grooves through the title track and the John Legend-assisted "Give You More," and a motivational finale in the church with "If You Don't Mind," a Kirk Franklin collaboration. Ledisi doesn't leave out romantic heartache, either, with "Hello" and "Forgiveness" as affecting as the zeal that radiates throughout the remainder.
© Andy Kellman /TiVo
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The Craig Charles Trunk of Funk Vol. 1
Charles Craig
Soul - Released November 6, 2020 | Soul Bank Music
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Color Blind: Hate & Happiness
October London
R&B - Released April 7, 2017 | October London - Cadillacc Music
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She Shot Me Down
Frank Sinatra
Pop - Released January 1, 1981 | FRANK SINATRA DIGITAL REPRISE
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She Shot Me Down is Frank Sinatra's last great album, a dark, brooding record of saloon songs delivered with an understated authority by Sinatra. Arranged and conducted by Gordon Jenkins and produced by Don Costa, the record largely consists of contemporary material, including five that were basically tailored for Sinatra. It's a dense, moody record that works spectacularly -- Sinatra's vocals are more alive and rich in detail than on Trilogy, and the concept is more concise and well-executed. She Shot Me Down might not consist of the classic saloon songs, but it has that feeling more than any of his other albums.© Stephen Thomas Erlewine /TiVo
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Jesus Shot Me Down
Thomas Schoeffler Jr
Blues - Released July 23, 2015 | Echo Productions
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Bang Bang (My Baby Shot Me Down)
The Everlasters
Hip-Hop/Rap - Released April 23, 2021 | Madame Je Vous Aime
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Hollies
The Hollies
Pop - Released April 14, 1974 | Parlophone UK
This record would have disappeared long ago were it not for regal centerpiece "The Air That I Breathe," arguably pop's greatest ballad. The rest of the material naturally pales in comparison, but 1974's Hollies delivers likable-enough smiley face rock with the quintet's lilting trademark harmonies throughout. Of course, silly star fables like "Out on the Road" can't measure up to past glories. Same goes for the morally ambiguous, similarly titled openers. Luckily, the album maintains the Brits' peculiar pent-up energy, even in countrified hootenannies like "Rubber Lucy" (surprisingly not a companion to Roxy Music's blow-up doll ode). The meaningless "Transatlantic Westbound Jet" cruises along enjoyably, with visions of Cheap Trick dancing in the verses. "Pick up the Pieces Again" is rolled up in Crosby, Stills, & Nash (the last a former Hollies running mate), and the boys cannibalize their own "Long Tall Women in a Black Dress" for denouement "The Day That Curly Billy Shot Down Crazy Sam McGee" (whew). Unfortunately, here, the Hollies have run out of tunes to match their talent. But that beautiful ballad will live forever: "Sleep, silent angel, go to sleep." By the way, the band is named after Buddy Holly.© Doug Stone /TiVo
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