On the Ting Tings' debut album, We Started Nothing, the duo's new wave-worshiping mix of dance and indie pop -- which grafts chugging guitar and bashed drums onto looping structures and proudly plastic keyboards -- is polished, but far from polite. Singer/guitarist Katie White's snotty, singsong vocal delivery and flat rhymes are part cheerleader, part playground chant, and a tiny bit of punk snarl; "That's Not My Name," on which White sneers "Are you calling me darling? Are you calling me bird?," even sounds a little like riot grrrl sloganeering filtered through a decade's worth of pop. Even when White sings more melodically, as on "Traffic Light" and "We Walk," the energy, attitude, and repetition can be grating, even if you're tapping your foot to the songs. However, the Ting Tings manage to stay on the catchy side with "Fruit Machine," a Lily Allen-ish bit of cheeky bordering on vindictive pop, and on "Keep Your Head" and "Be the One," which tone down the Ting Tings' energy to more manageable but still lively levels. "Great DJ" and "Shut Up and Let Me Go" (which sounds like a Yeah Yeah Yeahs parody/tribute) are also standouts, and it's no surprise they've been used in commercials -- they're so short and memorable, they feel like jingles waiting for products to endorse. Since they've got a real knack for writing songs that stick in your head whether you want them to or not, the Ting Tings' songs are fun in very small doses.© Heather Phares /TiVo

In pop music, catchiness and obnoxiousness often go hand in hand, but on the Ting Tings' debut album, We Started Nothing, they're locked in a death grip. The duo's new wave-worshiping mix of dance and indie pop -- which grafts chugging guitar and bashed drums onto looping structures and proudly plastic keyboards -- is polished, but far from polite. In fact, the way the Ting Tings repeat their cheap and cheerful hooks until their listeners' ears are about to break often borders on annoying. Singer/guitarist Katie White's snotty, singsong vocal delivery and flat rhymes are part cheerleader, part playground chant, and a tiny bit of punk snarl; "That's Not My Name," on which White sneers "Are you calling me darling? Are you calling me bird?," even sounds a little like riot grrrl sloganeering filtered through a decade's worth of pop. Even when White sings more melodically, as on "Traffic Light" and "We Walk," the energy, attitude, and -- above all -- the repetition can still grate, even if you're tapping your foot to the songs. However, the Ting Tings manage to stay on the catchy side with "Fruit Machine," a Lily Allen-ish bit of cheeky bordering on vindictive pop, and on "Keep Your Head" and "Be the One," which tone down the Ting Tings' energy to more manageable but still lively levels. "Great DJ" and "Shut Up and Let Me Go" (which sounds like a Yeah Yeah Yeahs parody/tribute) are also standouts, and it's no surprise they've been used in commercials -- they're so short and memorable, they feel like jingles waiting for products to endorse. Since they've got a real knack for writing songs that stick in your head whether you want them to or not, the Ting Tings' songs are fun in very small doses. They're a singles band at heart, though, and they wear out their welcome all too quickly on We Started Nothing.© Heather Phares /TiVo

It has to be quite a thrill to count off "one, two, three, four...hit it!" and have a full orchestra launch into the same power chord you are. Kiss got to experience it during a one-off show with the Melbourne Symphony Orchestra, and Alive IV is the document. The band is continuing the makeup revival that started in 1996, but Ace Frehley has moved on, taking his oddball tunes and loose attitude with him. In a move that fans might see as sacrilege, former Black 'n' Blue guitarist Tommy Thayer has assumed the role of the Spaceman, and the Melbourne show was his debut. Considering the monolithic pressure put upon him, it's no surprise he plays it straight, often too straight. It's just one of the disappointments on an album dragged down by a muddy mix and under-rehearsed interaction of band and orchestra. Kiss plays without the orchestra for the first six numbers, most of which have shown up in better versions on the first two editions of Alive. Gene Simmons' bass is pushed further down in the mix than ever, and only the most die-hard fan would want a live version of "Psycho Circus." The Melbourne Symphony Ensemble joins for the rest of the first disc, accompanying retreads of MTV Unplugged performances minus the excitement of a freshly reunited Kiss. Simmons' vocal is an embarrassment as it struggles through "Goin' Blind," but the appearance of Unmasked's "Shandi" is a pleasant surprise. The extra strings work fine over this easygoing chamber version of Kiss. The full orchestra shows up, in Kiss makeup of course, for the whole of the second disc. It sounds more bloated than bombastic as the mix ping-pongs between crunchy guitars and disco-style string and horn flourishes. Other than the inspired counterpoint in "God of Thunder" and "Love Gun," the orchestra is given little to do but imitate the band's simple melodies. In an especially wicked moment, Destroyer's arrangement of "Great Expectations" reappears with its unwholesome mix of children's choir and groupies-in-waiting lyrical content. A couple other grand moments make the record more satisfying than the pointless Alive III. Sadly absent is Frehley's cool demeanor, always a relief from Simmons and Paul Stanley's pompous swagger. He's definitely missed on Alive IV and a 60-piece orchestra can't make up for it. [Sanctuary reissued the album in 2008.]© David Jeffries /TiVo

Off the Soundboard: Tokyo Dome, March 13, 2001, is the inaugural installment of Kiss' official live bootleg series. Recorded directly off of the soundboard, the 21-track set delivers the quintessential Kiss live experience, with Paul Stanley, Gene Simmons, Ace Frehley, and Eric Singer in top form. Songs include beloved hits like "Rock & Roll All Night," "I Was Made for Lovin' You," "Cold Gin," and "Detroit Rock City," as well as deeper cuts such as "I Still Love You" and "Black Diamond."© James Christopher Monger /TiVo

In 2020, Megan Thee Stallion’s status changed completely. She became one of the most successful female rappers in the world, thanks in part to her hit single WAP featuring Cardi B. But let's be clear: while she has made some forays into pop, she has not turned into a diva. This new mixtape, Something For Thee Hotties, proves it. With its direct, ultra synthetic trap sound, it is in the tradition of the genre, notably thanks to the omnipresence of the legendary beatmaker Juicy J. TR-808's beats rage, the production is refined, and the rap is full-throated. Megan Thee Stallion goes straight to the point and won’t be seduced by current musical trends, to the point that she embraces a purist style. The mixtape also features her favourite beatmaker, LilJuMadeDaBeat, who turns the release into a masterclass in old-school trap. © Brice Miclet/Qobuz

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

Owners of Kiss Alive! 1975-2000 can shake their fists in anger as the release of Alive: The Millennium Concert liberates that box set's exclusive bonus disc so even the casual can snatch it up. It's called The Millennium Concert as it was recorded in Vancouver, Canada on New Year's Eve 1999, a show where the reunited makeup band played some non-makeup era material ("Heaven's on Fire," "Lick It Up," and so on), plus the big, early hits ("Shout It Out Loud," "Beth," and many more). Interesting and fantastic that two previously exclusive tracks are here ("2000 Man" and "God of Thunder").© David Jeffries /TiVo

Bryan Adams has always advocated for more rock in the world, and this time he does so with the help of—would you believe it—John Cleese! The famous member of Monty Python lent his voice to the introduction of Kick Ass, one of 12 songs that feature in the Canadian’s fifteenth album. Parodying a preacher’s sermon, the comedian talks of an angel, dressed in boots and blue jeans, who was sent to earth to spread the good word of rock’n’roll. Humour and guitars go hand in hand on this record, perfectly capturing the tone of the album. The title track, So Happy It Hurts, is a tribute to spontaneity, whilst Never Gonna Rain conveys an almost divine sense of optimism. This release goes to show that Bryan Adams hasn’t strayed far from his status as the prince of happiness. The Run to You singer is still just as captivating too; Just Like Me, Just Like You and I’ve Been Looking For You pay testament to that. The track On the Road sees the 60-something reminisce about his lengthy career, recounting his 45 years of non-stop world tours. The word “Up” appears many times on the album, and this can only mean one thing: the pandemic hasn’t dampened Bryan Adams’ lust for life, and he’s keen to share his positivity with his listeners. ©Nicolas Magenham/Qobuz