Shadows and Light is Joni Mitchell's second live album, and it serves as a good retrospective of her jazzy period from 1975-1979. As expected, she assembles a group of all-star musicians including Pat Metheny (guitar), Jaco Pastorius (bass), Lyle Mays (keyboards), and Michael Brecker (saxophone) who give these compositions more energy than on the studio recordings. The musicians are given room to jam, and they sound terrific on uptempo songs such as "Coyote" and "In France They Kiss on Main Street." If there is a general theme of these songs, it's about growing older and maturing after the failed idealism of the late '60s (the album opens with audio clips from the movie Rebel Without a Cause). Although this album is pleasing, the live arrangements are not different enough from the studio versions to warrant higher marks. In fact, Mitchell has always been an album artist who recorded studio albums that had a sound and feel all their own. While Shadows and Light provides a nice summary of her experimental period for casual fans, interested listeners should start with Hejira or The Hissing of Summer Lawns.© Vik Iyengar /TiVo

Alive! was the album that catapulted Kiss from cult attraction to mega-superstars. It was their first Top Ten album, remaining on the charts for 110 weeks. Culled from shows in Detroit, New Jersey, Iowa, and Cleveland on the Dressed to Kill tour, the record features producer Eddie Kramer doing a masterful job of capturing the band's live performance on record. The band's youthful energy is contagious, and with positively electric versions of their best early material, it's no mystery why Alive! is widely regarded as one of the greatest live hard rock recordings of all time. "Rock and Roll All Nite" became a Top 20 smash and was the main reason for the album's success, but there are many other tracks that are just as strong -- "Deuce," "Strutter," "Firehouse," "Parasite," "She," "100,000 Years," "Black Diamond," and "Cold Gin" all shine in a live setting. Although there's been some speculation of extensive overdubbing to correct mistakes, Alive! remains Kiss' greatest album ever. An essential addition to any rock collection.© Greg Prato /TiVo

There was a time not so long ago when Nick Cave revelled in the role of the dark prince of rock. Now however, buffeted by the vagaries and tragedies of life, he's grown spooky in a more understated way. As the onetime new wave rebel has aged and settled into a more sedate lifestyle, the tone and tenor of his songs has turned ever more brooding and pensive; austerity and explorations of the stark and spare have become his latest compulsions. Here on an intriguing odds 'n' sods compilation of lesser known or unreleased tracks from his recent work with his band The Bad Seeds, the quieter, more introspective Cave is showcased, expanding the portrait of the moving target he and his music will always be. "King Sized Nick Cave Blues," an unreleased track from 2014, is almost gospel. The next track "Opium Eyes," set to a rumbling beat with random demonic vibraphone notes, makes for a warlock chant. The sad, solo piano and voice-only track, "Euthanasia" segues into the full band "Life Per Se," another somber exploration with viola and loudly hummed background vocals. Both were recorded for the 2014 Skeleton Tree sessions that occurred just after the accidental death of Cave's son Arthur, an event that's had the audible effect of giving an even sadder hue to much of what Cave has written since. Musically, he has progressively settled into more lyrics slowly spoken or sung over lilting electronic backgrounds, a trend heard in "Big Dream (w/ Sky)" an unreleased track from the 2018/2019 sessions that became the album, Ghosteen. "First Bright Horses," an early version of the eventual Ghosteen track, "Bright Horses," verges on a cracked, almost Waitsian beauty. A rare duet, "Free to Walk," with Debbie Harry, from the 2009 Jeffrey Lee Pierce Sessions Project is a refreshing interlude. While Cave's music has grown hushed, his familiar angst joined to his astute ear for poetics continues to trigger lyrics that are cryptic and coolly angular. In "Accidents Will Happen" he sings, "Well, let me tell you a little more about Mabel/ She is shaped like an inverted ducks pond chair/ I roll out my tongue when she walks past/ Fix her with my famous jelly-eyed stare" and on"Steve McQueen," from the Skeleton Tree sessions, his menacing persona returns, albeit at a lower volume, as he recites: "I'm the atomizer/ I'm the vaporizer/I turn everything to crud/ I like it here in your flesh and blood." Bad Seeds partner Warren Ellis is a large part of what's heard here whether it's his violin loops that sway from side to side in "Animal X" and "Lightning Bolts" or his piano leading the way on a slow, sweeping, large forces 2019 performance of "Push The Sky Away," the title track to the Seeds' 2013 album, which was recorded as part of a concert with the Melbourne Symphony Orchestra. Like the sessions they are drawn from, the sound and mixes heard on B-Sides and Rarities are beautifully spacious and detailed with Cave's voice seemingly in the room next to you. Especially sweet for longtime fans, this collection is more proof that Cave remains one of the current era's musical visionaries. © Robert Baird/Qobuz

With the massive success of their previous album, the experimental Bob Ezrin-produced Destroyer (which contained the surprise ballad hit "Beth"), Kiss could have taken the safe route and continued in that direction -- or return to the raw hard rock of their first four albums. They chose the latter. Hooking back up with Eddie Kramer, the producer of their 1975 breakthrough release Alive! and their very first demo, Kiss rented out the Nanuet Star Theater in upstate New York to record their next album, Rock and Roll Over. With a more direct, in-your-face production, Rock and Roll Over is one of Kiss' most consistent records. Two of the album's best tracks became hit singles -- the sleazy hard rocker "Calling Dr. Love" and an acoustic ballad that was originally intended for Rod Stewart, "Hard Luck Woman" (later covered by country star Garth Brooks). But like all other classic rock albums, the lesser-known material is often just as strong -- "I Want You" and "Makin' Love" became concert staples over the years, while "Mr. Speed" is one of the most underrated songs in Kiss' catalogue. Also included are the fan favorites "Take Me," "Ladies Room," "Love 'Em and Leave 'Em," and the original version of "See You in Your Dreams," which was later re-recorded for Gene Simmons' 1978 solo album.© Greg Prato /TiVo

Both the public and the press are still getting over Wild Life, the first album that Paul McCartney released with his new group Wings in December 1971. The record was roasted for being very inconsistent... Two years later, Macca released Red Rose Speedway, a piece of work that was considerably more impressive and outgoing to the point that it took him back to the top of the charts, mainly thanks to the single My Love. Like on Wild Life, the singer/bassist is accompanied here by his wife Linda on keyboard, ex Moody Blues guitarist Denny Laine and drummer Denny Seiwell. The group is also joined by Henry McCullough, the ex Spooky Tooth guitarist. Even if certain critics still reproached Paul McCartney for the album being too lightweight, not engaged enough and above all well below the standard of his past compositions, we should appreciate the finesse of some of these melodies and Macca's ability to write catchy choruses. Once again, the eclecticism of the repertoire is sometimes confusing, making it difficult to consider Red Rose Speedway as a real artistic entity. However, some of these compositions are really touching like Little Lamb Dragonfly and Single Pigeon. This remastered deluxe edition, which includes a number of bonus tracks, is an opportunity to rediscover an extra piece of the big Paul McCartney puzzle. © Marc Zisman/Qobuz 

Nicola Benedetti's Homecoming: A Scottish Fantasy is the violinist's tribute to her native land, in celebration of Scotland's Year of Homecoming 2014. Of primary interest to classical fans is Max Bruch's Scottish Fantasy in E flat major, a large-scale Romantic concerto based on Scottish folk music, and Benedetti gives a transparent and brilliant performance that alleviates some of the work's heavy Germanic character. Bruch's free use of Scottish folk songs as themes, including some melodies of Robert Burns, suggested the three arrangements that immediately follow it, Ae fond kiss; My love is like a red, red, rose; and Auld Lang Syne, three of the poet's best-known songs. The rest of the program consists of other traditional Scottish tunes, and Benedetti pours her warmest expressions into these airs. In two songs, Bothan a bh'aig Fionnghuala and Coisich a Rùin, Benedetti is joined by Julie Fowlis, whose fluent delivery in Gaelic gives the songs authentic color and texture. Even though this album has been promoted in connection with public festivities, such as the Commonwealth Games and the Ryder Cup, it is actually a personal and intimate album, thanks to Benedetti's ingratiating playing and the poignant tone of many of the selections.© Blair Sanderson /TiVo

Aerosmith signed a multi-million-dollar contract with Columbia Records before they had completed their deal with Geffen, which meant that a lot was riding on their Columbia debut, Nine Lives, when it was finally delivered in 1997. During recording, the band nearly broke up, and they worked with a number of producers -- including Glen Ballard, the man behind Alanis Morissette -- before settling on Kevin Shirley, an in-house producer responsible for Silverchair and Journey. Perhaps that's the reason why Nine Lives sounds so calculated, as if it was assembled by a band trying to sound like Aerosmith. In a sense, it is -- not one of the 13 songs were written without the assistance of professional songwriters. Of course, some of the best moments of Pump and Permanent Vacation were also written with professionals, but they had an appealing, slick surface that made them infectious. Nine Lives, in contrast, is overlabored, with Aerosmith making a conscious effort to sound hip and vibrant, which ironically simply makes them sound tired. Not only are the performances perfunctory, but the songs aren't catchy -- no matter how hard it tries, "Falling in Love (Is Hard on the Knees)" never develops a hook, and it is not an exception. A handful of cuts approximate the raunchy appeal of prime Aerosmith, but Nine Lives is hardly the triumphant comeback it should have been.© Stephen Thomas Erlewine /TiVo

For Kiss' breakthrough 1975 release Alive!, the band had a total of three studio albums from which to select their in-concert repertoire. By mid-1977, Kiss had released another three studio recordings (Destroyer, Rock and Roll Over, and Love Gun), and with a new Kiss album needed for the holiday season, a second live album, Alive II, was assembled. Three sides were recorded live in concert at the Los Angeles Forum (with a few tracks recorded in Japan), while the fourth side featured five new studio recordings. Like its predecessor, there's been quite a lot of speculation concerning extensive overdubbing (the proof being that you can often hear several Paul Stanley voices singing backup simultaneously!), but Alive II shows that Kiss was still an exciting live band despite all the hype. Adrenaline-charged versions of "Detroit Rock City," "Love Gun," "Calling Dr. Love," "Shock Me," "God of Thunder," "I Want You," and "Shout It Out Loud" are all highlights. On the fourth side, Ace Frehley only plays on a single song (his self-penned classic "Rocket Ride") for reasons unknown, while session guitarist Bob Kulick filled in for the AWOL Frehley. Among the studio tracks is the made-for-the-stage anthem "Larger Than Life," which the band surprisingly never performed live.© Greg Prato /TiVo

Born out of the ashes of Joy Division in the early 1980s, New Order symbolises one of the first truly successful unions between rock’n’roll and dance music. The darkest Mancunian band of the punk era who had transformed into masters of the dancefloor signed the perfect soundtrack to the gloomy England under Thatcher. Released in the summer of 1987 on the label Factory, Substance brings together all their various styles and singles like the hits Blue Monday, Ceremony, Confusion, The Perfect Kiss or Bizarre Love Triangle. This was obviously the golden age for the quartet made up of Bernard Sumner, Peter Hook, Gillian Gilbert and Stephen Morris. Despite a few highlights (such as the album Technique in 1989), New Order never really reached this level of composition again... © Marc Zisman/Qobuz

Since the arrival of Erykah Badu onto the neo-soul scene back in 1997 with Baduizm, commercial music stood up and took notice with an onslaught of similar artists reaching comparable peaks of mainstream success. After taking some time off for introspection and to raise her son, Badu returned with Mama's Gun, which is a turning point for her in many ways. Gone are the cryptic "Baduizms" that glossed all over her first release, replaced with a more honestly raw Badu singing directly from her heart rather than her head. Sonically, Badu wades out into adventurous territories as well. From the Jimi Hendrix-inspired opening number to the closing ten-minute song suite, she develops fresh aspects of her sound, employing artists such as legendary jazz vibraphonist Roy Ayers, jazz trumpeter Roy Hargrove, Stephen Marley, and Roots drummer ?uestlove; she sought after producer Jay Dee as well. The results are consistently tasteful, which only helps to prove once again that Badu is miles ahead of the rest.© Rob Theakston /TiVo

Love Gun was Kiss' fifth studio album in three years (and seventh release overall, peaking at number four on Billboard), and proved to be the last release that the original lineup played on. By 1977, Kiss merchandise was flooding the marketplace (lunch boxes, makeup kits, comic books, etc.), and it would ultimately lead to a Kiss backlash in the '80s. But the band was still focused on their music for Love Gun, similar in sound and approach to Rock and Roll Over, their previous straight-ahead rock release. It included Ace Frehley's lead vocals on "Shock Me," as well as one of Kiss' best and most renowned hard rockers in the thunderous title track. The album's opener, "I Stole Your Love," also served as the opening number on Kiss' ensuing tour, while "Christine Sixteen" is one of the few Kiss tracks to contain piano prominently. "Almost Human" is an underrated rocker and features a great Jimi Hendrix-esque guitar solo from Frehley (no doubt due to ex-Hendrix producer Eddie Kramer manning the boards again), while "Plaster Caster" is a tribute to the famous groupies of the same name. The only weak spots on an otherwise stellar album are an obvious "Rock and Roll All Nite" ripoff titled "Tomorrow and Tonight," and a pointless remake of the Phil Spector-penned classic "Then He Kissed Me" (reworked as "Then She Kissed Me").© Greg Prato /TiVo

The pressure was on Kiss for their fifth release, and the band knew it. Their breakthrough, Alive!, was going to be hard to top, so instead of trying to recreate a concert setting in the studio, they went the opposite route. Destroyer is one of Kiss' most experimental studio albums, but also one of their strongest and most interesting. Alice Cooper/Pink Floyd producer Bob Ezrin was on hand, and he strongly encouraged the band to experiment -- there's extensive use of sound effects (the album's untitled closing track), the appearance of a boy's choir ("Great Expectations"), and an orchestra-laden, heartfelt ballad ("Beth"). But there's plenty of Kiss' heavy thunder rock to go around, such as the demonic "God of Thunder" and the sing-along anthems "Flaming Youth," "Shout It Out Loud," "King of the Night Time World," and "Detroit Rock City" (the latter a tale of a doomed concert-goer, complete with violent car-crash sound effects). But it was the aforementioned Peter Criss ballad, "Beth," that made Destroyer such a success; the song was a surprise Top Ten hit (it was originally released as a B-side to "Detroit Rock City"). Also included is a song that Nirvana would later cover ("Do You Love Me?"), as well as an ode to the pleasures of S&M, "Sweet Pain." Destroyer also marked the first time that a comic-book illustration of the band appeared on the cover, confirming that the band was transforming from hard rockers to superheroes.© Greg Prato /TiVo