The new GoGo Penguin has arrived! The iconoclastic Mancunian combo (piano, bass, drums, and electronic sounds) was first noticed by Blue Note, who are forever on the lookout for “jazz-ish” groups to expand their audience; however, their dream was not to emerge unscathed. During the pandemic, the group separated from the great house to join XXIM Records, one of Sony Masterworks’ labels and this major company’s classical/jazz stable. Another change: the departure (amicably, it is said) of drummer, Rob Turner.To replace him, the pianist Chris Illingworth and bassist Nick Blacka turned to Jon Scott, who played with the Kairos 4tet and Mulatu Astatke, aka the godfather of ethio-jazz. We do end up finding a little less jazz on this sixth album, however. It instead offers short pieces that veer towards a more ambient and contemplative sound (the comforting Glimmerings opening), and cinema soundtracks, i.e., You're Stronger Than You Think , culminating with Parasite, an instrumental medley that gets carried away. It plays like a lounge jam session while the children sleep soundly upstairs. Elegant and cinematic, the GoGo Penguins’ music has, despite some turmoil, lost nothing of its feel-good nature. © Smaël Bouaici/Qobuz

Graduation's pre-leak talk wasn't as substantive as it was with Kanye West's first two albums. As with just about any other artist's third album, it had to be expected. The College Dropout was one of the most anticipated debuts of the early 2000s, while Late Registration had people wondering why Kanye would feel the need to work so extensively with multi-instrumentalist rock producer Jon Brion (the J Dilla of the chamberlin) and whether or not Kanye's hubristic tendencies would get the better of it. With Graduation, there was Takashi Murakami's artwork, a silly first-week sales competition with the decreasingly relevant 50 Cent, and chatter about synthesizers running wild. That was about it, but it all seemed loud and prevalent, due in part to a lack of high-profile rap albums released in 2007. Graduation is neither as bold nor as scattered as The College Dropout, and it's neither as extroverted nor as sonically rich as Late Registration. Kanye still makes up for his shortcomings as an MC and lyricist by remaining charmingly clumsy, frequently dealing nonsense through suspect rhyme schemes: "I never be picture-perfect Beyoncé/Be light as Al B. or black as Chauncey/Remember him from Blackstreet, he was black as the street was/I never be laid-back as this beat was." The songs that are thematically distanced, introspective, and/or wary -- there are many of them -- are, in turn, made more palatable than insufferable. That his humor remains a constant is a crucial aspect of the album, especially considering that most other MCs would sound embittered and hostile if they were handling similar subjects, like haters new and old, being a braggart with a persistent underdog complex, getting wrapped up in spending and flaunting, and the many hassles of being a hedonist. Those who have admired Kanye as a sharp producer while detesting him as an inept MC might find the gleaming synth sprites, as heard most prominently throughout "Flashing Lights" and "Stronger," to be one of the most glaring deal-breakers in hip-hop history. Though the synthesizer use marks a clear, conscious diversion from Kanye's past productions, highlights like "I Wonder," "The Glory," and "Everything I Am" are deeply rooted in the Kanye of old, using nostalgia-inducing samples, elegant pianos and strings, and gospel choirs. So, no, he's not dreaming of fronting A Flock of Seagulls or joining Daft Punk. He's being his shrewd, occasionally foolish, and adventurous self.© Andy Kellman /TiVo

After two albums of muted, mature jazz-inflected pop, the last being an explicit album about death, Sting created his first unapologetically pop album since the Police with Ten Summoner's Tales. The title, a rather awkward pun on his given last name, is significant, since it emphasizes that this album is a collection of songs, without any musical conceits or lyrical concepts tying it together. And, frankly, that's a bit of a relief after the oppressively somber The Soul Cages and the hushed though lovely, Nothing Like the Sun. Sting even loosens up enough to crack jokes, both clever (the winking litany of celebrity pains of "Epilogue [Nothing 'Bout Me]") and condescending (the sneeringly catchy cowboy tale "Love Is Stronger Than Justice [The Munificent Seven]"), and the result is his best solo record. In places, it's easily as pretentious as his earlier work, but that's undercut by writing that hasn't been this sharp and melodic since the Police, plus his most varied set of songs since Synchronicity. True, there isn't a preponderance of flat-out classics -- only the surging opener "If I Ever Lose My Faith in You," the understated swing of "It's Probably Me," and the peaceful ballad "Fields of Gold" rank as classics -- but, as an album, Ten Summoner's Tales is more consistently satisfying than anything else in his catalog.© Stephen Thomas Erlewine /TiVo

After two albums of muted, mature jazz-inflected pop, the last being an explicit album about death, Sting created his first unapologetically pop album since the Police with Ten Summoner's Tales. The title, a rather awkward pun on his given last name, is significant, since it emphasizes that this album is a collection of songs, without any musical conceits or lyrical concepts tying it together. And, frankly, that's a bit of a relief after the oppressively somber The Soul Cages and the hushed though lovely, Nothing Like the Sun. Sting even loosens up enough to crack jokes, both clever (the winking litany of celebrity pains of "Epilogue [Nothing 'Bout Me]") and condescending (the sneeringly catchy cowboy tale "Love Is Stronger Than Justice [The Munificent Seven]"), and the result is his best solo record. In places, it's easily as pretentious as his earlier work, but that's undercut by writing that hasn't been this sharp and melodic since the Police, plus his most varied set of songs since Synchronicity. True, there isn't a preponderance of flat-out classics -- only the surging opener "If I Ever Lose My Faith in You," the understated swing of "It's Probably Me," and the peaceful ballad "Fields of Gold" rank as classics -- but, as an album, Ten Summoner's Tales is more consistently satisfying than anything else in his catalog.© Stephen Thomas Erlewine /TiVo

When Chaka Khan recorded her fifth solo album, I Feel for You, in 1984, she knew that R&B had changed a lot since the 1970s. Horn-powered funk bands, strings-laden Philadelphia soul, and orchestral disco were out of vogue, and the urban contemporary audiences of 1984 were into a more high-tech, heavily electronic style of R&B. Many artists who had been huge in the 1970s found that they no longer appealed to black radio programmers, who had abandoned them and turned their attention to electro-funksters and Prince disciples. But Chaka Khan had no problem keeping up with the times; I Feel for You made it clear that she could easily be relevant to the urban contemporary scene of 1984. No one would mistake I Feel for You for a Rufus project from 1975 -- it's way too high-tech -- and yet, everything on the album is unmistakably Chaka Khan. That is true of up-tempo items like "Love Is Alive" (an interesting remake of Gary Wright's 1976 hit) and "La Flamme," as well as the ballad "Through the Fire," which was a big hit on urban radio but crossed over to adult contemporary stations in a major way. "This Is My Night" (which was written and produced by the System) also became an urban radio hit, but the album is best known for Khan's unlikely remake of Prince's "I Feel for You." When Prince first recorded "I Feel for You" in 1979, it wasn't a hit; Khan's version, however, soared to number one on Billboard's R&B singles chart. Khan had a very different take on the song than Prince; while his original version was subtle and restrained, Khan went for exuberance and added a strong hip-hop flavor. Excellent from start to finish, this album went down in history as both a creative and a commercial success.© Alex Henderson /TiVo

Ten years after Amy Winehouse's tragic and untimely death, the BBC is unearthing an impressive body of live recordings made by a singer who was unique among contemporary soul artists. This is actually a much-augmented version of At the BBC, which originally came out in 2012 with 24 tracks. This 2021 version of At the BBC packs 38 tracks (from 2004-2009) and over two hours of music: proof of this artist's power, as well as a document of her sometimes-ambiguous relationship with the scene. Here you can find Winehouse's performances on shows hosted by Jo Whiley, Jools Holland, and the late Pete Mitchell, who were always great champions of hers. On top of that, we have concerts recorded by UK radio (two with the Modfather, Paul Weller, making a guest appearance), as well as recordings of more intimate shows. In front of an audience, Amy would sometimes force her singing, as if tempted to go in for vocal pyrotechnics. But everything here is controlled and classy, as when she revisits standards like Lullaby of Birdland and I Should Care, or on a raw, powerful version of Rehab with Mitchell in 2006..During the 2000s, women soul singers were few and far between, and fewer still were those who really tried to develop and build on the eternal soul music laid down by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. As At the BBC reminds us, Amy Winehouse had a lithe, strong voice, real songs (which she wrote herself, unlike most of her peers), production values that felt vintage (but never old-fashioned), and a superb brass section. These unique traits all shine on the final part of this 2021 re-release of At the BBC with a 2007 concert at London's Porchester Hall, ending with a spicy cover of Monkey Man by Toots and the Maytals, which the Specials – adored by Winehouse – also revisited on their debut album. © Marc Zisman/Qobuz

Turner's last studio album for Capitol was produced by the late Dan Hartman of "Instant Replay" disco fame; however, this was not a retro '70s-style album. This set was comprised of 12 mature, middle-range, adult rock and pop songs. Turner tackled rock on "Steamy Windows" and "The Best," the latter a universal hit. She created fine club tracks such as "Falling Like Rain," "I Don't Wanna Lose You," and "Look Me in the Heart." Still, she cooled down long enough for a couple of gutbucket ballads in "Be Tender With Me Baby" and "Ask Me How I Feel." The most interesting cut was the scorching return to Turner's Delta roots on the flawless "Undercover Agent for the Blues," one of the finest pop-blues performances since B.B. King's "The Thrill Is Gone." Despite the slight musical style variations, the whole project was wrapped in an enticing pop style that gave it buoyancy and synthesis.© Bil Carpenter /TiVo

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After two LPs with little or no energy, Sade demonstrated some intensity and fire on her third release. Whether that was just an attempt to change the pace a bit or a genuine new direction, she had more animation in her delivery on such songs as "Haunt Me," "Give It Up," and the hit "Paradise." Not that she was suddenly singing in a soulful or bluesy manner; rather, Sade's dry and introspective tone now had a little more edge, and the lyrics were ironic as well as reflective. This was her third consecutive multi-platinum album, and it matched the two-million-plus sales level of her debut.© Ron Wynn /TiVo

Daft Punk titled their hits compilation with an indicator (Vol. 1) that more would be forthcoming, and it's easy to believe that in a dozen years, another dozen singles could be collected with no drop in quality. Unlike their contemporaries coming of age during the rise of electronica, Messrs. Bangalter and de Homem-Christo structured their tracks with drop-dead hooks, peerless beats that were perfect for the dancefloor or the living room, and an innovative production sense. Although Musique, Vol. 1: 1993-2005 won't be necessary for longtime fans, it boasts a few inclusions that should lure in even those who have each of the first three albums. The first reason is its opener, "Musique," actually a B-side (of debut single "Da Funk") whose basement sonics and filter-disco vocal treatment made it the best side of Daft Punk's best single. The second excellent tactic is including three of Daft Punk's greatest remixes, including the electro-shocked "Mothership Reconnection" (originally by Scott Grooves) and "Chord Memory" (originally by Ian Pooley). During their first dozen years, virtually all of Daft Punk's best productions were singles (the only exception being "Face to Face" from Discovery), and Musique is the best example why the duo was tops in electronica from the late '90s to the turn of the millennium.© John Bush /TiVo

Coming off of the enormous success of their brooding cover of Simon & Garfunkel's "Sounds of Silence," Chicago nu-metal veterans Disturbed deliver another slab of commercial grade active rock and montage-ready power balladry on their seventh studio effort, Evolution. Billed as a tribute to deceased contemporaries Chester Bennington of Linkin Park and Vinnie Paul of Pantera, the ten-track set strikes an even balance between meat-and-potatoes stadium shakers ("Are You Ready," "No More") and butane-draining acoustic numbers ("Hold On to Your Memories," "Already Gone"). Working once again with producer Kevin Churko -- bass player and backing vocalist John Moyer, who left in 2011 to tear things up in Adrenaline Mob and Art of Anarchy, has also returned -- the band's penchant for pairing uncompromising sonic heft with mile high hooks remains its greatest asset, with frontman Dave Draiman's powerhouse voice shouldering that weight with Herculean stamina. The electronic elements that began creeping in on 2015's Immortalized are utilized to an even greater degree this time around, but Moyer, guitarist Dan Donegan, and drummer Mike Wengren are always at the forefront, maintaining the road ahead with workmanlike precision. Disturbed play to their strengths, and why shouldn't they? Stringing together five consecutive number one debuts is no small feat, and while it's hard to argue that Evolution lives up to its moniker, the familiarity of the architecture is lent considerable gravitas by the overall execution, which as per usual, leaves nothing but perspiration in its wake -- Draiman did remove his very '90s goatee and signature chin piercings, citing a desire to not look like a "45-year old Hot Topic kid," so there is that.© James Christopher Monger /TiVo