Queen Kylie Minogue's 2020 album, the bluntly titled Disco, was brilliantly lit by the glow of the disco ball. This time around, she's bringing an electro-pop strobe to the dance floor —and, at 55, proving age really doesn't mean anything. While Madonna has been spinning fruitlessly in search of reinvention, Minogue just keeps nailing trends and staying refreshingly relevant. "Padam Padam"—the onomatopoeic sound of a heartbeat—lives in a metallic echo chamber, carefully curated by producer Lostboy and decorated with an infectious snake-charmer chorus. "I'll be in your head all weekend," Minogue sings prophetically. "Tension" goes deep with '90s house keyboards and beats, and a robotic effect for Mingoue's sexy come-on, directing exactly how she wants to be handled by a lover—"Oh, my god/ Touch me right there/ Almost there/ touch me right there"—while also also making it clear she is completely in control: "I'm a star babe-babe-babe/ Do this all day-day-day/ Cool like sorbet-bet-bet." She works all her vocal tricks on tropical-vibe "One More Time": cooing, showing powerhouse strength, effortlessly hitting the high notes, sassing and whooping and sweating it. (Even though it's not a direct tribute, you can't help but be reminded by Daft Punk's monster hit of the same name.) "Green Light" is cool-breeze cafe pop with smooooooth jazz sax. "Things We Do for Love" delivers an energetic burst of euphoria with a shiny soap bubble of a bridge. "You Still Get Me High" fronts like a prom ballad before erupting into an emo-beat thriller, with wailing sax upping the adrenaline; it's like Kylie x Bleachers, and it's fun. "Hands" finds Minogue casually rapping and delighting in '90s girl-group R&B. "Vegas High" captures that city's cut-loose party vibe and is obviously a tie-in for her residency at the Venetian, which begins November 2023. But she makes up for that bit of cheesiness with "10 Out of 10,"  a goofy, giddy lark of a collaboration with Dutch DJ Oliver Heldens that delivers a Pet Shop Boys-style droll chorus: "Body, 10/ Touch, 10 / Energy, 10." Kylie: 10.  © Shelly Ridenour/Qobuz

“This is my life in Songs. Some of them reconstructed, some of them refitted, some of them reframed, and all of them with a contemporary focus.” That is the description of Sting’s latest record, making this more than just a collection of his biggest hits (either solo or with The Police). It was a particular kind of rhythm that he wanted to work in, so as to eliminate the ‘dated’ feel to some of his songs (according to Sting himself). More striking than the original, the drums of Demolition Man, If You Love Someone Set Them Free, Desert Rose and even Englishman in New York will take listeners by surprise. Regarding this famous tribute to gay icon Quentin Crisp, the song released in 1988 is seasoned by pizzicatos and a soprano sax solo.As for the other ballads, it’s more in the singer’s texture and vocal prowess that the reinvention is most noticeable. Less pure but more structured than before, Sting’s voice carries a new dimension in Fields of Gold and Fragile, two songs that also prove that the Englishman’s talent as a melodist has not aged a bit. The same goes for tracks taken from his Police years too, in particular Message in a Bottle and Walking on the Moon, as well as the ubiquitous Roxanne (presented here as a live version). © Nicolas Magenham/Qobuz

For what we are told is his 74th solo studio longplayer (well, who's counting?), the absolute force of nature that is Willie Nelson has chosen to revisit some of the best songs from his own catalog—including "On the Road Again," "Yesterday's Wine," "A Good Hearted Woman," and "Bloody Mary Morning"—and record them in a bluegrass vein. This infectious, high keening sound, bluegrass, coined and minted in the 1950s by Bill Monroe and friends in the hills of Kentucky, has always been more of a subtle influence on Nelson's own sound; his obvious earliest influence was the Western swing perfected by Bob Willis and his Texas Playboys. Monroe did perform at Live Aid in 1990 and once recorded a duet with Nelson, but this entire project seemed a bit out of left field upon its announcement. Thankfully, Bluegrass is nothing aside from a delightful surprise.With crisp production duties overseen by longtime producer Buddy Cannon, the band assembled here is a who's who of modern bluegrass: Ron Block (banjo), Josh Martin (acoustic guitar), Rob Ickes (dobro), Barry Bales (upright bass), Aubrey Haynie (fiddle), Dan Tyminski (mandolin), Seth Taylor (mandolin) and Bobby Terry (acoustic guitar, gut string guitar). Curiously, Nelson made the album without one of his nearest and dearest companions. The record could be seen in part as a tribute to Nelson's longtime sideman, guitarist Jody Payne, who played with Nelson from 1973 until his death in 2013. He told AARP that it's the first album where he "didn't play 'Trigger' since I've had him," referring to the busted-up Martin N-20 acoustic guitar Nelson first got in 1969—as much a part of Willie Nelson's entire vibe as his long hair and wide smile. Because Nelson was reared on Western swing, one assumes that it would take more practice to shoehorn his jazzy, laconic style into these reworkings.What might be the sappy equivalent of those truckstop knockoff bluegrass tributes to individual artist records turns out to be a wonderful addition to Nelson's catalog. Bluegrass interpretations by well-known country stars continue to be successful, for as diverse an array as Dwight Yoakam, Dolly Parton, and Sturgill Simpson. And the music's resurgence sees no signs of slowing, thanks to such stalwarts as Molly Tuttle, Billy Strings, and Railroad Earth. Nelson's entry, recorded just before his 90th birthday, will age well. As with Tony Bennett or Miles Davis at the end of their own careers, Nelson is clearly kept alive, and buoyantly so, by the power of his music, and his fans' devotion for it. © Mike McGonigal/Qobuz

The star of this second album from Charlotte Cardin (after Phoenix in 2021), is first and foremost the singer's voice: muted and nuanced, she’s comfortable with all styles, from the intimate ballad “Next to You” (dedicated to Montreal), to the sunny pop of “How High.” “The entire album is driven by the desire to be free. From our self-perceptions, our unrealistic ambitions, our own contradictions, from everything that stops us from taking a breath of fresh air,” reveals the singer from Quebec, who was discovered on The Voice in 2013. For her, it’s the dangers of an overdeveloped ego that can drive a person crazy, just like Andy Kaufman’s character in Milos Forman’s Man on the Moon. And it’s Jim Carrey, star of The Mask, who embodies the comedian lost in his multiple personalities, and whom Charlotte Cardin asks to marry her in one of the bravura pieces of 99 Nights (“Jim Carrey”). The topic of insanity is also brilliantly taken on in “Looping” (“Voices / Voices / Voices / In my head”) and “Confetti” (“Always been loud in a quiet way / I always feel alone in a crowded place”). To curb lurking madness, she invites us to dive into the intoxicating effects of freedom, like a puppy feeling the wind on its face by sticking its head out the car window (“Puppy”). In a mix of pop and rock, hip hop and electro, Charlotte Cardin has fashioned an album that suits her perfectly: both elusive and sensitive, sincere and lighthearted. ©Nicolas Magenham/Qobuz    

Two generations. Two styles. Two voices. And an album in common… For about twenty years, crooner Tony Bennett and singer and pianist Diana Krall had produced a few duos here and there, but never an entire album. With this Love Is Here To Stay, they jumped right in and involved another five-star tandem in their enchanted parenthesis of refined vocal jazz: George and Ira Gershwin. They went digging through the vast repertoire of the most famous brothers of 20th American popular music to create this album that seems from another time, produced with the trio of impeccable pianist Bill Charlap, Peter Washington on the double bass and Kenny Washington on drums… Tackling the Great American Songbook is always a redeeming and almost necessary baptism of fire for any worthy jazz singer. And these two didn’t wait for 2018 to do it. Here, each one excels in what they do best, even if, at 92 years of age, Tony Bennett obviously doesn’t have the same organ as he did when he sung I Left My Heart In San Francisco, which made him popular in 1962. Sinatra’s favourite singer knows it, and manages to find a range in line with his vocal condition. The result is particularly touching. A great professional, Diana Krall adapted her singing to the New Yorker, turning their exchanges into endearing, slightly retro flirting. The 38 years between them become the main asset of an old-fashioned yet delightful album. © Clotilde Maréchal/Qobuz

Having experimented with their sound over the course of two albums, England's the 1975 settle down into a cozy and melodic vibe with 2022's Being Funny in a Foreign Language. Produced by lead singer Matthew Healy, with drummer George Daniel and Jack Antonoff, the album follows the companion releases of 2018's A Brief Inquiry Into Online Relationships and 2020's Notes on a Conditional Form. Those albums revealed the band's transformative knack for exploring a variety of styles, from lo-fi pop and Auto-Tuned R&B, to ever more avant-garde electronic soundscapes. In contrast, Being Funny is a relatively straight-forward production, nicely evoking the group's first two albums. In fact, if Being Funny had been the group's third release after 2016's I Like It When You Sleep, it would have made a lot of sense. These are immediately infectious songs built on shimmering guitar and keyboard riffs, several of which, including "Happiness" also feature saxophonist Zem Audu, whose bright sonic textures add to the bands jazzy, early-'80s adult contemporary pop vibe. Equally compelling are cuts like "Looking for Somebody to Love," "Part of the Band," and "Oh Caroline," all which pleasingly mesh the group's adopted Fleetwood Mac influence with the more dance-oriented post-punk style of their 2013 debut. There's also a sense that the band has gone through some tough times and maybe even had some therapy to deal with past trauma. It's a feeling of self-examination that Healy brings to "When We Are Together," admitting his toxic behavior in a relationship "I thought we were fighting but it seems I was 'gaslighting' you. I didn’t know that it had its own word." Other modern buzz words the band seem to have discovered pop up throughout the album as they reference "QAnon," "Getting Cucked," and "Canceled," themes that speak to Healy's ongoing hyper-awareness of contextualizing the band within the culture they are living through. On "Part of the Band," he even wonders, "Am I ironically woke? The butt of my joke?" It's an awareness that drives Being Funny from the start, as on the opening "The 1975," a song the band have continually reworked on each of their albums and which sets the tone for where their heads are at. Here, Healy offers sympathy to any of his teenage fans who find themselves growing up in what feel like increasingly troubled and divisive times. He also apologizes for his own infamously outspoken persona with the wry mea culpa "I’m sorry about my 20s I was learning the ropes, I had a tendency of thinking about it after I spoke." With Being Funny in a Foreign Language, Healy and the 1975 do seem to have matured, confidently jumping off the ropes and back into the center of the pop music ring. © Matt Collar /TiVo

Comic actors John Belushi and Dan Aykroyd received a lot of flak for their Blues Brothers shtick -- mostly for the albums, not 1980's beloved classic film. But they should be given credit for exposing many people -- including this reviewer -- to the music of blues and R&B veterans. The Blues Brothers soundtrack was released on Atlantic Records. On the surface this doesn't seem unusual, since the Blues Brothers' Atlantic debut, Briefcase Full of Blues, was a number one album; but the movie was released by Universal, and its parent company, MCA, passed on the soundtrack. The rollicking remake of the Spencer Davis Group's "Gimme Some Lovin'" was a hit, featuring an arrangement notable for the horn section that replaces Steve Winwood's rumbling organ work. Ray Charles has a good time with "Shake a Tail Feather," and he's helped out by Jake and Elwood Blues (Belushi and Aykroyd, respectively). The cover of Solomon Burke's "Everybody Needs Somebody to Love" is a lot of fun, thanks to the great overall rhythm and Elwood's lightning-fast stage rap, while James Brown and the Reverend James Cleveland Choir provide a blast of gospel music on "Old Landmark." Aretha Franklin's "Think" is explosive, and Cab Calloway's "Minnie the Moocher" is slyly irresistible. Charles, Brown, Franklin, and Calloway all have small roles in the film, yet so does John Lee Hooker, but he's not represented here.© Bret Adams /TiVo

Joan Armatrading's eponymous third album is a charmer, almost single-handedly elevating her into the ranks of rock's leading female artists. Up to this point, Armatrading had shown that she had a lovely voice and an ear for interesting arrangements, but her work had been steeped in the folk idiom of the early '70s. Her third album changed all that, with producer Glyn Johns bringing in members of Gallagher & Lyle, Fairport Convention, and the Faces to punch up her folksy sound with elements of rock, country, and disco. The result is her most muscular music to date, with Armatrading adopting a swagger that showed her tales of unluckiness in love didn't have to have dire consequences ("Tall in the Saddle," "Water With the Wine"). Of course, it helped that the record featured her best material delivered in a wonderfully expressive voice that can capture the shades between song and speech like a sweeter version of Ian Anderson. "Down to Zero" (which features pedal steel guitarist B.J. Cole) and "Love and Affection" are the album's most memorable tracks, the latter breaking into the U.K.'s Top Ten (the album itself made the U.K. Top 20). But what endears this record to fans is the quality of each song; it wouldn't be fair to call anything here filler. The artsy and eclectic "Like Fire," the beautiful ballad "Save Me," and the ingratiating melodies of "Somebody Who Loves You" are just as likely to strike a chord with listeners as the better-known cuts. While Glyn Johns deserves credit for bringing Joan Armatrading's songs into a more flattering setting -- it's not coincidental that the record feels like a polished version of The Who by Numbers -- his real stroke of genius was letting the artist flower to her full potential. For many, this album remains the high point in her catalog. © Dave Connolly /TiVo

The second album by Jefferson Airplane, Surrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964. And decades later the album still comes off as strong as any of those artists' best work. From the Top Ten singles "White Rabbit" and "Somebody to Love" to the sublime "Embryonic Journey," the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist). Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didn't represent their real sound. Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didn't record for official release any of the group's shows from the same era, when this material made up the bulk of their repertory. That way the live versions, with the band's creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than "Today," which he'd actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band's ability to do a straightforward song. The group never made a better album, and few artists from the era ever did.© Bruce Eder /TiVo

Though the reissue campaign that presented PJ Harvey's albums with their demos was extensive, it still didn't gather everything in her archives. She fills in those gaps with B-Sides, Demos & Rarities, a comprehensive set of harder-to-find and previously unreleased material that covers three decades of music. Kicking off with a handful of previously unreleased demos, the collection celebrates what makes each track special within Harvey's chronology. Short but fully realized versions of "Dry" and "Man-Size" reaffirm that by the time she hits the record button, she knows exactly what she's doing; the guitar and voice sketches of "Missed" and "Highway 61 Revisited" are as formidable as the finished takes; and the demo of the B-side "Me Jane" (yes, that's how thorough this set is) offers one of the Rid of Me era's catchiest songs in an even rawer state. B-Sides, Demos & Rarities reinforces just how vital Harvey's non-album tracks are to her creative trajectory. The uncanny carnival oompah of "Daddy," a "Man-Size" B-side, feels like one of the earliest forays into the eeriness that gave an extra thrill to To Bring You My Love, White Chalk, and much of Harvey's later work. She continues Is This Desire?'s experimentation on "The Bay," which contrasts songwriting befitting a classic folk ballad with pulsing keyboards and jazzy rhythms, and continues to try to make sense of the world's chaos on Stories from the City, Stories from the Sea-era material spanning the whispery Saturn return of "30" to "This Wicked Tongue," an updated expression of biblical sin, desire, and torment that delivers one of the set's most quintessentially PJ Harvey moments. Fittingly for such an anachronistic-sounding album, White Chalk's B-sides reach back to Harvey's earliest days: "Wait" and "Heaven" date back to 1989 and deliver sprightly, strummy folk-pop that's almost unrecognizable as her work. The set's previously unreleased music contains just as many revelations. One of its most notable previously missing puzzle pieces is the demo of Uh Huh Her's title track. A shockingly pure expression of rage, jealousy, and sorrow, it may have been too raw and revealing even for a PJ Harvey album, but it's a shame that it and the like-minded "Evol" didn't make the cut. Conversely, "Why'd You Go to Cleveland," a 1996 collaboration between Harvey and John Parish, and the 2012 demo "Homo Sappy Blues" are downright playful, proving the complete picture of her music includes something akin to fun. Highlights from the collection's 2010s material include "An Acre of Land," a lush ballad rooted in the British folk traditions that are just as essential to her music as punk or the blues, and the 2019 cover of Nick Cave's "Red Right Hand," which pays homage to a kindred spirit while transforming the song into something more desolate and plaintive. A must-listen for anyone following Harvey's archival series, B-Sides, Demos & Rarities serves as a fascinating parallel primer to her music and the multitudes within it.© Heather Phares /TiVo

It may have taken the Notorious B.I.G. a few years to follow up his milestone debut, Ready to Die (1994), with another album, but when he did return with Life After Death in 1997, he did so in a huge way. The ambitious album, intended as somewhat of a sequel to Ready to Die, picking up where its predecessor left off, sprawled across the span of two discs, each filled with music, 24 songs in all. You'd expect any album this sprawling to include some lackluster filler. That's not really the case with Life After Death, however. Like 2Pac's All Eyez on Me from a year before, an obvious influence, Biggie's album made extensive use of various producers -- DJ Premier, Easy Mo Bee, Clark Kent, RZA, and more of New York's finest -- resulting in a diverse, eclectic array of songs. Plus, Biggie similarly brought in various guest rappers -- Jay-Z, Lil' Kim, Bone Thugs, Too $hort, L.O.X., Mase -- a few vocalists -- R. Kelly, Angela Winbush, 112 -- and, of course, Puff Daddy, who is much more omnipresent here than on Ready to Die, where he mostly remained on the sidelines. It's perhaps Puffy himself to thank for this album's biggest hits: "Mo Money Mo Problems," "Hypnotize," "Sky's the Limit," three songs that definitely owe much to his pop touch. There's still plenty of the gangsta tales on Life After Death that won Biggie so much admiration on the streets, but it's the pop-laced songs that stand out as highlights. In hindsight, Biggie couldn't have ended his career with a more fitting album than Life After Death. Over the course of only two albums, he achieved every success imaginable, perhaps none greater than this unabashedly over-reaching success. Ready to Die is a milestone album, for sure, but it's nowhere near as extravagant or epic as Life After Death.© Jason Birchmeier /TiVo

During the late '50s, Ella Fitzgerald continued her Song Book records with Sings the George and Ira Gershwin Song Book, releasing a series of albums featuring 59 songs written by George and Ira Gershwin. Those songs, plus alternate takes, were combined on a four-disc box set, Sings the George and Ira Gershwin Song Book, in 1998. These performances are easily among Fitzgerald's very best, and for any serious fan, this is the ideal place to acquire the recordings, since the sound and presentation are equally classy and impressive.© Leo Stanley /TiVo