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Fearless (Taylor's Version)
Taylor Swift
Country - Released April 9, 2021 | Taylor Swift
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Taylor Swift left her longtime home of Big Machine in 2018, setting up shop at Republic Records. Usually, such changes in label are only of interest to trainspotters, but once Swift departed Big Machine, the label was acquired by a group owned by Scooter Braun, a nemesis of Taylor's. The singer attempted to regain rights to her original recordings to no avail, leaving her with one option: she could re-record her records, thereby undercutting the value of her catalog in terms of syncs, placements, and licensing. Swift carried through on the promise in April 2021, releasing Fearless (Taylor's Version), a brand-new version of her 2008 breakthrough. Swift recorded all 19 songs from the 2009 Platinum Edition of Fearless, adding a new version of "Today Was a Fairytale" from the Valentine's Day soundtrack, then six additional songs ("From The Vault") -- songs that were written around the time of Fearless but not released. These tracks are of greatest interest, as they certainly have a younger, dewy-eyed perspective but were recorded with Aaron Dessner and Jack Antonoff, the producers of Swift's mature work. The blend of youth and experience is appealing, and it can also be heard in the newer renditions of the Fearless material. Swift largely re-creates the arrangements and feel of the original 2008 album, yet her voice and phrasing has aged, giving the music a hint of bittersweet gravity. That said, it's only a hint; Fearless (Taylor's Version) serves the purpose of offering new versions that could be substituted for the originals for licensing purposes. It's to Swift's credit that the album is an absorbing (if long) listen anyway.© Stephen Thomas Erlewine /TiVo
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A Hard Day's Night
The Beatles
Rock - Released July 10, 1964 | EMI Catalogue
Distinctions
The Qobuz Ideal Discography
Soundtrack of the eponymous film directed by Richard Lester (dubbed in French Quatre garçons dans le vent or Four boys in the wind), A Hard Day's Night is a first for The Beatles, as for this third album released at the beginning of summer 1964, John Lennon and Paul McCartney wrote every song on the disc without any covers! And what songs! Can’t Buy Me Love, A Hard Day's Night, I Should Have Known Better - the level is very high and each hit track shows a rapidly developing musical and artistic identity as the group went from being national treasures to international icons. Every corner of this changing pop façade is fascinating. The irresistible melodies are pulled together by sparkling guitars in an innocent, feel-good tribute to all things melodic. A Hard Day's Night is the epitome of the early periods of that famous 'sound' of the The Beatles. Even in ballads such as And I Love Her, the Fab Four already demonstrate a fascinating musical maturity... A true joy for the listener. ©MZ/Qobuz, Translation/BM
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After The Gold Rush
Neil Young
Rock - Released January 1, 1970 | Reprise
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The Qobuz Ideal Discography
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The Window
Cécile McLorin Salvant
Vocal Jazz - Released September 4, 2015 | Mack Avenue Records
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Grammy Awards
After bursting onto the scene in 2013 with the brilliant WomanChild, Cécile McLorin Salvant raised the bar two years later with For One To Love, an even more impressive and complete album on which her voice worked wonders, and the more traditional Dreams & Daggers, recorded live at the Village Vanguard and the DiMenna Center with her faithful trio, the Quatuor Catalyst and the pianist Sullivan Fortner. She chose only to work with the latter of the two for her 2018 vintage album titled The Window. Born on August 28th, 1989 in Miami, Florida, she studied French law, baroque and vocal jazz in Aix-en-Provence in France before winning the Thelonious Monk International Jazz Competition in 2010 (at only 20 years old, in front of a panel of judges made up of Al Jarreau, Dee Dee Bridgewater, Patti Austin, Dianne Reeves and Kurt Elling!). For this album she decided on a vocal-piano duet. A baptism of fire which further demonstrates her astounding vocal ability. It is an album that also focuses on the complex nature of love through covers of songs by Richard Rodgers, Cole Porter, Leonard Bernstein and even Stevie Wonder. This is further proof that Cécile McLorin Salvant is anything but the cliché of a jazz singer, as trumpeter Wynton Marsalis puts it: “ You get a singer like this once in a generation or two…” © Marc Zisman/Qobuz
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Live at Massey Hall 1971
Neil Young
Rock - Released December 15, 2017 | Reprise
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Hydra
Within Temptation
Rock - Released January 31, 2014 | Force Music Recordings
Booklet
The sixth studio long-player from Netherlands-based symphonic rock outfit Within Temptation picks right up where 2011's generally well-received conceptual outing Unforgiving left off, expanding on the group's penchant for stylistic elasticity while maintaining a foundation of solid songwriting and engaging narrative. The appropriately named Hydra (the multi-headed monster of myth reflects the group's ability to juggle multiple musical genres) includes guest appearances from Killswitch Engage vocalist Howard Jones, rapper Xzibit, ex-Nightwish vocalist Tarja Turunen, and Soul Asylum vocalist Dave Pirner, and features the singles "Paradise (What About Us?)" and "Dangerous."© James Christopher Monger /TiVo
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We Can't Dance
Genesis
Pop - Released October 28, 1991 | Rhino Atlantic
After spending the 1980s moving in an increasingly pop-friendly direction, 1991's We Can't Dance marked a return to earlier aesthetics for Genesis. Edgier with more prominent guitars and live drums than on Invisible Touch, the record was the band's strongest musical statement in over a decade. With "Driving the Last Spike" and the dark "Dreaming While You Sleep" the group revisited one of their forgotten strengths, telling extended stories. That's not to say the album is a return to The Lamb Lies Down on Broadway or Trick of the Tail. Indeed, while there are several extended pieces on the record, there is none of the eccentricities, odd meters, or extended virtuoso solos of the band's progressive heyday. The album's closer, "Fading Lights," comes the closest, featuring an outstanding instrumental mid-section. Unfortunately, the record also contains some gutless ballads and paeans for world understanding that sound miles away from any immediacy. However, the surprisingly gritty singles "No Son of Mine," "Jesus He Knows Me," and "I Can't Dance" help make up for the album's weaker moments.© Geoff Orens /TiVo
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After The Gold Rush (50th Anniversary)
Neil Young
Rock - Released December 11, 2020 | Reprise
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In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, "Helpless" and "Country Girl," returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, "Sugar Mountain" and "Oh, Lonesome Me," also emphasized those roots. But "Ohio," a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, "Southern Man" (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young's most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young's major achievements.© William Ruhlmann /TiVo
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On The Inside
Gotts Street Park
Alternative & Indie - Released October 13, 2023 | Blue Flowers Music
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Tell Me Why
Supermode
Dance - Released September 2, 2022 | Axtone Records
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Turn It on Again: The Hits
Genesis
Pop - Released October 26, 1999 | Rhino Atlantic
Originally, there were plans for two Genesis box sets -- one covering the classic Peter Gabriel era, the other chronicling the band's development into hit-makers under the direction of Phil Collins. The Gabriel set was released in 1998, but instead of a second box following it in 1999, the single-disc Turn It on Again: The Hits appeared. Truth be told, it was a wise move, because even if the Collins set appears, there will be a market for a concise collection of hits, which Turn It on Again more or less is. Since Genesis had such a prolific career and had so many hits, it should come as no surprise that the compilation isn't complete, but it's a little disappointing to discover that such latter-day non-entities as "Hold on My Heart" (from the last Collins album, We Can't Dance) and "Congo" (from the post-Collins album, Calling All Stations) are included in favor of such fine singles as "Paperlate" or "Man on the Corner." But that's nitpicking, since all the big hits are here: "Turn It on Again," "Invisible Touch," "Follow You, Follow Me," "Tonight, Tonight, Tonight," "In Too Deep," "That's All," "Misunderstanding," "Throwing It All Away," and the list goes on and on. True, the sublime Gabriel number "I Know What I Like (In Your Wardrobe)" sounds completely out of place sandwiched between "Abacab" and "No Son of Mine," but it's nice to have it here. Similarly, "The Carpet Crawlers 1999," reworked as a duet between Collins and Gabriel, is a surprisingly effective re-recording, and a nice inclusion. It may not be enough to convince hardcore fans that they need Turn It on Again, but this album is really for listeners who've thought of Genesis as a singles act, and they're not going to be disappointed by this.© Stephen Thomas Erlewine /TiVo
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Human
Three Days Grace
Rock - Released March 27, 2015 | RCA Records Label
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Gather Me
Melanie
Folk/Americana - Released July 1, 1971 | Buddah - Legacy
After the release of The Good Book in early 1971, Melanie Safka and her producer (and then husband) Peter Schekeryk left Buddah Records to form their own label, Neighborhood Records, and the new freedom seemed to do her a world of good -- Gather Me, released later the same year, is one of her most accomplished and confident albums, a set that allowed Melanie the room to indulge her lyrical obsessions while Schekeryk created superb musical accompaniment from her simple but forceful melodies. The epochal "Ring the Living Bell" is a pocket suite that takes a skeletal lyrical conceit and gives it flight through sheer belief while Schekeryk's arrangement, reinforced with gospel style vocal backing, makes this accomplishment all the more impressive. "Railroad," "Little Bit of Me," and "Steppin'" display a lyrical maturity and subtle strength that marked a real step forward for Melanie as a songwriter, and "Some Say (I Got Devil)" is an emotionally devastating tale of a pregnant teenager who clearly has no idea what she should do. Melanie's habit of overplaying her hand as a vocalist is thankfully in retreat on Gather Me, which finds her in full control of her instrument and communicating a wide palette of emotions without becoming melodramatic. And if "Brand New Key" comes across like a silly novelty tune in this context, it's a playful and engaging one, and Melanie sounds like she's having fun putting Freudian symbolism within the grasp of AM radio. Gather Me may well be Melanie's finest album, capturing her at the height of her skills as a writer and singer, and it has stood the test of time better than the majority of her work.© Mark Deming /TiVo
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Graham Central Station
Larry Graham & Graham Central Station
Funk - Released January 1, 1973 | Rhino - Warner Records
This promising 1973 album represents bass wizard Larry Graham's first post-Sly and the Family Stone work. Much like his previous band, Graham Central Station was a multiracial unit that blended soul grooves and pop hooks to create an exuberant hybrid. However, Graham Central Station gives Graham's bass work a more upfront role in the sound and adds further layers of rhythms with drum machines and rhythmic-sounding keyboards like the clavinet. The result is a disc that is equal parts pop-soul ("Ain't No Fun to Me") and funk ("We Be Gettin' Down"). The blend isn't as seamless as one might hope, which means some songs are stronger on groove then they are on melody: "Tell Me What It Is" has a great groove built on a seamless mix of thumping bass and throbbing drum machine, but lacks the melodic hooks necessary to make it a truly memorable song. Another problem is that the lyrics are underdeveloped in places: "People" rails against injustice but fails to point the finger at a specific cause, and "Why?" treads on too-familiar love lament territory. Despite these problems, Graham Central Station remains an engaging listen thanks to fine musicianship; even when the songs are lacking in hooks, there is an abundance of cool riffs and stellar vocal harmonies that will make funk fans smile. When this musicianship is applied to the right songs, the results are pure magic: "Hair" wraps a clever lyric about tolerance around a huge groove driven by one of Graham's serpentine basslines, and "Can You Handle It?" effectively fuses a pop melody built on a sing-along chorus to a propulsive bass/keyboard groove (it also became the group's first chart hit). In short, casual listeners may want to pick up this album's highlights on a compilation, but funk lovers will find plenty to enjoy on Graham Central Station.© Donald A. Guarisco /TiVo
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Blues and Beyond
Gary Moore
Blues - Released November 24, 2017 | BMG Rights Management (UK) Limited
Blues and Beyond is a compilation box set assembling various recordings from legendary Northern Irish singer/songwriter and blues guitarist Gary Moore. The collection features previously unheard material as well as live renditions of the hits "Still Got the Blues" and "Parisienne Walkways." I Can't Wait Until Tomorrow, an authorized biography written by music journalist Harry Shapiro, is also included.© Rob Wacey /TiVo
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