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Texas Flood

Stevie Ray Vaughan

Blues - Released January 29, 2013 | Epic - Legacy

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The Battle Of Los Angeles

Rage Against The Machine

Rock - Released November 1, 1999 | Epic

Rage Against the Machine isn't really the only metal band that matters, but their aggressive social and political activism is refreshing, especially in an age of blind (or usually self-directed) rage due to groups like Limp Bizkit, Bush, or Nine Inch Nails. Recorded in less than a month, The Battle of Los Angeles is the most focused album of the band's career, exploding from the gate and rarely letting go the whole way through. Like a few other famous revolution-in-the-head bands (most notably Minor Threat), Rage Against the Machine has always been blessed by the fact that the band is spewing just as much vitriol as its frontman. Any potential problems created here by Zack de la Rocha's one-note delivery and extremist polemics are smoothed over by songs and grooves that make it sound like the revolution really is here, from the single "Guerrilla Radio" to album highlights like "Mic Check," "Calm Like a Bomb," and "Born of a Broken Man." As on the previous two Rage Against the Machine albums, Tom Morello's roster of guitar effects and vicious riffs are nigh overpowering, and are as contagious as the band has ever been since their debut. De la Rocha is best when he has specific targets (like the government or the case against Mumia Abu Jamal), but when he attempts to cover more general societal problems, he falters. If anything less than one of the most talented and fiery bands in the music world were backing him, The Battle of Los Angeles wouldn't be nearly as high-rated as it is.© John Bush /TiVo
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I Hope You Can Forgive Me

Madison McFerrin

R&B - Released May 12, 2023 | MadMcFerrin Music

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After several EPs since 2016, Madison McFerrin has released her first album, I Hope You Can Forgive Me, a demonstration of fragility and vocal dexterity. Let's lift the veil straight away: yes, Madison is Bobby's daughter, the great American singer renowned for his vocal acrobatics, which appear on Run. Madison inherited a taste for harmonies from her older sister, which she treated as bases of expression, just like the skilful layering that platforms this superb album and creates a choral and intimate sound. By layering, Madison McFerrin creates a fascinating chimera. Influenced by contemporary American R&B, she had the entertaining idea of ​​venturing into gospel sounds, especially on the eloquent God Herself. A record haunted by the torment of a loved one, and by death, which almost prevailed during a car accident she experienced. The album is in all respects the epitome of success. @Brice Miclet/Qobuz
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Since I Have A Lover

6LACK

R&B - Released March 24, 2023 | LVRN - Interscope Records

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6LACK made it known with the release of the breezy and uncharacteristically serene "Since I Have a Lover" that his like-titled album would be quite different from the immensely successful East Atlanta Love Letter. Although the singer deals with some tense romantic and personal situations (best heard on the subtly compelling "Rent Free"), and lets loose with a belligerent or domineering couplet now and then, Since I Have a Lover is altogether lighter -- and more emotionally open -- than either of his first two LPs. 6LACK picked up guitar between albums and puts it to immediate use here. His gentle strums add a slightly dusty golden tinge to the title cut and other standouts such as "Inwood Hill Park" and "Wunna Dem," the latter a couples perseverance ballad featuring shadowy background vocals from partner Quin, also heard elsewhere. As a vocalist, 6LACK still often sounds enervated (if always lucid) in a way that rewards only close listening from those who value crooners over belters.© Andy Kellman /TiVo
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We Only Talk About Real Shit When We're Fucked Up

Bas

Hip-Hop/Rap - Released December 15, 2023 | Dreamville - Interscope

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Bridges

Dianne Reeves

Jazz - Released January 1, 1999 | Blue Note Records

Dianne Reeves is such a talented and warm singer that many jazz fans wish that she would stick to performing jazz. Reeves, here, mostly performs music that is folk and pop oriented, sincere renditions that actually have very little improvisation. Only the closing, "Make Someone Happy" (which has a trumpet solo from Marcus Printup) is jazz oriented. Otherwise, Reeves sings pieces that apparently mean a lot to her (including a couple songs that might be autobiographical) with a band that has appearances by keyboardists Billy Childs, George Duke and Eddie Del Barrio, altoist Kenny Garrett, bassist Stanley Clarke, drummer Terri Lynn Carrington and others.© Scott Yanow /TiVo
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Bad Luck Ain't No Crime

Blackberry Smoke

Country - Released July 1, 2003 | 3 Legged Records

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The Battle Of Mexico City

Rage Against The Machine

Rock - Released October 28, 2020 | Epic

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Brass Against IV

Brass Against

Rock - Released February 25, 2022 | Footnote Records

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Texas Flood (Legacy Edition)

Stevie Ray Vaughan

Blues - Released January 1, 1983 | Epic - Legacy

Distinctions The Qobuz Ideal Discography
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Halfway To Memphis

David Gogo

Blues - Released November 30, 2000 | Cordova Bay Records - Fontana North

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Live at the Grand Olympic Auditorium

Rage Against The Machine

Pop/Rock - Released November 8, 2003 | Epic

Live at the Grand Olympic Auditorium documents the last two shows from Rage Against the Machine, recorded in September 2000 for a planned November release, but canceled when the band broke up, and postponed for the second time one year later after three-fourths of the band formed Audioslave with Chris Cornell. The finished product isn't a very good look at one of the finest metal bands of the '90s, not because the performance quality is lacking but because of mixing problems and the simple problems inherent in transferring the energy of a live concert to record. Featuring highlights from the two shows, recorded September 12th and 13th, this delayed version of Live at the Grand Olympic Auditorium also downplays the cover material that comprised the band's last studio album, Renegades, which is a good thing for the fans who agree that Rage performed better with originals than covers. Early on, the band storms through three of its career highlights -- "Killing in the Name," "Bulls on Parade," and "Bullet in the Head" -- with intense performances that capture its combination of heavy metal strut and punk rock disdain. Something is lacking here, though. Zack de la Rocha's vocals are too high in the mix, and the band sounds powerful but surprisingly muddy. Tom Morello's ragged guitar work and siren effects occasionally cut through the fog, but the songs here add little to what fans know of the studio albums. The two covers, cut down from five, add little to the concert; Rage's version of the EPMD classic "I'm Housin'" is a misguided attempt at injecting melodramatic tension into an original that was eerie precisely because the vocal was so nonchalant, and MC5's "Kick Out the Jams" is butchered by de la Rocha, whose attempts to sing the song are flubbed badly.© John Bush /TiVo
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Art of Love

Cory Henry

Funk - Released August 28, 2020 | Henry House Entertainment - Culture Collective

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HNDRXX

Future

Hip-Hop/Rap - Released February 24, 2017 | Epic - Freebandz - A1

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Released just a week after his self-titled fifth effort, Future's HNDRXX provided an introspective and confessional complement to the more extroverted Future. Languid and self-aware, HNDRXX presents Future as a man lamenting past sins and missteps. Without ever mentioning her by name, ex-girlfriend Ciara looms over many of the songs, the former couple's legal troubles bleeding into Future's wounded lyrics. For fans in search of more substance than what would typically be found in his usual trap bangers, HNDRXX offers one of the deepest views into the rapper born Nayvadius Wilburn's soul. So while the production here isn't as exciting as on Future, the vulnerability displayed makes HNDRXX a highlight in Future's catalog. "Use Me" serves double-duty, not only as a plea to a woman, but also as a tempting call from his drugs. On "Turn on Me," a late-album track packed with some of his more exposed open-journal rhymes, Future wonders "why [he] ain't happy." After all the boasting and bravado, it's almost refreshing to hear him be a normal, damaged man. R&B stars the Weeknd and Rihanna offer two high-profile features on HNDRXX, bringing their own pain and catharsis to Future's therapy session. "Selfish," the Rihanna number, is a bittersweet, yearning highlight. When digested with Future, HNDRXX shows listeners what lies beneath the veneer and posturing, a brief look at the struggles one man must face when the party ends.© Neil Z. Yeung /TiVo
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Live at Carnegie Hall

Stevie Ray Vaughan & Double Trouble

Blues - Released January 4, 1997 | Epic

Live at Carnegie Hall captures Stevie Ray Vaughan on the supporting tour for his second album, 1984's Couldn't Stand the Weather. The Carnegie Hall concert was a special show, since it was the only time Vaughan and Double Trouble added the brass section from Roomful of Blues to augment their sound; in addition, the concert featured guest appearances from Stevie's brother Jimmie and Dr. John. There might have been more musicians than usual on-stage, but Stevie Ray remains the center of attention, and he is in prime form here, tearing through a selection of his best-known songs which generally sound tougher in concert than they do in the studio. It's the best live Stevie Ray record yet released.© Thom Owens /TiVo
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No Nuclear War

Peter Tosh

Reggae - Released September 21, 1987 | Parlophone UK

It's one of the great ironies that Peter Tosh was murdered just days after the release of No Nuclear War, for this was a poor epitaph to an otherwise shining career. It was a tough time for a reggae artist, even a legendary one like Tosh. Previously, the former Wailer had tapped into a variety of styles, creating a unique sound that was built on a Jamaican foundation, but looked equally to the West for inspiration. But at this time, Jamaica was in the grips of ragga, and digitized dancehall ruled the island, while the West was in a rut, caught between the clutches of glam metal and the tail end of synth-dance. So, what was a respected roots practitioner to do? Tosh struggles with the question, but never quite finds an answer. His solution was to try to create a majestic sound, which sadly just ends up sounding ponderous and portentous, with the title track and "Lessons in My Life" particularly suffering this fate. A few of the songs are given a dancehall sheen, but for that to have worked, the rhythms have to be strong, and none of them really are. Not surprisingly then, the most successful song on the set is "Vampire," a fairly straightforward rootsy song. What adds to the irony is that lyrically the album is extremely strong, and powerfully delivered. In the hands of an outside arranger and producer, this might have been an album worthy of Tosh's name, but left to his own devices, it was a disappointment, made worse by the shock of his death.© Jo-Ann Greene /TiVo
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Testify

P.O.D.

Rock - Released January 23, 2005 | Atlantic Records

Whether it be the group's Christian ethos, ethnically diverse makeup, or reggae-sunsplash-meets-Ozfest vibe, P.O.D. has always retained a bit more respectability than their rap-rock peers. Even during the group's most "nu-metal" moments, they sound like they have at least heard Bad Brains' first three albums and probably dug them. Smartly, on their fifth studio album, Testify, the band continues to eschew such rap-rock gimmicks as ancillary use of turntables and cheesy samples, and instead delivers a mature and workmanlike metal monster-piece. Bright, loud, but always artful, Testify's glossy production comes via journeyman hitmaking producer and synthesizer master Glen Ballard. While P.O.D. has lost none of their rootsy funk metal swagger, Ballard -- the man behind such pop titans as Michael Jackson, Van Halen, and Alanis Morissette -- has found a way to give them an eminently palatable studio sheen that brings to mind a deft mix of the arena rock of Asia and the Police, as much as it does Sepultura. The move toward a more polished sound also pays dividends creatively, as guitarist Jason Truby, while not quite as forward-thinking as Audioslave's Tom Morello, nonetheless shines under Ballard's approach, delivering a truly inspired and technically brilliant performance. Similarly, vocalist Sonny seems reinvigorated and practically giddy on the lead-off track, "Roots in Stereo." Spiritually, the band is as concerned as ever with Jah, inner strength, and the "blood of God's veins," and if the melancholy single "Goodbye for Now" is any indication, they still have a few inner demons to wrestle with creatively. Luckily, though, they haven't forgotten the funk, and songs such as the head-snapping "Lights Out" and the Sabbath-esque "Sounds Like War" combine a bit of hip-hop fun with Bob Marley-inspired metal faith. Throw in a couple of serendipitous guest spots from Hasidic rapper Matisyahu and by the time you get to the devastating metal-reggae album closer, "Mark My Words," you've got a band reborn.© Matt Collar /TiVo
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Tear The Roof Off (1974-1980)

Parliament

R&B - Released May 18, 1993 | Mercury Records

The Best of Parliament: Give Up the Funk may capture the band's bare essentials, but given the band's penchant for stretching out on extended jams (which included some of their best songs), it's hard to get anything beyond the most basic overview of their work on just one disc. Unless you're a very casual fan, a much better bet is the double-disc Tear the Roof Off 1974-1980, whose 25 tracks add plenty of much-needed detail behind the best-known and most-sampled hits. Slightly more party-oriented than Funkadelic, Parliament created the wildest atmosphere of all the projects in the George Clinton oeuvre, full of loopy humor and way-out sci-fi concepts. Parliament were also more of a singles act than the frequently album-oriented Funkadelic, and while Parliament produced their share of classic albums, their material doesn't lose any of its potency when boiled down into compilation form. What's more, Tear the Roof Off contains several full-length 12" mixes that were never previously available on CD. These are some of the most unstoppable, widely imitated grooves of all time, and they still carry the same impact today, making Tear the Roof Off an obvious necessity.© Steve Huey /TiVo
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Leave a Scar: Live in North Carolina

Blackberry Smoke

Rock - Released July 28, 2014 | Earache Records Ltd

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Testify

M People

Pop/Rock - Released May 25, 1999 | Epic