Al Stewart had found his voice on Past, Present & Future and found his sound on Modern Times. He then perfected it all on 1976's Year of the Cat, arguably his masterpiece. There is no overarching theme here, as there was on its two immediate predecessors, but the impossible lushness of Alan Parsons' production and Stewart's evocative Continental narratives give the record a welcome feeling of cohesion that keeps the record enchanting as it moves from "Lord Grenville" to "Midas Shadow" to "Broadway Hotel," before it ends with the haunting title track. Along the way, Stewart doesn't dwell too deeply in any area, preferring to trace out mysteries with his evocative lyrical imagery and a spinning array of self-consciously sophisticated music, songs that evoke American and European folk and pop with a deliberate grace. This could be unbearably precious if it didn't work so well. Stewart is detached from his music, but only in the sense that he gives this album a stylish elegance, and Parsons is his perfect foil, giving the music a rich, panoramic sweep that mimics Stewart's globe-trotting songs. The result is a tremendous example of how good self-conscious progressive pop can be, given the right producer and songwriter -- and if you're a fan of either prog or pop and haven't given Al Stewart much thought, prepare to be enchanted.© Stephen Thomas Erlewine /TiVo

The seventh studio long-player from the veteran California-based metal ensemble, and their first new collection of music to feature ex-Bad Religion drummer Brooks Wackerman behind the kit, The Stage sees Avenged Sevenfold rolling up their sleeves and delivering an ambitious concept LP. Dropped with little to no promotion -- WWE superstar and Fozzy frontman Chris Jericho leaked the album's original title, Voltaic Oceans, via his Instagram account a month prior to the release -- the narrative concerns itself with the Orwellian consequences of a world struggling to adapt to the myriad complexities of artificial intelligence -- there's even a spoken word appearance by celebrity astrophysicist Neil deGrasse Tyson. Despite some forays into Floyd-ian space rock -- the soloing in the orchestra-driven "Roman Sky" is positively Gilmour-esque -- the 11-track set mostly sticks to the kind of propulsive, melodic carnage that fans have come to expect from the group, albeit with a progressive metal twist. Avenged Sevenfold may have expanded their sonic horizons, but The Stage is more Operation: Mindcrime-era Queensrÿche than it is Muse, and for all its opining on nanotechnology and interstellar travel, it still feels rooted in heavy metal tradition.© James Christopher Monger /TiVo

After rushing their second album Don't Look Back, Boston took eight years to complete the album Third Stage. The long delay is even more surprising considering that their sound didn't change at all; even though only songwriter/guitarist Tom Scholz and vocalist Brad Delp remained from the original lineup, they were the ones responsible for Boston's sound. As such, it is difficult to avoid comparisons with their landmark debut. Third Stage has some strong moments, especially the number one hit "Amanda" where the band blends acoustic and electric guitars to complement the layered vocals. However, the songs are not as strong as those on their debut, and the album is marred by the presence of instrumental fillers and an attempt to cling to a theme of "journey through life's third stage." Thus, rather than focusing on universal topics such as the exuberance and uncertainties associated with youth, the mature lyrics are lost on most of their young rock audience. Given the time between albums and the changes in the pop landscape, it was a little disappointing to find Boston stuck in the same sound. The album still sounds great when it works on all cylinders ("We're Ready," "Cool the Engines"), but the album is not filled with enough satisfying moments. This may be nostalgic pop rock of the '80s, but casual listeners should start with their debut.© Vik Iyengar /TiVo

The '70s may forever be remembered as the decade of the "live album," where many rock artists (Kiss, Peter Frampton, Cheap Trick, etc.) used the format for their commercial breakthrough. While Rush's All the World's a Stage is not as renowned as the aforementioned bands' live albums, it is still one of the better in-concert rock releases of the decade, and helped solidify the trio's stature as one of rock's fastest rising stars. Eventually, Rush would polish their live sound to sound almost like a studio record, but in the mid-'70s, they were still a raw and raging hard rock band, captured perfectly on All the World's a Stage Comprised almost entirely of their heavier material, the album packs quite a punch -- "Bastille Day" and "Anthem" prove to be a killer opening combination, while over-the-top renditions of their extended epics "2112" and "By-Tor & the Snow Dog" prove to be standouts. Even their more tranquil studio material proves more explosive in concert ("Fly by Night," "Something for Nothing," "Lakeside Park," "In the End"). All the World's a Stage was a fitting way of closing the first chapter of Rush, as the liner notes state.© Greg Prato /TiVo

Widely adored when it appeared in 1992, Arrested Development's debut album, 3 Years, 5 Months & 2 Days in the Life Of... seemed to herald a shining new era in alternative rap, when audiences and critics of all colors could agree on the music's importance. Of course, that didn't happen, as Dr. Dre instead took gangsta rap to the top of the charts with The Chronic. In retrospect, 3 Years... isn't quite as revolutionary as it first seemed, though it's still a fine record that often crosses the line into excellence. Its positive messages were the chief selling point for many rock critics, and it's filled with pleas for black unity and brotherly compassion, as well as a devotion to the struggle for equality. All of that is grounded in a simple, upbeat spirituality that also results in tributes to the homeless (the hit "Mr. Wendal"), black women of all shapes and sizes, and the natural world. It's determinedly down to earth, and that aesthetic informs the group's music as well. Their sound is a laid-back, southern-fried groove informed by rural blues, African percussion, funk, and melodic R&B. All of it comes together on the classic single "Tennessee," which takes lead rapper Speech on a spiritual quest to reclaim his heritage in a south still haunted by its history. It helped Arrested Development become the first rap group to win a Grammy for Best New Artist, and to top numerous year-end critical polls. In hindsight, there's a distinct political correctness -- even naïveté -- in the lyrics, which places the record firmly in the early '90s; it's also a bit self-consciously profound at times, lacking the playfulness of peers like the Native Tongues. Nonetheless, 3 Years... was a major influence on a new breed of alternative Southern hip-hop, including Goodie Mob, OutKast, and Nappy Roots, and it still stands as one of the better albums of its kind.© Steve Huey /TiVo

The seventh studio long-player from the veteran California-based metal ensemble, and their first new collection of music to feature ex-Bad Religion drummer Brooks Wackerman behind the kit, The Stage sees Avenged Sevenfold rolling up their sleeves and delivering an ambitious concept LP. Dropped with little to no promotion -- WWE superstar and Fozzy frontman Chris Jericho leaked the album's original title, Voltaic Oceans, via his Instagram account a month prior to the release -- the narrative concerns itself with the Orwellian consequences of a world struggling to adapt to the myriad complexities of artificial intelligence -- there's even a spoken word appearance by celebrity astrophysicist Neil deGrasse Tyson. Despite some forays into Floyd-ian space rock -- the soloing in the orchestra-driven "Roman Sky" is positively Gilmour-esque -- the 11-track set mostly sticks to the kind of propulsive, melodic carnage that fans have come to expect from the group, albeit with a progressive metal twist. Avenged Sevenfold may have expanded their sonic horizons, but The Stage is more Operation: Mindcrime-era Queensrÿche than it is Muse, and for all its opining on nanotechnology and interstellar travel, it still feels rooted in heavy metal tradition.© James Christopher Monger /TiVo

On Throwing Copper, Live tightened their sound, added crashing crescendos for dramatic effect, and injected some anger into their sound and songwriting. They also eased up a bit on the Eastern philosophy; the result is a more cohesive, memorable record overall, and quite an improvement from the sometimes overly precious Mental Jewelry. And for all of Mental Jewelry's ideologies, Throwing Copper is ultimately a more passionate and successful album, thanks to tracks like "I Alone," "Selling the Drama," and "All Over You," all of which received heavy radio play. The rebirth-themed "Lightning Crashes," the album's biggest hit, was written in memory of Barbara Lewis, a classmate who was killed by a drunk driver in 1993. Other standouts include the Kurt Cobain/Courtney Love-inspired "Stage," the apocalyptic "White, Discussion," the bass-driven, obsessive "Iris," and the dark "Dam at Otter Creek." Of course, Ed Kowalczyk couldn't resist throwing in a song like "T.B.D." (for the Tibetan Book of the Dead), based on Aldous Huxley's slow descent into death, aided by heroin. Its melodrama is a bit much, even for Live, and is just a sign of things to come on their next album, Secret Samadhi. But Throwing Copper is still a huge improvement from Mental Jewelry, and is the least overtly preachy Live album to date.© Gina Boldman /TiVo

Arriving hot on the heels of Latest Record Project, Vol. 1, the 2021 double album where Van Morrison unleashed all of his frustrations at being locked down during the COVID-19 pandemic, What's It Gonna Take? finds the singer doubling down on all of his gripes. The shift in intensity is apparent from the artwork depicting a couple being controlled by the hand of an unseen puppet master, an image that crystallizes Morrison's belief that the government and other shadowy forces are conspiring to take away free will from the common man. Van believes himself to be among these little folks: as he sings on one of the record's less politically charged songs, "I Ain't No Celebrity," he's merely a working musician. The fact that he was not able to work during the early months of the pandemic stoked Morrison's anger, and it shines brightly throughout What's It Gonna Take?, seeming even more vivid because his vitriolic lyrics are married to jaunty R&B rhythms or slow, soulful grooves delivered with precision and enshrined in a clean production. There's no ignoring Morrison's repeated references to Bill Gates, Mark Zuckerberg, fake news, and mind control or his huffy denials that he's a conspiracy theorist as they're pushed right to the forefront. Plus, where he seemed merely cranky on Latest Record Project, Vol. 1, Morrison is filled with bile here, letting it bubble to the surface even on slow-burners like "Can't Go On This Way." By the end of the album, he points some of this anger inward, resulting in the relatively nuanced "Fear and Self-Loathing in Las Vegas" and "Pretending," but that doesn't change the general tenor of What's It Gonna Take? The blend of anodyne R&B and anger makes for one of the odder albums in Van Morrison's body of work. © Stephen Thomas Erlewine /TiVo

In 2001, Marvin Gaye fans were treated to a previously unreleased live performance from their idol (recorded on May 1, 1972 at the Kennedy Center in Washington, D.C.) in the bonus section of the Deluxe Edition of the masterpiece What’s Going On (released a year earlier, in May 1971). This October 2019 sees the astounding concert benefit from autonomous publication as well as remastering and 24-Bit processing. At the time, the singer was at a turning point in his career. Shaken by the death of his colleague Tammi Terrell, who died of cancer in 1970 at the age of 24, Marvin Gaye withdrew from the business and fell into depression. However, he soon returned to music. As America was fighting its own demons, both internal (segregation) and external (Vietnam), he released a masterpiece of thought-provoking soul. Packed with politically engaged prose, What’s Going On appeared on the label Motown and questioned what the American dream really meant. As a poet and entertainer, Marvin Gaye made his message resonate like no other. The album is a skilfully measured symphony, with strings that seem to hypnotize the rhythms and choirs. It was the cornerstone of black American music, which made it somewhat difficult to release as Berry Gordy, Motown’s boss, feared that this highly politicized work would ruin the positive image of both his label and protégé. With What’s Going On, Marvin Gaye forced Gordy to face up to the Vietnamese conflict, interracial tensions and the degradation of major American cities. And the album was an immediate success. For the first time, a Motown record was created differently, without Gordy’s total control. This live recording from Gaye’s hometown showcases his artistic transition by starting with a sumptuous medley of his hits from the sixties, including the brilliant song I Heard It Through The Grapevine. Marvin Gaye then performs on stage the wonders from What’s Going On, a record that went through a lot of changes in the studio. Throughout the concert (which lasts just over an hour) he stretches out certain songs, improvises and above all communicates with his audience like never before. © Marc Zisman/Qobuz

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Iceland's isolation, combined with seven centuries of Norwegian and Danish rule, has long delayed the definitive establishment of an endemic musical tradition. However, they have a diverse, high quality repertoire that is still not well known internationally. This recording features a selection of stage music composed by Páll Ísólfsson (1893-1974), who was the first director of the Reykjavik school of music, opened in 1930, and Jórunn Viðar (1918–2017), composer of the first ballets performed in Reykjavik’s New National Theatre between 1950 and 1952. From the former, Veislan á Sólhaugum (The Feast at Solhaug) was based on a drama by Henrik Ibsen as an accompaniment for the performance. Úr Myndabók Jónasar Hallgrímssonar (From the Picture Book of Jónas Hallgrímsson) was contemporary to Iceland's independence and is therefore more triumphant and festive. Jórunn Viðar's two ballets, Eldur and Ólafur Liljurós, are, respectively; a short variation on the theme of fire, and the story of Ólafur's tragic encounter with some elves during one of his wanderings through the Icelandic countryside. The music instantly conjures up images of the local folklore, with its wide-open spaces, and the strong prominence of the elements. Rumon Gamba, the conductor of the Icelandic Symphony Orchestra from 2002 to 2010, leads masterfully. A discographic rarity which is a must-listen. © Pierre Lamy/Qobuz

Hindsight is always 20/20, but Kyuss' promising debut album, 1991's Wretch, was completely ignored by media and public. This is quite understandable, as a paltry production job fails to capture the band's earth-shaking guitar rumble, and only repeated listens allow full appreciation of the band's developing songwriting skills. The album's finest moments find the band in mid-pace, locking onto massive grooves on "I'm Not," "Big Bikes," and the awesome "Son of a Bitch." While less impressive, they still manage to inject memorable hooks and catchy riffs into full-tilt thrashers such as "Love Has Passed Me By," "Isolation," and the especially savage "Hwy 74."© Eduardo Rivadavia /TiVo

Gigi's Recovery is the second album from Irish post-punk band the Murder Capital following the release of their debut, 2019's When I Have Fears. The record sees the band's sound evolve, as they push back against the darkness and grief which characterized their debut, and explore a broader range of emotions.© Liam Martin /TiVo

It doesn't always follow that serial international competition winners go on to make either recordings or careers that win over the “real world” critics. However Bomsori Kim has done so. Regarding the latter, her concert calendar is full of invitations to prestigious festivals and halls, concerto appearances with major orchestras and conductors, and chamber collaborations with other young names who are fast making names for themselves. As for recordings, there was her well-received 2017 debut album on Warner, imaginatively pairing Wieniawski's Violin Concerto No. 2 (Kim having carried off no less than eleven prizes at the 2016 Wieniawski Competition) with Shostakovich's Violin Concerto No. 1. Then came her strong 2019 debut on Deutsche Grammophon, partnering with pianist pianist Rafał Blechacz for Violin Sonatas by Fauré, Debussy and Szymanowski. So the stage was fully set for her orchestral debut on DG to be an impactful one. Now that it's here, “Violin on Stage” is certainly impactful in certain regards. A programme of works written for or inspired by opera or ballet, it further cements Kim's affinity for Poland's music and musicians, both by her partners being the NFM Wrocław Philharmonic under Giancarlo Guerrero, and by its being topped and tailed by more Wieniawski – culminating in his 17 and a half minute showpiece, the Fantasia on Themes from Gounod's “Faust” . The album equally cements the impression of her as an immensely lyrical violinist with a clean, sweetly singing sound which dances with balletic suppleness; indeed if any violinist's sound were a perfect fit for a programme evoking the worlds of ballet and opera then it's Kim's, and her playing confirms that in spadefuls, whether it's her elegantly fiery, twinkle-toed rendition of Waxman's Carmen-Fantasie, or the sweetly melancholic, singing romance she brings to Gluck's Dance of the Blessed Spirits, appearing here in a new transcription for violin and orchestra. Which brings me to the programme's final theme, of following in the footsteps of the likes of Heifetz and Milstein in championing the culture of virtuoso violin transcriptions of popular works – and the Pas de deux from Tchaikovsky's The Nutcracker is also heard in a new transcription. So lots of positives. Yet overall, I can't help but feel that this programme hasn't quite done Kim justice. In attractively frothy, easy listening terms it's a winner, and there's nothing wrong in principle in skipping the main course to head straight for the Chantilly. It's also very welcome to have a violinist so clearly dedicated to championing Wieniawski's often-overlooked, highly virtuosic music. But ultimately she made a far stronger case for taking Wieniawski seriously on that aforementioned Warner debut. Plus, there's very little real emotional or stylistic contrast to be heard across this programme's succession of crowd-pleasing shorts. Or sense of surprise. Even massively-recorded pieces such as the Massenet Méditation will pack a punch when cleverly programmed, but here it merely blends in. Consequently, while “Violin on Stage” amply displays all Kim's elegance, charm and technique, I'm already crossing fingers that her next orchestral foray with DG might be more clearly reflective of her concert diary rather than of playlist culture, and give her the chance to properly display her interpretative and creative programming mettle. In the meantime though, this is at least very stylishly done. © Charlotte Gardner/Qobuz