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There's Really A Wolf
Russ
Hip-Hop/Rap - Released May 5, 2017 | Columbia
There's Really a Wolf is the debut effort from Atlanta-based rapper Russ. Comprising languid R&B-infused beats, warm and resonant synths, and introspective lyrics, the record consolidates many of the ideas and techniques that the young rapper developed in the 11 years prior. The album features the singles "What They Want," "Pull the Trigger," "Losin Control," and "Do It Myself," and is released via Columbia Records.© Rob Wacey /TiVo
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Thick as a Brick
Jethro Tull
Rock - Released March 3, 1972 | Parlophone UK
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A Bad Wind Blows in my Heart
Bill Ryder-Jones
Alternative & Indie - Released April 8, 2013 | Domino Recording Co
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3F de Télérama -
5/6 de Magic
After debuting in 2011 with the evocative If..., a largely orchestral, all-instrumental set inspired by author Italo Calvino's 1979 post-modernist novel If on a Winter's Night a Traveler, former Coral guitarist Bill Ryder-Jones seemed poised to go the film score route, which he had shown interest in shortly after leaving his flagship band. Instead, he released the lovely A Bad Wind Blows in My Heart, an equally evocative, yet more traditional collection of songs that suggest what Nick Drake might have sounded like had he emerged in the early aughts instead of the late '60s. Measured, melancholy, and mysterious, Jones' debut as a singer/songwriter is as subtle as it is striking, skillfully marrying the sedate melancholy of Elliott Smith with the sly, darkly comic lyricism of the National. Recorded in his old childhood bedroom in his mother's house in Liverpool, A Bad Wind Blows in My Heart can feel a bit like an exorcism, and there's an extra shade of intimacy to stand-out cuts like the sad and sensual "Hanging Song," the wry, Luke Haines-inspired "You're Getting Like Your Sister," and the impossibly lonesome "There's a World Between Us," the latter of which is one of a few songs that threatens to break into Chris Isaak's "Wicked Game" at any moment, but it never feels like a self-absorbed, autobiographical bore, as Jones' is an enigmatic enough narrator and a gifted enough arranger that what initially seems like ephemera turns out to be surprisingly affecting.
© James Christopher Monger /TiVo
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Live At The BBC
The Beatles
Pop - Released November 1, 1994 | UMC (Universal Music Catalogue)
From 1962 to 1965, the Beatles made 52 appearances on the BBC, recording live-in-the-studio performances of both their official releases and several dozen songs that they never issued on disc. This magnificent two-disc compilation features 56 of these tracks, including 29 covers of early rock, R&B, soul, and pop tunes that never appeared on their official releases, as well as the Lennon-McCartney original "I'll Be on My Way," which they gave in 1963 to Billy J. Kramer rather than record it themselves. These performances are nothing less than electrifying, especially the previously unavailable covers, which feature quite a few versions of classics by Chuck Berry, Little Richard, Carl Perkins, and Elvis Presley. There are also off-the-beaten-path tunes by the Everly Brothers and Buddy Holly on down to obscurities by the Jodimars, Chan Romero (a marvelous "Hippy Hippy Shake"), Eddie Fontaine, and Ann-Margret. The greatest gem is probably their fabulous version of Arthur Alexander's "Soldier of Love," which (like several of the tracks) would have easily qualified as a highlight of their early releases if they had issued it officially. Restored from existing tapes of various quality, the sound is mostly very good and never less than listenable. Unfortunately, they weren't able to include every single rarity that the Beatles recorded for the BBC; the absence of Carl Perkins' "Lend Me Your Comb," which has circulated on bootlegs in a high-fidelity version, is especially mystifying. Minor quibbles aside, these performances, available on bootlegs for years, compose the major missing chapter in the Beatles' legacy, and it's great to have them easily obtainable in a first-rate package.© Richie Unterberger /TiVo
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There is a Hell Believe Me I've Seen It. There is a Heaven Let's Keep it a Secret
Bring Me The Horizon
Metal - Released October 5, 2010 | BMG Rights Management (UK) Ltd
As a band, Bring Me the Horizon have been on a consistently upward trajectory, adding new elements to their metal core offerings in an effort to stand out from the rest of the pack in an interesting way. On their third album, There Is a Hell Belive Me I’ve Seen It. There Is a Heaven Let’s Keep It a Secret, the Sheffield band’s hard work pays off. Where other bands seem to have their production inflicted upon them, shoehorning in dance-pop synths and ubiquitous bass bombs, Bring Me the Horizon seamlessly integrate studio tricks into their music. Rather than feeling like items on a list of genre clichés, the glitched out vocals on “Crucify Me” and “Blacklist” actually add an interesting element of controlled chaos to the songs. These may not seems like a huge leap, but it’s little touches like these that push There Is a Hell above the competition. The album doesn’t live and die on studio trickery alone, though. Bring Me the Horizon bring a ton of intensity to the table with their songwriting, merging grimy hardcore punk with technical metal. The twist is that they don’t bloat the songs out with breakdown after breakdown, but instead break them up with quieter, plaintively atmospheric passages. This helps to combat the “breakdown fatigue” that plagues so many albums, allowing the heaviest parts of the songs to have the proper impact. There Is a Hell finds Bring Me the Horizon at the top of their game, and its lack of over-indulgent production makes it an album that’ll not only please fans of the band, but may surprise fans of bands like Converge who are interested in seeing what the kids are up to these days.© Gregory Heaney /TiVo
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Magic Secrets #1
Noel Gallagher's High Flying Birds
Alternative & Indie - Released May 13, 2022 | Sour Mash Records Ltd
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Midnight Ride
Paul Revere & The Raiders
Pop - Released May 9, 1966 | Columbia - Legacy
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Guitar
Frank Zappa
Rock - Released January 1, 2012 | Frank Zappa Catalog
Released in 1988, Guitar may be the most important and ironically one of the least-known entries in Frank Zappa's voluminous discography -- which spans over seven-dozen LPs as of this writing. His proficiencies as a composer and instrumentalist have long been lauded. However, anthologies of this nature provide an outlet for the remarkable breadth and depth of Zappa's manual dexterity and improvisational scope, which can now be enjoyed on a myriad of levels. The casual enthusiast can revel in the seemingly endless personas and sounds summoned from the soloist and band alike. Devotees of the artist and/or instrument are presented with example upon example of Zappa's ability to create masterworks on the fly and often in the context of larger pieces. For example, "Which One Is It?" is an extraction from "The Black Page" in Munich, Germany, on June 26, 1982. Compare it to the likes of "Move It or Park It," which was likewise lifted from "The Black Page" two weeks earlier in Frankfurt, Germany, on June 11, 1982. Caveat emptor to those following the liner notes, as they are wrought with inaccurate dates. Interestingly, whenGuitar was prepped for CD, several of the mixes were altered. So, the original two-LP set -- despite containing 13 fewer cuts -- is preferred by some. That minutia aside, simply listening to Zappa as a primary player is always a treat for inclined parties and there are a few exceptional selections scattered throughout. "For Duane" -- a nod to fellow stringman Duane Allman -- is made all the more poignant for having been played before a (kinda) hometown crowd in Atlanta, GA, November 25, 1984. Other standouts include a pair of Joe's Garage-related cuts: "Outside Now" -- dating back to March of 1979 -- and the emotional immediacy infused into "Watermelon in Easter Hay," the latter taken from a Jones Beach show on August 16, 1984. On the whole, Guitar joins the Shut Up 'N Play Yer Guitar trilogy as a key component in unraveling the endless enigma of Frank Zappa as a major fretmeister.© Lindsay Planer /TiVo
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There's a Place for Us
Nadine Sierra
Classical - Released August 24, 2018 | Deutsche Grammophon (DG)
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The young American soprano Nadine Sierra, winner of top prizes like the Beverly Sills Artists Award, has won wide attention for her singing in bel canto roles. For her debut album, however, she has chosen not Italian repertory but accessible contemporary material, most of it in English. It might seem an odd fit with her stated goal: "Opera belongs to everybody, no matter what age, no matter what race, no matter what kind of money you make or don't make. It will speak to you because it is a reflection of humanity." Much of the material on the album is not opera at all, but musical theater or orchestral songs. However, it emerges that there's a method behind Sierra's selections: almost without exception (the exception is No Word from Tom, from Stravinsky's The Rake's Progress, which is placed at the end, seems to come out of nowhere, and just sounds bizarre), the music fits Sierra's voice. She's got a big, distinctive sound, with a muscular high end in which vibrato ripples powerfully and quickly. Once you hear it, you don't forget it, and this is the source of the excitement surrounding this young singer. Sample one of the pieces by Villa-Lobos, which almost seem tailor-made for Sierra. Composer Ricky Ian Gordon's straightforward poetry settings also favor Sierra's voice. What she doesn't have at the moment is a great deal of range: Bernstein's calculatedly sentimental Take Care of This House and jocular Glitter and Be Gay come out sounding rather similar, and the farther she gets from her high sweet spot the less confident she sounds. It's certainly enough to whet the appetite for the voice's future development, however. Sierra is ably backed by the Royal Philharmonic Orchestra and conductor Robert Spano, who deserve more than the very small print they get in Deutsche Grammophon's album graphics.© TiVo
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Thick as a Brick
Jethro Tull
Rock - Released March 3, 1972 | Parlophone UK
While never as high-minded or technically facile as the likes of Yes or ELP, Tull began incorporating complex time changes, sophisticated harmonic structures, and highly developed lyrical themes on Thick as a Brick, the realization of the artistic growth begun on Aqualung. It is here that Tull finally bursts into full-blown prog rock mode. While Aqualung was a group of discrete compositions united by a theme, Thick as a Brick consists of one extended piece that occupies the length of the album. Lyrically, Anderson's intentions are a bit obscure here, but the sophisticated arrangements and virtuoso performances are enough to carry the show. John Evan's piano and organ are at the heart of this complex piece, which moves through an endless succession of tempos, moods, and modes in a manner similar to vintage Genesis or the aforementioned Yes, but with a grittier edge. Most importantly, the whole things flows in a cohesive fashion. Thick as a Brick demands close attention, but rewards the same handsomely.© TiVo
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Just Like A Lady
Mina Agossi
Vocal Jazz - Released March 22, 2010 | naïve Jazz
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4F de Télérama
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Live in Bratislava
Fabrizio Paterlini
Miscellaneous - Released December 4, 2015 | Fabrizio Paterlini
Plays the R&B Hits
Grant Green
Jazz - Released November 27, 2020 | UME - Global Clearing House
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Insight (Music from the Motion Picture)
Lisa Gerrard
New Age - Released August 17, 2011 | Lisa Gerrard & Marcello De Francisci
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If it's really that bad is there even a point (feat. Redtree Groove)
X and Her
Alternative & Indie - Released February 15, 2024 | Redtree Groove
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The Beatles 1962 – 1966
The Beatles
Rock - Released November 10, 2023 | UMC (Universal Music Catalogue)
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Did you know that there's a tunnel under Ocean Blvd
Lana Del Rey
Alternative & Indie - Released March 24, 2023 | Polydor Records
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Pitchfork: Best New Music
We can’t say we didn’t know that there’s a tunnel under Ocean Boulevard. Just as we can’t dispute that Lana Del Rey has become (or has always been, for those who had already figured this out) an essential figure in American music. With this ninth album with such a long title, Lana Del Rey remains in her Californian Ophelia character, floating tragically and romantically on the surface of a Hollywood pool. Her songs are slow and rather long, often devoid of choruses or pop gimmicks. Her sensual yet detached vocals are enhanced by minimalist arrangements with most of the songs having a few piano notes and even a few strings. Melancholy is a solitary pleasure, a way of living or at least not dying, in which Lana Del Rey is an expert. It seems that since 2021, and the Chemtrails Over the Country Club album, the singer has had long COVID. Although this languishing vibe is something that has been present in her music for much longer. On the surface there’s lethargy and introspection, even monotony because of the album’s 16-track length, but there’s no disappointment to be found here. It’s a record that you can listen to in private, ideally without disturbance. It leads you down a tunnel which, under the surface, is full of twists and turns, grey areas, echoes and suggestions. The signature track is A&W, which begins as a simple folk ballad and shifts into the realms of experimental hip-hop in the middle. When she lends herself to contemporary pop infused with hip-hop, Lana Del Rey has the good sense not to abuse her craft, to steer her voice clear of autotune. She is a singer whose name belongs among the greats (in no particular order: Kate Bush, Fiona Apple, Carole King, Laura Nyro, Agnes Obel, Joni Mitchell etc.) but who digs tunnels to escape – or hide. © Stéphane Deschamps/Qobuz
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Council Skies (Deluxe)
Noel Gallagher's High Flying Birds
Alternative & Indie - Released June 2, 2023 | Sour Mash Records Ltd
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Harvest
Neil Young
Rock - Released February 1, 1972 | Reprise
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The Qobuz Ideal Discography
For the general public as well as for many of his fans, Harvest is the pinnacle of his rich discography from the 70s. Against a melancholic backdrop of country-rock and folk, Young’s songwriting shines brightly throughout this fourth album released in February, 1972. A sort of bucolic, rural and hippie Grail, the album laid bare his tumultuous relationship with the actress Carrie Snodgress, the mother of his first son Zeke. It also explored darker themes such as on The Needle and the Damage Done, a ballad about his guitarist Danny Whitten’s heroin addiction. Whitten died of an overdose in November that same year, just after Young kicked him out the band. Behind its peace & love façade (a principle that Crosby, Stills & Nash, James Taylor and Linda Ronstadt still very much followed), Harvest is an incredibly rich, troubled and melodically perfect record. Within the flawless work we even find the string section of the London Symphony Orchestra (A Man Needs a Maid and There's a World), handled with care and good taste. This was a record that would go on to influence countless generations. © Marc Zisman/Qobuz
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