The tenth studio album from Sufjan Stevens is conceptually looser than 2015's acclaimed Carrie and Lowell, about his complicated relationship with his mother, an addict who suffered from bipolar disorder and schizophrenia, and the stepfather who brought both levity and depth to Stevens' life. That said, Javelin is more like a greatest-hits of the topics that have always pervaded his music: love and loss and what if; faith and higher power. Modest (but not simple) guitar, an Up-with-People style choir and soft but deeply booming drums create a cocoon-like atmosphere on "Everything That Rises"—a safe space for Stevens to implore "Jesus lift me up to a higher plane ... before I go insane." Folky "A Running Start" captures that weird, suspended-in-amber moment before a first kiss, with Sufjan singing, "I cross my arms to shield my heart." "Will anybody ever love me?/ For good reasons/ Without grievance, not for sport?" he questions on the lovely "Will Anybody Ever Love Me," its stacks of vocal layers almost disorienting. Piano-driven "So You Are Tired" ("So you are tired of us ... So you are tired of even my kiss ... So you are dreaming of after … I was the man still in love with you/ When I already knew it was done") re-creates the helpless feeling of someone falling out of love with you. But Stevens is aware of his own power, too, on "Javelin (To Have And To Hold)," a metaphor symphony of near-misses and regrets. "Searching through the snow/ For the javelin I had not meant to throw right at you," he sings as backing vocals blow behind him like a chilled wind. (Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui and Nedelle Torrisi lend harmonies to the songs.) Musically, Javelin is not so far from Carrie and Lowell's quiet beauty; "My Red Little Fox" manages to bottle the sort of Elliott Smith melancholy Stevens has used in past songs like "Should Have Known Better." But this time around, his emotions cannot be contained in one space. So many of the hushed, even delicate moments here bloom into something much bigger—the big burst on  "Goodbye Evergreen" could fit either a marching band or the Flaming Lips. And "Shit Talk" stretches for a luxuriant eight-and-a-half minutes as Stevens seeks security and comfort while accompanied by The National's Bryce Dessner on clear, bright guitar. "Hold me closely/ Hold me tightly/ Lest I fall," the verses start off like a prayer, before Stevens' tone twists into anguish.The song grows to pandemonium—feminine and masculine voices separating and taking sides but ultimately yearning for the same thing—before fading into a lengthy instrumental interlude: the inhale and exhale of life. It all ends with a stripped-down cover of Neil Young's "There's a World"; freed of the original's London Symphony Orchestra grandeur, the song appropriately becomes more vulnerable, its belly exposed. © Shelly Ridenour/Qobuz

Lake Geneva is not Lake Pontchartrain, and Montreux is certainly not New Orleans. But regularly, during the famous Montreux jazz festival, the two cities fall into step in a swaying dance. Especially when Dr. John is on stage, who has made it up there at least seven times, in 1986, 1993, 1995, 2004, 2007, 2011 and 2012. Why has Dr. John played so many times in Montreux? In part because he was a huge figure with constant high quality performances, as good in his last decade (he died in 2019) as in his previous ones. But also because the public never tired of him. Dr. John always emanated good vibes, with music like a course of vitamin therapy.This compilation of his Montreux concerts begins with four tracks recorded in 1986. Dr. John is alone at the piano, and in great shape. Caribbean-style boogie-woogie escapes from under his nimble wanders, cool and elegant, typical of New Orleans (and partly invented by Professor Longhair, to whom Dr. John pays tribute). On the other pieces played in the group, which includes a brass and rhythm section, he showcases radiant funk and indulgent jazz, the secrets to which he has always held close to his chest. All of Dr. John’s and New Orleans classics are there, from Let the Good Times Roll, Big Chief and Right Place, Wrong Time. Everyone who has seen Dr. John on stage, in Montreux or elsewhere, will find that this compilation offers the same energy of his concerts. What’s more, it won’t fail to bring a smile to your face. © Stéphane Deschamps/Qobuz

After the amazing masterpieces of Revolver and Sergeant Pepper's, The Beatles dove back into the art of pure writing, bringing about a certain level of sobriety and leaving aside their recent psychadelic delusions, awesome as they were. Released in November 1968, this double White Album is a return to more refined pop and rock; the essence of their art. The title of the disc, The Beatles, does not manage to hide the growing dissension between the four musicians at the time, and their diverging personalities saw this album herald the beginning of the end for the Fab Four, and the budding of their future solo careers... Despite all of this, The Beatles managed to release a new and totally unique album here, which can be enjoyed step by step as a true emotional rollercoaster: The fantasy of Dear Prudence, the dark madness of Revolution 9, the legendary guitar solo in While My Guitar Gently Weeps, the labyrinth of Happiness Is A Warm Gun and Sexy Sadie, the emotion of Julia (which Lennon dedicated to his mother, who died when he was 17), the purity of Blackbird and the ultra-violent tsunami that is Helter Skelter… the White Album is a brilliant production, a new masterpiece from a group growing apart ...For its 50-year anniversary, this legendary double album makes a return in Deluxe Edition form, a well-deserved title. As well as the stereo remixed version by legendary producer George Martin's son, the original mono version (praised by purists for this format) and the famous Esher Demos there are 27 demo tracks of some famous hits recorded in Harrison’s home and three studio-session CDs. It’s a marvellous collection (107 tracks in total!) which let’s us further explore this glorious piece of work that still fascinates us 50 years after its creation… © Marc Zisman/Qobuz

More than two decades after the release of their hit song "Clint Eastwood," who ever would've guessed that Gorillaz would be going strong in 2023? A "cartoon" band created by Damon Albarn and cartoonist Jamie Hewlett, with a revolving door of other contributors, it originally seemed like a way for Albarn to control his own destiny as Blur foundered. But here we are, seven albums later (and with Blur on a reunion stint, to boot). The loose theme this time around is life in a cult; from one POV, it seems to be referencing the metaverse, which is pretty tongue-in-cheek for a band featuring the cartoon avatars of its human members. "They taught themselves to be occult/ Join the collective in the sky ... And on a shining bolt of light/ Go up to paradise/ Where the truth is auto-tuned," goes the title track, featuring funky bassist Thundercat, whose smooth, booming grooves act like an ocean wave, carrying Albarn's playful melody. There's both a tropical ease and the annoying-gnat sound of a chatty TikTok-like voice in the background of "The Tired Influencer" ("Logic kills and Silver Lake reflections/ Just trying to keep my head up/ Nothing real anymore"). As usual, there is a who's who of guest stars, some of which work better than others. Duet partner Stevie Nicks' honeyed rasp—now as much leather as lace—is an odd fit with Albarn's retiring style on "Oil," which boasts a Catalina-cruise melody and crisp, sun-bright beats. Beck is wasted and little more than a muted tone shadowing Albarn on the nostalgic lullaby "Possession Island." But energetic "New Gold" is a fun showcase for rapper Bootie Brown of The Pharcyde, who takes the verses while Albarn and Tame Impala's Kevin Parker coo in between. Good luck getting Parker's butter-smooth loop ("But in the magic cove, there's a pretty one/ I ask her where it goes 'cause I really want") out of your head any time soon. Adeleye Omotayo of Gorillaz' Humanz Choir lends his rich, soulful style to "Silent Running." Bad Bunny gets the best star turn here, though, with the reggaeton-inflected "Tormenta," sure to set hips swaying and heads nodding. And Albarn gets his own moments of greatness on tracks like the vibrant "Tarantula," turning up the melancholy to seemingly look for the past, and the awesome track "Skinny Ape." That song starts out Simon & Garfunkel-like before taking a funky world-beat turn—which, naturally, erupts in a spurt of Vampire Weekend energy at the bridge. "Don't be sad for me/ I'm a cartoon G/ And my intent is to breathe/ In a new world, don't be sad for me," sings Albarn's character 2-D, provoking thoughts of sentience in an AI world. © Shelly Ridenour/Qobuz

Those who come from Louisiana always have a good ear for music. Always! Soul, blues, zydeco, rock, jazz, R&B, funk, pop or country, no one native to the New Orleans area worries about labels or genres. There is only good music and bad music. Period. Brittany Guerin, known as Britti, is the latest proof of this. Born in Baton Rouge, the singer, discovered by Dan Auerbach of The Black Keys, masters every style that resounds within the unique groove of the American South. And as Britti dresses her songs in a certain classicism, she is often reminiscent of classic soul singers that have come before her. Hints of her idols Diana Ross (“Save Me”) and Dolly Parton (“Keep Running”), as well as Norah Jones, Erykah Badu and Amy Winehouse (albeit less dreamy) can be heard on her debut album Hello, I’m Britti., a title that clearly references Dolly Parton’s first album from 1967, Hello, I’m Dolly… But even though the influence is apparent, it never limits Britti’s own inspiration, style or personality. An expert in 20th-century equipment and vintage sounds, Auerbach brings the perfect production, with just the right amount of sepia. He was clearly the one who assembled a team of studio legends around the singer, including bassist Nick Movshon (Amy Winehouse, Wu Tang Clan and a whole selection of albums for the label Daptone), guitarist Tom Bukovac (Sheryl Crow, Stevie Nicks), and Mike Rojas (Ricky Skaggs, Yola, Miranda Lambert), a wizard on the keys. Supported by this glittering cast,  Hello, I’m Britti. navigates soul vignettes, country pop interludes and R&B daydreams with immense ease and a certain class. Building a solid bridge between New Orleans and Nashville, this Qobuzissime has already declared itself one of the great albums of 2024. © Marc Zisman/Qobuz

The grace of Grace is everywhere! Granted Lizz Wright’s fans know that the Georgian singer has one of the most beautiful voices of her generation, but this album places her on rarely visited summits! A feeling no doubt connected to the theme of this 2017 cuvée, in which Wright provides a striking insight into a network of stories and songs which roots, intimately intertwined, extend deep and connect extremely diverse traditions that make up the soul of the Deep South. Produced by Joe Henry, one of the big shots of Americana, this southern celebration where jazz, blues, rock and gospel interweave allow her to shine in reinterpretations of songs by Ray Charles (What Would I Do), Allen Toussaint (Southern Nights), Nina Simone (Seems I’m Never Tired Lovin’ You), Sister Rosetta Tharpe (Singing in My Soul), k.d. lang (Wash Me Clean) or Bob Dylan (Every Grain Of Sand). In the more intimate sequences, when she doesn’t use her technical virtuosity, Lizz Wright is sublime and further appropriates this repertoire that flows through her veins. Her version of Southern Nights is refined, never complacent, and gifted with a subtlety that defines the entire album. © MD/Qobuz

After the amazing masterpieces of Revolver and Sergeant Pepper's, The Beatles dive back into the art of pure writing, bringing about a certain level of sobriety and leaving aside their recent psychadelic delusions, awesome as they were. Released in November 1968, this double White Album is a return to more refined pop and rock; the essence of their art. The title track of the disc, The Beatles, does not manage to hide the growing dissension between the four musicians at the time, and their diverging personalities saw this album herald the beginning of the end for the Fab Four, and the budding of their future solo careers... Despite all of this, The Beatles managed to release a new and totally unique album here, which can be enjoyed step by step as a true emotional rollercoaster: The fantasy of Dear Prudence, the dark madness of Revolution 9, the legendary guitar solo in While My Guitar Gently Weeps, the labyrinth of Happiness Is A Warm Gun and Sexy Sadie, the emotion of Julia (which Lennon dedicated to his mother, who died when he was 17), the purity of Blackbird and the ultra-violent tsunami that is Helter Skelter… the White Album is a brilliant production, a new masterpiece of a group growing apart ... ©Marc Zisman/Qobuz, Translation/BM

In 2009, just over a year before his untimely death, the late, great Irish bluesman played an intimate set at London's Islington Academy which has since gone down in legend among his fans. Recorded for posterity, it appeared in January 2020. Featuring Moore at the top of his game, it includes some of his best-loved tunes including "Since I Met You Baby," "I Love You More Than You'll Ever Know," "Walking by Myself," and the classic "Parisienne Walkways."© John D. Buchanan /TiVo

Recorded at London's Rainbow Theater in November of 1973, Somewhere Under the Rainbow captures Neil Young at the height of the Tonight's the Night era, having finished that tumultuous album just months earlier and already taking the material to the stage. The Santa Monica Flyers, Neil's backing band on this tour, consisted of pedal steel player Ben Keith, bassist Billy Talbot, drummer Ralph Molina, and Nils Lofgren jumping between piano, guitar, and even occasional accordion. As with so many of the entries in Neil Young's Official Bootleg Series, Somewhere Under the Rainbow circulated as a rough audience recorded bootleg for decades before this official release, and professional mastering can only polish the raw sound quality to a certain point. For this kind of live document, the imperfections are part of the charm. Though boomy renditions of "Albuquerque" and "Mellow My Mind" sound like they're transmitting from the other side of a football field, there's a warm gelling of the vocals and instruments that doesn't happen with more defined multi-track recordings. Anyone deep enough into the Neil bootleg rabbit hole is probably already aware of Roxy Tonight's the Night Live, a far clearer recording of a club date that happened a few months after the Rainbow gig. Roxy has the same backing band and a similar set list, but the two nights carry significantly different energies. While Neil seems to be in loose, jokey form on both, Somewhere Under the Rainbow tones things down for a string of acoustic numbers that weren't a part of the more rocking Roxy date. This begins with a long, ghostly take on "Tonight's the Night" (the second time in the set the band plays the tune), the Buffalo Springfield-era song "Flying on the Ground Is Wrong," the always moving "Helpless," and several others. The night ends with a burning rendition of "Cowgirl in the Sand." Neil's voice cracks a little, and there's an especially wobbly quality to the way the band moves through the 12-plus-minute jam on the song, but it works with the rest of the set. Somewhere Under the Rainbow manages to feel intimate and hushed even when it's rocking hard and spilling out messily. All of the Official Bootleg Series releases are valuable documents of various phases of Neil's career, but this one has a personality that sets it apart.© Fred Thomas /TiVo

Ozzy Osbourne finds a permanent replacement for Randy Rhoads in Jake E. Lee, a more standard metal guitarist without Rhoads' neo-classical compositional ability or stylistic flair. Still, Osbourne and his band turn in a competent, workmanlike set of heavy metal featuring the crunching title track, whose video (featuring Osbourne dressed as a werewolf) became popular on MTV. Unfortunately, substance abuse problems would prevent Osbourne from releasing another record up to the standards of Bark at the Moon for nearly the rest of the decade.© Steve Huey /TiVo