With its more ambitious compositions, Help! had made it clear that the Beatles did not intend to stay remain that nice little group from Liverpool much longer. Four months later, Rubber Soul was released in December of 1965, and the Fab Four show that they have indeed grown up artistically. There are more mature texts (written by Bob Dylan, a real influence on the Beatles as confessed by McCartney himself) and more daring harmonies. They even bring their instrumentation to unknown territory as demonstrated by Norwegian Wood or the bass on Think for Yourself. As for ballads like Girl or Michelle, they are beautiful and will remain timeless. Above all, this sixth studio album mixes more musical styles - be it pop (of course) but also R&B, folk, soul and psychedelic. Rubber Soul also marks the point where we see each member of the group affirm their unique personalities, and with the support of producer George Martin, John, Paul, George and Ringo were encouraged to move away from their "youthful" habits. ©MZ/Qobuz, Translation/BM

Arriving 12 years after the release of the film, Vangelis' soundtrack to the 1982 futuristic noir detective thriller Blade Runner is as bleak and electronically chilling as the film itself. By subtly interspersing clips of dialogue and sounds from the film, Vangelis creates haunting soundscapes with whispered subtexts and sweeping revelations, drawing inspiration from Middle Eastern textures and evoking neo-classical structures. Often cold and forlorn, the listener can almost hear the indifferent winds blowing through the neon and metal cityscapes of Los Angeles in 2019. The sultry, saxophone-driven "Love Theme" has since gone on as one of the composer's most recognized pieces and stands alone as one of the few warm refuges on an otherwise darkly cold (but beautiful) score. An unfortunate inclusion of the 1930s-inspired ballad "One More Kiss, Dear" interrupts the futuristic synthesized flow of the album with a muted trumpet and Rudy Vallée-style croon. However well done (and appropriate in the movie), a forlorn love song that sounds as if it is playing on a distant Philco radio in The Walton's living room jarringly breaks the mood of the album momentarily (although with CD technology, this distraction is easily bypassed). Fans of Ridley Scott's groundbreaking film (as well as those interested in the evolution of electronic music) will warmly take this recording into their plastic-carbide-alloy hearts.© Zac Johnson /TiVo

Since 1979, Roger Waters has been up against The Wall. Almost 40 years after the release of The Wall, the former Pink Floyd bassist has never fundamentally surpassed his great work, the double album that entered into rock legend but which also marked a turning point in the life of the group that he founded in 1965 with Syd Barrett, Nick Mason and Richard Wright. In his several solo albums, as well as in the great live performances that re-interpret The Wall, Waters has always worked on the same grandiloquent musical and ideological themes. With Is This The Life We Really Want?, his obsessions with the alienation of the individual by society and imminent apocalypse have not changed one iota. Madness like the excesses of our times naturally form a central part of this record, his first proper studio album since Amused To Death, which came out in 1992. Roger Waters, who surely knew that he needed to introduce a little novelty into his creative universe, had the good idea of entrusting the production to Nigel Godrich, who is mainly known for his work with Radiohead. And to amplify the winds of change, the British producer even roused some of the big names of his generation, like the guitarist Jonathan Wilson, the drummer Joey Waronker and keyboard player Roger Manning. But the Waters fundamentals are still very much audible. And his fans, as well as Floyd fans, will soon feel a sense of homecoming. Roger Waters has not revolutionised his art, his words, and even less his personal touch. Instead, he has set about developing the talent for which he is known. And in his register of rock that verges on the theatrical, he truly excels. © CM/Qobuz

Although Janet Jackson had released two records in the early '80s, they were quickly forgotten, and notably shaped by her father's considerable influence. Janet's landmark third album, 1986's Control, changed all that. On the opening title track, Jackson, with passion and grace, declares her independence, moving out of the gargantuan shadow of her brother Michael and on to the business of making her own classic pop album. The true genius of Control lies in the marriage of her extremely self-assured vocals with the emphatic beats of R&B production wizards Jimmy Jam and Terry Lewis. The duo was already well established in the music industry, but the practically flawless Control showcased Jam and Lewis' true studio mastery. For the better part of two years, Janet remained on the pop chart, with two-thirds of the album's tracks released as singles, including the ever-quotable "Nasty," the assertive "What Have You Done for Me Lately," the frenetically danceable "When I Think of You," and the smooth, message-oriented ballad "Let's Wait Awhile." Jackson achieved long-awaited superstar status and never looked back. © Jason Thurston /TiVo

After two decades, seven previous studio albums, multi-platinum sales, and sold-out concerts across the globe, Denmark's roots Volbeat have remained stubbornly consistent in wielding massive, power and thrash metal riffs, passionate rockabilly swagger, and punk rock attitude. Eighth album Servant of the Mind continues their M.O. while glossing up their sonic approach (a tad) and re-emphasizing the theatrical potential in guitarist/vocalist Michael Poulsen's songs. Again produced and mixed by longtime collaborator Jacob Hansen, Servant of the Mind is arguably the darkest, loudest, and heaviest album in their catalog --as well as their most accessible. Written in three months, it was recorded in three weeks. With its roiling drumkit and bass intro, opener "Temple of Ekur" is as epic and excessive as its title. The chugging guitar riff, driving tempo, and Poulsen's crystal clean, hooky vocals combine to make it a stadium anthem. "The Sacred Stones" commences with a massive Black Sabbath-like dual guitar riff from Poulsen and Rob Caggiano, underscored by Jon Larsen's thudding tom-toms and kick drums and Kaspar Boye Larsen's filthy bassline. Poulsen deliberately channels Ronnie James Dio in his singing. What emerges is a dynamic update of Heaven and Hell's approach transformed through Volbeat's musicality. "Shotgun Blues" is darker, edgier, and more ferocious. The guitars charge at one another with 1980s thrash metal abandon, forcing Poulsen to climb above them. The charging drum kit and distorted bassline add ballast and textural dimension. In typical Volbeat fashion, however, the chorus delivers an infectious lyric hook without sacrificing the heaviness. Contrast this tune with the brutal chug and burn of "Say No More," with its proggy stop-and-start bridge, double-timed drumming, and assaultive guitars. The band know how to throw curve balls, too. "Dagen Før" features a guest vocal from Stine Bramsen of Danish pop heroes Alphabeat. Volbeat render it an unapologetic AOR anthem with slick, sheeny '80s production, a cruising tempo, and an irrepressible pop melody perfectly melding Bramsen's and Poulsen's voices. While the proceeding "The Passenger" answers with a punky '80s thrash vamp through the verse, its refrain offers the kind of pop-metal grandeur only Volbeat and Ghost -- and vintage Blue Öyster Cult, of course -- are capable of summoning. "Becoming" nods at death metal as drums and bass swing under the punishing guitars but again, Poulsen sends it over the top with a fist-pumping refrain. "Step Into Light" is horrific metallic surfabilly with a soulfully resonant vocal. Closer "Lasse's Birgitta" enters with edgy, reverbed blues and rockabilly guitar vamps before a thrashing "Paranoid"-esque riff asserts the tune's body. Poulsen's vocal keeps the band centered even as he sings of witch burning in 15th century Sweden. Servant of the Mind doesn't offer much in terms of change for Volbeat. But these 13 songs, penned during a time of great global uncertainty, are wonderfully crafted, beautifully recorded, and performed with an incendiary energy. In other words, they all affirm life, fun, and better days ahead. Rock & roll can ask no more. © Thom Jurek /TiVo

The Universal Music Group's Hip-O Select imprint, devoted to pricey, quality reissues of gems from the company's extensive archives, here hits upon the legendary, if compromised Ike & Tina Turner album River Deep -- Mountain High. The title song was Phil Spector's last major effort, a Wall of Sound production from 1966 that hit in the U.K. but flopped in the U.S., leading to his retirement. There were a few other Spector tracks with the Turners (actually, only Tina appears on "River Deep -- Mountain High"), and an album was scheduled on Spector's Philles Records label. Discs were printed for a 1967 release, but no covers, and the LP never appeared. Two years later, A&M Records (its catalog now controlled by Universal) finally put it out. It turned out that Spector hadn't produced a whole album's worth of material; in addition to his productions ("A Love Like Yours [Don't Come Knocking Every Day]," "I'll Never Need More Than This," "Save the Last Dance for Me," and the title song), Ike Turner had produced a batch of typical Ike & Tina material, including remakes of their early-‘60s hits "A Fool in Love," "I Idolize You," and "It's Gonna Work Out Fine." Turner's simple, direct R&B production style has nothing in common with Spector's everything-but-the-kitchen-sink style, so the resulting collection is full of odd juxtapositions in sound. But no matter who's in the producer's chair, the center of the music is still Tina Turner, emoting for all she's worth. © William Ruhlmann /TiVo

The songs Emeli Sandé released as previews of her fourth studio album -- her first for the relaunched Chrysalis label -- were connected by little more than the singer/songwriter's voice and words. "Family" exuded rejuvenation and invincibility with Sandé's vocals, so modulated at points that they conflicted with the song's humanity, bursting through a mechanized rhythm and a blur of strings. More promising was "Look What You've Done," a lovestruck garage-flavored track Sandé produced herself. Add to those a clap-and-stomp optimist anthem ("Brighter Days") and a hopeless ballad resembling a refurbished mid-'80s torch song ("There Isn't Much"), plus an undaunted belter evoking the same era ("Ready to Love") and a woozy ballad in which Sandé is unfulfilled but reassuring ("Oxygen"). What to make of all that? Thematically and sonically, Let's Say for Instance does have some cohesion, if only in its final quarter, where it shifts from heartbreak to soul ache. There's palpable grief and anger regarding racist killings, theatrical consolation and affirmation for a loved one in a dark place, followed by "Brighter Days" and two closing songs overflowing with praise and encouraging platitudes. The first three quarters bounce around in style and emotion. They're most enjoyable when Sandé radiates uninhibited joy about her new love. Brightest of all is "My Pleasure," a delectable tropical bliss-out that tickles, flutters, and bobs like Sandé and producers Prince Galalie and Aquarelle aimed to make an undefeatable homage to Mariah Carey and Timbaland. The beaming "Look in Your Eyes" retrofits deep and funky post-disco (Prime Time's "I Owe It to Myself). "Summer," its tone set with gentle whirls from Oli Morris' saxophone, is Sandé's airiest love song yet, pure expression rather than a performance. A whole album of moments like those wouldn't have worn out its welcome. © Andy Kellman /TiVo

This recording has been highly anticipated. For years, Lithuanian soprano Asmik Grigorian has been renowned within the international scene, and now she’s finally released her first album: Dissonance, recorded with the Lithuanian-Russian pianist Lukas Geniušas. Dissonance—the name of one of Rachmaninov’s Romances, op. 34—consists of a total of 19 pieces, all of which are filled with intimate conflicts (at least in relation to their lyrics or the circumstances in which they were written). “On the contrary,” says the soprano, "our duo is in perfect harmony."In his Romances, which appeared roughly between 1890 and 1906, Rachmaninov immortalised, in music, poets and writers such as Alexander Pushkin, Afanassi Fet, Heinrich Heine, Anton Tchekov and Fiodor Tiuttchev, to name but a few. The same theme runs through all these texts: the intimate conflicts and sufferings that arise when two lovers are unable to overcome obstacles in order to fully embrace their true feelings for one other.From drama to poetry, from love to death, from beauty to suffering: all these themes are put to music in titles like Child, you are beautiful as a flower, op. 8 No 2, I wait for thee, op. 14 No. 1, How much it hurts, op. 21 no. 12, and the closing title: We shall rest, op. 26 no. 3. “In life,” explains Grigorian, “dissonance serves as a way to make consonance—that is, beauty and harmony—heard again. It helps us recognise and truly feel life’s brightness, something we can’t appreciate when there’s no suffering. "With their masterful technique and unique form of musical expression, Grigorian and Geniušas don’t sound like two musicians who’ve never recorded together before. Their artistic symbiosis creates a balance that’s perhaps further strengthened by the cultural affinity between the two performers and the composer himself. With this release, listeners are treated to a real musical romance. © Lena Germann/Qobuz

Alternative folk singer/songwriter Anaïs Mitchell originally presented her epic musical version of the Greek myth of Orpheus and Eurydice as a recording in 2010. The album featured Mitchell herself as Eurydice, Bon Iver's Justin Vernon as Orpheus, and Ani DiFranco as Persephone, among other role players and a band of over a dozen musicians. After being reworked by Mitchell with Broadway in mind, Hadestown ran off-Broadway in 2016, then in Edmonton and London before receiving its Broadway premiere in March of 2019. Marked by alternatively soulful and playful acoustic arrangements and rich harmony vocals, the over-two-hour cast album features performances by an ensemble led by singer/songwriter and actor Reeve Carney as Orpheus, Eva Noblezada (Miss Saigon) as Eurydice, Patrick Page (Beauty and the Beast, Spring Awakening) as Hades, and Amber Gray (Natasha, Pierre & The Great Comet of 1812) as Persephone. Septuagenarian André De Shields won a Tony Award for his turn as Hermes in the production, which won eight Tonys in total, including Best Musical and Best Original Score of 2019.© Marcy Donelson /TiVo

Sting and Shaggy: not such a surprising tandem! In 1979 Police’s leader released Reggatta de Blanc, a second album under the Jamaican influence that fed the reggae-punky wave at the time of the Clash, PIL, Ruts Madness, as well as Bob Marley himself. Gordon Summer, who has always been fascinated by Caribbean rhythms, never truly broke away from them. So when his manager Martin Kierszenbaum, who also works with Shaggy, let him listen to his next dancehall hit song, the bassist made the trip from his Malibu home to do a featuring. The understanding between the Jamaican artist and the ex-Police singer was stellar and the track became the single Don't Make Me Wait. And six months later, 44/876, the tandem album was complete. From Crooked Tree to Dreaming In The USA − which restored the US image −, the two companions gave us a most surprising album that blends reggae, dancehall and catchy pop, without falling into ridiculous clichés. “This is exactly the record the world needs right now”, according to Orville Richard Burrell a.k.a. Shaggy… © Charlotte Saintoin/Qobuz

Released three years after Kenny Rogers' passing in 2020, Life Is Like a Song consists of material he recorded between 2008 and 2011 -- a span of time also roughly covered the recordings that comprised You Can't Make Old Friends, the slick and splashy 2013 affair that was his first high-profile studio album in eons. Unlike that record, Life Is Like a Song is fairly understated. Dolly Parton is the only superstar guest -- Jamie O'Neal and Kim Keyes both contribute accomplished duets -- and the songs favor sentimentality so strongly, the record concludes with Lionel Richie's "Goodbye" serving as a slightly cornball farewell. Then again, one of Rogers' specialties was delivering corny material in a convincingly honeyed murmur and so it is here as he sings songs of love with a warm, gentle touch. If the songs veer toward somnolence, that doesn't necessarily detract from the album's mellow charm. It finds Rogers in good voice and spirits, which is enough to be a nice little epilogue to a career filled with songs as soft, slow, and comforting as these.© Stephen Thomas Erlewine /TiVo

Big names of the Chicago punk scene, the frantic guys from Rise Against change brackets with an album compiling their biggest titles in classic acoustic versions. With The Ghost Note Symphonies Vol 1, strings have such a place of honor that the house drummer, Brandon Barnes, only uses his sticks! After the success in 2017 of its eighth album Woles, the band formed in 1999 can now try its hand at new interpretations and in-depth work underlining a true musical maturity. The Ghost Note Symphonies Vol 1 is thus far from fulfilling the criteria of hardcore punk, unlike Revolutions per Minute or The Sufferer and the Witness. More spacious, we discover here pop ballads, almost folkloric, that had been hidden up until now. Now, this is toward lyrics and violins that the attention will turn. © Anna Coluthe/Qobuz

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The third studio long-player from the shape-shifting Las Vegas-based post-hardcore/pop-punk/glam metal unit, the Epitaph-issued Just Like You finds the band doubling down on the metalcore aspect of its sound, as well as parting ways with bass player Ron Ficarro and bringing in Escape the Fate bassist Max Green to fill the vacancy. Heavier and more screamo-oriented than 2013's rap and hip-hop-influenced Fashionably Late, the 12-track set was preceded by the singles "God, If You Are Above...," "Guillotine IV (The Final Chapter)," "Stay Away," and "Sexy Drug."© James Christopher Monger /TiVo

Following in the footsteps of the wildly successful Appeal to Reason, Rise Against deliver another blast of driving, politically charged, melodic hardcore with Endgame. While their sound isn’t as fiery as it used to be, the band has dialed up the intensity with their message, telling a tale of an America that’s been through one disaster after another, and the kind of world that we might be able to find on the other side of the darkness, providing listeners with a rallying cry to get up and do something about the world if they don’t like the way it is. Musically, Rise Against are as solid as ever, but this time around, it feels like a lot of the heavy lifting is being done by singer Tim McIlrath. At times, McIlrath seems to be channeling the thought-provoking lyricism of Greg Graffin (and even sounds like him here in there), providing listeners with a frank and honest picture of what’s going on in the world, concerning himself more with what he thinks people need to hear than what they want to hear on tracks like “Broken Mirrors.” Though it could be said that Rise Against have ditched their punk roots for a more radio-friendly approach, the sound of Endgame feels more like a logical progression than a good old-fashioned selling out. As the band has grown as both individuals and musicians, so has its sound. The great thing about punk is that it’s not how you say something, it’s what you’re saying, and Rise Against are still a band with plenty to say. All the d-beats and raw vocals in the world don’t mean a thing if you don’t have a message you believe in.© Gregory Heaney /TiVo