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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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Collapse Into Never

Placebo

Alternative & Indie - Released December 15, 2023 | So Recordings

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Minutes To Midnight (Explicit)

Linkin Park

Alternative & Indie - Released May 14, 2007 | Warner Records

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The Complete Elektra Albums Box

The Cars

Pop - Released March 11, 2016 | Rhino - Elektra

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The Cars

The Cars

Pop - Released May 1, 1978 | Rhino - Elektra

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The Cars' 1978 self-titled debut, issued on the Elektra label, is a genuine rock masterpiece. The band jokingly referred to the album as their "true greatest-hits album," but it's no exaggeration -- all nine tracks are new wave/rock classics, still in rotation on rock radio. Whereas most bands of the late '70s embraced either punk/new wave or hard rock, the Cars were one of the first bands to do the unthinkable -- merge the two styles together. Add to it bandleader/songwriter Ric Ocasek's supreme pop sensibilities, and you had an album that appealed to new wavers, rockers, and Top 40 fans. One of the most popular new wave songs ever, "Just What I Needed," is an obvious highlight, as are such familiar hits as "Good Times Roll," "My Best Friend's Girl," and "You're All I've Got Tonight." But like most consummate rock albums, the lesser-known compositions are just as exhilarating: "Don't Cha Stop," "Bye Bye Love," "All Mixed Up," and "Moving in Stereo," the latter featured as an instrumental during a steamy scene in the popular movie Fast Times at Ridgemont High. With flawless performances, songwriting, and production (courtesy of Queen alumni Roy Thomas Baker), the Cars' debut remains one of rock's all-time classics.© Greg Prato /TiVo
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Powerage

AC/DC

Metal - Released May 5, 1978 | Columbia

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The Colour Of Spring (Remastered Hi-Res Version)

Talk Talk

Alternative & Indie - Released March 22, 1993 | Parlophone UK

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Forty Licks

The Rolling Stones

Rock - Released September 30, 2002 | Polydor Records

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Released in September 2002, Forty Licks was the first compilation to bring together tracks from all of the Stones' different eras, and from all of the different labels they recorded for. The icing on these abundant forty tracks are four previously unreleased tracks: Don't Stop, Keys to Your Love, Stealing My Heart and Losing My Touch. There isn’t much to add beyond the tracklist, so many masterpieces follow one after the other: Street Fighting Man, Gimme Shelter, (I Can't Get No) Satisfaction, The Last Time, Jumpin' Jack Flash, Sympathy for the Devil, Wild Horses, Paint It, Black, Honky Tonk Women, Let's Spend the Night Together, Start Me Up, Brown Sugar, Miss You, Beast of Burden, Happy, Angie, It's Only Rock 'n Roll (But I Like It), and so on. The whole history of rock'n'roll (especially from the 60s and 70s) flashes before our ears. A magic trick lasting over two hours and forty minutes, during which the brilliant tandem Mick Jagger/Keith Richards invent a music nourished by blues, soul, country, gospel and funk. Vital! © Marc Zisman/Qobuz
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Council Skies

Noel Gallagher's High Flying Birds

Alternative & Indie - Released June 2, 2023 | Sour Mash Records Ltd

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GRRR Live!

The Rolling Stones

Rock - Released February 10, 2023 | Mercury Studios

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GRRR Live! captures the December 15, 2012 concert the Rolling Stones held at Newark's Prudential Center as part of their 50 & Counting Tour. GRRR!, the multi-format 50th Anniversary compilation, was barely a month old at the time, hence the title of this belated 2023 release: the Stones were out hawking their hits, so why not name it after a comp few remember a decade later? As the concert was originally designed as a pay-per-view extravaganza, the show is packed with guest stars, ranging from the Stones' old mate Mick Taylor playing on "Midnight Rambler" and New Jersey's own home state hero Bruce Springsteen jamming on "Tumbling Dice" to young guns Black Keys, Lady Gaga, and Gary Clark, Jr. & John Mayer. The set list offers few surprises -- if you don't recognize a song, that's because it's a new tune added to GRRR! -- but the Stones are in fine form, never seeming tired of playing the hits in a fashion that guarantees a splendid time for one and all. © Stephen Thomas Erlewine /TiVo
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STRUGGLER

Genesis Owusu

Alternative & Indie - Released August 18, 2023 | OURNESS

On his debut Smiling With No Teeth, Ghanaian-Australian artist Genesis Owusu struck nerves with a distinctly '90s-born perspective on how to shape a characteristic sound: a style that could technically be traced back to roots in hip-hop. That only served to highlight how easily he could take that route into a post-genre expression where R&B, synthpop, and alt-rock all played on the same frequency. And that was reflected in his multifaceted perspective as a singer-songwriter—given to stretching his range from steely, emphatic raps to vulnerable-not-fragile falsetto in the former half of that equation, and an often-strident yet necessarily frank confronter of social cruelty and oppression in the latter. Struggler maintains Owusu's startlingly adept eclecticism as a musician: the needling synth sequencing on opener "Leaving the Light" is pure Freedom of Choice DEVO with a touch of P-Funk swing. The new-wave funk of "Tied Up" feels like an anthem for a hundred-year empire built on the Minneapolis Sound, and the gauzy semi-industrial grunge-gaze of cuts like "The Roach" and "Old Man" make for more daring takes on the open-ended possibilities of '90s alt than half the bands that got signed post-Nevermind. But those feel less like retro moves than an attempt to use the context of the past to make sense of a future that seems short on promise, and Struggler doesn't just confront it—it perseveres through it, building off an existential anxiety-drive that draws as much on Beckett and Kafka as it does on the immigrant-diaspora persistence of an outsider just trying to live. © Nate Patrin/Qobuz
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Mule Variations

Tom Waits

Alternative & Indie - Released January 1, 1999 | Anti - Epitaph

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Tom Waits grew steadily less prolific after redefining himself as a junkyard noise poet with Swordfishtrombones, but the five-year wait between The Black Rider and 1999's Mule Variations was the longest yet. Given the fact that Waits decided to abandon major labels for the California indie Epitaph, Mule Variations would seem like a golden opportunity to redefine himself and begin a new phase of his career. However, it plays like a revue of highlights from every album he's made since Swordfishtrombones. Of course, that's hardly a criticism; the album uses the ragged cacophony of Bone Machine as a starting point, and proceeds to bring in the songwriterly aspects of Rain Dogs, along with its affection for backstreet and backwoods blues, plus a hint of the beatnik qualities of Swordfish. So Mule Variations delivers what fans want, in terms of both songs and sonics. But that also explains why it sounds terrific on initial spins, only to reveal itself as slightly dissatisfying with subsequent plays. All of Waits' Island records felt like fully conceived albums with genuine themes. Mule Variations, in contrast, is a collection of moments, and while each of those moments is very good (some even bordering on excellent), ultimately the whole doesn't equal the sum of its parts. While that may seem like nitpicking, some may have wanted a masterpiece after five years, and Mule Variations falls short of that mark. Nevertheless, this is a hell of a record by any other standard. Waits is still writing terrific songs and matching them with wildly evocative productions; furthermore, it's his lightest record in years -- it's actually fun to listen to, even with a murder ballad here and a psycho blues there. In that sense, it's a unique item in his post-Swordfish catalog, and that may make up for it not being the masterpiece it seemed like it could have been.© Stephen Thomas Erlewine /TiVo
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24K Magic

Bruno Mars

Pop - Released November 18, 2016 | Atlantic Records

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Released four years after the multi-platinum Unorthodox Jukebox, 24K Magic -- or XXIVK Magic, if you're foolish enough to go by the cover -- might as well be considered the full-length sequel to "Uptown Funk," Bruno Mars' 2014 hit collaboration with Mark Ronson. On his third album, Mars, joined primarily by old comrades Philip Lawrence, Brody Brown, and James Fauntleroy, sheds the reggae and new wave inspirations and goes all-out R&B. This is less an affected retro-soul pastiche -- like, say, The Return of Bruno -- than it is an amusing '80s-centric tribute to black radio. Sonically, '80s here means the gamut and the aftershocks felt the following decade, from the sparking midtempo groove in "Chunky," which recalls Shalamar even more than album two's "Treasure," to some full-blooded new jack swing moves. The clock is turned back a couple more decades to passable strutting James Brown-isms in "Perm," while "Too Good to Say Goodbye," co-written by Babyface, draws its structure and certain components from early-'70s Philly soul. Almost all of the material involves Mars in winking bad-boy player mode. He's often just ampin' like Bobby, yet the performances are undeniable, dealt out with all the determination and attitude of a kid who just bought a custom lavender Razz with his paper route money. Lead single "24K Magic" is a scrupulous compound of early-'80s funk tricks, another needed injection of good-time energy into commercial airwaves, but the album's true triumph is buried near the end -- not that it takes long to get there -- and scrapes the dawn of the '90s. In living color, decked out with a rattling breakbeat and zipping bassline, "Finesse" revisits the era when producers like Teddy Riley, Dave "Jam" Hall, and Dr. Freeze pushed their genre forward by fusing hip-hop to what they learned from electronic post-disco R&B pioneered by Leon Sylvers III, Kashif, and Jimmy Jam and Terry Lewis. Like much of what precedes it, the song is a blast. Those who want their rich and modern synthesizer funk minus flash would do well to seek Bugz in the Attic's "Consequences," Dâm-Funk's "Galactic Fun," Amalia's "Welcome to Me," and Anderson Paak's "Am I Wrong," for starters.© Andy Kellman /TiVo
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Lighting Up The Sky

Godsmack

Rock - Released February 24, 2023 | BMG Rights Management (US) LLC

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London circa 1740: Handel's musicians

La Rêveuse

Classical - Released August 18, 2023 | harmonia mundi

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Various recordings have aired the music of Handel's contemporaries, but this one from the ensemble La Rêveuse delves deeper than others, and the players make excellent cases for the music. It is worth keeping in mind that Handel, like Bach, was on the old-fashioned side by the 1740s, and the younger musicians in his orbit, many of them immigrants, were more open to new trends. One of those was the transverse flute, sometimes known as the German flute, and the light, virtuosic concerto by Charles Weideman (a German actually named Carl Weidemann) offers an excellent example of the new music being written for it. There are pieces by the Italians Pietro Castrucci and Giuseppe Sammartini -- the older brother of Giovanni Battista Sammartini -- that carry hints of the emerging galant style. New musical breezes were also blowing from Scotland, and the pieces by James Oswald reflect this; these are the most interesting things on the album, and they're far from commonly played. Some are from a collection called The Caledonian Pocket Companion; these are transcriptions of folk tunes, some of which one might hear today during an evening out at a Scottish pub. Most unusual of all is A Sonata of Scots Tunes, a five-movement work in which the folk material is shoehorned into an Italian sonata style. This absolutely deserves wider distribution, and the album, as a whole, is fresh. Another draw are the detailed liner notes by viola da gamba player Florence Bolton; they contain lots of information, not all of it directly relevant to the music at hand, but all of interest to lovers of the period (maybe music for the Aeolian harp or the violetta marina will be coming up on subsequent releases). The church sound is wrong, but this is apparently the first in a series of English music from these fine musicians, and one looks forward to more. © James Manheim /TiVo
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Bigger, Better, Faster, More!

4 Non Blondes

Pop - Released October 13, 1992 | Interscope

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San Francisco's 4 Non Blondes burst onto the national scene with their massive, neo-hippie anthem "What's Up" from their debut Bigger, Better, Faster, More? Although they failed to recreate the single's success, the album, as a whole, is a fairly engaging mix of alternative rock, quasi-funk, and blues. The focal point is on lead singer Linda Perry who also plays guitar and was the primary writer of the material. Perry has a powerful set of pipes akin to Johnette Napolitano, but, unfortunately, she tends to cut loose when a little more restraint would benefit the proceedings. However, "Superfly" is a feel good, funky number and "Spaceman"'s yearning lyrics are delivered over a quiet, martial drum rhythm. A solid debut that got lost in the wake of its mammoth hit.© Tom Demalon /TiVo
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Wake Up & It's Over

Lovejoy

Rock - Released May 12, 2023 | Anvil Cat Records

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Say Yes, Say No

Aime Simone

Pop - Released July 31, 2020 | No Start No End

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Agent Provocateur

Foreigner

Hard Rock - Released August 6, 2013 | Rhino Atlantic

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Westworld: Season 4 (Soundtrack from the HBO® Series)

Ramin Djawadi

TV Series - Released August 14, 2022 | WaterTower Music

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