Set aside the unforced error of the title Red Pill Blues, an allusion to The Matrix that has also been co-opted by Men's Right Activists -- a group whose combative sensibility is the polar opposite of the perpetually smooth Maroon 5. Set aside, too, the album cover, where the group -- who now number seven -- are all decked out with Snapchat filters, a gambit that suggests the group is a bit too sensitive about their veteran status. Taken on its own musical terms, Red Pill Blues is a sleek, assured affair, one that sustains a seductive neon-streaked mood from beginning to end. Embracing their essential identity as a blue-eyed soul band, Maroon 5 update their sound through a bevy of producers, spearheaded by executive producer J Kash. Unlike its 2014 predecessor V, a generally fine album undercut by a slight brittleness in the Max Martin production and a desperation highlighted by the vulgarity of added single "This Summer," Red Pill Blues glides easily -- so easily that the extent of its EDM-inspired digital collage production isn't immediately apparent. One of the reasons the modern sheen doesn't blind is that every track pushes the groove front and center, but behind the rhythm there are strong song foundations. As such, Red Pill Blues doesn't play like a collective rhythmic and melodic hook in search of an ear: each cut unfolds with its own internal logic, with the different textures playing nicely off each other. Everything comes to a head on "Closure," an extended 11-minute smooth-funk jam that throws all the album's strict structure out the window. Its presence not only draws attention to how Maroon 5 can vamp, it also highlights the discipline behind the rest of Red Pill Blues.© Stephen Thomas Erlewine /TiVo

Kenny Burrell has long been one of the top jazz guitarists, not only for his effortless ability to swing and terrific chops, but for his lyrical way of playing that never goes out of style. This live material comes from a pair of 2007 sets in California, featuring the jazz master unaccompanied. From the opening rendition of "Tenderly" he puts his audience on notice that they're in for a memorable evening. Burrell takes "Tenderly" from a soft introduction into a cooking bop workout. Other standards include an intimate, nostalgic "What a Wonderful World," a conversational, stop-and-go setting of "Come Rain or Come Shine," and a lovely, melancholy "Spring Can Really Hang You Up the Most." His medley tributes to songs made popular by Billie Holiday and Duke Ellington mix some atypical choices (how many players include relative obscurities like "No More" or "David Danced" in their salutes to these jazz greats?). Burrell's originals include a mellow tribute to another jazz guitar great ("Remembering Wes") and the upbeat, easygoing "Be Yourself" that features his vocal as well. Tenderly is beautifully recorded in front of appreciative audiences, who wisely hold their applause until the last moment to not miss a note by this talented guitarist.© Ken Dryden /TiVo

After Lloyd Cole split with his band the Commotions, he fulfilled his dream to move to New York City, where he hooked up with a new team of musicians and launched his solo career. It was a bumpy ride, full of highlights, disappointments, and ultimately a string of really good records, both released and unreleased at the time. Lloyd Cole in New York: Collected Recordings 1988-1996 contains the four albums he released during this timeframe (1990's Lloyd Cole, 1991's Don't Get Weird on Me Babe, 1993's Bad Vibes, 1995's Love Story); an album recorded in 1996 and never released (though all of the songs turned up later on Etc. or The Negatives); and -- most excitingly for Cole collectors -- a disc with 20 demos, many never heard before by anyone other than the musicians involved. It's fascinating to trace Cole's winding path, and reading the compelling essay throws new light on many of the recordings, as those involved aren't shy about telling some tough truths. Musically, the collection jumps from the slick rock & roll of Lloyd Cole with its angular Robert Quine guitar solos to Don't Get Weird, with one side of orchestrally scored songs and one with some of his catchiest pop songs showing some artistic vision. The leap from that rich sound to the very modern, sometime cheesy synthesized sound of Bad Vibes was a disappointment for Cole fans at the time, and remains one years later. As the next album proved very clearly, Cole is at his best when surrounded by woody warmth and guitar jangle. Sporting some of his most relaxed and peaceful songs yet, Love Story even took Cole back into the singles chart with the lilting "Like Lovers Do." It wasn't enough of a hit to keep the execs from shutting down Cole's next album, though. Titled Smile If You Want To here, the 1996 sessions were of a piece with those from Love Story, with Cole sounding assured and writing some of his best songs yet. It's a pity it was shelved at the time, but having all the songs together in one place makes for one of his strongest albums and the best part of the box set. The collected demos are the other huge selling point of the set. Recorded between 1989 and 1994, many of the songs didn't make the cut at the time, but it's hard to tell why. Mixed in with versions of songs that did make it onto albums, and his cover of Nick Cave's "The Ship Song," there are quite a few hidden gems. Some tracks have Lloyd trying things he didn't really explore further, like the jaunty pop-with-synths of "The English Weather," while some of them, like the Roy Orbison-sounding "Cold Empty Room," are just really good songs. It's a fine capper to a truly deluxe set that does justice to Cole's early solo career and makes it easy to rediscover the gentle genius of a sometimes overlooked singer/songwriter.© Tim Sendra /TiVo

"People talking about what is and what ain't country," sings Luke Bryan at the opening of What Makes You Country. He poses this at a time when the contours of mainstream country are shifting, a change that coincides with Bryan turning from an upstart into a veteran. During his decade of dominance, the sound of mainstream modern country was largely the sound of Luke Bryan: cheerful odes to country, drinking, and love. Other bro-country acts had a rowdier edge, but Bryan's ace in the hole was his friendliness. It not only made him seem like the guy next door, it also disguised how he slyly followed fashion, incorporating bits of current trends into his singles. On What Makes You Country, he's not quite so slick. Covered in a shiny electronic gloss, the album flits between slow-burners and mellow pop. While he takes the occasional detour for a song that could be strummed on a front porch -- "Most People Are Good" could fit on any of his records -- the cumulative effect of all the rhythmic loops and electronic flair on the album is that Bryan seems consumed with retaining his status as a hitmaker. Matters aren't helped by the fact that he doesn't seem particularly interested in the party songs; he wanders through the amiable "Drinking Again" as if he doesn't want another beer, and doesn't seem much interested in what makes you country or not. When it comes to the ballads, though, or the numerous laid-back pop numbers, Bryan demonstrates that familiar, friendly charm, and that helps sell productions that are otherwise trying a little too hard to make him sound a little less cozy.© Stephen Thomas Erlewine /TiVo

Set aside the unforced error of the title Red Pill Blues, an allusion to The Matrix that has also been co-opted by Men's Right Activists -- a group whose combative sensibility is the polar opposite of the perpetually smooth Maroon 5. Set aside, too, the album cover, where the group -- who now number seven -- are all decked out with Snapchat filters, a gambit that suggests the group is a bit too sensitive about their veteran status. Taken on its own musical terms, Red Pill Blues is a sleek, assured affair, one that sustains a seductive neon-streaked mood from beginning to end. Embracing their essential identity as a blue-eyed soul band, Maroon 5 update their sound through a bevy of producers, spearheaded by executive producer J Kash. Unlike its 2014 predecessor V, a generally fine album undercut by a slight brittleness in the Max Martin production and a desperation highlighted by the vulgarity of added single "This Summer," Red Pill Blues glides easily -- so easily that the extent of its EDM-inspired digital collage production isn't immediately apparent. One of the reasons the modern sheen doesn't blind is that every track pushes the groove front and center, but behind the rhythm there are strong song foundations. As such, Red Pill Blues doesn't play like a collective rhythmic and melodic hook in search of an ear: each cut unfolds with its own internal logic, with the different textures playing nicely off each other. Everything comes to a head on "Closure," an extended 11-minute smooth-funk jam that throws all the album's strict structure out the window. Its presence not only draws attention to how Maroon 5 can vamp, it also highlights the discipline behind the rest of Red Pill Blues.© Stephen Thomas Erlewine /TiVo

Wild, Cool and Swingin' compiles 22 songs from several of the many albums she made for the Liberty label from 1957 though 1966. Most of the selections link London with obviously good but mostly unidentified studio players, as well as with excellently arranged material that is unencumbered, for the most part, by syrupy string ensemble playing. Her 1960 recording of "Black Coffee" compares well with the slinky Peggy Lee and soulful Carmen McRae versions of this tune. Andre Previn is with her for a very Billy May-like arrangement of "Makin' Whoopee." A fine guitar player is present on "`Tain't What You Do (It's the Way That Cha Do It)," and a sax player sounding much like Plas Johnson sets the tone for a powerful rendition of "Night Life." London is appropriately sensuous on "Come on-A My House" and "My Heart Belongs to Daddy." The vocalist also proves she can get down with the blues on "Watermelon Man," where she is backed by an orchestra led by Gerald Wilson, along with a down and dirty organ. "Daddy" finds her in the company of Jimmy Rowles along with a hot fiddle. Ernie Freeman, who has backed many a singer, is represented on several of the tracks. His ability to write arrangements which enhance the special qualities of the vocalists is evident on such tunes as "Wives and Lovers." Given the songs compiled for this release, it's clear that the producers wanted to show that there is something more to London's warbling than romantic ballads backed with string orchestras, playing stock arrangements. For both Julie London fans as well as those who appreciate good vocals of well-arranged tunes, this album is recommended.© Dave Nathan /TiVo

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Las Vegas lounge a go-go. With a ten-piece ensemble that includes three lead vocalists (one of whom is a dead ringer for Telly Savalas) and a horn section, Casino Royale gleefully revive the cheesy days of '60s bachelor music, paying homage to the likes of Nancy Sinatra, Tom Jones, and even Motown on these 17 tracks. Not an original song in the bunch, but their jazzed-up renditions of "I Say a Little Prayer," "Always Something There to Remind Me," and "What's New Pussycat?" are perfect for any cocktail party.© Mike DaRonco /TiVo