On Be Yourself Tonight, Eurythmics' most commercially successful and hit-laden album, the duo meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This disc scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This disc is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic.© Jose Promis /TiVo

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Along with his Rock Fabulous Orchestra, Dave Stewart of Eurythmics fame presents what amounts to a best-of collection on THE DAVE STEWART SONGBOOK. The album finds Stewart leading his band through new versions of Eurythmics classics as well as songs he wrote for production clients like Tom Petty. With other singers standing in for Eurythmics siren Annie Lennox (and Stewart adding his own deep, laconic vocals) the new versions present a different slant on a batch of well known songs.© TiVo

Following her breakthrough 2015 debut album, Unbreakable Smile, singer/songwriter Tori Kelly reconnected with her Christian roots and issued the Grammy-winning 2018 gospel follow-up Hiding Place. However, in the wake of those successes, she endured a series of losses. Her 2018 marriage to basketball player André Murillo was a romantic bright spot in a year that saw her endure the death of her grandfather and witness the divorce of her parents. Kelly brings all of these experiences to bear on her emotionally raw third full-length album, 2019's Inspired by True Events. Working with producers Jimmy Napes and Noel Zancanella, Kelly leans into her roller-coaster year, transforming moments of heartache and elation into riveting pop anthems. The results are certainly catchy, as on the yearning "2 Places" and delicately attenuated "Pretty Fades," both of which find Kelly showcasing her rich vocals against a subtle backdrop of woody acoustic guitars and nuanced percussion grooves. In fact, one of the more notable aspects of Inspired by True Events is just how stripped down and minimal it is. It's a sound that Kelly, also an adept guitarist, has favored since her 2013 Foreward EP, and one that complements the naked emotions on display. Nonetheless, there are still some more enveloping arrangements sprinkled throughout, as on the dusky "Kid I Used to Know," in which Kelly evokes a '70s orchestral soul vibe as she reflects on her desire to recapture the breezy enthusiasm of her childhood. Similarly, on the impassioned "Until I Think of You" she frames herself with strings and a vibrant gospel choir. She keeps things similarly understated elsewhere, accompanying herself on acoustic guitar for the relationship drama "Sorry Would Go a Long Way," and weaving in warm organ and choral accents on her homage to her late grandfather, "Your Words." Also adding to the album's organic, personalized tone are several sound clips culled from Kelly's home movies, including one with her father just after her birth in 1992, and one from 1997 featuring an irrepressible five-year-old Kelly talking to her mother about wanting to sing. All of this makes for a heartfelt listen and one that balances Kelly's talent for matching pop hooks with a winning sense of honesty.© Matt Collar /TiVo

At a time when urban radio was obsessed with the hip-hop-minded new jack swing of Bell Biv DeVoe, Bobby Brown, and Guy (among others), Charles & Eddie turned to pre-1980 African-American music for inspiration. The male vocal duo's first album, Duophonic, owes a major debt to the classic Northern soul of the '60s and '70s. This CD came out in 1992, but Duophonic is quite mindful of the days when Curtis Mayfield, the Spinners, Al Green, and Marvin Gaye soared to the top of the R&B charts. Duophonic, however, isn't hardcore soul, and no one will mistake this release for a Temptations album from 1970. Rather, Charles & Eddie show their appreciation of classic soul in a very pop-friendly way, and the obvious comparisons include Simply Red, Terence Trent d'Arby, and Culture Club. Charles & Eddie aren't R&B purists, which isn't to say that they aren't expressive -- only that soul and pop considerations are both a part of what they do. Duophonic is a solid debut, and the duo shows a great deal of promise on smooth pop-soul offerings such as "Love Is a Beautiful Thing" and the hit single "Would I Lie to You." Most of the songs deal with romantic matters, although Duophonic detours into sociopolitical territory on "Father to Son" and "Unconditional." Both of these songs indicate that Charles & Eddie are well aware of the sociopolitical soul classics of the early '70s -- one gets the impression that both of them have spent a lot of time listening to Mayfield's Superfly soundtrack and Marvin Gaye's What's Going On album. Anyone who is a big fan of Simply Red, d'Arby, or Culture Club is advised to give Duophonic a close listen.© Alex Henderson /TiVo

Eurythmics released this belated live album nearly five years after We Two Are One, which would prove to be the duo's last record together for a decade. It's a chronological run-through of the group's hits (with some of their stronger album tracks interspersed) with the songs culled from the parent album's respective tours. There are some notable players in their live bands including once-and-future Blondie drummer Clem Burke, future Curve member Dean Garcia, and Eddie Reader (frustratingly, it is not noted who played which tours). The performances are spirited with Annie Lennox's vocals as rapturous as the studio counterparts. Some of the earlier, more new wave-inflected material sounds a bit thin and anemic while the more organic songs from Be Yourself Tonight fare better. Coming far after the Eurythmic's commercial peak, Live 1983-1989 received little interest upon its 1993 release and most fans would be more likely satisfied with the less-complete greatest-hits package issued two years earlier.© Tom Demalon /TiVo

The sixth studio long-player from the Orange County-based metalcore crew, Long Live arrives after a period of recalibration for Atreyu that saw the bandmembers tending to family matters and devoting time to other musical pursuits, including I Am War, Fake Figures, and Hell or Highwater. Their first collection of all new music since 2009's well-received Congregation of the Damned, the Destroy/Spinefarm Records-issued Long Live features 12 hard-hitting tracks, including the blistering title cut, which also serves as the album's first single.© James Christopher Monger /TiVo

On Be Yourself Tonight, Eurythmics' most commercially successful and hit-laden album, the duo meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This disc scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This disc is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic.© Jose Promis /TiVo

On Be Yourself Tonight, Eurythmics' most commercially successful and hit-laden album, the duo meticulously blended the new wave electronic elements that dominated their previous sets with the harder straight-edged rock and soul that would dominate later sets to come up with a near-perfect pop album. This disc scored no less than four hit singles and kept them a mainstay on MTV's play lists during the channel's heyday. Fusing pop, soul, rock, electronic beats, and even gospel, this is arguably the duo's finest moment. The first hit, "Would I Lie to You," is a straight-forward rocker, complete with great guitar licks, a soulful horn section, and Annie Lennox sounding as vicious and vivacious as ever. The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet. This disc is, without a doubt, one of the best rock/pop albums from the 1980s and one of the grandest, most creative albums delivered by the ever-appealing and innovative duo of Annie Lennox and Dave Stewart. A true classic.© Jose Promis /TiVo

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Jon Cleary is one of those rare artists who is capable of transcending his geographical background to seamlessly embody a completely foreign musical style. In Cleary's case, the roots are England and the style is New Orleans blues. On Moonburn, the pianist comes off as Dr. John's long lost musical soulmate, blending country-blues phrasing with the lazy piano rhythms of the bayou. "Unnecessarily Mercenary" and "Fool's Game," in particular, sparkle with a mischievous gleam that shows Cleary to be a musical peer of the New Orleans style rather than an imitator.© Steve Kurutz /TiVo