True Blue is the album where Madonna truly became Madonna the Superstar -- the endlessly ambitious, fearlessly provocative entertainer who knew how to outrage, spark debates, get good reviews -- and make good music while she's at it. To complain that True Blue is calculated is to not get Madonna -- that's a large part of what she does, and she is exceptional at it, but she also makes fine music. What's brilliant about True Blue is that she does both here, using the music to hook in critics just as she's baiting a mass audience with such masterstrokes as "Papa Don't Preach," where she defiantly states she's keeping her baby. Her real trick here, however, is transcending her status as a dance-pop diva by consciously recalling classic girl group pop ("True Blue," "Jimmy Jimmy") to snag the critics, while deepening the dance grooves ("Open Your Heart," "Where's the Party"), touching on Latin rhythms ("La Isla Bonita"), making a plea for world peace ("Love Makes the World Go Round"), and delivering a tremendous ballad that rewrites the rules of adult contemporary crossover ("Live to Tell"). It's even harder to have the entire album play as an organic, cohesive work. Certainly, there's some calculation behind the entire thing, but what matters is the end result, one of the great dance-pop albums, a record that demonstrates Madonna's true skills as a songwriter, record-maker, provocateur, and entertainer through its wide reach, accomplishment, and sheer sense of fun.© Stephen Thomas Erlewine /TiVo

With his second solo album released in November 1982, the former Genesis drummer/singer eyes a slightly more pop sound, which leans ever so wonderfully into Soul and R&B. We thus find in the heart of this Hello, I Must Be Going, a great cover of You Can't Hurry Love by Diana Ross' The Supremes, a single which would go on to top the British charts with near ease. This album, brilliantly produced by Phil Collins himself, (the 100% 80s sound ages rather well, and with the album finally remastered in 24-Bit Hi-Res, it really comes alive) is most remarkable for Collins' unique vocals combined with the unerring ability to sign off hit songs where rhythm is always at the heart. For a drummer, perhaps its not that surprising ... © CM/Qobuz

It wasn't noted much at the time, but founding keyboardist Jesse Carmichael sat out Maroon 5's 2012 album Overexposed -- a circumstance that just happened to coincide with Adam Levine capitalizing on his Voice-fueled stardom. Overexposed and over-filled with guest producers and songwriters drafted to compensate for the absent Carmichael, rapper Wiz Khalifa, reliable Swedish hitmakers Max Martin & Shellback, and icy OneRepublic frontman Ryan Tedder gave the group a steely sleekness to suit contemporary charts. Some of this is retained on V, the 2014 record that marks Carmichael's return to the group, partially because all those guests save Khalifa return for a second helping. The absence of the rapper suggests Maroon 5 aren't quite as concerned with sounding youthful as they were last time around, which is generally true. Some tracks maintain the glossy veneer that overwhelmed Overexposed -- not entirely a surprise with Martin billed as the record's executive producer -- and, despite some unnecessary vocal processing on Levine scattered throughout the record, these are largely the ones featuring returning guests: Tedder co-writes and co-produces the album's lead single, "Maps," a song where Levine's Sting mannerisms steamroll the hooks," while Shellback helms "Animals," "In Your Pocket," and "Feelings," with all but the last placing emphasis on brittle beats. Elsewhere, the vibe shifts slightly back to the soulful pop that's remained at Maroon 5's core since the beginning, here given an ever so slight maturation to balance the modern moves heard on the rest of the record. Sometimes, the group achieves a delicate balance between the two extremes -- "It Was Always You," "New Love," and the aforementioned "Feelings" -- but the best moments on V are when Maroon 5 embrace the tuneful, slightly soulful adult contemporary pop band they've always been, as they do on "Sugar," "Coming Back for You," and the Gwen Stefani duet "My Heart Is Open."© Stephen Thomas Erlewine /TiVo

Reinventions rarely come as thorough and effective as Achtung Baby, an album that completely changed U2's sound and style. The crashing, unrecognizable distorted guitars that open "Zoo Station" are a clear signal that U2 have traded their Americana pretensions for postmodern, contemporary European music. Drawing equally from Bowie's electronic, avant-garde explorations of the late '70s and the neo-psychedelic sounds of the thriving rave and Madchester club scenes of early-'90s England, Achtung Baby sounds vibrant and endlessly inventive. Unlike their inspirations, U2 rarely experiment with song structures over the course of the album. Instead, they use the thick dance beats, swirling guitars, layers of effects, and found sounds to break traditional songs out of their constraints, revealing the tortured emotional core of their songs with the hyper-loaded arrangements. In such a dense musical setting, it isn't surprising that U2 have abandoned the political for the personal on Achtung Baby, since the music, even with its inviting rhythms, is more introspective than anthemic. Bono has never been as emotionally naked as he is on Achtung Baby, creating a feverish nightmare of broken hearts and desperate loneliness; unlike other U2 albums, it's filled with sexual imagery, much of it quite disturbing, and it ends on a disquieting note. Few bands as far into their career as U2 have recorded an album as adventurous or fulfilled their ambitions quite as successfully as they do on Achtung Baby, and the result is arguably their best album.© Stephen Thomas Erlewine /TiVo

The National have worn a lot of hats since their 2001 debut, but they’ve never been able to shake the rural, book-smart, quiet malevolence of the Midwest. The Brooklyn-groomed, Ohio-bred indie rock quintet’s fifth full-length album navigates that lonely dirt road where swagger meets desperation like a seasoned tour guide, and while it may take a few songs to get going, there are treasures to be found for patient passengers. The National's profile rose considerably after 2007’s critically acclaimed The Boxer, and they have used that capital to craft a flawed gem of a record that highlights their strengths and weaknesses with copious amounts of red ink. High Violet oozes atmosphere, but moves at a snail’s pace. The Cousteau-esque “Terrible Love” hardly bursts out of the gate, and the subsequent “Sorrow” and “Anyone’s Ghost” (despite Bryan Devendorf’s locomotive drumming) lack the hooks to reel anybody in on first listen. The album begins to take shape on “Afraid of Everyone,” a slow-build midtempo rocker that expertly utilizes the Clogs’ (guitarist Bryce Dessner's other chamber pop band) prickly orchestrations, but it’s the punishing “Bloodbuzz Ohio” that serves as High Violet's centerpiece. Built on a foundation that fuses together TV on the Radio's “Halfway Home” and Arcade Fire's “No Cars Go,” its refrain of “I still owe money to the money, to the money I owe” seems both relevant and nostalgic, resulting in a highway anthem that feels like the anti-“Born to Run.” Other standout cuts like “Conversation 16,” “England," and the darkly funny/oddly beautiful closer, “Vanderlyle Crybaby Geeks,” trumpet Violet’s second-half supremacy, but even they tremble beneath the "Bloodbuzz" intoxication. Muscular, miserable, mighty, and meandering, High Violet aims for the seats, but only hits about half of them. © James Christopher Monger /TiVo

Annie Clark began recording St. Vincent almost immediately after she finished touring in support of Love This Giant, her inspired collaboration with David Byrne. It's not hard to hear the influence that album had on these songs: Love This Giant's literal and figurative brassiness gave Clark's witty yet thoughtful approach more sass without sacrificing any of her intelligence. Similarly, while St. Vincent is some of her most pop-oriented work, it doesn't dilute the essence of her music. If anything, her razor-sharp wit is even more potent when polished in a candy coating with just a hint of venom. This is especially true of the album's singles: on "Digital Witness," one of the songs with the closest kinship to her "Love This Giant" work, she juxtaposes pointed commentary ("If you can't see me/What's the point of doing anything?") with Valley Girl "yeah"s in a trenchant expression of the 21st century's constant oversharing and need for validation. This somewhat frantic undercurrent bubbles to the surface on "Birth in Reverse," one of Clark's most immediately winning singles since "Actor Out of Work," and one that makes retreat seem nearly as exciting as revolution. Here and throughout the album, Clark and longtime producer John Congleton use their signature, proudly artificial sound to highlight her direct storytelling, whether it's the way "I Prefer Your Love"'s trip-hoppy sheen lets the declaration "I prefer your love to Jesus" ring out more boldly or the way Clark sings "I'm afraid of you because I can't be left behind" gives the lie to her brash guitar playing on "Regret." As on Strange Mercy, Clark explores strength and vulnerability in ever more masterful, and approachable, ways. Not every song may be as literally autobiographical as "Rattlesnake," which was inspired by a secluded walk in the desert in the altogether. Yet there's more than a kernel of emotional truth to "Prince Johnny," where Clark's character ends up even more exposed thanks to some songwriting sleight-of-hand. The hallucinatory, funky "Huey Newton" and the decaying power ballad "Severed Crossed Fingers" show off not just Clark's musical range, but just how eloquently she blends passion and precision. And, as her most satisfying, artful, and accessible album yet, St. Vincent earns its title.© Heather Phares /TiVo

Many groups lose the steam that propelled them to the top; Earth, Wind & Fire, contemporary sound and all, were still blazing when this album was released. "Fall in Love With Me" was the first single. With its festive rhythm and sauntering vocals, it became a number four hit on the Billboard R&B charts and a number 17 pop hit. The percolating single "Side by Side" was the second release. The precise horns, sensuous female backing vocals, and Maurice White's animated vocals make this an entertaining piece. Though it should have fared better, it settled in at number 15 on the R&B charts. The final release was "Spread Your Love." The sonically aggressive special effects are contrasted with a soothing chanting chorus. The single peaked at 57. All three of the above feature Maurice White on lead. Throughout the entire album, White's unifying message is fueled by the aggressive rhythms and relaxing melodies.© Craig Lytle /TiVo

In 2012, Brit's Critic Choice Award, a best new artist prize for the United Kingdom's best talent, unsurprisingly went to Emeli Sandé, a woman being lauded for her crystalline voice and her immaculate songwriting skills. By the time her debut album, Our Version of Events, hit shelves, Sandé had already been a number one-selling singer and songwriter, and had her work covered by names such as Tinchy Stryder, Alesha Dixon, and Susan Boyle. Many call the 24-year old starlet a jack-of-all-trades, and after listening to her first full-length debut, it's easy to understand why. Events skip from genre to genre breezily, often being carried by Sandé's piercing voice. Sonically, the album sounds like a whisked-blend of Leona Lewis, Kate Bush, and Alicia Keys -- but, somehow, Sandé still establishes her own style between the airy coos, sultry piano melodies, and sprinkling of xylophones, synths, and bells. Sandé's strongest tracks are such a mixed-bag -- the Professor Green-spinoff "Read All About It (Part III)" is a raw interpretation of the massive pop single, "Lifetime" is a midtempo love song that's as engaging as a close listen as it is late at night, and the electrifying first single "Heaven" has all the makings of a vibrant dance record slicked up for the floor. A true feature of this album is the sheer quality of the compositions, which, for lack of a better term, are unexpectedly sophisticated and nuanced for a mainstream record. What holds the album back in parts is the fact that its tempo is too slow at times, however, Sandé makes up for it with passion and precision. Our Version of Events is an earnest collection of works by a woman who is as good a composer as she is vocalist, a lethal combination in today's pop music business. In this case, the Critic's Choice Award was well deserved.© Matthew Chisling /TiVo

It's easy to forget, in the wake of a decade of bizarre behavior, rumors, and innuendo surrounding Michael Jackson that the Jacksons were once known solely for being a major music franchise. This live album, which was pretty obscure in its original double-LP vinyl version, is a reminder of how great an act they were, and captures what was just about the end of Michael Jackson's work with the family group, all of it very much on a high-note. Live opens with a pounding, powerful rendition of "Can You Feel It" and, with one exception, never lets up, pushing on through a high-velocity and high-articulation version of "Things I Do for You," and a soaring "Off the Wall." There's an unfortunate lag where Michael Jackson slows things down for "Ben" (arguably the nadir of his Motown career), but "This Place Hotel" and the far more effective ballad "She's Out of My Life" make up for that lapse. The last section of the album, commencing with Off the Wall's "Rock With You," is practically a live rendition of that album, and so bracing as to almost exhaust the listener; and the preceding medley of their early Motown hits is just about worth the asking price of the disc by itself. On the down side, there are no notes and barely any credits, and the volume is set a bit low, but it pumps up beautifully with virtually no excess noise. The album is worth tracking down as an artifact of a simpler, more unabashedly joyous time in music, as well as the family's history.© Bruce Eder /TiVo

By the time the Pointer Sisters unleashed their 1983 Break Out LP, they had racked up six Top Ten singles spread between the pop and R&B charts. Break Out would prove to be their new wave breakthrough, peppering both charts with five further songs -- half the album -- while the LP itself spent over a year on the charts. Astute performers, the Pointer Sisters had embraced the 1980s' penchant for synthesized sonics wholeheartedly and used them to fine effect across songs that were upbeat and slick, space-age dance grooves that brought a new dimension to the trio's sound. Both "Jump (For My Love)" and "Automatic" were massive hits during early 1984, as both injected the sisters' trademark harmonies with fresh grooves that culminated in an appealing blend of old and new. "Neutron Dance," meanwhile, with Ruth Pointer's rich lead vocal laying over an extraordinarily snappy and nearly frenetic melody, did double duty, also featuring in the film Beverly Hills Cop. Using those three songs as a springboard, Break Out powers on through one groover after another with few surprises, although "Dance Electric" combines a synthesizer straight out Human League territory with a blistering guitar solo and "Easy Persuasion" emerges as a smoky ballad of sorts. Although Break Out is a far cry from the Pointer Sisters' earliest intentions, it still charms and pleases. It's a vital part of the early-'80s tapestry, a sonic signpost for the ultimate feel-good generation.© Amy Hanson /TiVo

By the time the Pointer Sisters unleashed their 1983 Break Out LP, they had racked up six Top Ten singles spread between the pop and R&B charts. Break Out would prove to be their new wave breakthrough, peppering both charts with five further songs -- half the album -- while the LP itself spent over a year on the charts. Astute performers, the Pointer Sisters had embraced the 1980s' penchant for synthesized sonics wholeheartedly and used them to fine effect across songs that were upbeat and slick, space-age dance grooves that brought a new dimension to the trio's sound. Both "Jump (For My Love)" and "Automatic" were massive hits during early 1984, as both injected the sisters' trademark harmonies with fresh grooves that culminated in an appealing blend of old and new. "Neutron Dance," meanwhile, with Ruth Pointer's rich lead vocal laying over an extraordinarily snappy and nearly frenetic melody, did double duty, also featuring in the film Beverly Hills Cop. Using those three songs as a springboard, Break Out powers on through one groover after another with few surprises, although "Dance Electric" combines a synthesizer straight out Human League territory with a blistering guitar solo and "Easy Persuasion" emerges as a smoky ballad of sorts. Although Break Out is a far cry from the Pointer Sisters' earliest intentions, it still charms and pleases. It's a vital part of the early-'80s tapestry, a sonic signpost for the ultimate feel-good generation.© Amy Hanson /TiVo

On first thought, a collection of dub mixes of classic tunes by Bob Marley & the Wailers seems like a reggae fan's dream come true. Originally released exclusively in digital form in 2010, In Dub, Vol. 1 collects mostly previously unreleased dub mixes from the vaults, with some newly crafted ones as well. The versions vary widely in style and virtually no production information, or mixing credits make it hard to place when they may have been put to tape. The digital delay flutter of "One Love/People Get Ready Dub" or "Three Little Birds Dub" suggests post-'80s studio trickery and "Waiting in Vain Dub" has more subdued grit in classic '70s dub style. There's nothing as raw and saturated as the pioneering '70s productions of King Tubby or Lee Perry, though dub champion Scientist contributes a new mix of "Lively Up Yourself" (known here as "Lively Up Your Dub"), heavy with stereo-panned delay, triggered drums, and fragmented horns. While it is novel to hear some of these songs in a classic dub style, the mixes are either way too busy ("Is This Love Dub") or uninspired ("Smile Jamaica Version"), and the collection loses steam quickly. As good as the concept sounds, In Dub, Vol. 1 fails to be captivating in the way other dub collections are, and takes away from the original songs more than it expands on them. Marley's ubiquitous rasta anthems were often such dense studio affairs, with all the elements so meticulously placed, that the systematic application and jumble of the dub treatment just doesn't really succeed.© Fred Thomas /TiVo