REVIEW: ST. VINCENT - ALL BORN SCREAMING

4/5

St. Vincent's Day.

Scream if you wanna go faster. One week after the 'Tortured Poets Department' of Taylor Swift released (arguably) the album of the year, we get a new record from one of America's most accomplished artists across the independent world. Not to mention in a year of women in music like Haim's 2020. From the 'Visions' of Norah Jones, to not forgetting about Maggie Rogers this month, too. Or grand and great genre left turns like the spurs of 'Cowboy Carter' Beyonce going for that country Grammy. But Annie Erin Clark, AKA St. Vincent is the queen of genre bending like a Prince. And now just a couple of calendars after daddy was home for the blonde on blonde concept classic based on a true story from her family's youth, Vincent is back with her best since 'Masseduction'. A seductive education to pop like 'Pills' that was 2017's big-three best in the same fall of the 'Colors' of Beck and LCD Soundsystem's 'American Dream'. Starting at the end with the birth of 'All Born Screaming's' title track and a classic collaboration closer with Cate Le Bon, Annie is on fire...literally. But she's ok MJ on weird and wonderful amazing album artwork for this divine number of a seventh seal from Total Pleasure and Virgin. Aflame in the Compound Fracture of Los Angeles, or the Electric studios of Chicago (Audio) and New York (Lady). Industrial prog rock and art pop at its absolute f#####g finest.

Ignited by the brilliant 'Broken Man', red hot 'Flea' and the scorching 'Big Time Nothing's single, the first record since this Saint's soundtrack for her directorial debut on the silver screen 'The Nowhere Inn' is a classic in the making of this '24 year. Meaningful like letter in the alphabet, hours in the day, or Kobe. This "sonic vocabulary" that features amazing artist's like Dave Grohl of the Foo Fighters growls like "walking in the woods". It's a rave of depression and anxiety bubbling to the surface, influenced by the 90s dance culture that was The Prodigy of firestarters like the late, great Keith Flint and them. This rocks like the 'Reckless' favourite that abandons all you thought you knew from this sonic hedge better. It's just like Clark told The Guardian, she'd rather have people scratching their heads than covering their mouths to yawn. The brilliant and bracing brimstone of 'Hell Is Near' opens this inferno's proceedings like Dante before some big numbers and 'Violent Times' reminds us, "I forgot people could be so kind/In these violent times/Dollar signs/Almost lost it chasing dollar signs/Knew the cost but I forgot the price/Of buying my life." For what it's worth, that's something we all need to remember in this modern day maddening malaise that has kept us lost in an artificial algorithm of a numbing negativity that fails to see the light in other individuals that don't muddle in with the masses that seduce us with an alternative education. Time to go back to songwriting school for all it's worth.

There's no artist like Annie Clark. St. Vincent is out of this world like 'So Many Planets'. Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune and Pluto. But there's no easy method here as Vincent keeps the progression rocking for her art, all the way until 'The Powers Out' and she sings "Monday morning, subway station/Pushers pushing, racers racing/Came the message on the station/"The power's out across the nation"/And, "Ladies and gentleman it seems we've got a problem"/The man on my screen said, just as somebody shot him/And the mothers gasped, the children cried/Almost could not believe my eyes" to the club lights come on like a faucet. A New York blackout like no other witnessed by the city on record like a Vampire Weekend eclipse or the aeroplane moment where 'Only God Was Above Us'. But it's the 'Sweetest Fruit' of a sobering and sombre tribute to late music producer Sophie that will really start with you after the streams and CDs end. Sophie Xeon passed accidentally in 2021, falling after trying to get the perfect picture of a full moon. And with this tribute, Annie makes sure Sophie's name belongs in the stars, in full, forever. "My Sophie climbed the roof/To get a better view of the moon/Moon/My God, then one wrong step/Took her down to the depths/But for a minute, what a view/What a view." And what a way to pay tribute. These days we'll risk it all to behold the beauty of a world were so much is unfortunately ugly. But when it comes to all that we should hold close and as near as dear. You're listening to it right here. Mommy's home. TIM DAVID HARVEY.

Playlist Picks: 'Reckless', 'Broken Man', 'All Born Screaming (Feat. Cate Le Bon)'.

REVIEW: TAYLOR SWIFT - THE TORTURED POETS DEPARTMENT - THE ANTHOLOGY

4/5

Poetic Justice.

After midnight, Taylor Swift is in her new era. Taking a version of what she announced at the Grammy Awards before her tour stop in Tokyo to 'Anthology' levels. 'TTPD' is the perfect touchdown, mere months after Swift's beau Travis Kelce embraced her on the field after winning an epic Super Bowl with his Kansas City Chiefs. After the 'Evermore' 'Folklore' of the country/pop singer's Bon Iver like foray into the woods (with a Justin Vernon duet to match), Taylor Swift burnt the oil of a thousand 'Midnights' for her last album two years back (can you believe it?). But now a week after Maggie Rogers releases her latest album after a hard to fathom pair of calendars, don't forget about Tay. Because like a few hours after the midnight of her signature 'Style', Taylor has given us 'The Anthology' double-album of her latest classic 'The Tortured Poet's Department', saying hey to exes like Joe, or ones from 1975. Another version, like Taylor's master power move in re-recording her own records for the ownership, that shows she is the new great American songbook, page-by-page. Given to you seemingly week-by-week with the 'Fortnight' single and reputation video featuring Ethan Hawke, Josh Charles and an all singing Post Malone who shows that just like Beyoncé, he can fit in this genre like 'Levi Jeans' as stocks soar. Put this poet next to 'Cowboy Carter' and the new 'Visions' of legend Norah Jones for this year's best, regardless of gender. Like 'Deadpool & Wolverine', Blake Lively's bestie Swiftie is set to dazzle you. Especially the ex-men. Now the poets, like Dylan, have all put down their pens.

Torture motherf#####, like the Wu-Tang Clan. I'll f#####g, I'll f#####g see your Spotify streams up and keeping feeding you wonderful written songs with Jack Antonoff and Aaron Dessner like a Disney documentary cabin in the woods. In black and white and her own embrace for the perfect portrait of album work for this new Republic, this record is all you need to make the music to your Friday feeling new. Featuring formidable collaborations with Florence + The Machine ('Florida!!!' with all the exclamation points), like the time Welch went Gaga with Lady for 'Hey Girl', and a shout-out to Charlie Puth on the titanic title track, you're glad to see Swift again, so soon. This synth-pop, self-conscious, "lifeline" of introspection is a map of the soul, but also one that puts even the most famous cities on the map, like welcoming you back to New York. 'So Long, London'...we've been waiting for you for too long. "And so I enter into evidence / My tarnished coat of arms / My muses, acquired like bruises / My talismans and charms / The tick, tick, tick of love bombs / My veins of pitch black ink / All's fair in love and poetry," Swift says as she takes her new stand in this department of justice, 'Fresh Out The Slammer'. The only question is, is this 'TTPD' and the picture-perfect logo for your next company letterhead a dig at ex Alwyn's group chat name with 'Ripley' and "Sexy Priest" Andrew Scott and 'Aftersun' actor of the moment Paul Mescal who both star alongside each other in 'All Of Us Strangers', out this weekend in Japan?

The answer is...who gives a f###?! None of this is our business, but the great music is, as Taylor drops barbs in the titles. From 'My Boy Only Breaks His Favorite Toys' and 'But Daddy I Love Him', to 'I Can Fix Him (No Really I Can)' and 'The Smallest Man Who Ever Lived' (ouch...in more ways than one). Or hidden meanings, like 'thanK you aIMee" to that high-school bully who really shan't remain nameless or the lyrical exercise of the legendary 'Clara Bow' beginning with the beautiful belle bow of, "beauty is a beast that roars down on all fours/Demanding more" (you got it!). Getting down on 'Down Bad' Taylor poses some questions like, 'Whose Afraid Of Little Old Me', wondering in this self-reflection, like one of your own, whether she's 'Guilty As Sin?' Following a 'Loml' that is anything but a LMFAO, Swift attests that she can 'Do It With A Broken Heart' and, "I can hold my breath/I've been doin' it since he left/I keep finding his things in drawers/Crucial evidence I didn't imagine the whole thing/I'm sure I can pass this test." Compelling and concerning like, "I'm so depressed, I act like it's my birthday every day/I'm so obsessed with him, but he avoids me like the plague/I cry a lot, but I am so productive, it's an art/You know you're good when you can even do it with a broken heart," in post chorus for this big like Malone. Karl, Moses or Austin.

'Chloe Or Sam Or Sophia Or Marcus'. 'Cassnadra'. 'Peter'. 'Robin'. There are outstanding odes here on a first name basis here, like 'Jolene'. You know, the one that took your man like Dolly Parton sang and Beyoncé refused in perfect tribute in this age of making 'Lemonade'. There are also new titles for this generation, like 'The Black Dog' of Led Zeppelin, or 'The Albatross' of Fleetwood Mac. Not to mention 'The Bolter', 'The Prophecy', or 'The Manuscript' of this movie making songbook that is anything but scripted from 'The Alchemy' of this alchemist like a super producer. As 'The Anthology' dives deeper, we see even more shades of Swift in subtle and not so strokes. Now you might think, especially in this modern age where we try to destroy each other like the Donald not being able to trump the political heft one Taylor made tweet produced, that 'I Hate It Here', or that this is all 'So High School'. But look deeper into 'People's Windows' like the loneliness of Leonardo DiCaprio's aviator surrounded by Pan Am hostesses in 'Catch Me If You Can' and you might be able to grab a hold of that warm Christmas family life by the eve of the fire that you've been checking twice on wish list for since you were a child. On this 31-track magnum you may wonder 'How Did It End' like, "We hereby conduct/This post-mortem/He was a hot house flower to my outdoorsmen/Our maladies were such/We could not cure them/And so a touch that was my birth right became foreign," or an Apple Music word hunt. But like Shania getting you good, 'imgonnagetyouback' with Prince punctuation for this soulchild of Musiq offers hope amongst all the petty pretensions...that comes from those stunted suggestions in reaction to this revelatory work of beautiful break-up ballads and comedy and tragedy balance. But is that hope to heal or to hurt? For better or worse, you be the judge. The jury is out. Call up the department, with this anthology, torture has never felt so good. The dopest poets society. TIM DAVID HARVEY.

Playlist Picks: 'Fortnight (Feat. Post Malone)', 'So Long, London', 'Peter'.

REVIEW: MAGGIE ROGERS - DON'T FORGET ME

4/5

Don't You...Forget About Maggie.

I don't know who needs to hear this, but I would never cancel restaurant reservations with Maggie Rogers, especially for Knicks tickets. They weren't the only ones who lost! These days, behind Jalen Brunson, Julius Randle, and OG Anunoby and them, the New York Knicks aren't losers baby like Beck any more. But still, that's no excuse. Maggie Rogers is a winner too. Ever since going 'Alaska' viral at NYU with you know who. Following two independent inspirations ('The Echo' (2012) and 'Blood Ballet' (2014)), the indie-pop star's definitive debut ('Heard It In A Past Life', featuring smash singles and the still as fresh as the day I first heard her, 'Say It') was the album of 2019 as she garnered a Grammy nomination for Best New Artist. Two years ago (what...already), Maggie switched it up with a 'Surrender' to the dance-floor, freedom, the beauty of a lustful love and so much more. And now, giving us an album every other year, Rogers like Hammersmith is hammering it home for her third album (already). Cementing her big-three (don't you forget about the 'Notes From The Archive' collection either) and her place in pop prominence, like taking tambourine centre stage with Springsteen. All whilst giving us one of 2024's best, alongside Beyoncé's 'Cowboy Carter' and the 'Visions' of Norah Jones. All before the 'Tortured Poets' of the star of stars Taylor Swift enters the department next week. Now, as you can see another fresh 'do from Rogers on the soon-to-be iconic album artwork of 'Don't Forget Me', how about this version of Maggie?

Yet she is 'So Sick Of Dreaming' like the second single and third track after the incredible introduction of 'It Was Coming All Along' and the great guitars of album highlight 'Drunk' on a sobering sonnet. "So you think you're on the right track/Cruising on the bridge in your gray Cadillac/You think it's easy/Walking on the water like there's steppin' stones/But when every little thing's up for takin'/Oh, it makes me want to sing, my heart's breakin'/Oh, there ain't no diamond ring you could buy me to take me home." This instant iconic number that feels like it's been doing them for years is now one of this amazing artist's strongest singles, like the porch light leaving 'Light On' and the wild 'Horses' that couldn't drag you away from the most romantic lyric about giving head. Let's see a Rolling Stone cover for the Capitol Records star, who is skirting scalpers with the more personal ticket sales for her newly announced tour in this twofer. No one holds the stage with so much grace as one of the most electric talents like Fleetwood or Florence. A straight-forward songwriting classic recorded track-by-track for the take at New York City's Electric Lady, this half-hour, all power, "rough journal entry" kills is, like 'The Kill' can attest. This top ten of "simple baselines" is simply beautiful, like the soul of Al Green. Going down easy like the Sunday morning beauty of doing the laundry and getting your apartment together to the end of the weeks reset. Singing along to 'If Now Was Then', "Standin' on the edge of our old corner on Broadway/I passed a couple kids and, oh, it felt like yesterday/That we were holding hands and walkin' right down 15th Street/The wind was in my hair and you had that red flush in your cheek, oh."

La Blogothèque, we hope you're getting the perfect place in Paris with amazing acoustics ready for a live performance of the piano perfect outstanding ode, 'I Still Do'. The beautiful ballad next classic of the 'Back In My Body' singer, saying "'Cause love is not a debt you pay/It's not something you can give away/Love is not the final straw/But it's always a reason to risk it all/Oh, it's true/At least the way that I loved you/Oh, and I still do", in a classic chorus of quotables. A message we all need to heed in this day and dating age. For all the notes this singer has in different strokes (like the 'On & On & On' spiritual sequel), let's not forget her greatest one. 'Never Going Home', 'All The Same' as, "Walk in and the world starts turning/I can't hеlp looking for you at the bar/Catch a glimpse of someone with kind eyes, dancing/Whose jacket's the same color as the seats in your car." Motel to open road, this is the American songbook penned by the likes of Dolly and Linda, that Shania and Sheryl stirred with their writing instruments. Now, finding her place, after the pixie blonde chased, sensational sophomore set, with this pure songwriting third for her Holy Trinity that really feels like music you have heard in a past life, she ends 'Don't Forget Me' with the first single of the same name that spearheaded this project. How fitting and how could we as she takes us back to her 'Dog Days' roots with a simple and beautiful video camera rolling home movie. "So close the door and change the channel/Give me something I can handle/A good lover or someone that's nice to me/Take my money, wreck my Sundays/Love me 'til your next somebody/Oh, but promise me that whеn it's time to leave/Don't forgеt me/Don't forget me." We never could. Unforgettable. TIM DAVID HARVEY.

Playlist Picks: 'So Sick Of Dreaming', 'Drunk', 'I Still Do'.

REVIEW: VAMPIRE WEEKEND - ONLY GOD WAS ABOVE US

4/5

Ladies and Gentlemen...The Weekend.

Above us, only sky...and one of the best New Music Friday's in recent memory. And this is a week after 'Cowboy Carter' Beyoncé and a week before the new Maggie Rogers, 'Don't Forget'. Not to mention the 'Tortured Poets Department' of Taylor Swift in a year that's already seen so many big albums from Green Day to Norah Jones. This week, we get a new album from The Black Keys for you 'Ohio Players', partly produced by Beck, who's in town (Tokyo) this week for two acoustic sets on the same Saturday. And that's before we even unpack the new J. Cole mixtape before he deletes it later and all that beef with Kendrick Lamar cooked up. But before all that, how about one of the best modern day rock acts who brought the enthusiasm back like the final season of Curb? Pretty, pretty good, Vampire Weekend matched iconic album covers in polos with endearing earworms that stayed with you longer than that last single about sleeping around that just didn't stick or take. Now, for their first official album since the departure of keyboardist Rostam Batmanglij ('Father Of The Bride' like Steve Martin in 2019, was originally meant to be a solo), the big-three aren't claiming they're bigger than Jesus, like The Beatles...but maybe they're that little bit closer.

This Daily News love letter column to New York City and its hip-hop like graffiti subways is a beast, boy. It'll have you walking the walls like Spider-Man, or the stress of your morning commute when you just wish you could web yourself out of there. This fifth album from the indie rock and roll act is a killer, carriage to carriage. Manhattan, Los Angeles, London and here in Tokyo all played host to sensational studio sessions that stirred this new material, pressed like blue jeans. The result in this 20th century New York City aesthetic is modern art for your Guggenheim and MoMA's. 'Only God Was Above Us' is not narcissism from remaining members Ezra Koenig, bassist Chris Baio and drummer Chris Tomson, but actually the real Daily News headline from May 1st, 1988. Recounting the Aloha Airlines Flight 243 incident, that saw structural failure resulting in the aircraft's roof being torn off mid-flight. As one passenger so eloquently put it, when they should have understandably been truly terrified, "only God..." This album, debuted on vivid vocalist Koenig's 40th birthday, during the total solar eclipse (what a way to celebrate...above us only a blacked out sky), features the dual single stokes 'Gen-X Cops' and the new classic 'Capricorn' (which I'm doing everything I can to not send to the girl I'm currently talking to whose birthday is in January. Keep it cool, man. Keep it cool). And the latest 'Classical' and 'Mary Boone'. Not to mention the perfect summer smashes to come in 'Ice Cream Piano' and The Beach Boys meets Simon and Garfunkel sounding name, 'The Surfer'.

"Capricorn, the year that you were born/Finished fast and the next one wasn't yours/Too old for dyin' young, too young to live alone/Sifting through centuries, for moments of your own." See! Look! I'm doing it already! Yet you can't deny the classic music video that brings all of NYC together, even though I'll probably get rejected after this. Searching to 'Connect', like us all, the other weekend, with all the letters reference the late, great, best frontman ever Michael Hutchence and INXS as they sing, "The memories don't fade/Surprisin' fate for days/You elegantly wasted/Before you lost your spark/Took acid in the park/We're livin' in a basement." Back to life, after the Jonesin 'Mary' of sampling Soul II Soul, these 'Prep-School Gangsters' walk on a side wilder than classic NY Reeds. 'Pravda' is no knock-off Prada bag on the side walk, but instead, "the Russian word for truth", as this band have "waited through the wars of winter/I've watched the cherry blossoms bloom/I cannot wait here any longer/I'm leaving at the rising of the moon/I know what lies beneath Manhattan." Storming these drains and giving us another legacy maker in their signature, sealed and delivered. This Ariel Rechtshaid (the Rick Rubin to their Beastie Boys) produced game ends with almost eight minutes of 'Hope' and the wise words of, "The flag that flew is on the ground/The painting burned, the statue drowned/I hope you let it go/The moving train accelerates/It's always fast and always late/It never leaves the Empire State/I hope you let it go." And you should do so...because it will come back. Even in a New York minute, this is one you'll never forget, like the eclipse. We hope you've packed your glasses...and your earbuds. Above us and around us...nothing else but the grace of God. TIM DAVID HARVEY.

Playlist Picks: 'Ice Cream Piano', 'Capricorn', 'The Surfer'.

REVIEW: J. COLE - MIGHT DELETE LATER

3.5/5

Cole As Ice.

Feel cute? Whatever your hip-hop Mount Rushmore is in this modern day (we're still waiting for one more piece of head...erm...what?! That sounds a little like Tyler The Creator), you can't deny the big-three. Unless you're Kendrick Lamar, that is. Who sees it as "just me" (not me, he) like the ominous words of Willem Dafoe's Harry Osbourne before he turned into the Green Goblin for Spider-Man with 'No Way Home'. Responses came raw, fixed and fast. Whether it was all the memes mocked up online for Drake, or J. Cole's surprise album that he 'Might Delete Later' (if you're reading this...it may already be too late). Especially as he took to the stage this week to walk back his bars and explain how corny this all was. Admittedly, that's what this writer first thought when he heard all about this. Beef?! Again?! Is this 50 Cent and Ja Rule all over again? Nas and Jay-Z? Pac and BIG? We've already got mo' problems in hip-hop right now, with some of its most famous faces turning out to be disgraces. The only stakes I want to see is a second season of the Ali Wong and Steven Yeun show on Netflix. That was what I thought...until I heard the diss track.

It really is 'Like That' as on a '7 Minute Drill', Cole gets his dentistry on, filling in with no novocaine for the soul, before he sputters out. "I came up in the 'Ville, so I'm good when it's tension/He still doin' shows, but fell off like the Simpsons/Your first s### was classic, your last s### was tragic/Your second shit put n####s to sleep, but they gassed it/Your third s### was massive and that was your prime/I was trailin' right behind and I just now hit mine/Now I'm front of the line with a comfortable lead/How ironic, soon as I got it, now he want somethin' with me/Well, he caught me at the perfect time, jump up and see/Boy, I got here off of bars, not no controversy/Funny thing about it, b####, I don't even want the prestige/F### the Grammys 'cause them crackers ain't never done nothin' for me, h#."Apart from 'The Simpsons' triggering (last year I decided to take on the mammoth task of watching all the seasons, an episode a day), this was the moment I realized hip-hop was back, and this battle on wax was like the good old days when ladies loved Cool James. But then, when Cole walked it back, people declared hip-hop was dead like Nas. 50 Cent even urged J to call him to gas up his lyrical ether. But we understand why. This purist just wants peace. And love to inspire his industry so used to ignorant hate. Feeling like he let Nas down, even that 'Mastermind' was hurt when he had to lyrically kill Jay-Z and how whole squad. This drill felt like a Drake freestyle in a city of his choice, or the time Cam'ron went at Jigga for ten minutes with Beyoncé singing about slinging crack receipts. The Diplomat is back too, like the 'I'm Ready' sample on 'Ready '24', which shows Cam is still the man on the mic, like he is on the podcast one with Ma$e for the money like Anthony. All as the rapping ballplayer with the SLAM cover, Cole, shouts out the potential of another Cam (Lakers player Reddish) in this game.

Don't delete this, Cole. But maybe walk back those transphobic comments on the life of 'Pi'. Before 'The Fall Off', don't actually do so. Stand your ground. Your manhood and mantle was tested. Take it from this over apologizer. Don't do it! Just keep it on wax and then shake hands once the battle is done and won...which right now is by you. Even though, we'll wait to see what happens this New Music Friday. Soon this bad blood will be an afterthought when Taylor Swift comes through and rules the country again like 'Cowboy Carter' and there's nothing Kanye can do about it. It's not a man's world any more, but you still bring out the big guns and bars to warn a brother that you're 'Huntin' Wabbitz', no speech impediment. There's Ari Lennox, Young Dro and Gucci Mane on 'Pricey'. Bas and Central Cee on 'H.Y.B.' Daylyt and Ab-Soul on the track you should probably delete. Bas again going 'Stealth Mode'. And 'Trae The Truth In Ibiza'. Save the 'Crocodile Tearz'. Some of this, like that, snaps and slaps. Besides, this is just mixtape murder. Just wait until the album. Giving us Peggy Lee 'Fever' like, "Got a new deal, just ran a train on a label/They not real and so they came with some fables/Without a chain, them boys plain as a bagel/I'm from the Ville, they sellin' 'caine if they able/I play the middle, I never hustled or nothin'/But I got lit, now I got the customers jumpin'." These 'Stickz n Stonez' are capable of breaking more than bones to the '3001'. Rapping on this Alchemist produced gem, "Thеse n###s get rich and become so detached, they music start havin' that surface feel/Not a subliminal, speakin' in general, feelings get hurt when words get spilled/Sticks and stones may break your bones, but sayin' my name in a verse will kill." They say names will never hurt you, but calling them out in the most sensitive industry going will sure lead to some drama, like the late, great DJ Kay Slay. So long as you stand by what you say. We don't need the actions, but in this game, we must stay true to our word as a stronger than oak bond. TIM DAVID HARVEY.

Playlist Picks: '7 Minute Drill', 'Huntin' Wabbitz', 'Ready '24' (Feat. Cam'ron)'.

REVIEW: BECK (Acoustic) @ EX Theatre, Roppongi, Tokyo, Japan (07/04/24)

4/5

Tokyo Phase.

A microphone without two turntables (although he did break into a piano perfect rendition of 'Odelay's' 'Where It's At'), Beck told the crowd for the second show of the day of his acoustic tour of Tokyo, "it's just me...and you!" As well, it should be. Beck hasn't put an album out in a half-decade (2019's 'Hyperspace' which couldn't be more Tokyo if it tried). Although acoustically, he did release 'Thinking About You' and a cover of Neil Young's 'Old Man' for Tom Brady. And he hadn't been in Japan, until last night, since six years ago. But he has more in common with the land of the rising sun than just bringing a sweet smelling Sakura tree onstage to mark the blooming of cherry blossom season here. Or the somewhat six degrees of separation that almost brought a tear to this writer's eye when he broke out a cover of Chris Bell's 'I Am The Cosmos'. One performed so poignantly by avenging actress Scarlett Johansson, making her mark with inspired singer/songwriter Pete Yorn for their 'Break Up' EP. The same way she did in the movie world with Bill Murray for Sofia Coppola's classic 'Lost In Translation'...the whole reason this writer even finds himself lucky enough to now reside here in the first place.

Turns out, Tokyo and Japan have helped shape Bek David Campbell too. Most of the stirringly sad 'Sea Change' was written here, as we were treated to moving performances of 'Guess I'm Doing Fine' (after the 'Cycle' of the intro to its sister album, 'Morning Phase'), 'Lost Cause', and then 'Lonesome Tears' and 'Round The Bend' back-to-back. While the album artwork lettering of his massive 'Mutations' (we had 'Lazy Flies' and a bottle of "blooze" (thanks for the pun, Chris), although I had two hands together for 'Nobody's Fault But My Own') was provided by PARCO. A department store that couldn't be more Beck if it tried. "Arrigato" he told the crowd seriously and endearingly as the Japanese faithful loved that he wasn't lost in translation, reading sentiments written on the set-list floor. Raw, but polished in the sound it produced, Beck admitted he didn't know how to use the effects pedal he was gifted with that offered more 808s to his string selection. Road testing some harmonicas, he went through with the kind of kindness you don't see on Bumble, he was anything but fumbling around as this artist found the best strokes to paint with. All before strapping on the instrument like braces and almost looking like Dylan (sorry, Chalamet), as the man who started out as a folk singer (touring Tokyo, no less) went to work with the Springsteens and Zimmermans of the world. Yet this is Beck. You know he has a bag like no other, when it comes to versatility. All the way to Brazil. He may have not released an album for time, although 'Colors' still paints as fresh as the day it hit your speaker's canvas, but he's produced one this weekend for the 'Ohio Players' of The Black Keys, as this hip-hop head linked up with Juicy J for a 'Paper Crown'.

You can best bet Beck brought it to Tokyo this weekend (thanks for the repost). All for the losers baby, who won on this Saturday night in the hills of Roppongi, no longer for the lonely. Shining in orange like the Tokyo Tower that watches over this part of the city, Beck came strong with a sensational set and a legendary list of hits at that. His first show also featured his 'Old Man' take (maybe he didn't want to trigger me this time) and 'Debra' made even more famous by 'Tokyo Vice' star Ansel Elgort's 'Baby Driver' singing it to Lily James' namesake. He said he'd tour the greatest hits next year. And you don't need to hold him to a promise you know he'll keep and besides, everyone from the Chilli's to Bruno Mars keep coming back here, literally year-after-year since the post pandemic borders have opened back up. But he brought them here too. 'Truck Driving Neighbors' (wait for the story behind that one), 'Unforgiven', 'Heart Is A Drum'. All to tell us, 'True Love Will Find You In The End' and the end of the night on 'One Foot' and his penultimate, iconic 'Loser' as classic 90s Americana as his "cameo" on 'The Simpsons', or the same Levis jeans whose stocks are now soaring thanks to the 'Cowboy Carter' of Beyoncé's collaboration with Post Malone. But only this rock star (and a little bit of a country one) can bend genres like this from the Billy Joel to the hip-hop, hands in the air, one mic-manship. And he's already armed with enough Grammy's that Kanye couldn't storm and the late, great Prince should have given it up more for. Because, no one, aside from the purple one himself, can reign over this much music as Beck. He's got too many hits, too, like the artist once proclaimed during his 21 night showstopper in London. This, on the other hand, may only be a one night residency, but Beck is back. And you know that's where it's at. TIM DAVID HARVEY.

Set-List Picks: 'I Am The Cosmos', 'Lonesome Tears', 'Loser'.

REVIEW: THE BLACK KEYS - OHIO PLAYERS

4/5

The Big Lebowski 

Mark it as anything but zero! In their own lane, Dan Auerbach and Patrick Carney, AKA, The Black Keys have been releasing a steady stream of albums for your Spotifys over the last half decade. Sitting right next to the 'Brothers'' best-of-the-best like 'Rubber Factory', 'Turn Blue' and 'El Camino'. There was 2019's 'Let's Rock', 'Delta Kream' (2021), 'Dropout Boogie' a year later, and now this twelfth bowl from the boys, 'Ohio Players', like the old soul group for your baker's dozen. Classic Americana beauty like the partner playing in front of you, down the waxed aisle, that leads to a set of pins and better Spotify bowling animations than the ones you used to see above you on the screen where you recorded your score. It's a perfect one for these players from Ohio, not to mention one of the greatest acts of American music and modern and all times. The Easy Eye Sound that's also candy from baby on the ears is a Nonesuch Record, proceeded perfectly by the sweet singles 'Beautiful People (Stay High)' and the latest 'This Is Nowhere'. Not to mention creative and classic collaborations with Lil' Noid ('Candy and Her Friends'), and Beck (who we are lucky enough to see perform an acoustic set in Roppongi, Tokyo tonight) and Juicy J (the anything but hollow 'Paper Crown'). And an absolutely amazing cover of William Bell's 1968 sobering soul sensation standard, 'I Forgot To Be Your Lover'.

Don't you...forget about this in beautiful black and white from a Nashville studio, a week after Beyoncé went country for 'Cowboy Carter'. These rock and roll Gods on their own hall of fame have affirmations for the game ('On The Game') like 'Only Love Matters'. The dynamic duo going 44:04 like Jay-Z with super-producer Dan The Automater next to Auerbach and Carney and album artwork the late 90s or Blink-182 would be proud of. After the opening 'Nowhere' they yearn for the blues of 'Don't Let Me Go', singing, "On a desert road, with no way home/I was lost and alone now baby/I was feelin' adrift, behind the window tint/And the pouring rain couldn't save me." Guttural guitars barrel through on 'Please Me ('Till I'm Satisfied)' ("hey now girl, I know you understand/I'm satisfied to be your loving man/Everybody said you'll bring me to my knees/But we both know that we was born to be/Please, please, please me till I'm satisfied/Some got love that creeps away in the night/Some take hold of love they know ain't right/I got loving, keeps my soul so true/You got the loving that I can't refuse") beautifully before you are. Then 'You'll Pay' does the same to the piper with promises of, "Open up your heart and let me in/I loved you from the start, my only friend, ooh lord/I know that when you look my way, there's gonna be a price to pay." Cash out.

Herringbone cold, the third act of this movie really hits. Tying it together like the room in a beautiful bow. "I wanna talk to the silver sun/Walk through the jungle with a candy gun/Write my name up on the clouds/Smoke all day, never comin' down," the automatic Dan sings on 'Live 'Till I Die', and you should take it as read that Auerbach intends to do exactly that. Drawing up a winning hand for 'Read 'Em And Weep'. Wearing his heart on his sleeve and putting all his cards on the table, dealing, "Read 'em and weep, revenge is sweet/The secrets you keep, they bury you deep/Deeper than sleep, read 'em and weep/It's only right to wonder, what sort of spell I'm under/Your cheating game is an art/You know it's true, you can't undo what's done in the dark." Growing a 'Fever Tree' with a devil's haircut in your mind, The brilliant Beck, who serves as another producer for the record, is back for background vocals like playing Japan's capital twice in a night this Saturday. Culminating in the classic closer 'Every Time You Leave', which is what happens when you forget to be a lover one too many times. Used to get it in Ohio like Cam'ron 'till they "Tried living without you, not thinking about you/Why wouldn't you want to want me to?/One day I'll be crying, till the days when I'm dying/Next time I'll be trying to look for you/Every time you leave me, I know I'm gonna lose my ways/If you don't believe me, look at how I live today." These are just songs in the keys of life that keep rolling until it all fades to black. Play on player. Not bad for just two kids from Akron. Let's get it, Ohio! TIM DAVID HARVEY.

Playlist Picks: 'Beautiful People (Stay High)', 'Paper Crown (Feat. Beck & Juicy J)', 'I Forgot To Be Your Lover'.

REVIEW: SHERYL CROW - EVOLUTION

3/5

A Change Will Do You Good 

A Crow left of the genre. On the same New Music Friday that sees Queen B Beyoncé drop the "R" to rule another genre like 'Texas Hold Em' with her 'Cowboy Carter' certified classic, country pop star like Shania and Swift, Sheryl Crow leaves that very genre for more rock and roll fame with her latest career 'Evolution'. After all, if it makes you happy...you know the rest. Just like all the Crow classics. This isn't the first time one of modern day America's greatest singer-songwriters Sheryl has pushed the envelope like the 'Visions' of Norah Jones earlier this month in her El Michels Affair spectacle prescription. Sheryl once shot us with a stirring Pierce Brosnan era Bond theme that shook up the world. And refusing to stay in one place, the rock goddess continues her growth and proof that tomorrow really well and truly never dies. If 2020 was the year of 'Women In Music' like Haim, or Taylor Swift heading to a 'Folklore' cabin in the woods, and great Brit Lianne La Havas giving us her self-titled, personal best lyrics lacing love. Then 2024. The year of the Girl Dad, late, great Kobe is the calendar that crafts creativity from the better half. Jones. The artist formerly known as Knowles. And now this queen. All before the new throne taker, Maggie Rogers, makes sure you don't forget about her in the April Spring showers for this Breakfast Club that's truly eating this first quarter.

The latest from Bey's hive is another almost hour and a half movie-making classic. This, on the other hand, is a half-hour of all power and a nice album that goes down easy like coffee on a Sunday morning. In promoting this piece, Crow admits that albums and their promotion are a waste of time and money. But nothing is wanted not here, showcasing her skill-set and the fact that real fans know. It's the album tracks that settle all that. Just like the concluding big-three of 'Don't Walk Away', 'Broken Record' and 'Waiting In The Wings' that make this epic 'Evolution' album what it is. This 90s megastar like the Chicago Bulls or F.R.I.E.N.D.S. was so big in the decade of 'Jurassic Park' like good old days, golden era blockbusters, she could have formed a supergroup with Shania Twain and the like, like a Travelling Wilbury. But who needs that, when Sheryl gives you everything she has each time out? This time, spearheaded by the singles 'Alarm Clock' (the opening wake up which might hit snooze), the self-titled 'Evolution', 'Do It Again' and the latest 'Digging In The Dirt' crate finding hit in this Big Machine of an Americana record. The first album since the social media ahead of its time 'Threads' in 2019 comes as a pleasant surprise in more ways than one. Sheryl said she wouldn't release another record after that because of aforementioned reasons. We're glad a change of heart here has done us all good.

The Genesis of Peter Gabriel help her dig for more than dirt in this gold album that would surely go platinum back in the day. Not just her heyday. Because Crow has still got it. Not when best, but still one of her brightest, this is a victory lap for Sheryl's inspired induction into the Rock and Roll Hall of the Fame. All in the same weekend, Beyoncé shoots for the country one with a stronghold. Armed up with her trusty guitar along for the ride in this evolution, never to leave her side, even in these times, Sheryl sings "And you could add up all the tears that fill a river/Or trace the words that break a heart/But you'd miss the blue jay and the message he delivers/Every moment has a brand-new start" on 'You Can't Change The Weather'. Perfect poetic prose, even though change sometimes can't come. No matter how much good, it would do you in the long run. Yet you've still got to 'Love Life' like the ever optimistic and outstanding songbook singer tells it in another anthem for the album we're glad she 360'd on from the pessimism like Carter's left turn. 'Where?' Right here, where you stand. In this very moment. Singing along to, "Waters rise up on the freeway/While little hands are clapping in the snow/And in the tree, there lives a blackbird/Singing songs not meant for anyone below." This is Crow's elevating 'Evolution' era. And we love Sheryl's version. TIM DAVID HARVEY.

Playlist Picks: 'Don't Walk Away', 'Broken Record', 'Waiting In The Wings'.

REVIEW: BEYONCE - COWBOY CARTER

4/5

Cowboy Bey-Bop

A little bit country. A little bit Rock and Roll Hall of Fame. When beau Jay-Z received the award of a lifetime at the Grammys, he dedicated the moment to Bey, like if Kanye had stormed the stage and done the right thing by Tay, instead of being a jerk. Yes, Beyoncé has one of the greatest music careers of all-time, and this was the moment for Mr. Carter to remind music's Oscars to give her her flowers. It's crazy in a lack of love that this child of Destiny and Blue's mother hasn't nabbed the coveted Best Album golden gramophone yet. But that's all about to change with the eighth wonder, as the 'Renaissance' continues. Here is 'Act II' of B's trilogy idea, conceived during COVID. Another almost 90 minute cinematic piece, as we can't wait to hear what the Carter's got next, like an unchained Tarantino trilogy once upon a time in Hollywood. Or is that Nashville? As 'Cowboy Carter' swings and gets it spurs on in the land that cultivated Swift's career. All on the same Friday, fellow all-American legend Sheryl Crow makes her own musical 'Evolution' away from the great American genre. Renaissance riding on the back of the same steed, but this time with a Stetson and the Stars and Stripes (not to mention, a few more stitches of clothing), country music stations at first refused to roll out Beyoncé's terrific 'Texas Hold 'Em' singles. But that ain't Texas. That was until 'Hold 'Em' broke streaming records and stacked chips. Now with actual album country camaraderie co-sings from the genre greats like Dolly Parton and Willie Nelson (playing 'Smoke Hour' radio DJ like Jim Carrey for The Weeknd), you're looking at a country classic as well as one of Bey's best. Album of the Year? Make that the country one too. This is gospel. Hold that.

YEE-HAW (you knew it was coming)! As country as Dallas, Texas' own Jamie Foxx, Beyoncé rides into a new dawn on a sweet '16 Carriages' with a beautiful 'American Requiem' for the new dream that sings "Can we stand for something?/Now is the time to face the wind (Ow)/Coming in peace and love, y'all/Oh, a lot of takin' up space/Salty tears beyond my gaze/Can you stand me?/(Can you stand me? Can you stand me? Can you stand me?)/Ooh, ah/Can we stand?/(Can you stand me? Can you stand me? Can you stand me?/Can you stand me? Can you stand me? Can you stand me?)/Can you stand with me?" Yes we can...together in an all-encompassing anthem that blends the blues, soul and R&B of this country folk and genre bender into one perfect, punctuated package. Wrapping up a peacefully prophetic protest song in subtle beauty to begin this whole thing. Iconic. The legends are here with the biggest one, as are some of the next legacy makers. As Post Malone, fresh off his 'Road House' remake left turn, knuckled up cameo (the all-American star pressed and superb singing 'Levis' Jeans') and Dolly's God-daughter and her own incredible individual Miley Cyrus ('II Most Wanted' like Tupac and Snoop) appear on two of the best country cuts. But how internet breaking and world dominating would a Swift collaboration have been? Going Gaga over the 'Telephone'. But bye bye to all that as the Beatle 'Blackbiird' with Tanner Adell, Brittney Spencer, Tiera Kennedy and Reyna Roberts is the Macca excellence personified. Whilst the 'Spaghettii' western with legend Linda Martell and Shaboozey (also in the smoke house for some 'Sweet Honey Buckin'') shoots straight like Eastwood with a 'Desert Eagle' on a wild west drawing showdown that is good, the baddest, and ugly face inducing.

Take off your hats to the new album of the year in the same month the 'Visions' of Norah Jones with an El Michels Affair pushes the envelope of her career. You can expect these two legends of women in music like Haim to go head-to-head in the same saloon door category as we away part III. Guitar God Nile Rodgers, his get lucky punk partner and N.E.R.D. Pharrell Williams, and the new American songbook writer Jon Batiste also manns these Tennessee like whiskey boards. Not to mention the one and only Stevie. What a wonder indeed. Whilst another little Willie in the form of Jones leaves us with a country one 'Just For Fun'. But it's Rumi Carter who shows us what this 'Protector' is really looking out for as Beyoncé Carter sings, "And I will lead you down that road if you lose your way/Born to be a protector, mm-hmm/Even though I know someday you're gonna shine on your own/I will be your projector, mm." A 'Bodyguard' that will always love you like "Leave my lipstick on the cigarette/Just toss it, and you stomp it out, out, out/Inhalin' whiskey when you kiss my neck'." My Rose' blooms in boundless beauty as the 'Daughter' of Matthew gets redefiant on songbooks as legendary as the Old Testament. "They keep sayin' that I ain't nothin' like my father/But I'm the furthest thing from choir boys and altars/If you cross me, I'm just like my father/I am colder than Titanic water." A ravishing refrain that does anything but as Carter kills it like Jones to 'Miriam' for the new 'Jolene'. Everyone from Norah to her old 'Rome' friend Jack While have covered this Parton classic, working it 9 to 5. But don't hurt yourself, because God herself has the best take in this new age of those with the good hair that even Dolly takes shots at. "Jolene, Jolene, Jolene, Jolene/I'm warnin’ you, don't come for my man (Jolene)/Jolene, Jolene, Jolene, Jolene/Don't take the chance because you think you can." When life gives you cheaters, you make 'Lemonade', and piss on the parade of anyone who thinks they can do the same. The begging has stopped. Real women take what they want. Just like Parton's own 'Rockstar' album. Crossing the borders of genres.

The Rodeo Queen continues her proud stand on the fabulous, like Vegas 'Flamenco'. So all you flamingos save those 'Alligator Tears' (like me when I realized I missed her yesterday in Shibuya, Tokyo) in your swamps. Because these boots were made for Nancy Sinatra walking. No Crocs! 'Oh Louisiana' this record breaker of a towering album features many an anthem as it continues to shine in all its rhinestones. 'Ya, Ya' singing like, "Hello, girls (Hello, Beyoncé)/Hello, fellas (You're pretty swell)/Those petty ones can't fuck with me (Why?)/'Cause I'm a clever girl, we snappin'/(Pretty please) Toms, please/We wanna welcome you to the Beyoncé Cowboy/Carter: Act II, ah/And a rodeo chitlin circuit/We gon' make it do what it do, ya-ya/Put them hands together." Still running the world like girls, to a renaissance in every genre. You could never break the soul of this survivor. A 'Riiverdance' like Flatley with no flat feet, this two-step is going to twist everything else up and carbon date it like the Charleston. This 'Tyrant' is punishing the game like the time she lyrically bodied her own G.O.A.T. husband on The Carters Louvre rap, going 'Apes###' after all the 'Lemonade'. "II Hands II Heaven' on God like, "Bottle in my hand, the whiskey up high/Two hands to Heaven, wild horses run wild, oh/God only knows why, though (Yeah, yeah, yeah, yeah)/Rhinestones and diamonds both shine in the light." Just when you thought making lemons was Queen B's career crown, she delivers her magnum opus in a soon-to-be concluded trilogy that could go next to 'The Godfather', 'The Dark Knight's, or 'The Lord of the Rings' like Dune, this month. Like the last track from the messiah herself, can I get an 'Amen'?! TIM DAVID HARVEY.

Playlist Picks: 'Texas Hold 'Em', 'Jolene', 'Daughter'.

MOVIE REVIEW: TAYLOR SWIFT - THE ERAS TOUR (TAYLOR'S VERSION)

4/5

The Americana Dream.

211 Mins. Starring: Taylor Swift. Director: Sam Wrench. On: Disney +.

Tokyo, Japan. The middle of February means Valentine's Day (fun fact, in Japan, February the 14th is the day when women attempt to woo men like a leap year. Whereas, one month later on 'White Day', the men reply with a gift. Talk about getting left on read). Football fans know different, though. On any given Sunday in February, it's Super Bowl time. And as Taylor Swift played almost a week's worth of shows in the Rising Sun's capital, many 'Lovers' wondered whether she would make it back in time for the Sunday showcase featuring her partner, Kansas City Chief tight-end Travis Kelce. Especially with the last show on Saturday night. But the superstar, hero and biggest star on the planet did like only she could...and of course time zones would allow. But I wouldn't put it past Swift being able to go back in time as she brings all her eras back, like re-recording her albums so she could own it all in a master move. The same way the "Swiftenomics" of the biggest tour of all-time has stimulated the American economy (we need that here in Japan too). Prior to all this, the Japanese government had even issued a Taylor made official deceleration on paper that the Super Bowl would not get in the way of the singer performing the entirety of her Tokyo leg, day-by-day. An album announcement as big as best baseball player Shohei Ohtani (check out his Disney doc 'Beyond A Dream') revealing his wife to be Fujitsu Red Wave basketball star Mamiko Tanaka (expect a Kelce wave of fame now) also came in Japan for 'The Tortured Poets Department' (best Wes Anderson movie name ever). This is just how big Miss Americana is. She's an international incident. You could just tell from the legions of fans queueing up like only the Japanese could in a merch line that would equate to most major groups gig lines for the first day of sales of the actual tickets. And for those who couldn't cop a last minute one (hands up), for reasons we won't get into, they congregated and sang together outside, making new friends and memories in beautiful moments that showed how much Swift really does break down barriers, even in a socially shy land like Japan.

The Swifties were out in full force in the Far East like only a BTS Army could match for the biggest act in pop, whose still a little bit country, like a diamond Shania Twain, and one of the best folks in the biz. If you missed out on 'The Eras Tour' in any arena (it's just wrapped up a spot in Singapore), and even the cinemas that became concert halls for the sold out shows of the movie, you can now catch it with Mickey Mouse in the comfort of your own home and laptop speakers that can still bring the full force of all the power she had to bear on the jumbotrons of football stadiums she touched down in all around the world before she embraced her beau after his big win. Disney + is now the home for the three and a half hour epic 'Eras' show, making sure no one will miss this one of a kind event. To watch crimson and clover until your heart's content. Following 'Folklore' behind the scenes tales on Disney, and the Netflix 'Americana' standing next to Beyoncé's and a 'Five Foot Two' Gaga, this is the best concert film available to stream since BTS gave you 'Permission To Dance'. Directed by Sam Wrench, this AMC and Cinemark Theatres landmark hit is as cinematic as the biggest blockbuster of last year ('Barbenheimer' we're looking in your direction). And when Taylor makes her epic 'Eras' entrance underneath some Las Vegas like showwomanship, it's like a superhero entered the picture as she really sticks the landing. Mining heartbreak into gold.

And this Elvis will never leave the building, as she makes planet earth her residency like a Hollywood star in the 90s when we were more concerned about what was on the big screen than what was reflected on our "smart" ones. Those major film studios that passed on this distribution might want to order a plate of humble pie the next time they book a table at Planet Hollywood. They needn't have had reservations. Outside of 'Oppenheimer' and 'Barbie's' world, this has done the popcorn business. It would have been the biggest Marvel movie of the year from the star who is rumoured to play Lady Deadpool in the forthcoming 'Deadpool and Wolverine' film starring her friend Blake Lively's husband. Another friend joked with Swift about all the albums she didn't tour, making some of her best, folky work during our socially isolated pandemic. "What are you going to do, tour them all and do three-hour shows?" Responding like Nashville's Man In Black Johnny Cash when told it looks like he was going to a funeral, "exactly". Swift got her Springsteen at sixty on and brought each and every house down, night after night, after night. And you can see the California love of the SoFi Stadium in Inglewood here for your inspiration. I mean, this is a major player who even has a banner in the Lakers arena, presented to her by the late, great Kobe Bryant, even before one of his two jerseys made it up to those rafters he raised 'chips in. This cinematic rendering like a Beyoncé 'Renaissance' is a revelation that even impressed Oscar winning director Christopher Nolan who had the best film of the year. And now, like 'Oppenheimer' showing in Japan this month after the controversy and sensitivity, you can finally see what we missed. Classic choreography of all the Taylor made hits and star power of pop and perhaps now movie's biggest star. The trend these days may be to call everything an era (even your fashion choices and life decisions), but none is quite like Taylor's version. TIM DAVID HARVEY.

Further Filming: 'Taylor Swift-Miss Americana', 'Taylor Swift: Folklore (The Long Pond Studio Sessions)', 'BTS: Permission To Dance- On Stage LA'.

REVIEW: NORAH JONES - VISIONS

 

4/5

Norahvisions.

Ahead of the release of yesterday's ninth wonder of a Norah Jones album ('Visions'), the Los Angeles Times ran a piece to celebrate this album coming out a day after International Women's Day (let's hear it for them, always). They called the legendary Jones, one of the last "success stories of the CD era". And the diamond 'Come Away With Me' released an amazing twenty years ago when Norah was just 23 shows. It went platinum four times in its first 12 months of release and resulted in an armful of Grammys and an iconic portrait from that event for the smoky and smouldering vocal singer and songwriter. Since then, from the 'Sunrise' of 'Feels Like Home', to the personal favourite for deeper meaning that Norah says is for each individual fan, 'Rosie's Lullaby' of 'Not Too Late', she's released classics by the millions. 'Chasing Pirates' and switching it up for 'The Fall', before taking 'Happy Pills' on a whole new style that killed it like 'Miriam'. When it came time to 'Begin Again', the amazing artist who has made albums with everyone from Danger Mouse and Daniele Luppi ('Rome' with Jack White) to Green Day's Billie Joe Armstrong ('Foreverly' for The Everly Brothers), not to mention formed supergroups like Puss N Boots, or The Little Willies (for Nelson, not your appendage), considered releasing playlists instead of albums. Thankfully, she brought it back to the basics of the 'Day Breaks' jazzy beginnings. All before 2020's pandemic, 'Pick Me Up Off The Floor' did the very same thing to us amidst our collective struggles.

It's been a long time, but Miss Jones has been busy since then. Touring (seeing her in the 1964 Tokyo Olympics Nippon Budokan in with someone I loved was an absolute dream) and putting festive albums under your tree. If you thought that Jones covering the Christmas classics like Beatles numbers atop the Empire State Building was cool (more like bitterly cold at that time of year), then you should hear the original Yuletide standards from this 'Jolly Jones' on a bicycle in Brooklyn. Now, New York's finest, and one of the America greats who deserves her place next to the Springsteens and Dylans like the ever underrated Ben Harper, takes another left turn for the bolder and better. Giving us one of the first marquee albums of the year, like her friends in Green Day. In what looks like a new Maggie Rogers treat of a first quarter. 'Running' with it like her stellar first single that brings those same 'Sunrise' sing-a-long harmonies back, this Blue Note beauty saves the best for last like the 'That's Life' outstanding original that could stand next to the Sinatra song of the same name. On the powerhouse penultimate, 'Alone With My Thoughts', Jones muses, "Let's try a test/Through space and through time/I'll whisper your name/It'll bounce down the line/Slowly explode into showers of shine/Ooh, ooh." And this album of rough but ready demos with the El Michels Affair Dap King Leon Michels does exactly that in the staples of its psychedelic seventies soul ready to surf.

'Paradise' perfect like the video filmed on a Super Bowl stranded Santa Monica pier in Los Angeles, looking like Coney Island, 'Visions' sees an even greater path at the end of Route 66. 'Staring At The Wall' like the studio session released in YouTube anticipation like a Tiny Desk Concert for your NPR. Norah's been doing this since the pandemic, and her title track cuts even deeper in these times. Telling us, "We met under the willow tree/You stood in front of me/Now I don't like surprises/But the look in your eyes/Is coming at me wise like a freight train." From the inspired intro 'All This Time', as iconic as the 'Good Morning' of those with 'Little Broken Hearts', this 'Queen Of The Sea' swims on a Bruce boardwalk. Born to ride the waves of change as the refrains of the revelatory 'I Just Wanna Dance' cuts the rug and all your troubles away. 'Swept Up In The Night' like the lyrics of, "Wings of God before my eyes/I stare but never act surprised/I need you so." Then in the morning after, "I'm finally awake/There were times when I lost my mind/But now I'm fine/I'm finally awake/Stuck in your sadness, swallowed me away/But I'm finally awake/The thumping in the walls is the beat of my own heart/But I'm finally awake" ('I'm Awake'). Whether it be the unreleased 'Until My Heart Is Found', or the "stop and stare/Breathe the air/No one cares what you have to say/Solitude makes me rude/But in time, we all laugh and play" of 'On My Way', Norah Jones has released another classic for her catalogue. Critics will call it like they see it, and over the decades of her great age, they'll cherry-pick and choose which albums they deem the best with their trends of what's in and what's out. What's clear to hear, however, is there has hardly been an amazing artist as consistent. They're all compelling chapters in her own great American songbook, but run with this spin off of sorts and all the trajectories her style might take her with substance. Like a tour t-shirt we'll always have a Jones for Norah. But this wonder of innervisions takes you even higher, breaking new ground. TIM DAVID HARVEY.

Playlist Picks: 'Running', 'Alone With My Thoughts', 'That's Life'.

REVIEW: MGMT - LOSS OF LIFE

4/5

Love and Loss.

It's no longer time to pretend. The fifth album from psychedelic synth pop act MGMT is here. And with a 'Loss Of Life', it's all change for the 'Oracular Spectacular' legend's first release since the smartphone checking live album '11.11.11' of 2022. For one, the French icon of Christine and the Queens appears on the delightful 'Dancing In Babylon', marking the first guest appearance featuring on an album from collaborators Andrew VanWyngarden and Benjamin Goldwasser. 'Congratulations', Chris. Their first album on the new Mom + Pop label is also their first studio one in six years since the 'Little Dark Age' of 2018 and what a return it is. Marked by the sweet singles (like the latest with the Queens), 'Mother Nature', 'Bubblegum Dog' and 'Nothing To Declare', across the airport in a music video starring YouTube inspiration Inga Petry. 

Rocking on the horse of a classic album cover, it's actually the 'Love and Loss' title-track(s) in both their parts (the second starting and setting everything off) that really hit home now the duo are back where they belong. Channelling indie rock and even Britpop in an Oasis of a Blur, MGMT still know how to push the envelope, even though, in this post Empire Of The Sun age, where they now seem like a throwback akin to The Strokes, they aren't dressing up like they're about to drop all sorts at Woodstock. The test pressing of this "elf of soils" with a Warhol like banana on top is art, just when you thought these two were going to split and part. "LOL", this anagram really does cook for the fans on Insta who know what we're talking about. The pair, proud of what they dub a, "relatively painless birth after a lengthy gestation period", are pregnant with pure sounds for an immaculate conception. 'People In The Streets' can see and hear the highlight that graffities lyrics like, "Life keeps on going/Showing you things that you can't unsee/In the sense of unknowing why/Anything happens to be/And just as the sun comes out again/Something is blocking the light/But it's alright/The inside's still glowing/Telling the heart what it wants to hear/But what if it's only lies/Twisted apart by fear?" What if indeed, in this perplexed day and age in need of the natural high, Goldwasser and VanWyngarden bring in the gold of their Eden.

Nothing to declare? Well, 'Nothing Changes' they say in words that may actually do that to you if you haven't experienced loss and life's wounds yet. "This is what the birds must have been squawking about/Right before the dream was ending/And maybe you'd have heard if you'd stopped f###### around/When it was time to stop pretending." We told 'The Youth', the time for pretending was over. Well kids, here you have it. It's been a long time since that Patrick Wimberly produced 'Electric Feel', but it's still in there somewhere, and he is too, manning the boards for that sonic studio sound. From 'Phradie's Song' to the title track classic closer that bookends this second-career breakthrough as successful as the 2022 comeback album from the similar sounding, same vein The Mars Volta. Attacking sounds in space and time, 'I Wish I Was Joking' when I said these lines will stay with you down your own one. But when you hear "Half of love is still love/You beg the dawn to ease you in/Pass the time a thousand ways/In the dump, you'll find love/Half the time, I feel sad/And any kind of love will do/But it’s a job, don't know if that's the dream/In a style that’s insincere" you may not look at life the same way again. As we treat love like a ghost that slow fades out like a track on your old CDs, and life like something to swipe past on to the next. But in the same track that references 'Disney On Ice' (who saw that coming?), they tell us, "Here's the thing about drugs/They'll sink your mind and steal your friends," this is the loss the partnership were referring to. The purple haze may have gone to a sombre black tone, but this album is seriously good. Just like life, if you treat it as such. In all its beauty and brutality. For at the end of this dark night, an electric day will rise again. TIM DAVID HARVEY.

Playlist Picks: 'Dancing In Babylon (Feat. Christine and the Queens)', 'People In The Streets', 'Nothing Changes'.

REVIEW: USHER - COMING HOME

3.5/5

Homecoming King.

Usher is about to touchdown like Taylor in Tokyo for this weekend's Superbowl Halftime Show, with Travis watching. But first he had a bombshell to drop with NFL legend Shannon Sharpe, whose show is the new place to go if you want to quarterback some controversy. Diddy. Pharrell. Jay-Z. Usher was on the phone with this big-three like Miami, trying to Voltron form a supergroup for the ages. Now, how epic would have that been? Almost as epic as the Hail Mary he's going to throw this weekend with the likes of 'Boo' Alicia Keys, fellow former child-star turned superstar singer Justin Bieber and Lil Jon (YEAH!) amongst others set to perform with the rightful king of R&B ushering in the best collaboration since Bruno brought out the Red Hot Chili Peppers. Our money's also on Jungkook of BTS. His smash single 'Standing Next To You' is remixed for a beautiful bonus on Usher Raymond's new album 'Coming Home'. The perfect precursor to this weekend's festivities.

It's almost been a decade since the '8701' legend's, who can recreate 'My Way' like it was yesterday, last album was 'Hard II Love'. In that time we've met some seriously good singles, like 'Good Kisser' and 'Don't Waste My Time' that over time have sadly now met the cutting room floor. We're still waiting on more of his 'Confessions' too with super producer Jermaine Dupri for one seriously sought after sequel on the 20th anniversary of a diamond album that did a million and change in one week (that never happens now, unless you're Adele).. Although we did get the 'A' of a Zaytoven collabo album a few years back that snapped. Now for Atlanta, and something else as he eats, the Raymond that everybody loves is holding a peach behind his back to tease his new muscled up album. There are strong singles like the Summer Walker and 21 Savage assisted 'Good Good'. And the lyrical play on themes for the devoted 'Ruin', or the long goodbye with intermissions of the latest 'Kissing Strangers'. If that wasn't enough to whet your appetite, the "peace up, A-town down" singer also drops a crazy sample Nicki Minaj would be proud of in the 'Uptown Girl' riffing 'A-Town' girl with Latto. Genius loves interpolating company.

But super size me this. If you've ever wondered what Usher orders when he's shown his seat in McDonald's (they don't do that?), worry no more. As the Tom Hanks hero shouting out 'Big' answers all that with a play on words. Spoiler alert, it's not a small, and those sandwiches he's talking about might require a few more napkins when he's finished at the table. Tongue in cheek aside, Usher runs for yards on his new album that is about to set up a showstopper. His first album in eight years is his ninth wonder like the producer and his best since he played versus with himself...because face it, few others could go toe-to-toe. Ain't that right Trousersnake? Burna Boy features on the opening album title-track that sings, "Just put me on the right road/Make I run like Usain Bolt/Feel like I'm not even close, ooh,/I'm lost (Ooh-ooh)/Lost in the world (Ooh-ooh)/Like I been searchin', searchin' 'til the kingdom come (Ooh-ooh)". Whilst The-Dream makes a 'Cold Blooded' appearance like Pheelz ('Ruin)'. But standing next to 'Standing Next To You', 'Risk It All' from the soundtrack to 'The Color Purple' with star H.E.R. bolsters this project with even more to help it reign for the one-time prince of this ish. 

'I Am The Party', Usher declares, however when he goes at it alone with choice cuts like 'Luckiest Man' and the penultimate 'One Of Them Ones'. 'Margiela', 'Bop', 'Stone Kold Freak', there's enough new bangers to turn this halftime show into a full concert before Usher Raymond brings out his classics (and how they remind you), let alone the special guests. But on tracks like 'I Love U' ("Why you lookin' so surprised?/Girl, you know you got me/See it in my eyes/How could you doubt me?/It's only in your mind, it's more than a night thing/And you got me high/Catch me, I'm falling") and 'Please U' he knows how to bring the albums back in this Spotify streaming age that snaps quicker than a smartphone chat. Nothing is just 'On The Side' in this 'Room In A Room', like the legend and ATL icon like his symbol chain says as he 'Keep(s) On Dancin'', "I admit breaking up is easier than commitment/But I don't want that for us/Our love is strong enough to never have an ending." Dearly devoted, you ain't seen nothing yet. The party is only getting started. Just wait until the weekend. Here comes the boom of the A-town stomp. TIM DAVID HARVEY.

Playlist Picks: 'Good Good (Feat. Summer Walker & 21 Savage)', 'A-Town Girl (Feat. Latto)', 'Big'.

DOCUMENTARY REVIEW: BTS - MONUMENTS: BEYOND THE STAR

4/5

Monumental. 

8 Episodes. Starring: RM, Jin, SUGA, j-hope, Jimin, V & Jung Kook. On: Disney +.

Beyond the stars themselves, RM, Jin, SUGA, j-hope, Jimin, V and Jung Kook, BTS are an ARMY. Like the biggest voice of their fans, telling you to 'Love Yourself', in unison with these idols like you don't need permission. Ones that have already been truly monumental. And even in their 'Hiatus', Disney + is following several of their concert films (most recently, 'Permission To Dance-Live In LA') with a new docuseries 'Monuments: Beyond The Star', that they released episode-by-episode over the Christmas and New Year period. Catching up, this intimate and influential last dance is inspired, with hopes that the best is yet to come in the lives of this South Korean K-Pop phenomenon and the most loyal fanbase in perhaps all of entertainment. Movies, sports, the lot. From the ARMY fangirl and boy with love beginnings, to the mandatory military service that many of the members are going to enlist in, it's been a long and winding road for the biggest band since The Beatles. And even now, their one direction's see them on several solo acts, but you know these big hitters will always return home.

Just like the beginning of a brand new 'Spring Day', a personal favourite that plays out over the closing credits of the final episode in these eight wonders taking fans closer than those clappers that were the only way to communicate in concert during COVID. You can feel the devastation, especially in favourites J-Hope and Jimin, moving in perfect time, like they were still dancing, to this imperfect time, when they are given the news that corona has cancelled their concert. They truly love their fans who have been behind them since day one, before the Billboard 100s, American awards and Grammy invites. This Disney doc that maps the path of these souls and their individual personas. The HYBE hype is real, with co-signs to these singers from chairman Bang Si-Hyuk and 'BEYOND THE STORY : 10-YEAR RECORD OF BTS' author Kang Myeongseok. Compelling and captivating, from the 'Danger' debuts, to speaking out at the United Nations. Or attending high-school graduations, or the ceremonial shaving of the head before South Korean military enlistment. This movie show about these showstoppers of music really strikes the deepest chord. Even when quarantined in their lovely, but lonely apartments, or out fishing a million miles away from the world, you'll catch on to the message and its deeper meaning.

There's plenty of celebrity co-signs here, but you know who the biggest stars are. And they shine so bright. Still, one 'Mic Drop' from super DJ Steve Aoki shows just how far they came. Before the pandemic, a double dose of 'Idol' and 'Boy With Luv' took their worldwide fame to a whole new stratosphere. But then what came after they reached out after social distance, behind the mask, really made monuments and moments that reached out and touched everybody. Including the top of the charts. The big-three of 'Dynamite', 'Butter' and 'Permission To Dance' sealed this seven as the greatest group on the globe. And then, it all stopped again. Or at least took a break. What comes up, must come down...but it always comes back up again like bubbles to the boil. Even if they all go their separate ways. RM's 'Indigo', J-Hope's 'Jack In The Box', Suga AKA Agust-D's 'D-Day' (and his and Hope's own respective making of Disney documentaries), Jimin's 'Face', V's 'Layover', a 'Golden' Jung Kook with the 'Dreamers' of his official World Cup anthem, and what's to come with Jin when he returns from service, after dropping the first solo single since the break ('The Astronaut'). Proof that these Bangtan boys have still got it. No matter how many Blackpink and Seventeen supergroups come after them. They paved the road like Psy. What's beyond this, we don't know. All we can do is wish upon a star for more monuments. TIM DAVID HARVEY. 

Further Filming: 'BTS: Permission To Dance-Live In LA', 'Suga: Road To D-Day', 'J-Hope In The Box'. 

REVIEW: GREEN DAY - SAVIORS

4/5

Save The Day. 

We've barely got by the last part of January where it's acceptable to wish people a Happy New Year (we see you Larry David and the last ever season of 'Curb Your Enthusiasm', right around the corner), and we're already facing a Green Day. The 'Saviors' are here for one of the first marquee albums of 2024 already following an 'Insano' Kid Cudi last week. And the legendary punk act who are about to go on tour with support from The Smashing Pumpkins and Rancid to celebrate their respective 30th and 20th anniversaries of their legendary and landmark albums 'Dookie' and 'American Idiot' (set to both be performed in their entirety), have been starting the year off right by performing in New York City Subway stations with Jimmy Fallon (and to think we were just there last week). But how many Septembers has it been after we asked to be woken up? Because now Green Day like the Pumpkins, Chilli's and Foo Fighters are considered "Dad rock" pushing 50?! That's crazy. We remember when they were just singing about being stoners and masturbating. Now with their fourteenth(!?) album and their first since 2020s 'Father Of All Motherf#####s' critics are calling 'Saviors' the best album since these Green guys were 'Idiots'.

Spearheaded by a terrific title track as a compelling album cut and four formidable singles, following their 'BBC Sessions' release, the band recorded this Reprise record in London (RAK) and at times even sound like they could have recorded it crossing the zebra to Abbey Road. There's a Sex Pistols feel to the pink and black and white, youthful artwork celebrating burning behind. One taken from the Troubles in Belfast by photographer Chris Steele-Perkins with an altered smile on a young boys face that kind of looks like Billie. 'The American Dream Is Killing Me' Billie Joe Armstrong says in the opening track and single which is their best statement since their last one about a green gunge and grunge American flag, draped in black and white. Hands up for the genius, 'Look Ma, No Brains' follow-up, and the best 'Dilemma' since Kelly Rowland got mad that Nelly wouldn't respond to her Microsoft Excel message. Then there's the 'One Eyed B#####' that really looks into more, promising, "I'm making an offer that you cannot deny/You won't be laughing when I'm making you cry/'Cause, ayy-oh! I hear the pleas get louder/You son of a b####, you're gonna beg and cower/Vendetta is a friend of mine/Revenge is sweeter than wine." Dial V for a Vendetta that's never been better, save Portman and a Guy Fawkes mask. The 'Bobby Sox' of this big-hitting retrain to form knocks it out the park. This album was originally meant to be called '1972' after the year Armstrong, bassist Mike Dirnt and drummer Tré Cool we're born, but the 'Savior' track '1981' reveals even more. Just like 'Living In The' 20s', old sport.

'Goodnight Adeline' and the Cat Stevens rivalling 'Father To A Son' are among the most beautiful work Billie Joe is done since her paid tribute to The Everly Brothers forever ('Foreverly') with the iconic Norah Jones (who is 'Running' with some new 'Visions' coming soon after dominating the last few Christmases). But it's 'Coma City' that will really wake you up in this cold and dry January. Much like the born to run, warm engines that we are revving, already looking forward to a 'Corvette Summer' with the top down. A broken heart of "Will I ever see your face again?/Not just photos from an Instagram/Will you say hello from across the street?/From a place and time we used to meet/Sometimes everything just grows apart/Broken pieces from a busted heart," is applied to 'Suzie Chapsick', before we all admit singing along that 'Strange Days Are Here To Stay' since the pandemic. "Strange days are here to stay/Ever since Bowie died/It hasn't been the same/All the madmen going mental/Grandma's on the fentanyl now/Strange days are here to stay", open the doors to so much more on the same New Music Friday where we get the volume one release of a classic David Bowie live album from the 'Montreux Jazz Festival'. Before the 'Fever' of a bonus track, we also get some 'Fancy Sauce' to drizzle in closing. "Everybody's crazy/Getting stoned and lazy/As we all die young someday/We all die young someday." It's the s### like 'Dookie'. An anthem in these strange days, to save our day and way. TIM DAVID HARVEY. 

Playlist Picks: 'The American Dream Is Killing Me', '1981', 'Father To A Son'. 

REVIEW: KID CUDI - INSANO

3.5/5

Insano In The Membrane. Insano In The Rage.

If you believe the 'Man On The Moon' could stare at the 'Man In The Mirror', then take a look at this. There's a massive silver statue of Kid Cudi right now making the rounds in Los Angeles. Kind of reminding us of the 'History' Michael Jackson made when his own monolith was pulled around London's River Thames to promote his greatest hits package in the mid 90s. Or, better yet, the massive robot he turned into with piercing eyes in MJ's 'Moonwalker' movie (and you thought a werewolf was thrilling). Following his own Netflix movie ('Entergalactic') and soundtrack, Mr. Rager gives us his latest in 'Insano', delivered by DJ Drama like a Tyler creation. It may sound like Cartmen from 'South Park's' robotic alter-ego, but this awesome album is crazy good...and loaded with features. As we still wait for the ray of Lana like SZA, the first big New Music Friday of 2024 gives us a new album from Cudda, 21 Savage (who has just teased the stranger things of his new biopic 'American Dream' starring Caleb McLaughlin and the 'This Is America' of Donald Glover's Childish Gambino) and The LOX across the pond outfit of D-Block Europe. In ALL-CAPS, this Wicked Awesome record starts the calendar off correct. Don't neglect it like movie studios who drop duds in dry January that otherwise would be box office bombs. This ninth wonder is also the Kid's last album with Republic records, who he's been with since 'The End Of Day'.

Painted in amazing artwork, the visual artist, who's just coming off a TV special award win, is riding around in a 'Porsche Topless' (and not just on his alternative album artwork takes). Getting this party started with that single and the second 'At The Party', bound to keep you moving to the 808 sounds of his heartbroken vocals that feel like their own instrument to this inspired pursuit of happiness. Even after what Drake said, this Kid is still legit. And even without Kanye, Cudi still makes goo...no G.R.E.A.T. music, as others just court controversy. If they weren't enough promotional singles for your Gangster Grillz to get your teeth into, then Cudi also hit the streets in black and red with the menacing 'Most Ain't Dennis', and the mesmerizing letting of 'Ill What I Bleed' as sick as Ne-Yo when he let the one that got away walk. Soon, Scott Mescudi could leave the Kid Cudi alter-ego behind for good, but until then he's giving you "pure superhero music." Assembling more capes for his crusade to marvel at, too. Aside from the Drama ('Often I Have These Dreamz' and more), there's Travis Scott on 'Get Off Me' (getting Savage this week with two guest features). A 'Wow' ASAP Rocky. A 'Too Damn High' Lil Yatchy. XXXTentacion on 'X and Cud'. Young Thug on 'Rager Boyz'. And the great Lil' Wayne delivering a classic on the 'Seven' seal. Not to mention Pharrell Williams himself, 'At The Party' with Travis again. A deluxe edition promises even more guest feature spots, like the anti J. Cole album. 'Keep Bouncin'' like A Tribe Called Quest indeed.

Maraurdering around some real mood music, no Drake diss on Joe Budden, Cudi rides this 'ElectroWaveBaby' in this 'Tale Of A Knight' that is the 'Cud Life', rapping, "Superstar (Yeah), how'd I let you wave? (Wave, wave)/Let it high (High), ain't we on our wave? (On our, on our)/Ask me where, I point the sky, just take me closer, I/Come with me, let's fly, mmm-mmm-mmm-mmm-mmm-mmm." Instrumental again in his musical musings in making his harmonies hallmark sounds. Ones that will 'Getcha Gone' like when Jermaine Dupri told you he had to 'Gotcha Getcha'. 'Mr. Coola' is so cold and the cool glass of Kool-Aid you need in a January that needs a little "yeah" to the start of your year. 'Freshie' is that fresh for your 'Tortured' souls as Mescudi reminds us, "My demons there to haunt me, keepin' focused, s###, it sucks, man/I don't give two f#####s what they say about me, own me (Yeah)/I'ma stay so focused, do my dirt up on my lonely." The pain is never top far away from the pleasure, but joy still comes in the new morning and year. This 'Funky Wizard Smoke' will tote-ally put a spell on you like Pottermore, forever more. All the way to the greeting of Mr. 'Blue Sky' that takes you high like, "The sky is blue, oh finally, been dreamin' of this for a while (Yeah)/The sun is shining, blinding, swimmin' in this place of mine (Let's go)/Help me out, pass that blunt, my guy/We're all on a quest to climb, and we're on our way (Hmm, hmm-hmm)." The chorus and the reign the new victory like MJ as you 'Hit The Street In My Nikes' to walk off with this mic drop moment. Just in rose gold, this man may have walked on the moon three times to complete the trilogy, but he's not wearing out his soul. The giant step comes next. TIM DAVID HARVEY.

Playlist Picks: 'Porsche Topless', 'ElectroWaveBaby', 'Hit The Streets In My Nikes'.