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    Oasis and Stone Roses Musicians Team Up, and 7 More New Songs

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    Hear tracks by A.G. Cook, Mary Timony, Bela Fleck and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes), and sign up for The Amplifier, a twice-weekly guide to new and old songs.Liam Gallagher and John Squire, ‘Just Another Rainbow’If you’ve ever wondered what Liam Gallagher fronting the Stone Roses would have sounded like — and don’t just say “Oasis” — have I got a song for you. The snarl-lipped Gallagher joins forces with the singular Stone Roses guitarist John Squire on “Just Another Rainbow,” the first single from a forthcoming collaborative project, and naturally the two Manchester musicians make immediate sonic sense together. “Red and orange, yellow and green, blue, indigo, violet,” Gallagher sings in his unmistakable lilt — seriously, this song has Liam Gallagher singing the colors of the rainbow. But Squire ultimately ascends into the spotlight in the track’s second half, projecting his towering, prismatic riffs across the sky. LINDSAY ZOLADZSmallgod featuring Black Sherif, ‘Fallen Angel’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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      Foo Fighters Begin a New Chapter, and 8 More New Songs

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      Hear tracks by Muna, Nathy Peluso, Salami Rose Joe Louis and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage, and The Amplifier, a twice-weekly guide to new and old songs.Foo Fighters, ‘Rescued’“Rescued” is the first new song Foo Fighters have released since the sudden death of the band’s beloved drummer Taylor Hawkins in March 2022, and its lyrics seem to address that tragedy and the remaining members’ grief. “It happened so fast, and then it was over,” Dave Grohl sings before unleashing one of those signature screams that manages to be throat-lacerating and melodic: “Is this happening now?” Hawkins’s absence is a gaping void in “Rescued,” the first track from a June album, “But Here We Are.” But perhaps because of it, the Foos sound more focused than they have in a while, driven by a fresh sense of pathos and urgency. LINDSAY ZOLADZMuna, ‘One That Got Away’Katie Gavin lets a missed connection know exactly what they’re missing on the bold and sassy “One That Got Away,” a new single the pop group Muna debuted last weekend at Coachella. “If you never put it on the line, how am I gonna sign for it?” Gavin sings on the synth-driven track, as the booming, echoing production serves to effectively amplify her feelings. ZOLADZSalami Rose Joe Louis, ‘Dimcola Reprise’“I know that everything is feeling like it’s falling apart all the time,” sings Lindsey Olsen, who records as Salami Rose Joe Louis, in “Dimcola Reprise” from her coming album, “Akousmatikous” (which means “sound where there is no identifiable source” in Greek). Most of the track is a busily looping, pattering, burbling electronic backdrop for her whispery voice, which eventually advises, “It’s gonna be OK/Just make it through the day.” But before it ends, the song pivots completely, turning to slow chromatic chords and suspended vocal harmonies — a brief moment of respite. JON PARELESSbtrkt featuring Sampha and George Riley, ‘L.F.O.’Aaron Jerome, the English electronic music producer who calls himself Sbtrkt and performs behind a mask, has been working over “L.F.O.” since 2018, apparently making it stranger with each iteration. It’s an ever-evolving succession of thick, harmonically ambiguous synthesizer chords, coalescing into a rhythm and pushing it aside, accelerating and falling apart and reconverging. The lyrics, delivered in Sampha’s eerie falsetto and George Riley’s confessional breathiness, offer paradoxes and self-questioning: “I’m changing, moving, losing, higher,” Riley sings. The song will be on Sbtrkt’s new album, “The Rat Road,” in May. Whatever the context, it’s likely to be destabilizing. PARELESNathy Peluso, ‘Tonta’The Argentine singer Nathy Peluso enlisted the hitmaking producer Illangelo (the Weeknd, Post Malone) for the furious kiss-off “Tonta” (“Foolish”). A thumping, clattering beat propels her indictment of her ex from seething to sneering to a well-placed scream. She also shows some gleeful scorn as she overdubs her voice into a mocking horn section, trumpeting “tararatata” as she demolishes any hopes of reconciliation. PARELESGrupo Frontera x Bad Bunny, ‘Un x100to’Bad Bunny, proudly from Puerto Rico, is determined to expand his music into a pan-Latin coalition. With “Un x100to” (“One Percent”), he joins Grupo Frontera, a Mexican-rooted norteño band from Texas, for a song about using the last 1 percent of his cellphone power to call an ex and confess that he misses her. Grupo Frontera’s section of the song is a traditional-flavored, accordion-backed cumbia. Bad Bunny arrives with a different, rap-informed melody over arena-scale electronic chords. But with Grupo Frontera working, he returns to the clip-clop beat and chorus of the cumbia — another strategic alliance certified. JON PARELESFlorence + the Machine, ‘Mermaids’“I thought that I was hungry for love,” Florence Welch sings at the beginning of a menacing new song, “Mermaids,” adding, “Maybe I was just hungry for blood.” The dark, brooding track sounds of a piece with “Dance Fever,” the group’s 2022 album that often found Welch threading her personal recollections and musings into a more mythical tapestry. That contrast emerges in the second movement of “Mermaids,” when Welch sings memorably about long nights of London debauchery and “hugging girls that smelt like Britney Spears and coconuts.” ZOLADZChristine and the Queens featuring 070 Shake, ‘True Love’At Coachella and now online, Chris of Christine and the Queens has gone primal and musically skeletal. “I need you to love me,” he sings in “True Love,” over a blipping, tapping two-chord track, joined by 070 Shake, who sees “your dark eyes staring at me.” The song is measured and quantized, but thoroughly obsessional. PARELESBéla Fleck, Edgar Meyer and Zakir Hussain featuring Rakesh Chaurasia, ‘Motion’The latest cross-cultural foray by the banjoist Béla Fleck is a collaboration with the bassist Edgar Meyer and two Indian musicians: Zakir Hussain on tabla and Rakesh Chaurasia on bansuri (bamboo flute). For most of “Motion,” Fleck takes a supporting role behind rising, inquisitive melodies from the bass and bansuri as Hussain’s tabla stirs up a fluttering momentum. When banjo and bansuri share a melody in unison, the eerie timbre is an acoustic discovery. PARELES More

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      Chick Corea, the Master Mixer of Jazz’s Past and Future

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      An eclectic array of musicians will gather in New York to celebrate the pianist’s legacy. Five collaborators and admirers discuss his experiments, artistry and generosity.When the groundbreaking pianist Chick Corea died unexpectedly, at 79, last February, he left a legacy of experimentation, preserving and expanding the jazz tradition. Over more than a half-century, he deftly navigated the music’s continually shifting boundaries. Corea started his career playing with the Afro-Cuban percussionist Willie Bobo and spent time with the bossa nova stalwart Stan Getz. His presence in Miles Davis’s “Bitches Brew” ensemble, and later, his leading role in Return to Forever, gave him a seminal role in the origins of 1970s jazz fusion.But Corea didn’t stop there, devoting himself to straight-ahead jazz trios and quartets; duos with greats like Herbie Hancock and Keith Jarrett; outside-the-box collaborations with the bluegrass banjo player Béla Fleck; and even to playing Mozart Concertos with Bobby McFerrin. His long stint with the Elektric Band showed he never abandoned fusion, and his 2019 release, “Antidote,” recorded with an array of Spanish and Latin American musicians, renewed his early passion for Latin sounds. Over the course of his career, he won 25 Grammy and Latin Grammy Awards and was nominated for more than 60 others.Friday and Saturday at Lincoln Center, an all-star lineup of musicians who either played with Corea or were strongly influenced by him will come together for concerts that reimagine his classic compositions.“Chick had this way of instilling in us that if someone is trying to define what jazz is or isn’t for you, you don’t have to accept it,” the bassist John Patitucci, a longtime member of the Elektric Band and musical director of the shows, said in a phone interview. “He was extremely affirming with all of us, and he was funny — hysterically funny.”The shows will be more than just a tribute; they will allow Corea’s colleagues to recapture his energy, focused determination and generosity of spirit. In a recent interview, five musicians — Rubén Blades, Béla Fleck, Christian McBride, Renee Rosnes and Corea’s widow, Gayle Moran, a singer and keyboardist who was by his side till the end — discussed how deeply he connected with his collaborators when creating music and the ways he touched them personally. (All but Fleck will take part in the Lincoln Center event, which was postponed from January.) These are edited excerpts from the conversation.How did Corea’s experiments in jazz fusion and eclecticism inspire you?CHRISTIAN MCBRIDE I think there’s this accepted narrative, like, there was quote unquote, “no jazz in the ’70s” and people like Chick, Herbie, Weather Report, George Duke all turned their backs on jazz. I’m not exactly sure how so many critics and writers missed all these great albums that Chick did in addition to his Return to Forever albums, which were also great. Anytime you got a group with people like Bill Connors and Al Di Meola, that was the peak of Return to Forever. I mean, how can anyone not like Flora Purim and Joe Farrell [who played important roles on a few Return to Forever albums]? That band was absolutely crystalline, everything they did was just gorgeous.RENEE ROSNES His fusion playing — electric playing, whatever genre you want to call it — was as harmonically and rhythmically complex as all the music he wrote. It wasn’t that anything was dumbed down. It was all beautiful, and from his very individual mind. He remained curious, whether it was classical, bebop, Latin, electric, acoustic. He really had a limitless range and he seemed to be fearless. He didn’t really seem to care what anyone thought, what the critics thought, he would just go ahead and make the music he wanted to make.“He really had a limitless range and he seemed be fearless,” Renee Rosnes said.Jack Vartoogian/Getty Images)BÉLA FLECK It just was all music to him. So I don’t know if there was much of a line between the different styles. In terms of Return to Forever, for me, I don’t think I would be doing anything I’m doing if it wasn’t for that band. In 1975, I saw them at the Beacon Theater and I wouldn’t have gone on to try to play the banjo the way I play. I wouldn’t have had the Flecktones. Fusion has almost gotten a bad name or something, but if you go back to the original stuff, this music had a lot of intelligence to it. It was not just rock with jazz. It was its own thing. It really was a fusion.RUBÉN BLADES Chick was always curious, and I think that that is the real definition of an intellectual, an artist constantly curious. He collaborated with a lot of different people and showed them ways that perhaps were not clear to them at the time, no matter how successful they were. The opportunities that he created for music to go forward are impossible to consider as a whole. He was just an incredibly curious and talented man.Corea was unusually attentive in the way he worked with musicians, his sense of generosity and mentoring. Can you talk about that?FLECK He had this thing about giving permission to everybody to do what they needed to do, or what they ought to do, which was be themselves. One of the first times he came to play with me in the Flecktones in Nashville, we did an interview and the idea of rules came up in music and he said something like: “Well, there are no rules. If there’s anybody out there who thinks there’s any rules, I hereby give you permission to ignore them.” When we were in the airports, you’re standing in a line and there’d be those barriers, and he would always walk around and pop them out so that people wouldn’t have to stand on the lines anymore.“This music had a lot of intelligence to it,” Béla Fleck said. “It was not just rock with jazz. It was its own thing. It really was a fusion.”Jessica Hill/Associated PressMCBRIDE I was very fortunate to play with Chick a lot with Roy Haynes. Even though it was Chick’s band, he always put the power with Roy. We went on the road with the Remembering Bud Powell Quintet in the summer of 1996 and I remember after we rehearsed each arrangement, Chick would say something like, “Roy, is that cool?” You know, “Is that the right vibe?” And it made me love Chick even more because even though it was his band, he was checking with Roy Haynes to make sure everything was cool.FLECK Because I play with different kinds of people, I get asked, “How do you play all this stuff?” And I say, “I really don’t. I just play like myself all the time, and it’s the people around me that change.” He was just so him, anything he did had the stamp. I mean, is there any Chick Corea thing you could hear that you wouldn’t know? It was him within three or four notes. So he just had this language.MCBRIDE Even with the Foo Fighters.ROSNES Or even going right back to the very beginning, you know, the beginning of when he was playing with Mongo Santamaría, Cal Tjader — I mean, he still sounded like himself even then.GAYLE MORAN He really wanted to be a better classical player, and he worked at it. He practiced Mozart over and over and over. He said to me more than once, “If I could practice 24 hours a day, maybe someday I’ll be a pretty good piano player.” He says that to me [laughs], yeah!What kind of things did Chick share about his influences and the musicians he played with?MORAN I got this little family concert together because the doctor told me it wouldn’t be long. I didn’t tell anybody that news — we were celebrating our anniversary coming up. We all started “All Blues,” the famous Miles tune, and it was really beautiful. And he just very gently raised up his hand and said: “That is so beautiful. Now I want to show you the original arrangement that Miles taught me.” And he took his time and energy to teach everybody — When does the melody come? When does the piano come? His eyes brightened up when he was talking, and we played it and he gave everybody a thumbs up and, and we were supposed to have one more concert the next night. He wasn’t strong enough. And then he had this next adventure.MCBRIDE Chick deeply loved Horace Silver, and I don’t think a lot of people draw that line between Horace and Chick. He would talk about Horace so much and how much he influenced the structure of his writing. He was telling me the story about when he first joined the Blue Mitchell-Junior Cook Quintet, which was basically the old Horace Silver Band, and he was like, man, I always feel like the one thing I was never really that great at was playing the blues. I was like, Chick, I’m going to blindfold test you, and I played a recording of him playing with Blue Mitchell and Junior Cook. And I said, this cat sounds a lot like Wynton Kelly. And he’s like, yeah, that’s swinging. And then like after about eight bars, he went, wait a second — and I said, yeah, you can very much play the blues. You funky as hell, Chick!“That band was absolutely crystalline,” Christian McBride said of Return to Forever, “everything they did was just gorgeous.”Rebecca Sapp/Getty Images MORAN Oh, that’s great to hear, Christian. I heard him say that too. He didn’t think he really could. Of course Miles gave him the big compliment, and, and that made Chick just fly — it was his first gig with Miles, no rehearsal, no charts. Chick was getting a drink by the bar because he thought he didn’t do so good. And then Miles whispers in his ear. I can’t say the word Miles used … But Chick went, Oh my goodness. He was dancing around.How did Chick influence your approach to music?BLADES He was playing at the Blue Note and I went over and said hello. So Chick asked if I would like to do something with him. I had no idea what I was going to do to fit in this thing. You know, he goes to Mars and he goes to Jupiter, a lot of places that I don’t know how to get to. And there are no directions. I had a great time when I was with him, always respectful. It was very hard for me to call Tito Puente “Tito,” you know what I mean? That’s the way he wanted to be called, he was Chick. I knew immediately he would not bat an eye if I would do “Pennies From Heaven” with a salsa band. Right away, he would go like, oh, that’s wonderful, you know?ROSNES He was so open, and his imagination just knew no bounds. He had a desire to cross all those lines, musically, and play anything. That definitely inspired me in so many ways, compositionally as well as just playing the piano and improvising. I know that when I write, I don’t really think about what genre I’m writing. I follow in his footsteps that way, in terms of just having the whole world at your fingertips. He was so focused all the time, too. One piece I’m excited about playing at the show is “Eternal Child” because I I’d heard it, but I never studied it. It’s such a beautiful composition.MORAN Oh my, he wrote that in the middle of the night, Renee, I remember in L.A. We were trying to sleep and he just said, “I hear something.” And he had to get out of bed and go down. And he said, when he wrote that down on the paper, by the piano, he was crying.Corea with his wife, Gayle Moran, in 2020.Chick Corea ProductionsROSNES Well, it’s beautiful. I kind of think of Chick himself as the eternal child. He has that spirit. He had an email address at one point, something with “eternal child” in it.BLADES When I recorded “Spanish Heart,” he sent me the lyric and I’m singing on top of what the chart was, but I did the thing in my tone, and he said: “Oh, that’s great. Let’s do that.” He felt a special attachment to that song. It was a tremendous honor for me to do it. He was someone who called, he talked to you, he would prod you. He was always keeping in touch. I don’t know how his heart was big enough to be able to keep up with all this stuff. I’m terrible at that. I love people, but I don’t tell them.MORAN You hear those lyrics and it sounds like a love song, and that’s what I thought it was. One time I said, “Oh sweetie, you wrote that for me.” And he said, “Well, yeah, but it’s for them.” And he meant the audience, a love song for the audience. That’s how it ends, he says “I give it all to you.” More

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      How Billy Strings Picked His Way to the Other Side

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      At 28, the singer and guitarist is bluegrass’s new transgressive star. A decade ago, he didn’t expect to live this long.Billy Strings did not know what exactly had given him the hangover from hell. Was it the previous evening’s onstage bottles of beer or post-show cans of wine? The late-night tumblers of whiskey that Strings — then an unsigned 23-year-old bluegrass hot shot — bought to celebrate that profitable night in the summer of 2016? The endless bumps of cocaine?Barreling down Interstate 85 the next afternoon through suffocating Southern heat, Strings just knew he’d made a mistake. Every 15 minutes, he shuffled outside to vomit until the rest of his band agreed that, if they were going to reach their South Carolina show, they couldn’t stop again. Strings hung his head from a window, streaking the van’s sides with last night’s regret. He swore he’d never again let the partying interfere with the playing. He has yet to take another drink.“I had decided this music stuff could save my life,” Strings said by phone from a parking lot in Spokane, Wash., lounging in one of his twin buses. “Music was my one opportunity — otherwise, I was going back to being a meth head, overdosing, prison. I was not going to mess this up with booze.”The guitar, after all, had given Strings purpose since he was a toddler, vying for validation in a home struck by drugs and tragedy. The instrument never betrayed him. In the five years since he vowed never to betray it, Strings has emerged as a premier bluegrass mind for this post-everything era.On three albums, including the new “Renewal,” which came out last week, he has zigged and zagged between the form’s antediluvian traditions and rapid-fire improvisations that hit like hard bop, all within songs with hooks so sharp that he seems poised for crossover stardom. He may be the only contemporary musician capable of releasing singles with the bluegrass avatar Del McCoury, the country star Luke Combs and the R&B enigma RMR within a six-month span, as he did this year. He remains grateful for the hangover.“I was raised on raging, partying, playing bluegrass until 3 a.m., but I am trying to create structure. That is hard because of what’s in my blood,” said Strings, 28. “I hate to even call this a career. It’s my life.”Born William Lee Apostol, Strings grew up in the tiny lake-bound Central Michigan town of Muir, where his childhood seemed an insurmountable obstacle course. His father, Billy, died from a heroin overdose when Strings, his youngest son, was 2. His mother, Debra Apostol, married her first love, Terry Barber, who reared Strings as his own.As Debra battled depression prompted by her sister’s murder, the couple slid into penury. Their home became an all-hours drug den — “a meth house,” Strings said with a sigh, “with tweakers in my living room smoking meth one day, getting hauled off to prison for 20 years the next.” They were stuck in a small town, Debra said in an interview, and simply bored. Strings smoked his first joint, stolen from his grandfather, when he was 8, and first got drunk at 10.The setting, at least, inspired a child so obsessed with music, he slept with his guitar and read rock biographies during class. His stepfather, a crackerjack guitarist, taught him the bluegrass songbook and Black Sabbath anthems. His mother paraded around their trailer hoisting joints, blasting Santana or Soundgarden. Strings toiled away, matching everything he heard.“I was this 5-year-old learning to play guitar so my parents would pay attention,” Strings said, recounting a recent therapy session’s epiphany. “Music is the only thing that’s been good to me my entire life.”“I hate to even call this a career,” Strings said. “It’s my life.”Will Matsuda for The New York TimesBefore Strings was a teenager, he began walking alone to school in the snow and ferreting whatever food he found, feeling like some S.E. Hinton pariah who loved skateboarding and flatpicking. At 14, he left home to couch-surf with friends, falling in and out of legal trouble while failing in and out of school.“I said, ‘I want to see what my parents are so into that they’re lost to me,’ so I tried meth,” he said — “with my mom,” adding a customary barrage of profanity. “Heroin, crack, pills: I stopped caring. I thought I would end up going down their bad road, anyway.”One friend’s mother intervened, convincing Strings he could eclipse his upbringing. He eventually fled his hometown, heading three hours north to Traverse City and a new reality. “I moved out from under a cloud,” he said.In Traverse City, Strings met Don Julin, an area mandolin aficionado three decades his senior. Their duo specialized in hard, fast and loud renditions of the staples that Strings’s stepfather taught him. But Strings discovered the fertile intersection of bluegrass and jam-band culture, popularized by Yonder Mountain String Band and Greensky Bluegrass. He played 20-second solos for 20 people; they jammed for 15 minutes for bobbing throngs.“Those guys,” Strings said, smiling, “painted my pure bluegrass heart.”Strings discarded the tie-and-sports-coat uniform he donned with Julin and decamped to Nashville. He built an acoustic quartet willing to race beyond bluegrass’s bounds and returned to the road, where he practically lived until the Covid-19 pandemic.Routing his guitar through 27 effects pedals to summon Jimi Hendrix, Pink Floyd’s David Gilmour or Slayer’s Jeff Hanneman, Strings emerged as a sudden live sensation. In 2021, his second solo record, “Home,” won the Grammy for best bluegrass album.“Billy knows stuff I don’t know, and I play with people with new information,” said Béla Fleck, the banjoist who has goaded his instrument into novel terrain for a quarter-century. Fleck invited Strings to play on his album “My Bluegrass Heart,” an honor Strings gushes about more than any award.“This music needs a fresh jolt once in a while from someone who comes in from a different angle,” Fleck continued. “Billy is the lightning rod.”“Renewal,” Strings’s third solo album, largely delights in matters of the heart.Will Matsuda for The New York TimesIt’s not only the sound of bluegrass that Strings is reimagining but also the image. Sitting in his bus as 6,000 fans drifted into a sold-out amphitheater near Portland, Ore., this month, Strings held a svelte black vaporizer in one hand while gripping a $300 electronic bong with the other. Giggling beneath a hat that read “Sex & Drugs & Flatt & Scruggs,” he looked more like the thoroughly tattooed brother of Shaggy from “Scooby-Doo” than those bluegrass patriarchs.He joked about covering “Dueling Banjos,” made famous in the film “Deliverance,” in full B.D.S.M. regalia and lampooned bluegrass posters for looking like antique-auction handbills. He extolled the hallucinogen DMT for making him a kinder person. Scrolling through his recent Spotify favorites, where Juice WRLD rubbed shoulders with Marty Stuart, Strings admitted that he was proud his friendship with Post Malone and his work with the masked Black singer RMR irked traditionalists. “I see racist crap all the time in bluegrass,” he said, with an uncharacteristic flash of anger.RMR was floored by Strings’s rebellious streak, and happily agreed to sing on “Wargasm,” a plea for peace that suggests Alice in Chains going country. “This is music for old guys with a beard, but he didn’t fit that mold,” said RMR, who went viral in 2020 by covering Rascal Flatts amid a crew brandishing an armory. “He was dope, because he was different.”As much as Strings revels in pushing boundaries, his songwriting taps the same heartland sincerity that Bill Monroe embraced nearly a century ago. Strings sings of modern American woes with disarming simplicity, even as he warps the sound. His first hit, “Dust in a Baggie,” sprints through the parable of a meth addict who heeds warnings too late. “Turmoil & Tinfoil,” his debut’s title track, mourns the way meth burned his own mother, her face ashen from exhaustion.“Renewal,” Strings’s third album, largely delights in matters of the heart. In May, he proposed to his longtime girlfriend and tour manager, Ally Dale, so he celebrates finding love during the tender aubade “In the Morning Light.” But there’s also climate-change anxiety, small-town ennui and a nine-minute fight song for battling depression, “Hide and Seek.” Despite the song’s instrumental mirth, the chorus comes from the final text messages a friend sent before committing suicide.Strings called this “sublimation,” or turning life’s darkest matter into positivity. It’s more powerful, he suggested, than any guitar trick. Through hours of therapy and nights of singing to strangers, he did that with his parents, too. These days, they are largely sober, though many of their old friends continue to party or remain in jail; his mother has developed what she called an addiction to coconut water. Strings once winced when they arrived at shows, but last year, he took his stepfather on tour. Their turmoil gave him a reason to succeed.“They did pretty good, because look at me now,” he said, chuckling as he exhaled another tuft of weed smoke. “They couldn’t take care of me, but they taught me the thing that helped me take care of myself. As a parent, isn’t that your job?” More

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      Silk Sonic’s Retro Roller Jam, and 12 More New Songs

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      Hear tracks by Bomba Estéreo featuring Yemi Alade, Saint Etienne, Dry Cleaning and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new songs and videos. Just want the music? Listen to the Playlist on Spotify here (or find our profile: nytimes). Like what you hear? Let us know at theplaylist@nytimes.com and sign up for our Louder newsletter, a once-a-week blast of our pop music coverage.Silk Sonic, ‘Skate’With a new single, “Skate,” it becomes ever clearer that Silk Sonic — the collaboration of Bruno Mars and Anderson .Paak — is a project in vintage reverse engineering, finding and recreating the sounds and structures of the era when 1970s soul melted into disco. “Skate” — invoking bygone roller discos — has the scrubbing rhythmic guitars, the glockenspiel, the Latin percussion, the back-talking string section and the rising bridge of late 1970s hits. Can young 21st-century listeners feel nostalgia for a time before they were born? JON PARELESBomba Estéreo featuring Yemi Alade, ‘Conexión Total’Bomba Estéreo’s new single, “Conexión Total,” is an effervescent blend of pan flutes, marimbas and drum loops featuring the Nigerian Afropop idol Yemi Alade, whose 2014 song “Johnny” remains an anthem in the genre. The Colombian duo’s maneuver adds to a growing list of collaborations between African and Latin American artists, a much-needed reminder of the links between Afro-diasporic sounds and their origins. Euphoric lyrics from the lead singer Li Saumet and layers of carefully placed air horns coalesce into a prismatic summer jam, like a cool, carbonated drink foaming to the surface. ISABELIA HERRERASaint Etienne, ‘Pond House’You’d be forgiven for assuming that the looped, airy voice at the center of Saint Etienne’s new song belongs to the group’s lead vocalist Sarah Cracknell — but it’s actually a sample of Natalie Imbruglia’s 2001 song “Beauty on the Fire.” The British pop icons’ forthcoming “I’ve Been Trying to Tell You” (their first sample-driven album since the 1993 classic “So Tough”) is a collage of sounds culled from 1997 through 2001; they’ve described it as something of a concept album about late-90s optimism and the collective delusions of pop-cultural memory. Heady and idea-driven as that may sound, though, “Pond House” is as light as a sea breeze, a steady, aquamarine undertow drawing you into its hypnotic atmosphere. LINDSAY ZOLADZLos Lobos, ‘Los Chucos Suaves’Through four decades of recording, Los Lobos have always chosen their occasional cover versions instructively. During the pandemic they made their new covers album, “Native Sons,” filled with songs from Los Angeles bands including the Beach Boys, War, Buffalo Springfield and Thee Midnighters, along with one new Los Lobos song. “Los Chucos Suaves,” originally released in 1949 by Lalo Guerrero y Sus Cinco Lobos (!), recognizes an emerging Los Angeles pachuco culture, with elegant, zoot-suited Mexican Americans broadening their tastes — and dance moves — to Cuban music. Los Lobos’s version places Cesar Rosas’s rasp atop a mesh of cumbia and mambo, with distorted guitar, brawny baritone sax and frenetic timbales celebrating an early Latin cultural alliance. PARELESBéla Fleck featuring Billy Strings and Chris Thile, ‘Charm School’The album due in September from the banjo innovator Béla Fleck — who has collaborated with jazz musicians and chased down the banjo’s African roots — is “My Bluegrass Heart,” billed as his return to bluegrass. “Charm School” uses a classic bluegrass quintet lineup, with Fleck on banjo, Chris Thile on mandolin, Billy Strings on guitar, Billy Contreras on fiddle and Royal Masat on bass. But “Charm School” is by no means a traditional bluegrass tune; it’s a speedy, ever-changing suite, vaulting through keys, meters and tempos. The quintet alights in a seemingly familiar bluegrass zone only to dart off someplace else entirely, again and again. PARELESBarry Altschul’s 3Dom Factor, ‘Long Tall Sunshine’Barry Altschul’s drumming, and especially his rambunctious ride cymbal, is a study in something more than contrast: He knows how to skip across the surface of a beat while also giving it serious heft; his pocket is magnetic, but he’ll just as soon dice it up or splatter it to bits. Over an almost six-decade career in jazz, he’s played on both sides of the aisle, avant-garde and straight-ahead, and in his running trio — the 3dom Factor, with Jon Irabagon on saxophones and Joe Fonda on bass — he lassos it all together. “Long Tall Sunshine” is the title track from the 3dom Factor’s new live album, and it’s classic Altschul: brimming and charging but holding back too (thanks especially to Fonda’s bass), with a harmonically rangy melody that sets up Irabagon for an uncorked solo. GIOVANNI RUSSONELLODry Cleaning, ‘Tony Speaks!’On its magnificently odd debut album “New Long Leg,” released earlier this year, the London band Dry Cleaning fused post-punk grooves with the deadpan musings of the frontwoman Florence Shaw, a sharp, dryly funny observer of modern life’s absurdities. But “Tony Speaks!,” one half of a double-A-side single the band released this week, is its most barbed and political track yet. The song is an unnerving meditation on the banal but weighty effect that systemic problems can have on individual psyches: “I’m just sad about the collapse of heavy industry, I’ll be all right in a bit.” But Shaw’s most piercing musings come when she widens her lens and ponders climate change; her reflections poised in a delicate balance between comedy and tragedy. “I always thought of nature as something dead and uninviting,” she mutters, “but there used to be a lot more of it.” ZOLADZAda Lea, ‘Damn’“Damn,” from the Montreal-based singer-songwriter Ada Lea, unfolds like a quiet epiphany: a gradual accumulation of feelings and frustrations that, in an instant, snap into a sudden clarity. Atop an understated arrangement of guitar and percussion, Lea (whose real name is Alexandra Levy) sings of gradually slipping into an emotional rut: “Every year’s just a little bit darker, then the darker gets darker,” she sings in a low, throaty drawl, “then it’s dark as hell.” But in the song’s closing moments, Lea recollects herself and summons all her energy into a spirited, defiant refusal of everything that’s gone wrong: “Damn the work, damn the music, damn the fun that’s missing.” It’s the sound of hitting bottom but finally looking up. ZOLADZEkyu, ‘Oh Dje’Ekyu, a songwriter from Benin, sings about destructive envy in “Oh Dje”: “When someone goes up, we want to take them down/When someone moves forward, we want to stop him.” His voice is husky and melancholy, with an electronic veil; the rhythm is ticking, ratcheting Afrobeats-meets-trap, while guitar licks and manipulated vocals ripple in the distance. Below them all are bassy, looming synthesizer tones, threatening, as the lyrics suggest, to drag down everything. PARELESNao, ‘And Then Life Was Beautiful’“Hope will come someday soon,” the English songwriter Nao (Neo Jessica Joshua) promises in her helium-high soprano in “And Then Life Was Beautiful,” the title song from her next album. To recover from the way “Change came like a hurricane” in 2020, she advises self-preservation, patience, contemplation and gratitude amid invigorating triplets, rising chromatic chords and airborne vocal harmonies. She’s determined to conjure a sense of uplift. PARELESSilvana Estrada, ‘Marchita’Silvana Estrada’s voice oozes quiet fury. It’s a quality that connects her to a long line of women in Latin America, whose voices are almost synonymous with the experience of suffering and abandonment: icons like Chavela Vargas and La Lupe. But unlike some of her forebears, the 24-year-old Mexican artist’s anguish is so quiet, so raw, it burns in her chest, smoldering under the surface. On “Marchita,” the rolling melismas of Estrada’s voice glide over the warmth of a Venezuelan cuatro, blooming into waves of violin and violoncello strings. “Me ha costado tanto y tanto/Que ya mi alma se marchita,” she weeps. “It’s cost me so much that my soul is withering,” she says. That is the kind of slow-burning despair that steals life from you. HERRERAGrouper, ‘Unclean Mind’Grouper, a.k.a. Liz Harris, effortlessly collapses the grittiest of emotions into simple jolts of sorrow. Though she is known for her hypnotic tape loops, breathy whispers and quiet piano arrangements, on “Unclean Mind,” Harris swaps the familiar, morose piano keys of previous releases for the strum of an acoustic guitar. Her harmonic vocals are weightless, almost imperceptible, but the sentiment is transparent. “Tried to hide you from my unclean mind,” she sighs, “Put it in a costume/Turning patterns with a perfect line.” We may not know what kind of relationship she refers to, but the enigmatic beauty of Grouper’s music is that it is immersive without being obvious, so potent it needs little explication to convey the trickiest emotions. HERRERADot Allison, ‘Long Exposure’The Scottish songwriter and singer Dot Allison has recorded, as leader and collaborator, with arty musicians like Kevin Shields, Massive Attack and Scott Walker beginning in the 1990s. Her new solo album, “Heart-Shaped Scars,” is her first since 2009. It’s largely acoustic and minimal, with songs that meditate on the unhurried growth of plants. “Long Exposure” intertwines Allison’s voice with steady guitar picking, single piano notes and a chamber-pop string section, but it’s far from serene. It’s an indictment of a partner’s gradually revealed infidelity that gathers pain and wrath from the realization that it went on so long. PARELES More

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      How Pop and Jazz Wrapped Up the Past in 16 Boxed Sets

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      #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best ComedyBest TV ShowsBest BooksBest MoviesBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyHow Pop and Jazz Wrapped Up the Past in 16 Boxed SetsReissues and deluxe editions of albums by PJ Harvey, Lil Peep, Charles Mingus and others provide fresh looks at familiar works, and the creative processes that birthed them.Iggy Pop’s “The Bowie Years” revisits the two albums David Bowie produced for the Stooges frontman, “The Idiot” and “Lust for Life,” with a host of extras.Credit…UMeJon Pareles, Jon Caramanica, Giovanni Russonello and Dec. 23, 2020Neneh Cherry, ‘Raw Like Sushi (30th Anniversary Deluxe Edition)’(Virgin/UMC; three CDs, $63.89; three LPs, $75.98)Alive with isolated, collagelike layers and exuberant ad-libs (“Now, the tambourine!”), the Swedish pop artist and rapper Neneh Cherry’s cult classic debut album, “Raw Like Sushi,” is a remixer’s dream. This 30th-anniversary set contains a vibrant remastered version of the original LP, along with two entire discs of imaginative remixes: Massive Attack transforms the synth ballad “Manchild” into a snaking, meditative groove, while the early hip-hop producer Arthur Baker reworks two different extended club mixes of Cherry’s ebullient hit “Buffalo Stance,” furthering its eternal cool. LINDSAY ZOLADZCredit…UMeCream, ‘Goodbye Tour Live 1968’(Polydor; four CDs, 66-page book, $69.98)Cream — Eric Clapton on guitar, Jack Bruce on bass, Ginger Baker on drums — was a power trio of flashy virtuosos with big egos; it lasted only from 1966 to 1968. While its studio work was disciplined and cooperative, marrying blues to psychedelia, its live sets were improvisatory free-for-alls, with all three musicians goading one another and grappling for attention. This collection gathers three full California concerts from October 1968 along with Cream’s last show, Nov. 26 at the Royal Albert Hall; half of the tracks, including an entire San Diego concert, were previously unreleased. The nightly set list barely varies, but the performances are explosive jams — tempos shift (listen to the assorted “Crossroads”), vocal lines swerve and stretch, guitar solos take different paths each night. The California shows were carefully recorded, but with historic stupidity, the BBC filmed Cream’s last shows yet only captured the music in muddy, low-fi mono. Cream’s members didn’t think they played well at their farewell, and through the murk, that final show is full of wailing excess and rhythm-section overkill. But it deserved better preservation. JON PARELESBela Fleck, ‘Throw Down Your Heart: The Complete Africa Sessions’(Craft; three CDs, one DVD, $49.99)The banjoist Bela Fleck visited Africa in 2005 with a film crew for a five-week trip to Mali, Gambia, Tanzania and Uganda, tracing the banjo’s African origins and collaborating with African musicians. The results were a documentary, “Throw Down Your Heart,” two albums of collaborations recorded in Africa and, in 2009, a tour with Toumani Diabaté, a Malian master of the harplike kora. Live recordings from the 2009 tour were released earlier this year as “The Ripple Effect,” a showcase for tradition-bridging melodies, flying fingers and shimmering plucked-string counterpoint. This box gathers them all, including a newly expanded version of the documentary. The whole project shows Fleck learning from every encounter and figuring out countless ways that his bright, speedy, bluegrass-rooted picking and runs can intertwine with African tunes and rhythms. PARELESCredit…UMePJ Harvey, ‘Dry — Demos’(Island; one CD, $13.98; one LP, $24.98)When a 22-year-old Polly Jean Harvey and her band released their sensual, earth-rumbling 1992 debut album, “Dry,” some listeners and critics regarded its songs as almost feral outpourings of spontaneous intensity. A recently released collection of demos proves, once and for all, they were remarkable and carefully constructed achievements of songcraft. Available for the first time as a stand-alone album, “Dry — Demos” is sparse, often consisting of just Harvey’s mesmeric voice and rhythmic stabs of guitar. But the bones of enduringly sturdy songs like “Dress,” “Sheela-Na-Gig” and “O Stella” are, impressively, already locked in place. As a finished product, “Dry” was hardly overproduced or polished, but the incredible artistic confidence of these demos brings the album’s elemental power, and Harvey’s songwriting gifts, into even greater clarity. ZOLADZElton John, ‘Jewel Box’(UMe/EMI; eight CDs in hardcover book, $109.80; four LP set “Deep Cuts Curated by Elton,” $89.98; three LP set “Rarities and B-Side Highlights,” $59.98; two LP set “And This Is Me…” $35.98)Elton John’s “Jewel Box” is at least three projects side by side; its vinyl versions make them available separately. For two CDs of “Deep Cuts,” John selects non-hit album tracks; he likes sad songs with dark lyrics, collaborations with his idols (Leon Russell, Little Richard) and music that evaded his usual reflexes. Three CDs of “Rarities 1965-71” — with five dozen previously unreleased songs — detail his songwriting apprenticeship with the lyricist Bernie Taupin, a good argument for Malcolm Gladwell’s proposition that expertise requires 10,000 hours of practice. At first they tried to write potential hits that were generic enough for others to cover; John once called them “pretty horrible.” The duo learned by obvious imitation, with near-miss mimicry of both British and American approaches: the Beatles, Motown, Phil Spector, country. They made and scrapped “Regimental Sgt. Zippo,” an album of pop psychedelia. Gradually, they homed in on a distinctive Elton John style: openhearted, big-voiced storytelling backed by two-fisted piano. Two more discs are housekeeping — an archive of B-sides and non-album tracks — and the final pair, “And This Is Me …” is a playlist of songs mentioned in John’s memoir, “Me” — which gives him a chance to end with his 2020 Oscar winner, “(I’m Gonna) Love Me Again.” PARELESLil Peep, ‘Crybaby’ and ‘Hellboy’(Lil Peep/AUTNMY; streaming services)Platforms change, their overlords get finicky, they get sold to conglomerates that might not respect the historical legacies they contain. Which is why it is crucial for artist catalogs that live in only one place online to be spread as far as possible. It’s a relief that the two key early Lil Peep albums, “Crybaby” and “Hellboy” (from 2016), have finally made it up from SoundCloud to other streaming services (fully cleared, with only minor tweaks). Lil Peep — who died in 2017 — was a critical syncretizer of emo and hip-hop: He was swaggering, dissolute and deeply broken, a bull’s-eye songwriter and a rangy singer and rapper. During this era, he finally figured out how all of those pieces fit together, especially on “Hellboy,” a pop masterpiece that pop just wasn’t ready for yet. JON CARAMANICACredit…Photo by Jochen Mönch, Design by Christopher Drukker‘Charles Mingus @ Bremen, 1964 & 1975’(Sunnyside; four CDs, $28.98)Charles Mingus was stubborn, self-righteous — and open to just about anything. When this bassist and composer gave his first concert in Germany in 1964, at the Radio Bremen studios, he was leading one of the finest bands of his career: a sextet that could carry a ton of weight while turning on a dime, like a dump truck made by Maserati. With Johnny Coles on trumpet, Eric Dolphy on reeds, Clifford Jordan on tenor saxophone, Jaki Byard on piano and Dannie Richmond on drums, the band followed Mingus’s plucky lead, leaping between Ellingtonian miniatures, bluesy hollers and extended avant-garde improv. The group’s now-legendary performances on that tour might well have represented a high-water mark. But when he returned to Bremen 11 years later, with a quintet, his penchant for misdirection and ludic sophistication had only grown stronger. Both shows are presented side-by-side in this four-CD set, which features remasters of the original radio source tapes. GIOVANNI RUSSONELLOCredit…UMeCharlie Parker, ‘The Mercury & Clef 10-Inch LP Collection’(Verve; five LPs, 20-page booklet, $69.99)By the end of the 1940s, the alto saxophonist Charlie Parker was only a few years into his recorded career as a bandleader but he’d already turned jazz inside-out, contouring the next frontier in American modernism as one of bebop’s lead architects. The impresario and producer Norman Granz recognized Parker’s brilliance — and he saw the potential to broaden his appeal, by shining a softer spotlight on his lemon-cake tone and his richly coiled melodies. The 10-inch LPs that Parker recorded with Granz between 1949 and 1953, for the Mercury and Clef labels, offer portraits of the artist from many angles, including the steaming “Bird and Diz,” the only studio session to feature the Big Three of bebop (Parker, Dizzy Gillespie and Thelonious Monk); the gauzy orchestral fare of “Bird With Strings”; and “South of the Border,” mixing big-band jazz with Mexican and Afro-Caribbean styles. This boxed set features five newly remastered albums from that period, most of which have been out of print on vinyl since the ’60s. Faithful to their original format, the albums come on 10-inch discs, packaged with David Stone Martin’s now-classic artwork, while the booklet includes new essays from the pianist and jazz historian Ethan Iverson and the Grammy-winning writer David Ritz. RUSSONELLOCredit…UMeIggy Pop, ‘The Bowie Years’(Virgin; seven CDs, $99.98)In 1977, David Bowie restarted Iggy Pop’s career by producing two albums for him — “The Idiot” and “Lust for Life” — and joining Pop’s band on tour. Bowie admired Pop’s pure-id approach to songwriting and performing, but smoothed him out just a little — supplying some glam-rock-tinged backup — and spurred him onward, suggesting concepts and approaches. And the punk rock that Iggy and the Stooges had presaged nearly a decade earlier was taking hold in the United States. The alliance was fertile for both of them; Bowie would have a 1980s hit remaking their collaboration, “China Girl,” a song about acculturalization, imperialism and lust from “The Idiot.” This box includes the two studio albums, the howling 1978 live album “T.V. Eye” (with Bowie in the band on keyboard and backup vocals), a disc featuring rawer alternate mixes from the albums and three live Iggy concerts from 1977. Two of the live discs are low-fi and redundant, but a fierce 1977 set from the Agora Ballroom in Cleveland documents a telling rock moment. PARELESCredit…New West RecordsPylon, ‘Box’(New West; four LPs and 200-page hardcover book, $149.99; four CD version to be released in March 2021, $85.99)Formed in 1978 by art-school amateurs in Athens, Ga., Pylon made hardheaded, pioneering, danceable post-punk. Bass and drums staked out sinewy, deliberate, unswerving riffs. The guitar poked into interstices with pings or echoey chords or scratchy syncopation or dissonant counterpoint. Laced through the instrumental patterns, riding or defying them, were vocals by Vanessa Briscoe Hay: declaiming, rasping, chanting, confiding and yelling while she sang about daily life as a pragmatic revelation — and, onstage, moved like no one else. “Box,” on vinyl, includes Pylon’s first two albums, “Gyrate” (1980) and “Chomp” (1983), plus a disc of extras including Pylon’s brilliantly decisive first single, “Cool”/“Dub,” and a find: the band’s first recording, a vivid 1979 rehearsal tape that shows Pylon already fully self-defined. Pylon was very much of its time, akin to Talking Heads, Gang of Four, Bush Tetras and Pylon’s Athens predecessors and supporters, the B-52’s. But Briscoe Hay’s arresting voice and the music’s ruthless structural economy have made Pylon more than durable. PARELESCredit…Rhino RecordsLou Reed, ‘New York (Deluxe Edition)’(Rhino/Warner Bros.; three CDs, two LPs and one DVD, $89.98)Three decades after its release, Lou Reed’s midcareer 1989 opus, “New York,” retains a haunting present-tense resonance: “Halloween Parade” mourns West Village neighbors lost to an epidemic, “Last Great American Whale” frets about environmental collapse, and Trump and Giuliani even cavort through the appropriately titled “Sick of You.” This deluxe edition, released a year after the record’s 30th anniversary, features both a live album and a previously unreleased concert DVD. But its most revelatory additions are the small scraps of Reed’s “work tapes,” capturing such intimate moments as Reed figuring out the chord progression that would become the album’s hit “Dirty Blvd.,” or humming what the bass should sound like on a demo of “Endless Cycle.” Despite his shrugging exterior, these tapes show how deeply Reed cared about the details. ZOLADZCredit…Rhino RecordsThe Replacements, ‘Pleased to Meet Me (Deluxe Edition)’(Rhino/Warner Bros.; three CDs and one LP, $64.98)Like their beloved Big Star, the Replacements were never quite in the right place at the right time — or maybe, whenever either band was on the brink of mainstream rock stardom, their self-destructive tendencies kicked in. Regardless, the Mats’s fifth album, “Pleased to Meet Me” from 1987, was at once their record company’s last push for success (see the echoing “Jimmy Iovine Remix” of the great single “Can’t Hardly Wait,” which, apparently, even the Midas-like producer couldn’t turn into a radio smash) and a spiritual communion with their underappreciated heroes (the group recorded the album at Big Star’s former Memphis stomping ground Ardent Studios, with their sometime producer Jim Dickinson). The resulting LP, naturally, was caught in the middle: It was too polished to ascend to the cult status of “Let It Be” from 1984, but too snarling and strange to be a hit. This fantastic and exhaustive deluxe edition (featuring 29 never-before-released tracks), though, finally puts it in its proper context: Raw and unvarnished demos (including the final recordings made with their original guitarist, Bob Stinson) restore these songs’ barbed, punk energy, while a rich spoil of melodic leftovers reassert this period as a golden age of Paul Westerberg’s songwriting. ZOLADZCredit…Janette BeckmanStretch and Bobbito, ‘Freestyle EP 1’(89tec9/Uprising Music; streaming services)For some mid-90s New York rap obsessives, the ne plus ultra collaboration is “The What,” by the Notorious B.I.G. and Method Man. For others, it’s “Brooklyn’s Finest,” from the Notorious B.I.G. and Jay-Z. The connoisseur’s choice, however, might be traced back to the night in February 1995, that Big L brought Jay-Z up to the Columbia University radio station WKCR-FM for “The Stretch Armstrong and Bobbito Show,” then the definitive proving ground for the city’s MCs. The result is startlingly good — an excellent showing from Jay-Z, still shaking loose of the twisty syllables he leaned on in his earliest recordings. But Big L — who was killed in 1999 — is the radiant star here, delivering left-field boasts in ice-cold arrangements. Previously available only on hard-to-find cassette releases and online rips, it appears here in an official release for the first time (though sadly without the between-verse banter). It’s one of three unearthed freestyles on this EP — the others are a Method Man and Ghostface Killah team-up, and also the Notorious B.I.G.’s first radio freestyle, a hellacious rumble from 1992. CARAMANICACredit…Cash MoneyVarious Artists, ‘Cash Money: The Instrumentals’(Cash Money/UMe; two LPs for $24.98 or streaming services)The beats used for many of the late 1990s breakout hits of New Orleans’s Cash Money Records were head spinners, one after the next — Juvenile’s fleet, squelchy “Ha,” B.G.’s prismatic “Bling Bling,” Lil Wayne’s chaotic “Tha Block Is Hot.” This compilation gathers those and many others — made mostly by the in-house maestro Mannie Fresh — for a set that lands somewhere between bounce futurism and avant-garde techno. It’s an expanded version of the label’s “Platinum Instrumentals” compilation from 2000, but a less disciplined one, too — the sleepy funk of “Shooter” is wildly out of place here, one of a few more straightforward Lil Wayne tracks that would have been better left off, inconsistent with the pure digital esoterica that made the label impossible to emulate. CARAMANICAVarious Artists, ‘Excavated Shellac: An Alternate History of the World’s Music’(Dust-to-Digital; 100 MP3s and liner notes, $35)Excavated Shellac is a website created by Jonathan Ward, a collector of 78-rpm recordings of global music who shares his finds and his research. The digital collection “Excavated Shellac” unearths 100 of his previously unavailable discoveries from nearly as many countries, most released only regionally and long ago. They are extensively annotated, translating lyrics and delving into musicians’ biographies and each country’s recording history. It’s a trove of untamed three-minute dispatches from distant places and eras, full of raw voices, rough-hewed virtuosity and startling structures. Try the ferocious fiddle playing of Picoglu Osman from Turkey, the blaring reeds and scurrying patalla (xylophone) momentum of Sein Bo Tint from what was then Burma, or the accelerating, almost bluegrassy picking and singing of Tiwonoh and Sandikola, from Malawi. Nearly all the tracks are rowdy; as Ward’s notes explain, disc recording favored performers who were loud. PARELESCredit…David GahrGillian Welch, ‘Boots No. 2: The Lost Songs’(Acony; three CDs and 66-page book, $49.99; three LPs and 66-page book, $79.99)The four dozen songs on this collection were all unreleased until this year — they were recorded by the modern folk hero Gillian Welch and her longtime partner, David Rawlings, in a fevered stretch to fulfill a publishing contract in 2002. And yet these are the sketches of a patient perfectionist. Like most of the music Welch put out in that essential era, these songs are marked by the omniscience she builds with small details and her studiously unhurried voice (bolstered by Rawlings’s sturdy sweetness — see especially “I Only Cry When You Go”). It is a torrent of material from an artist who’s long communicated by trickle. And given the music’s elemental beauty, it seems absurd that it languished for all this time, all but unrecorded by others. CARAMANICAAdvertisementContinue reading the main story More