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      Best and Worst Moments From the 2024 Grammys:

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      Young women brought the drama, Jay-Z surprised with a barbed speech and heroes long absent from the show’s stage made welcome returns at the 66th annual awards.The most awards at the 66th annual Grammys went to Phoebe Bridgers, who picked up three with her band boygenius and one for a feature on a SZA song. SZA, who came into the night with the most nominations, was shut out of the biggest honors — for album (which went to Taylor Swift’s “Midnights”), record (Miley Cyrus’s “Flowers”) and song (Billie Eilish’s “What Was I Made For?”) — but took home three trophies. Victoria Monét was named best new artist, and Swift’s album win broke a Grammy record for the category. The show was particularly joyous, slick and thoughtful, featuring several striking performances and a few raw acceptance speeches. All in all, it captured pop music as it actually is — centerless, and subject to change at any moment.Best Theatrical Pop Stars: Billie Eilish and Olivia RodrigoFrom left: Billie Eilish and Olivia Rodrigo brought powerful vocals and a bit of theater to the Grammy stage. Photographs by Valerie Macon/Agence France-Presse — Getty ImagesTwo of the night’s strongest performances came from young women using pianos to accompany the wispy, stratospheric upper reaches of their registers — and to comment on the tyranny of fragility and prettiness. The first was Billie Eilish, stunning the crowd to silence with a sparse, deeply felt reading of “What Was I Made For?,” her “Barbie” ballad that later picked up song of the year. The second was Olivia Rodrigo, who nailed the vertiginous high notes that punctuate her rock-operatic smash “Vampire,” and then riffed on the song’s theme as she smeared herself with spurting fake blood. Each performance, in its own way, felt like a rebuttal to the constricting standards to which so many young women are held. Eilish’s was about the pain of being perceived as an object; Rodrigo’s reimagined the same kind of pressure as a horror movie. Both understood the power of a little theatricality. LINDSAY ZOLADZBest Debut Grammy Performance: Joni MitchellJoni Mitchell won a Grammy for best folk album, then performed with a group of musicians.Valerie Macon/Agence France-Presse — Getty ImagesJoni Mitchell, 80, has been singing her prismatic folk ballad “Both Sides Now” since she was 23, and yet every time she performs it, she seems to be interpreting its infinitely wise lyrics anew. The rendition she performed at the Grammys — her first-ever performance on the award show, which makes sense given how underestimated and slighted by the industry Mitchell has felt throughout most of her career — was at once elegiac and nimble, backed by a loose jazz arrangement that allowed her to riff on its familiar melody. Showing off a resonant tone and impressive range that she has worked diligently to strengthen since suffering an aneurysm in 2015, Mitchell’s performance was like a brief, magical visitation from a musical deity. ZOLADZBest Surprise Roast: Jay-ZJay-Z brought his daughter Blue Ivy Carter onstage during his acceptance speech at the Grammys.Valerie Macon/Agence France-Presse — Getty ImagesWe 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? Log in.Want all of The Times? Subscribe. More

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      Joni Mitchell Performs at the Grammys for the First Time

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      It’s hard to believe that at 80 years old, after a groundbreaking career in music, there are still new achievements left for Joni Mitchell. But on Sunday night, she did something for the first time: performed on the Grammys.Joined by Brandi Carlile, Jacob Collier, Lucius, Blake Mills, Allison Russell and SistaStrings, the singer-songwriter played “Both Sides Now.”Carlile, one of Mitchell’s most high-profile champions, is largely responsible for bringing her hero back to the stage, and she introduced Mitchell, who earlier won the Grammy for best folk album for “Joni Mitchell at Newport.” Nine years ago, Mitchell had an aneurysm and largely vanished from the public eye; her legions of fans feared that her singing days were complete.But the writer and unmistakable soprano behind classics like “Big Yellow Taxi” and “A Case of You” was not finished. She made a surprise appearance at the 2022 Newport Folk Festival alongside Carlile, as well as musicians including Wynonna Judd and Marcus Mumford.Mitchell followed that performance with an almost three-hour set at Carlile’s Echoes Through the Canyon Festival in George, Wash., last spring. (Two more performances from Joni Mitchell & the Joni Jam are scheduled for October at the Hollywood Bowl.) “To hear Mitchell hit certain notes again in that inimitable voice was like glimpsing, in the wild, a magnificent bird long feared to have gone extinct,” Lindsay Zoladz wrote in a New York Times review of the Washington show.Mitchell’s recording career, which began in the 1960s, has included her early folk music, the autofiction of her classic albums “Blue” and “Court and Spark,” and the jazz that followed. Decades later, in 1996, Mitchell, then 52, won the Grammys for best pop album and best recording package for “Turbulent Indigo,” her 15th release. “I’ve been contemplating whether to quit music and go into painting, and perhaps I will now,” she said that night. More

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      Was 1968 the Grammys’ Best Year Ever?

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      Before the 2024 awards on Sunday, revisit a ceremony where the Recording Academy got it right, honoring the Beatles, Bobbie Gentry, Aretha Franklin and more.In 1968 the Beatles won their first and only album of the year Grammy for “Sgt. Pepper’s Lonely Hearts Club Band.” PA Images, via Getty ImagesDear listeners,The 66th annual Grammy Awards take place on Sunday, and this year’s lineup of performers is pretty exceptional. I mean, Joni Mitchell is performing! For the first time ever at the Grammys! I could really just stop there, but Billy Joel, Billie Eilish, SZA, U2, Olivia Rodrigo, Burna Boy, Luke Combs, Dua Lipa, Travis Scott and more are scheduled to grace the stage. Will Joel and Eilish take this opportunity to start a supergroup called the Billies? Will SZA and U2 start an all-caps collaborative side project called SUZA2? Will Travis Scott meet Joni Mitchell, and if so, what will they talk about? The possibilities of this year’s ceremony are endless, and a little weird.To kick off Grammy week, I thought it would be fun to take a look back at another exceptional-if-slightly-odd year in Grammy history: the 10th annual ceremony, which took place on Feb. 29, 1968 and honored the music of 1967.The Grammys, infamously, do not always get it right. Sometimes their slights are laughably egregious (like when Metallica lost the 1989 award for best hard rock/heavy metal recording to … Jethro Tull); other times, they play things annoyingly safe (see: Beyoncé’s last three losses for album of the year). But just as a broken clock is right twice a day, sometimes justice actually is served at the Grammys. And 1968 was one of those years.Consider that album of the year went to a release that pushed the format forward into the future, and one that’s still often (and rightly) mentioned in lists of the greatest albums of all time. Some incredibly worthy artists won their first-ever Grammys that year: Elvis Presley, Aretha Franklin and Tammy Wynette. Many of the songs and artists awarded have — gasp — actually stood the test of time.Today’s playlist is culled entirely from the winners of the 10th annual Grammys. Feed your meter, inflate that beautiful balloon and prepare to hop in a time machine ready to take you up, up and away.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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      Melanie, Singer Who Made a Solo Splash at Woodstock, Dies at 76

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      Just 22 when she charmed the festival crowd, she went on to enjoy success with songs like “Lay Down (Candles in the Rain)” and “Brand New Key.”Melanie, the husky-voiced singer and songwriter who was one of the surprise stars of the Woodstock music festival in 1969 and two years later had a No. 1 single with the disarmingly childlike “Brand New Key,” died on Tuesday. She was 76.Her death was announced on social media by her children, Leilah, Jeordie and Beau Jarred. Neither the cause nor the location were cited.Melanie, born Melanie Satka in 1947, was only 22 but already a presence on the New York folk scene when she appeared at Woodstock. She was one of only three women who performed unaccompanied at the festival — and, as she later recalled, she was petrified at the thought of performing in front of a crowd vastly bigger than the coffeehouse audiences she was used to.It started to rain before she took the stage, and she would later say that the sight of people in the crowd lighting candles inspired her to write “Lay Down (Candles in the Rain),” which she recorded with gospel-style backing from the Edwin Hawkins Singers. Released in 1970, it became her first hit, reaching No. 6 on the Billboard Hot 100.Her biggest hit, “Brand New Key,” charmed listeners with its simplicity but generated controversy — and was said to have been banned by some radio stations — because some people heard sexual innuendo in lyrics like “I’ve got a brand-new pair of roller skates/You’ve got a brand-new key.” She acknowledged that the words could be interpreted that way, but insisted that this was not her intention.“‘Brand New Key’ I wrote in about 15 minutes one night,” she told one interviewer. “I thought it was cute; a kind of old ’30s tune.“I guess a key and a lock have always been Freudian symbols,” she continued, “and pretty obvious ones at that. There was no deep serious expression behind the song, but people read things into it.”Among her other compositions was “What Have They Done to My Song, Ma,” which, as “Look What They’ve Done to My Song, Ma,” was a Top 20 hit for the New Seekers in 1970.A complete obituary will follow. More

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      7 Great Songs From Great 7th Albums

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      Inspired by Ariana Grande’s return, hear tracks from U2, Sleater-Kinney, Guided by Voices and more.U2’s seventh album, “Achtung Baby,” was a triumph.Evan Agostini/Invision, via Associated PressDear listeners,The music video for “Yes, And?,” Ariana Grande’s first new solo single in more than three years, opens with a tight shot of a ruby-red business card bearing the phrase “ag7.” In modern pop parlance, this is a way of hinting that her seventh album is coming soon.I’ve long felt that the seventh album — if an artist is lucky enough to get that far — is a pivotal moment. Sometimes it’s the perfect time for a sonic and aesthetic reinvention, à la U2’s glammy 1991 album (and my favorite in its discography) “Achtung Baby.” It can also be an opportunity for a pop star to show off newfound maturity, as Madonna did on her great seventh studio album, “Ray of Light.” The seventh album is often when the most brilliant artists shift gears into a level of mastery that seems newly effortless: Consider Bob Dylan’s seventh album, none other than “Blonde on Blonde.”Will Grande’s seventh LP deserve mention among those classics? Who can say? All I know for now is that the thought of one of our major pop stars preparing to join the Septet Club got me thinking about some of my all time favorite seventh albums. Naturally, this called for a seven-track playlist.The aforementioned legends each make an appearance, along with a few of my indie darlings, Guided by Voices and Sleater-Kinney. Plus, one of pop’s reigning superstars, who released a particularly imperial seventh album in 2022 — everybody’s on mute until you guess who.Listen along on Spotify while you read.1. U2: “Until the End of the World”After its polarizing sixth album, “Rattle & Hum,” U2 retreated from ’80s overexposure and re-emerged with a fresh ’90s rebrand on “Achtung Baby,” a Brian Eno-produced triumph that added some needed irony to the band’s outlook and made the Edge’s guitar glisten like a newly invented form of synthetic crystal. It is my professional opinion that this song rules. (Listen on YouTube)2. Madonna: “Nothing Really Matters”Madonna was a new mother about to turn 40 when she released “Ray of Light,” a midcareer commercial smash that got her back on the radio (alongside devotees half her age), and also netted her (somehow) her first Grammy in a music category. “Ray of Light” is a deeper, stranger album than its titular hit suggests; this underappreciated sixth single is more representative of its searching electro-pop sound. (Listen on YouTube)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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      Alice Parker, Composer Who Heard Music in Poetry, Dies at 98

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      A master of American choral music, she wrote arrangements of hymns, folk songs and spirituals used in concert halls and churches countrywide.Alice Parker, whose arrangements of hymns, folk songs, and spirituals were used in concert halls and churches across America, and who composed 11 song cycles and four operas, died on Dec. 24 at her home in Hawley, Mass. She was 98.Her death was confirmed by two of her children, Molly Stejskal and David Pyle.Ms. Parker’s simple renderings of traditional hymns like “Hark I Hear the Harps Eternal,” spirituals like “You Can Tell the World,” and Christmas carols and folk songs, made her a trusted partner for choirs all over the country.For two decades she also worked with the most prominent American chorus of her day, the Robert Shaw Chorale, collaborating with Mr. Shaw on hundreds of works.Insightful settings of poems by Emily Dickinson and Archibald MacLeish gave her a footing in the world of the art song.And her use of texts by the Rev. Dr. Martin Luther King Jr. for an oratorio written for the anniversary of his death, “Sermon From the Mountain,” and by Eudora Welty for an opera first performed with Ms. Welty sitting in the audience in Jackson, Miss., testified to Ms. Parker’s broad humanist sympathies.But it was her devotion to choral song over eight decades, and her conviction that communal singing was a deeply human activity, that gave her a distinctive place in American music. That devotion connected her to the earliest traditions of organized American music-making , the congregational singing in colonial churches that was served by the country’s first composers.Ms. Parker, far left, on the cover of a Dec. 29, 1947, issue of Newsweek, singing with Robert Shaw and others in the Collegiate Chorale.via Newsweek.Trained in music at Smith College and Juilliard, Ms. Parker rejected the mid-20th century’s modernist 12-tone orthodoxies in favor of an older, modal approach.The resulting simplicity in her choral settings, whether of her own compositions or of the tunes of others, made her music accessible to the broadest possible public.“She is a giant, was a giant in the field of choral music,” said E. Wayne Abercrombie, professor of music emeritus at the University of Massachusetts Amherst. “She was incredibly focused on music at the ground level.”“She wasn’t about professional choirs,” he added. “She was focused on getting everybody singing. She would go into the church for an hour or two, and have people singing hymns.”For Ms. Parker singing served a deeper purpose than simply providing pleasure.“When we sing something perfectly lovely together, not necessarily the B minor Mass or something that needs a lot of rehearsal, but a hymn, or a folk song, or a children’s song, we sing it together, and it really clicks, and you have this marvelous feeling of brotherhood in the room,” she said in an interview with Newmusic USA in 2022.Her affinity for the civil rights movement was influenced by these beliefs, as was her partnership with the Southern humanism of Ms. Welty. Ms. Parker adapted Ms. Welty’s novella “The Ponder Heart” for an opera of the same name. She drew on Southern musical traditions — barbershop quartets, blues, gospel, scat singing — to produce “just the right tone” of heartfelt simplicity for Ms. Welty’s work, in the view of the New York Times critic Edward Rothstein, reviewing the work’s premiere in 1982.“If all this had been more sophisticated, less basic and more self-conscious, the beating of that innocent Ponder heart might have sounded unbelievable,” Mr. Rothstein wrote.Like her earlier operas, two of them based on religious themes, this one featured the basic orchestration and easy tunefulness that were hallmarks of her work.Ms. Parker came by her “simple” style having overcome, in a yearslong internal struggle, what the academy had tried to impose on her.Ms. Parker conducting a rehearsal. “I would hear the music in the poetry as I read the poetry,” she said.via Parker FamilyFor years, “I didn’t compose a single thing,” she said. “And when I finally started again, it was things for children’s choir, because then I didn’t have any responsibility toward writing the music of the future,” the modernist styles she rejected.“Once that dam broke inside of me, within three or four years, I was writing whole cantatas, whole suites of music, finding wonderful poetic texts that I wanted to set and could set,” she added. “I would hear the music in the poetry as I read the poetry.”Alice Stuart Parker Pyle was born on Dec. 16, 1925, in Boston, the daughter of Mary Shumate (Stuart) Parker, who founded a plastics laminate company, and Gordon Parker, a businessman who imported hardwood. She sang and played the piano from an early age, graduated from Smith College with majors in organ and composition in 1947, and went on to study choral conducting with Robert Shaw and Julius Herford at the Juilliard School, from which she graduated in 1949.Her subsequent association with Mr. Shaw resulted in numerous albums of folk song and hymn arrangements. “They are written so that amateur singers can sing them, but professionals can bring them to a different level,” said Mr. Abercrombie. “That’s a real gift.”Ms. Parker married a fellow singer in the Robert Shaw Chorale, the baritone Thomas Pyle, in 1954. He died in 1976.Ms. Parker is survived by her five children, Molly Stejskal, Katharine Bryda and David, Timothy and Elizabeth Pyle; a sister, Mary Stuart Parker Cosby; 11 grandchildren; and 6 great-grandchildren.Immediately after the assassination of Dr. King, in April 1968, she was commissioned by the Franconia Mennonite Chorus to write a work to commemorate him. “Central to an understanding of the man and his mission must be the realization that he took the Sermon on the Mount with complete, terrifying literalness,” she wrote in notes for the piece.In a 2020 documentary about her by the filmmaker Eduardo Montes-Bradley, Ms. Parker recalled her gratitude at receiving the order from the Mennonites as a distraction from her own grief. “I can only write for a perceived need,” she told Mr. Montes-Bradley. “I can’t write for a concert.” In this case the need was partly her own.Ms. Parker conducting in a class in 2016. Chase Heilman/Starboard & PortIn 1984, Ms. Parker founded a choir, Melodious Accord, with whom she made over a dozen choral albums. In the following decade, she moved back permanently to the farm that had been her childhood summer home in Hawley, in the hills of western Massachusetts, having lived for many years in New York. She focused on teaching and on singing at her church.“What she was able to do was bring out the music in us,” recalled the Rev. Allen Comstock of Charlemont Federated Church in Hawley. He remembered the hundreds of people who came to her workshop. They sat with her for a week, he said, to listen and learn.Although she focused on the joy of singing, Ms. Parker was deeply affected by tragedy, especially the deaths of Dr. King and her husband. This despair surfaced in her later work, notably a dark song cycle to poems by Emily Dickinson, “Heavenly Hurt” (2016). Dickinson was an “obsession” for her, she told Mr. Montes-Bradley.She and Dickinson, Ms. Parker told the filmmaker, had been “shaped by something in the New England soil that seems to be concerned with big questions — life and death, and love and suffering, joy and sorrow.” More

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      The Best Songs Our Readers Discovered in 2023

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      Songs by Labi Siffre, Bessie Banks, the Brat and more that became invested with fresh meaning.A Liz Phair song offered some unexpected parenting advice to one Amplifier reader.Ryan Pfluger for The New York Times Dear listeners,A few weeks ago, I asked readers to share the best older song they discovered — or rediscovered — in 2023. As usual, the Amplifier community did not disappoint.Today’s playlist is a compilation of some of the best submissions along with your (condensed and edited) explanations of why these songs resonated so deeply. The track list is an eclectic mix, featuring rock, soul, jazz, hip-hop, folk, punk and just about everything in between. Quite a few of you introduced me to artists I’d never heard before, like the British singer-songwriter Labi Siffre, the Los Angeles punk band the Brat and the underrated North Carolina-born soul singer Bessie Banks. I’ll definitely be seeking out more music from all of them.I was especially struck by the stories about rediscovered songs. Sometimes a piece of music we’ve known for decades (or, in the case of one reader’s story about a Rosemary Clooney song, about as long as we can remember) boomerangs back into our lives with poetic and fortuitous timing. A classic Chiffons hit becomes an anthem for a freshly resumed relationship; a wry Liz Phair song becomes more earnest in the light of new parenthood. Some of these narratives are fun and playful, while others are powerful reminders of the ways that music can buoy us through our darkest times.Thanks to every one of you who submitted a song and a story. I wish I could have included hundreds of them, but I settled on these 13. Also, on a personal note, reading through them all provided a welcome distraction this week. Remember in Tuesday’s newsletter when I mentioned I was coming down with a cold? That “cold,” I learned shortly afterward, turned out to be Covid. So once again, like the earliest days of the pandemic, I spent my week in isolation — but at least I had all your submissions to keep me company.I hope today’s playlist helps you kick off 2024 right. Here’s to another year of music discovery!Listen along on Spotify while you read.1. Badfinger: “No Matter What”While wandering the aisles in a supermarket this year, I heard this song and launched a mini investigation into why it had such a Beatle-esque sound (answer: recorded at Abbey Road and released on Apple Records). Recently, I was pleased to hear it included in Alexander Payne’s movie “The Holdovers.” The harmonies and hooks really evoke the ’70s for me, just like that film’s nostalgic rhythms and interiors. — Cathy Boeckmann, San Francisco (Listen on YouTube)2. Bessie Banks: “Go Now”When I read that Denny Laine of the Moody Blues died, I immediately thought of his greatest hit, “Go Now.” When I went online, I found out that an American woman, Bessie Banks, recorded it first. It’s fantastic — no disrespect to Mr. Laine, but it is tremendous. Should have been a hit. — Finn Kelly, Long Beach, Calif. (Listen on YouTube)3. Labi Siffre: “Crying, Laughing, Loving, Lying”It seems like a perfect encapsulation of the roller coaster that was 2023, pushing through a rainbow of emotions and holding close what matters most. It’s also just an excellent song from an artist that too few people know. — Jeremy Kotin, Milan, N.Y. (Listen on YouTube)4. John Prine: “Souvenirs”At 69, I am starting to think more about mortality and memories. This song evokes both. It also evokes the memory of Steve Goodman, one of my favorites, who recorded it with Prine. — Dennis Walsh, Media, Pa. (Listen on YouTube)5. The Chiffons: “One Fine Day”This song, written by Gerry Goffin and Carole King, resonated this year because a former girlfriend and I got together after being apart for many years, and we are now so happy! — Nick Lange, Cambridge, Mass. (Listen on YouTube)6. Liz Phair: “Whip-Smart”My wife and I had our second child this year, our first boy. I am constantly thinking about how to raise both of my kids in this world and then I rediscovered this song, which flips the script on centuries of raising macho, stiff-upper-lip boys. — Ryan Humphries, Millersville, Pa. (Listen on YouTube)7. Big Maybelle: “My Country Man”This song swings so hard and has an appreciation for proper farming technique. It is a welcome burst of elemental pleasure in a year with a lot of bleakness. No one can remain motionless with this on. — Brent Bliven, Austin (Listen on YouTube)8. Billy Bragg: “A New England”I like the lyric “I loved the words you wrote to me, but that was bloody yesterday/I can’t survive on what you send every time you need a friend.” It’s a short, cut-to-the-quick tune that I didn’t immediately take to, but now I’m always in the mood for it. — Kimberly Melinda Hogarty, Tucson, Ariz. (Listen on YouTube)9. The Brat: “The Wolf (and the Lamb)”The Brat were a Chicano punk band from Los Angeles that emerged in the early ’80s. As a fan of ’80s indie rock, I thought I knew all of the bands from that era, but this year I was astonished to hear this urgent, ferocious song for the first time. Had the Brat come around later, they likely would have been much bigger, but the music industry in 1980 was unwilling to accept a Chicano punk band with a female lead singer. Hearing this song, and this band, is a reminder of all that we’ve lost through the years when we ignore artists outside the mainstream. — Kelly Mullins, Seattle (Listen on YouTube)10. Grandmaster Flash and the Furious Five: “Superrappin’”It’s such an influential track that has been name-checked, sampled and quoted by so many artists, yet I’d never heard it until hip-hop turned 50 this year. I think it does a great job of capturing the vibe of what I imagine hip-hop was like its first decade. It’s hype, it’s a party track, and when I listen to the song I can see Flash and the crew performing it live at a rec room party in the Bronx. — Jack Kershaw, New York City (Listen on YouTube)11. Doris Troy: “What’cha Gonna Do About It”Doris Troy was part of the original lineup of the greatest ensemble I had never heard of, the Sweet Inspirations, whose members included Cissy Houston (Whitney’s mother) and her nieces Dee Dee and Dionne Warwick. There’s something about the staccato piano combined with Troy’s elongated “I love you”s that reassures me that love isn’t fireworks — it’s the world they illuminate as they ascend and break up the darkness. — John Semlitsch, Austin (Listen on YouTube)12. Nina Simone: “Blues for Mama (Live at the Newport Jazz Festival)”This year has been a lot. War, rockets, drones: All that I could hear and see in Kyiv as a civilian resident. One might be amazed at how people can adjust. This is a song I discovered when I was riding my bike to the hospital in Kyiv where I work. It was a morning after some powerful explosions overnight. But there was also sunlight and spring, and the tune playing in my headphones, forcing me to smile. — Nazar, Kyiv, Ukraine (Listen on YouTube)13. Rosemary Clooney: “Count Your Blessings Instead of Sheep”A young woman I know recently posted a photo of herself and her newborn baby girl on Instagram with Rosemary Clooney’s rendition of this Irving Berlin song in the background. When my mother passed away and I was only 4 years old, her older sister, my aunt Edie, sang this song to me often as she tucked me in for the night. It’s a bittersweet memory, but now, 71 years later, it still reminds me of how fortunate I am to have had so much love in my life. — Norman Reisman, New York City (Listen on YouTube)When they do the double Dutch, that’s them dancing,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“The Best Songs Our Readers Discovered in 2023” track listTrack 1: Badfinger, “No Matter What”Track 2: Bessie Banks, “Go Now”Track 3: Labi Siffre, “Crying, Laughing, Loving, Lying”Track 4: John Prine, “Souvenirs”Track 5: The Chiffons, “One Fine Day”Track 6: Liz Phair, “Whip-Smart”Track 7: Big Maybelle, “My Country Man”Track 8: Billy Bragg, “A New England”Track 9: The Brat, “The Wolf (and the Lamb)”Track 10: Grandmaster Flash and the Furious Five, “Superrappin’”Track 11: Doris Troy, “What’cha Gonna Do About It”Track 12: Nina Simone, “Blues for Mama (Live at the Newport Jazz Festival)”Track 13: Rosemary Clooney, “Count Your Blessings Instead of Sheep”Bonus TracksWant to get an absurdly early head start on your Best Songs of 2024 list? Jon Pareles and I have compiled our first Friday Playlist of the year, featuring some notable new tracks from Béla Fleck, A.G. Cook, Mary Timony and more. More

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      12 Key Music Collections, From Future to the Who

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      Whitney Houston’s gospel music, Future’s prolific mixtape run, a chunk of Joni Mitchell’s archives and a soundtrack of Brooklyn’s early discos arrived in new packages this year.Artists were eager to revisit the past in 2023 — some tweaking recent albums (like Taylor Swift), others revisiting long-dormant work in the vaults (like the two surviving Beatles). Boxed sets and reissue collections serve a different purpose, helping put catalogs and musicians into context, and bringing fresh revelations to light. Here are a dozen of the best our critics encountered this year.Julee Cruise, ‘Floating Into the Night’(Sacred Bones; one LP, $22)The absorbing, unconventional debut album from the deep-exhale vocalist Julee Cruise, who died in 2022, was produced by Angelo Badalamenti and David Lynch; the three had previously collaborated on music for Lynch’s 1986 alt-noir film “Blue Velvet.” This batch of songs, released in 1989, plays as an extension of that fun-house mirror, lightly terrifying universe, with twisted 1950s melodies meeting destabilizing, plangent guitars meeting Dali-esque shimmers. “Falling” became the theme song for “Twin Peaks” in instrumental form, but its full vocal version is the essential one. Songs like that, “The Nightingale” and “Into the Night” feel, even now, sui generis — not exactly dream-pop or new age, but something utterly amniotic. And lightly harrowing, too. JON CARAMANICADeYarmond Edison, ‘Epoch’(Jagjaguwar; five LPs, four CDs, 120-page book, $130)Anna Powell Denton/JagjaguwarBon Iver didn’t come out of nowhere. Before he started that project, Justin Vernon was in DeYarmond Edison, a pensive, folky but exploratory band that made two albums before splitting up; other members formed Megafaun. DeYarmond Edison — Vernon’s middle names — delved into folk, rock, Minimalism and bluegrass, learning traditional songs but also experimenting with phase patterns. It made two studio albums and left behind other songs, including “Epoch.” This extensively annotated boxed set includes songs from Mount Vernon, DeYarmond Edison’s jammy predecessor, along with DeYarmond Edison’s full second studio album (though only part of its first), unreleased demos, intimate concerts, collaborations outside the band and Vernon’s 2006 solo recordings. It’s a chronicle that opens up the sources of a style getting forged. JON PARELESWe 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