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Listen to songs by Lil Wayne, Barbra Streisand, Thelonious Monk and others.
The first song of the upcoming remake of "A Star Is Born", written and directed by Bradley Cooper, is a good old 70s ballad classic with higher roots. Mr. Cooper is a good singer, absolutely correct. It's Lady Gaga who throbs intensely here, leaning deep into the natural envelope of her voice, and changing her ordinary suit to another type of polish, which reveals more than it hides. JON CARAMANICA
Barbra Streisand, "Do not lie to me"
Lil Wayne with Kendrick Lamar, "Mona Lisa"
An impressive piece of "Tha Carter V", the apocryphal album of the latest, Lil Wayne, which finally arrived Friday. Lil Wayne's verse is long and winding, an elaborate story about the scam race on rich men sending beautiful women to distract them. And then, Kendrick Lamar has an epic about infidelity and mistrust that, halfway, turns into antinomy and launches into an emotional cliff. This is an older song – it was originally part of the leak of parts of this Martin Shkreli album – and the two men are fighting well, but differently. Mr. Lamar is a character actor, a texturalist who works with both thick and thin brushstrokes. Lil Wayne is not always this narrative, but its fluidity and ease with syllables are unmatched. Caramanica
Thelonious Monk, "Nutty"
Erthlings, a group of four 16-year-old women from Sydney, is both minimalist and sophisticated in "Bridges", a new indie rock creation from the 1960s – a bit of Zombies, a bit of Siouxsie and Banshees calmly, carefully circles through some chords and some self-directed tips: "Time to go / You have to let go / You can not continue to hurt". It is rare initially, then sneakily multilayered without losing its hypnotic coolness. Pareles
The Wonderful Joy, "The Bad Side"
Five rehearsals of a six-part guitar chord are the driving force behind The Wrong Side, from Welsh power trio Joy Formidable, who puts Rhiannon Bryan's vocal and hard-rock guitar in the forefront ; he released his fourth studio album, "Aaarth", on Friday. ("Arth" is Welsh for "bear.") "The Wrong Side" is melodious, confrontational, conciliatory and combative, all at the same time: "Come back, we'll be lovers / You're on the wrong side," Mrs. Bryan shouts. Pareles
Pistol Annies, "Best years of my life"
A country version of a group of girls supports Pistol Annies – Miranda Lambert, Ashley Monroe and Angaleena Presley – through a confession of hopeless hopelessness, boredom and lack of love. "I'm in the middle of the worst / These are the best years of my life." There is no happy ending: just a drink, TV reruns and a "Recreational Percoset". Pareles
Loretta Lynn, "No time to lose"
At age 86, Loretta Lynn turns to death in "Ain'n No Time to Go" of "Would not It Be Great," a new album of songs she wrote or collaborated on. She wrote "Ain's No Time to Go" with her daughter Patsy Lynn Russell. At what looks like a cajun fiddle, with a great Appalachian chant in her voice, even when she whispers, she sings to a dying woman about all that remains to be done and asks, "Stay with me if you can.
John Scofield, "Willa Jean"
At 66, John Scofield remains one of the greatest jazz improvisers. He has a pungent and devilish style to the electric guitar and a way of nurturing the friction between two notes. And he's actually invented his own sub-genre of jazz-fusion waltzes: his tunes in this vein sway shyly, often with a country-flavored spritz, and a lot of lazy, dragging drag. On "Combo 66", his new album, Mr. Scofield – joined by pianist Gerald Clayton, bassist Vicente Archer and drummer Bill Stewart – adds two new ones: the whirlwind "Willa Jean" and the next piece, the gutters slowly "Uncle Southern." RUSSONELLO
Lauv with Julia Michaels, "There is no way"
The rhythm and the double negatives propel "There's No Way", a song about this moment where a first touch seems to be a historical step. Over the course of piano chords and programmed percussion, Alto de Lauv and Alto by Julia Michaels line up almost from the beginning on lines such as "Maybe we could wait a second to keep this tension under control". Pareles
Eli Paperboy Reed with Big Daddy Kane, "99 Cent Dreams"
Marc Anthony with Will Smith & Bad Bunny, "Está Rico"
DJ Snake with Selena Gomez, Ozuna and Cardi B, Taki Taki
A pair of deeply incongruous pop-Latin alliances that transcend their inherent madness. "Taki Taki" is a whimsical pop-club showcase for Ozuna, which features a pro forma Cardi B verse and some cunning Selena Gomez. But it is the very brilliant "Está Rico" that is bigger than its components. Marc Anthony's controlled flat areas soften the edges of the raps of Will Smith's father, while Bad Bunny murmurs coldly, a little cheerful and a little disconcerted. Caramanica
Deerhoof, "Midnight, the stars and you"
"Midnight, the Stars and You" was already a sinister nostalgic artefact – a British big-band ballad hooked by Al Bowlly with Ray Noble and his orchestra – when it was used for the 1980s horror ending titles The movie "The Shining". The version of Deerhoof is even more frightening, with some plucked instruments behind Satomi Matsuzaki's high and hesitant voice and a coda that is a cloud of nervous tremolo. Everything is in an echo limb that does not bode well. Pareles
Stefon Harris and Blackout, 'Chasin' Kendall '
Fifteen years ago, vibraphonist Stefon Harris was just a few steps from the pack with Blackout, a group that Young Lions are one-handed and have grasped new ideas about gender agnosticism and innovation through rhythm. The band has not released a new album for nearly 10 years, but now it is back with "Sonic Creed". A standout piece is "Chasin & # 39; Kendall". On the UV-drenched original, with Mr. Harris dancing marimba to vibraphone, the band brings together strands of joy from the Caribbean, South Africa and American soul. RUSSONELLO
Lionel Loueke, "Vi Gnin"
The virtuoso and singer of the Beninese guitar, Lionel Loueke, has the support of a comfortable and syncopated group on "The Journey", his last album. But for many "Vi Gnin", a ruminative original confronted with the sorrow of migration and the separation of the family, he is alone. He composes his typically frisky guitar style in a tender weaving and sings in French:
My child, do not cry.
The war took away your mother
As the wind carries the roses.
Do not worry. She watches over you.
RUSSONELLO
Jon Pareles is the Times' leading pop music critic since 1988. A musician, he has performed in rock bands, jazz bands and classical ensembles. He specialized in music at Yale University. @JonPareles
Jon Caramanica is a pop music critic for The Times and the host of The Popcast. He also writes the Critical Shopper column for men. He has already worked for Vibe magazine and has written for Village Voice, Spin, XXL and more. @joncaramanica
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