Blake Shelton Keeps It Breezier Than Ever on ‘Body Language’: Album Review

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Move over, Scott Disick!

Jem Aswad Senior Music EditorIt wasn’t all that long ago that Michelle Zauner, the creative force behind shoegaze-pop act Japanese Breakfast, was singing about the idea of becoming “Jimmy Fallon big.” The track from 2017’s “Soft Sounds from Another Planet” may have seemed like wishful thinking at the time, but Zauner’s tongue-in-cheek lyric came full circle in March when the band hit “The Tonight Show Starring Jimmy Fallon” to make Japanese Breakfast’s late-night television debut.The singer

Chris Willman Music WriterIt might be premature to proclaim Allison Russell’s solo debut the album of the year — some of her collaborators and boosters have their records that may merit being in the running, of thousands forthcoming — but “Outside Child” sure has the inside track.

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Mary J. Blige’s latest project focuses on her 1994 album, My Life.

Channing Tatum and Sandra Bullock are clearly enjoying their time together on set. The actors are currently filming their new movie The Lost City of D and Tatum shared an epic photo of them posing in the waters of a jungle.

Jem Aswad Senior Music EditorIt is no small understatement to say that David Bowie was at a creative crossroads in 1970 — one that was baffling, possibly even to himself.He began the year essentially as a folksinger coming off of his elaborate first hit, “Space Oddity,” releasing a fey love song to his wife-to-be, Angela (“The Prettiest Star”) before making a drastic pivot into the cerebral proto-heavy metal of “The Man Who Sold the World” album; then closed it out with an odd, hippie-inflected

A.D. Amorosi Posthumous albums, especially ones that were all-or-mostly completed before the artist’s death, are nearly always bittersweet, providing a look not only at what was lost but also what might have been.

Age Don’t Mean a Thing and 2017’s critically acclaimed, tongue-in-cheek Goin’ Platinum, seems far from ready to slow down.His latest collection of songs, Sharecropper’s Son (★★★★☆), is steeped in blues and soul tradition, bringing a whole lifetime of performance and love of southern musical tradition to bear on an album that brilliantly showcases all of Finley’s strengths.Sharecropper’s Son is autobiographical in nature, inspired by the musician’s upbringing in the rural Jim Crow South.

Chris Willman Music WriterChances are that, on the first or second listen, Olivia Rodrigo’s debut album, “Sour,” will remind you of Billie Eilish’s own freshman effort from a little over two years ago. It’s not so much that, at 18, Rodrigo is still young enough to count a 19-year-old as an influence — although you do get the distinct impression at times that she’s taken a few lessons from Eilish to go along with the many, many pieces of homework she’s taken home from Taylor Swift.

Chris Willman Music WriterA boxed set can include dozens or even hundreds of unreleased tracks, never-before-seen photos and copious historical liner notes, but sometimes it really only needs one raison d’etre to justify its sprawling existence.

Daddy’s Home (★★★☆☆), Annie Clark unpacks the drama of her father’s time in prison through a filter of her own half-imaginary version of New York City in the 1970s, making for an album that is every bit as romantically gritty as its setting.Notwithstanding Jack Antonoff’s returning co-producer credit, Daddy’s Home has a sound that is so markedly different from her last album that she sounds almost reinvented.

Chris Willman Music WriterFor St. Vincent, “home” is a relative thing; she doesn’t often touch exactly the same base, musically, and no one will ever accuse her of making the same album twice.

Jem Aswad Senior Music EditorShaed are a Washington DC-based trio who scored a massive hit two years ago with “Trampoline,” a song from their second EP that featured Zayn on the remix.