Recording of the Month

The stats alone are impressive—or, as we at Stereophile like to say, the measurements. 79-year-old Bob Dylan's 39th studio album is his first album of original material since 2012. Rough and Rowdy Ways times out at more than 70 minutes of music, due in part to the inclusion of Dylan's lengthiest studio song to date, "Murder Most Foul," which runs 16 minutes, 54 seconds. The LP version requires 2 discs. His tour was supposed to be Never Ending—but it did end, temporarily, because of COVID-19, just as Dylan and the band were set to play Japan.

Nothing about Alice Phoebe Lou's musical career reflects industry norms. She maintains complete control over every aspect of her work, from creation to release. The result is always original and fascinating. Lou is at her best when she has an audience to connect with; this live performance is an ideal introduction to her powerful voice and courageous message.

I'll admit to a conflict of interest in choosing as Recording of the Month a work co-engineered by our very own John Atkinson. We—I, who nominated the piece, and Editor Jim Austin, who ultimately chose the winner—have both worked with John for years. And I'd never deny it was moving to sit next to him during his recent visit to Port Townsend following the release party for this new album, Translations, watching him shed tears as we listened together to the heavenly voices of the Portland State Chamber Choir singing "In paradisum" (2012), which Latvian composer Eriks Ešenvalds dedicated to his grandmother, who died the morning of the premiere.

If an orchestra is going to wait more than a decade before releasing its first record, it had better go big when it finally does—which is what the String Orchestra of Brooklyn has done. Afterimage includes compositions by Paganini (1782–1840) and Pergolesi (1710–1736) alongside works by Rome Prize winner Christopher Cerrone (b. 1984) and the less well-known Jacob Cooper (b. 1980).

When I first heard mezzo-soprano Cecilia Bartoli in person some 29 years ago, at her West Coast debut in the "Cal Performances" series at Berkeley's Hertz Hall, she was just 24 years old. Along with the rest of the audience, I was astonished at her ability to ally phenomenal coloratura technique with an out-of-the-box range of expression—unheard since the prime of Maria Callas. It was clear why Decca had already signed her and released her first recording the year before, when she was just 23.

Here are seven things you need to know about the three-LP, newly remixed—by Giles Martin and Sam Okell—and remastered version of Abbey Road, all of said re-ing done in honor of the album's 50th anniversary...

Fifty years, man! By the time you read this, the dates will have passed during which promoters had hoped to stage a 50th anniversary Woodstock Festival—sadly, they failed in their effort—and Woodstock mania will have peaked and died—even pieces of the Woodstock stage are available to buy (I have two!). And yet the artifact that will always remain at the center of the era-defining event is this extensive and amazing audio document that the organizers had the foresight to record.