Lou Reed New York 2020

Just in time for David Sanborn's 75th birthday, England's Soul Music label delivers the goods with a remastered, three-disc, 46-track overview of the saxophonist's iconic Warner Bros./Elektra period, which netted no less than 17 charting albums – in a row. While the vast majority made the upper rungs of the jazz and/or smooth jazz charts, some attained places in the higher reaches of the Top 200. None of this material is unreleased, but this collection goes far deeper, given its length and scope, than any other Sanborn compilation. Further, it was curated aesthetically rather than chronologically by Los Angeles-based musicologist and set producer and annotator A. Scott Galloway. He carefully and judiciously offers radio edits of singles alongside full versions.

If early 2006 is remembered for nothing else, it will go down in history for the two greatest urban Americana albums of the 21st century to date – Dion's Bronx in Blue and Willie Nile's Streets of New York, a swaggering braggart of a disc that is to the modern Apple everything that Lou Reed's New York was 15 years before. The opening "Welcome to My Head" sets the stage, raising the curtain on a fantasy vision of the city nightlife that sums up every dream Broadway and beyond have ever instilled in the mind of the outsider, and set to a crunchy guitar melody that is as real as the streets that stretch out from there. It might be Nile's first album in six years, but it sounds as though he's been planning it his entire life – even the songs that slip outside of the city concept ("Asking Annie Out" is the first) share the crowded, bustling air of the more "relevant" rockers, while "The Day I Saw Bo Diddley in Washington Square" paints the scene so firmly that you'll see him, too. Even more impressively, the backing rarely motors in the directions you'd expect. Fiddles keen and a mandolin pounds, while Nile borrowed his band from as far afield as John Mellencamp and Rosanne Cash.