Don’t take Paul McCartney’s enduring presents — natural melody, succinctly unexpected lyrics, sly chord progressions, tidy arrangements — for granted. Other songwriters dont. Lest anyone has, the 78-year-old Sir Paul enlisted younger admirers (Beck, St. Vincent, Blood Orange, Anderson.Paak, Josh Homme, Dominic Fike) to rework the songs from his 2020 solo-in-the-studio album, “McCartney III,” as the newest “McCartney III Imagined. Phoebe Bridgers took on Seize the Day, a manifesto of unironic good intentions :’m OK with a sunny day when the world deserves to be glowing. ” She brings her own spirit of hushed discovery to the song, keeping McCartney’s march tempo but toning down his electric guitars. She ends her model with church bells, like a blessing. JON PARELES

Since joining forces as boygenius, two-thirds of the band, Phoebe Bridgers and Julien Baker, have published searing solo albums that took their already strong songwriting to the next level. Now, it appears to be Lucy Dacus’s turn. “Hot & Heavy” starts in a synthesized glow, for a moment seeming like it may be a continuation of the crude noise she conjured on the recently released “Thumbs. ” But it doesn’t take long for “Hot & Heavy” to kick into a gallop, coming alive with chiming guitars and glistening pop-rock flourishes that recall “Full Moon Fever”- age Tom Petty. You used to be so sweet, Dacus sings on this story of stinging nostalgia, Now youre a firecracker on a crowded street. ” LINDSAY ZOLADZ

Ten years ago, Sharon Van Etten released her first great album, Epic, an enduringly wrenching account of a troubled relationships dissolution. To commemorate its anniversary, an impressive and diverse array of artists — Lucinda Williams, Courtney Barnett, Shamir — contributed to a covers set called “Epic Ten. ” The supreme co-sign, however, comes from the indomitable Fiona Apple, who offers her own interpretation of the album ’s beautiful closing track, “Love More. ” Van Etten’s version was a sparsely poignant dirge, buoyed by gentle waves of harmonium chords. Apple, rather, anchors hers to an almost chant-like rhythm accompanied by playfully layered backing vocal runs through her delivery of the songs verses provides the smoldering intensity these lyrics call for. Chained to the wall of our room, goes the opening line. Leave it to Fiona to bring the bolt cutters. ZOLADZ

“We can feel these vibes until my phone dies,” Andra Day offers, casually pitting the promise of romance against limited battery life. In Anderson.Paak’s blithe, catchy production, a frisky Brazilian beat carries Day’s multitracked vocals through a maze of chromatic chords that provides the illusion of climbing higher and higher, all the way to a sudden, giggly end. PARELES

Its been three years since the London artist and Mica Levi collaborator Tirzah introduced her hypnotic debut album Devotion, but the new single Send Me transports the listener back to that singularly chill head area. “Send Me” is built from simple substances — a repeated guitar lick, a hi-hat loop and Tirzah’s sultry, Sade-like vocals — but combined they create a dense, enveloping atmosphere. Allow me to heal and now Im sure, now Im sure, Tirzah sings, her words appearing to turn into vapor on the exhales. It’s an entire vibe. ZOLADZ

It’s only April, but Saweetie is already wishing you a very pretty summer. Her new single “Risky” is at once effortless and lush, patiently awaiting whenever the weather permits you to roll down the windows. Drakeo the Ruler’s murmuring flow provides a perfect counterpoint to Saweetie’s bombast (“All this ice drippin’ on my entire body like a runny nose”), while a minimalist beat offers tons of space for her personality to shine like a newly painted ride. ZOLADZ

For Mick Jagger, quarantine fatigue has curdled into sarcastic exasperation. “Eazy Sleazy” is a late-pandemic rant, a stomping, mocking checklist of sloppy rhymes and coronavirus-year phenomena, from “Cancel all of the tours/football’s fake applause” into “TikTok stupid dance” into “Way too much TV” to wacky conspiracy theories. Dave Grohl, an accomplished student of classic rock, reconstituted the full Rolling Stones sound behind Jagger’s rhythm guitar, and every few lines there’s a shout chucked into the mix. The chorus looks ahead to a “freaky” reopening, when “It’ll only be a memory you’re trying to remember to forget”; this song will be a throwaway souvenir. PARELES

Hannah Reid, London Grammar’s singer, plays a not-so-impartial observer in “Lord It’s a Feeling. She stacks up the misdeeds of a friends callous, cheating fans I saw the way you laughed behind her back before showing, I can admit that I have been right here myself. ” A decorous string orchestra backs her first, as she sings in her purest tones. But when her own bet becomes clear, a beat kicks in, her voice hardens and the audience becomes the accuser. PARELES

It’s a small world. Jos Gonzlez, born in Sweden to Argentine parents, carries on a British tradition of folk, meditative singer-songwriters. Visions, constructed from vocal harmonies and acoustic-guitar picking, takes an eternal perspective on sentient beings who should look at the magic of reality/while accepting the honesty that we cant know for sure whats next. ” Accompanied by his guitar drone, distant electronics and bird song, he notes, as a kind of mantra, “ We are here together. ” PARELES

Place is central to the music of Lea Bertucci, a multi-instrumentalist and sound artist whose records frequently spring from questions about how physical surroundings express themselves through sound. But her work isn’t meant to just document the sonic qualities of a place; through a process of layering and abstraction, Bertucci gives us something closer to the residue of an adventure or a disappeared memory. On her new self-released album, A Visible period of Light, ambient recordings she captured in New York, Rio de Janeiro, California and Nebraska haunt tracks featuring lightly droning organ, bass clarinet, wood flute and saxophone. It’s not clear where the noises on “An Arc of the Horizon” were seized, but rather the audio — spatial over melodic — becomes an environment of its own. GIOVANNI RUSSONELLO

Rustle, resonance and attentive listening are the coins of the realm once the trumpeter Wadada Leo Smith, the multi-reedist Douglas R. Ewart and the drummer Mike Reed come together. They’ve performed as a trio only rarely, but all three are improvisers and organizers with roots on the Chicago avant-garde and histories of involvement in the Association for the Advancement of Creative Musicians. “Super Moon Rising” is the centerpiece of the new album, “Sun Beans of Shimmering Light,” which connects to a long tradition of recordings by AACM-affiliated musicians that treat lean and spacious free improvising as a style unto itself. RUSSONELLO

“Rapid & Complete Recovery ” passes, briefly, as one of the milder, more approachable songs in Spirit of the Beehive’s catalogue of dense, overloaded, compulsively morphing and often nerve-racking songs. Its out of the Philadelphia bands new album, Entertainment, Death, and with its jazz-tinged opening bass vamp and acoustic-guitar syncopations it may pass for Laurel Canyon pop-folk if not because of its nagging high synthesizer tones, its cranked-up drums, its swerve into spoken words and the way instruments and vocals echo and melt the end. No limits, you know what Im after, Zack Schwartz and Rivka Ravede peacefully sing, possibly as a partial explanation. PARELES