Bruce Springsteen’s Classic E Street Tune, and 11 More New Songs

Bruce Springsteen’s album scheduled for Oct. 23 was recorded dwell within the studio with the E Street Band, simulating a dwell live performance of recent materials. “Letter to You” is a writerly track for a lover or a loyal fan base: “Tried to summon all that my heart finds true/And send it in my letter to you.” It rides the E Street Band’s long-honed arena-scale capabilities: explosive drums, pealing piano chords, a twangy lead-guitar melody for a solo, a change to minor chords for the bridge and a false ending with the coda as a recap. It couldn’t be more true to kind. JON PARELES

The verses are terse rapped traces — “Hands dirty, mind clean/A different vision with a new dream” — over a lean guitar lick, and Monáe delivers them with off-handed grit. But when the refrain insists “the tables got to turn,” lean turns to lush: The sound of a full, organ-driven soul band and a gospelly choir, with voices leaping out in euphoric righteousness. PARELES

A intelligent and catchy quantity that flips nation music’s fatiguing obsession with whiskey singalongs into one thing slightly lighter, “Rosé” is one among a number of robust songs on the debut EP from Mickey Guyton, who’s a rarity in Nashville: a Black lady signed to a rustic music main label. Elsewhere — like on “Black Like Me” and “What Are You Gonna Tell Her?” — she addresses her cruel conundrum with nerve and candor. But “Rosé” is something different, a frisky, anthemic, accessible and crisply sung should-be hit, witty but not winking: “Don’t need no bougie sommelier/There’s no point in asking ‘cause I’m gonna say/‘Rosé.’” JON CARAMANICA

“Confusion Wheel” was an unreleased song from Tom Petty’s sessions for his 1994 album “Wildflowers,” which is due for a much-expanded rerelease in October. It’s a folk-rock waltz, with a band backing a simply strummed acoustic guitar as Petty sings with craggy resignation about deep-seated alienation and against-the-odds optimism. The minor chords and descending melody pull against his promise of “a brand-new song”; he sounds more bereft than he’s willing to admit, even to himself. PARELES

The Malian guitarist and singer Sidi Touré admonishes children to respect parents in “Wakey Kama,” and there’s musical tension along with generational ones. Two guitars tug hypnotically against each other — one lick moving up, the other moving down — while they share the same mode, like a close-knit but contentious family. PARELES

We are in a tiring period of new hip-hop and reggaeton songs essentially reworking old hits as a kind of cheat code for quick success. It’s possible to pull this off effectively (see J.I.’s “Need Me,” a sleek revision of Mya’s “Best of Me”) but more often, the connections between source material and reinterpreter feel rough and uncaring. The new Daddy Yankee bioengineered hit single “Don Don” invokes the ghost of Sisqo’s “Thong Song” — the borrowing is literal and cheap. (Likable, though, obviously.) How about a more considered approach? On “I Got You,” Trippie Redd effectively resuscitates the Busta Rhymes and Mariah Carey hit “I Know What You Want,” but rather than run off with the melody without looking back, he brings Busta onto the song for a strutting new verse. Sharing is caring. CARAMANICA

It’s a non-apology apology. “I keep messin’ up my love life,” Usher sings. “I just can’t escape all of these bad habits.” As synthesizers and programmed drums circle around him, he sounds anguished but just a little proud that he’s a compulsive cheater. He begs for forgiveness, at the same time as he warns that he hasn’t reformed. Potential partners beware. PARELES

Minimal, syncopated, glitchy synthesizer chords puff like digital smoke signals in “Frequency.” It’s a twitchy, tentative love song — “She’s got a frequency and I caught it all over me,” Amelia Meath sings, sometimes harmonizing with herself — that punches big rhythmic silences into its pop structure. The video, directed by Moses Sumney, is even twitchier. PARELES

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