“We did our first gig here 43 years ago,” Eagle co-founder Don Henley announces on their new live 2-CD/1 Blu-ray set, “Live from the Forum: 2018” (Eagles Touring Inc./Rhino). Recorded over three nights at the famed Forum in Inglewood, California, Eagles have found a new joy and rejuvenation albeit it, sadly, with the passing of bandmate and co-founder Glenn Frey. Remarkably, their sound remains true, as Frey’s son Deacon has stepped into his dad’s shoes, sounding at times just like the old man. Other members include Pure Prairie League multi-instrumentalist/vocalist Vince Gill, as well as Eagles Henley, Joe Walsh and Timothy B. Schmidt. Each vocalist lends his talent to 26 classic hits with pride and respect. As is traditional with Eagles concerts, the harmonies of the Steve Young penned “Seven Bridges Road” kicks off the proceedings in grand style. This live “best of” celebrates the legacy of the band, who roll into their hit “Take It Easy” (written by Jackson Browne), after Walsh asks the crowd, “How’s it going?” Clearly, there’s a lot of history to cover and Henley sounds revitalized as HE sings hits like “Hotel California” and “One of These Nights.” The accompanying concert film is a perfect COVID distraction and features some of the members’ solo catalogue, including Henley’s “Boys of Summer” and Walsh’s “Life’s Been Good,” the latter summing up most of the story of the Eagles themselves.

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Wilco’s “Summerteeth” Deluxe (Reprise), first released in 1999, gets the boxed treatment with the four discs: The original album, outtakes/alternative demos, plus two live discs featuring the band live at the Boulder Theater, also in ’99. Murky and exuberant, this revelatory album was a concerted effort to step outside their alt-country comfort zone. Here, they embraced everyone from the Beach Boys to the Zombies. Brian Wilson likely smiled when he heard the bleeps of ancient keyboards and the pings of timpani, church pipes, gongs and chimes. Frontman Jeff Tweedy sounds like he’s stuck in a Hallmark movie on the opener “Can’t Stand It,” as he sings, “You know it’s all beginning/to feel like it’s ending/no love’s as random/as God’s love.” Elsewhere, “A Shot in the Arm” zigs and zags with spacey special effects and fuzzy distortion before leading into “We’re Just Friends,” a mellow love story, while “I’m Always in Love” picks up the pace with a practically buoyant Tweedy and some sugary pop perfection.

If you’ve followed Tweedy through his first band Son Volt, and then Wilco, the reissue of “Summerteeth” is a groovy progression filled with jangly songs and barnburners and enough darkness and light to give anyone an adrenaline rush and an aural sedative, both at the same time.

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It’s been 20 years since U2 released their pseudo-phenomenal tenth album, “All That You Can’t Leave Behind” (Island/UMC) and the luster hasn’t diminished much at all. ​Casual fans may find the new five-disc, 51-song set a little overwhelming, but the remixes of tracks like “Elevation” and “Nightmare on Wax” fair well. By most accounts, this can now be deemed a classic album; the quote that defines “All That You Can’t Leave Behind” and the version of U2 that it begat, has often been repeated: They were “reapplying for the job . . . of the best band in the world.” When 1997’s “Pop” made more of a fizzle sound, U2 was determined to get their hits back on track, and succeeded with “All . . . “ to that extent, the band reconvened with the production team behind “The Joshua Tree” and “Achtung Baby,” Brian Eno and Daniel Lanois. The result wasn’t a retread of familiar territory but rather unchartered ground for the band, from its opener, “Beautiful Day” to “Stuck In A Moment You Can’t Get Out Of,” this brand of U2 was trying to regain its glory, shake off the heebies and regroup. While other albums were less successful, a humbled band created “All . . .” and this album will hold up for U2 as a record that provides exhilaration and solace. “All That You Can’t Leave Behind” sounds like a forsaken record, but thanks to its reissue, a pounding reminder of its greatness, “All . . . is ultimately not lost.

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Fatboy Slim, a.k.a. Norman Cook, is a U.K. DJ and producer, best known for his 2000 hit, “Weapon of Choice,” which featured a masterful video directed by Spike Jonze and starring actor Christopher Walken tap dancing and occasionally flighting and floating through a hotel lobby. With his seminal after-hours mix series, “Back To Mine” (Piccadilly), Slim is up to his shady tricks with mostly delectable results. Originally conceived in 1999 as a way to showcase a selection of tracks you might expect to hear playing in the artists’ homes, “Back” has featured mixes by the likes of New Order, Pet Shop Boys and Groove Armada. With his latest entry, Slim serves up some funk, soul and reggae, wildly ranging from Betty Chung’s “Bang Bang,” popularized by Nancy Sinatra, the version here you may have heard in Quentin Tarantino’s “Kill Bill” series, Henry Mancini’s seminal “Pink Panther Theme,” reimagined by The Alan Tew Orchestra, Camille Yarbrough’s 1975 chestnut “Take Yo’ Praise” and “A Matter of Time,” by Dr. Rubberfunk. “Back” is chock-full of rare, floor-ready grooves and this mix doesn’t feature a typical track list, which makes for a delightful departures from house music’s current stylings. Cook has sold some 10 million records worldwide;

“Back” also features two exclusive tracks: Fatboy Slim and Roland Clark’s “Sunset 303 (If You Believe)” and “The Voice of Experience” under Cook’s Yum Yum Head Food Alias. Of the collection, Cook has said, “Over the years there has been so much action back at mine, so many friends, lovers and lunatics who would congregate after the clubs had closed to laugh, share and swap ideas and tunes and generally put the world to rights … this is a collection from the soundtrack to those sessions.” It’s hip to be Slim.

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