Willie Nelson - Songbird Label: Lost Highway Review by: Jim Wayne   Rating:

In these latter years of his career, country icon and willing collaborator Willie Nelson has hooked up with a who's who of musicians, lending his distinctive baritone to everyone from Toby Keith to reggae icon Toots Hibbert, a project which presumably spawned 2005's Countryman , a country-reggae fusion album and Nelson's most recent solo release of original material (a tribute album, You Don't Know Me: The Songs Of Cindy Walker , came out earlier this year).

Indeed, this village doorknob has turned out some great stuff in recent years, much of which has found him lurking outside his own skin. Fitting for a guy with a knack for tasteful reinvention.

Songbird , Nelson's sixth release in three years on the Lost Highway label, is a collaborative effort in its own right, with Ryan Adams behind the knobs and his Cardinals playing house band. Yep, Nelson is dipping his wrinkly toes into that alt-country pool.

But not all the way in. Though the Adams/Cardinals influence abounds in the production and instrumentation, the material itself is a mixed bag of relaxed electric rock, blues, and country tunes. Nelson's lazy voice is the perfect vehicle for the sedated-yet-optimistic feel of this ballad-heavy set, and is complemented nicely by The Cardinals' lush twang.

The byproduct is a pointedly-produced blend of artsy balladry and loose interpretation. Adams' "Blue Hotel" and the ensuing "Back To Earth" embody the generally weighty theme at play on Songbird , while bluesy opener "Rainy Day Blues" and the rolling rocker "We Don't Run" lighten the mood and allow the band some room to stretch.

But front-and-center on Songbird is Nelson's -- and Adams', for that matter -- uncanny ability to make any song sound all his own. Take the haunting interpretation of Jerry Garcia's "Stella Blue" and, more notably, the ballsy, minor-key makeover that likens the album-closing "Amazing Grace" to "House Of The Rising Sun." (Edit: This "Amazing Grace" arrangement originally appeared on the Blind Boys Of Alabama's 2003 record of the same title. Thanks to Tom for that heads-up.)

Critics are harking Songbird as his best effort in a decade. Tough to disagree with that, but many of Nelson's recent boundary-traversing releases have become virtually incomparable to even his own discography.

Furthermore, your first spin will tell you these arrangements are more Ryan Adams than they are Willie Nelson. So this is really just a Half Nelson.

A superb release, yes; but comparisons to recent works should bear the acknowledgment that there are many, many Willies floating around these days.

Still, the collaboration works, and leaves us hopeful that Adams and Nelson's studio stint was a raucous, hazy bender that has them eager to meet again.

Medeski Scofield Martin & Wood - Out Louder Label: Indirecto Review by: Jim Wayne   Rating:

The McKassons - Tripping Maggie Website: http://www.themckassons.com Review by: Kyrby Raine   Rating:

Neither Irish nor Scottish, the Celtic folk band the McKassons have nothing to worry about as far as authenticity is concerned. To put it bluntly, the McKassons surpass many of their European contemporaries. The vision that the McKassons is wider in scope than your typical Celtic group; the McKassons also embrace the various elements of American folk, vintage country, and bluegrass in their sound. As if to prove how eclectic they are, they even cover Bruce Springsteen, turning his blue-collar rock & roll into blue-blood balladry.

Based in the oddest HQ for a Celtic group - Tacoma, Washington - the McKassons have been touring U.S. clubs with their dynamic melting pot of musical influences. I'm sure they are as bewitching in concert, perhaps even more, as they are on record. The interplay between Ryan McKasson's viola playing and fiddling and Cali McKasson's piano creates an undefended rush of emotion. On “The Grapevine/Piper's Jig,” the title cut, and the Springsteen track “If I Should Fall Behind,” Ryan and Cali are simply mesmerizing.

“Haymaker's” has an engaging swaying beat that again showcases the McKassons' superb musicianship. This is a band that truly plays off each other. When vocalist Brooke McKasson enters the picture on “Bonnie George Campbell,” it's frosting on the cake. Her sweetly unpretentious voice gives the McKassons an added dimension.

What's intriguing about the McKassons is how their songs - old and new, originals and remakes - have a strong thread of unity connecting them. Despite the distance in years and creative minds, they all add up to part of an exciting, completely satisfying whole.

Melisa Prestianni - Overwhelmed With Love Website: http://www.melisaprestianni.com Review by: Kyrby Raine   Rating:

Christian music receives little coverage in secular media, which is a shame; it's also hypocritical as critics are supposed to be open-minded, ready to embrace artists of any genre. To today's youth, Christian rock is increasingly becoming cool thanks to savvy marketing from hip praise & worship stations and record labels. Christian music festivals bring in thousands of teenagers that would normally have been at Lollapalooza or the Warped Tour.

Singer/songwriter Melisa Prestianni is closer to the “old school” of Christian music - there are no grunge or synth-pop touches here, and any trace of hip-hop cannot be found. However, Prestianni is still part of a new generation of Christian artists that can cross over into the mainstream due to the strength and accessibility of the music itself. For example, “Overwhelmed” is back-to-basics roots rock that is slick and pretty enough for Adult Contemporary radio. If you don't pay close attention to the lyrics, you might not even interpret it as a spiritual tune.

While Prestianni's single-worthy tracks are attractive and catchy, her slower numbers are what impress me the most. “The Miracle” and “Your Love Has Changed My Life” are breathtakingly beautiful. There are some stunningly gorgeous strings and orchestration on this LP, especially on “Heaven's Tears” and the aforementioned “The Miracle.” The production is astounding; each instrument is given moments to shine, and they sparkle through the speakers with ethereal clarity.

Brian Frederick - Best Of Website: http://www.brianfrederickmusic.com Review by: Kyrby Raine Rating:

Frederick's compositions are like soundtracks to movies you've never seen. “Rhode Reverence/Heavenly” illuminates each frame of a road trip, especially driving through wooded areas. You can almost see the scene in your mind. And that's what Frederick does best, directing those films in your subconscious.

On some tracks, such as “Ode to Paul,” Frederick utilizes a synthesizer to thicken the atmosphere. Frederick's guitar playing is crisp and engaging throughout, but his drums are also worthy of praise, especially on “Hot Potato” and “Azalea.” Progressive rock and jazz enthusiasts are most likely to fancy Frederick's work the most but with so many different genres covered I doubt anybody would come away feeling unhappy.

Leon - My Soul Speaks Website: http://www.nealsight.com Review by: Kyrby Raine Rating:

First, every note on My Soul Speaks has a point. This isn't just some self-gratifying musical exercise. The compositions truly move the listener, regardless of whether or not they can appreciate the technical abilities displayed. Music, after all, is primarily about the expression of emotion; without that element it is cold and alienating. Leon is trying to make you feel, not just chill you out.

Second, the tunes are memorable. After two or three spins I had the glorious sunshine of “Island Summer” playing in my head. The album is never boring. There are strong hooks sprinkled throughout the CD.

Thirdly, Leon offers us two vocal tracks, “So In Love With You” and “When Love Is Blind,” that brim with soulful romanticism.

Put the three qualities together and you have a dynamite record.

Counting Crows - New Amsterdam (Live at Heineken Music Hall) Website: http://www.countingcrows.com Review by: Troy Brownfield Where to buy: Amazon Rating:

If you're only a casual Counting Crows fan and examine this album in the interest of picking up live versions of your favorite Crows singles . . . I should likely direct you to the earlier live outing, "Across A Wire", which contained "Mr. Jones" and much of the fare that helped the band build its fanbase in the mid-'90s (including the superlative "Angels of the Silences"). If you're looking at the disc because you like the band and would like to delve into some of their lesser-known tracks . . . OR . . . if you're a devout fan . . . come on in. New Amsterdam displays that the Crows are a strong live outfit with a larger swell of material than many fathom.

The disc opens with perennial radio favorite "Rain King", but makes quick business of avoiding much of the rest of the band's radio and video playlist. In essence, this is truly a polished "bootleg", taken from three nights of shows and ordered to select the best representations possible. One potentially jarring aspect is that the band often changes up melodies and tone; it's great when acts like Bob Mould do it, but Duritz occasionally ends up sounding off (off-key, off-putting, take your pick).

As such, it's a fine listening experience, but ends up as a disappointment if you want the familiar. You might find it rewarding if you're willing to take a chance, but at this late date, many have already made up their minds. For devout fans, you'll have another strong addition to your line-up. As it is, there are better live discs out, one or two by the Counting Crows.

2ND - Directly in the Path of Organized Ignorance Website: http://2ndtheband.com Review by: Kyrby Raine Where to buy: Amazon Rating:

Like wild animals busting out of a zoo, 2ND bellow and break stuff without a moment's breather. This two-headed beast pumps up the volume with more relentless energy and ticked-off emotions than a dozen punk wanna-be's. Directly in the Path of Organized Ignorance has no sense of subtlety; like the early days of Seattle grunge, it's fuzzy and dirty and lacks any politeness. If you miss Nirvana before their Geffen sheen, singer/guitarist Jason Morse and drummer Dave Foreman capture the spirit of Bleach-era Nirvana with the right amount of grit and hard-rock catchiness.

Co-producers Morse, Bruce Bouillet, and B. Bajuk wisely do not shave off the rough edges in the guitar and drums; consequently, the songs have more punch. Morse's riffs may not be extraordinarily creative, but that's not the point. He's not trying to impress progressive geeks, nor is he groping for the throne of rock. On tracks like "Heavy Heavy Metal" and "Wasted," Morse brings on the sludge in vintage Emerald City fashion. That grunge was eventually welcomed by the metal set was a painful irony; that the music itself was then twisted into the corporate hackwork of Seven Mary Three and Candlebox was inevitable but it removed people from the genre's true meaning and sound. 2ND thankfully bring it all back.

2ND do not produce music that is pleasant to the ears if you're searching for a bastardized, pop-eyed version of grunge. They are the real thing.

Mad Buffalo - Fool Stand Website: http://www.madbuffalo.com Review by: Kyrby Raine Where to buy: Amazon Rating:

The Big Sound is back. Too often American roots rock is afraid of reaching the widescreen speaker booms of '70s and '80s AOR. Rock and roll is meant to be played loud, right? Mad Buffalo has no fear. On Fool Stand, Mad Buffalo aren't afraid of producing sounds that can fill arenas, especially on the anti-oil rant "Devil's Blood," which simply explodes from the beginning with its spectacular Phil Collins-esque drum work (remember "In the Air Tonight" when all that atmospheric build-up blows up in a barrage of smashing percussion?) and scorching guitar? "Devil's Blood" is breathtaking, the climax to an LP that slowly grows on you with each succeeding - and exceedingly good - track.

While "Glory Days," with its upbeat ringing guitars and soaring vocals from front man Randy Riviere, speaks of better times ahead, the rest of the album isn't as positive. There is sadness and frustration on this record. The title cut bashes America's invasion of Iraq, speaking personally from the point-of-view of a soldier in the war. "Here I am God," Riviere sings, capturing the thoughts of young man fighting in the conflict with no partisan bias. He is simply waiting to meet his maker in a land of death.

There'll be comparisons to Neil Young, whom Riviere does resemble. But Mad Buffalo are not derivative. They may be the sum of their influences (the swirling guitars in "Tangerines," for example, recall Pink Floyd in their prime) yet they're able to carve their own strong identity.

Becky - Take It On the Chin Website: http://www.beckymusic.net Review by: Kyrby Raine Where to buy: Amazon Rating:

Do you remember when college radio used to be listenable? When the left of the dial championed little-known artists that should be on the charts instead of completely rebelling against it? In a better world, Becky's "Higher Ground" would be topping alternative playlists throughout the country. And while there remains a chance that it will (without major-label deal payola, one has to be realistic), for now Becky is a group that can be enjoyed in your private airspace.

Rebecca Lord has a winsome, charismatic voice that is a relief compared to the dissonant tongues that is mostly heard in underground circles these days. Thankfully, she's surrounded herself with bandmates - guitarist David Dyas, bassist Bill Close, and drummer Rob Mailhouse - that complement her and not overwhelm her. Too often you'll hear a decent female voice drowned out by too much guitar distortion or just plain noise. That's not the case here. For instance, on "Joe" they provide enough sharp edges to make the track rock but not so much to take away the heartbreaking prettiness of Lord's vocals.

If you're searching for cutting edge and originality, Becky doesn't have much to offer. What makes this LP so appealing is its familiarity. Lord's voice is comforting; it feels like you've heard it before even though you haven't. And the music will remind you of artists once admired.

Josephine Sincere - Wildflower Website: http://www.kixxrecords.com Review by: Kyrby Raine Where to buy: Amazon Rating:

Wise and wonderfully talented beyond her teen years, Josephine Sincere has already managed to penetrate the Billboard charts with this glossy and spellbindingly soulful effort. Borrowing elements from R&B, old and new, Gospel, jazz, soul, and hip-hop, Sincere sings with an adolescent heart but a trained vet's ear for mood and emotion.

On haunting songs such as "Jezebel" and "A Song for Solomon," Sincere croons with a depth that is beyond her years. Sincere's age is a topic that is going to be continuously resurrected simply because you don't hear youths who sing with such passion and maturity. Credit must be given to her producers for bringing out the richness in her voice without layering it with too much sugar.

Although the concessions to hip-hop do not accurately portray the real artistry here, they do inject some upbeat vibrations into what is a rather mellow affair. Wildflower has that rare quality of being able to attract both older and younger crowds with its delicate balance of retro cool and contemporary hip. Even better, it has enough substance to last the ages.

The Leon Triplett Project - Love America Website: http://www.triplettrecords.com Review by: Kyrby Raine Where to buy: Amazon Rating:

Leon Triplett does not belong in this era - thank God for that! As if hitching a ride from a time machine, Triplett is brimming with early '70s funk goodness, the godson of Marvin Gaye and James Brown. Not surprisingly, Triplett began his music career during that period, when authentic R&B and soul reeled in suburban white folks like my parents. Triplett used to work for Curtis Mayfield's record label, and the influence shows.

Triplett's voice smokes; there's no other adjective to aptly describe it. Whether he is aiming for romance, such as on "Takin' Candy from a Baby," or gettin' a move on, like on "So Sexy," Triplett is the Jedi Master of urban cool.

While there might be some who feel this material is dated, musical styles shouldn't be shuffled off after the passing of decades. It's a blast hearing these 70s-styled rhythms again, especially when they're given a coat of modern studio polish.

Tim Bertulli - Movin' On Website: http://www.timbertulli.com Review by: Kyrby Raine Where to buy: Amazon Rating:

Tim Bertulli has a voice that can move mountains. It's a large, booming voice that can coach football teams. Remember the days when country music was populated by real men instead of pretty-boy yuppies in cowboy hats? That's who Bertulli will remind you of. His vocals have punch; they'll knock you out.

The title of the album refers to Bertulli's feelings after his father, for whom this record is dedicated, passed away. You can sense the emotional strength in Bertulli's voice. He's not going to let anything slow him down, prevent him from squeezing the joy in every ounce of life. In the break-up song "Don't Wanna See You," Bertulli's bitterness is mixed with cathartic relief. This is a man who's not going to whine about a failed relationship. He'll probably just slam a door or two.

For a Canadian artist, Bertulli is certainly steeped in Americana; this is a rootsy record, full of desert heat and beef jerky grit. In fact, this is the most American-sounding album I've heard in ages. Bertulli played everything here by himself - does it get any more manly than that? If you're looking for a great beer-drinking record, grab this immediately.

Kris Miller - Alive and Well Website: www.krismillermusic.com Review by: Kyrby Raine Where to buy: Amazon Rating:

Somehow the Christian tag applies to but doesn't quite summarize Kris Miller's Alive and Well CD. If you listen to Miller's lyrics, yes, this is undoubtedly an extremely spiritual record. The opening cut, "River," clearly identifies the inspiration of Miller's songwriting. Its Biblical analogies is undeniable. Musically, though, the simple charms of "River" navigates through a different territory. It's a sweet, gentle tune that honestly doesn't prepare you for the rest of the LP's flirtations with blues rock and transcendent '60s pop.

Let today's Christian rock and pop artists survey current stylistic trends to help mold their vision of Jesus wisdom and FM grooves. It's always a fascinating match, this mix of Gospel and what was once (and in some places, still) considered the work of the Devil. It wasn't too long ago that blues had a controversial image, the music of choice among drunkards and drug addicts; there were even legends of bluesmen selling their soul to Satan for the right riffs. Miller takes the blues into the light of Christianity - has anybody done that before? Perhaps so, but there's no denying the freshness of such a combination in songs like "Buckets" and "Paths Glorious."

As always, the cynical will dismiss Miller without even listening to her record first. However, those who are somehow reluctant to give Christian music a chance are going to regret ignoring this; it's not your stereotypical Christian album. Miller's songs do not preach; they heal. And that makes all the difference.

A Katie's Klassics Review: The Daisy/Tiger Records Story [Artists: Bessie Banks, Alvin Robinson, Tippie and The Clovers, Leola and The Lovejoys, Vic Donna, Bob Moore and The Temps, The Tams, Moody and The Deltas, Cathy Saint, Dee Dee Warwick] Label: Sundazed Review by: Katie Streicher Where to buy: Amazon Rating:

Fans of early rock 'n' roll will quickly recognize the names Jerry Leiber and Mike Stoller, writers of such classics as "Hound Dog," "Jailhouse Rock," "Searchin'," and "Stand by Me"; others may connect them to their success in other areas of the music industry. An intriguing point in their careers, however, was their formation of the Daisy and Tiger record labels. The Daisy / Tiger Records Story gathers every song released on these labels from 1962-1964 (22 in total), as well as three alternate versions. While the songs released during this time brought little luck chart-wise, many are so well-crafted and performed that they should not be overlooked.

The album begins with the original "Go Now." If you've found The Moody Blues' cover affecting, but a touch too gentle, Bessie Banks' recording provides a perfect match for the lyrics. Here is a woman calling for a relationship's end but not entirely wanting it. It could easily take on a melodramatic air, but Banks' delivery makes it feel, instead, like nothing has been diluted for the listener. Slow and soulful, this is the track to hear.

Alvin Robinson is the next artist featured, perhaps notable to Rolling Stones fans for his version of "Down Home Girl" (well worth seeking out). Robinson appears here first with "Something You Got." It's laidback with a bit of a raw edge to keep things interesting; however, when his jumping cover of "Searchin'" begins, you know it'll deserve a repeat listen. Not only is Robinson insistent, but the background singers, with their punched chants, are used to good effect.

Other stand-outs of the first half include Tippie and The Clovers' "Bossa Nova Baby" (pre-Elvis and just as lively) and the powerful gospel swoon of The Lovejoys' "It's Mighty Nice." While Vic Donna's contributions are lighter pop, they are fairly enjoyable although for different reasons. "I Won't Be Me Any More," which finds its protagonist warping each aspect of himself to appeal to a girl, is difficult to like immediately -- until it becomes apparent how tongue-in-cheek the whole matter is. On the other hand, "Dance Marie," about one of those expedited song relationships, is instantly fetching and sounds reminiscent of the Everlys' repertoire.

From this point on, the problem is that, with such a solid start, much of the latter part of the record -- while satisfactory on its own -- feels somewhat bland. Highlights of the second half include The Tams' "My Baby Loves [Me]" and another Lovejoys inclusion, "Wait 'Round the Corner." "My Baby Loves [Me]" swirls like an exotic dance and even puts a twist on the tired and true. After Little Floyd sings that he's feeling sad, you know that in the next line, he'll be mad, glad, or bad; instead, he warbles, "And it makes me feel so… 'Ahhh, baby!'" "Wait 'Round the Corner" contains a fairly typical storyline about being stood up, but remains appealing due to the way The Lovejoys alternate between wailing laments and hushed tones.

The Daisy / Tiger Records Story comes with a small booklet of information about the labels, including photographs and reasons why some of the songs didn't become more well-known. Add this to the collection of songs, at least a few which… well, should make you glad.

Live - Songs from Black Mountain Label: Epic Website: www.epicrecords.com Review by: Troy Brownfield Where to buy: Amazon Rating:

More irrefutable proof that I am old: I remember when Live qualified as Angry Young Men. Back in the day, Live were the band, barely out of their mid-teens, that had the balls to take on Jesus in their first single, "Operation Spirit". Even when they wrote love songs, they were just as apt to be about being "pinned down and abused for being strange" as they were about naked sentiments like "I alone love you." On tracks like "Selling the Drama" and "Lightning Crashes", Live demonstrated that they were about artistry and committment to at least attempting to infuse bigger ideas into pop songs.

From the sound of the new record, it seems that Live has settled for merely being about pop songs. Upon the first couple of listens, I still couldn't find anything that scratched the depth of previous efforts. I wrote off their recent appearance on "American Idol" as a savvy move to push some units. It turns out that the band basically now belongs in that broadest of categories: alternately formless and formulaic pop. Actually, there's not much that really separates this record in form and intent from the Goo Goo Dolls disc that I reviewed further down the column. Both seem like fairly cynical attempts at marketing going-through-the-motions-sameness at the expense of what used to be boundless potential.

I have nothing against a well-crafted pop song. It just seems more and more evident that a grand number of bands have allowed themselves to become infected with a type of pop sickness, an ailment that melts the amplifier-shaped Y-chromosome into a comfy puddle that pleads for mass acceptance. I had hoped that Live would still be selling the drama. Turns out they're just another group that caught the disease.

Sound of Superman Label: EastWest/Rhino Website: www.soundofsuperman.com Review by: Troy Brownfield Where to buy: Amazon Rating:

I was way ahead of this collection. As you know, I also review comics, and I'm a big fan. Several years ago, I ripped myself a disc that put together a number of songs that celebrated the Man of Steel. Among the stalwarts were "Superman" by R.E.M., "Sunshine Superman" by Donovan, and "Brainiac's Daughter" by XTC. When I heard that a disc collecting Superman-themed tracks was on its way, I was excited. I'm sorry to report that this one's quite a bit of a let-down.

The first swing-and-miss here is that a number of what I would consider seminal Superman-related tracks did not make the cut. While the above three did, sort of (more on that in a moment), perhaps the greatest possible inclusion, "Superman's Song" by Crash Test Dummies, is nowhere in sight. Never before had a song tapped into what has to be the inherent loneliness of being the world's greatest hero. It was simple and elegiac, a perfect study of the character. Also missing is the rather obvious choice of "Superman (It's Not Easy)" by Five for Fighting. While I'm certain it's possible that rights issues plagued the inclusion of these and other tracks, they are what I would consider to be among the best of this highly-specific subgenre. And they aren't here.

To complicate matters further, the classic tracks that did get included are all covers by "up and coming" bands. The R.E.M. "Superman", for example, is handled by The Academy Is... And even though they jack up the tempo a bit, the remake includes neither the swagger nor the pathos of the original. Sadly, all of the new acts turn out to have a numbing sameness, meaning that overall, there's little variation in the way that the songs are delivered.

Overall, it's not a terrible collection, but it is flawed. Uber-fans would do better by rooting through old albums and download services to assemble their own Tracks of Steel.

Widespread Panic - Earth to America Label: Sanctuary Website: www.widespreadpanic.com Review by: Troy Brownfield Where to buy: Amazon Rating:

I am no lover of "neo-hippy jam bands". Therefore, all I can say of my own reaction to this disc is "Surprise!" Widespread Panic lays down an extremely enjoyable listen, shifting through a variety of influences while maintaining a pleasing brand of rootsy, jazz-inflected funk. Though the tunes are admirable in structure, you can easily identify where improvisation would hit in a live setting. That said, the tracks are complete unto themselves, well-rendered accomplishments that show veteran musicianship in a loose, yet controlled, atmosphere.

Take opening track "Second Skin". While it's unquestionably lengthy at eleven minutes, it never succumbs to too many indulgences. It unfurls at a gradual, groovy pace, letting slide guitar carry you along. By contrast, "Goodpeople" is a shorter, sharper rocker, while "Ribs and Whiskey" trades on some of that CCR "back door" flavor. It's quite the feat for a band to draw in a wide range of genres and show commanding presence in all of them.

With over a dozen discs under the belts, I seriously doubt that these road warriors made this disc specifically to cater to new converts. Still, the accessibility of the collection can't be denied. If you never listened to the band, this one marks a solid place to start. If, like me, your predelictions run in a different direction, it's likely that you'll still find elements to appreciate.

Goo Goo Dolls - Let Love In Label: Warner Bros. Website: www.googoodolls.com Review by: Troy Brownfield Where to buy: Amazon Rating: for post "Name" fans; for others

Let Love In comes on as an extremely pleasant album. That's either great news or the kiss of death, depending on where you stand. As a listener who most enjoyed this band when they were doing the Paul Westerberg-produced "We Are the Normal" or full-tilt rocking out on "Long Way Down", I can safely assume that I am not the target audience for this particular disc. As a wise man once said (tongue somewhat in cheek), "Nobody ever went broke writing songs for chicks".

The problem that the Goo Goo Dolls actually have is a bit of a puzzler; it's what many bands would consider a great problem, in fact. At this stage of their career, the band have perfected a signature sound that blends accomplished songcraft and some solid musicianship. Unfortunately, in many ways, it's become an overpolished bastion of predictability. If you want the Dolls to sound basically the same way that they've leaned toward since "Iris" or "Name", then you'll be totally happy with this effort. The title track rocks a bit, building toward a soaring chorus. Unfortunately, the next three tunes in a row sound as if they are cut from the exact same sonic cloth (low build, big swell, jangle, repeat).

The best moments here are actually the songs that are cowritten by bassist Robby Takac. He certainly seems to remember that Replacements influence, and the band sounds like they're having a great time on stompers like "Listen" and "Strange Love". Hit remake "Give A Little Bit" is included, but it remains wholly unnecessary, a cover that brings absolutely nothing new to a song that we're just as likely to hear on classic or JACK radio as we would be with a new, little-changed version.

All of this might make you assume that I adamantly disliked the record. Actually, I didn't. This is clearly the work of a band who knows what they're doing and have a fairly profound focus on particular demographic. It's just obvious to me that I am not part of that group.

Forever Neil Diamond Label: Shout! Factory Website: www.shoutfactory.com Review by: Troy Brownfield Where to buy: Amazon Rating:

Neil Diamond is a great pop songwriter, and I'll fight any man who says otherwise. A staggering amount of people also miss how prolific and influential he's been. I daresay that a goodly number of people have no idea that he penned "I'm A Believer", certainly not the legion of little kids who went to see Shrek. People as diverse as Robbie Robertson and The Monkees have hailed his creative prowess. From upbeat singalongs to maudlin examinations of dying love, the guy's written it all.

This collection attempts to honor Diamond with a mix of his giant hits and lesser known songs, previously recorded by a murderer's row of artists ranging from Elvis himself to UB40 to Urge Overkill and Deep Purple. The eclectic nature of the performers is a self-evident argument as to how much reach Diamond's music continues to exercise. Many will no doubt view this type of recording, and to some extent, all tributes are; what's undeniable is how entertaining the whole enterprise can be.

Take example "Cracklin' Rosie" by Shane McGowan & The Popes. That familiar raspy Gaelic growl plows right into this ode to liquor as if it had been written in a Dublin pub. Instrumentally, it's a fairly rockin' rendition (complete with a solid guitar solo) that plays up the celebratory facade on what is actually an introspective number.

Two obvious, but necessary, inclusions are Urge Overkill's take on "Girl, You'll Be A Woman Soon" (popularzied on the Pulp Fiction soundtrack) and UB40's version of "Red, Red Wine". For stalwart "I'm A Beliver", the producers skipped The Monkees (who are represented with their #2 cover, "A Little Bit Me, A Little Bit You") and wisely passed on Smash Mouth's newer riff to make sure that The Four Tops were included. Levi Stubbs is one of my all-time favorite vocalists, so to hear him rip into "And then I saw her face" is actually pretty delightful.

Diamond himself actually appears on the last track, "Dry Your Eyes", which was his team-up with The Band from The Last Waltz. The preceeding thirteen tracks were great fun, but it takes Diamond himself to really deliver the epic builds that dominate his song-structure. Hell, it makes me long for a Diamond/Iron Maiden collaboration.

I'd highly recommend this to any fan and to the curious. But if there's one truism that the last track proves, it's that there's no subsitute for the real rock.

Pure '80s #1s Label: Hip-O Records Website: www.hip-o.com Review by: Troy Brownfield Where to buy: Amazon Rating:

Pure '80s #1s arrives exactly as advertised; it's 18 tracks of #1 songs from the decade of excess. But that's the problem . . . many (but not all) of the decade's chart toppers weren't as sonically interesting as the one-hit wonders or the below-the-radar movements that came after. This is a "pure pop" collection, leaving no room for the lesser knowns or, in many cases, even the New Wave acts.

Also, you set yourself up for tight examination when you put out a collection that only represents the top. Rights issues aside, don't you think that any collection of '80s #1s that really wants to mount the throne would include Madonna, Michael, Bruce, Cyndi, or Prince? Sure, we get the Police, Hall & Oates, Tina Turner and Culture Club, but something still feels absent. Another immediate problem is that several of the songs on this new collection are already evident on other discs in the "Pure" series. No less than four tracks are already on Pure '80s Vol. 1.

As for the tracks included, it's a real mixed bag. People who cotton to New Wave or Metal will feel shut out almost entirely. There's also not much feel of rediscovery. Part of what drives a nostalgia disc should be the "Oh yeah! I haven't heard that since . . ." factor. All of these songs are played regularly on radio formats like JACK-FM. There's no "lost-track" thrill that you'd get from a "Pop Goes the World" by Men Without Hats or "Hands to Heaven" by Breathe or "Strange But True" from Times Two or any number of '80s pan-flashers.

That's not to say that there aren't good songs present. There are. "Everybody Wants to Rule the World" is still a pop gem. "Don't You (Forget About Me)" will always evoke the image of John Bender marching across the football field, fist in the air. "Down Under" is still appropriately goofy. It's just that as a collection, there are better volumes. And most of those already exist in the "Pure" series, rendering this one quite redundant.

Erasure - Union St. Label: Mute Website: www.erasureinfo.com Review by: Troy Brownfield Where to buy: Amazon Rating:

Sometimes it's admirable when a band stretches, and sometimes you want them to remain exactly the same. It's a phenomenon that I wish to label the "Pearl Jam quandary"; I've never felt that that particular band retained the energy and vitality of their first albums, descending largely into a somewhat tuneless morass (a situation that Scott Stapp snidely labeled their "hook-free" approach). What does this have to do with Erasure? Plenty. On this disc, the synth-drive-dance-pop duo eschews their traditional instrumentation for acoustic versions of lesser-known tracks from their catalog. And while you will be impressed by Andy Bell's persistently angelic voice and the varied textures that Vince Clarke brings to the project on both production and nylon-string guitar, it still leaves you wishing that the pair had roared back into their angsty, danceable old form.

Perhaps the disc suffers a bit precisely because these are familiar tunes to long-terms listeners. Would that the pair have generated a completely new body of work, it might have made more sense (particularly given their inclination toward more balladry on recent discs, 2000's Loveboat being their last full-tilt statement in their classic configuration). As it stands, you're left feeling like you've gotten a strange remix where the synths and programming somehow forgot to kick in.

Separated from those concerns, the songcraft is strong. As pop tunes, these are above average, and Andy Bell sounds just as strong as he always has. The lilting, occasionally elegaic qualities are an interesting departure, but will really surprise anyone expecting much in the way of dancy, upbeat material. If anything, Union St. is a good argument for alternatively named side projects. We as listeners should have the expectations that our preferred artists will grow and experiment, but the overall reworking of material from two decades ago lacks any impetus toward proving any kind of redefinition statement. I honestly believe that I would welcome another acoustic disc from the pair, so long as it was something wholly new, rather than a recasting on what's had 20 years to sink in.

Scratches- Original Soundtrack Composed and performed by Cellar of Rats Website: www.cellarofrats.com Review by: Terry McCammon Where to buy: www.cellarofrats.com Rating:

You know, I could talk about Scratches, the game, right now. I could delve into point-and-click adventure games, discuss the overplayed horror genre, and even talk about interactive stories verses immersive narrative environments.

And don't get me wrong, Scratches is an above average linear horror-adventure, albeit short, with not much replay value. I did like it, honest. But I'm not here to discuss that, I'm here to discuss something that sold the game for me, the soundtrack.

You see, the strongest part of Scratches the game was the soundtrack. Composed by Cellar of Rats (yes, that's right, that's the name), Scratches, the Original Soundtrack, is a capable score on the level of big orchestra theatrical music that performs most of the time. Within the game, the music allows you to slip that much further into the horror genre and setting. Outside the game, the music shines for most of its tracks, which for me hasn't happened since American McGee's Alice soundtrack.

Elemental in its nature, consuming and confusing, Cellar of Rats mixes the best of traditional tones, electronics and noise to create some real stand out tracks. Reminiscent of horror film scores gone by, there is a lot that taps that cultural collection of the horror genre, while still remaining fresh and new. It's that familiar road that you've yet to travel on.

Tracks like "Rainy Mystery" and "Revealed" were just such pieces. Simple chords, use of deep vibrating harmonics, and slow, steady building of tension really kept me on the edge of my seat. As far as a soundtrack for a genre, this captured it.

With any video game soundtrack there were the short introductory pieces, such as "A Tower Among the Trees" and "R's Theme." "A Tower" captures that traditional revealing moment when you round a corner or come into a clearing only to be exposed to something larger then you. Meanwhile, I say this now, if Cellar of Rats put out an album with the attitude and vibe of "R's Theme" I'd own it in an instant, and everyone gets a copy for their birthday!

As much as I liked the soundtrack, there is still the predictability issue. The soundtrack captures the genre, and it's a strong soundtrack, but its familiar and there is not a lot of breakout here. It's good, and it's nice to get the creepy vibe going, but if you are looking for new directions, this soundtrack may not be it. Worse yet, it's a soundtrack that really outplays the game it was used in. In fact, Scratches the game did the soundtrack a disservice by not using this score more or by have more play time. My recommendation; if you have played the game, give the soundtrack a second spin. And if you hang out in dark places, then this soundtrack should be in your collection (I'm adding it to mine!). For the rest of you, hey, mood music for those Halloween activities.

Susan Cagle – The Subway Recordings Label: Lefthook/Columbia Street Date: 23 May, 2006 Website: www.susancagle.com Review by: Katharine McAmis Where to buy: Amazon Rating:

The Susan Cagle band, long known throughout the New York subway system, is breaking through into the major music scene with their album “The Subway Recordings” on May 23rd . Frontwoman Susan Cagle began her musical career at a very young age, working with a family of performers. After she left her family to pursuer music on her own, she began playing the New York subway station for cash. Now she and her family band rove the countryside of the American underground, playing for an ever growing fan base (as well as the obligatory cash).

The debut album, recorded on Lefthook/Columbia, features rhythmic songs set to the sounds of the subway. Trains running in the background, announcements made overheard, each is found somewhere on this remarkable album.

The songs themselves speak to a pretty large emotional base. The first two thirds of the album are from one recording session, and feature tracks filled with catchy tunes and heart-felt words. The opening track, “Shakespeare” is one you can easily find yourself singing along with. “Dream”, the third track, kind of makes that dorky twelve-year-old inside of each of us quiver with rainbow-and-unicorn-infested happiness.

The later third of the album (recorded at a different subway station) has four tracks that, while excellent, are just a little less overall than the previous songs.. Maybe it was the setting, maybe it's the songs themselves, but these last four tracks are more pop-sounding than the first set (Think “I'm With You” from Avril Lavigne). That's not to say they suck, however. The last four songs speak to the world of breakups and empowerment, something most everyone's been through. Cagle's voice, dusky and yet brilliantly clear, adds much needed emotion to songs that would otherwise fall short. All in all, she's got a great mix of music that I've had on repeat for about a week, and still not tired of yet.

k.d. lang - Reintarnation Label: Sire/Rhino Review by : Troy Brownfield Where to buy: Amazon Rating:

It's almost annoyingly required in the reviewing game to come up with labels for everything. Fortunately, k.d. lang gave us the perfect name for her style years ago on an awards show when she referred to her work as "hybrid country". That mixture of twang, rockabilly, smooth pop vocalization, and anything else in the blender is on full display in this collection; call it classic hybrid country.

For most listeners who knew anything of lang prior to "Constant Craving", a couple of tracks will be fairly recognizable. Those would be "Luck in My Eyes", a traditional smash that helped net lang the Grammy for Country Female Vocalist of the Year at a time when she was being ignored by the stodgy establishment in Nashville. The other you're sure to know is "Trail of Broken Hearts", a track that got rare video play on VH-1. On these songs and others, you'll hear the breakout potential of lang's voice, a plaintive instrument that can still be imbued with warmth and humor.

If you have a passing interest in country or rockabilly, lang's record is certainly one you'll want to check out. It's a great catch for fans of the Wilco/Uncle Tupelo school, Dwight Yoakam and Steve Earle. lang continues to ply her trade in the mixed genre bag, but I still think that she's uniquely suited to alt-country, where she now has plenty of fine company.

World Party - Dumbing Up Label: Seaview Review by : Troy Brownfield Where to buy: Amazon Rating:

Some parties should never end. I first became aware of World Party with the single "Put the Message in the Box", but became an actual fan with "Way Down Now". Webmaster Shawn Delaney and I were fortunate enough to see Karl Wallinger and company open for 10,000 Maniacs over a decade ago. Wallinger struck me as a curiosity; he's got the air of someone who is above the typical pettiness of the music industry, but his music is clearly pop. Then again, it's always been pop of the highest order.

Single "What Does It Mean Now?" recalls the best of Jumbo -era Wallinger with warm harmonies and sterling songcraft. "Another 1000 Years" is postively Beatle-esque, and that's a good thing. In fact, Wallinger's influences seem even more obvious this time out, and you won't find me complaining. As I noted recently with the Sweet/Hoffs review below, it's a good thing to hear that particular era honored.

"Who Are You?" might key you as a Who nod, but it's suffused in Dylan, from its guitar work to its syncopated delivery. Slowing things down a notch, "You're a Hurricane, I'm a Caravan" communicates the feeling of one struggling against greater forces, whether that's punishing love or business betrayal (a topic that Wallinger knows a bit about).

Overall, this is a truly solid effort. I'm not wild about "Here Comes the Future", which finds Wallinger in a higher register and an odd funk mode, but the rest of the album is reliably strong pop. I definitely encourage you to join the party; check this one out, but don't hesitate to grab the recently re-released Goodbye Jumbo (which may rate five bananas upon re-examination).

Tey - That's How I Feel Tonight Website: www.teymusic.com Review by : Troy Brownfield Where to buy: CD Baby Rating:

The first thing you notice about Tey Punsalan is that's she impossibly gorgeous. You just have to get that out there: she's stunning, and it's going to help get her noticed. Fortunately, there's also a lush pop voice to go with those modelesque looks. "That's How I Feel Tonight" finds Tey mining some familiar territory, but doing it in an intriguing way.

The construction of the disc is a near equal conflux of covers and original material (five tracks were written or co-written by Tey), but it all carries a unique stamp. While the obvious over-genre here is club-worthy dance-pop, there are elements of jazz, disco and Motown R&B. And even though it is completely danceable, Tey's smooth delivery lends a lower-key feel to the proceedings. There's a quality of stillness and tranquility in the midst of the beats, and that makes it not quite like much that I've heard before.

Among the higlights are "Take Me High - lounge remix", which typifies that merged aesthetic of dancefloor chillout, and "Never Knew Love", a terrific take on the track popularized by Dionne Warwick in the disco era.

Tey succeeds with this record, and the fact that it's difficult to describe is actually a tribute to the skillful production and musicianship. There aren't many artists that are trying to do much with club fare; the fact that Tey can breathe technique and sensuality into the mix with equal skill ensures that she's going to be around for a long time.

Drive By - I Hate Every Day Without You Kid . . . Label: Riot Squad Records Street Date: May 9, 2006 Website: www.drivebyworld.com Review by : Troy Brownfield Where to buy: www.amazon.com Rating:

Somewhere at the nebulous nexus of post-punk-power-pop and screamo aesthetic stands Drive By, a New Jersey combination making its debut on Riot Squad Records. Riot Squad opened under the auspices of Brian Schechter, manager of My Chemical Romance; the pairing of those entities with Drive By is entirely appropriate, and not just because the two bands will tour together in late fall.

Drive By emboldens their sound with robust production. There's a genuine boom to the bass and a general sturm and drang that recalls (in a very positive way) the speaker-filling effect of a band like Appetite -era Guns N' Roses or (dare I invoke them?) Zen Arcade -era Husker Du. Drive By creates an epic, yet accessible, sound that is simultaneously more hook-filled and melodic than a number of their emo forebears.

Opening salvo “You're Not Alone” is an absolute stormer. It roars to life in a hail of serious riffage, then builds to a fist-pumping, singalong chorus. I can envision rock clubs exploding with shaking bodies as this issues from the speakers.

While most of the cuts are short, sharp barnburners, there are some eclectic moves, such as a somewhat prog-influenced self-referential final track. Drive By manages to exist comfortably within a well-defined parameter, but they bring an intuitive sense of catchiness to the occasionally practiced gloom of the genre. “I Hate Every Day Without You Kid . . .” shines as a rock-solid effort.

Matthew Sweet and Susanna Hoffs - Under the Covers Vol. 1 (aka Sid N Susie Under the Covers Vol. 1)