Southside Johnny with LaBamba’s Big Band: Grapefruit Moon: The Songs of Tom Waits
Leroy BHCD 2008
Format: CD

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John Lyon, better known as Southside Johnny, made a series of records in the 1970s and early ’80s that are among the best soul music of that era. He now records infrequently, but when he does, the results are notable, even if they don’t get the attention or sales they deserve. Perhaps Grapefruit Moon will change that. This collection of 12 Tom Waits tunes features strong big-band charts by Richie "LaBamba" Rosenberg, currently with the Max Weinberg 7, the house band for Conan O’Brian. Rosenberg is also a longtime member of the Asbury Jukes, Southside’s backing band, and knows just how to frame the singer’s voice -- the arrangements are rich and luxurious, a classy backdrop to Southside’s deep understanding of Waits’ songcraft. The composer joins him on a version of "Walk Away" that features a smart New Orleans-style backing, and both singers sound as if they’re having a blast. "Please Call Me Baby" features a chart I’d love to hear behind Tony Bennett, but Southside swings it every bit as hard as Bennett would. Throughout, Rosenberg’s arrangements are joyous and smart, large-scale without ever overwhelming Southside’s soulful voice. I wish the recording had better separated the sections of the band, but it conveys the power of the ensemble, and of Southside’s mastery. . . . Joseph Taylor

Feufollet: Cow Island Hop
Valcour VAL-CD-0005
Format: CD

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In Cajun music, the French Creole in which the songs are traditionally sung is of paramount importance in comprehending and defining the genre. For an American music so rooted in non-English lyrics, the decline and potential disappearance of Cajun is a constant threat. Contemporary Cajun music, however, is in the skilled hands and voices of musicians who, much like the folksingers of the 1960s, are reviving its forgotten songs and Francophone phenomena in general, and the genre is now being embraced by audiences worldwide. The youthful band Feufollet is one of the groups that has taken serious steps toward preserving not only the linguistic but also the musical roots of Cajun music, and their newest CD, Cow Island Hop, should put to rest any related fears of the loss of either. That’s not to say that, on this fourth album, Feufollet’s approach can be called traditional. While many of the songs, found in dusty archives and sung in the old language, are relics of an earlier time, here they’re reworked and revamped with innovative arrangements and unexpected deliveries. In addition to the usual accordion, fiddle, and guitar, Feufollet uses a drummer, horn section, cello, and Mellotron. The sexy, shuffling "Femme l’a Dit" best showcases the full-bodied voice of Anna Laura Edminston, and "Sur le Bord de l’eau," about a wayward sailor and the songs of an ensnaring siren, is a ballad of Odyssian proportions; the band collected every known verse of the song, and delivers them all with comprehensive execution. These players pay the utmost respect to their heritage and Louisiana roots music, while driving the evolution of the genre forward and deferring its demise for yet another generation of listeners. . . . Shannon Holliday

Pete Seeger: At 89
Appleseed APR CD 1113
Format: CD

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In the 32 tracks, including many brief spoken ones, of Pete Seeger’s At 89, the polit-folk hero shows the same joie de vivre -- and de chanter and de parler -- as ever. That’s the album’s boon and bane. Such endurance and faith are inspiring, but one wonders if he realizes that his species long ago made Kum Ba Yah a derogatory verb. His fingers still communicate nimbly on banjo and guitar, and the sound here is better than what Seeger’s friend Woody Guthrie called "good enough for folk music." Seeger’s 1972 tune "Song of the World’s Last Whale," and others on the subjects of ecology and coexistence, though very strong, are undercut by one track’s declaration that he’ll continue to kill and eat crabs because they lack the fat that stores dangerous toxins. Doesn’t he know crabs are sentient, ecologically important, and not needed by the human body? Seeger is still politically, socially, and ecologically ahead of most -- less because of his brilliance than widespread denial. His continued belief in the sociopolitical value of song is evident here in the many songs given call-and-response, sing-along, and even choral settings. As much because of as despite its appearance in the winter of this artist’s years, this disc will make a fine gift for emerging, politically aware teens. . . . David Cantor

Various: Joe Gibbs Reggae Anthology: Scorchers from The Mighty Two
17 North Parade VP4130
Format: CD

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Joe Gibbs was the elder statesman of reggae music producers and one of the most prolific to ever emerge from Jamaica, and his death earlier this year from a heart attack left reggae lovers around the world mourning the passing of a legend. Gibbs worked with multiple co-engineers and co-producers in his day, but his most successful and enduring relationship was with Erroll Thompson. Together they released scores of smash hit singles and albums for artists of the Dub, Dancehall, and Roots genres, including Dennis Brown, Barrington Levy, Black Uhuru, Gregory Issacs, and multitudes of lesser-known but equally worthy island artists. The duo’s success and knack for picking hits led them to being dubbed "The Mighty Two," and before Gibbs’ death, arrangements had been made with 17 North Parade Records for exclusive worldwide reissues of their massive catalog of music. Joe Gibbs Reggae Anthology: Scorchers from The Mighty Two is the first installment, a precursor of what’s to come, and a fitting tribute to the legacy of the giants. Its two discs feature 40 undisputed reggae jewels, from Althea & Donna’s "Uptown Top Ranking" to Culture’s "Two Sevens Clash." As with most reggae reissues, a little tweaking of the level goes a long way toward enhancing the original recording quality, and the sound here has been noticeably improved. Obscure underground Dub, Dancehall anthems, and chart-topping favorites complement one another admirably here. This collection will give guaranteed oomph to your music library, and endow you with instant reggae street cred. . . . Shannon Holliday

Jewel: The Essential Live Songbook
Koch Vision KOC-DV-6559
Format: DVD-Video

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Singer-songwriter Jewel puts her best foot forward on this two-DVD set, some of which was originally broadcast on PBS’s Soundstage. On disc 1, Jewel plays a selection of songs from her seven CDs for an enthusiastic crowd at the Meyerson Symphony Center in Dallas, Texas. In the first seven tracks, she accompanies herself on acoustic guitar, after which she’s joined by her very solid band. The sound is a bit compressed in two-channel, more open in the 5.1 mix. On disc 2, shot at the Rialto Square Theatre in Joliet, Illinois, Jewel plays solo acoustic for the first 80 minutes, then is joined by a chamber orchestra for the remaining 40 minutes. Her skills on guitar are strong enough to carry her, and her singing is self-assured, but I wonder how much longer her voice can retain its girlish quality. The songs she performs with the orchestra come off very well, and she closes with "Yodel," in which she demonstrates her skill in that style. The acoustic guitar and orchestral strings ring out more naturally in the 5.1 than in the two-channel mix, where, once again, they sound compressed. Both shows are nicely filmed, capturing the warm intimacy of the halls. . . . Joseph Taylor