By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
This Dakar star is a 36-year-old Fouladou from the Casamance region south of Gambia, the cultural complexity of which is said to be why his band includes classically trained Belgian bigshots on violin and accordion. But if the explanation is glib, the results aren't. The groove and ambience are West African with European shadingnot Portuguese as history would suggest, but Balkan, probably an accident rather than an influence, though in the melting pot that is the continent that invented imperialism, who knows? Lithe, warm, changeable, distinct, Balde's voice arouses hope, and in time the arrangements claim attention even when the tunes don't grab it. With so much of the best nonarchival Afropop dependent on known quantities or brave new genre experiments, he has a shot at becoming a known quantity himself. A MINUS
I've seen enough Adult Swim to agree with Epitaph prexy Andy Kaulkin: "Danger Mouse and Doom [which I refuse to uppercaseR.C.] are both brilliant at taking chunks of popular culture and shaping them into art [I would say more artR.C.]. The context of Adult Swim makes this already promising collaboration truly inspired." Both guys are so irrepressibly playful that they get serious at their perilthey're better off as a nonstop musical goof. Fave detail: Doom's rhyming of the ancient usages "beer and skittles" (meaning ninepins, not some modern candy or long-lost salty snack) and "jot and tittle." I promise to watch the DVD. A MINUS
Greetings From Cairo, Illinois
(Gnashville Sounds,Gnashville Sounds, gnashvillesoundsrecords.com)
Roots-rock program music about the southernmost city in Illinois. He doesn't detail much vice, which was once the town's bread and butter, but there's lots of race1909 lynch mob, segregated bus crosses big river, 1967 vigilantes, young Jesse Jackson stops by. Better researched than Sufjan, but not as evocative, nor any longer on answers. B PLUS
You Could Have It So Much Better
They've gotten unmistakably louder and unmistakably gayeror perhaps I mean, hate the term, more metrosexual, given that the most affecting song here is a plea to a Brooklyn girl to rush her ass to Scotland. Small shows of force are all this ex-alt unit needs to achieve the meaning curmudgeons demand of rudderless guitar bands. They define themselves when they declarenot howl, not brag, declare"I'm evil and a heathen." Firmly secular on their shaky pop pinnacle, they're a beacon. A MINUS
(Stern's Africa, 71 Warren St, NYC 10007, sternsmusic.com)
Seck is mbalax's second banana, a leather-lunged griot renowned for lyrical wisdom whose work has never translated with anything near the fluency of Youssou N'Dour'shis groove is solider, hence less explosive, and he's shorter on telling musical detail. Like N'Dour, Seck had the idea of taking his Dakar brand of Mouridist Islam to Cairo long before September 11, but he was a year longer getting it right. The arrangements are more conventional and less delicate than N'Dour's Egyptian pomo-trad, and Indian elements are added to the big Cairo-pop orchestrations and choruses. But though the big man still sounds somewhat grand and stentorian to non-Wolof ears, the novelty factor and the alien melodic input put his wisdom acrossif not as ideas, at least as an idea. A MINUS
David Berman joins a pickup band that includes his close personal friend Stephen Malkmus to explore realms of vocal inexpressiveness undreamt by Stephin Merritt or the Handsome Family. The music rocks very very steady with femme backup counteracting occasional Pavementy noises, and the lyrics, Berman's specialty, devote equal time to the animal kingdom, which permits him to wax whimsical if not vegetarian, and the dark burden of love, which inspires even more steadiness, in this case welcome. B PLUS
A Time to Love
Right, what you fearedmostly mush. Since mush has been his specialty for almost 30 yearsthat is, since he was 26 years oldwhy anybody should expect him to turn into Bob Marley now beats me. I just marvel that the mush continues so tasty. The melodies don't falter, and Wonder's unexpectedly and perhaps unfortunately influential vocal attack is as mellifluous as ever. Credit his laziness, or maybe it's perfectionism. His touring schedule is nonexistent, and in the time he took for one album, fellow aging melodist Paul McCartney, for instance, chose to release four plus (don't tell Stevie, he might try again) a faux symphony. And speaking of McCartney, this stuff isn't all mush. Wonder's politics are moralistic and universalist. But he's as faithful to them as he is to the lady or ladies in his songs. A MINUS
Dud of the Month
Dud of the Month
Have a Nice Day (Island)
Bon Jovi mean so little long or short term that it was only with this redolently entitled cheese bomb that I realized they hadn't actually broken up back in the fabled '90s. (ReallyI took all their '00s albums for reunion one-shots, and couldn't figure out why the product kept coming in the three seconds I thought about it.) The commercial secret is as unchanging as Jon-Jon's mysteriously unwrinkled countenancehard rock so inoffensive it's less Aerosmith than Air Supply. Not only is it impossible to tell whether the one called "Bells of Freedom" is pro- or anti-Bush, it's impossible to tell whether it's patriotic. A depressing argument for the existence of that intellectual fairy tale, the passive mass audience. C PLUS
Additional Consumer News
Bitterly weary, which isn't always an advantage ("Missing Link," "Nothing at All," "Join the Club").
Leave Iraq and stay with your love ("Where's All the Freedom," "It Always Will Be").
In pop, when the production's solid and the voice a little less so, the songs had better be on the money ("Got My Own Thing," "Table for One").
The Cox-Mitchell band at its most documentable ("Hey Baby [New Rising Sun]," "I Don't Live Today").
Bring 'Em In
Blues subpatriarch claims soul as his dominion ("I Put a Spell on You," "Ninety Nine and One Half").
All Jacked Up
Not a good sign when the three really good ones are about booze (if you count the one that's really about stardom) ("All Jacked Up," "One Bud Wiser").
(World Village, c/o Harmonia Mundi, 2037 Granville Avenue, Los Angeles CA 90025, )
I ask you, how much do words matter with John Hurt? (OK, a little) ("Indépendance," "Djonkana").
(All Natural, allnaturalhiphop.com )
Always militant, always calm, always on the one ("Keep It Movin," "Heel-Toe").
SON CUBANO NYC
(Honest Jon's, 278 Portobello Road, London W10 5TE, England, honestjons.com)
Finally, Suicide influencees that rockFrancophones, mais oui ("L.L. Romeo," "T.R.O.U.B.L.E.").
Sudanese child soldier turned Christian rapper meets Sudanese Muslim elder for great story and above-par music ("Alwa," "Gua").
(Gigantic, 59 Franklin Street, Suite 403, NYC 10013, giganticmusic.com)
Those awaiting a new Jimi should note that this one has Jesus on his side ("Hooked," "Rich Man's Lounge").
Front Parlour Ballads
(Cooking Vinyl, PO Box 1845, London W3 0ZA, England, cookingvinyl.com)
Finally, it says here, an acoustic recordwhich he leads with some rock and roll ("Miss Patsy," "My Soul My Soul").
For no discernible reason, blues and Spanglish bring out the irreverence in her ("La Cantina," "Mouth of the Mississippi").
SYSTEM OF A DOWN
Firm in their convictions and (relatively) simple in their art rock ("B.Y.O.B.," "Radio/Video").
CAROLINE, OR CHANGE
What better can one say of an original Broadway cast recording than that you'd love to see the play? ("JFK").
(Razor & Tie, PO Box 585, Cooper Square Station, NYC 10276, razorandtie.com)
They try, and I'm rooting for them, but the real pan-Latino Black Eyed Peas would have more hooks ("Bilingual Girl," "Bla Bla Bla").
(Don't Ask Don't Tell, Mighty Sound)
"One of the Fortunate Few"
(Cost of Living, New West)
(All Over the Road, Big Barn)
"You Are a Runner and I Am My Father's Son"
(Apologies to the Queen Mary, Sub Pop)
BUKKY LEO & BLACK EGYPT
Afrobeat Visions (Mr Bongo)
Got No Strings (Mighty Sound)
Bungalow Hi (Southern Domestic)