Corinne Bailey Rae: ‘The Sea’
♦♦
Corinne Bailey Rae’s follow-up to her marvelous, self-titled debut is, unfortunately, a record that doesn’t uphold the promise of her earlier effort. Her mostly wistful delivery is interrupted by the misguided “Closer,” on which she goes for a pop/R&B flavor that makes her sound like so many Alicias (only not as beguiling) and steals her distinctiveness, while signaling the album’s subsequent descent into outright blandness. “The Blackest Lily” shows some promise, with John Lennon-like guitars. But then ELO vocal effects creep in and make you wonder what Rae and her co-producer were thinking.
Despite the monumental loss of her husband in 2008, there’s little here that truly conveys the agony of that devastating experience. Her lyrics hold moments of appeal, but the music, sadly, is mostly forgettable—or boring. She can do better.
— Lynne Margolis
Buy if you like: Roberta Flack, Norah Jones

Never Shout Never: ‘What Is Love?’
♦♦♦
For the past couple of years, 18-year-old Christofer Drew (who records under the band name Never Shout Never) has been an under-the-radar pop sensation. By self-releasing three EPs over the space of a year, spending hour upon hour on Myspace connecting with young teen fans, and landing some notable tours, Never Shout Never has attracted a large and fervent following.
Now comes “What Is Love?” — an eight-song CD that represents a real coming-out party. Drew has signed with Sire, part of Warner Bros. Records, and later this spring headlines the high-profile “Alternative Press” magazine tour. But the biggest statement may well be the music on “What Is Love?” itself.
Drew is starting to turn his musical ambition into reality and create songs that could appeal to a slightly older audience. A fan of the Beatles and Beach Boys, Drew goes widescreen classic pop on the CD, incorporating “Pet Sounds”-era harmonies into “I Love You 5” and strings to “Sacrilegious.” His music still sounds young, and he’s a bit blatant in borrowing from his musical heroes. But he has a way with a pop melody (particularly on “Love Is Our Weapon” and “The Past”). Drew is far from fully formed, but “What Is Love?” hints that his music may grow by leaps and bounds.
— Alan Sculley
Buy if you like: Forever The Sickest Kids, Panic At The Disco

Danny Barnes: ‘Pizza Box’
♦♦♦ 1/2
The picture on the back cover of “Pizza Box” showing Barnes with his trusty banjo may cause some to expect some sort of rustic bluegrass record. Of course, those who realize this is Danny Barnes of the Bad Livers will know better. He may be able to pick a mean banjo, but chances are Bill Monroe would have run for the hills if he had heard the way Barnes plugs the banjo into the amped-up music that typifies a good part of “Pizza Box.”
On the song “Road,” Barnes and his band generate a fittingly driving beat to go with this hard-charging rocker. On “TSA,” Barnes and company offer up a chunky shuffle that’s charmingly just a little off kilter. Meanwhile “Caveman” indeed delivers a steady and deliberate stomp to go with a meaty melody. There are also several more rustic songs, such as “Sleep” and the title song. A good bit rock, a bit bluegrass and a little country, “Pizza Box” pretty much creates its own sound, and it’s a good indication that after two decades of recording, Barnes is still making music worth hearing.
— Alan Sculley
Buy if you like: Southern Culture on the Skids, Chickasaw Mudd Puppies

Texas Sapphires: ‘As He Wanders’
♦♦♦1/2
If you’re going to invoke the name of the Lone Star state, it’s a good idea to evoke some of Texas’ rich musical heritage in your sound. The Texas Sapphires, a band fronted by singer/guitarist Billy Brent Malkus and singer Rebecca Lucille Cannon, has learned a thing or two about kicking country music with a Texas accent. On its second CD, “As He Wanders,” the group puts some sweet two-step into “190,” some serious swing into frisky tracks like “Nashville Moon” and some timeless twangy balladry into “Teardrops Or Rain.”
Cannon, in particular, boasts a powerful, classic country voice. But what really stands out on “As He Wanders” is the songwriting and the playing from the musicians that round out the group. Songwriters Malkus and Cannon deliver sturdy melodies throughout the CD, while the playing is spirited and not as sterile as on many mainstream country records. Speaking of which, “As He Wanders” undoubtedly is too twangy for those who favor today’s rocked-up world of mainstream country. But this fine CD proves there’s something timeless about the old-time influences that inform the music of the Texas Sapphires. — Alan Sculley
Buy if you like: George Jones, Asleep At The Wheel

The Villains: “The Villains”
♦♦♦
With a band name like the Villains, one might well expect a trashy punk/garage rock sound in the tradition of the New York Dolls. Instead, if this self-titled, eight-song disc is any indication, the Villains are all about country-laced pop-rock. (Guess the name the Outlaws was already taken.) In any event, there’s nothing wrong with misleading first impressions, especially when the songs are as solid as “What A Shame,” a sturdy rocker that wouldn’t sound out of place on a Jayhawks album, or “Let’s Forget About It Tonight,” a riff-riding rocker.
Unfortunately a few songs on the CD fall flat. “Party’s Over” sounds like recycled “Garden Party” era country-rock, while “You Don’t Have To Say” sounds like an attempt at early Eagles mid-tempo balladry, but it lacks the melodic spark and originality that typified the work of Henley, Frey and company. So maybe no one will confuse the Villains for the Eagles. But if the group can more consistently rise to the level of songs like “What A Shame,” the Villains will make a name for themselves before all is said and done. – Alan Sculley
Buy if you like: the Eagles, the Jayhawks

Reissue
David Bowie: “A Reality Tour”
♦♦♦♦
When David Bowie gave up the glitter, glam and get-ups and started being himself onstage, reality turned out to be all he needed: He became even more compelling as a performer.
This double disc captures his innate ability to enrapture audiences with his knockout combination of timeless tunes, rock ‘n’ roll panache and absolute charisma. But part of what remains so intriguing about him is his refusal to stand still. Songs like “Fame” don’t get a standard rendering; they get twisted, turned, updated, upgraded. Bassist Gail Ann Dorsey’s vocals add incredible new drama to “Under Pressure.” With a crack band and a set list encompassing his entire career (plus three previously unreleased bonus tracks), Bowie ignited the crowds who caught the Nov. 22 and 23, 2003 shows at which this album was recorded. Six years later, it still sounds incendiary.
— Lynne Margolis
Buy if you like: Queen, the Decemberists