The Black Keys: “Brothers”

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In the past, there was always a question of just how long the dynamic duo of Dan Auerbach and Patrick Carney could keep sounding fresh in their guitar and drums format. The answer was to toss aside any preconceived limitations they placed on their sound. The challenge, then, was not to lose the blues-rock foundation on which Auerbach and Carney had built their sound. And on “Brothers,” they expertly walk the line between reinvention and retaining their identity.

“Brothers” finds the Black Keys boldly stretching out, and triumphing at almost every turn. “Everlasting Light” gets the CD off to a thrilling start with a deliciously funky sound that would make Prince proud. “Tighten Up” takes the funk in a more soulful direction, while delivering the rhythmic wallop Black Keys fans have come to know and love. That’s far from the only song on “Brothers” with a soulful edge.

“Never Gonna Give You Up” finds Auerbach and Carney exploring a sleeker side of soul, while showing they don’t need a rough and tumble edge to be compelling. Meanwhile, other songs (such as “She’s Long Gone,” “Next Girl” and “Howlin’ For You”) hew closer to the Black Keys’ familiar gritty bluesy rock sound. Forceful, relentlessly catchy and emotionally vibrant, “Brothers” is the Black Keys’ richest album and a strong contender for 2010 album of the year.
Buy if you like: Jon Spencer Blues Explosion, Howlin’ Wolf

The Truth & Salvage Co.: “Truth & Salvage Co.”
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This band has a decidedly Southern sound. But it’s Southern in many shades. There’s a bit of the Black Crowes (the band with which Truth & Salvage Co. toured with last year) on “Rise Up.” The Southern rock of the Allman Brothers peeks its head through on “See Her.” On “Welcome To L.A.,” one can hear more than a little taste of the early Eagles. “Call Back” and “101” have a bit of the California country of the Grateful Dead or Gram Parsons mixed with a little bit of Southern swampiness. “Brothers Sons & Daughters” evokes the smoother side of the Marshall Tucker Band. While these references are readily apparent in these songs, the Truth & Salvage Co. stops short of slavish imitation. In fact, the group brings a pop sensibility to many of its songs. What’s more, on a few songs (such as “Jump The Ship” and “Heart Like A Wheel”) the Truth & Salvage Co. creates a sound that escapes obvious comparisons and is distinctive enough to be its own. The guess here is the group’s sound will become less derivative on future albums, and with the songwriting talent shown on this debut, the Truth & Salvage Co. could have a long and productive run in the years ahead.
Buy if you like: Black Crowes, the Flying Burrito Brothers

John Prine: “In Person & On Stage”
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The musical landscape is littered with Dylan wannabes. But John Prine has always stood out from the folk troubadour pack; he’s closer to Dylan’s equal than most — not in fame and album sales, but certainly in songwriting ability. If “Angel from Montgomery” was the only song he’d ever written, his immortality would still be assured. But 13 other fine tunes here confirm his singular talent, both as a singer/songwriter and a humorous entertainer. Standouts — besides “Angel,” a gorgeous duet with the angelic Emmylou Harris — include “In Spite of Ourselves,” with Iris DeMent in Loretta Lynn mode, and “The Late John Garfield Blues,” with Sara Watkins’ clear, strong voice contrasting with his gruff one and her fiddle sounding as lyrical as his words..
Buy if you like: Bob Dylan, Tom Waits

Keller & the Keels: “Thief” (Sci-Fidelity)
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Does the world need a bluegrass version of Amy Winehouse’s “Rehab”? Or Cracker’s “Teen Angst”? Or Marcy Playground’s “Sex and Candy”? Apparently, we do — we just didn’t know it until Keller Williams and pals Larry and Jenny Keel decided to give ‘em to us. A follow-up to their “Grass” disc, this one is an all-covers collection of cool tunes given the stripped-down acoustic treatment, where the string-picking and harmonies shine and you can understand all the words. In addition to the aforementioned charmers, they do the Drive-by Truckers’ “Uncle Disney,” the Presidents of the United States of America’s “Bath of Fire,” the Raconteurs, Grateful Dead, Ryan Adams, Danny Barnes, a pair of Kristofferson songs … and a version of the Butthole Surfers’ “Pepper” that may be better than the original. The title, FYI, is not implying the songs are “stolen”; it’s to remind listeners who illegally obtain them what they’ll be.
By if you like: Grateful Dead, Yonder Mountain String Band

Poison Control Center: “Sad Sour Future” (Afternoon)
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Poison Control Center sounds like two (maybe more) bands in one on “Sad Sour Future.” On the one hand, there’s a fuzzed out, rocking side to the group in songs like “Calling Card,” “Stay Golden” and “Walls of City Hall.” There’s a bit of the fractured pop side of the Flaming Lips to “Cemetery Glow,” and even some Pavement-meets-Dinosaur Jr. in the slightly ragged-around-the-edges character of much of “Sad Sour Future” (see songs like “By the Wave” or “Cognac Dreams for reference). But on the latter half of this 17-song CD, Poison Control Center applies a lighter pop touch. The first surprise comes on “Tiny Isles,” a ballad built around horns and piano, while songs like “Start the Revolution” and “Pacific Sunrise” veer toward guitar jangle pop. Schizophrenic as “Sad Sour Future” is, many of its songs are good and very listenable. Perhaps the band will find a way to reconcile its split musical personality on future albums – or at least make its songs blend more cohesively. But for now, Poison Control Center is worth hearing just for the promise the group shows on “Sad Sour Future.”
Buy if you like: The Jesus and Mary Chain, Pavement

Otis Redding: “Live On The Sunset Strip” (Stax)
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This new two-CD set expands and improves on a pair of previously released live albums  — 1968’s “In Person at the Whisky A Go Go,” and 1993’s “Good to Me: Recorded Live at the Whisky, Vol. 2” (which itself was an expanded version of the 1982 LP, “Recorded Live”). This new release presents the last three sets from a four-night stand at the famed Los Angeles Whisky A Go Go, exactly as they happened. This gives “Live On The Sunset Strip” historical accuracy that was missing on the previous albums, which cherry picked performances from the shows. More importantly, the Whisky shows, which happened in April 1966, captured Redding just as he was hitting his peak as a performer. The sets are peppered with several of his classic songs, including “Respect,” “I’ve Been Loving You Too Long,” “Mr. Pitiful” and “I Can’t Turn You Loose.” Redding and his road band (horn section and all) were burning white hot during these shows – and sonically, these recordings have never sounded more crisp or alive. Some songs (of course) appear more than once across the three sets, but there is actually a good deal of variation in the sets Redding played. Sadly, just 20 months later, Redding perished in a plane crash, cutting short what was already a landmark career. But at least we have these recordings to preserve the ball of emotion and energy that was Otis Redding as he helped define soul music for generations to come.
Buy if you like: Wilson Pickett, Solomon Burke