M.I.A.: ‘Maya’
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With her first two CDs, M.I.A. established herself as one of the more creative sonic adventurists within the realm of hip-hop/electronica. Nothing much changes with “Maya.” Once again, she’s conjured up a kaleidoscope of aural fun, with an array of beats — programmed and otherwise — and computerized effects mixed in with the occasional pop melody.

She’s at her best when that last element comes into play. On “XXXO,” it’s the catchy chorus, more than the tribal/electronic beats and space-age musical touches, that carries the song. Her cheeky venture into reggae, “It Takes A Muscle,” works because its bouncy melody is perfect for the song’s skanking pulse. Meanwhile, the fat rock riff that powers “Meds And Feds” make this one of the most attention-getting tracks on the CD. Unfortunately, as on her first two CDs, several of the tracks on “Maya” amount to little more than beat-heavy soundscapes. They’re cool sounding, but lose much of their excitement after a few listens. If Maya can step up her songcrafting skills to match her sonic creativity, she’ll have the total package. — Alan Sculley
Buy if you like: Diplo, Santigold

Cyndi Lauper: ‘Memphis Blues’
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Who’d have ever guessed that the blues record of 2010 would come from Cyndi Lauper. That’s right, the popstress of “Girls Just Want to Have Fun” can really sing the blues. She grew up listening to the blues and when she finally got the chance to put it on record she had sense enough to recruit some of the best, including the great New Orleans pianist Allen Toussaint and the legendary B.B. King, who trades lines with her on the sultry shuffle “Early in the Mornin.’” At 57, Lauper still has a bit of a little-girl twist in her vocals, but she fits it perfectly into the songs. Revamping some blues classics, she gives Muddy Waters’ “Rollin’ and Tumblin’” and Robert Johnson’s “Crossroads” new, and more than a little feminist, twists.  From the trill of Charlie Musselwhite’s harmonica that opens “Just Your Fool” to the gritty duet with guitarist Jonny Lang on “Crossroads” that ends the record, “Memphis Blues” hits its target with style and class. Don’t miss this one.
— L. Kent Wolgamott
Buy if you like: Bonnie Raitt, Sue Foley

J Roddy Walston and The Business: ‘J Roddy Walston and The Business’
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The press materials describe the members of this group living on a steady diet of Jerry Lee Lewis, the Replacements and Small Faces. That’s a good description for the rowdy, Southern flavored rock that pours out of the grooves on J. Roddy Walston and The Business’ self-titled debut. Driven by the piano of Walston and the pounding drums of Steve Colmus, this CD is in the running for good-time rock party album of the year. The sound is particularly enervating on “Full Gorwing Man,” as some cool falsetto backing vocals, a thumping rhythm and powerhouse hook combine with raucous effect, “Pigs & Pearls,” which powers down slightly with acoustic guitar, but still boasts plenty of swagger, and “Don’t Get Old,” another stomping rocker that is sweetened by a boogying melody. There’s plenty more where those tracks come from, as Walston and company prove they know how to start a party and keep it rolling. — Alan Sculley
Buy if you like: The Replacements, the Georgia Satellites

Robert Cray Band: ‘Cookin’ In Mobile’
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It took nearly 30 years before Robert Cray finally released a live CD. Considering that Cray and his band had always been a polished and soulful unit that offered terrific interplay between the musicians, that first CD, 2006’s “Live From Across The Pond,” was a very welcome addition to the Cray catalog. Now Cray is back with another live release, “Cookin’ In Mobile.” This show, recorded in 2009 in (guess where?) Mobile, Ala., showcases a recently revamped Cray Band lineup (with Richard Cousins returning on bass and drummer Tony Braunagel in the fold. The set draws largely from newer material (“Love 2009,” “That’s What Keeps Me Rockin’”), but makes room for several long-time favorites. And if this set is any indication, the new unit is just as dynamic and in the pocket as the previous lineup, but a bit more fiery. On “Our Last Time,” keyboardist Jim Pugh (a holdover from the previous lineup) shines on his piano and organ solos, while the group grooves deep on “Anytime” and sounds crisp on “Smokin’ Gun.” The only real problem with “Cookin’ In Mobile” is it includes only 12 songs. This live set leaves one wanting to hear more. — Alan Sculley
Buy if you like: B.B. King, Al Green

Fred Eaglesmith: ‘Cha Cha Cha’
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Canadian singer/songwriter Fred Eaglesmith is likely to have his “Fredheads” scratching their heads when they first hear “Cha Cha Cha.”  As the title implies, this one has plenty of songs with bossa nova and cha cha beats and very little of the rowdy, roadhouse country for which Eaglesmith is known. But he fits the new music well, getting gritty and growling with urban-bluesy-hipster vocals a la Tom Waits/Chuck E. Weiss in songs that are darker than his normal fare. “Cha Cha Cha” isn’t the best place to start if you’re looking to hear Eaglesmith, who’s an under-appreciated gem. But those who dig Fred will find that the disc is one of those records that grow on you, even if it’s a bit of a shock on the intial go-round.
— L. Kent Wolgamott
Buy if you like: Tom Waits, Steve Earle

Reissue

Stevie Ray Vaughan and Double Trouble: “Couldn’t Stand the Weather” (Epic/Legacy)

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The cover of “Couldn’t Stand the Weather” contains a photo of Stevie Ray Vaughan that morphs into a more ghostly image, one that looks eerily like Jimi Hendrix. It fades into a twister-darkened sky. Who could have known then that Stevie would have the same tornado-like career as his biggest influence: touching down hard, cutting a deep swath and disappearing so quickly? The prophetic symbolism is especially unsettling to consider near the 20th anniversary of Vaughan’s untimely death; this double-disc legacy reissue gives us yet another opportunity for bittersweet reflection on his too-short career, via the original version, a few new outtakes and a previously unreleased, scorching live performance disc. What’s interesting is the realization — gained through “Cold Shot,” with that dusky vocal and those sluicing chords, plus “Tin Pan Alley” and the tasty “Stang’s Swang” — is just how jazz-influenced he was. How talented he was, we already knew.
— Lynne Margolis
Buy if you like: Jimi Hendrix, Buddy Guy