Ween at the Cat's Cradle, 1992 [MVD]
Our rating: 4 out of a possible 5
Before Dean and Gene Ween became darlings of the jam-band crowd, they toured as a twosome backed only by a dat machine. This recording of an early show at a tiny Chapel Hill, North Carolina, venue captures the jokester "brothers" in all their ragged glory, as they share nutso lyrics, epic guitar licks, and witty repartee with the crowd. Matt Hendrickson
The Smiths, The Sound of the Smiths: The Very Best of the Smiths [Rhino]
Our rating: 3 out of a possible 5
The Smiths have released more greatest-hits packages than original albums. For those new to Morrissey's melancholy, this two-CD set is the best intro yet, but serious fans should stick with 1987's Louder Than Bombs. Matt Hendrickson
The music video for "Panic," one of the tracks on The Sound of the Smiths
Eagles of Death Metal, Heart On [Downtown]
Our rating: 3.5 out of a possible 5
On their third album, the EODM prove they're more than a novelty sideshow to drummer Josh Homme's other project, Queens of the Stone Age. Homme's songwriting with partner Jesse Hughes is tight and sadistically funny, especially on "I'm Your Torpedo." Matt Hendrickson
The music video for "Wanna Be in LA," from the new album
Brad Paisley, Play [Arista Nashville]
Our rating: 3.5 out of a possible 5
One of country music's cleverest lyricists, Paisley seems determined to show he can also play a mean guitar. The guest vocal spots by Keith Urban and B.B. King are pedestrian compared with the frenetic jams on "Turf's Up" and "Playing With Fire." Matt Hendrickson
A preview of Paisley's guitar album
Photograph courtesy of the estate of Kurt Cobain
Seattle writer Charles Cross first saw the storage facility containing the late Kurt Cobain's quirkiest possessions while researching Heavier Than Heaven, his 2001 biography of the Nirvana frontman. Cross recently sifted through those boxes of journals, recordings, artwork, and trinkets—or what the author calls "a never-before-seen dark museum of fucked-up-ness"—to produce the new photo book Cobain Unseen (Little, Brown, $35). Accompanied by a CD of spoken-word recordings of Cobain unearthed by Cross, the book's 150 still lifes offer a haunting testament to Cobain's creativity. As the musician wrote in his journal, "Look at my stuff and figure me out." Matt Hendrickson
The Matthew Herbert Big Band,
There's Me and There's You [K7]
Our rating: 4 out of a possible 5
Herbert combines his trademark bizarro samples with a 17-piece band and vocals by U.K. jazz singer Eska for a symphonic-electronic blend that is more sublime than overpowering. Matt Hendrickson
School of Seven Bells, Alpinisms [Ghostly International]
Our rating: 3 out of a possible 5
Former Secret Machine guitarist Ben Curtis trades psychedelia for something with more thump. At times, the bass-driven sound fights with the cooing vocals from Alejandra and Claudia Deheza, but if ethereal rump-shakers are your thing, you could do worse. Matt Hendrickson
The band performs "Sempiternal" at a concert in New York City.
Photographs courtesy of Jeffrey Mayer/WireImage.com, Sarah Cass, Jeff Vespa/WireImage.com, and Joey Foley/FilmMagic
This year the crooner throne has been occupied by ladies: Katy Perry, Duffy, Adele, Kate Nash. So where are the dudes? Here's a guide to the new male singers trying to make it to the top of the charts. Matt Hendrickson
1. DAVID ARCHULETA
Hype: The American Idol runner-up possesses a syrupy voice, and he sets it free, Chris Brown-style.
Hit Potential: High—if he follows up his chart-topping "Crush" with some upgraded dance moves.
The music video for "Crush," Archuleta's hit single
2. BON IVER
Hype: This Wisconsin folkie (a.k.a. Justin Vernon) won blogger love for his debut, For Emma, Forever Ago.
Hit Potential: Low. His lonesome sound doesn't lend itself to chart-climbing.
Iver performs "Flume," from his last album.
3. TEDDY GEIGER
Hype: The 20-year-old New Yorker is John Mayer-meets-Jason Mraz.
Hit Potential: High. He lacks that winning, self-deprecating sense of humor, but the chicks dig him anyway.
Geiger covers Sean Kingston's hit "Beautiful Girls."
4. DAVID COOK
Hype: The Idol champ travels in the same circles as Nickelback, and mom-rock fans can't get enough.
Hit Potential: Middling. There's always room for another generic rocker, but Cook won't be anything more than that.
"Fall Back Into Me," from Cook's first solo album, Analog Heart
Deerhunter, Microcastle [Kranky]
Our rating: 4.5 out of a possible 5
On their third release, America's top psychedelic rockers deliver more of the druggy jams (like "Nothing Ever Happened" and "Activa") that have won them a cult following. But they also unveil their most accessible sound to date with the gentle, lilting "Agoraphobia." Matt Hendrickson
The band performs "Nothing Ever Happened" at a September concert in Los Angeles.
Photograph by Danny Clinch
With a healthy relationship and a creative spurt she calls the most prolific in her career, alt-country's queen of pain and heartbreak sounds sweet—and shockingly upbeat—on her ninth studio album, Little Honey. Here, she gets in touch with her feminine side.
Q: You do a cover of AC/DC's "It's a Long Way to the Top" on the new album. Are you a closet headbanger?
A: I was into a lot of the blues-based rock bands like Cream, the early Stones. The punk thing flew right by me, but the metal bands like AC/DC were holding on to that blues stuff. I also got into Tool, Audioslave, Machinehead.
Q: You take brat rockers like Pete Doherty and Amy Winehouse to task on "Little Rock Star." Was there a particular inspiration?
A: It's not really about Pete Doherty, but I just kept seeing his face popping up all fucked up when I was writing. Amy Winehouse is terribly disheartening, bless her little disheveled soul. Really, the song had a lot to do with Ryan Adams—he's a friend of mine—before he sobered up.
Q: Do you feel like the weary rock matriarch dispensing advice?
A: I'm 55 years old, and Patti Smith and Chrissie Hynde are the only women in my age group who are doing this thing. It's shocking. But I'm in the best place in my whole life on every level. Except I don't look as good as I used to. Matt Hendrickson
Williams performs "Real Love" on the Late Show with David Letterman
The Pretenders, Break Up the Concrete [Shangri-La Music]
Our rating: 3.5 out of a possible 5
The eighties phenoms' first album in six years is a dusty twangfest that veers between wispy, mournful ballads ("Almost Perfect") and gritty fist-pumpers ("Boots of Chinese Plastic") whose high-energy throb proves that Chrissie Hynde is still a badass. Matt Hendrickson
The music video for "Boots of Chinese Plastic," from the band's new album
Ben Folds, Way to Normal [Epic]
Our rating: 3.5 out of a possible 5
After an agonizing divorce, Folds blows off steam on his third solo album. His deadpan humor still shines through on "Dr. Yang," a frenetic ode to gurus, and "Bitch Went Nuts," about an ex who stabbed his basketball. Matt Hendrickson
The music video for "Cologne," one of the tracks on Way to Normal
Ray LaMontagne, Gossip in the Grain [RCA]
Our rating: 3.5 out of a possible 5
The gravelly-voiced singer, a grittier version of John Mayer, cuts loose with a full band for the first time, turning out stark country, dirty blues, and melancholic folk. But the album's not all gloom—its best track is an upbeat, boot-stomping love letter to White Stripes drummer Meg White. Matt Hendrickson
A photo slideshow set to "Let It Be Me," from LaMontagne's new album
Monkey, Journey to the West [XL]
Our rating: 4 out of a possible 5
Leave it to Damon Albarn of Gorillaz to produce the soundtrack to a half-live-action, half-animated Chinese circus opera. His fusion of electronica and traditional Eastern rhythms evokes the controlled chaos of a Hong Kong market. Matt Hendrickson
The trailer for Journey to the West
Grateful Dead, Rocking the Cradle: Egypt 1978 [Rhino]
Our Rating: 4 out of a possible 5
Deadheads rarely mention the year 1978, but 30 years ago the band played epic shows at the base of the Great Pyramid. The remastered versions of these tracks are transcendent, thanks to Jerry Garcia's guitar work. Matt Hendrickson
The Grateful Dead performing "Terrapin Station" in Egypt
The Chemical Brothers, Brotherhood [Astralwerks]
Our Reissue Report Card Ratings:
Archival Material: C
The dance masters' most memorable singles—as chosen by them
New Tracks: B
Two, including the tour de force "Midnight Madness"
Extras: A-
The Electronic Battle Weapon series is compiled here for the first time.
Overall Grade: B
Buy it for the Battle Weapon tracks. If you have them, wait for the live album.
The music video for "Midnight Madness," an exclusive track on Brotherhood
The Jesus & Mary Chain, The Power of Negative Thinking [Rhino]
Our Reissue Report Card Ratings:
Archival Material: A
Obscure tracks from 1988's Barbed Wire Kisses (plus 62 rare additions)
New Tracks: A-
Eight feedback-soaked pop jewels
Extras: B
Rare photos, artwork, and a poster charting the group's rotating lineup
Overall Grade: A-
White noise never sounded so good.
The music video for "Just Like Honey"
Taj Mahal, Maestro [Heads Up International]
Our rating: 3 out of a possible 5
It's a trusted gimmick—pairing a legend with some radio-friendly younger talent—and the bluesman had the sense to recruit more quality collaborators (Los Lobos, Ben Harper) than not (Jack Johnson). Too bad none of the powwows live up to the master's solo work. Matt Hendrickson
A preview of Taj Mahal's new album
Nina Simone, To Be Free: The Nina Simone Story [RCA/Legacy]
Our rating: 4.5 out of a possible 5
The lady could do it all: blues, pop, soul, gospel, jazz. This three-CD-and-one-DVD set spans her 30-plus-year career and includes eight previously unreleased tracks and a slew of sublime live recordings, such as an 18-minute cover of George Harrison's "My Sweet Lord." Matt Hendrickson
Simone performing "Ain't Got No, I Got Life" in Harlem in 1969
Photograph by Karl Walter/Getty Images
In a world of cut-and-paste music, nobody wields the sonic glue gun as boldly as mash-up artist Gregg Gillis, a.k.a. Girl Talk. On his frenetic, fist-pumping fourth album, Feed the Animals, the 27-year-old Pittsburgh native blends almost 300 samples—and proves that Soulja Boy and Thin Lizzy can live side by side in perfect harmony.
Q: You released Animals digitally, with a pay-what-you-want structure, and followed with a CD—like Radiohead. Would you have done it if they hadn't?
A: No. It wasn't a legitimate model until they did it. But it's also the first time I've had an audience who was hungry for a new record, so someone would have leaked it. It's just better to be up-front with people.
Q: You sampled In Rainbows. Did you pay for the download?
A: Nope. The industry tries to scare people into thinking it's illegal to use any copyrighted material. But there's fair use.
Q: Do you get pissed when people call you a DJ?
A: I'm not a DJ, but I see why people feel the need to label what I do. I've never played a dance club. My gigs are at the same scuzzy places as rock bands'. I don't just get up there and push play.
Q: Your shows are notoriously anarchic, with crowds dancing onstage. Do you ever worry about the safety of your laptop?
A: Yeah, I went through three last year. Lately I've been using this Panasonic Toughbook. They say you can't break it, but I broke it in Tulsa this summer. Pretty good, though—lasted me six months. Matt Hendrickson
"Play Your Part," the opening track on Feed the Animals
Cold War Kids, Loyalty to Loyalty [Downtown]
Our rating: 4 stars out of a possible 5
For their second effort, this foursome from the O.C. draw more heavily from blues joints than piano bars, resulting in a smokier album with slow, grinding gems like "Mexican Dogs" and "Dreams Old Men Dream." Another sophomore slump avoided. Matt Hendrickson
Cold War Kids performing "Something Is Not Right with Me," from their new album, at New York's Webster Hall.
Photographs courtesy of Retna UK/Universal Music
In the early to mid-eighties, college rock referred to scruffy bands like the Replacements, 10,000 Maniacs, and the Violent Femmes. Today's iteration harks back to that time but in a Rob Lowe-meets-Duran Duran sort of way—which makes sense, since college rock circa 2008 is crisp Ivy League-born pop. Following the success of Columbia grads Vampire Weekend, the effervescent new It band Chester French, a Harvard-educated duo, are finally releasing their springy, much-hyped debut. Here, a look at college rock's valedictorians, then and now.
THE SOUND
The Replacements: A blistering mix of punk, rock, and heartfelt songwriting
Chester French: The Zombies if they hung out at hip-hop clubs
THE STUDIES
The Replacements: Beer for breakfast (later a song title). None of the original members graduated from high school.
Chester French: D.A. Wallach majored in African-American studies, Maxwell Drummey in social anthropology.
THE LOOK
The Replacements: Flannel shirts and the occasional diaper (worn onstage by lead guitarist Bob Stinson)
Chester French: Pastel plaids and boat shoes
THE VENUES
The Replacements: Basements, dive bars, and even divier bars
Chester French: Their dorm-basement recording studio and college bars
SMART CAREER MOVE
The Replacements: Deciding to sign with a major label, Sire Records—six years in
Chester French: Getting a demo into the hands of Kanye West's manager
MUSICAL HIGHLIGHT
The Replacements: Of all their now classics, none is better than "Color Me Impressed," from 1983's Hootenanny.
Chester French: It's early, but their ode to high-maintenance girlfriends, "The Jimmy Choo's," is insanely catchy.
CELEB FRIENDS
The Replacements: R.E.M. The two upstart groups toured together.
Chester French: Pharrell Williams, who signed them to his label after a fierce bidding war with West and Jermaine Dupri
THE GROUPIES
The Replacements: Twentysomethings in white Hanes tees and tattered $10 jeans
Chester French: Twentysomethings in white Ray-Bans and tattered $300 jeans
"She Loves Everybody," set to pictures of the band.
Brian Wilson, That Lucky Old Sun [Capitol/EMI]
Our rating: 4 stars out of a possible 5
On this ambitious concept album about life in L.A., the former Beach Boy mixes his trademark shimmering harmonies (the standout is the spine-tingling "Midnight's Another Day") with wild, poetic spoken-word interludes. Somehow it works, and this old surfer continues to prove he can ride new waves. Matt Hendrickson
A sampling of Wilson's new album, with commentary
Johnny Flynn, A Larum [Lost Highway]
Our rating: 3.5 out of a possible 5
A Shakespearean actor turned folkie? Don't worry—Flynn is like Damien Rice but with cojones. His mix of traditional English melodies and American blues is catchy without being precious—especially on the Pogues-like romps "Leftovers" and "Sally," which reek of the booze in which they were born. Matt Hendrickson
The music video for "Leftovers"
The Faint, Fasciination [blankwav]
Our rating: 2.5 out of a possible 5
Blander than LCD Soundsystem and funkier than the Rapture, the Faint occupy dance-rock's middle ground. Their fifth album is edgier (see "The Geeks Were Right"), but still between fire and ice—where, as Spinal Tap's Derek Smalls says, you find lukewarm water. Matt Hendrickson
The band performing "The Geeks Were Right" in concert
Aaron Parks, Invisible Cinema [Blue Note]
Our rating: 4 out of a possible 5
A jazz pianist who takes risks—he's covered Radiohead's "Knives Out"—the 25-year-old Parks is a wonder on his major-label debut, raining down notes at a punishing pace, then pulling back (as on the slow-burning epic "Peaceful Warrior") without disrupting the groove. Matt Hendrickson
Juliana Hatfield, How to Walk Away [Ye Olde Records]
Our rating: 4 out of a possible 5
On her ninth solo effort, the alt-rock goddess sheds her insecurities and turns out her most searing lyrics to date on tracks like "Shining On" and "Just Lust," in which she swears off drunken one-nighters. It's as if she wrote this over drinks with Liz Phair and PJ Harvey. Matt Hendrickson
The music video for "This Lonely Love," from Hatfield's new album
Buzzin' Fly 5, Golden Years in the Wilderness [Buzzin' Fly]
Our rating: 4.5 out of a possible 5
Everything But the Girl's Ben Watt has spent the past half-decade releasing exceedingly cool house and techno on his label Buzzin' Fly, and he celebrates with a three-CD retrospective. The first is for grinding, the second for chilling, and the third for impressing record-store clerks. Matt Hendrickson
Dr. Dog, Fate [Park the Van]
Our rating: 4 out of a possible 5
These Philadelphia pop experimentalists have been using a Beatles-based formula for a while, but now they've mixed in enough rustic indie weirdness (like the Pavement-esque guitar and lo-fi vocals on "Hang On" and "The Old Days") to get them past the Abbey Road comparisons. Matt Hendrickson
Dr. Dog performs "The Old Days" at Johnny Brenda's, in Philadelphia
Photo by Butch Hogan
This month the 28-year-old singer-songwriter behind Bright Eyes releases Conor Oberst, his first solo album since 1995, when he was a teen growing up in Omaha. It's a project with a rough, roadhouse vibe—the sound of Oberst cutting loose with a few friends.
Q: Do you write songs with a specific project in mind?
A: I don't think about which is a Bright Eyes song or which one is for me. The Cassadaga record [Bright Eyes' 2007 effort] took so long and it took so many people—it was stressful. For this one I knew I wanted to record over the winter and I wanted to go somewhere.
Q: You ended up at a mountain retreat in Mexico. Was it your spring break?
A: It was. We'd sleep in, wake up, eat, record for a while, then drink beer and make fires at night. The piano was on the porch and there were crickets at night—you can hear them on the album. There were a lot of extra sounds. I don't know what the deal was, but in town they set off fireworks every night, one neighborhood trying to outdo another. It was wild.
Q: You vowed not to play any venues owned by Live Nation. Still sticking to your guns when you tour?
A: I haven't changed the stance on that. It's not so much a problem with them, but I want there to be competition. If there's a local, independent promoter and we can play for them rather than a huge company, great. It's like shopping at your favorite corner deli versus Wal-Mart. Matt Hendrickson
The Hold Steady, Stay Positive [Vagrant]
Our rating: 3.5 out of a possible 5
Lead singer Craig Finn, one of rock's great shouters, actually sings, while the band fills out their barroom bluster with lusher textures, on standout tracks like "One for the Cutters" and the slow-burning "Lord, I'm Discouraged." Don't be blue, Craig—they're all positive jams. Matt Hendrickson
John Mellencamp, Life, Death, Love and Freedom [Universal Republic]
Our rating: 3 out of a possible 5
With help from producer T Bone Burnett, Mellencamp goes dark with spare songs about mortality ("A Ride Back Home") and heart-wrenching laments (the grinding "Jena") that are resonant enough to make you forget—just for a moment—about that damn Chevy ad. Matt Hendrickson
A sampling of the songs on Life, Death, Love and Freedom
By Hedi Schumann/The New York Times/Redux
In the chaotic world of the Wu-Tang Clan, no one makes bolder moves than its mad genius, RZA. He's just released his third album as alter ego Bobby Digital, the way-out-there, deeply funky Digi Snacks, and he's launched, of all things, Wu-Chess. The free gaming site lets players compete with and IM other users, who include various Wu-Tang rappers, among them RZA himself. "It's a whole new world of myth and reality, where people can come talk about chess and challenge the Wu members in our chambers," he says. Scrabulous? Checkmate, mofos! Matt Hendrickson
