The music world converged on Austin, Texas today for what is generally viewed as the biggest, bestest music industry event in the world. The thing that makes SXSW so unique is that you not only know you’re going to see some great bands you’ve had your eye on, but you’re also going to discover some great new bands. There are so many playing all over town all day for four straight days, so you can’t help but just stumble upon some cool new sounds.

This was the case early on when the line to try and see Broken Bells’ 1:00pm Red River garage show was too long to get in. I wandered over to the Mohawk up the street and there was a band throwing down a strong sound with some Neil Young/Crazy Horse vibes, and some of that My Morning Jacket kind of vibe. It was Yukon Blonde from Vancouver BC. Good stuff.

The line at the Forcefield PR/Terrorbird Media day party at Red 7 was also way too long, so again I wandered up the street and heard some Beatles coming out of Jaime’s Spanish Village, a Mexican restaurant across the street from Stubbs BBQ. It has a small patio where The Eggmen where dishing out the Beatles tunes, which sounded great on a warm sunny afternoon. It was a rotating lineup, with seven musicians up there for great readings of “I’m Only Sleeping,” “Fixing a Hole,” “From Me to You” and “All You Need is Love.”

I waited in a crazy 45-minute line to get into the Levis/Fader Fort, because I wanted to see Philadelphia band Free Energy. The band’s studio stuff sounds amazing, but it was too bad they didn’t seem able to match it live. They have great gear, great looks and a great name, but something in the musicianship seemed lacking. Maybe I’ll give them another shot on Friday. The venue was pimped out though, dubbed by one fan as “a funhouse for hipsters.”

Walking past the Independent up the street, I heard the call of a bluesy sound, the Maldives from Seattle were rocking out, also with a Crazy Horse vibe, and maybe some Ryan Adams & the Cardinals influence. The Canadian Blast tent outside by the registrants lounge closed out with Plants and Animals, who blended reverb-y vocals with a cool groove to close their set. Austin’s own Strange Boys packed Emo’s Jr for an 8:00 set of their retro ’60s-style garage rock. There were moments, but I don’t think it was really my thing.

Jonneine Zapata out of Los Angeles caught my attention first with her name and then with her powerful voice at the Red Eyed Fly. This is a great little venue with nice outdoor stage where Zapata and her band rocked the stage with a powerful bluesy sound that recalled Concrete Blonde.

Here We Go Magic packed Club Deville for a 9:00 set. The sound was excellent although the songs kept seeming like they were building up to something that never came. They were doing something right though, as the indie rock crowd seemed to dig it.

Sharon Jones and the Dap Kings tore up the stage at Stubbs BBQ, with the great band throwing down ’60s and ’70s-influenced funk behind the soul queen. This was the first major highlight of the day.

I caught up with Broken Bells when they followed Jones at Stubbs and James Mercer of The Shins led the band through a collection of tunes that sounded pretty Shins-y, with maybe more synth and less guitar. But when they added some more guitar toward the end, it was even better.

I bailed waiting for Spoon at Stubbs to go back to Emos main for Nas & Damian Marley. Mixing the hip-hop with the reggae was a slamming formula for the really packed crowd, who loved every minute. This is the new duo to watch out for in 2010, what a great set! It was all too brief though, leaving me able to catch the end of Spoon’s set. These guys confuse me. They play three songs in a row that are kind of blah, and then just when you’re about ready to give up on them they throw down a great rocker. Then they play two or three more blah, than some dope groove. Strange formula.

Compared to last year, this first day was so-so at first, picking up toward the end. Things looked primed to pick up tomorrow though, stay tuned…

RIYL: Buddy Guy, Stevie Ray Vaughan, Phish

The music gods have once again seen the time fit to bless us Earth-bound humans with some more musical treasure from the late 1960s, this time with 12 previously unreleased studio tracks (mostly from 1969) from the greatest guitarist of all time. They sound more like they were recorded in 2009, which is fitting since Jimi was way, way ahead of his time. Thanks go to Jimi’s timeless skills and mixing by the great Eddie Kramer, who engineered Jimi’s recordings back in the day.

The title track is obviously the centerpiece of the album, and for good reason. If one tried to imagine a lost track from the First Rays of the New Rising Sun sessions, this is exactly what you would hope for. It’s got the funky sound that Jimi was exploring more and more toward the end of his all-too-brief time here on this rock, along with the metaphysical vibe he was increasingly getting into, with lyrics referencing Atlantean love songs and impending Earth changes. It’s classic late-era Jimi – the louder you turn it up, the better it sounds. The song is sandwiched in between a smoking “Stone Free” and a cover of Elmore James’ “Bleeding Heart,” to open the album with three consecutive numbers featuring Billy Cox on bass, while the rest of the album has Noel Redding.

Jimi’s take on “Bleeding Heart” is an up-tempo bluesy rocker that sets the stage for deep blues treasure on “Hear My Train a Comin’.” The latter is well-known by fans of Jimi’s highly influential Band of Gypsys project, with the Live at Fillmore East version being one of Jimi’s greatest performances. But it’s always nice to get another version of a seminal jam, and Jimi is clearly feeling it here. Clocking in at seven and a half minutes, it’s the second longest track on the album (only “Red House” is longer), and it’s a showcase for all of Jimi’s skills with some nice scatting going on behind the first solo, and then some of his best wailing on the second solo.

The album also features two other premiere performances. “Ships Passing Through the Night” presents a mid-tempo tune about lonely ships hooking up and shaking the blues out of one’s hair. “Lullaby for the Summer” features Jimi riffing out all over, with the trio shifting directions toward a more syncopated groove in the middle of the song. This makes Jimi’s hot licks stand out even more, demonstrating superb use of sonic spacing.

“Mr. Bad Luck” is a funky blues workout from 1967, with Jimi clearly having been in a good mood during the recording. “Lover Man” gets a similarly tasty workout, but it’s Cream’s “Sunshine of Your Love” that conjures the big jam. Several live versions have been released before, but this one is a keeper, with a nice breakdown in the middle that builds back up into a big crescendo.

Familiar classics “Fire” and “Red House” get fresh readings and Jimi’s playing is scintillating on each. “Red House” gets the deluxe treatment with an extended jam taking the track past eight minutes as Jimi digs deep into the blues well. The album closes out with “Crying Blue Rain,” a tune that starts as a slow burner but picks up speed until it’s cruising over a galloping bass line. Jimi doesn’t go wild, but his rhythm playing is quite inventive, creating a superb collective groove that shows how to play for the song. He’s still the master.

RIYL: Greyboy All Stars, The Meters, The Dirty Dozen Brass Band

As an instrumental band known for kicking down big jams in the live setting, Galactic is part of a jam band genre not particularly known for creating classic albums. But the New Orleans funk rockers used to have a singer (the Houseman) and have enjoyed collaborating with vocalists when they can. They’ve taken the opportunity here to bring in a bunch of local friends to create a real album instead of just a collection of grooves. The liner notes deem it as “post-flood musical reality from a 291-year-old-city that’s had a near-death experience.” It’s an apt characterization for what will surely be one of the most unique albums of 2010.

The album kicks off with a fellow who sounds sort of like Professor Farnsworth from “Futurama” talking over a groove about some of the creative science behind the band’s festive formula. And then it’s on like Donkey Kong, with Galactic and friends throwing down one fresh cut after another to create a genuine party album. The Rebirth Brass Band joins in for “Boe Money” and “You Don’t Know,” bringing the extra horns that signify a truly authentic New Orleans style fiesta. The latter song also features Glenn David Andrews singing the blues on a sizzling cut with funky wah-wah, sharp horn lines and snazzy percussion from drummer Stanton Moore, long the driving force behind the band.

One of the best cuts is “Cineramascope,” which features extra horn action too, thanks to Trombone Shorty and Corey Henry (trombonist from the Rebirth Brass Band.) Bassist Robert Mercurio and keyboardist Rich Vogel get a deep groove going with Moore, giving the trombones and saxman Ben Ellman a great platform to jam over. Henry played a number of shows with the band on their fall tour and the chemistry shows. This track is probably the closest on the album to what the band sounds like live these days. Another stand-out is “Dark Water” with John Boutte, which has guitarist Jeff Raines helping to conjure a gritty yet still ever-groovy vibe with some slick bluesy riffage. Irma Thomas brings some old school soul to “Heart of Steel,” while Big Chief Bo Dollis does the same in a more up-tempo way on “Wild Man.” Allen Toussaint guests on “Bacchus” and sings about getting with the future so you don’t get left behind. This is a concept that Galactic personifies, blending jazzy old school roots with their trademark future-funk. Legendary guitarist Walter “Wolfman” Washington also shows up to bring his patented old-school bluesy vibe to the slow burning “Speaks His Mind.”

Hip-hop out of the New Orleans subgenre known as bounce is featured on several tracks, with the band taking the opportunity to introduce several gender-bending “sissy rappers.” Big Freedia throws it down over a slamming beat in “Double It,” while Katey Red and Sissy Nobby dual with each other on the high-energy “Katey vs. Nobby.” But the best bounce song on the album is “Do It Again,” featuring Cheeky Black on a cut that’s so hot they reprise it at the end of the album. The ridiculous video for the song is to be avoided, but the audio track rocks. Using so many different guests could create a disjointed feel, but Galactic tie it all together with a cohesive vibe thanks to their ace musicianship that serves as the foundation. (Anti- 2010)

Galactic MySpace page

RIYL: The White Stripes, James Brown, The Rolling Stones

When the Heavy broke with their debut, it truly was Great Vengeance and Furious Fire from every speaker. Listening to that album was like getting kidney punched by the raunchy, drug dusted love child of Curtis Mayfield and the Gallagher brothers. “That Kind of Man” and “Girl” were sheer aural addiction, funky and fun and groovy as hell. It was a smashing debut, chock full of powerful singles…and seemingly no one noticed it at all. The US release in 2008 made no discernible impact, and that is a crying shame.

Now the Heavy are back with The House That Dirt Built, turning up the volume and the heat by taking their ‘60s and ’70s influence and punching it up with everything from jacked up Bo Diddley beats to Roland Gift-like vocals wrapped in roughly layered, minimalist production. “How You Like Me Now” is full tilt James Brown-esque bravado that shifts into a Mick Jagger-like pleading bridge before ending with a seriously hard-hitting, percussion-driven finale. They also continue to use digital samples to set mood and theme in a way reminiscent of Big Audio Dynamite’s first records. “Short Change Hero” is their Sergio Leone ode while at the same time begs for a Grace Slick vocal.

The most amazing part of this record is the fact that every song makes you sit up and take notice, every track distinct, but the album has an overarching consistency that pulls it all together with consistently dark and driving bass lines, fearless guitars and select horn lines. Throughout, Kelvin Swaby’s vocals chant, scream, croon, plead, growl and demand, always playful and soulfully sexy by turns. The Heavy know how to construct a song to be a hit, short and to the point, catchy without being predictable. This shows up in their hard rocking “What You Want Me To Do?” Two minutes and 38 seconds of grinding desperation and desire. Few bands can take such clear and well known influences and make it sound fresh and new, but The Heavy excel at it. Check this album out. Play it loud, and as David Letterman demanded, play it again! (Counter Records 2009)

The Heavy MySpace page

As I compiled my list of the best music of the decade (a much, much longer list than you see here) one inescapable conclusion reared its shaggy head: the last 10 years pretty much belonged to Jack White.

How many other artists produced five stellar albums in the aughts, not to mention a couple of killer side projects and (that old rock critic standby) incendiary live shows?

No one, that’s who.

So, the best album of the decade really came down to which White Stripes album did you like more, White Blood Cells or Elephant.

Thankfully there’s no wrong answer. I first became enamored of “Fell in Love With a Girl,” totally fell for “Dead Leaves and the Dirty Ground,” became quite close to “We Are Going to Be Friends” and spent a lot of time in “Hotel Yorba” and “Little Room.”

On the other hand, Elephant had “Seven Nation Army.”

“Seven Nation Army,” motherfuckers. How could a song released in 2003 sound like it invented the bass line? Not just that bass line, but the whole concept of bass lines.

So as we recap our favorites of the decade, rock lives on into the new century in various forms, from low down and dirty to high and arty to pulsating and poppy, while what was once the cutting-edge hip-hop has devolved into auto-tuned disco synth. No doubt something new will emerge in the next decade to take our minds off it.

1. The White Stripes: White Blood Cells (or Elephant)
2. Wilco: Yankee Hotel Foxtrot
3. Outkast: Stankonia (or Speakerboxx/The Love Below)
4. Green Day: American Idiot
5. The New Pornographers: Electric Version (or maybe Mass Romantic)
6. The Flaming Lips: Yoshimi Battles the Pink Robots
7. LCD SoundsystemL Sounds of Silver
8. TV on the Radio: Return to Cookie Mountain
9. Jay-Z: The Blueprint
10. The Strokes: Is This It?

Just a few of the runner-ups:

Queens of the Stone Age: Songs for the Deaf, Rated R
Belle & Sebastian: Dear Catastrophe Waitress
Drive By Truckers: Southern Rock Opera, Dirty South
Sufjan Stevens: Come On Feel the Illinoise
Arcade Fire: Funeral
Franz Ferdinand: Franz Ferdinand
Decemberists: Picaresque, Crane Wife
Radiohead: In Rainbows
Ben Folds: Rockin’ the Suburbs
Missy Elliott: Miss E…So Addictive
The Roots: Phrenology

RIYL: Prince, MGMT, Death Cab for Cutie

They are only releasing their third album, but OK Go has rather shrewdly defined themselves as a multimedia phenomenon rather than a rock band. It’s a genius move, really, because suddenly the standard benchmarks for judging a band’s success are thrown out the window. Did the last album go gold? Who cares? The video they made of themselves dancing on treadmills has racked up over 49 million plays on YouTube. They are, in short, the kind of band that record labels used to kill to have on their roster; their devoted fan base would guarantee that all of the band’s albums would sell reasonably well, and as an added bonus, they allowed their bean-counting overlords to tell people that they believe in the creative process above all else. (Pssst. They don’t.)

You get the sense that the band is more than aware of their rather fortunate place in the pop universe, because they just used that freedom to create their most adventurous, and consistent, album to date. Of the Blue Colour of the Sky bears little resemblance to the over-caffeinated power pop that once served as the band’s calling card, trading the muscular grooves of their 2005 album Oh No for something, well, groovier. Prince’s influence is all over the place, from the Parade-ish “WTF?” (complete with a 5/4 time signature and rip-roaring solo) to the slammin’ “White Knuckles,” which is one of the best “1999″ covers ever. (Likewise “End Love,” which is this album’s “I Would Die 4 U.”) Singer Damian Kulash gives the falsetto an extensive workout here, which is fitting with the lyrical content; he’s clearly had his heart broken – “Needing/Getting” is the Jilted Lover song of the year – so the falsetto gives good voice to his pain.

If they’re smart, OK Go will consider adding producer Dave Fridmann as an unofficial fifth member, because his influence here cannot be underestimated. The drum tracks sound like the stuff of Steve Lillywhite’s wet dreams circa 1983, and the guitars are crystal-clear. He clearly encouraged the band to think big, because these songs bob and weave in ways the band had never dared to try before; “Needing/Getting” and “Skyscraper” both feature lengthy outros, and the overall sound is positively massive compared to the stripped down Oh No. If there’s a catch, it’s the album’s final third; there is nothing particularly wrong with the songs, but emotional fatigue begins to creep in. And then, in the final moments of closing track “In the Glass,” they clean the slate with one hellacious tribute to “I Want You/She’s So Heavy,” a slow-building, climbing/falling chord sequence that will give Chris and Ben from Death Cab fits. If only Fridmann hadn’t recorded the drums so hot at the end; the music is so pretty, but when turned above a whisper, the drums sound like an avalanche. Pity, since Fridmann had done such a good job avoiding that pitfall up until then.

Of the Blue Colour of the Sky may not bring many new fans to the OK Go camp – outside of a few Prince devotees – but we’re guessing that doesn’t really concern the band much, and that is exactly how it should be; the second a band starts worrying about what other people think of them, they’re done. At this rate, it wouldn’t surprise us to see OK Go turn into the pop equivalent of Wilco. God knows, the world could use more of those. (Capitol 2010)

OK Go MySpace page
Click to buy Of the Blue Colour of the Sky from Amazon

The 2000’s weren’t great for breaking new and exciting artists but some established folks sure put out some good material. The Purple one returned to make his best record in a long time and a metal specialist put out a mellower, kinder disc with compelling results. One of the best characters the music business has ever produced created an incredible record about saying goodbye with grace and dignity; he pulled it off with a little help from his friends. In our final final installment of our series on the best of the 2000s, here are the ten best releases from the most recent decade:

1. Warren Zevon: The Wind (2003)
Zevon was a ridiculously clever songwriter and half the time you couldn’t tell if he was making fun of you while you found him clever or not. He was intelligent, witty and knew how to construct a great song. Faced with terminal cancer, he willed himself to complete the album and see it completed (in direct contrast to his doctors’ orders). It was more than a simple swan song; it was a graceful and bittersweet conclusion to his life and underrated career. An all-star cast of cameos (Bruce Springsteen, Dwight Yoakam, Don Henley and Tommy Shaw, to name a few) really enriched the material. “Keep Me in Your Heart” is the sweetest, most haunting ballad ever written and a further demonstration of the class and dignity of the artist.

2. Aimee Mann: Bachelor No. 2 or The Last Remains of the Dodo (2000)
No one quite knows how to tell someone to fuck off as intellectually as she can. The fact that she had to rescue the album from the record company just like Wilco had to rescue Yankee Foxtrot Hotel makes this album even more satisfying. She always comes up with strong material but this record is perfect. Several tracks appeared on the “Magnolia” soundtrack. The rest of the material is sharp, melodic, catchy and full of unmistakable and brilliant Aimee Mann lyrics.

3. Sugarland: Twice the Speed of Life (2004)
A flawless country record with incredible pop crossover appeal. Jennifer Nettles establishes herself as a tremendous front woman and the material is top notch. There isn’t one wasted track. “Baby Girl” is a tremendous tune because the story feels authentic and the ballad “Just Might (Make Me Believe)” is Nettles at her best as she sings the hell out of it.

4. Johnny Cash: American IV – The Man Comes Around (2002)
As Cash is dying, Rick Rubin gets one more gem out of him, including the haunting version of “Hurt” in which Cash clearly steals the song away from Trent Reznor. Guest appearances by Fiona Apple, Don Henley and Nick Cave really enhance this marvelous record of Cash covering other artists and re-interpreting a few of his own. I suppose, off the top of your head, you would figure that Johnny and Nine Inch Nails, or Johnny and Depeche Mode would be silly, but you would be wrong. This is the best of the four American Recording records, but the other three are terrific also.

5. System of a Down: Mezmorize/Hypnotize (2005)
The three previous records indicated how good SOAD could be, but these two records realized all that potential and to this point is the pinnacle of their work. Angry, assaultive, and full of noise and tempo changes, these two records leave you exhausted and your ears begging for both mercy and for more. Serj Tankian and Daron Malakian blend their voices perfectly similarly to the way that Layne Staley and Jerry Cantrell did in Alice in Chains. Serj is clearly the lead, but Daron (like Jerry) adds an intense layer of complementary harmony and occasional leads. Serj’s solo record is very good (Elect the Dead) and Scars on Broadway (Malakian’s band) had some solid moments, but I believe the whole is better than the sum of the parts. The parts have put out some compelling stuff: bring back System of a Down.

6. Cathy Ricardson: Delusions of Grandeur(2006)
Now that she is a member of Jefferson Starship and busy touring with her own band, I wonder if she will have time to produce any more records under her name. This is an incredible work of art, from the songwriting to the soulful vocal performance to the album packaging. It is exquisite and her talent is overwhelming. It was my favorite record of 2006 and belongs on this list as one of the best of the decade. Her ability to move seamlessly through genres and sound equally at home and competent is unique. “Overwhelmed” is an absolute gem and a perfect example that Ms. Richardson knows exactly how to use that extraordinary vocal talent. “Ain’t No Home” is flawless laid back soul which much like the rest of the record sharply expresses the pain of loneliness. This is a great record, period.

7. Devin Townsend: Ki (2009)
Talk about a change-up. Townsend has been the songwriter, shredder and lead screamer for Metal monsters Strapping Young Lad, sang lead for Vai (the one album band project for guitar God, Steve Vai) and produced some fascinatingly heavy records under his own name and the Deven Townsend Band. After taking a break from touring and writing to clean up and recharge, Towsned’s first record in a four-record cycle is mellow, engaging, beautiful and melodic. Many of those adjectives shocked Townsend enthusiasts, but the man has depth. Ki is an incredible record which shows that the man can write very interesting introspective stuff and sing, yes, he can sing. Ki adds to the amazing range of a gifted musician. His sense of purpose in following his own muse, not what is expected, is a necessity that the music industry desperately needs.

8. Prince: 3121 (2006)
The little purple fellow finally put out a record that was worthy of his royal name. Yes, he borrows heavily from himself, but he funks the heck out of the album and it is a fabulous addition to his accomplished catalog. Most of his records after Purple Rain featured excellent tracks, but no record is as consistent as this one. He turns up the volume on the bottom end and really lets it fly. It took a long time to get to 3121, but it was well worth the wait.

9. The Mob: The Mob (2005)
There is something exhilarating when a band comes out of nowhere (unfortunately they’re most likely a one-off) and produces a spectacular melodic hard rock record that no one saw coming (and probably no one outside of Europe heard much). This super group made up of shredder Reb Beach (Winger, Dokken, Whitesnake), Dug (yep he changed his name) Pinnick (King’s X) on vocals, keyboardist Timothy Drury and drummer Kelly Keagy (Night Ranger), was produced by Kip Winger. The music is tight, the production is pristine and the songs are memorable. “The Magic” is a great power ballad and the best thing sung by Kelly Keagy (his only lead on the record) since “Sister Christian”.

10. Richard Marx and Matt Scannell: Duo (2008)
I am going to catch hell for this, but the ’80s ballad schlockster and the lead voice and songwriter of Vertical Horizon combine for an absolutely gorgeous recording of nine previous hits and one original. The production on this is clear; every strum on the guitar and vocal harmony is treat for the ear. Their voices blend naturally and the material sounds fresh and revitalized by these simple but elegant arrangements on acoustic guitars and occasional piano.

Honorable mentions certainly can be passed out to the following which just missed out on the top ten:

2000
XTC: Wasp Star: Apple Venus Volume 2
Nik Kershaw: To Be Frank

2002
Maroon 5: Songs About Jane

2003
Switchfoot: The Beautiful Letdown

2004
Incubus: A Crow Left of The Murder,
Green Day: American Idiot
Tears for Fears: Everybody Loves a Happy Ending
Bowling For Soup: A Hangover You Don’t Deserve

2005
Glenn Hughes: Soul Mover

2006
Queensryche: Operation: Mindcrime II

2009
Heaven & Hell: The Devil You Know

RIYL: Fusion jazz, jambands, Bernie Worrell, Galactic

If you are sick of the state of the music business, if you need some new music that sounds truly new, if FM radio bores you to tears and even the blog-rock CDs showing up on every music site’s “best of” list lets you down because it all sounds like half-practiced, overproduced slacker junk played by snotty people you wouldn’t invite to parties at your place…please go and buy this box set. The culmination of the two-year Radiolarians project, The Evolutionary Set is the career pinnacle of MMW, jazz-rocking experimentalists who are neither jazz nor rock, but “avant-groove.” Kind of an thinking-fan’s instrumental Phish, this trio started with an idea in 2007: Write some proto-jams, briefly rehearse them, take them on tour, develop them live, and then record the finished project. It spawned three ridiculously tight, sometimes funky, sometimes rockin’, sometimes ambient-noodling numbers that sound like nothing you’ve heard. It doesn’t hurt that these guys not only have played together almost two decades, but that they’re exceptional players. The box set includes the three Radiolarians albums, a double-vinyl set, a DVD documentary, a remixes disc, and a live album. It’s intelligent jazz, it’s primitive rock. It’s funky stuff. It’s an updated 2009 version of the strangely beautiful Miles Davis period that included the records On The Corner and A Tribute to Jack Johnson. It’s everything indie music’s all about, and while the major labels and commercial radio won’t touch this stuff, you should. (Indirecto Records, 2009)

Medeski Martin and Wood MySpace page

Somewhere in California, Beck is throwing stuff across the room, pissed that he didn’t come up with this first.

The project of French expatriate Hervé “RV” Salters, General Elektriks is minimalist blue-eyed funk filtered through a microphone and a bevy of vintage synthesizers. RV seems particularly fond of the Clavinet (think “Superstition,” “Trampled Underfoot”), which makes sense considering it’s arguably the funkiest instrument ever created. Adding the horns for the last verse is a nice touch, too.

Wow, look at that shirt and tie combo. All right, so the guy might be color blind. But when it comes to music, color blindness is never a bad thing. It-it’s time to get, it-it’s time to get funky, kids.

General Elektriks – Take Back the Instant

General Elektriks MySpace page

RIYL: Aretha Franklin, Christina Aguilera, Sly & the Family Stone

British soul singer Joss Stone’s fourth album finds her mining some familiar territory, but also stepping out with a variety of collaborations that touch on fresh ground. Opening track and lead single “Free Me” sets the tone with a feel-good, funky soul rock number that Stone does as well as anyone these days. Later tracks like “Incredible” and “You Got the Love” also mine upbeat funky grooves where Stone’s dynamic voice really shines. The sounds of the early ’70s are well represented on R&B lament “Could Have Been You” and “Parallel Lines,” which opens with some electric piano funk that recalls Stevie Wonder’s classic “Superstition.” No less than Jeff Beck adds tasty guitar fills while Sheila E. provides the backing vocals for one of the album’s best tracks.

“4 and 20” is a playful ballad not about the sweet leaf, but Stone’s desire for a man to prove his love 24 hours a day. Raphael Saadiq chips in vocals on “Big Ole Game,” a funky mid-tempo tune with a sexy vibe, while hip-hop ace Nas helps Stone out on “Governmentalist,” a socially conscious number with a dirty blues-funk sound that would fit right in on the “Dead Presidents” soundtrack. “Trying to find the truth behind the lies,” sings Stone, before Nas comes in to talk smack about cops, the FDA and others who try to keep the people down – “Governmentalists killed the Kennedies, I heard that Joss Stone got the remedy,” raps Nas. David Sanborn contributes some big sax lines to the old school Bo Diddley-type blues of “I Believe It to My Soul,” and Jamie Hartman trades vocals with Stone on moody ballad “Stalemate.”

Colour Me Free finds Stone, still just 22 years old, continuing to expand her sonic palette in a world that would seem to be her oyster. The fact that she’s also willing to take a deeper look at that world on a tune like “Governmentalist” shows that she’s got a lot more happening upstairs than most of her pop contemporaries as well. (EMI 2009)

Joss Stone MySpace page