Jean-Pierre Ferland/Various
Jaune_2005 (GSI/Select)
Groundbreaking and controversial in its day, Ferland’s ambitious 1970 opus Jaune rewrote the rulebook of the chansonnier de chez nous to fit the post-Beatles, prog-pop era. A third of a century later, it’s recognized as an all-time Quebec classic, a fact reflected in this track-by-track series of “revisitings.” Notable Quebec talents like Champion, Montag with Sixtoo, Freeworm and Carl Bastien (plus token Frenchmen Kid Loco and Nicolas Repac, the latter Arthur H’s guitar guy) refurbish Ferland’s gems with the perfect balance of innovation and reverence. Highlights include Jérôme Minière’s gorgeous take on “Le petit roi” and multiple versions of “Le Chat du café des artistes,” the original album’s grand, haunting tentpole tune. 9/10 (Rupert Bottenberg)

Foo Fighters
In Your Honor (RCA/Sony)
This two-CD set is divided into a rock record and an acoustic record, but sadly this should’ve been one disc as there’s plenty of filler within the 20 songs here. The title track holds promise, with Grohl borrowing some QOTSA arrangements, but things get pretty beige quickly with the redundant “No Way Back” and the mundane “Best of You.” Things do get back on track with the riff heavy “Free Me,” but the highlights are just too few and far between. The accompanying acoustic CD just seems like bonus tracks that should’ve never left the cutting-room floor. 5.5/10 (Johnson Cummins)

Clutch
Robot Hive/Exodus (Universal)
Clutch are probably one of the most unsung bands in rock right now, but this new one could change all that. Sticking to the plan, Clutch are still taking southern-fried rock and mixing it in with some Funkadelic/Zappa groove and, as good as their previous efforts were, they really hit their stride here. “The Incomparable Mr. Flannery” boogies like a motherfucker, while “Burning Beard” rages white-hot. Occasionally the loaded lyrics do trip over the jams, but more often than not these barbed pearls really add new dimensions to this riff fest. Robot Hive/Exodus is what the future of rock should sound like. 9/10 (Johnson Cummins)

Sparrow
The Early Years (Absolutely Kosher)
Vancouver’s Sparrow may lack the rock punch and emotional zeal of its leader James Zumpano’s previous bands—classic Canadian Sub Poppers Zumpano and Dan Bejar’s Destroyer, both from the New Pornographers’ family tree—but their sunny, slightly overcast pop stands up in its own right. Jangly guitars, analog keys and supporting strings and trumpet step lively to Zumpano’s pop compositions, largely light but not lightweight. His vocals don’t always impress, but most songs benefit from creative harmonies with Young and Sexy’s Lucy Brain (who joined Sparrow last year), sealing the success of the band’s third album. 8/10 (Lorraine Carpenter)

Teenage Fanclub
Man-Made (Merge)
With sturdy yet serene vocals and guitars, and touches of breezy strings and sullen piano, Glasgow’s Teenage Fanclub return from a five-year hiatus with a dozen tunes to lazily bob along to. Their seventh LP was produced by Tortoise’s John McEntire, also known for his work with Stereolab and the High Llamas. The album’s almost uniformly midtempo, mellow aesthetic makes for a few forgettable songs, but the quiet confidence of their refined indie-rock sound somehow feels right, like bran or broccoli. 7.5/10 (Lorraine Carpenter)

Stewart Walker
Grounded in Existence (Persona/Fusion III)
Minimal techno fans will no doubt recognize Walker as one of the more creative and driving acts on the now defunct (but rumoured to be returning) Force Inc./Mille Plateaux label nexus. In fact, most microsound heads still rate his Discord collab with Geoff White as one of the all-time best releases on the label. But while Walker seemed to have the Amercian side of glitch-no groove pretty much locked down, he’s always ridden the line between dancefloor and home listening. On Grounded…, Walker further pushes his deep and laid-back side with 11 tracks of melodic, blissed-out bedroom beats. 8/10 (Raf Katigbak)

Optimo
Present Psyche Out (Eskimo/Fusion III)
In the current question mark that is the electronic music industry—as Warp signs indie folk acts and producers like Caribou reinvent their sound—it seems like IDM labels and producers are picking up on what labels like Belgium’s Eskimo knew all along: it’s diversify or die. Eskimo have a longstanding tradition of hooking up with some of the most open-minded and freshest DJs around. Here the Optimo duo, JG Wilkes and JD Twitch, drop a wonky blend of psych-rock (Hawkwind) and classic acid (Fast Eddie), Herbie Hancock and the Stranglers, Mr. Fingers, the Temptations and so much more. Amazing! 8.5/10 (Raf Katigbak)

Black Eyed Peas
Monkey Business (A&M/Universal)
On a recent broadcast of U.K. show Later...With Jools Holland, the Black Eyed Peas performed the very fitting “Dum Diddly” right after Montreal’s Arcade Fire. Now, I don’t want to lean too hard, but with the exception of a couple of dope tunes, Monkey Business has somehow become the quintessential hip-pop fluff concoction, regularly taking the art of the ‘dum diddly’ to glorious new lows. “Union” brings Sting into the mix for a ridiculous flip of his song “Englishman in New York,” and I ask myself, how many retarded choruses can Fergie sing? Saving grace comes mid-record with “Like That” featuring Q-Tip, Kweli, Cee-Lo and John Legend. Something’s wrong when your best song has four guests on it. 6.5/10 (Scott C)

Plant Life
The Return of Jack Splash (Easy League/Counterflow)
Led by the well-meaning falsetto of Jack Splash, Plant Life join the ranks of Dudley Perkins and Sa-Ra Creative Partners as far as strange vocals over heavy duty grooves go. This album is complete with slow odes like “Bottle of Hope (Save the World)” and “If I Wuz Ur Man,” as well as nu-funk bombs like “We Can Get High,” all of which contain varying degrees of Jack Splash’s strange approach to vocals. This is a fresh, playful and original approach to disco and funk as we know it, with the difference being that you can hear that it was made in the here and now. Tony Ezzy should sue. 7.5/10 (Scott C)

Shawn Desman
Back For More (Sony BMG)
On his sophomore disc, the only thing Canadian hip-pop star Shawn Desman has on his mind is a good party. With the instructive lead single “Let’s Go” leading the charge, Desman is out to prove that he’s Canada’s answer to Justin Timberlake. But whereas Timberlake’s musical direction leans towards pop-soul, Desman laces an unrelenting soft techno vibe throughout this set, which makes “Let’s Go” an enticing club jam, but loses steam on tracks like “That’s Love.” Rodney Jerkins, the wunderkind producer behind hits for artists like Mary J. Blige and Jennifer Lopez, brings some crunk to the festivities on “Sexy,” but otherwise this party’s got some heat, but no real fire. 6.5/10 (Gerard Dee)

Colectivo
Especial (Discos del Toro/Select)
If the bus ain’t broke, don’t fix it—but feel free to trick it out. Now that this local supergroup side-project has nailed down its vivacious, trilingual Latin-reggae-rock formula, they’re free to fine-tune the individual songs and each member’s contribution. Big, boisterous, beachfront anthems still dominate, albeit with a bit of bite—the Colectivo gene pool is punks and matalloids, after all. But then there’s numbers like the dark, funny “They Go Wild”—imagine a goth Fishbone. Overall, Colectivo’s sounding more collected than ever. 8/10 (Rupert Bottenberg)

Morgan Heritage
Full Circle (VP)
Morgan Heritage means uplifting, spiritual, inspirational reggae, full of soaring harmonies and comforting, rolling bass. Seriously, these guys wouldn’t be out of place on Oprah—check “One Day” if you don’t believe me. This record, however, lives up to its name. You get tracks like “My Best Friend,” a hit on the Drop Leaf riddim that deserves a video in rural Jamaica featuring lots of waterfalls, but also a touch of dancehall in “Girlz Round the World” featuring Stephen Marley, hip hop in “I’m Still the Same” and slow-jam R&B in “Enough is Enough.” I understand the desire to go full circle, but Morgan Heritage are clearly at their best on tracks like “Tell Me How Come” that don’t hold back on the earnest upliftment. 7.5/10 (Erin MacLeod)

Chet Baker
Complete Studio Sessions with Dick Twardzik (Lone Hill/Trend)
The title is not quite correct—besides the nine studio tracks that were on Chet Baker in Paris, this important CD contains four live tracks from a session in Stuttgart on Oct. 15, 1955, just six days before Twardzik’s death of a drug overdose. He was 24 and a pianist of remarkable originality, one who keeps being rediscovered by new generations of musicians. The German material adds people like baritone saxman Lars Gullin and, on “I’ll Remember April,” singer Caterina Valente. Most of the music here is from the pen of Boston’s Bob Zieff but you also get some Parker and Ram Ramirez. Not to be missed! 10/10 (Len Dobbin)

Mini CD Reviews

Billy Bang Vietnam:Reflections (Justin Time/Fusion III) More memories of a sordid time in history by violinist Bang, assisted by the likes of John Hicks, Henry Threadgill and Curtis Lundy. Powerful stuff! 9.5 (LD)

Cornell Campbell Natty Dread: Anthology (Trojan) The incredible “Queen of the Minstrels” and much (maybe too much) more is on this double-CD collection of Campbell’s brilliant, falsetto-y singing. 8 (EM)

Nick Castro and the Poison Tree Further From Grace (Strange Attractors) Castro cooks up a psych-folk melange that is guaranteed to take you to otherworldly places. 8 (JC)

Animal Collective “Prospect Hummer” (Fat Cat/Fusion III) Vocal and musical mantras waft forth as U.K. folk singer Vashti Bunyan lends her ethereality to this earthy American act. 7.5 (LC)

Mood Ruff I Do My Own Stunts (Urbnet) I guess my song is “Slo Coach Train,” but I was hoping this Manitoba crew would serve up more. 7 (SC)

Mugison Mugimama, Is This Monkey Music? (Accidental/ Fusion III) From Iceland, the missing link between primates and Buck 65. 7 (LC)

Jamie Lidell Multiply (Warp/Outside) Kudos to Lidell for trying to give electronic music “what it’s sorely lacking… a cool song that’s not trying to prove anything or compete in a sonic space race.” Unfortunately, without his wizardly studio trickery, Lidell’s songwriting doesn’t really hold water. 6.5 (RK)

Bob Mould Body of Soul (Yep Roc) The vocoder and dated dance production is so über-lame on this that even drums by Fugazi’s Brendan Canty can’t save it. 5 (JC)

>> Music Listings