Nina Simone
Forever Young, Gifted & Black: Songs of Freedom and Spirit (Legacy/Sony BMG)
Simone was a versatile singer who, in the late ’60s, used her mighty voice to support the Civil Rights movement. These socially conscious recordings, some of which have never been featured on disc before, include Simone’s entrancing take on Miriam Makeba’s “Westwind,” the moving “I Wish I Knew How It Would Feel To Be Free,” her signature “Mississippi Goddam” and “Why?( The King of Love is Dead),” a live performance recorded just days after the assassination of Dr. King, made all the more poignant now with the passing of Coretta Scott King. Simone’s legacy forced artists like Alicia Keys, who penned the liner notes, to not just talk the talk but walk the walk. How’s that for some black history? 9/10 (Gerard Dee)

The Battles
Tomorrow’s Eager Hands (Soft Abuse/Scratch)
In case the cover didn’t tip you off (a drawing of a naked, bow ’n’ arrow-wielding babe in space?), this is a classic-rock tribute album, but one made up of original pop songs. There are quotes from Velvet Underground and David Bowie lyrics, small musical swatches borrowed from the Beatles and Syd Barrett, all stealthily woven in among seasick keys, meek acoustic guitars and a few fat riffs. The Vancouver sextet, Destroyer alumni among them, don’t fail to deliver a little prog, as in the amusingly ambient “We Were Right to Fight,” but don’t expect any heavy trips. 7.5/10 (Lorraine Carpenter)

The Cardigans
Super Extra Gravity (Stockholm/Universal)
A decade after “Lovefool,” the Cardigans sound world-weary, lovelorn and a little stiff. They’ve traded the rootsy framework of their last album, Long Gone Before Daylight, for a generic MOR sound that resembles Aimee Mann more than Sheryl Crow. This is an improvement, and the record has a handful of gripping songs, such as the Bush-inspired “Godspell” and “And Then You Kissed Me II,” another window into Nina Persson’s perpetually toxic lovelife. But the band fails to choose between the sparkling pop they used to specialize in and the garage tempest their fellow Swedes have whipped up in recent years, winding up in mediocre pop/rock purgatory. 5/10 (Lorraine Carpenter)

Deadstring Brothers
Starving Winter Report (Bloodshot)
Displaced Detroit garage dwellers, these guys nonetheless add the right amount of Southern twang to hide their actual geographical roots. On this debut, singers Masha Marjieh and Kurt Marschke recall the more rocking moments between Lyndsay Buckingham and Stevie Nicks, or Exile-era Mick and Keef. The band hangs on every note and throw the mix in the red on the rockin’ numbers, but it’s when they provide the ultimate tears-in-your-beer anthem, “Lights Go Out,” that they really take off. If you’re hip to the fact that bands like Kings of Leon fucked up on the ’70s-steeped rockers, point your embroidered flares in this band’s direction. 8/10 (Johnson Cummins)

Various
Salut Joe! (Atlantis/Select)
The francophone answer to Neil Diamond, the late Joe Dassin banged out the kind of big, brash pop numbers you hated to love. There’s nothing but love in this none too revisionist Québécois tribute album. Assembled by Stefie Shock and Mathieu Dandurand, it features a diverse spread of talent, from les Respectables and Mélanie Renaud to notable efforts by Dobacaracol, les Breastfeeders and Raphaël Torr. Lapointe haute, Lapointe basse: Pierre’s “Dans les yeux d’Émilie” is nothing short of compound magnificence, while Eric’s typically brutish, constipated “À toi” is just vile. 7.5/10 (Rupert Bottenberg)

Dozer
Through the Eyes of Heathens (Small Stone)
Nothing really new here—Dozer have done their homework, listening to their Kyuss records and pilfering the requisite Iommi riffs. But instead of just laying down the same old doom, they write actual songs with real melodies and almost get, dare I say it, downright catchy. The psychedelic beat on “Born a Legend” and the falsetto on “Fire From Hell” negate the QOTSA rip-off “Days of Future,” while unlike their contemporaries, Dozer actually take chances on “Man of Fire”. Mastodon fans should note that Troy Sanders’ guttural howl makes an appearance here. 7/10 (Johnson Cummins)

J Dilla
Donuts (Stones Throw/Koch)
The tragic irony of this, his first full-length solo release since 2001’s Welcome to Detroit, comes with the sad news that J Dilla passed away the very same week that this LP hit the shelves. Dedicated devotees of this accomplished drum programmer and producer will recognize the raw, disjointed cacophony of sweet soul samples and crunchy drums, punctuated with forgotten radio jingles, vocal morsels and many a twisted stomp. Save for the sweet harmonies contained in the lifted loops, this is a strictly instrumental affair, curiously resembling one of Dilla’s famous beat CDs. At 31 tracks, this LP is a snapshot of Dilla’s inspiring creativity and resourcefulness, and although it’s a dressed-up beat tape, it’s taken on a poignant significance with the passing of one of the greatest hip hop/soul producers ever. 8.5/10 (Scott C)

P.O.S.
Audition (Rhymesayers)
On his sophomore effort, P.O.S. spits over hard beats laced with distorted guitar, samples and cello, an uncanny but effective mix. Audition isn’t a one-trick pony, though, varying in pace and mood. What makes it fun is the laid-back feel seeping in between tracks, the snippets of conversations and jokes (not skits!). There are times when P.O.S.’s flow falls in line with Eminem’s, but his style is distinct, swaying from storyteller on “De La Souls” to battle mode on “Paul Kersey to Jack Kimball.” From melancholy funk elegies and experimental boombastic beats to rap metal and more, P.O.S. and guests Slug, Craig Finn, Greg Attonito and Mictlan have plenty of flavours to fuck with. 8/10 (Lateef Martin)

Coldcut
Sound Mirrors (Ninja Tune/Outside)
After a 19-year career that includes pioneering cut ’n’ paste dance-music collage, creating a template for a successful indie label and developing real-time visual sampling software, the groundbreaking duo of Jonathan More and Matt Black returns to their first love—aural sensation through sound manipulation. Here the pair eschew the obvious chopped-up, sample-heavy sound of 1999’s Let Us Play in favour of a subtler approach, but one no less dancefloor-friendly. While the Saul Williams track is eminently skippable, neck-breaking collabos with Roots Manuva, Jon Spencer and Mike Ladd shine, providing perfect counterpoint to four-on-the-floor attitude of electro-house ditties like “Just For Kicks” and the more downtempo instrumentals. The boys are back! 8/10 (Raf Katigbak)

Various
FabricLive 26: The Herbaliser (Fabric/Fusion III)
Dump that martini and get ready to move with this blazing, upbeat mix of mainly hip hop and funk bits, brought to you courtesy of the Herbaliser’s Jake Wherry and Ollie Teeba. Hip hop high points include J Sands’ “Southern Lady,” Cappo’s “I DST” and the Roots’ “Boom,” but with a mix tighter than second-hand pumps on a ten-dolllar hooker, you know they’re bound throw some treats in there. Quick to represent the cream of regularly sidelined U.K. hip hop talent, the Herb run tracks like Harry Love’s “Surprise” and Demon Boyz’ catchy “Glimity Glamity” like the whole world needs to know. 8/10 (Scott C)

Sergio Mendes
Timeless (Concord/Universal)
Can’t fault the technical standards of this samba/soul/rap effort, which sees the erstwhile lord of Brazilian kitsch getting a boost from will.i.am of Black Eyed Peas, who certainly draws enough attention to himself here. You can hear a G-note evaporating every second, in fact, especially when Stevie Wonder, Erykah Badu, John Legend and Justin Timberlake get trotted out for unimpressive cameos. But all told, Soulless might have been a better title for this hard-bodied yet hollow exercise amounting to what could be called bionic kitsch. The only number of any consequence is the passable finale “Yes, Yes Y’all,” boasting Black Thought and Chali 2na. 3/10 (Rupert Bottenberg

Various
Congotronics 2: Buzz’n’rumble From the Urb’n’jungle (Crammed/ Fusion III)
The factors that fed the huge success of the first Congotronics release, a full album from Kokono No1, are equally active on this follow-up, a grab bag of bands from the noisy streets of Kinshasa, Congo. The third-world junkpile jerry-rigging and musical MacGyverism necessitated by a louder urban environment and matching lack of proper amps, pickups and professional instruments aren’t just fascinating in theory. In application, they add a layer of buzzing, brain-twisting distortion and utterly unprecedented sounds to these already lively, penetrating trance jams, which is why fiends for krautrock, dub and out-there electronica are flipping over this shit. 8.5/10 (Rupert Bottenberg)

Rabih Abou-Khalil
Journey to the Centre of an Egg (Justin Time/Enja/Fusion III)
Bebo Valdes
Bebo de Cuba (Calle 54)
Jazz and “world” fuse very successfully on these releases. Rabih, the renowned oud player, is heard in what’s for the most part a trio setting with pianist Joachim Kuhn and percussionist Jarrod Cagwin. The usual wonderful titles include “No Plastic Cups, Please” and “Sweet and Sour Milk.” Pianist Bebo, Chucho’s dad, is heard with a large ensemble over two CDs and a DVD. Extended works for big band “Suite Cubana” and “El Solar de Bebo” are worth many hearings and feature musicians like Mike Mossman, Milton Cardona and Bobby Porcelli. Fans of Rabih and Bebo will not be disappointed. Both 9.5/10 (Len Dobbin)

Mini CD Reviews

Duncan Hopkins Red & Brassy (LRM) The leader is an outstanding bassist, and his jazz quartet is joined here by the Canadian Staff Band of the Salvation Army in a most interesting outing. 9 (LD)

Blood Meridian Soldiers of Christ EP (Outside) Black Mountain’s Mathew Camirand’s main gig—Gothic Americana à la Gun Club with twice the spilt blood. 8 (JC)

Kelley Stoltz Below the Branches (Sub Pop) This classic-pop singer-songwriter tests the line between enthusiasm and nerddom, balladry and drudgery, usually coming out on top. 7 (LC)

Lee Rocker Racin’ the Devil (Alligator) This is the former Stray Cats catgut-thumper’s new take on rockabilly, but is the Stray Cats cover really necessary? 7 (JC)

Young and Sexy Panic When You Find It (Mint/Outside) Less young and less sexy than ever, the B.C. band’s mild-mannered pop is now aloof and vaguely distasteful—“The Curious Organ”? 5 (LC)

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