Wolfmother
self-titled (Interscope/Universal)
Wolfmother are next in line for the “band that’ll save rock ’n’ roll” tag. Yawnsville, right? Well, for once, the hype being heaped on this trio may actually be deserved. Wolfmother make no bones about stealing fuzzed-out riffage from the ’70s, the Frank Frazetta cover art and their fantasy lyrics, but these new-school psych-rockers have done their homework, and deliver 13 instant classics here. Although their riffs may sling the sludge, Andrew Stockdale’s vocals sear through the mud like a sabre. The instant hit “Woman” seems like a no-brainer for rock radio, while “Pyramid” should be mandatory on any iPod playlist, but as for saving mainstream rock from the cesspool it is currently wallowing in—nice try, but there’s just too much heart and soul in this to bend the mainstream ears that prefer to be force-fed Nickelback. 9/10 (Johnson Cummins)

Neil Young
Living With War (Warner)
Young throws poetry to the wind and gets right down to some well-needed Bush-whacking, right from the word go. Just check out the titles: “Flags of Freedom,” “Lookin’ for a Leader,” the not so subtle “Let’s Impeach the President.” Strong words are needed, now more than ever, but over the 10 songs here, it just seems like Young got pissed watching CNN one night and wrote an album before bedtime. Young’s frustration is well-intentioned and probably personally cathartic, but by offering no answers, the end results are only marginally more interesting than a Crass record. With a little bit of lyrical slap and tickle, Young’s soapbox would be more stable, but his preaching to the converted gets a bit tiring. 6/10 (Johnson Cummins)

Red Hot Chili Peppers
Stadium Arcadium (Warner)
This double CD gives RHCP a wide enough berth to present the many facets of their sound, and thankfully they’ve brought back the funk. It peppers my tongue on tracks like “Charlie,” and “Warlocks,” “Hump de Bump” and the catchy “Tell Me Baby.” Although the boys lean a little too heavily on their formula, John Frusciante is on fire again. In fact, it seems like the fire is back with everyone this time around, as “21st Century” and “Readymade” prove. The first disc, called “Jupiter,” takes you on a more chilled-out voyage, with some trumpet sprinkled here and there care of Flea, but it’s the second, “Mars,” that turns out to be more of a rollercoaster. I’m talking party tracks, introspective cruises and rock ’n’ roll rambunctiousness. This is gonna kick live. 8/10 (Lateef Martin)

The Fever
In the City of Sleep (Kemado)
After an unremarkable debut as ’80s revivalists in 2003, these New Yorkers have rebounded with a sophomore LP that channels their inner cabaret band. Actually, in this case cabaret is just a catch-all tag for dark sideshow sounds—that garters-and-goosestep jazz is there, but so are shades of psychobilly, sleaze rock, murder ballads and sinister music-box tunes. Bursts of garage punk recall the band’s bandwagon days, but even that piece of this puzzle is stepped up. Congrats to the band for keeping it interesting, and to renowned producer Steve Rivette (Beastie Boys, Dr. John, Liars) for unleashing his black magic. 8/10 (Lorraine Carpenter)

Pearl Jam
self-titled (J/Sony BMG)
I’ve never been a fan of P.J.’s past work, as I never caught on to the kneejerk angst that Vedder and co. have built a career on. Vedder’s vein at the temple is pumping as much as it ever has, but the band have forgone all of the gloss and probably come as close to punk rock as they are likely to here. Not that it’s all that good, of course. The punk-ish ballast fails to register, but when they directly rip off Elliot Smith on “Parachutes,” things look up, and when the boys learn their place in the mid-tempo rockers like “Unemployable” and ballads like “Gone” and “Come Back,” it’s not good, but hardly offensive. Unfortunately, the sped-up beats and stubbed-toe angst are just too much for this grizzled punker to take. 5/10 (Johnson Cummins)

Grandaddy
Just Like the Fambly Cat (V2/Outside)
This record opens with a little melancholy piano, and a little girl repeatedly asking, “Whatever happened to the family cat?” Perhaps it’s a roundabout reference to this being the last Grandaddy album, a reminder that all things must pass. There are several on this record, but the band’s finale is more spirited than the robo-indie wallpaper of 2003’s Sumday. Interspersed with languid stretches of airborne guitars and synths and those familiar genteel vocals, bold, gorgeous pop songs like “Jeez Louise” and “The Animal World,” and the hit-and-run punk non-sequitur “50%,” show that this band is quitting while they’re ahead. 8/10 (Lorraine Carpenter)

Danielson
Ships (Secretly Canadian/Sonic Unyon)
Eight Smiths are credited on this album (and one Morrissey, no relation), the sixth LP for this collective of family and friends founded a decade ago by Daniel Smith. Whereas his first record was a rickety school project, his latest is a giddy, depraved pop epic with guests such as Sufjan Stevens and members of Deerhoof and Why? The unbridled vocals, bare-to-bursting arrangements, schizo time signatures and murky nautical/marine theme will keep Danielson’s fanbase down to a manageable cult size, but isn’t the sweetest treasure rarefied? 7/10 (Lorraine Carpenter)

Matmos
The Rose Has Teeth in the Mouth of a Beast (Matador/Select)
San Franciscan partners Matmos breathe life into their highly conceptual albums by magnifying and manipulating sounds generated from physical objects, animal, vegetable and mineral alike. This time, they salute a variety of less obvious and even difficult gay icons, from disco deity Larry Levan and self-destructive “Telstar” producer Joe Meek to mystery novelist Patricia Highsmith and Bavaria’s lunatic King Ludwig II. Noises from items of relevance to each subject—scissors, knives and, um, a preserved bovine vagina for Valerie Solanas, tape recorders and typewriters for William S. Burroughs—are woven in with assists from Kronos Quartet, Antony of the Johnsons fame and Björk (paying Matmos back for their help on Vespertine). The results are both thought-provoking and playful, if a little unsettling. 8/10 (Rupert Bottenberg)

Mobb Deep
Blood Money (G-Unit/Universal)
Some think it preordained that the original Queensbridge thugs have managed to parlay their lifetime ghetto pass into a new deal with the G-Unit empire, while others cry ultimate sell-out. Like Havoc says on “Capital P, Capital H”: “Who cares if you pioneered rap/now these rich little bastards got it all smashed.” “Pearly Gates” with 50 Cent shows MD at their current best, thanks in part to a hot beat from Exile, just like the gritty “In Love With the Moula.” It’s foolish collabs like “Have a Party” featuring 50 Cent and Nate Dogg, or the grating “Give It to Me” with Young Buck, that will leave you rolling your eyes. 7.5/10 (Scott C)

The Avila Brothers
The Mood: Soundsational (Thump Records)
Brothers Bobby and Iz Avila have made a respected name for themselves producing and writing songs for people like Mya, Janet Jackson and Usher, but on The Mood: Soundsational, they really get to show people their individual approach to soulful music of all kinds. Featuring lush forays into soul, hip hop, funk and R&B, the Avila Bros. flip their versatility on tracks like the club bounce “Tilt Ya Cups” with Sly Boogie, and “Smile” featuring Little Brother. Although things get a little sentimental on “Let It Go” with Shelea, it sits right beside the horny funk anthem “Give the Horns Some.” This record showcases some of the amazing talents of lesser known producers who can clearly make things work as artists in their own right. 8.5/10 (Scott C)

Etta James
All the Way (RCA/Sony BMG)
You can bet that when legendary R&B singer Etta James hits the Place des Arts stage on July 1 during this summer’s Jazz Fest, she’ll be belting out a few of these tracks. This album of covers is a departure for the usually gutsy singer, finding her in a quieter, gentler place. Also, there are some curious song choices, like her reading of R. Kelly’s “I Believe I Can Fly.” Sometimes the odd song selections pay off—her rendition of Prince’s signature “Purple Rain” is surprisingly robust, and one of the best tracks here. But tame renditions of classics like John Lennon’s “Imagine” and Jevetta Steele’s “Calling You” weigh this one down. 7/10 (Gerard Dee)

Ed Bickert Trio
Out of the Past (Sackville/Trend)
Mark Elf
Liftoff (Jen Bay)
Pat Martino
Remember (Blue Note/EMI)
Chuck Redd
Happy All the Time (Arbors Jazz)
If you’re a guitar fancier, you’ll want all four of these. Canadian guitarist Bickert hasn’t been heard from in some time, and this never before released session, done in 1976 with Don Thompson and Terry Clarke, is a wonderful addition to his discography. Elf, one of the great living bebop guitarists, is in good form in a quartet date with David Hazeltine on piano. The last two are tributes—Martino’s is to Wes Montgomery, and the renowned leader fronts a quintet including David Kikoski and John Patitucci, while that of Redd, a vibraphonist (and on two items here, a drummer), is to Barney Kessel. Two superb guitarists appear—Howard Alden on four tracks and Gene Bertoncini on two—and having pianist Monty Alexander on board is a bonus. All 9.5/10 (Len Dobbin)

Mini CD Reviews

Ibrahim Music in My Car Vol. 1-2 (CDR) Whoooo-weeeee! Montreal’s unsung hero jumps into deep and soulful Detroit sounds, underground disco and cruising funk. Don’t leave home without it... 9 (SC)

Jessica Williams Billy’s Theme (Origin) A solo piano tribute to jazz icon, pianist, composer and broadcaster Dr. Bill Taylor. Piano fanciers won’t be disappointed. 9 (LD)

David and the Citizens self-titled (Friendly Fire/Sonic Unyon) This kid’s hyperactive chamber pop anthems are so extreme they almost work. 7 (LC)

Tommy Bolin Whips and Roses (SPV/Fusion III) Once of Deep Purple, Bolin has to be one of the unsung guitar greats of the ’70s. 7 (JC)

Various Unexpected Dreams: Songs From the Stars (Rhino) Day jobs are a-calling as random celebs like Scarlett Johansson and Jeremy Irons sing schmaltzy standards with the L.A. Philharmonic, whose education program get the proceeds. Good luck with all that. 3 (LC)

Paul Simon Surprise (Warner) Brian Eno’s freaky tweaking of what’s possibly Simon’s worst-ever album is the proverbial lipstick on a pig. 2 (RB)

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