Donnie
The Colored Section (Giant Step/Outside)
Stevie Wonder comparisons are overused, but newcomer Donnie genuinely conjures up echoes of ’70s Wonder, both in lyrical content and musical sensibilities. He’s a deadly musical marksman who hits the bull’s-eye with “Beautiful Me,” his attack on Eurocentric beauty standards, and the positive though no less potent “Cloud 9” (“Happy to be nappy/I’m black and I’m proud/That I have been chosen to wear the conscious cloud”). With “Our New National Anthem” and “Big Black Buck,” he casts his net wider, levelling black consciousness against American racism, while “People Person” channels tolerance for all by challenging, “He that is without sin first cast the stone.” In a post 9-11 world, it’s a musical lesson well taught and well learned in The Colored Section. 9/10 (Gerard Dee)

Flood
Stone Core Fever (Thundra/Local)
These local sludgemeisters are gonna give our resident bong-bubblers the Donkeys and Floating Widget some serious competition for the Montreal Sabbath throne. You know the M.O. here: Ozzy-like vocals, vintage Monster Magnet riffs, Hawkwind phase noise etc., but Flood surprise with unlikely jazz jams (“Slough of Despond”) and bludgeoning grooves (“Loose”). Flood prove that they’re no Johnny-come-lately types either by adding a Blue Cheer cover for good measure. The lyrics are a bit iffy here but with riffs dripping with this much heaviosity, who gives a toss what this guy’s singing about? 8/10 (Johnson Cummins)

The Bitchin’ Camaros
self-titled (Bitch/Scratch)
Despite their horrendous name, these speed geeks from our nation’s capital could be Canada’s best answer to Motörhead, Zeke and Speedealer since Vulgar Deli. Ten nitro-fuelled blasters here that only need a total of 30 minutes to get their message across. It’s Jean Belanger’s larynx-shredding vocals and Shawn Hill’s wah-laden guitar throughout that make the Bitchin’ Camaros more than just clever thieves. “Flamazine” walks the tightrope of catchy and heavy while “Tear It Down” attacks with the precision of a nailgun. Good on ya. 8.5/10 (Johnson Cummins)

Theoretical Girls
s/t (Acute/Fusion III)
After a couple of decades in the vault, the work of these NYC no-wavers has finally been collected for all, or any, to hear. Led by classical composer/artist/plumber (!) Jeffrey Lohn, the co-ed quartet’s jagged, avant-garde take on Ramones/Jonathan Richman-brand punk is banged out with gusto. Moments of searing noise and arrogant lo-fi also recall England’s Wire and the Fall, and foreshadow (slightly) more recent acts like Sonic Youth. The sound quality goes beyond lo-fi at times—to shit, frankly—but this disc’s target audience is unlikely to care. Thanks to whoever unearthed this treasure. 8/10 (Lorraine Carpenter)

Paul Weller
Illumination (YepRoc/Outside)
The “modfather” returns with an album befitting an elder statesman, a solid set of sweet soul, chuggin’ rockers, and neat sonic meanderings like the Eastern-tinged “Spring at Last.” It’s also a highly personal album, both lyrically and musically. Not only does Weller play most instruments—along with guests Noel Gallagher, members of Ocean Colour Scene, ex-Stone Rose Aziz Ibrahim and Stereophonics’ Kelly Jones—but he quite ably produces too. This isn’t genius, and Jam fans won’t necessarily fall for the acoustic guitars and strings-laden ballads, but Weller has clearly re-stated his worth as a songwriter. 7.5/10 (Lorraine Carpenter)

Ronnie Wood
Not for Beginners (Steamhammer/Fusion III)
After you listen to Not for Beginners, you realize exactly why Keef and Sir Mick don’t let this lackey step out of the pub into the limelight too often. Wood’s slide work is still great, but Kelly Joe Phelps he ain’t, so that alone won’t float this boat. At least this drunken yob can still write a riff. His take on the Byrds’ “Rock ’n’ Roll Star” and the classic “Leavin’ Here” should’ve been left off but when he’s caught looking back in the Faces-esque “Whaddya Think” or “Heart, Soul and Body,” he makes up for it. It may be no Faces or Stones in their prime, but at least it’s light years better than anything Mick has churned out on his own. 7/10 (Johnson Cummins)

Bleep
IMM 0008 (Teknostan)
Drum & bass beats, moody electro-lounge and shoegazing-influenced soundscapes colour the debut by Toronto’s Robyn Sellman and Igor Olejar, originally from England and Yugoslavia, respectively. Sellman’s smooth but dynamic vocal performance recalls the likes of Saint Etienne’s Sarah Cracknell and Kate Bush, clinching Bleep’s more organic, song-based side. However, prickly sounds and tough beats throw enough curves to nix any Everything but the Girl comparisons. Imperfect as any debut, sometimes with more skill than soul, this is nevertheless a strong, well-produced album for those with an ear for full sounds, bright lights and seedy shadows. 7.5/10 (Lorraine Carpenter)

Jephté Guillaume & the Tèt Kale Orkestra
Voyage of Dreams (Spiritual Life music/Fusion III)
As NYU ethnomusicologist Dr. Gage Averill observes in the liner notes, the drums and songs of vodou offer a special bridge between the “spiritual” and “mundane” realms that provide an antidote to oppression and a prelude to hope. Since the ’90s, Jephté Guillaume has been shaking up house circles with a standout amalgam of jazzy Haitian dance music with folksy underpinnings. On Voyage he offers a life-affirming collection of hymns dedicated to his beloved birthplace and her connection to Afrika. In the midst of a funky procession of drums, percussion, flutes, keys and guitars are lyrical references to specific regions of Haiti, i.e “Ibo Lele,” invocative prayers such as “Kote Moun Yo” and odes to important ancient deities. Let the voyage ensue. 10/10 (Peter Lightburn)

DJ Kobal
On the Mix 2: Ready for Funk (TnT)
The man with the plan hits them hard once again with a new mix of funk and soul, digging up some lesser-known joints to run right alongside some tracks you may already know and love. We’ve got songs here from Syl Johnson, Cliff Nobles and Quincy Jones, as well as the Last Poets, Cymande and the Whitfield Brothers, all mixed to perfection by Kobal. It doesn’t stop there either, with additional tracks from the Nite Liters, People’s Choice, Chocolate Milk and James Brown, making up a stellar selection that’ll leave you wanting more and more music. 8/10 (Scott C)

Various
The Wild Bunch: Story of a Sound System (Strut/Fusion III)
U.K. in the early ’80s: three Bristol youths—Miles Johnson, Grant Marshall and Nellee Hooper (who would later go on to form Massive Attack)—were busy causing a serious ruckus with their own blend of hip hop, funk, disco, breaks, reggae and soul selections as the infamous Wild Bunch DJ crew. Now the team down at Strut records is ready to bring the story of this groundbreaking collective to the masses with The Wild Bunch, mixed by DJ Milo (Miles Johnson) himself. In this hour-long mix, Milo breaks from old-school hip hop to electro to disco, funk and soul. Highlights including some dope electro by Man Parrish and Newcleus, and funky classics by Fresh Band, Evelyn “Champagne” King and Teena Marie (and even some early productions by the Wild Bunch crew themselves). Overall, an insanely groovy, funky and soulful slice of the ’80s. 9.5/10 (Raf Katigbak)

Aaliyah
I Care for You (Universal)
This is a tribute to the late Aaliyah, a compilation that includes some of her best work, new tracks and, most interestingly, a companion DVD that shows clearly why Aaliyah was made for, and a product of the video age. The video for the lead single from this set, “Miss You,” is a perfect example: it juxtaposes images of the late singer with a virtual who’s who in urban music. However that video, along with some her best material, are not included here. As such, this is no definitive compilation, but still a must for her fans. 8/10 (Gerard Dee)

Mossman vs. Mr. Tsunami
At Dub Corner (Dispensation/Fusion III)
Montreal’s dub lord Mossman we know, but who’s this mysterious Mr. Tsunami? It’s Bob Eaglesham, whom you may know from local super-popsters Shine Like Stars, a connection that points to his superior-grade tune-smithing skills. Between Eaglesham’s knack for a memorable hook and Mossman’s head-bending dub production, At Dub Corner is a standout neo-reggae release. The cheerful “So Good” is a hard one to shake, but my vote goes to “Shadow Dub,” with its eerie echoes of Wendy Carlos and Doctor Who, as fave track. 8.5/10 (Rupert Bottenberg) Mossman’s Dub Lounge restarts at Mile End Club on Sun., Jan. 19, 9pm, with Ark of Infinity

Various
Hi-Fidelity Dub Sessions Chapter 4 (Guidance/Fusion III)
Why Guidance feels the need to couple some perfectly soothing downbeat gems, ragga-garage, mid-tempo house and the most annoyingly mundane and generic “nu-dub” tracks has always baffled me with the Hi-Fidelity Sessions. Do we really need to sit through Richard Dorfmiester’s Full Moon 6 Live Dub version of Cutty Rank’s “The Stopper?” I think not. It would make more sense to me to include more tracks like Ticklah’s “Queen Dub” and Roots Combination’s “Wicked a Go Dub It,” modern takes on the studio movements of the old masters, with a quality and soul you can immediately feel. But that’s just me. Some great tracks here, but some unnecessary stinkers as well. 7.5/10 (Scott C)

Stan Kenton
Stompin’ at Newport (Pablo/Universal)
This is a previously unissued big-band outing recorded live in 1957 in Rhode Island. Red Kelly is the bassist and Jerry McKenzie the drummer, and there are first-rate solos from Bill Perkins and Lennie Niehaus among the reed players and Sam Noto, Ed Leddy and Kent Larsen from the brass sections. A dozen tracks including Gerry Mulligan’s “Young Blood,” Johnny Richards’ “Fortune of Fools” from Cuban Fire, Bill Holman’s “The Opener,” Bill Russo’s “23 Degrees North, 82 Degrees West” and Ray Wetzel’s “Intermission Riff,” lifted in part from Gerald Wilson’s “Yard Dog Mazurka.” A must for this band’s numerous fans! 9/10 (Len Dobbin)

Joe Pass Meditation (Pablo/Universal) »Solo guitar, live, from a master— delicious! 9.5 (LD)

Various Remembering John Lee Hooker (Blue Storm/Koch) » Gary Moore, Mick Taylor, Jeff Beck and more do a loving tribute to the man, but the unreleased version of “Red House” with John Lee and Booker T. shows ’em how it’s done. 8 (JC)

Le Cerveau Le Québec Assiégé (High Life/Local) » Teaming up with beatman DJ Horg, le Cerveau makes his takeover bid. Check “Terroriste” and “Le hip hop est en guerre.” 7 (SC)

Electric Six Danger! High Voltage EP (XL/Select) » A lurid and disconcerting how-dee-do from this Motor City disco-rawk unit. Synthy FM rock c. ’82 (see Billy Squier, Krokus) gets its groove back. I await an album/show before final judgement. 6.5 (RB)

Somehow Hollow Busted Wings & Rusted Halos (Victory/Koch) » Ex-Grade dudes get older, wiser and more beige. 6 (JC)

Gary Numan Anthology DVD-Audio (Silverline/EMI) » With poor song choices and dull visuals, Numan shows that friends aren’t digital. 5 (LC)

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