6th album release Empty Frame Of Reference . This 12 song album is yet another example of Eric's incredible gift of solid, smart songwriting. Though filled with thought-provoking, heartfelt and clever lyrics, the music is infectiously catchy. Leaving the listener with his melodies stuck in their head long after the music is over. His recognizable, warm, yet edgy, strong voice creates the common thread running through this musical journey. Eric writes from the heart. The listener feels the connection. Empty Frame Of Reference is another door opened to the creative mind of Eric Stuart.  (less)

(double bass), some of the most highly regarded recording artists and musicians in traditional American country music, Bluegrass and beyond. The album includes ten previously unrecorded songs. "Sulphur to Sugarcane" and "The Crooked Line", were co-written with T Bone Burnett while, "I Felt The Chill" marks Costello's second recorded songwriting collaboration with Loretta Lynn. Costello revisits two songs from his catalogue in string band style. Both songs were originally written for Johnny Cash. "Hidden Shame" was indeed included on Cash's album, "Boom Chicka Boom". The album title makes reference to "The Secret Songs", Costello's unfinished commission for the Royal Danish Opera about the life of Hans Chr...  (less)

southern influences, including country, the blues, New Orleans jazz, and even gospel, creating a sound that was distinctly theirs. Decade of Hits is a great catalog of the Allman's at their guitar wielding best. The sweet, infectious harmonies on the instrumental "Jessica" have become a classic reference point in themselves. Next to the tragedies that plagued them--two motorcycle deaths, heroin addiction--the Allman's are probably best known for the heroic "Ramblin' Man." Written and sung by the now legendary Dickey Betts, the song contained everything that made the band great: intricate guitar harmonies, a strong melody, and just enough twang to keep the thing tight. Decade also contains Allman staples "Melissa," "In Memory of Elizabeth Reed," a...  (less)

more than one hit out of the album--although none are as enchanting as their breakthrough single. They continue to gravitate toward Elton John-inspired keys-and-guitar arrangements that are marked by studied rhythms and stellar production. While there's inventiveness to be found in these songs, there’s a sameness to the tracks that makes the album as a whole fall a little flat. While attempting to recapture the grandeur of "Drops of Jupiter" on the opening song, "Calling All Angels," they overreach, and the pop-culture references scattered throughout date almost instantly. My Private Nation is a clean, intelligent disc, but it's also safe and middle of the road. Train’s fans would be richly rewarded if the band took a few more risks. --Beth Massa  (less)

and the "Jingle Bells" instrumental benefits from an injection of rockabilly twang (as does Paisley's revival of Buck Owens's "Santa Looked a Lot Like Daddy"). Among the original material that distinguishes the collection, "Penguin, James Penguin" is like "Rudolph the Red-Nosed Reindeer" for the higher-tech generation, as Santa enlists a "secret-agent bird" to keep computerized tabs on who deserves what. "Born on Christmas Day" features a tape of a song Paisley wrote and initially recorded when he was 13, then segues into the artist today on the same tune. The album closes with a slam at political correctness on "Kung Pao Buckaroo Holiday," with the Kung Pao Buckaroos (a.k.a. George Jones, Bill Anderson, and "...  (less)

brilliant guest musician is based on his work with great names such as Level 42, Robert Fripp and Gavin Harrison. For keyboardist/vocalist Andy Tillison, it's mainly the inconsistencies of an alleged zeitgeist that provoke him to realize his musical visions. Together with his band, THE TANGENT, Tillison has assigned himself the rather difficult task of creating with a successively changing line-up music which, despite all cross-references to the Seventies, still sounds topical and future-oriented.  (less)

latter camp. In the tradition of the Ramones' Leave Home and Oasis' (What's the Story) Morning Glory , the Strokes largely stay the course with their second full-length release, producing an album that won't cause the stir that its predecessor did, but has a sneaky appeal all its own. Thanks to the quintet's Lower East Side roots, Velvet Underground and Television references abound with these guys, but Boston new wavers the Cars, and in particular their hit-heavy second album, 1979's Candy-O , provide a more suitable point of reference for Room on Fire . As with Ric Ocasek and company, Strokes frontman Julian Casablancas and his cohorts have a Cars-like knack for sly riffs that creep deeper into ones consciousness with each listen. Not much longer than...  (less)

and leaving, it's a voice that producer Garrett Lee uses as a jumping-off point, dropping fat guitars, electronic noise, and eclectic instrumentation in with Lightbody's breathy, moody depth. The band plays around with wild shifts of texture: "Gleaming Auction" veers in seconds from a relaxed shuffle to a shoegazing crunch, while a blanket of fuzzbox swagger calls forth the ghost of T. Rex on "Tiny Little Fractures." But just when you're ready to throw the record on random shuffle with Electric Warrior or maybe Heaven Tonight , the band lays down a pastoral ballad like "Same." Somehow it holds together beautifully, stuffed with songs that reward repeat listens and ear candy that keeps you full for days. -- Matthew Cooke  (less)

only half the story. "Comfortably Numb" may nod to gay disco but this eclectic bunch of fashionistas have more interesting reference points tucked up their puff sleeves. If anything, the prevailing mood here is sunny AM rock, the kind of thing you might have tuned into in 70s New Jersey. "Take Your Mamma Out," perhaps the first song about coming out to your mother in a gay club, and sung by Jake Shears like primetime Elton, is a cracker. So too "Tits on the Radio"--slick barroom boogie that takes a venomous swipe at New York's increasing conservatism. Best here, though, is the anthemic "It Can't Come Quickly Enough," a retro carve-up of Nick Kershaw and the Pet Shop Boys that's more powerful than it sounds. Ignore it at your peril. -- P...  (less)

of Davies and Weller crossed with the harsher documentary eye of Mike Skinner of The Streets and "Ghost Town" era Specials. Two #1 UK singles. Press already lined up with Rolling Stone, Spin, Entertainment Weekly, and Interview, to name a few. Three more US/Canadian tours planned for this year, including headlining Domino's label showcase at SXSW.  (less)

previous recordings, his longtime pianist-arranger Laurence Hobgood is at the helm of his trio, with special guests including bassist Christian McBride, Yellowjackets saxophonist Bob Mintzer, and the Escher String Quartet. Building on Jon Hendricks's and Eddie Jefferson's scat-vocalese styles, Elling lyrically caresses and melodically illuminates Michael Franks' title track, jazz diva Betty Carter's angular "Tight," and the rarely-performed Duke Ellington number "I Like the Sunrise." The Guess Who's 1969 rock cut "Undun," surprisingly, comes off, as does the bossa nova "Change Partners/If You Never Come to Me," with its reference to Antonio Carlos Jobim's "Useless Landscape." The question is: what can't he sing? -- Eugene Holley, Jr.  (less)