100 PROOF Kellie Pickler (XIX/ Sony)
When it comes to country music I like the traditional stuff, not rock & roll masquerading as country. It doesn’t get much more traditional than Kellie Pickler.

One of the likeable things about Pickler is her fun-loving, occasionally goofy personality- with Kellie, what you see is what you get. In ’06 she placed sixth on American Idol but so far has had one of the more successful careers out of all the contestants. As a singer I’d peg her as a cross between Reba and Tammy Wynette, with a pure honesty to her voice that makes her music feel like a welcome friend.

The subject matter of these 11 songs (4 co-written by her) is traditional too, of course, which shows in song titles like Stop Cheatin’ On Me, Unlock That Honky Tonk and the album opener, Where’s Tammy Wynette. And weirdly, I love the instrumentation here too. Pedal steel and fiddles can drive me around the bend but, somehow, not here because it fits so well and just feels right.

Songs on 100 Proof like Mother’s Day and The Letter (to Daddy) show her vulnerability and when she’s singing over a quiet, basic track like the latter, she shows what a gifted singer she really is. This girl is in for a long and amazing career.
TOP TRACKS: Long As I Never See You Again, The Letter, Where’s Tammy Wynette

Old Ideas Leonard Cohen (Columbia)
Nobody does melancholy better than this guy. I love Old Ideas, and I don’t recall ever saying that about a Leonard Cohen album before. His first disc of new material, I think, since 2004’s experimental Dear Heather is elegant, sparse, and wonderfully laid back.

Cohen is like Bob Dylan- I admire both as writers, but think somebody else- someone who can actually sing- should be doing their songs. Having said that, though, I love Leonard’s voice on this- he isn’t trying so hard to sing, and he kind of talks his way through many passages. The musical backing on Old Ideas is sublime, an occasionally fragile, a jaunty sort of ‘folk/jazz noir’ that perfectly suits the tone of Cohen’s lyrics.

Old Ideas comes on like a prayer, like a variation on Hallelujah. It’s the view of a man approaching his 80’s, pausing to look back. In the opening lines of the first song Going Home he speaks these lines; “I love to speak with Leonard/ he’s a sportsman and a shepherd/ he’s a lazy bastard/ living in a suit.” Having been thrown over a chair and done dry by an ex-manager in ’05, Cohen has had to tour at a frenetic pace and consider making new music like this to put some distance between himself and bankruptcy. It seems he has a solid grasp on what’s going on around him.

This disc also contains on of the all-time great breakup songs ever in Anyhow; “Dreamed about you baby/ you were wearing half your dress/ I know you have to hate me/ but could you hate me less?” Better stop- if I keep quoting favorite passages I’ll end up copying all the lyrics here! I’ve heard some good albums already this year, but Old Ideas is the first great one.
TOP TRACKS: Going Home, Crazy To Love You, Anyhow

Kisses On The Bottom Paul McCartney (Universal)
With the public largely ignoring McCartney’s solo records in the last decade or so, it makes sense that he would ‘pull a Rod Stewart’ and go after the so-called ‘great American Songbook’ tunes. Difference is, this works.

Standing at the mic once used by Nat King Cole (my favorite singer of all time), Paul does these songs justice. Thanks to growing up in a musical household, I know many of these songs already. I’ve heard that Kisses is a love letter to his new wife, and who wouldn’t swoon to songs like Only Our Hearts or My Valentine?

Definitely a different singing style for him, it’s kinda cool to hear McCartney swing. The arrangements are simple and uncluttered, orchestral backdrops when called for, and quite laid back overall. Recorded with Diana Krall and her band, KOTB also includes 2 new tunes, and guest appearances by Eric Clapton and Stevie Wonder.

If you’re looking for a connection here back to The Beatles or Wings, let me know if you find it- I can’t. Here in 2012, Kisses On The Bottom (the title is from a line in the first song) is a straight up 40’s/50’s pop record. Enjoyable as this is, I hope it doesn’t indicate a more permanent shift a la Rod. With a February 7th release date, Kisses makes the perfect soundtrack for Valentine’s Day.

TOP TRACKS: We Three, My Valentine, It’s Only A Paper Moon

RINGO 2012 Ringo Starr (Hip-O/Universal)
Just what the world was waiting for, I’m sure- another solo album from The Beatles’ drummer. I was shocked to find out this is his 17th such release, and startled to be enjoying it.

Produced by Ringo and mixed by Bruce Sugar, 2012 is his best sounding album. That should come as no surprise, given a guest list including Richard Page (Mr. Mister), Van Dyke Parks, Kenny Wayne Sheperd, Dave Stewart, Benmont Tench (The Heartbreakers), Joe Walsh (The Eagles), Don Was, and Edgar Winter. While nobody will ever mistake Ringo for Robert Plant, all of that talent supporting his plain but in tune vocal make for a listenable set.

There only 9 tracks on Ringo 2012, which is probably a good thing- 5 originals, 2 remakes of his own stuff (Wings, Step Lightly) and covers of the skiffle classic Rock Island Line, and Think It Over. His discs are usually approached somewhat as novelty records- that’s the Octopus’s Garden effect- but the drummer has certainly upped his game this time out. This may be the best he’s ever sung, and the band may be better than he deserves, except for one irrefutable fact- he’s a fuckin’ BEATLE!

If you haven’t been a fan of Ringo’s solo work in the past, I doubt this will change your mind- but then again, Ringo 2012 might be a pleasant surprise for you too- your call.

TOP TRACKS: Rock Island Line, Anthem, In Liverpool

A Different Kind Of Truth Van Halen (Interscope)
This is Van Halen’s first album of original material since that steaming turd with Gary Cherone in 1998, and the first with Dave at the mic in 28 years. Surely one the most anticipated albums of the year, A Different Kind Of Truth is neither the masterpiece many naively hoped for, nor the train wreck others are claiming.

This is the same lineup that did the big tour in ’07-’08; the original Van Halen, except Eddie’s son Wolfgang is on bass. They went through older jams to come up with many of these tunes such as She’s The Woman, which was on the original Gene Simmons produced demo that landed them the record deal. A lot has been made of this, especially by ex-vocalist Sammy Hagar, but he sounds like a jilted ex-girlfriend with an axe to grind. Smart move, I say- for their first album with Roth in decades it creates the necessary vibe, a ‘Dave-ness’, for this thing to achieve liftoff.

A Different Kind Of Truth harkens back mostly to the pre-1984 days. I’ve always like Roth as a lyricist, someone that verbose always tells an interesting tale. The fleeting yet obvious references to Hendrix and The Stones in You And Your Blues makes me appreciate him all the more.

It’s amazing how much Roth’s voice hasn’t aged and, nepotism aside, Wolfie is actually a decent bassist, though rumor has it Eddie played most of the bass on the record. Some great double kick work from Alex on the drums too, but let’s face it- the real reason we came to this party is to hear Eddie Van Halen play, and he’s in top form. Some great riffery and solos featuring liberal use of tapping leave no doubt- he still has IT.

The first time I listened to A Different Kind Of Truth ir was “Meh.” But many spins later, I’m all in. Comparing it to the original 6 records, I’d say it’s closest in tone to Fair Warning. A solid comeback, this- sexy dragon magic indeed.

TOP TRACKS: China Town, Tattoo, Stay Frosty

Hellfire Joe Louis Walker (Alligator)
Talk about a cool name for a blues album! Joe Louis Walker’s career goes all the way back to the 1960’s, but this may very well be the best thing he’s ever done.
Having recorded for Stony Plain for several years, this is his debut for Alligator Records. Produced by songwriter/ drummer Tom Hambridge, who did Buddy Guy’s last couple of albums, Hellfire rocks, rolls, and gets down. His combination of soulful vocals and some of the hottest guitar playing I’ve heard in some time are an irresistible combination. Blues Review calls him “one of contemporary blues’ most dynamic and innovative musicians, releasing consistently exciting music.” If you’ve heard any of his albums in the last few years, I’m pretty sure you’d agree with that assessment.
Like Buddy Guy and BB King, Walker should be praised for his singing as well as his playing. He reaches the fever pitch of an old time minister, pounding on his podium and yelling at the rafters to get his message across. Alligator founder Bruce Iglauer rightly praises Joe as “Everything a bluesman should be- a great guitarist, vocalist, songwriter and, most of all, a soul to soul communicator.”
Hellfire is an energetic collection of songs- see if you can listen to the title track, or Ride All Night and not want to get up and move. This is just the right kind of CD to throw into your player if you`re starting a road trip too. If there`s such a thing as a party blues record (check that, I KNOW that there is) then Joe Louis Walker`s new disc is just such a beast. If BB King and Buddy Guy speak your language, then you are going to fall head over heels for Hellfire.
TOP TRACKS:Hellfire, I Won`t Do That, Soldier For Jesus

L.A. Woman:40th Anniversary Edition The Doors (Elektra)
This goes hand in hand with the Blu-ray just discussed. For its 40th birthday, L.A. Woman has been re-mastered. A full disc of extras has been added too, including alternate takes of several tracks, but 2 new songs unearthed when the master tapes were examined. It’s the right to treat what may be one of the best albums ever made.
Listening in retrospect, it’s easy to see that singer Jim Morrison was planning to leave the band by the time these sessions were over. Just listen to songs like The Changeling and Hyacinth House to find out what was on his mind. The infamous Miami bust weighed heavily on his consciousness, and he never really recovered from the damage before his premature death.
I guess the benefit of having alternate versions of songs we already know so well, like the title track, Riders On The Storm and my favorite Texas Radio And the Big Beat), is the chance to hear them as works in progress. The arrangements don’t differ wildly from the finished tracks, but an aficionado will appreciate every different note, tempo change, and the evolving lyrics. One thing the producers of this project (including, I assume, the band) cannot be praised highly enough for is the decision to leave the studio chatter in with the bonus cuts. Such a cool move, and it puts us right in the studio with them.
The two ‘new’ songs, discovered when the original session masters were being examined, are worth mentioning. She Smells So Nice is, I think, the single release here- a decent song, but ruined for my ears by Morrison’s overly distorted vocal. The other is a re-make of BB King’s Rock Me, and is definitely the better of the two- just one more piece of evidence showing that, for their last album, The Doors were returning to their roots and having a great time doing so.
L.A. Woman isn’t just The Doors’ finest hour, it’s one of the best rock & roll records ever made, period, still a powerful statement 40 years after the fact. The bonuses included with this 40th Anniversary Edition are nothing short of incredible and revelatory, making this an absolute ‘must have’ for fans, and a worthy companion to the Mr. Mojo Risin’ documentary.
TOP TRACKS: Texas Radio (and The Big Beat) alternate version, title track, Riders On The Storm, Rock Me

Mr. Mojo Risin;” The Story of L.A. WOMAN The Doors (Eagle Vision)
This amazing Blu-ray serves double duty- it documents the making of my favorite Doors album, and it details the end of the band. To paraphrase The Grateful Dead, “what a long, strange trip it was. Make that triple duty- this documentary also kicks off what the surviving members of the group are calling the year of The Doors. This is only the beginning, gang!
As a lifelong music junkie I love anything that can take me deeper into the tunes. Mr. Mojo Risin’ takes you by the hand and pulls you in past the beaded curtain, into late 1970 and a dinky recording studio in Los Angeles. This disc features exhaustive (and highly informative) interviews with suriving band members Ray Manzarek, Robbie Krieger and John Densmore, plus Elektra Records founder Jac Holzman, Bill Siddons (their manager at the time), plus a number of collaborators and close friends at the time.
Fans will enjoy the exclusive live performances, archival footage, and the close-up examination of the multi-track tapes by producer/ engineer Bruce Botnick. This is like another episode of Classic Albums but more in depth and ultimately tragic, as Jim Morrison would be dead within 2-3 months of the album`s release.
As a guy that spends hours listening to a new album while pouring over the liner notes, one of the most fun parts here was finding out things I didn`t know before. Manzarek reveals that the bassist used on this album (whose name escapes me at the moment) was Elvis`s bass player, something Morrison delighted in. The song Riders On The Storm was inspired and informed by the band jamming on Vaughan Monroe`s Ghost Riders In The Sky. And Texas Radio (And The Big Beat) started as a piece of poetry Morrison recited often on stage over one of the band`s many improvisation blowouts.
The Doors` final album was ultimately a blues record, made garage-band style with the group producing. The sessions were fun, and you can absolutely feel it in the music. Perhaps it`s because they knew it would be their last- not consciously, maybe, but Morrison had already decided to move to Paris, where he ultimately hoped to ;eave his performance career behind and evolve into a different kind of writer- not die of a heart attack in the bathtub.
The bonuses on this Blu-ray are more of a good thing; interviews with the band members, where they go into more detail on songs like the title track which is, of course, a love letter to the band`s hometown. There are also `videos` of the two newly discovered songs, She Smells So Nice and a glorious unruly version of BB King`s Rock Me Baby. The `videos`` are a series of photos from the time, slideshows really, but enjoyable nonetheless.
If you don`t already own a copy of L.A. WOMAN I double dog DARE you to watch Mr. Mojo Risin`(an anagram of `Jim Morrison`) and NOT go out and buy one. If you do- and I know you will- you`ll want the 40th Anniversary version, which comes with a full disc of alternate takes plus the aforementioned new songs, which I`ll be examining next. This is a great documentary on one of rock & roll`s very best albums. `Nuff said.

My Country Song David St. Germain (Last Tango)
Trying to make it in country music is like buying a 6/49 ticket and hoping to hit the big time. It’s a pretty crowded field and chances of your voice being heard above the others- well, they’re not good. David St. Germain, however, has assembled all the elements required to be the next big thing- great voice, good guitar playing, and solid tunes.
A relatively young performer (30), David brings a lifetime of experience with him. Honing his stagecraft since age 12, he’s appeared at festivals and concerts with his dad, Canadian Country Music Hall Of Famer Ray St. Germain- no doubt that’s where some of his confidence comes from. He’s already toured Europe and North America, with his biggest gig being the Canada Day celebrations in Ottawa, playing ni front of 70,000 people.
As a singer, David reminds me somewhat of Dave Matthews. As for the songs themselves, there are some real anthems in this 12 song collection, like Everybody Changes and Working Man Blues. Within a country context the subject matter in these tunes is fairly typical. That can certainly be said of the title track, but musically it`s nasty, more of a grinding blues or maybe even early Def Leppard- an exotic, exciting mix of elements. It`s the kind of thing with the potential for ridiculous hugeness.
Country or otherwise, My Country Song is a really friggin`good album, period.
TOP TRACKS: My Country Song, Radio, Everybody Changes

Hits And More Martina McBride (RCA)
When you mention the top female singers in country, McBride’s name always comes up. She’s back with another ‘hits’ collection and, as the title of this set implies, she’s thrown in some new stuff to keep her biggest hits company.
After a couple of decades in the business, Martina’s contract with RCA expired in 2010 and she signed with a new label. Lots of hits in those 20 years, so RCA takes one more kick at the cat by gathering 17 hits and 3 new tunes to talk the fans into ponying up one last time. Can you say ‘contractual obligation boys and girls? I knew you could.
Label politics aside, this is just a set of really solid songs. For a guy that says he isn’t a country fan, I sure listen to a lot of this stuff. Who hasn’t tapped their toe or driven a little faster with Wild Angels blaring on the radio- I know I have! And the gospel underpinnings of a ballad like Broken Wing is kind of inspiring. For me, this and her previous hits collections are all the McBride I need, but real fans will make note of the 3 new tracks; Ride, Independence day and This One’s For The Girls.
Martina McBride is a fine singer and her songs- especially the ballads- are emotional and tend to reach in a little deeper than most of the country music I’ve heard. The things she sings about are places we’ve been, or are going through. People see themselves in her music and as long as she maintains that connection, she’ll keep selling records by the truckload.
TOP TRACKS: Wild Angels, In My Daghter’s Eyes, Ride