"STRONG"

"STRONG"
Tracy Lawrence
(Dreamworks Nashville)
ssTracy Lawrence tallied a hefty number of chart-topping country singles in the 1990s but always had an unfortunate knack for run-ins with the law.
A 1998 conviction for domestic abuse sent his career went into a tailspin from which it has not yet emerged. "Strong" is a clear attempt to get back on favorable terms with as wide an array of listeners as possible.
It's a generally agreeable, though unfocused, collage of singles that cater alternately to traditional and contemporary sensibilities. Lawrence more frequently embraces middle-of-the-road styles, matching insistent twang with a sweeping pop-style chorus hook on "It's All How You Look at It."
He adds a growling touch of grit to his singing on the bouncy "What the Flames Feel Like," but gets the most mileage out of his voice by applying it to supple storytelling in the predictable but impassioned "Bobby Darwin's Daughter."
Lawrence's ability to light up a tune shows on the throwback shuffle "Sawdust on Her Halo," a refreshingly fun romp that bursts with fiddle and pedal steel guitar lines.
Commercial success may be more likely for the formulaic loss ballad "Paint Me a Birmingham" or the chugging hero tribute "Think of Me," but Lawrence exhibits much more compelling craft and character when he isn't watering down his sound in an attempt to hedge his bets.
"I'M GOOD NOW"
Bob Schneider
(Shockorama)
sssIt would be easy to dismiss Bob Schneider as just another cranky Gen-Xer, except that his doleful lyrics are often paired with such sweet sounds.
"I'm Good Now" is his second album. It's also the final line in a song about death. It's brimming with angst but also with the kind of melodies that make the world a better place. Though Schneider may be a cynical singer-songwriter, he's also a masterful craftsman, constructing irresistible pop tunes with a blend of guitars, keyboards, strings and harmony vocals. He's a little bit country and rocks, too, reflecting the musical range to be expected from someone who was born in Michigan, grew up in Germany and lives in Austin, Texas.
The world-weary Schneider wears his heart on his sleeve, just like the characters in one of his tunes. He sings about illusion and aspiration and dysfunction and self-destruction. And he sings, "Everything you know just falls apart," encouraging his audience to hum along.
"BALL"
Widespread Panic
(Sanctuary)
sssFor a band like Widespread Panic, which uses the happenstance groove of a live show to guide them in the studio, an album of never-before-heard tunes like "Ball" is more than bold; it's an outright risk.
Through seven albums, the Georgia boys of Panic have refined and revamped their songs through live performances long before recording an album. "Ball" hasn't had that vetting, but the songs on the band's first album since Mickey Houser died of cancer two years ago are palpably refined.
On most tracks, it is a greater attention to nuance and refinement that differentiates this Panic album from any other.
"Thin Air (Smells Like Mississippi)" has the same Southern rock sentiment laid over a backdrop of Caribbean drums that Panic has long played. But it feels smoother and seamless, even for a band that plays tighter than most.
"Sparks Fly" carries the momentum. It's a riff-driven ballad with a late 1970s, early '80s rock 'n' roll feel. It's easy to bob your head and let the song roll out.
There's no faulting Widespread Panic for denying their fans a song until an album hits the shelf. But it's hard to say if Panic's most avid fans will embrace a song if it comes before a show.
As a testament to that, the most exciting moment on the album is actually hidden. Tacked onto the album's end, it's 10-plus minutes of a psychedelic rough studio cut. There are no lyrics and no format, making it a memorable final & eacute;.
Even in the structure of the studio, it seems the jam lives on.
"MORE"
Tamia
(Elektra)
ssssA few singles from Tamia's long-awaited third solo album, "More," have already gained a lot of airplay, but some of the album's best songs have yet to be released.
One standout is "Close to You," a duet with Gerald Levert, which also appears on Levert's latest album. Tamia's light soprano is perfect for Levert's mellowed-out arrangement of this Carpenters' classic and adds to its touching sentiment. The soulful rendition definitely rivals Tamia's duet with Eric Benet on the 1999 Grammy-nominated ballad "Spend My Life With You."
Tamia delivers an emotional performance in the gospel song "Tomorrow," a petition for believers to give their lives to Christ. Tamia infuses meaning into every word of this powerfully written song, originally sung by the legendary Winans family.
In "Poetry," Tamia playfully invites a seduction in this slow jam. Its infectious chorus and rhythm coupled with Tamia's sultry voice make this a song worth a second listen.
Tamia's collaborations with other artists, such as already released singles "Into You" with rapper Fabolous and "Questions" written by R. Kelly, don't work as well as "Still," a ballad for the perfect marriage co-written by Jermaine Dupri. "Still" allows Tamia to shine and captures the power and beauty of her voice.
Tamia's hubby, NBA star Grant Hill, even lends his keyboarding skills for "Whispers," a jazzy ballad about the language of love. Tamia co-wrote this track and brings a passionate sensuality to the lyrics.
"HERE ON EARTH"
Ingrid Jensen
(Enja)
sssWestern Canada isn't generally considered a jazz hot spot, but Vancouver-born trumpeter Ingrid Jensen is a compelling import. The mid-30s trumpeter, who played with Lionel Hampton and the female group Diva, makes an intelligent recording, her fifth as a leader, intermingling originals with standards from Miles Davis, Bill Evans and Cole Porter.
Jensen is a tasteful presence on trumpet, which she plays with ample space and a clear desire to serve the tune. Soprano and alto saxophonist Gary Bartz, who lives in South Jersey, is a keening collaborator who juices up the proceedings. So do Dwayne Burno on bass, pianist George Colligan, and drummer Bill Stewart. Colligan's title track is a gently flowing number that features plenty of ardent blowing. Porter's "You Do Something to Me" is all angles and reharmonized chords.
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