"Baptism"

"BAPTISM"
Lenny Kravitz
(Virgin)
ssThere are pressing questions about Lenny Kravitz's new album, "Baptism." Why does the cover art feature him sitting, apparently naked, in a pool of red paint? Doesn't he know that paint will stain his guitar? Why does he look like Prince?
The questions extend to the music, too. Such as, isn't it disingenuous to work all the angles in pursuit of stardom and then complain about being famous? It's what Kravitz does on the minimalist track "I Don't Want To Be a Star," where he sings, "Just want my Chevy and an old guitar." That should be easy enough to arrange, no?
Maybe arranging it is what Kravitz has been doing. The songs here certainly don't sound like he put much thought into them. The whole album has a slap-dash feel, as if Kravitz was eager to finish it so he could resume ducking fame. He played many of the instruments himself, though he makes room for saxophone player David Sanborn on the Kiss-style rocker "Flash." And Jay-Z's rhymes punctuate Kravitz's weary murmur on "Storm," but it sounds almost like the rapper is trying to convince his host when he raps, "Lenny Kravitz/Not your average."
Still, this is Lenny Kravitz, which means there are a few funky moments on "Baptism." The best is probably on the slinky opener, "Minister of Rock 'N Roll." Otherwise, Jay-Z is right: Kravitz is not your average on "Baptism." He's a notch below it.
"ONE LOVE"
Kimberley Locke
(Curb)
ssLocke placed third in the second season of "American Idol" (behind Clay Aiken and winner Ruben Studdard). But she was the first of the show's contestants to enter the singles charts at No. 1, when "8th World Wonder" debuted atop the Billboard Hot 100 in March.
That song, which is now sitting on top of the dance music charts after being remixed, leads off Locke's debut CD. It's a promising beginning, and is followed by another of the disc's better tracks, "Have You Ever Been In Love," a powerful ballad on which Locke confidently handles the softer verses and more potent vocals on the chorus.
But from then on, "One Love" is uneven at best. Several songs are lightweight or too generic to make any impression, and when the material is stronger, as with the R & amp;B-flavored "You've Changed," Locke's voice lacks the necessary character to carry it off. As for her duet with Aiken, "Without You," one more over-emoted "Idol" ballad is one too many.
There are two bonus tracks, and they close the disc on a sour note. "I Can't Make You Love Me" is a big mistake. Compared with Bonnie Raitt's heartfelt version, Locke's attempt is flat and uninspired. And she misses the mark with "Somewhere Over The Rainbow."
"One Love" is average, but with the power of the "Idol" brand peaking as its current season draws to a close, that probably won't stop Locke from reaching the heights of the album charts.
"HARMONY"
Gordon Lightfoot
(Linus)
sssNearly three decades after he sank the Edmund Fitzgerald, Gordon Lightfoot has resurfaced.
It's been a while since he made the charts, but that's the least of Lightfoot's problems lately. A life-threatening aneurysm left him in a coma for six weeks in 2002, and he's still recovering.
Lightfoot recorded demos of new material shortly before he became ill, and the tapes provided the foundation for "Harmony," his 20th album. Band parts were overdubbed while he was still in the hospital, two concert cuts were added, and the result is an engaging 11-song collection featuring Lightfoot's ruminations on longing, love and the great outdoors.
His voice is thinner and more nasal than when it was a fixture on AM radio, but Lightfoot's folksy delivery remains distinctive. It's like hearing unexpectedly from an old friend.
"YOU ARE THE QUARRY"
Morrissey
(Attack/Sanctuary)
sss Remember Morrissey? Sad to say that vocalist Steven Morrissey has faded from many minds, his career as a solo artist was mostly a massive letdown after he made an indelible impression in the Smiths, arguably the most important British rock band to emerge in the '80s.
"You Are the Quarry," Morrissey's first recording in almost seven years and his best since his '88 solo debut "Viva Hate," proves that he's still very much alive and kicking -- and as witty, morose and heartbroken as ever.
"Monday -- humiliation/Tuesday -- suffocation/Wednesday -- condescension/Thursday -- is just pathetic/By Friday -- life has killed me," he sings with cathartic emotion on "I Have Forgiven Jesus," bringing back the glory days of Smiths' classic "How Soon Is Now?" and making self-absorption and depression quite cool again. "America Is Not the World" and "Irish Blood, English Heart" reflect the talents of a songwriter still unafraid to provoke.
"SCHUBERT: PIANO WORKS FOR FOUR HANDS"
Jando, Kollar
(Naxos)
sssMany composers have written piano duets, but the greatest and most consistent was probably Schubert. Only Mozart, who composed fewer, is in his league. Schubert's output may be explained by the fact that he had few opportunities for orchestral performances during his lifetime.
Naxos is releasing a series of CDs devoted to Schubert's piano-duet music. The third volume, with Jeno Jando and Zsuzsa Kollar as the performers, is a good survey of the variety of Schubert's output.
One of the pieces is great: the Fantasy in F minor, D. 940. This 17-minute work approaches the profundity of Schubert's last piano sonatas, with wonderful melodic material and a sense of melancholy lurking under the surface.
The seven smaller pieces are not profound, though they are always tuneful and listenable.
The pianists are solid. Jando is notable for his many distinguished recordings for Naxos.
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