'THE LONG ROAD HOME'

'THE LONG ROAD HOME'
John Fogerty/
Creedence Clearwater Revival
Fantasy
sss
The Eagles' "Hell Freezes Over" reunion seemed something less than purgatory compared to John Fogerty's bitter estrangement from the legacy of Creedence Clearwater Revival, for whom he was the primary creative light. He'd dissociated himself from the band for decades because of a dispute with the owner of the label for which CCR recorded, and it controlled the copyrights for the rock classics Fogerty penned.
That list includes "Proud Mary," "Who'll Stop the Rain" and "Bad Moon Rising," songs he refused to perform in his solo years because he didn't want to contribute to the coffers of the enemy. But the sale of Fantasy to jazz imprint Concord last year has resulted in this career compendium, which includes all of the above, along with choice selections from Fogerty's brief stay at Asylum -- the brilliant "Almost Saturday Night" -- and his longer-running tenure at Warner Bros., which produced one of the best songs ever about baseball, "Centerfield," and the recent anti-war anthem "Deja Vu [All Over Again]." Also included are live Fogerty renditions of key Creedence tracks "Keep on Chooglin"' and the glorious "Hey Tonight."
-- Terry Lawson, Detroit Free Press
'III'
Joe Nichols
Universal South
sss
This time out, Nichols lives up to the promise he showed on his fine 2002 debut, further countryfying his already-twangy sound and opting for material that highlights both the hurt and humor in his rich baritone.
Even the disc's radio-friendliest moments ("Size Matters" and "Tequila Makes Her Clothes Fall Off") fall toward the traditional end of the country continuum, and Nichols' somber takes on "Freedom Feels Like Lonely" and "I'll Wait for You" (a Harley Allen-Bill Anderson tune) turn back the genre's clock a couple of decades. The real retro charmer, however, is the young singer's take on Gene Watson's late-'70s hit "Should I Come Home [Or Should I Go Crazy]," which complements his fine cover last year of Watson's "Farewell Party." On "III," Nichols again proves he's an old soul, one whose effortlessly country voice (if not his pinup-boy looks) would have been a perfect fit in Nashville during the heyday of Waylon, Willie and Merle.
-- Greg Crawford, Detroit Free Press
'DO IT'
Poncho Sanchez
Concord
sss 1/2
This CD by percussionist Poncho Sanchez is not especially innovative. But the rhythms are seriously organic, and Sanchez sports with a lively Hugh Masakela, the trumpeter who sings a pre-"Grazing in the Grass" hit, "Ha Lese Le Di Khanna."
The Tower of Power horns also appear to offer some exuberance on the funky "Squib Cakes," which evolves through several welcome changes. Sanchez, though, is at his best letting out the neighborhood stuff on the tasty "Yo Quisiera" and the wonderfully bluesy "Short Dog."
-- Karl Stark, Philadelphia Inquirer
'IF YOU DIDN'T LAUGH, YOU'D CRY'
Marah
Yep Roc
sss
On their fifth album, Philadelphia-bred (and now Brooklyn-based) brothers Dave and Serge Bielanko nearly succeed in fully recapturing the freewheeling spirit that made Marah's 1998 debut, "Let's Cut the Crap ...," such a wide-eyed wonder.
It's been a long road back. "Float Away With the Friday Night Gods" (2002) was an overproduced debacle, and "20,000 Streets Under the Sky" (2004) strained to re-establish the band's heart-on-sleeve, early-Springsteen bona fides. "If You Didn't Laugh," by contrast, is at ease with itself, overflowing with off-the-cuff expressiveness born of a semi-acoustic folk-punk strategy that, at its best, recalls the Rod Stewart-Ronnie Lane glory days of the Faces.
The coffee-and-cigarettes contemplation "Walt Whitman Bridge" and bittersweet "City of Dreams" win out by keeping it simple, and the hidden track "Maybe It's This Time" achieves a relaxed Spectorian sweep without trying too hard.
-- Dan DeLuca, Philadelphia Inquirer
'ALL THAT I AM'
Santana
Arista
ss
Carlos Santana's commercial rebirth has been operated like a puppet regime. Songwriters and producers team him with hot young artists, while the legendary guitarist injects his searing licks into a few jams just so there's truth in advertising. It's called a Santana record, after all.
Keeping with the template established on "Supernatural" and "Shaman," Santana's scorching Afro-beat workouts such as "Hermes" are outnumbered by vehicles for the parade of assembled pop, rock, hip-hop and R & amp;B stars.
Trying to strike gold twice with Michelle Branch doesn't work, as "I'm Feeling You" is nowhere near the guilty pleasure that "The Game of Love" was. The attempt at a sultry rocker a la "Smooth" with "American Idol" finalist Bo Bice is a loser. Honey-piped neo-soul singer Anthony Hamilton is a standout collaborator, though, shining on the lusty "Twisted." Since Santana seems so receptive to collaboration, here's a suggestion for a more appropriate album title: "Abraxas Is All That I Am, This Is Not."
-- Patrick Berkery, Philadelphia Inquirer