'pay the devil'

'PAY THE DEVIL'
Van Morrison (Lost Highway)
Grade: C-
Van Morrison was once famously dubbed "the Belfast Cowboy" in a song that he performed with the Band, and also recorded a throwaway duet album with Linda Gail Lewis, honky-tonkin' little sister of Jerry Lee. Still, the country-flavored "Pay the Devil," a CD whose cover has him wearing a black hat modeled on that of the basically good outlaw Ringo Kid, is his first full-fledged excursion into cheatin' and drinkin' and commiseratin' and confessin' -- at least in the form of a musical collection. But as with Morrison's previous forays into jazz and traditional Irish music, this is really just an excuse to apply that instantly recognizable voice to some soulful songs he's probably sang in less formal settings.
Nearly all of the songs included are pop crossovers and some are sung in a way that could barely be described as country. But as usual, Morrison cannot be faulted on his taste. He obviously feels the sentiment in Webb Pierce's "There Stands the Glass," Conway Twitty's "What Am I Living For" and Rodney Crowell's "Till I Gain Control Again."
Terry Lawson, Philadelphia Inquirer
'OUT OF THE AGES'
Jessi Colter (Shout Factory)
Grade: B
On her first album of adult material in more than 20 years, the widow of Waylon Jennings opens with gospel standby "His Eye Is on the Sparrow" and closes with the equally inspirational "Please Carry Me Home," a duet with son Shooter Jennings. In between, Colter, 62, who scored her greatest commercial triumph in 1975 with the country and pop hit "I'm Not Lisa," frequently ventures away from church and into the roadhouse, giving "Out of the Ashes" a vibe that's sexual as often as it's spiritual. The project's dual nature is perfectly illustrated by the back-to-back pairing of the gospel-influenced "Out of the Rain," with backup vocals by Waylon and Tony Joe White, and the bluesy "Velvet and Steel," which finds Colter asserting, "You make me feel velvet inside."
With a voice that has aged like fine wine and the help of noted producer Don Was, Colter is making the most intriguing musical comeback since Loretta Lynn teamed with Jack White on "Van Lear Rose" two years ago.
Greg Crawford, Philadelphia Inquirer
'ON AN ISLAND'
David Gilmour (Columbia)
Grade: A
Since "On an Island" is David Gilmour's first solo album since 1984's "About Face" (and first studio recording since Pink Floyd's 1994 "The Division Bell"), his label -- perhaps wanting to jog the memory of music fans -- is selling the point that he's "the voice and guitar of Pink Floyd."
No need to worry: "On an Island" matches up with the best of Floyd -- unlike "Ca Ira," last years operatic effort from the groups departed founding member Roger Waters.
The opening foghorn sound and billowing, classical-tinged overture herald the album's aquatic undercurrents, and lead into an atmospheric title track buoyed by the familiar backup voices of David Crosby and Graham Nash.
"The Blue," then, offers a languorous seascape, while instrumental "Then I Close My Eyes" dreamily employs dobro-like Hawaiian guitar, cornet and even glass harmonica. "Take a Breath" starts a three-song centerpiece with Gilmour's guitar play emptying into his jazzy saxophone instrumental "Red Sky at Night," which in turn flows into the bluesy "This Heaven."
The ironically titled finisher "Where We Start" caps Gilmours auspicious return with an airy melody and time-themed, Floyd-worthy lyrics.
Jim Bessman, Associated Press
'YOUTH'
Matisyahu (Epic)
Grade: B
So after all the buildup, after the Hasidic Jewish singer became an unlikely Pied Piper luring U.S. rock fans to reggae music, how does Matisyahu do on his major-label studio album debut?
It's notable that despite its hip-hop touches and experimental quirks, Matisyahu's is a fairly undiluted form of roots reggae. Like the 2005 live album that sparked his popularity, the new music is a dead-serious expression of the genre's bedrock issues -- spiritual solace, the plight of the exile, the struggle for freedom, the value of community.
"Burned in the oven in this century/And the gas tried to choke but it couldn't choke me," he sings in the defiant, politically sensitive "Jerusalem," bringing a particularly Jewish context to that Jamaican foundation.
Although his emotional range as a singer is narrow, the plaintive edge in his voice is gripping enough to sustain the album.
Richard Cromelin, Los Angeles Times
'SUPERNATURE'
Goldfrapp (Mute)
Grade: A
If you're looking for the best the world of electronica has to offer, look no further than Goldfrapp. The English duo, Alison Goldfrapp and Will Gregory, surpasses all expectations with its latest album, "Supernature," powered by smart lyrics weaved among lush melodies.
Goldfrapp is plenty big in Britain, and have already watched this album debut at No. 2 on charts there. But American audiences should also appreciate this hipster-paced approach to electronic music that comes close to the noisy chaos of the electro clash genre -- without giving in to the useless experimentation that many fall prey to.
On "Ooh La La," Goldfrapp's sexy vocals ooze through the speakers and seduce the listener in a dreamy disco-esque haze. "Switch me on, turn me up/ Oh child of Venus you're just made for love," Goldfrapp sings, while deeply fuzzed, electronic synthesizer keeps up behind her.
She's upbeat on the dance tracks, but Goldfrapp handles the down-tempo stuff perfectly as well.
The instrumentals are so well constructed, Goldfrapp's vocals are like a tasty cherry on top of an already very edible sundae. With apologies to Madonna, electronic music hasn't had it this good with a front woman since Berlin's Terri Nunn. "Supernature" is one the young year's best releases.
Ron Harris, Associated Press
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