‘RAIN’

‘RAIN’

Joe Jackson (Ryko)

Grade: B

Joe Jackson has never been afraid to experiment.

Throughout his long career, he’s embraced music styles outside his comfort zone — even at the expense of selling records. He covered swing on “Jumping Jive,” wrote the instrumental “Will Power,” and dabbled in jazz and salsa on “Body and Soul.” Along the way he’s created great music, angered some record companies, and attracted a small but loyal fan base.

On his latest album, “Rain,” Jackson opts for a bare-bones approach with just piano, bass and drums. He’s joined by longtime band mates, bassist Graham Maby and drummer Dave Houghton. Both have played with him for the better part of 30 years. Noticeably absent, however, is guitarist Gary Sanford.

The record’s vibe is distinctly Jackson, but not his post-punk work like “Look Sharp.” There’s not a guitar to be heard on this one; instead the songs have a jazzy pop feel reminiscent of his earlier work on the 1982 album, “Night and Day,” though the songs are not as radio-friendly.

While more album-oriented, “Rain” offers 10 nicely crafted mid-tempo ballads that make the most of this scaled-down ensemble. No accident there. Many of them have been played in concert over his last couple of tours, but have never been recorded until now.

“Wasted Time” tells the story of a failed relationship that harkens back to his hit, “Breaking Us in Two.” Then there’s “King Pleasure Time” which has the feel of another older song, “Memphis.” Throughout most of the disc, Jackson tinkers the ivories at times sounding like he scoring the next Charlie Brown special. But he gets funky on “The Uptown Train,” and intimately poetic on “Solo.”

The result is mostly impressive. Airy musical passages live and breath in most of the songs, as does his distinct, sometime falsetto, vocals. While it’s not his greatest work, it’s certainly notable.

—John Carucci, Associated Press

‘JUST A LITTLE LOVIN’’

Shelby Lynne (Lost Highway)

Grade: C+

Philip Glass notwithstanding, minimalism can make for good music. A lot of pop records would benefit from fewer notes, songs and instruments.

Shelby Lynne’s latest disc, however, is too stripped down. “Just a Little Lovin”’ pays tribute to Dusty Springfield by covering nine of her songs, and while Lynne should be saluted for resisting the temptation to serve up overblown renditions, she has ventured too far in the other direction.

That’s surprising because the producer is Phil Ramone, never known for a less-is-more approach. But he backs Lynne with a laid-back quartet, including a keyboardist and guitarist who play as if handcuffed.

Lynne sings these songs beautifully, her mix of sweetness and sass coaxing fresh emotions from the familiar melodies. But she rarely raises her voice, and when she steps away from the mike, it’s as though the band members are looking at each other, waiting for someone to take the lead.

These sleepy arrangements would benefit from a saxophone, harmony vocals, even a tambourine. Sometimes more is more.

—Steven Wine, Associated Press

‘THE BEDLAM IN GOLIATH’

The Mars Volta (Universal)

Grade: A+

Words do no justice to The Mars Volta.

Returning with another genre-bending concept piece on their fourth long-player, “The Bedlam in Goliath,” The Mars Volta remain a testament to the idea that hearing is believing.

This is not so much a band as a creative trust between guitarist/arranger Omar Rodriguez-Lopez and lyricist/vocalist Cedric Bixler-Zavala, who team with an array of musicians, including Red Hot Chili Peppers guitarist John Frusciante, to bring their collaborations to life.

On “The Bedlam in Goliath,” the concept revolves around a Ouija-like spirit board the duo toyed with and began to cull ideas from for the record, including song titles, lyrics and the story arc of saints and sinners which takes on a life of its own.

You may scoff and shake your head at their muse — but the result is a sonic masterpiece.

The wildly prolific Rodriguez-Lopez is nothing if not a guitar wizard, churning out blazing riffs and space rock atmosphere while Bixler-Zavala brings his wonderfully artful and at times incomprehensible lyrics to life with scorching wails.

“Soothsayer,” “Ilyena,” “Goliath” and “Cavalettas” boast more ambition alone than most discs, and that only begins to scratch the surface of the complex arrangements that remain tightly harnessed.

Beneath the prog rock ambitions lies a true punk/hardcore spirit, making their diversions into odd time signatures, free-form jazz, eastern and Latin grooves, funk and psychedelia exciting and energetic. Something fresh and unexpected lurks in every corner.

But, again, words do no justice to The Mars Volta.

Hearing is believing.

—John Kosik, Associated Press

‘MOMENT OF FOREVER’

Willie Nelson (Lost Highway)

Grade: A-

Willie Nelson can do anything.

He has always stood in opposition to the glossy Nashville sound of country music, but occasionally returns to its embrace as if drawn by some strange gravity.

On his latest release, “Moment of Forever,” the big city pop sound is applied by co-producers Buddy Cannon and Kenny Chesney.

Nelson has done albums with a series of celebrity producers over the past decade, providing his usual mix of brokenhearted ballads, sly novelties and one-sided discussions with God. While Nelson remains a singular and iconic voice at 74, those he enlists don’t always understand how to present the genre’s master songwriter.

The album’s opener, “Over You Again,” is a fine example. It begins sedately with slide guitar pushing along Nelson’s familiar strum, a little bright piano. Instruments are added, the volume rises, a chorus of polished voices enters the room and eventually Nelson is lost in all the traffic. And another beautiful scattergun guitar solo from Nelson is completely wiped away in the mix.

And we could’ve done without the brassy horns on “Takin’ on Water” and Nelson’s take on Dylan’s gospel dalliance, “Gotta Serve Somebody.”

But as usual, Nelson invites you in to sit down for an hour of good times. He’s warm and engaging, as always, and his albums arrive like phone calls from lifelong friends.

Of his three originals, “Over You Again,” stands out. And he uses his unmatched interpretive skills to spin off engaging covers of Dave Matthews’ “Gravedigger” and Randy Newman’s “Louisiana,” which becomes a Hurricane Katrina remembrance in his hands.

The obligatory duet with Chesney, “Worry B Gone,” is charming and Nelson moves into amusingly absurdist territory with “Bob,” an engaging ditty about a pirate written by Kenny Alphin of Big & Rich.

—Chris Talbott, Associated Press