RECORD REVIEWS

Van Morrison

Album: “Duets: Re-Working the Catalogue”

Grade: B

The duets format can be a lazy way to go, a predictable romp that showcases familiar old songs. Not so with Van Morrison’s new collection “Duets: Re-Working the Catalogue” which skips obvious hits like “Moondance” and “Brown-Eyed Girl” for overlooked, sometimes eccentric tracks from memorable albums like “The Healing Game” and “A Period of Transition.”

The result is a warm, refreshing look at the stunning breadth of Morrison’s poetic compositions, dating back nearly five decades. It’s all here: The devotion to American rhythm and blues roots, the moody introspection, the search for transcendence. There is no particular concept, no chronological tale, but the music is unified by his fierce vision, and set off by his magnificent voice (untrammeled by time) and some tasty horn work.

The choice of collaborators is revealing: Mavis Staples, with her golden voice and long family history; jazz singer Gregory Porter (who finally makes some of the mumbled lyrics to the exuberant “The Eternal Kansas City” intelligible); and Taj Mahal, who seems to nail “How Can A Poor Boy” on the very first take. Their easy camaraderie makes one miss the late John Lee Hooker, who teamed with Morrison for some of the finest duets of their respective careers.

Morrison also includes some of the early English rockers who were on the way up when he first surfaced in the mid-’60s. Chris Farlowe, who has joined Morrison on stage at times, teams up with him on “Born To Sing” and former bandmate Georgie Fame duets on “Get On With the Show.” P.J. Proby makes a surprise, slightly self-mocking appearance in “Whatever Happened to P.J. Proby”, a nostalgic homage to the early days.

Some of the songs may send fans back to the original albums, particularly “Streets of Arklow,” a cut from Morrison’s brilliant, Irish-tinged “Veedon Fleece” presented here in tandem with Mick Hucknall. There’s plenty to hear, and there’s plenty more hidden away in Morrison’s impressive archives.

—Gregory Katz, Associated Press

JAMES BAY

Album: “Chaos and the Calm”

Grade: B+

British singer-songwriter James Bay has hit on a formula that makes Grammy voters swoon and critics of a certain age take notice.

He is a young artist who celebrates an older style of music.

On his debut album, “Chaos and the Calm” (Republic), the 24-year-old, already known for his trademark fedora and long hair, wears his love of ’70s rockers on his rolled-up sleeves - a trait that has landed him the prestigious Brits Critics’ Choice Award that went to Adele and Sam Smith before him.

The Bruce Springsteen influence is evident in his more acoustic material, where his full, raspy voice is strongest. He swaggers his way through “Craving,” and adds a bit of James Blunt to “Incomplete.” There’s some “Rumours”-era Fleetwood Mac touches on the likable “If You Ever Want to Be in Love.”

At the top of his vocal range, Bay sounds like John Waite from The Babys and of “Missing You” fame, especially on “Collide,” which could have come from 1979 with its blues organ chords and post-punk energy, and on the simple guitar ballad “Let It Go.”

Bay is at his best, though, when he combines those two worlds, like on the wrenching “Scars,” where he applies Waite-like howls to a rocker filled with Springsteen-ish details, or “Get Out While You Can,” which sounds like a mix of The Babys’ “Back on My Feet Again” and Springsteen, circa “Devils and Dust,” with a dash of Coldplay.

On the first single, “Hold Back the River,” he moves between his rocker and balladeer voices, creating an interesting tension that still sounds completely familiar. It’s that familiarity, though, that may be Bay’s biggest struggle. Entering a market filled with Hoziers and Passengers, it’s hard to see how he will distinguish himself.

Can being likable be enough? Considering how easily the sleek “Chaos and the Calm” goes down, all signs point to yes.

—Glenn Gamboa, Newsday