Billy Preston News

You may have seen the recent photos of Bob Dylan looking uncannily like Charlie Chaplin, and his 44th album, "Modern Times," shares a title with Chaplin's 1936 classic about automation, big business and the overreaching intrusion of the state into private lives. Sort of like today. Dylan sings like he has been traveling by boxcar since 1936; such tunes as "Spirit on the Water" and "Beyond the Horizon" have a sweet, old-timey, Depression-era feel. But images within the same song leap across decades: "The Levee's Gonna Break" could be about New Orleans 2005 or the great flood of 1937. This enchanting album is rife with homespun reflections on philosophy, religion and the never-ending quest for true love. They are summed up by this couplet from hard blues shuffle "Thunder on the Mountain": "I'm wondering where in the world Alicia Keys could be/I been looking for her even clear through Tennessee."

ARTIST: SAM MOORE

ALBUM: OVERNIGHT SENSATIONAL (Rhino Records)

Duets come naturally to Moore, half of the '60s' greatest soul duo Sam & Dave. But it's still surprising how much better this album is than the standard celebrity stampede. Maybe it's because no one can steal the spotlight from Moore: not Bruce Springsteen on "Better to Have and Not Need," not Jon Bon Jovi on "Lookin' for a Love," not Sting on "None of Us Are Free," not even the odd couple of Mariah Carey and Vince Gill on a deliciously over-the-top version of Conway Twitty's "It's Only Make Believe." Other noteworthy contributors include Wynonna, Bekka Bramlett and Bebe Winans on "I Can't Stand the Rain"; Van Hunt and Nikka Costa on the comical "If I Had No Loot"; Travis Tritt on "Riding Thumb"; and Fantasia on "Blame It on the Rain." Yes, the Milli Vanilli song. But these people really sing.

ARTIST: VARIOUS

ALBUM: BROKEN BRIDGES SOUNDTRACK (Show Dog Records)

The soundtrack to Toby Keith's film debut is a diverse collection with plenty of surprises. The title cut (with Lindsey Haun) is a bit of a sappy affair, but it's more than redeemed by Fred Eaglesmith's smoldering "Thinkin' 'Bout You," Matraca Berg's soaring "Along for the Ride" and Sonya Isaac's goose-bump turn on "The Battlefield." Haun's voice is impressive and expressive on the piano-based ballad "Broken," and Keith's pal Scotty Emerick is likable with the radio-ready "What's Up With That." Lesser-known acts Flynnville Train ("High on the Mountain") and Poor Richard's Hound (the stirring instrumental "The Waiting Game") contribute real winners. Keith rocks hard ZZ Top-style on "Big Bull Rider," "Zig Zag Stop" and the roadhouse anthem "Jacky Don Tucker (Play by the Rules)."

ARTIST: BILL FRISELL, RON CARTER, PAUL MOTIAN

ALBUM: BILL FRISELL, RON CARTER, PAUL MOTIAN (Nonesuch Records)

Guitarist Bill Frisell is a master of reflective, quiet but subtly quirky lines that flow from the lyrical to the angular. He can also sling arrows into the mix, but here in the company of two of jazz's greatest rhythm players, Frisell steers away from sudden blasts and settles into the fluidity of cliche-free improvisation. What's remarkable is how untethered the leader and trio play. Ron Carter steers with his unpredictable bass runs, countermelodies and motifs as Paul Motian flicks the cymbals in dance-like support while Frisell muses soulfully through pop standbys like Hank Williams' "I'm So Lonesome I Could Cry" and "You Are My Sunshine," ironically sketched in a melancholic mood. It's significant that the trio delectably covers two Monk tunes ("Raise Four," "Misterioso") given that Frisell is the Thelonious of jazz guitar.

ARTIST: MANA

ALBUM: AMAR ES COMBATIR (Warner Music Latina)

Mana has always had a distinctive sound, anchored by lead singer Fher Olvera's raspy vocals, rich guitars and an infusion of rock/tropical/reggae beats amid highly melodic songs. "Amar Es Combatir," Mana's first studio album in four years, doesn't deviate from this formula, and that's the good and the bad of it. "Labios Compartidos" is a melancholic, midtempo ballad that recalls several earlier Mana hits. But it is an undeniable hit, well-crafted and beautifully executed. That is true for most of this album, which boasts far better songs than 2002's "Revolucion de Amor" and is also an airier, more inspired collection. Mana covers new territory on the catchy "Tiburon," a rock cha-cha, while a collaboration with bachata star Juan Luis Guerra on "Bendita Tu Luz" is an organic blend of genres and vocals.

ARTIST: PETE YORN

ALBUM: NIGHTCRAWLER (Columbia Records)

When Yorn burst on the scene with "Musicforthemorningafter," his husky growl and catchy hooks embodied the missing link between Eddie Vedder and Bruce Springsteen. Five years later, he still sounds like he just rolled out of bed and is looking for some Advil while trying to find his voice. "Nightcrawler" begins with a dark, atmospheric crescendo ("Vampyre") and offers ambitious forays into dance rock ("Same Thing") and alt-country balladry ("The Man" with Dixie Chick Natalie Maines). But there are too many ordinary guitar-pop songs, driven by the same four chords and delivered with the same half-bored mumble ("For Us," "Maybe I'm Right"). Tellingly, only the previously released Warren Zevon cover "Splendid Isolation" has real energy and bite. Taking no risks, "Nightcrawler" shows little growth and makes one wish for the morning after.

Reuters/Billboard