Rajery
Sofera
(Harmonia Mundi)
History is replete with examples of musicians who overcame physical obstacles: Jerry Garcia's missing fingertip, Ray Charles' blindness, Dylan's broken neck, etc. Inspiring stories, to be sure, but playing a four-foot cylindrical bamboo zither with strings made of bicycle brake cable without a right hand is a whole other ball game. That's the challenge overcome by Malagasy musician Rajery, who not only plays the valiha (it sounds a bit like a more resonant kora), but is considered a virtuoso. Sofera showcases Rajery's mastery. By necessity, his pluck and strum technique strips tunes to their essentials, but this is perfect for framing a voice as smooth as that of Habib Koité. Unlike Afro-pop records that induce dancing, this one invites you to listen and admire. —Rob Weir
Lupe Fiasco
The Cool
(Atlantic/WEA)
In a year when alternative hip-hop acts like Common and Talib Kweli fell short, Lupe's The Cool mixes a perfect balance of meaningful rhymes and club-worthy beats. "Hi-Definition" is the first time Snoop Dogg hasn't felt out of place on a track in about five years. The song is candy-coated, but take a bite and find lyrics like, "Then hit Africa and try to fix the virus/ go back to the hood, tell Huggy open the hydrants/ R.I.P Stack B./ I'ma keep you alive, kid." Lupe's father, along with Stack Bundles, died during the making of the album, clarifying the tone of the record. While tracks like "Hi-Definition" and his single "Superstar" are more fit for radio, it is "Hip-Hop Save My Life" and "Dumb it Down" that make The Cool, well, cool. —Mark Rowan
Back of the Moon
Luminosity
(Mad River Records)
They may not have the name cachet of Altan, Battlefield or Capercaillie, but Scotland's Back of the Moon deserves mention in such august company. This is a band of many moods. On "Lumsden's Rant," Ali Hutton's border pipes are the centerpiece of a Celtic foot-stomper; on the very next tune, his whistles are the sensitive backdrop for Findlay Napier's rendition of the ballad "Glenlogie." Then it's Gillian Frame going contemporary atop Hamish Napier's piano on a Linda Thompson song, "Nine Stone Rig." Frame's fiddle playing dazzles throughout. The keyboards, fiddle, guitar, whistle and flute mix is surprisingly tight from a band not yet four years removed from winning Scotland's "Best Up and Coming" award. Luminosity is an apt title for this group's bright future. —Rob Weir
Hoots & Hellmouth
Hoots & Hellmouth
(MAD Dragon Records)
If you're a sucker for vintage pictures involving cowboys, Hoots & Hellmouth will likely grab your attention quickly. The best bit, though, is that they keep your attention. Their music is not remarkable innovation, but it's solid, compelling songwriting, orchestrated with well-played acoustic instrumentation. The opener is a sort of acoustic gospel-tinged number. What follows is lazy-paced, more usual singer/songwriter fare, veering from blues to country with an easy grace. That ease comes courtesy of a smartly moving palette of feels, textures and dynamics that sounds like what the majority of singer/songwriters aim for, but fall short of. Like Mark Erelli and Boston's Josh Lederman y Los Diablos, Hoots & Hellmouth make tasty recipes from familiar ingredients. —James Heflin
