Bearfoot
Doors and Windows
(Compass)
Hailing from Anchorage, Alaska, young bluegrass combo Bearfoot has just delivered its fourth album. Vintage Martin guitars, fiddles, bass, mandolin and minimal percussion fill out their rootsy yet decidedly modern sound. Smooth-voiced lead vocalist/fiddler Odessa Jorgensen leads the way, but all the members contribute vocally, weaving some strong harmonies. Their drastic reworking of the Beatles' "Don't Let Me Down" breathes a different kind of life into the tune. Confident and inspired, the group serves up a collaborative effort that should appeal to a broad range of people who like classic bluegrass that isn't afraid to tread on pop waters. — Ryan Duffy
Stevie Nicks
The Soundstage Sessions
(Reprise)
Few artists have been as much of a boon to the scented candle and silk scarf industries as wacky, witchy Stevie Nicks, but one must remember that she was once cool enough to do duets with Tom Petty. The Soundstage Sessions is basically a rehash of Nicks' classic hits, embellished with guitar and keyboard tones that sound like they're still actually being played on all-'80s equipment. There are some cover tunes on the CD—Bonnie Raitt's "Circle Dance" and Dave Matthews' "Crash into Me," which are fine if nasally like a female Bob Dylan, and there's "Landslide," which is just a brilliant song, period. Nothing, however, sounds any better than it did the first time. —Tom Sturm
Slaid Cleaves
Everything You Love Will Be Taken Away
(Music Road)
A Mainer by way of Austin, Texas, Slaid Cleaves has played for some 20 years now, and this is his 11th release. He offers loner singer/songwriter country fare here, complete with truck stops, cowboys and so on. Although it's well-played, this effort drags and lacks much punch. The CD includes a brief essay by Stephen King, who touts it as being as pure, authentic and affecting as it gets. I wish I shared the master of horror's sentiments. — Ryan Duffy
Franz Ferdinand
Tonight: Franz Ferdinand
(Domino)
The dapper lads of Franz Ferdinand say Tonight is a concept album, based loosely on a long night of partying. Track after track of upbeat electronic music makes this record the perfect party soundtrack—the Glaswegians have traded guitars for Casio keyboards. In an attempt to stay at the forefront of the indie rock scene, the band has mostly given up on the guitar-driven rock that got them there in the first place. As a dance-rock record, however, Tonight delivers a catchy, consistent disco-rock sound, complete with sassy synth and cheeky, lusty lyrics. Tunes like "No You Girls" and "Ulysses" smack of commonplace indie-pop, but make up for the lack of imagination with attitude and charm. —Becky Everett
