Laura Wetzler
Flying
(independent)
Valley singer/songwriter Laura Wetzler hired a stable of local ringers to add texture to this recording, from Joe Boyle (guitars) and Jim Armenti (mandolin) to Keith Leverault (percussion), with especially moody instrumental embellishments served up by Stephen Katz (cello) and Paul McNamara (keyboards). The feel of Flying is one that channels quasi-medieval ballads via 1969 Jefferson Airplane—sometimes peppy and bluegrassy, sometimes wispy and ethereal as the mists of Avalon. Wetzler’s lyrics dwell mostly in a reflective world of personal storytelling that mostly looks to mine profundity from the mundane details of daily life. She seems to have achieved an ability to live in a moment, immersing herself, with a sublime patience and insight, in every sounding of a distant foghorn, or minor league ballpark taunt from a beer-swilling heckler. —Tom Sturm
*
Pink Floyd
Wish You Were Here—Experience Version (Original Recording Remastered)
(Capitol)
Typically, I’m not such an audiophile that a remastered version of an album I already own is enough to prompt me to buy a replacement. The extras packaged with the recently released “Experience Version” of Floyd’s classic were too tempting to resist, though. Along with a passionate marathon version of the first two-thirds of “Shine On You Crazy Diamond” from a show at Wembley Stadium in ’74, there are two apparent outtakes performed at the show. Both are a little thick in the middle, clocking in at over 10 minutes, but both give glimpses of what was to appear on later records. Best of all is an alternate, much looser studio version of “Wish You Were Here”—an ode to former Floyd front man Syd Barrett—that includes a soaring violin accompaniment by Stephane Grappelli. All add interesting dimension to the original and offer nice seasoning for your next mix tape. —Mark Roessler
*
Beirut
The Rip Tide
(Pompeii)
On his group’s third full-length album, Beirut leader and songwriter Zachary Condon seems poised to spread the joy of his band’s eclectic stylings to the world at large. Though he focuses on a more pop-oriented approach this time around, longtime fans will still recognize the signature usage of horns and other instruments like accordion, organ and piano. Many tracks feature amply hummable choruses and melodies, including opening number “A Candle’s Fire,” while “Payne’s Bay” plays more like a wistful waltz, and standout number “Santa Fe” includes forays into electronic music that are no doubt left over from Condon’s side project Realpeople. Perhaps most prevalent is the record’s consistently upbeat tone, which is strange, considering many of the songs were written and recorded in upstate New York in the dead of winter. —Michael Cimaomo
