LISTEN UP John, Russell: Oldies golden

Elton John and Leon Russell

The UnionDeccaA

There was a time when I genuinely loved Elton John. From 1970 until Blue Moves in 1976, I bought in more or less completely (despite some heavy peer pressure to like Foreigner instead). And while I stopped paying close attention maybe 30 years ago, Sir Elton has always retained the capacity to make me smile - whether it’s his work with the Scissor Sisters or his bromance with Eminem.

But I never thought he’d make a genuinely great record again - I was pretty sure his last best shot was Honky Chateau.But The Union, his T Bone Burnett-produced collaboration with Leon Russell, is stunning. It is a magnificent, heartfelt gesture of gratitude that burgeons into a powerful, profound merger of the sensibilities of two recondite pianobased entertainers.

It’s a back-to-the-basics amalgam of blues, gospel and honky-tonk that grazes the ceiling of the pop firmament. It’s earnest and heroic and it deserves more space than can be afforded it here. So understand, Russell’s voice is intact (still gritty, still canted in his odd register) and the songs - which include a rewrite of the Mighty Hannibal’s Vietnamera “Hymn No. 5” (“There’s No Tomorrow”) and seven new John/Bernie Taupin tunes, including “$800 Shoes,” “Gone to Shiloh,” “Hey Ahab” and “Jimmie Rodger’s Dream” (written with Burnett) - evoke the sepia-toned Americana of John’s underrated 1970 Tumbleweed Connection. It is all capped off by Russell’s gorgeous, poignant “The Hands of Angels.” - PHILIP MARTIN

Mavis Staples

You Are Not AloneAnti-A-

As the lead vocalist of the Staple Singers, Mavis Staples delivered songs such as “Respect Yourself,” “If You’re Ready (Come Go With Me)” and “I’ll Take You There” with passion, authority and soul. Now in her 70s, Staples still delivers those qualities in abundance on You Are Not Alone,her new album produced by Jeff Tweedy of Wilco.

This rootsy set doesn’t sound like Staples fronting Wilco. It sounds like Mavis Staples. Perhaps more than any American singer, she embraces blues and gospel as one. Both are about seeking liberation from this world and the circumstances of this life.

Staples’ gritty delivery makes her father Roebuck Staples’ “Don’t Knock” and “Downward Road,” Tweedy’s “You Are Not Alone” and Randy Newman’s “Losing You” sublime, stirring listening.

- ELLIS WIDNERSugarland The IncredibleMachine MercuryB

Give Sugarland - duo Jennifer Nettles and Kristian Bush - points for making the least-sounding country record by country stars this year. The Incredible Machine is an interesting leap, an album of theatrical anthems that might sound great in a stadium and will sure sound strange in a bar.

“All We Are” opens withNettles’ big voice reaching for the sky and singing about how “love is found and nations fall.” “Incredible Machine” is the best big song - it wants to be rousing and is. “Stuck on You” is supposed to be the winsome little tune and it turns out to be too cute by half. “Shine the Light,” the big ballad that closes the album, goes on for an eternity for reasons that are hard to figure out.

Sugarland earned its stripes via Nettles’ powerhouse drawl and by singingpersonal songs that - like the best country tunes - had details and hooks. On this album Sugarland clearly wants to be the U2 for the Nashville set, which is fine, but there was nothing wrong with them being the feisty, feminist-driven duo of the country set.

- WERNER TRIESCHMANNo Age Everything inBetween Sub PopB+

The quirky angst-pop of Los Angeles duo No Age is endearing on Everything in Between, but comes close to bogging down in its own juices. Close, but no carrot. Their Sonic Youth-esque heat boils up a swirling stew and sound that’s better than this epicurean metaphor suggests. The mixture of guitar, electronica and drums gives the music a peppery flavor that transcends their wry, self-deprecating and sometimes meandering songs.

The tasty track “Common Heat,” toward the top of the menu, is as dry as flour, but lets the diner in on the joke. “Skinned” is pretty raw, cooked just enough to eat.

No Age at times lets their studio impulses dilute the CD with two instrumentals that eventually come to sound like electronic filler. Perhaps it sounded good at the time; maybe eating a good brownie would help.

Everything in Between isstrong, edgy but without being obtuse, and propulsive but under control. This CD is delicious food for thought.

And apologies for the food cliches. Eat this one up.

- JOHN SYKES JR.

Style, Pages 57 on 10/24/2010

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