LISTEN UP Williams whips up odd, fun collection

— Jason D. Williams Killer InstinctsRockabilly RecordsB+

El Dorado native Jason D. Williams has a funny way of distancing himself from Jerry Lee Lewis, the piano-pounding, fire-breathin’ rock ’n’ roller sometimes known as The Killer. Williams begins Killer Instinct, his new CD (his first in six years) with a song called “Like Jerry Lee.” The upshot is Williams doesn’t know if Jerry Lee is his father and he didn’t go investigate because “either way it was more than I could stand.”

Acerbic indie singer/songwriter Todd Snider produced the CD, and Williams, who has been known for the last 16 years as more of a wild-eyed showman than recording artist, tries to make it an occasion. The high points are very high, starting with Snider’s song, “You Look Like I Could Use a Drink.” It’s a boogie-woogie barn-burner and funny, and there’s no need to bet that it probably tears them up live. There are some other songs that aren’t so funny as much as downright strange. Still, Williams is an old-fashioned showman - a mix of virtuosity and insanity that the world of safe,over-programmed music needs in a major way. Long may he rock.

- WERNER TRIESCHMANNKenny Wayne Shepherd BandLive! In Chicago RoadrunnerA

Live albums run the risk of getting lost in translation. What is an electrifying and musically edifying live experience comes off as overdone and self-indulgent on a CD. But Kenny Wayne Shepherd, the wunderkind turned old blues professional, knew how to keep Live! In Chicago from falling into that trap: Bring friends. Namely, legends Willie “Big Eyes” Smith (a Helena native), Buddy Flett, Bryan Lee and Hubert Sumlin, names probably familiar to blues aficionados but whose genius might be lost on casual listeners.

They provide a blues sampler like no other on this 14-track album. Shepherd brought his A-game, though he was said to be too sick to perform that night. His guitar work is crisp yet retains a soulful depth as he plows through his songbook (hekills on “Blue on Black”) as well as providing backup on other tunes.

He’s beyond good, yes, but the real treasures lie in later tracks - Flett’s rowdy cover of B.B. King’s “Sell My Monkey,” Smith’s rip-roaring harp riffs on “Baby, Don’t Say That No More,” and Lee’s gravely vocals on Howlin’ Wolf ’s “How Many More Years.” Capping it off are Shepherd’s blistering riffs and seductive growl on “I’m a King Bee.” He’s a king, all right. And we are lucky to be in his court.

- JENNIFER GODWINVarious Artists Treme: MusicFrom the HBO Series, Season 1 InterscopeC+

This reasonable, uneven souvenir of the TV series shouldn’t be mistaken for a representative sample of New Orleans’ musical culture. Still, fans of the show will be grateful to collect the theme song, John Boutee’s “Treme” (with its rubbery signature bass line, courtesy of Hot Springs Village resident Bill Huntington) as well as some of the other tracks featured in the show.

Though by the rather insular lights of some of the show’s characters, neither Steve Earle’s poignant “This City” or Steve Zahn’s (performing as Davis McAlary) awful re-write of “Shame, Shame, Shame” would passthe authenticity test.

Track by track, the album’s pretty hit or miss. A few years ago, Kermit Ruffins contributed better tracks to a Chamber of Commerce promotional giveaway than what he has offered here, the rap-fusion “Skookiaan.” But where else are you gonna find Jonn Mooney’s “Drinka LittlePoison (4 U Die)”? (Actually it’s on his 2006 album Big Ol’ Fiya, if you can find that.) - PHILIP MARTINPete Yorn Pete YornVagrantB+

It’s not shocking that Pete Yorn got his big break writing soundtracks for the Farrelly brothers’ Me, Myself and Irene. Yorn’s music borders on the absurd. It’s an odd combination of earnestness and fatuousness, as evidenced by his latest album. “Rock Crowd” perfectly illustrates this point with its whiny guitars and almost cliched lyrics about being embraced by a mythical legion of fans.

Somehow, all of Yorn’s songs here seem a bit offkilter, but it’s not a fatal flaw. In fact, there’s something infectious and charming about his quirky forays into jaded, hipster culture. The opener, “Precious Stone,” and “The Chase” are particular standouts, and the album as a whole chugs along with some good riffs.

- TRACY M. ROGERSRaul Malo Sinners andSaints FantasyB+Raul Malo has crafted a distinct, personal style that embraces several Latin styles, country, soul and ’50s rockabilly. The former lead singer of country’s The Mavericks, Malo has a rich, expressive voice that has the emotional and musical depth of Roy Orbison, the romantic smoothness of Marty Robbins and the retro vibe of Chris Isaak.

The title song is an ample illustration of Malo’s evolution. “Sinners and Saints” has an instrumental opening that goes some two minutes before Malo’s big voice sings a note. It starts with a solo trumpet, building to Malo’s Duane Eddy-evoking guitar solo as the band kicks in.

Also memorable are his soaring, keening version of Rodney Crowell’s “Till I Can Gain Control Again,” the danceable Tex-Mex charmer “San Antonio Baby” and the folky pop of “Staying Here.” - ELLIS WIDNER

Style, Pages 57 on 10/31/2010

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