Maroon 5 choose ‘V’ for victorious

Maroon 5
“V”
(Interscope Records)

Maroon 5 must have made a pact with the devil to hit this high a ratio of memorable tunes on an album.

On the band’s fifth effort, “V,” they pack so many catchy hooks, you’d think they’ve left all pirates in history defenseless. Going through the playlist, it feels like a well thought-out party, mixing the right amount of hip-swaying, eyelash-batting and emotion.

Although “Maps” is the lead single, it is the least adventurous and the closest genetic link with their previous works’ sound. The rest of the tunes leave it far behind.

“It Was Always You” is a clever homage to Seal’s thumping “Crazy” in both spirit and form; “Sugar” is a funk guitar riff in search of a dance floor; and “Coming Back for You” is a pop promise fulfilled between the music sheets.

“Feelings,” which highlights Adam Levine’s earnest falsetto, bubbles with an infectious pop rhythm, and “In Your Pocket” simmers with a retro electro start that turns into a modern rhythm, high-heat boil.

On the melancholic side of things, “Unkiss Me” starts like a noir rap and turns into an enthralling ballad, with Levine caressing words and letting himself be brokenhearted.

And Gwen Stefani makes an appearance on the other piano-lead slow meander, “My Heart Is Open.” It’s hard not to have overwhelming “Feelings” for this spotless album. (AP)


Robert Plant crosses continents on album

Robert Plant
“Lullaby and ... the Ceaseless Roar”
(Nonesuch)

There are the Robert Plant fans firmly in the why-doesn’t-he-just-tour-with-Led Zeppelin camp. Then there are those who admire the former rock god’s post-Zep reign as a restless experimenter and global troubadour with little use for nostalgia.

The latter group will find much to appreciate on the stirring, often melancholic and thoroughly modern “Lullaby and ... the Ceaseless Roar.” It’s the first studio album with his versatile recent touring outfit, the Sensational Space Shifters. With players from various continents and musical traditions, the band follows effortlessly as Plant leads the charge over the common ground connecting American country and blues, English folk, African rhythm, riff-heavy rock and even electronica.

The opener, “Little Maggie,” is a reinvention of a traditional Appalachian number popularized in the 1940s by the bluegrass duo the Stanley Brothers. This time that twang isn’t a banjo, rather a one-stringed Gambian instrument called the ritti. The song ends with a surprising but smooth transition to a trip-hop-style electro beat. The heaviest track, “Turn It Up,” features Tom Waits-style junkyard percussion and some distorted electric guitar workouts. “House of Love” -- a warm ballad with a slow, booming rhythm -- surveys “the damage done” following a shattered relationship.

Good luck getting that tune’s bittersweet melody out of your head. The album throbs with ambition and subtlety and rewards replays. Who needs nostalgia? (AP)


Dr. John honors Louis Armstrong on vibrant album

Dr. John
“Ske-Dat-De-Dat: The Spirit of Satch”
(Concord Music Group)

Many tribute albums fall flat, and star duets can seem forced, but Dr. John manages to avoid these traps in his wonderfully eccentric homage to Louis Armstrong. This is one of New Orleans’ finest paying tribute to one of the city’s musical founding fathers, and it’s as relaxed and joyful as can be.

Instead of a literal, note-by-note recreation of some of Armstrong’s most loved classics, this is a swinging free-for-all, beautifully arranged, with horns that alternately punch and soothe. No one could successfully imitate Armstrong’s voice, so the raspy Dr. John and his guests don’t even try. The styles are diverse: The Blind Boys of Alabama lend a gospel touch to “What a Wonderful World,” Mike Ladd brings a rapper’s delight to a remarkable “Mack the Knife” and Cuban songstress Telmary strays far from any Armstrong influence in the sexy, mostly-in-Spanish “Tight Like This.”

Not everything works. A slow version of “Sometimes I Feel Like a Motherless Child” feels ponderous and the gospel “Nobody Knows the Trouble I’ve Seen” seems out of place despite a rousing performance. But these are the exceptions. This album works both as a stand-alone piece and a celebration of Armstrong’s spirit -- the brief final track, “When You’re Smiling (The Whole World Smiles With You),” seems like a personal note of thanks to Louis. (AP)