Jan 1, 2004 12:00 PM, By Editors

Joss Stone: The Soul Sessions (S-Curve)

You wouldn't think that such soulful sounds could come out of a 16-year-old from the UK, but newcomer Joss Stone smashes all stereotypes with her freshman effort, The Soul Sessions. The talented teen breathes pure emotion into a collection of 10 great songs, ranging from the Isley Brothers' “For the Love of You” and Aretha Franklin's “All the King's Horses” to the absolutely delicious (but obscure) “Dirty Man” by Laura Lee. The production of The Soul Sessions is a collaboration between S-Curve founder Steve Greenburg, '60s/'70s songstress/producer/writer Betty Wright and engineer/producer Mike Mangini. The tracks are tight and dry, and showcase both Stone and her backup musicians, many of whom shaped some of the soul hits of the '70s themselves: keyboardist Benny Lattimore, guitarist Willie “Little Beaver” Hale, Timmy Thomas on organ and Cindy Blackman on drums. One notable cut that strays from the vintage soul scenario is “Fell in Love With a Boy,” a cover of a White Stripes tune (“Fell in Love With a Girl”) featuring The Roots.

Producers: Steve Greenburg, Betty Wright and Mike Mangini. Studio: The Hit Factory/Criteria, Miami. Engineer: Steve Greenwell. Mastering: Chris Gehringer/Sterling Sound.
— Kevin Becka

Al Green: I Can't Stop (Blue Note)

I Can't Stop

is the first secular album Al Green has made with legendary producer Willie Mitchell since the mid-'70s. It's a clear and totally successful attempt to recapture the sound of Green's most beloved recordings. Green's voice might not be as effortlessly limber as it was when he first sang “Tired of Being Alone,” but he sounds just as sexy, just as soulful, and his songwriting talent remains undiminished. (Green wrote all of the songs on the album; eight were co-written with Mitchell.) To help re-create that Al Green magic, Green and Mitchell brought in many of the musicians who appeared on Green's '70s hits: guitarist Mabon “Teenie” Hodges, bassist Leroy Hodges, the Royal Horns (Scott Thompson, Jack Hale, Andrew Love, Lannie McMillan and Jim Spake), and backing singers Donna Rhodes, Charlie Chalmers and Sandra Rhodes. Same grooves, same punchy horns, same heavenly voices. It's nothing new — just another Al Green masterpiece.

Producer: Willie Mitchell. Associate producers: Archie Mitchell, Lawrence Mitchell, Jason Hohenberg. Engineers: Archie Mitchell and Willie Mitchell. Studio: Royal Studios (Memphis). Mastering engineer: Bernie Grundman.
— Barbara Schultz

Sarah McLachlan: Afterglow (Arista)

The wait is finally over. Sarah McLachlan has returned to the pop spotlight after she seemingly disappeared from the music world altogether in '99, following the last date of the final Lilith Fair tour. With Afterglow, it is evident that not much has changed in McLachlan's artistic leanings during the past four years. The album is firmly planted in her signature sound: the tuneful, dominating piano (on many tracks); the strong sense of self in her songwriting; the quiet, subtle power of her vocal style; and the spare use of effects. Teaming up once again with longtime producer Pierre Marchande (who has worked with the songstress on the majority of her albums), Afterglow burns with a sweet simplicity (“World is on Fire,” “Drifting,” “Answer”) that is reminiscent of her previous smash outing, Surfacing. While Afterglow doesn't break much new ground and might not attract many new followers, it should comfortably please McLachlan fans.

Producer: Pierre Marchand. Engineers: Pierre Marchand, Chris Potter, Roman Klun, John Oliviera, Linda Strawberry, Yanick Dunais, Brian Hogue, Pete Caigan. Mixing engineer: Chris Potter. Mastering: Bob Ludwig (Gateway Mastering). Studios: Marchand's and McLachlan's home studios.
— Sarah Benzuly

Hot Club of Cowtown: Continental Stomp (Hightone Records)

Hot Club of Cowtown have garnered critical acclaim and attracted a continually swelling fan base from their festive live shows, which take place everywhere from large outdoor festivals, to smoky music clubs, to city street corners. Donning hip '40s-style attire and playing vintage instruments, the adaptable Austin, Texas-based trio plays a sizzling Django Reinhardt-Bob Wills hybrid, complete with spirited, virtuosic solos and lively melodies capable of transporting listeners from a sawdust dance floor to a high-falutin' jazz club within the space of a few measures. The trio's new live album, therefore, comes as a welcome addition to the Hot Club catalog, delivering 12 tracks recorded at Austin's famed Continental Club, along with two studio tracks: the jazzy Gaskill/McHugh classic “I Can't Believe You're in Love With Me” and one eyebrow-raising hidden cut. Fiddler/vocalist Elana Fremerman, guitarist/vocalist Whit Smith and upright bassist Jake Erwin blaze through nostalgic pop and country numbers such as “Pennies From Heaven” and “My Window Faces the South,” as well as Hot Club rearrangements of western swing and jazz standards. Standouts include a smoking “Diga Diga Do,” a feisty “Chinatown” and a dancehall-ready “Crazy 'Cause I Love You.” Producer Lloyd Maines tones down the crowd noise to make room for the trio's engaging onstage banter and occasional yelps and hollers. The disc certainly captures the band's onstage enthusiasm, something that hasn't fully translated yet on the group's studio recordings.

Producer: Lloyd Maines. Engineers: Lloyd Maines, Adam Odor. Assistant engineers: John Silva, John Moore. Studio: Cedar Creek Recording. Mastering: Fred Remmert/Cedar Creek Recording.
— Heather Johnson

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