Jan 1, 1999 12:00 PM, MIX STAFF

Beck: Mutations (Geffen) Beck is an artist who transcends genre by filtering styles through his own identity in a way that makes them his. Mutations encompasses everything from country to psychedelic, from folk and moody rock to Brazilian, yet it's wholly of a piece. Recorded and mixed in two weeks last spring with Radiohead producer/engineer Nigel Godrich, much of Mutations was cut live in the studio. It may seem stripped down compared to Beck's last release (the gonzo hip hop Odelay), but close listening reveals that there is, in fact, all kinds of stuff going on (headphones recommended). Instrumentation glides from sitar to harpsichord, quica and strings without stumbling; liberal doses of percussion and careful attention to vocals keep the whole thing vibing. There's an omnivorous intelligence at work here, and a real playfulness that manages to be both humorous and earnest-Mutations radiates an easy exuberance. Casually and supremely creative.

Producers: Nigel Godrich and Beck Hansen. Mix engineer: Nigel Godrich. Studio: Ocean Way (L.A.). Mastering: Bob Ludwig, Gateway (Portland, ME).

-Adam Beyda

Brad Mehldau: Songs: The Art of the Trio, Volume Three (Warner Jazz) There's a quiet, beautiful sadness to much of the music on this intoxicating disc. Pianist Mehldau and his able Trio mates-bassist Larry Grenadier and drummer Jorge Rossy-play with a tremendous grace and lyricism throughout, the melodies spilling out of Mehldau's instrument with a pleasing fluidity. The ten-song collection is split between Mehldau's moody originals and cover tunes ranging from the Rodgers & Hart standard "Bewitched, Bothered and Bewildered" to Radiohead's haunting "Exit Music (For a Film)," which begins with a passage that sounds like Beethoven's Moonlight Sonata and then evolves into a swirling rhythmic river. There is also a Nick Drake cover ("River Man") and a reading of the oft-covered "Young at Heart." Mehldau sounds like he has one foot in the conservatory and the other at the bench with Bill Evans; it's an intriguing blend of the formal and the free. Mehldau is also prominent on saxophonist Joshua Redman's excellent fall '98 release, Timeless Tales for Changing Times.

Producer: Matt Pierson. Engineer: James Farber. Studios: Right Track (NYC), Sony (NYC, mixing). Mastering: Greg Calbi, Masterdisk (NYC).

-Blair Jackson

The Pine Valley Cosmonauts Salute the Majesty of Bob Wills, the King of Western Swing (Bloodshot Records)

Led by the Mekons' Jon Langford, the Pine Valley Cosmonauts float somewhere between retro country and cowpunk. The playing on this inspired release is for-real Texas Playboys swing, complete with a sweet little horn section (Poi Dog Pondering's Paul Mertens and Dave Max Crawford) and a respectfully restrained assortment of bluegrass strings played by John Rice (fiddle, guitar, mandolin, banjo), the Bottle Rockets' Tom Ray (bass) and KMFDM's Mark Durante (pedal steel). Wills was also known for putting the back-beat behind country, and that's capably handled by Mekon Steve Goulding. But the vocals on these classic songs, from the first track-y'allternative folk rocker Chris Mills on "Home in San Antone"-are offbeat in a great rock 'n' roll way. Other singers include roots country artist Jimmie Dale Gilmore, as well as Robbie Fulks, Langford and fellow Mekon Sally Timms. The sound of modern, rough voices joyfully careering through Wills' catalog is what makes this a spirited tribute to one of country's, and rock 'n' roll's, pioneers.

Producers: Jon Langford, Mark Durante and John Rice. Engineer: "Kengineer" Sluiter. Additional recording: Baron Von Trumfio and Mike Hagler. Studio: Kingsize Sound Laboratories, Chicago. Mastering: Not listed.

-Barbara Schultz

The Band: Jubilation (River North) This third album by the most recent incarnation of The Band finds the Woodstock, N.Y., group moving away from the big R&B sound of their previous disc, High on the Hog, in favor of a more folksy and intimate approach that suits them very well. The title of the CD, Jubilation, is somewhat misleading, because the disc's dominant mood is actually a wistful melancholy, and no one communicates that better than Rick Danko, whose lead vocals on "If I Should Fail" and "Book Faded Brown" ooze with weary resignation. Then again, the lovely "High Cotton" finds Danko optimistically crooning "The sun feels great, I can tell today it's gonna shine," so he has the CD's happiest moments, too. Levon Helm's distinctive, backwoodsy growl gives every song he sings the classic Band sound, and keyboardist/saxophonist Garth Hudson is, as ever, the most imaginative support player any group could hope for. Eric Clapton and John Hiatt make impressive guest shots, but it's the core sextet and a few of their Woodstock friends who give this fine set its textural richness and downhome warmth.

Producers: Aaron Hurwitz and The Band. Engineer/Mixer: Aaron Hurwitz. Studio: Levon Helm's studio (Woodstock, NY). Additional Recording: Bearsville Studios (Bearsville, NY), The Clubhouse (Germantown, NY). Additional Mixing: NRS (West Hurley, NY). Mastering: Bob Ludwig, Gateway Mastering (Portland, ME).

-Blair Jackson

Archers of Loaf: White Trash Heroes (Alias Records) The rollicking marching band drum cadence, slashing guitars and inspired singing that open this record made me feel like a door was kicked open. Since this doesn't happen often, I dove in and was thrilled to be taken through ten completely different atmospheres in 42 minutes. It's a powerful journey through alternately hilarious and breathtaking rock, smart pop, quietly desperate old-South blues, noise, angular art-math music and so much more. Hailing from Chapel Hill, N.C., this 7-year-old band is pegged as having a "collegiate" sound, but there is a blend of raucousness and true emotional depth to the music that a wide range of folks could appreciate. There's some nice, crispy guitar and vocal sound processing, with judicious keys and electronics added for emphasis-and I could kill for the thick/present bass sound. A mature work that's bigger than the sum of its parts.

Producers: Brain Paulson and Archers of Loaf. Engineer: Brian Paulson. Mixers: Brian Paulson, Mitch Easter and Archers of Loaf. Studios: Ardent Studios (Memphis), Sound of Music (Richmond, VA), Reflection Studios (Charlotte, NC; mixing), The Fidelitorium (Kernersville, NC, mixing). Mastering: Roger Laim at Masterdisk (NYC).

-Anne Eickelberg

Imogen Heap: I Megaphone (Almo Sounds) With record companies searching high and low for the Next Alanis (seems like only yesterday they were looking for the Next Nirvana) this is a good time in the music industry for tortured, confessional women singer/songwriters. Imogen Heap's CD has the requisite doses of anger, relationship miseries and personal insecurities, but her songwriting is actually quite original, and she has the vocal chops to put across her ideas effectively. The musical settings for her musings are consistently interesting, too, with quirky keyboard washes turning up in the strangest places to punctuate her thoughts. There's some straight-ahead rock, too, but mostly it's a songwriter's album, so the vocal is paramount. If the CD has a major flaw it is that the songs are relentlessly bleak, with no relief. An artist can get away with that once, but I, for one, want to hear more emotional colors from her next time out.

Producers: Guy Sigsworth, David A. Stewart, David Kahne. Engineers: David Kahne, Phil Bodger, Nick Addison, Roland Herrington, Pete Norris. Studios: Rak (London), Master Rock (London), Quad (NYC), Chapel (L.A.). Mastering: Greg Calbi/Masterdisk (NYC).

-Blair Jackson

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