5 comments about One Kind Favor.

1. I have really enjoyed 'One kind Favor' by BB, one of his best, but can't give it 5 stars. While it is very good, it's not as good as 'Blues on the Bayou', my all time favorite CD by BB.



2. I know all albums of BB King. Bt this new album is by far the best album he ever made.



3. B. B. King isn't breaking new ground here - and that's exactly the point. Instead we are treated to a stellar, uber-traditional performance by one of the titans of 20th century music. The material is all well worn, tried and true, which allows us to focus upon the great strength of this performance.
   
   I hope that when I am 83 years old I can still do some of the things I love to do. B. B. King is living that promise right now.
   
   The voice is deeper and the man older, but all the urgency, anger and tenderness that made him a legend are on full display. Few younger singers could possibly match the decades of living that ooze from every phrase. His guitar playing, never really slick, is earthy and economical and frequently sounds as if T-Bone Burnette fished out some of B. B.'s old Fender tweed amps from the early '50s to nail that old chitlin-circuit sound.
   
   In short, a great album of traditional blues from the twilight years of one of the all-time greats. He is not going out quietly, and that is our good fortune.



4. B.B. King, Jim Keltner, Nathan East and Dr. John dish up a delicious musical stew of great songs delivered with the style that only guys with this much credibility can. Playing exactly what the song asks them to play, always being on the money. If you're a fan, this album is a must. If you're curious, buy this and use it as a start, to trace where the guys on this record come from. You'll quickly realize that you probably own a recording (probably way more than one) with at least one of these guys on it!



5. BB Kings latest album is just what long time fans needed. New material and BB's voice like never before. Kind, soulful blues and guitar play. I loved it.

5 comments about Two Men With The Blues.

1. I know what you're thinking? Willie Nelson and Wynton Marsalis? Together? I thought the same thing, too, when I saw them on The Tonight Show earlier this year. I mean, we are talking about Willie Nelson, the Texas troubadour who will duet with, well, just about anyone who asks. And then there's Wynton Marsalis, the jazz purist--puritan?--who disdained even his brother, Branford, for touring with Sting back in the 1980s. How in the world did these two get together?
   
   That's something I haven't discovered yet, even in the nice little behind-the-scenes video up on YouTube. Upon closer inspection, the pairing is not as far from left field as you might think. Nelson has covered everything including reggae (yeah, really) but one of his biggest albums was Stardust (1978), an album of standards from the Great American Songbook, that helped to define what Nelson does best: blend many varied genres and elements to create something different, if not original. Marsalis, in the meantime, has spent the bulk of his twenty-five year career bringing back the prominence of acoustic jazz, the jazz before Miles Davis "corrupted" the genre by plugging in and going electric. And Marsalis succeeded, reminding folks (and record executives) that traditional jazz can be good and make money at the same time. The songs Marsalis used to usher in the Young Lions movement in jazz were those from The Great American Songbook.
   
   Beyond the two men drinking from the same well of music, look at their backgrounds. They are both southerners, Nelson from Texas and Marsalis from New Orleans. Southern music is a smorgasbord of sounds and influences. Gospel, blues, jazz, bluegrass, folk, country, Texas swing, and more all can be found in almost any song by a southerner. So it was, two southerners and their band members went up to New York and recorded a concert at Jazz at Lincoln Center.
   
   "Two Men and the Blues" is a live recording. It serves the music well because, I think, the perfection of a studio would have lessened the impact and spontaneity of the performance. You get the sense that these seven men are not on a stage at a prestigious concert hall but in the drummer's garage. It's a Saturday night, it's hot, the door's open, the beer getting warm in the ice chest full of melting ice, and these guys are just jammin' for no other reason that they love music.
   
   "Bright Lights Big City" kicks off the set. Wynton's band--he brought himself on trumpet, Walter Blanding (sax), Carlos Henriquez (bass), Dan Nimmer (piano), and Ali Jackson (drums)--sets up the nice lilting shuffle feel. Mickey Raphael's harmonica is also there, adding that certain flourish that only a harmonica can. All the instrumentalists take a turn at soloing, even Nelson on guitar. You know going into this recording that Wynton's band is top notch. If there was going to be a weak link, it was going to be Nelson's guitar playing. I was interested in hearing if Nelson took a turn on soloing. He did, and, while it's not superb, this is the type of song where fancy pyrotechnics are out of place. So Nelson did just fine.
   
   The longer you listen to this recording, you realize how close the phrasing of Nelson's vocals and his guitar really are. His Martin nylon string guitar does not hold the sustain like a steel-string guitar. Nelson usually compensates by repeatedly striking whichever string he's playing. But on this recording, he doesn't do that a lot. He lets the struck string fade when it wants to, much like his voice. Nelson is not a singer who can hold a note for a long period of time. Where a singer like, say, Sinatra, would carry his phrasing past the four-measure break, Nelson breaks his vocal phrasing short. As a result, there are usually more silences in a Nelson tune. That's his style and it really works in this set.
   
   "Night Life" is one of those tracks where you imagine it being played in a late-night jazz club, after midnight but before closing time, the smoke hanging low from the ceiling, all but the die-hard have gone home. It's the time of night for the faithful, the friends, and for the girls in the audience who want to date a jazz performer. Wynton's trumpet shines here, opening the track with a long solo that sets the down tempo mood. But it's his flutter sound during the chorus that really takes the roof off. Out of nowhere, it blasts above Nelson's vocals. And Willie brings out a better solo on guitar, a nice, soft theme that put my worries about his abilities to rest. He also played a good melody on "Basin Street Blues."
   
   Since Stardust is still one of Nelson's most famous records, you knew the band was going to cover some of those songs. They do the title track and, of course, "Georgia, On My Mind." "Stardust" has a beautiful, lush tenor sax solo, the kind where you can hear the air passing over the reed in the lower register, a nuance that, for me, a sax player, I love. "Georgia" starts off showcasing Nelson's vocals as the centerpiece but the soloist shine just as brightly. Marsalis's wah-wah trumpet wails, Raphael's harmonica sings, and Nimmer's piano playing bring a new, but slower, energy to this song. If I had to pick a definitive version of this song as sung by Nelson, it would be this one.
   
   When you listen to the record, it's at this point where the audience and the band start to let loose. From the band side, this is the first tune where you can hear Nelson compliment his fellow players during the song. From the audience, they knew the song as it began and they cheered audibly at its conclusion. I could say the audience was polite but tepid in their applause at the beginning of the set. Perhaps they, like new listeners, don't know what to make of this seemingly strange pairing. By the end of "Georgia," they knew they were a part of something special. And they let the band know it. For the rest of the set, you can hear cat calls from the audience as they get into the spirit of the night.
   
   An old Hank Williams tune, "My Bucket's Got a Hole In It," has the vibe of the New Orleans Preservation Jazz Band, complete with a squeaky clarinet and a drum solo, greeted with whistles and cheers of the audience. They cheer Nelson's best guitar solo in Cole Porter's "Ain't Nobody's Business. " They laugh as Wynton brings his only vocal performance on this song, telling Nelson and the audience all the things he might do that are, you guessed it, nobody's business. The set closes with "That's All," a fast blues shuffle where everybody has their last chance to shine. Amid the audience clapping along (wonder if they were standing?), you get a taste of the power of Wynton's trumpet as he let's loose with one of his famous long notes, high and a little dirty.
   
   By the end, the band and the audience have relaxed and just let the night sweep them away. And we as listeners can get a taste of what it was like those two nights at Lincoln Center. When performances like this crop up, my immediate impulse is to want more of it. Sometimes, the sequel does not live up to the promise of the original. In this case, however, another CD would be more than welcome. And I'd love to see the band perform down in Austin at the South by Southwest or Austin City Limits festival.
   
   I love it when two musicians realize that there are more things that unite them than differences in their approaches to music. It reminds you that music is universal and can bring just about anyone together. And, if the results of unique pairings are like that of this CD--where you can't help but smile and tap your foot--it really is lightening in a bottle. (excerpted from http://scottdparker.blogspot.com)



2. Wynton Marsalis and Willie Nelson, Master in each of their Music categories; have joined forces in a New Orleans-Kind-Of-Way to create a;Believe it or not; Blues recording Masterpiece. Willie's Voice and choice of material(which is perfect for this CD) is perfectly accented by the down home New Orleans horn sounds of Wynton. A modern Laided Back Blues Classic that should be nominated for a Grammy!



3. i love both willie and wynton. they did an excellent job playing together and sharing the lime light.



4. I love this CD. It's a great combination of Willie Nelson and good jazz. It's definitely "feel good" music. I've always liked jazz and Willie Nelson so I figured I'd like it, but it's even better and I play it all the time. Lots of good instrumental plus Willie's voice. I have recommended it to friends. Even my husband, who is not really a Willie fan and likes jazz sometimes, really likes it.



5. What a great album - my husband and I so enjoy this one! We have never particularly been Willie Nelson fans, but heard a song played from this on XM and couldn't wait to get the whole album. It's fun music - and we are both becoming Nelson fans. Of course, what can you say about Wynton - he's good at anything he does. Highly recommend this one!

5 comments about Skin Deep.

1. This is Buddy Guy at his best. His distinctive voice and style are skillfully showcased on this CD. Great listening for blues fans!



2. I recently got the priviledge & AMAZING OPPORTUNITY to see Buddy Guy play live! They just don't make em like him anymore. And I sure wish they did! I 1000% ENJOYED every second of his concert & then I bought this CD & again throughly enjoyed every second of it. Give yourself the gift of owning it & then gift yourself the Gift of actually listening to each & everyword of each song. PRICELESS!! The title cut "Skin Deep" OOO if only our government would follow those simple words of that song & other governments too our world would be in a COMPLETE STATE OF PEACE! BUDDY GUY , WE LOVE YOU



3. He has still got it at 73 years old. Saw him live with Thorogood and was thouroly impressed. This newest recording is really impressive.



4. Buddy Guy never fails to deliver, whether it's on the stage at a club, or a concert venue, or in the recording studio. SKIN DEEP is another project that will serve as proof that Buddy Guy is one of the best blues musicians/singers around.



5. I have seen Buddy twice in concert (BB King's and Lincoln Center/Legends of the Blues) and have almost all his albums, and this album is SMOKIN' HOT just like his performances! I've had it for just a few days and can't stop playing it (too bad my wife and kids are going to disown me). BUY THIS ALBUM AND CRANK IT UP!!!

5 comments about From the Reach.

1. Sonny just keeps getting better and better. If you like slide guitar, you'll love this cd and all of Sonnys work



2. Not only is there not a BAD track on it, but I would go one step farther and say there is not a mediocre track on it. Excellent slide and vocals by Sonny and a stellar guest artist list. Actually an amazing list. The best thing about this cd is the variety in the tracks. By having such a wide variety of guest artists, the songs tend to have a little bit of flavour from each artist but it is still a Sonny Landreth work of art. Excellent from beginning to end.
   
   RHB



3. I usually look at CDs with a lot of guest artists with some trepidation but I was pleasantly surprised. I expected great things from Mr. Landreth and in that I wasn't disappointed but the selections really suited the guest artists without the material sounding forced into their style - that speaks to the sensitivity and versatility that Sonny shows in pairing the material with the musicians. Excellent production values as well and Sonny's band is excellent.



4. With all the 5 star reviews I thought this was going to be exceptional, yet.... I find I'm left feeling an exceptional guitarist has packaged a neat and slick product filled with heart and soul, but no magic and mystery... (the Mississippi vs the bayou perhaps)
   
   This CD is flawlessly produced, made up of neat and tightly knit songs (plus 2 cookin' instrumentals) from this Louisiana slide master, accompanied by a whole barge of notable guests (including guitarists Eric Clapton, Robben Ford, Eric Johnson, Mark Knopfler). Yet the result, while pleasant, leaves me wondering who's playing what? The guitar work is consistantly beautiful (whoever's doing it), but the lyrics at times are a bit hoaky ("cheezy" my 13 yr old daughter said), and the tunes veer a bit too much down the mainstream - Deep Purple, even Boston(!) comes to mind.... Often I'm reminded of the sound and general vibe of Phil Lesh and Friends and even David Gilmour's solo work (with lyrics like, "But I can see from the lookin' back - I wouldn't know this if you hadn't done that - There ain't no map to the great unknown - It's all a part of the goin' on", and "The key to freedom is to open wide - Hope has wings baby let it fly", and "With you all the way - On any path you take - Draw from the well - With help from hidden hands - Blue angel"), but Sonny is muscially/technically/artistically a head above them, and he pulls it off pretty well.
   
   Sonny is a great guitarist and I'm enjoying this new CD, but I think I wanted him to take me into some of the more remote and mysterious regions of his bayou infused soul. Maybe even at night...instead I feel like I took the mid-day allstar tour, but wait, now I remember, I think I was looking for GRANT STREET.....



5. I've been a Sonny fan for a long time, but always felt like he was hovering just below the surface of "big time"...he's breached it like a whale with this album.

5 comments about Live from Nowhere in Particular.

1. This CD really captures Joe Bonamassa's tremendous talent and exciting live performance. His band is powerful.



2. Bonamassa can certainly play, but the bottom line, for me, is that he just lacks a certain "it" that makes the music resonate with me. I can't exactly put my finger on it, but to me there's just something his delivery that feels superficial.
   
   Maybe his vocals-- I dunno-- but I have a few of his CDs and they never stay in the player for long. Hell- the only track I come back to regularly is the Tea for One cover- that he doesn't sing.



3. Joe has sold out on this performance. Stick to the format that makes you one of the greatest. Very disapointed in this album.



4. So I've been following Joe for about 7 years, and I've seen him live about 6 or 7 times. This release is a bit of a "Joe up until now" concert. It's an attempt to put together his career to this point. The first live release was better, more raw, but the guitar chops on this one are second to none. Joe has a tendency to over-sing a little lately, and get real breathy on the big notes, but he can still wail. Basically, there could have been better song selection, and an acoustic "Heartaches" is a bit disappointing, but Joe is always 5 stars. Buy the disc. If you love blues, Joe, or just guitar...it's worth the price of admission.



5. His studio work is good but his live concerts are the best. If you get a chance to see Joe live you will not be disappointed. This double CD of live performances is his best yet.
   jb

5 comments about O Brother, Where Art Thou?.

1. This soundtrack is nothing short of a cultural revival. If it took a wonderful movie and its soundtrack to bring this music back to the forefront and garner the attention it received and deserves, so be it.
   
   What better way could there be to reintroduce such wonderful music? At the moment I can't think of any.
   
   Like many have said before there's not a bad track. This soundtrack is full of surprises and rich nuances that make it a joy to listen to over and over again.
   
   Even if you haven't seen the movie this soundtrack is worth getting.



2. We love the music on this Cd and also loved the DVD which we had purchased earlier. I would recommend the CD to anyone who enjoys the music on the DVD.



3. If you have seen the movie, then you know the music is great! This a fun CD to put in when your driving around with the top down on your convertible or riding in your jeep/old bronco. Parts of the movie come to mind when you hear the songs. Keeps you smiling.



4. especially "Lonesome valey" - i like it most - this one is the peace of masterpeace.



5. Definitely one of the best Coen brothers movies and one of the best albums I have heard in a long time. From start to finish it is an amazing work of art. Just listen to Ralph Stanley's haunting "O Death" and you'll understand the power of this soundtrack. I wasn't a fan of bluegrass before listening to this album and now I love it. An awesome collection of music that doesn't have a single dud in the entire album.

2 comments about Maestro.

1. This album celebrates 40 years in the record business for Taj. I bought his first album, which I still play and enjoy, and this new one is a wonderful record that is full of variety - blues, reggae, world music, acoustic, electric and includes guests like Los Lobos, Jack Johnson and Ben Harper. Apparently it's Taj's first release of new material for five years and he certainly sounds refreshed and raring to go.
   
   We get off to a great start with Slim Harpo's "Scratch my back" done Stax style with the Phantom Blues Band, who also close the album in similar style with the Willie Dixon/Captain Beefheart song "Diddy Wah Diddy". Jack Johnson guests on Taj's own "Further on down the road" but doesn't really add a great deal, whereas Ben Harper and Ziggy Marley both hold their own on "Dust me down" and "Black man, brown man" respectively. Kora player Toumani Diabate and Angelique Kidjo guest on the exotic "Zanzibar" while "Slow drag" features Taj on banjo and sounds like an out take from one of his late 60s records. Los Lobos join Taj for a great, raw blues rendering of the Big Joe Turner/Elmore James classic "TV Mama". The New Orleans Social Club, including Ivan Neville and Henry Butler on keyboards, join Taj for a rocking version of Fats Domino's "Hello Josephine" (as featured on the Fats tribute CD "Goin' home") and on the slower blues "I can make you happy".
   
   This record carries on from where his other recent records "Dancing the blues", "Phantom blues" and "Senor blues" left off but I think this is even better, with not just R&B updates but real blues and world music too. Taj I salute you, here's to the next 40 years.



2. Taj Mahal in his 40th year shows us why he is the Maestro of the blues, world music and our hearts. This CD rocks and you won't be able to sit still as you listen to it.
   
   Each track shines brightly. The track TV Mama with Los Lobos is pure blues with David Hidalgo on slide guitar and Taj on vocals and harmonica. Hello Josephine with the New Orleans Social Club takes us to the Delta and man do we love it.
   
   Taj is at home with everyone he is playing with here. And the love and respect is mutual in return.
   
   I can't describe it all yet but what a cornucopia of music Taj and friends makes here. Harvest it.
   
   My hat is off to Taj, the Maestro 40 years on!

4 comments about The Blues Rolls On.

1. Elvin is a legend and this album demonstrates exactly how/why. He's got the best in blues guesting on this CD, but Elvin is the real draw here. His playing is even better and more soulful then the early days (yes, I have some of his stuff on LP!). Blues men always get better with age and they don't make blues like this anymore. "Oklahoma" and his cover of "Night Time Is The Right Time" are highlights and a duet with B.B. King is always gonna be worth a listen.



2. "The Blues Rolls On" is Elvin Bishop's best album to date. His guitar playing is spot on and he certainly knows how to "strut his stuff"! With special guests such as B.B. King, George Thorogood, Derek Trucks and more, "The Blues Rolls On" is sure to please blues fans, old and new. My personal favorites are "Struttin' My Stuff" and "Keep A Dollar In Your Pocket." This is a great album and I'm glad to see that Elvin is keeping the blues alive and well.



3. Say "Elvin Bishop" to anyone weaned on 1970s pop radio, and they'll answer "Fooled Around and Fell in Love." The 1976 single's vocal was so indelible that many listeners never realized it wasn't Bishop, but instead soon-to-be Jefferson Starship vocalist Mickey Thomas. Bishop wrote the autobiographical lyrics, however, as well as an album (Struttin' My Stuff) full of soul, pop, funk and even reggae. But his one trip to the upper reaches of the pop singles chart did little to reveal the depth of his musical credentials. In contrast, his previous solo outings had featured more direct helpings of the electric blues he'd developed as a founding member of the Paul Butterfield Blues Band. Struttin' My Stuff's pop leanings weren't unprecedented, as Bishop had been mixing rock, country, soul and R&B into his blues for years, but its upbeat vibe borrowed more heavily from bicentennial euphoria and the party atmosphere of Bishop's stage work than the Chicago scene in which he'd been musically bred.
   
   Since Bishop's chart breakthrough, he's released over a dozen albums that have ranged from straight blues and country-tinged soul to humorous party-time sides. His latest, for Delta Groove, pulls together many of those elements for a guest-filled celebration of the blues. The title track opens the album with Bishop's declaration of faith, recounting myriad influences and heroes and affirming the music's future. The Fabulous Thunderbirds' Kim Wilson adds his fine harp playing to the electric slides of Bishop and Allman Brother/Govt Mule's Warren Haynes. A cover of "Night Time is the Right Time" is offered in tribute to Ray Charles, with John Nemeth and Angela Strehli sharing vocals and Bishop's guitar playing call-and-response. Nemeth also provides a terrific vocal on the little-known Berry Gordy/Smokey Robinson blues "Who's the Fool," augmented by a bed-spring guitar solo from Kid Andersen.
   
   Bishop revisits the Butterfield era "Yonder's Wall," slowed here to a muscular mid-tempo for vocalist Ronnie Baker Brooks, and updates the funk of "Struttin' My Stuff" with the addition of a bluesy rap. B.B. King provides sophistication on "Keep a Dollar in Your Pocket," though Bishop's broad vocal keeps it light. A pair of Junior Wells covers include the low and steady "Come on in this House," and the strutting "I Found Out," the latter featuring James Cotton on harp. Bishop picks a howling, distorted solo backing for the autobiographical "Oklahoma," and George Thorogood amps up "Send You Back to Georgia" to a battle between flatpick and slide. The album closes with an emotional, instrumental cover of Jimmy Reed's "Honest I Do," with John Nemeth providing the high, slicing harmonica and Bishop's slide guitar doing the talking. By stacking his guest list with veterans and rookies, and picking tunes both historical and, Bishop's love letter connects the blues' history with the vitality of its future. 3-1/2 stars, if allowed fractional ratings. [©2008 hyperbolium dot com]



4. My wife Elizabeth might not like it but I,m gonna go ahead and write it anyhow. Elvin Bishop keeps a man strong and headin' in the right direction. Why that boy don't know no better than to keep on playin' and he's always draggin' in driters and such in cahoots with him and lord don't they raise a ruckus..speakin' of I do wish he and Bill Kirchen would get together and cut heads fore one of 'em up and dies on us...I guess the disc would be half guffaws 'n belly laughs live or in the studio. Damn I love this man's outlook on life..does it show? Dave.

5 comments about Mess of Blues.

1. Excellent Cd for Jeff Healey fans and anyone who loves the blues... I have played this over and over and will continue to enjoy it for a long time.



2. JH said goodbye to us with one more masterpiece. How many longings you left, dear friend. God blessed you with the talent of the music and, certainly, he is hearing you playing to His side.
   Thanks for How Blue Can You Get, the definitive version.



3. Mess of Blues
   
   This album is loud,raw and rough. In your face road house blues.
   
   Rest in peace, Jeff



4. The late Jeff Healey was an awesome guitar player with a unique technique and an expressive emotional sound. This brave man died too young, rip !



5. This is an awsome cd by an awsome artist it is a shame hehas passed away.This cd I can highly recommend to any blues fan.

5 comments about Attack and Release.

1. Where has this band been all my life? Just discovered them when I bought this CD. And I'm loving it! Now, I'm busy adding the rest of their albums to my music collection. I can't get enough of this band - their sound is so hypnotic and sensual. There is not one bad song on this CD. I especially like "Strange Times" and "I Got Mine." Buy this album - you will not be disappointed.



2. For all the fans that are complaining about their progression on this album, you must be insane. I was just telling a friend before "Attack and Release" came out that I loved the Black keys music but their music was too redundant. It's not even a dramatic evolution in their sound, it's more of maturation. I always though that the Black keys were super talented and made great songs, but unfortunately they had like 4 albums of songs that sounded pretty-much the same. I love them to death, but they started to get boring. And by the grace of God they got a talented producer that was able to put their talent to proper use and pull a sound out of them that could elevate them as artist. This album is a blessing; it has much more depth and body to it. It shakes off the stale hipster aura and stands on its own legs as underdog masterpiece. Sometimes I think alternative music fans should really learn how to grow with the bands instead of being stuck in a remedial state of mind.



3. The earlier works of the Black Keys were fantastic. I really didn't know what to expect when I was picking up Attack & Release. After hearing that the Black Keys would be working with Danger Mouse, I was a little worried. Was the Black Keys raw style of blues rock coming to an end?
   
   After listening to this album multiple times I grew to appreciate the new direction the Black Keys were going. In my opinion this album is near flawless. While Danger Mouse's touch is noticed, it is not overbearing. Attack & Release not only surpassed my expectation but now I am excited to hear their next release. The Black Keys followed a artistic progression and nailed it.
   
   One of my favorite albums this year. Attack & Release gets extremely high play in my mp3 player.



4. I always thought the Black Keys were a cool little band but with Danger Mouse production skills it just makes them so much better. It gives them a fuller sound with beats you can bob your head to. Back story to this album is amazing. Supposively Danger Mouse was going to produce a blues record for the legendary Ike Turner but he needed a backing band. The Black Keys agreed to be that backing band. While they were reheasing with Danger Mouse(Turner not present), Ike Turner passed away. Eventhough the Turner record was a no-go Danger Mouse and Keys formed a great chemistry together and decided that they should make their album together. Pure Genius. DM did not uber-commericialize it, he just sharpened the edges a bit plus adding nice bass line for a back beat to songs like, "Psychotic Girl" or using a syntheseizer and keys on the chorus to "Strange Times" to give it bigger body without ruining it.
   Favorite songs- "Psychotic Girl" "Strange Times" "So he won't Break"



5. Much like their Midwest brethren, the White Stripes, the Black Keys are a blues duo specializing in raw, lo-fi DIY tunes, and much like the faux-sibling pair, the Black Keys have steadily progressed from workmanlike blues and rock to, well, still more solid blues and rock, albeit with slightly more advanced recording techniques.
   
   Attack & Release continues this trend, although with the versatile Danger Mouse producing, some deviation from the formula is to be expected. "Psychotic Girl" sounds eerily like what Gnarls Barkley might sound like if they were a blues outfit with a penchant for banjo, and Dan Auerbach's vocals on "Lies" call to mind the best of the great southern soul singers.
   
   The Keys haven't lost focus, however; "Remember When (Side B)," I Got Mine," and a host of other songs continue the barnburning minimalist tradition that they've been perfecting since the 2001, and while it isn't particularly anything new, it's still old school enough to be interesting.