MY MORNING JACKET

"Evil Urges"

(ATO)

What is it about success that causes a rock 'n' roll act to wander?

With "Evil Urges," My Morning Jacket is the latest band or artist to veer off a course toward apparent superstardom and chart the choppy waters of musical experimentation.

Remember "Midnite Vultures," the guilty pleasure Beck put out after the groundbreaking "Odelay"? And who can forget "This Note's For You," Neil Young's label-irritating turn as a horn-backed soul singer.

My Morning Jacket, the Louisville, Ky., quintet fronted by Jim James, appeared on the verge of joining Wilco and Radiohead among our era's greatest bands after their last two albums, "Z" and "It Still Moves." Each seemed a crystalline example of rock in the new century with songs that were both powerful and beautiful.

James' high tenor, boundless energy and heroic guitar playing were both familiar and wholly new. There is little new in "Evil Urges," however. While there are some fine moments, James' genre noodling leads to a mostly unfocused effort when compared to the band's previous efforts. The rockers "Aluminum Park" and "Remnants" feel dashed off and don't hold up to the songs on "It Still Moves." And the more thoughtful pieces don't match the superior work on "Z."

Still, little pleasures do ooze anew with each listening, like the high harmony of the band in the opening lines of "I'm Amazed" and Bo Koster's impressionistic organ work at the end of "Touch Me I'm Going to Scream Part 2."

James is a chameleon here, disguising his voice and shifting styles at will. He opens the album singing in a Prince-ly falsetto on the title track, grunts out a punky dirge on "Highly Suspicious" and channels early '60s British folk in "Librarian."

James isn't the only one shifting gears and having fun. Koster is great throughout and the band's rhythm section, drummer Patrick Hallahan and Two Tone Tommy on bass, continue to amaze on songs like "Touch Me I'm Going To Scream" and "Evil Urges."

CHECK THIS OUT: James has never done anything like the lush, ethereal "Librarian," which plays out like a black-and-white arthouse movie. Leave it to James to write a love song about "a simple little bookworm." "Buried underneath is the sexiest librarian," James sings. "Take off those glasses and let down your hair for me."

THE INFAMOUS STRINGDUSTERS

"The Infamous Stringdusters"

(Sugar Hill)

For this six-piece band of acoustic hotshots, the emphasis is on the second part of their name. This time out, they not only blow the dust off their strings; they also unite into a formidable sound all their own.

Their 2007 album, "Fork in the Road," drew attention for the remarkable playing of each band member: Bassist/singer Travis Book, mandolinist Jesse Cobb, new guitarist Andy Falco, fiddler/singer Jeremy Garrett, dobro player Andy Hall and banjoist Chris Pandolfi.

The collection earned them three top awards from the International Bluegrass Music Association for best album, song and emerging band -- a remarkable achievement for newcomers in a genre that expects youngsters to pay their dues.

But the second album banks on more than instrumental dexterity; it also celebrates how the Stringdusters have merged as a unit and emerged as songwriters and arrangers.

The instrumentals, especially Cobb's "Golden Ticket," dazzle as expected. But what moves them forward is how well the band mixes accessibility with complex arrangements and stunning solo work, as heard on the bluesy "Get It While You Can," the philosophical "When Silence Is the Only Sound" and the breakneck "Won't Be Coming Back."

Picking up where the recently disbanded Nickel Creek left off, the Stringdusters rise to the challenge of their reputation on this collection. They may soon have to deal with being well-known-rather than merely infamous.

CHECK THIS OUT: On "Lovin' You," the band transforms songwriter Sarah Siskind's wondrous love song into something that's both dreamy and full of surprising turns.

N.E.R.D.

"Seeing Sounds"

(Interscope)

Writing and producing hits for artists such as Jay-Z, Britney Spears and Usher, it might seem difficult to save enough strong ideas for own project. But that's exactly what the all-star production tandem The Neptunes (Pharrell Williams and Chad Hugo) -- along with collaborator Shae Haley -- have again pulled off on the third disc from their group N.E.R.D., "Seeing Sounds."

N.E.R.D. batter the brain with their trademark electric funk, with pulsating hip-hop beats backing rock, snotty punk and silky soul as well. It seems working as The Neptunes is all about business, while N.E.R.D. serves as an outlet of joy and personal expression.

They flex Mike Watt-style bass grooves on "Time For Some Action," rip a page right out of the De La Soul playbook on "Yeah You" and use tight electric bass to power the staccato crunk rhythms of "Anti Matter." They also marry funky bass and Latin percussion on "Kill Joy," offer the hysterical soul-rock piano jam "Everyone Nose" and give garage rock a nice injection of soulful hip-hop on disc closer "Laugh About It."

If you're looking for something smoother try the somber soul ballads "Sooner or Later" and "Love Bomb."

In the liner notes, Pharrell suggests listening to the disc in the shower with the lights off because "the lights off and constant flow of water promotes the main affects of Synesthesia; Seeing Sounds."

With N.E.R.D. hitting it out of the park again, I'm almost willing to try.

CHECK THIS TRACK OUT: Complete with snapping guitar riff and floating organ lines, "You Know What" can only be described as a stone cold disco jam and is one of the most fun songs on the disc.

KASKADE

"Strobelight Seduction"

(Ultra)

San Francisco-based DJ and producer Kaskade puts forth some smart and savvy electronica on his fifth album, "Strobelight Seduction," a mix of dependable beats and hook-laden, soft-trance style.

The opening track "Move on Me" really sticks to your ribs. The collaboration with Deadmau5 is, at times, gorgeous and lush. What it lacks in low-end thump it makes up for with a pace that simply demands dancing.

Another top-notch track is "Pose," with its drawn out lyrics that pour over several bars while the bass line pumps hypnotically beneath. The lyrics are full of irony and substance.

"Pose for the camera, posing in my mind/ I see the picture, I feel the shadow left behind," goes the story love and longing on this track.

Kaskade is a remix specialist these days, having officially re-tinkered Britney Spears, Justin Timberlake and Seal in this year alone. "Strobelight Seduction" proves he doesn't need the extra star power to demand global dancefloor respect and a good long listen.

CHECK OUT THIS TRACK: "One Heart" is a solid dance track worth playlisting on your iPod for a daily uplift. No production stunts and no corny orchestra stabs. Just a perfect bit of bliss.

LIL WAYNE

"Tha Carter III"

(Universal Motown)

More than most rappers, Lil Wayne is a master at self-mythologizing. Like his predecessors the Notorious B.I.G. and Jay-Z, Wayne claims of no longer writing down his lyrics before recording. Given the volume of record-stealing guest appearances and the flood of mixtapes since his last studio album, "Tha Carter II" (2005), that free-association songwriting approach seems all the more remarkable. So much so that he has claimed to be the best rapper alive.

Now with the release of "Tha Carter III," Wayne attempts live up to his own hype, but falls short. The disc is a frustratingly uneven effort that's filled safe songs aimed at commercial radio and a few quirky cuts that feature Wayne's bizarre sense of humor and inflated opinion of his rap skills. The best of the latter is "A Milli," a bizarre, breathless rundown of Wayne's self-worth: "Threw the pencil and leak on the sheet of the tablet in my mind/Cause I don't write (expletive) cause I ain't got time/Cause my seconds, minutes, hours go to the all mighty dollar." He gets conceptual on the jazzy, Swizz Beatz-produced "Dr. Carter," on which he diagnoses and cures rap's ailments. Later Kanye West lends a soaring soul sample under Wayne's staccato, twangy flow on "Let the Beat Build." And on "Phone Home," he channels E.T. in a semi-robotic cadence: "We are not the same/ I am a martian."

However, it's obvious that Wayne's rap ambition is more dependent on radio play than true experimentation. Hence, there are Auto-Tuned throwaway ditties -- "Got Money" with T-Pain and the ubiquitous first single, "Lollipop" featuring the late Static Major. And he further tempers the out-there moments with conventional R&B hooks and smoothed-out grooves -- Robin Thicke, Bobby Valentino and Babyface all make appearances. Ultimately the gloss seems to dull Wayne's potential to be one of rap's true innovators.

CHECK OUT THIS TRACK: On the clever "Dr. Carter," Wayne plays Dr. Phil urging rappers to "stand out like Andre 3K" and then offers to put "more vocab in your IV."

EMMYLOU HARRIS

"All I Intended to Be"

(Nonesuch)

Emmylou Harris has often enjoyed observing the present through a filter that takes in the past. She sharpens that focus on "All I Intended to Be," her first solo album in five years.

She continues to emphasize her own songwriting more than she had earlier in her career, contributing four originals. She collaborates with Canada's McGarrigle Sisters on the "How She Could Sing the Wildwood Flower," perhaps the best of all the June Carter and Johnny Cash tribute songs of late. "Take That Ride" is a spiritual about the end of life for those unsure about their religious convictions, while "Not Enough" is an achingly beautiful song about a lost love that never dies.

Harris also draws heavily on the '70s and '80s, when she enjoyed her greatest success. She works for the first time in 25 years with Brian Ahern, her ex-husband, who produced her early classics. Many songs come from that period too, including a gentle reading of Billy Joe Shaver's "Old Five and Dimers Like Me," and a beautiful update of Tracy Chapman's 1989 cut, "All That You Have Is Your Soul." Just as powerful is Harris' meditative take on Merle Haggard's 1985 hit, "Kern River."

Harris has spent the last 12 years experimenting with atmospheric arrangements. "All I Intended to Be" nicely blends that style with the stronger acoustic base of her prior work. As usual, she blends tradition and innovation with estimable grace.

CHECK THIS TRACK OUT: Harris doesn't change genders when singing Mark Germino's stunning "Broken Man's Lament," and it doesn't matter. What does matter is how her distinct phrasing fills the narrative with such regret and wounded pride.

SOLOMON BURKE

"Like a Fire"

(Shout Factory)

Veteran soul shouter Solomon Burke slips from his safety zone on his new album, "Like a Fire." After three retro-styled albums in six years that showed off his one-of-a-kind voice, Burke ambitiously moves toward a more modern sound on his new collection.

"Like a Fire" also differs from its immediate predecessors in that Burke records almost all new songs, most of them written expressly for this project. But there's the rub: The new tunes fail to bring out Burke's fiery, expressive voice in the manner his other albums this decade have.

The recruited writers sound good on paper. Eric Clapton contributes two songs, including the laid-back title tune. Jesse Harris, a favorite writer of Norah Jones, also offers two cuts -- "What Makes Me Think I Was Right" and "You and Me." The country sentiment fits Burke, but Harris' characteristic mellowness never lights a match under the singer.

Similarly, songs by blues-folk singer Keb' Mo' ("We Don't Need It") and jam-folk performer Ben Harper ("A Minute to Rest and A Second to Pray") are either too relaxed or too psychedelic for Burke to bring alive.

Burke deserves props for taking chances; unfortunately, the writers he requested failed to give the King of Rock and Soul something worthy of his royal bearing.

CHECK THIS TRACK OUT: "The Fall," co-written by the album's producer Steve Jordan, allows Burke to show how convincingly he can straddle the best aspects of R&B and country music.

SLOAN

"Parallel Play"

(Yep Roc Records)

With all the praise heaped on Canadian bands the last few years -- The Arcade Fire come to mind -- it's a wonder a wider audience has yet to discover Sloan.

Coming on the heels of 2006's "Never Hear The End Of It," Sloan's eighth studio offering, "Parallel Play," is another excursion to guitar pop heaven. While "Never Hear The End Of It" boasted 30 tracks over 80 minutes, Sloan pull a 180 on "Parallel Play," breezing through 13 tracks in under 35 minutes.

All four members -- Chris Murphy, Patrick Pentland, Jay Ferguson and Andrew Scott -- contribute to the songwriting while trading instruments and vocal duties throughout (their harmonizing would make even Crosby, Stills & Nash proud).

There may not be anything revolutionary here, but Sloan's workmanlike approach offers a delicious variety from easygoing folk to '70s arena rock. They offer straightforward rockers in disc opener "Believe and "Down in the Basement," channel The Jesus and Mary Chain on the churning smoker "Burn For It" and get a tad punkish on "Emergency 911."

They also offer lush mid-tempo fare such as "If I Could Change Your Mind" and "All I Am Is All You're Not," the latter taking a nice swipe at selling out: "What I might lack in pizazz/I make up in charm just as/Expensive but I can't be bought/I'm all you're not."

As always, giving Sloan a spin will not disappoint.

CHECK THIS TRACK OUT: "Witches Wand" is a driving folk-rock anthem complete with delightful chorus harmonizing and hand claps that'll take you right back to the early 70's.

ADELE

"19"

(XL/Columbia)

Of the second wave of British female soul singers to hit American airwaves (Estelle, Leona Lewis, Duffy), Adele is perhaps the purest torch singer. The bulk of the songs on her solid stateside debut, "19," features the Londoner mining the twisted emotions that spring from tainted love. In one instance, she yearns for affection ("Best for Last"), and then she admits to wavering feelings ("My First Love"). And on "Chasing Pavements," she sings of a crossroads of the heart: "Should I give up / Or should I just keep chasing pavements / even if it leads nowhere."

Featuring Adele's bold, clear-toned vocals -- part Norah Jones-earthiness, part Etta James-grit -- the disc is a bluesy-pop, ballad-heavy affair. However, the largely unadorned musical tracks make the effort sound a tad colorless. Thankfully on "Cold Shoulder," producer Mark Ronson ups the tempo, lending some of the similar 60s-soul vibe that made Amy Winehouse a superstar. And the fed-up woman anthem, "Tired," is built on a peppy yet subtle electro-groove.

Yet Adele's apparently most at ease backed by a piano or subtle organ chords. That approach highlights her songwriting chops, but makes for material more Lillith Fair-mopey than soul-diva assured.

CHECK OUT THIS TRACK: Built on a charming, jewelry-box melody, "First Love" sounds like sweet lullaby but is a deceptively cold break-up song.

PRISCILLA AHN

"A Good Day"

(Blue Note)

The debut release from singer-songwriter Priscilla Ahn is sweet -- so sweet it will leave your teeth aching.

Musically, "A Good Day" is interesting. Ahn has the voice of an angel, she's backed by a strong band and the cleanly produced CD makes for a pleasant enough listen. But lyrically, Ahn has a long way to go. The 24-year-old sounds like a high school girl when she sings about being afraid of the dark in "Leave the Light On," or staying "wallflower friends forever till the end" in "Wallflower." The pinnacle of silliness, though, is reached in "Masters in China" when Ahn describes a lover with lines like "the tongue of an angel floats in red wine saliva." To be fair, that's one of the few tracks not penned by Ahn herself. The strongest track is "Red Cape," which attempts to tell a story, but falls short and ends up a series of non-sequiturs.

According to Blue Note, her record label, Ahn left her home in small-town Pennsylvania shortly after graduating high school and headed to Los Angeles to make a name for herself as a singer-songwriter. Label-mate Amos Lee heard her sing and her debut was born. She's one of a very few Asian-American women in pop music and that fact alone could make her stand out. But unless she starts singing someone else's songs, she's destined to remain nothing more than background music.

CHECK THIS TRACK OUT: In the disc's opening track, "Dream," Ahn sings convincingly about the joys of childhood. Her pure voice matches the music -- and the material -- perfectly and it's not at all cloying.

MONTGOMERY GENTRY

"Back When I Knew It All"

(Columbia Nashville)

Of country music's redneck rockers, the duo Montgomery Gentry most willfully tip-toe the line between laudable rural pride and tired Southern stereotypes. At their best, they also balance party-hardy anthems with reflective songs about gaining maturity with age.

Unfortunately, Eddie Montgomery and Troy Gentry's latest, "Back When I Knew It All," occasionally relies more than it should on cliches and one-dimensional characters. The religious-referencing Southern stomper, "The Big Revival," cites snake handling and other backwoods oddities merely for shock value, while "One In Every Crowd" is a one-dimensional rewrite of Billy Joe Shaver's classic "Honky Tonk Heroes."

The depth that characterizes their best hits surfaces elsewhere, though. The title track recognizes the humility that comes with experience, while "Long Line of Losers" probes family dysfunction without trying to make it sound cool. The duo also recruit buddy Toby Keith for "I Pick My Parties," which suggests that rowdy guys can slow down without completely stopping.

Montgomery Gentry know they can persuade fans to pump a fist in the air; "Back When I Knew It All" proposes that they're still at their best when they prompt listeners to think and feel, too.

CHECK THIS OUT: The breezy sway of "Roll With Me" cops a gentler attitude for these brawny fellows, matched by a catchy, melodic flow that brings out the best in Gentry's good-time voice.

THE BUCKET LIST

(2007, 97 min.)

Dir.: Rob Reiner

Geezers made their mark at the box office with Jack Nicholson and Morgan Freeman's feel-good buddy tale about getting the most out of life in the face of death. Putting director Rob Reiner back on the commercial track after a string of duds, the movie stars Nicholson as a rich guy and Freeman as a working stiff, both diagnosed with terminal cancer, the duo teaming up to travel the world with a wish list of exotic adventures to squeeze in before kicking the bucket. The DVD and Blu-ray high-definition releases have an interview with screenwriter Justin Zackham and a John Mayer music video. The Blu-ray disc also features Reiner interviewing both Nicholson and Freeman about their roles. DVD, $28.98; Blu-ray, $35.99. (Warner Bros.)

JUMPER

(2008, 88 min.)

Dir.: Doug Liman

Hayden Christensen fights the high cost of fossil fuel by teleporting around the globe in this sci-fi adventure about "jumpers" able to travel anywhere instantly. Sporting bright blond hair, Samuel L. Jackson co-stars as an operative for a secret society that aims to destroy the jumpers as genetic abominations, while Jamie Bell plays a fellow teleporter who teams up with Christensen. Extras on single-disc DVD, two-disc DVD and Blu-ray editions include commentary by director Doug Liman and three making-of featurettes. The Blu-ray and two-disc DVD releases also have six deleted scenes, more featurettes and a digital copy of the movie for portable DVD players. Single DVD, $29.98; two-disc DVD set, $34.98; Blu-ray, $39.98. (20th Century Fox)

THE OTHER BOLEYN GIRL

(2008, 115 min.)

Dir.: Justin Chadwick

Natalie Portman is the scheming sister and Scarlett Johansson's the nice younger sibling among the Boleyn family, whose girls find themselves at odds over the attention of Britain's King Henry VIII (Eric Bana). The rivalry is set in motion by the sisters' father and uncle, who plot to foist Portman's coquettish Anne off on the king only to find the monarch attracted to Johansson's innocent -- and newly married -- Mary. The DVD and Blu-ray discs have deleted and extended footage and three behind-the-scenes segments examining life at court in the 16th century and how the filmmakers adapted their story from Philippa Gregory's novel. DVD, $28.96; Blu-ray, $38.96. (Sony)