Sugarland, 'The Incredible Machine'
Having already bent country music during their glorious hit-making, genre-shaking run, change seemed inevitable for power-duo Sugarland's fourth album. And on the slick "The Incredible Machine," the restless twosome of Jennifer Nettles and Kristian Bush are coloring so far outside the lines they're not even on the right page – twisting their rural-living construct, built on hits "Baby Girl" and "Stay," into a bustling downtown of whomp-whomp drums and '80s-zinged anthems. Country purists will gasp at some of their admirable risk-taking: a reggae breakdown on "Stuck Like Glue," synth sounds, and a thing for arena rock. Suddenly, Sugarland's not down-home – they're country's answer to U2. Nettles blasts tunes like bombastic opener "All We Are" and nostalgic torch song "Tonight" into space with her powerhouse pipes, but it's not her singing that's off. Whereas previous Sugarland outings thrived on imagery-speckled narratives, "The Incredible Machine" switches on the generic platitudes, power messages of hope and love delivered with heart but less ingenuity. "Stand Up" seems written for our times, a call-to-change chant that could be the It Gets Better theme song, while sweet piano lifter "Shine the Light" would make a really good Hallmark card. Both go down easy. It's telling, though, that the best cut is one that sounds like classic Sugarland: "Little Miss," the song that stays truest to their roots. Next time the band decides to pull a Faith Hill, they should keep that in mind. Grade: B-
Paula Cole, 'Ithaca'
Oh how the years go by – except for Paula Cole, who's stuck in her '90s glory days like she never left the original Lilith Fair or shaved her armpits. But without hairy situations, of course referring to her divorce, we wouldn't have "Ithaca." Cole's fifth LP, the first time she's written every song since 1999's "Amen," doesn't take any dramatic detours, resisting modern trends just like her stubborn contemporaries Sarah McLachlan and Tori Amos. Instead, Cole returns safely to the groundwork she laid out with decade-defining hits like "I Don't Want to Wait," her sublime soprano still in check. She launches with the lessons-learned "The Hard Way," a bittersweet number that's got the grit so much of McLachlan's work has lost since "Fumbling Towards Ecstasy." The demise of Cole's relationship, obvious by simply scanning the track names ("Waiting on a Miracle," "Elegy," "P.R.E.N.U.P."), carries her through the self-referential 10 tracks, ending with optimism on "2 Lifetimes." She speaks her mind on "Somethin' I've Gotta Say," especially conjuring heyday Cole, and gushes over her daughter on the sweet "Violet Eyes." And then there's "Sex" – softcore porn that plays over a slinky eight minutes with pillow talk like, "I'm picturing you as I touch my inside." Even if the horny and heartbroken "Ithaca" sounds more like the album Cole needed to make than the one we needed to hear, she sometimes touches you there too. Grade: B-
Also Out
Robbie Williams, 'In and Out of Consciousness – The Greatest Hits 1990-2010'
Solo suited Robbie Williams just fine, as he made viable bids on a chunk of pop stardom – many of which are included on this 39-track career retrospective. Williams' dexterity as a recording artist is spotlighted over two CDs, gleaning tracks from as far back as his days as a boy-bander in Take That. "Shame," the leadoff single, is a country-candied song, but hardly the best of the set. Look to disc two for that, where there's his biggest hit, "Angels." And Nicole Kidman. And Kylie Minogue.
Jason Mraz, 'Life is Good'
Music's goodwill ambassador – and outspoken ally – sums up his career in the title credo of this five-song digital EP, offering a more aggressive take on "Coyotes," off his latest studio album, and four new selections. They keep his proverbial mojo of loosey-goosey going with the jazzy "Freedom Song," dancey "San Disco Reggaefornia" and the swaying sweetness of "Up." That they're live is all the more cool since Mraz is even better when there's a crowd to play for.
Dar Williams, 'Many Great Companions'
Best known to the queer community because of her gender-bending contribution "When I Was a Boy," the regarded folkie splits her latest release into two discs: one for as-originally-recorded favorites, another for acoustic, collaborative takes on them. Mary Chapin Carpenter gently caresses the chorus of the beautiful "The One Who Knows," while out musician Patty Larkin adds an understated vocal to the new "Boy." A two-decade career deserves something as good – and full – as this.
