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Hear Me Out: Legends

Chris Azzopardi

Elton John and Leon Russell, 'The Union'
In his illustrious four-decade career, Elton John's done it all: cut classics, inspired generations of performers and been one of the greatest gay icons ever. For so long, though, the legend's admiration for Leon Russell, a roots-country crooner, went untouched – until now, as the two marry their musical geniuses into a masterfully written, produced (cut live by tunesmith T Bone Burnett, no less) and performed duets LP. Trademark Elton sneaks in on the boisterous kiss-off "Monkey Suit," heartfelt ballad "The Best Part of the Day" and snarling, piano-licked "Hey Ahab," perhaps due in part to longtime co-writer Bernie Taupin's contributions. But the Rocket Man is still far removed from his signature classic-rock days, falling closer in line with Russell's '70s Americana records. On "The Union," craft ranks over mainstream consumption, and it pays off remarkably with the sarcastic lead-off "If It Wasn't for Bad," a jaunty, nuanced number; "Gone to Shiloh," a moving Civil War narrative, with Neil Young bringing an added ache; and quiet gospel closer "In the Hands of Angels," a song that Elton lets his idol have at alone. It's a testimony to the brotherhood felt throughout, where both artists extract each other's individual best and together, as Elton smoothes out the ruggedness of Russell's drawl, sound like each other's yin and yang. Their "Union" isn't simply a great story of enduring friendship, but one of the best albums of the year. (Out Oct. 19) Grade: A-

Liza Minnelli, 'Confessions'
Even Liza Minnelli knew her decision to embarrass herself, and her legendary career, with a "Single Ladies (Put a Ring On It)" remake earlier this year was a bad move – she sounded grossly awful, like she was hobbling to the finish line. Instead of pushing the idea of older-diva-does-younger-diva through to this studio album, her first since 1996's "Gently," she embraces every day of her 64 years of age with a classy covers collection that plays to her strengths and avoids emphasizing her weaknesses. Her voice, more jeans than spandex these days, doesn't go for flash, but is understated and expertly suited for the quiet intimacy that producer and longtime collaborator Bruce Roberts is fetching. The 14 standards are scaled back, never giving Liza's now-husky alto more than it can handle – no orchestras, no showstoppers – with its jazzy, dinner party arrangements. "Confession," originally from "The Band Wagon" and opening the set, perfectly complements her personality, but even with better-known favorites like Frank Sinatra's "All the Way" and Etta James' "At Last," she holds her own, reaching more for the song's soul and less for its vocal cartwheels. The soft-sounding ease of it all could use more oomph, even with the zing of "You Fascinate Me So," and is sometimes tediously muddied, but "Confessions" is still a mature and dignified way to keep Liza's 60-year career rolling. Hell, we'd put a ring on it. Grade: B

Also Out

Lizz Wright, 'Fellowship'
Lizz Wright's got some voice – a supple, rich contralto that, on her new "secular gospel" offering, could trigger chills through non-believers. After submerging it into jazz and blues, Wright honors her Georgia roots with emotionally stirring results – impressing with the glorious "God Specializes," Eric Clapton's "Presence of the Lord" and "Amazing Grace," made into a minimalistic mover. With help from Sweet Honey in the Rock's Bernice Reagon, and daughter Toshi, Wright's fourth album is a transcendent journey of life, spirituality and deeply felt feeling.

Shontelle, 'No Gravity'
Whoever Shontelle is seems irrelevant on much of her sophomore set, where she's a pop singer left to imitate rather than initiate. Rihanna comparisons – especially on the dancefloor punch of "Take Ova" – are inevitable, but the Barbadian 23-year-old's also doing her best Estelle impression on "DJ Made Me Do It." Even then, and even with a talented production team, she can't find a way to make her own. Shontelle sounds mostly outdated, cheap and lyrically shallow, but the lead single, "Impossible," shows she may still have a shot at defying "Gravity."

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