Randy Lewis’ Top Albums

1. Elvis Costello and the Brodsky Quartet, “The Juliet Letters” (Warner Bros.) The brilliant, prolific English singer-songwriter hooked up with the acclaimed string quartet, and together they threw out the rule book. The result was neither pretentious rock nor cheap chamber music, but a masterful blend of inventive melody, superbly crafted textures and incisive lyrics about the good, bad and ugly sides of love.

2. “David Lindley + Hani Naser--Live in Tokyo Playing Real Good” (Pleemhead). You’d have a better chance of stuffing a hog into a shot glass than of getting rock radio to play this stunning, eclectic album. This collaboration between multi-instrumentalist/wizard Lindley and Jordanian hand-drummer Naser seamlessly blends Stephen Foster, Middle Eastern sacred music and the liberating spirit of rock ‘n’ roll. An exquisite example of what happens when artists have the courage (or desperation) to say “Let the demographics folks be damned.”

3. Emmylou Harris, “Cowgirl’s Prayer” (Asylum). The finest female country singer of her generation--possibly of any generation--coaxes new colors from her remarkable voice in a collection that explores many facets of faith in an often faithless world.

4. The Velvet Underground, “Live MCMCXIII” (Sire). A bunch of rock ‘n’ roll old-timers who haven’t gone flabby with age. Indeed, in this reunion 25 years after their heyday, Lou Reed, John Cale, Maureen Tucker and Sterling Morrison retain the passionate edge of a bunch of young Turks while displaying the controlled power that only comes with age and experience.

5. Shaver, “Tramp on the Street” (Praxis/Zoo). Shaver is a band formed by singer-songwriter Billy Joe Shaver and his son, guitarist Eddy Shaver. An excellent writer who never has charted a hit for himself, Billie Joe gets inside the heads of society’s lonesome losers and other outcasts.

6. Guy Clark, “Boats to Build” (Asylum American Explorer). A nice bookend to Shaver’s album by another craggy observer of life on the street and in the barroom. A distinctly individualistic view of distinctly American characters.

7. Nanci Griffith, “Other Voices, Other Rooms” (Elektra). In her tribute to the folkies whose music inspired her, Griffith doesn’t simply pay homage. Selecting songs by writers from Woody Guthrie to Bob Dylan to John Prine, she assembled a cohesive album that celebrates the troubadour’s often lonely lot as society’s conscience.

8. Varttina, “Seleniko” (Green Linnet). The Chieftains meet the Bulgarian Women’s Vocal Chorus. Actually, this is a Finnish folk group, and while its lyrics may be Greek to the average American, its sprightly melodies and alternately joyful and haunting harmonies come through crystal clear.

9. Bobbie Cryner, “Bobbie Cryner” (Epic). An impressive debut by a young singer who isn’t afraid to plumb the deep emotional waters that so many of her country peers just skim over. The way she wraps her vocal cords around a word or phrase and squeezes it for dear life leaves you hungry for her to record a duet with the master of the genre, George Jones.

10. Jimmie Dale Gilmore, “Spinning Around the Sun” (Elektra). Country music that is confessional, powerful, immediate, erudite and so refreshingly original that it seems the only word missing from Gilmore’s vocabulary is predictable.

Next-best-10 (in alphabetical order): Arthur Alexander, “Lonely Just Like Me” (Elektra Nonesuch American Explorer); Beausoleil, “Danse de la Vie” (Rhino); Carlene Carter, “Little Love Letters” (Giant); Paul Cebar and the Milwaukeeans, “That Unhinged Thing” (Shanachie); Dick Dale, “Tribal Thunder” (HighTone); The Five Blind Boys of Alabama, “Deep River” (Elektra Nonesuch American Explorer); Rosie Flores, “Once More with Feeling” (HighTone); Vern Gosdin, “Nickels and Dimes and Love” (Columbia); Mighty Sam McClain, “Give It Up for Love” (AudioQuest); Loudon Wainwright III, “History” (Charisma).

Jim Washburn’s Top Albums 1. Elvis Costello and the Brodsky Quartet, “The Juliet Letters” (Warner Bros.). The big deal isn’t that this is a bold melding of rock and string quartet forms, but that Costello and the Brodskys achieved a richly expressive work, with emotional depths rarely touched in either form these days. The quartet plays marvelously; it’s Costello’s most focused writing since “King of America”; and, though his voice is an acquired taste, he’s proving to be his generation’s Sinatra when it comes to phrasing.

2. Bob Telson and Little Village, “An Ant Alone” (Gramavision). The gospel/Brazilian/African music from this stage production, like Telson’s “The Gospel at Colonus,” soars both with invention and soul, the latter being aided immeasurably by the voice of Sam Butler, perhaps the greatest undiscovered soul singer of our time.

3. The Posies, “Frosting on the Beater” (DGC). Relentlessly tuneful, sweetly harmonized and musically executed with an edge far sharper than most of their fellow Seattle outfits, this album is a turn-it-up delight. The Posies sound like a grunge-era version of the early Cheap Trick, with shades of Neil Young, the Hollies and other fine stuff as well.

4. Henry Kaiser and David Lindley in Madagascar, “A World Out of Time, Vol. 2” (Shanachie). If possible, this is an even richer exploration of Malagasy music than the first volume of eclectic guitarists Lindley and Kaiser’s collaboration with the African island musicians. The pair wisely add to, rather than lead, the music (though Lindley singing a reggae-ish rendition of Merle Haggard’s “I’m a Lonesome Fugitive” is a treat), which without exception is haunting, beguiling and intensely human.

5. Pete Townshend, “Psychoderelict” (Atlantic); Van Morrison, “Too Long in Exile” (Polydor) I figure these count as one choice because you can easily throw out half of each album. Townshend’s disc could lose its generic rockers and at least one sub-plot of it’s radio-drama text. What would remain is his most engaging attempt to merge rock and theater since “Quadrophenia” as well as a handful of his most tender and confessional songs.

Morrison’s album similarly could shed its rote blues numbers and crankier Van-isms. It is more than saved, though, by the ruminative “Wasted Years” and rampaging remake of “Gloria”--both featuring John Lee Hooker--as well as Morrison’s heated jazz-R & B fusion on “I’ll Take Care of You / Tell Me What You Want,” on which the pugnacious pub-warmer also blows some lilting sax.

6. Richard Thompson, “Watching the Dark” (Hannibal) Thompson’s new album was delayed to a ’94 release date. In the meantime, this 3-CD reconfirms why other musicians consider him one of the best writers and guitarists on earth. He can convey more feeling in the space of a three-minute song than others can in novel. And check out this set’s nine-minute live version of “Can’t Win” and see if you don’t agree that he’s the scariest, most emotionally direct guitarist since Jimi Hendrix.

7. Jimmie Dale Gilmore, “Spinning Around the Sun” (Elektra). Particularly considering its moniker, country-and-Western music very often carries no sense of place . There’s wind, river water and stars in Gilmore’s songs and high lonesome voice, however, full of wonder, magic and solitary thought.

8. “David Lindley + Hani Naser--Live in Tokyo Playing Real Good” (Pleemhead). As much as I miss the singular way Lindley’s slide guitar soars when he’s plugged-in with his long-on-hiatus band El Rayo-X, there’s no denying the eclectic pleasures of this mostly acoustic live set with Jordanian hand-drummer Naser. Though the album regrettably favors other writer’s novelty tunes over Lindley’s own often bittersweet songs, you’ve got to love a guy who can rock out on Turkish saz .

9. Mighty Sam McClain, “Give It Up to Love” (AudioQuest) Longtime Louisiana soul-belter McClain never got the shot at fame he deserved, and he certainly doesn’t pass up this chance on Orange County’s small but splendid AudioQuest label. Given the empathetic musical backing and production his life-filled voice needs, McClain makes nearly every song here a memorable journey.

10. Tony Toni Tone, “Sons of Soul” (Wing/Mercury). If Brian Wilson and Mary Wells got together and had triplets, it could be these guys. Funny, funky, and ridiculously musical, this trio tickles both the feet and hear.

Beyond Numerical Measure: “Otis! The Definitive Otis Redding” (Rhino) Though he’s been gone a quarter-century, the inclusive warmth, majesty and hope of Redding’s voice reaches through the years with a stunning immediacy. Rhino, by far the finest archival label extant, outdid itself with this.

Noe l Davis’ Top Albums 1. Asleep at the Wheel, “Tribute to the Music of Bob Wills and the Texas Playboys” (Liberty Records): Longtime Western-swing band Asleep at the Wheel is joined by a lineup of guests that reads like a Who’s Who in country music to celebrate the legacy of the King of Western Swing. Wills’ songs sound just as great today as they did 50 years ago when he was pioneering a style that has come back to fuel today’s country dance craze.

2. Don Edwards, “Goin’ Back to Texas” (Warner Western): On his second album for Warner Western, Edwards emphasizes modern Western songs, but also unearths a few choice nuggets from the past. None of the material here is well known, and the result is a cowboy album that sounds completely fresh because it doesn’t recycle the usual standards.

3. Emmylou Harris, “Cowgirl’s Prayer” (Asylum): Harris continues her outstanding legacy to country music with a mature album loosely structured around the theme of faith. As usual she drives her material from an eclectic mix of songwriters and brings the songs to life with her wonderful voice and the inspired picking of her top-notch band.

4. Willie Nelson, “Across the Borderline” (Columbia): After years of coasting, Nelson returns to form with a bittersweet album that recalls his breakthrough work of the ‘70s.

5. Dwight Yoakam, “This Time” (Reprise): Yoakam’s songwriting won’t make you forget Hank Williams, but he serves up his traditional country themes with such an intriguing mix of rock and country sounds that even cliches seem fresh.

6. Nanci Griffith, “Other Voices, Other Rooms” (Elektra): One of our greatest contemporary songwriters pays tribute to the writers who inspired her. Griffith’s distinctive voice provides highly original interpretations of some great songs.

7. Michael Martin Murphey, “Cowboy Songs III Rhymes of the Renegades” (Warner Western): On his third collection of cowboy songs, Murphey focuses on gunfighter ballads. You can almost hear the crack of the six guns and taste the dust as he brings the Wild West back to life.

8. Aaron Tippin, “Call of the Wild” (RCA): Although Tippin has chosen to emphasize his rowdy, good ol’ boy side on his latest album instead of his electrifying take on country blues, his twangy exuberance shows that even when he’s slumming he’s still among the best of country’s new breed.

9. Jimmie Dale Gilmore, “Spinning Around the Sun” (Elektra): One of the few true originals in contemporary country, Gilmore makes country music that is so far afield from the current crop of ‘70s retreads that he might be compared to Hank Williams on Mars.

10. Bobbie Cryner, “Bobbie Cryner” (Epic): Cryner’s bluesy voice has the spine tingling power of such country greats as Hank Williams and Patsy Cline.

Albums That Should Have Been Great But Weren’t 1. Randy Travis, “Wind in the Wire” (Warner Western): The idea of Randy Travis singing Western songs seems like pure heaven. However, much of the material on this album consists of insipid imitations of the great songs of the Sons of the Pioneers.

2. Garth Brooks, “In Pieces” (Liberty Records): On his previous albums, Brooks combined his rock and country influences with remarkable focus. On the aptly titled “In Pieces,” he seems to have lost the cohesiveness that distinguished his earlier work and degenerated to the level of mere formula.

3. Mark Chesnutt, “Almost Goodbye” (MCA): One of the most promising of country’s young turks, Chesnutt can be equally adept at heartbreaking ballads and corny humor. He begins his latest album in fine form with “It Sure Is Monday” but quickly descends to the banal title cut and finally to the utterly ridiculous “Vickie Vance Gotta Dance” and “The Will.”

4. Various Artists, “Common Thread: The Songs of the Eagles” (Giant): The fun of a tribute album is to hear a songwriter’s body of work reinterpreted by a variety of artists with their own distinctive styles. The country artists who participated in this collection were so slavishly faithful to the original Eagles’ versions, you might just as well buy one of the Eagles’ “Greatest Hits” packages.

Buddy Seigal’s Top Albums Alphabetically, by artist:

“Museum of Heart,” Dave Alvin (HighTone). A country and rockabilly-tinged collection of from-the-heart compositions that will appeal to Alvin’s old Blasters following more than his last album, the downcast “Blue Boulevard.” A hook-laden yet painfully honest effort that boasts impeccable musicianship from all concerned, most notably lap-steel guitarist Greg Leisz. Alvin is fast becoming one of America’s eminent songwriters, and his unpolished baritone is beginning to sound appropriate to the material as well.

“Of Kindred Souls,” Roy Hargrove (RCA/Novus). Like the other “Young Lions” in jazz (the Marsalis brothers, Terrence Blanchard, Joshua Redman), Hargrove--a protege of Dizzy Gillespie--has been panned in some quarters as a derivative and immature talent. But this live effort shows the trumpeter and his red-hot quintet have a raw enthusiasm lacking among many of today’s jazz groups, plus chops and soul to spare. Swinging, sparkling post-bop at its best, performed with the ebullience of youth and riffing seemingly beyond the respective players’ tender years. Somewhere, Diz is smiling.

“Blues Summit,” B.B. King (MCA). King regains his form on an album of duets with Buddy Guy, John Lee Hooker, Etta James, Koko Taylor and other genre notables. By turns fiery, funky and funny, the good times obviously had by the principals in making this album spill out of the speakers. King pontificates like a gut-bucket preacher and attacks his guitar “Lucille” with gusto on some of his best work in 20 years, making this the essential companion to the recently released B.B. CD boxed set.

“For the Beauty of Wynona,” Daniel Lanois (Warner Bros.). Mixing French-Canadian folk roots and a background in New Orleans R & B with a taste for Hendrix-inspired space-outs and a knack for modern studio trickery, Lanois proves on his second album that he’s much more than a producer to the stars. Unique, impassioned music that remains tradition-bound even as it blazes into previously uncharted territory. As listenable as it is ambitious.

“Too Long in Exile,” Van Morrison (Polydor). Morrison--who in 30 years has never actually made a bad album--takes a hard right turn from his more spiritually obsessed recent output to lay down an album of (mostly) inspired R & B. The stream-of consciousness duets with John Lee Hooker are worth the price of admission alone, but there’s also a handful of strong originals, and it’s great to hear the Celtic soul man tackle this type of material for the first time in too long. One complaint though: Morrison shouldn’t be allowed to even touch a saxophone or a blues harp.

“Otis! The Definitive Otis Redding” (Rhino). Four-disc box set includes all of Redding’s essential material, plus pre-Stax singles, demos, public service announcements and commercials. Disc four collects the best live versions of Redding’s biggest hits, culled from various sources into one cohesive set. A lovingly compiled, packaged and remastered look at one of the 20th Century’s greatest and most influential performers, this is a well-done and long-deserved tribute.

“You Eediot,” Ren & Stimpy (Nickelodeon/Sony Wonder/Epic). If you’re a fan of the twisted cartoon series, you won’t be able to resist owning such familiar jingles as “Log Theme,” “Muddy Mudskipper Theme,” “Happy Happy Joy Joy,” and “Royal Canadian Kilted Yaksmen.” But there’s more: a handful of way-cool Beat-era instrumentals by Screamin’ Lederhosen that feature some snazzy guitar and organ work, and a new musical skit featuring everyone’s favorite asthma-hound Chihuahua and hairball-hurling feline. “Yessir, I like it!”

“Muddy Water Blues,” Paul Rodgers (Victory). Sort of like B.B.’s “Blues Summit” album, only for guitar-toting white guys instead. Rodgers, abetted by Jeff Beck, Brian Setzer, Slash and Steve Miller, among others, burn on proto-metal covers of blues classics they all grew up on. It’s a labor of love to be sure, and the results make one pine for the late ‘60s/early ‘70s heyday of power-blues groups, when metal artists’ roots went deeper than Deep Purple and Black Sabbath. Proves that loud, powerful rock ‘n’ roll need not be tasteless, adolescent twaddle.

“Love Under Will,” Tribe After Tribe (Megaforce). South African hard rock with indigenous percussion, complex time signatures, expert musicianship and cerebral-psychedelic material. Innovative, engrossing and stylish, maybe what the Grateful Dead would sound like if they were still young and fresh.

“Songs of the West,” various artists (Rhino). Gene Autry, Roy Rogers, Bob Wills, Rex Allen, Sons of the Pioneers, Marty Robbins, Tex Ritter--all the great cowboy songs and the men who performed them are here in one 4-CD set, with a bookstore quality study of Western music and culture included. Disc four features classic movie and TV cowboys theme music such as “Bonanza,” “The Good, The Bad and The Ugly” and “Rawhide.” A fond remembrance of a time when a man didn’t need to look like an underwear model to become a country singer.