Taking a break from long time producer Willie Mitchell, the man behind the boards at Hi Records and producer of Green’s biggest hits, rap star/drummer/producer Ahmir “?uestlove” Thompson sets the grooves on this disc. ?uestlove has expressed an adoration for Green’s catalog, and it shows. The disc is full of powerful bass and strings that help set the mood for each track. Thompson also intelligently grabs some contemporary artists to help Green appeal to a younger generation.

Anthony Hamilton makes the first guest appearance, on the silky opening track “Lay It Down”, and does a pretty good Sly Stone impression on “You Got The Love I Need”, accenting Green’s vocal with some celebratory yelps and laughs. Corrine Bailey Rae also lends her vocals on “Take Your Time”, easily the most sensual song on the disc. John Legend adds his voice and piano to “Stay With Me”, helping the midtempo track shimmer.

Green can carry a song by himself of course, his voice sounds like it hasn’t aged a bit. His range may be hampered some, but the feeling and passion resonates throughout.

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This just in: rock music can be made with less than five people. Hell, you don’t even need a power trio anymore. Relatively recent acts such as The White Stripes and The Black Keys have shown that three people is too damn much, Local H is a group that’s pulled off the duo musicianship since their debut, 1995′s Ham Fisted. They found their groove with their sophomore effort, 1996′s As Good As Dead and the rock radio staple, “Bound For The Floor.” You know that song repeats “You just dont get it/You keep it copasetic” about twenty times. As annoying as that’s gotten in the past twelve years (even as a fan I find those lyrics grating to the utmost), it’s interesting to see if a band with one single that people nowadays can name can still put out relevant music in 2008.

12 Angry Months is both a return to form for the band as well as a sharp departure. The music has the same soft/loud/soft dynamic expected from other post-grunge groups. The vocals are a little strained, but the words are still crisp and easy to understand. The difference in this record versus their previous output hoever is simple: 12 Angry Months is a concept record.

Each track represents a period of time in a relationship between two people. “The One With The ‘Kid’” starts slowly and builds into distorted guitar and screaming. The record continues along at that pace through “Michelle,” “BMW Man,” and “White Belt Boys.” These three tracks set the story well and the disc doesn’t slow down until “The Summer Of Boats.” Unfortunately, thats when the disc starts to lose momentum. The story takes a negative bent, detailing a breakup and the anger and hurt that surrounds it. Granted, the lyrics to “Jesus Christ! Did You See The Size Of That Sperm Whale?” are priceless, but it’s not enough to keep the second half of the album as interesting as the first. Local H have shown that they can still write interesting music, but they should keep the number of songs to a minimum.

Local H – “Jesus Christ! Did You See The Size Of That Sperm Whale?”

After thirteen albums as a band, one would think that Nick Cave and the Bad Seeds would run out of ideas, or at least go back to themes of their previous efforts and expand on them. Thankfully, that is not the case with their newest record Dig!! Lazarus, Dig!!! After the dirty-blues project Grinderman in 2007, Cave and his assorted Bad Seeds return to their day job full of energy and a sharp wit that permeates the album by way of the grooves and Cave’s quasi-blasphemous lyrics.

The opening title track imagines Lazarus risen again in the 21st century, shortening his name to the much simpler Larry and experiencing all the pleasures of New York City, Los Angeles and San Francisco. Over swirling organ and distorted guitar parts, Cave tells Larry’s story of fame and sexual gratification, only to end up a junkie in a New York City Jail. Themes of isolation, sadness and overindulgence continue throughout the disc, usually paired with a driving backbeat, rollicking bass grooves, staccato guitar parts and omnipresent organ. The music is a grab bag of different styles where a punishing backbeat of revenge and excitement slides easily into a faraway drone of desperation.

Cave spends more time speaking his words than he does singing the short hooks, which force the listener to focus more on the lyrical content than the notes he doesn’t bother singing. This is to Cave’s advantage, for he’s a better wordsmith than lead singer on this album. His delivery is reminiscent of a late 60′s poet (think of a more mature Jim Morrison) using his lyrics to discuss topics as emotionally heavy as the Holocaust, violence and debauchery. Everything is approached with a wink and a smile, however because Cave and the Bad Seeds don’t let the words get them down. They just happily spread the message.

Nick Cave And The Bad Seeds – “Dig!!! Lazarus, Dig!!!”