• 12 06,
• Live Your Life
• Single Ladies (Put A Ring On It)
• If I Were A Boy
• Whatever You Like
• Hot N Cold
• Love Lockdown
• Just Dance
• So What
• Miss Independent
• Right Now (Na Na Na)

Billboard 5. Lost

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• Music Review: Willie Nelson

  Willie Nelson, "Moment of Forever" (Lost Highway)

  Willie Nelson can do anything.

  He has always stood in opposition to the

  glossy Nashville sound of country music, but occasionally returns to its embrace as if drawn by some strange gravity.

  On his latest release, "Moment of Forever," the big city pop sound is applied by co-producers Buddy Cannon and Kenny Chesney.

  Nelson has done albums with a series of celebrity producers over the past decade, providing his usual mix of brokenhearted ballads, sly novelties and one-sided discussions with God. While Nelson remains a singular and iconic voice at 74, those he enlists don't always understand how to present the genre's master songwriter.

  The album's opener, "Over You Again," is a fine example. It begins sedately with slide guitar pushing along Nelson's familiar strum, a little bright piano. Instruments are added, the volume rises, a chorus of polished voices enters the room and eventually Nelson is lost in all the traffic. And another beautiful scattergun guitar solo from Nelson is completely wiped away in the mix.

  And we could've done without the brassy horns on "Takin' on Water" and Nelson's take on Dylan's gospel dalliance, "Gotta Serve Somebody."

  But as usual, Nelson invites you in to sit down for an hour of good times. He's warm and engaging, as always, and his albums arrive like phone calls from lifelong friends.

  Of his three originals, "Over You Again," stands out. And he uses his unmatched interpretive skills to spin off engaging covers of Dave Matthews' "Gravedigger" and Randy Newman's "Louisiana," which becomes a Hurricane Katrina remembrance in his hands.

  The obligatory duet with Chesney, "Worry B Gone," is charming and Nelson moves into amusingly absurdist territory with "Bob," an engaging ditty about a pirate written by Kenny Alphin of Big & Rich.

  CHECK THIS TRACK OUT: Tucked away behind "Gotta Serve Somebody" and 30 seconds of silence is a hidden track of Nelson playing "You Don't Think I'm Funny Anymore." It's another fall-down funny take on a relationship falling apart right there in front of us. Nelson whips through the chorus with just his guitar, then drops the punchline to laughter from a roomful of friends. If only the rest of the album were like this engaging throwaway moment.

  ...(more) - 01 28 2008 8:13AM

• Van Morrison to reissue albums

  NEW YORK (Billboard) - More than two-dozen of VanMorrison's albums are about to get the reissue treatment.

  Starting with 19

  71's "Tupelo Honey" through 2002's "Downthe Road," 29 Morrison releases will appear viaPolydor/Universal in the coming months, each containingpreviously unreleased bonus material.

  "Tupelo Honey," the 1974 live album "It's Too Late to StopNow," 1978's "Wavelength," 1985's "A Sense of Wonder," 1989's"Avalon Sunset" and 1999's "Back on Top" will kick off thecampaign on January 29. Three more, to-be-determined dates willherald the remaining titles. The bonus material includesalternate, live and re-arranged takes of songs created duringeach album's time period.

  Morrison recently released "Still on Top -- The GreatestHits" in November; that effort peaked at No. 48 on TheBillboard 200. His last studio effort was 2006's "Pay theDevil," released via Lost Highway.

  Reuters/Billboard

  ...(more) - 01 3 2008 10:39PM

• Music Review: Mary Gauthier

  Mary Gauthier, "Between Daylight and Dark" (Lost Highway): The title of Mary Gauthier's fifth album, "Between Daylight and Dark,"

  implies that the Louisiana-born songwriter will explore the tension between heading into the light and sinking into darkness. But this time out she focuses her concise, poetic lyrics on the midnight hours of desperate souls.

  The opening "Snakebit" sets the tone; the song's subject holds a suicide gun in her hand while acknowledging, "Everything worth holding slips through my fingers." Elsewhere, she portrays transient people fighting their impulses to run from love and trouble ("I Ain't Leavin'," "Before You Leave") as well as examining those who return to the same prison year after year to visit loved ones during the holidays ("Thanksgiving").

  Working for the first time with producer Joe Henry, who substitutes dusky atmosphere in place of the blue grooves of her past work, Gauthier keeps the arrangements more uniformly somber than on her previous albums. The flickers of grace and joy found on her previous album, "Mercy Now," as well as its moments of energy and fierceness, are missed on "Between Daylight and Dark."

  Nevertheless, Gauthier confirms that she's among the best singer-songwriters of her generation, especially when it comes to illustrating ramblers, derelicts and anyone who struggles with demons in the night.

  CHECK OUT THIS TRACK: On "Same Road," Gauthier candidly confronts a lover, saying she's been through the fire before but she's not planning on returning. Set to a slow, achingly beautiful melody, Gauthier sings, "I'll fight to keep you with me, but I won't let you take me back down."

  ...(more) - 09 19 2007 8:53AM