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Decemberists misdirect with mischievous aplomb

"What a Terrible World, What a Wonderful World"
by The Decemberists
"What a Terrible World, What a Wonderful World" by The Decemberists

B The Decemberists

What a Terrible World, What a Beautiful World

Capitol

Colin Meloy, the bard at the heart of the Decemberists, plants his silver tongue firmly in cheek at the start of the group's new album. By way of a deadpan disclaimer "The Singer Addresses His Audience" -- "We had to change some, you know, to belong to you," he sings, briefing the fervent faithful -- the album opens knowingly, making an end run around at least one line of critique.

Any notion of progression would best be taken in stride. Even "Anti-Summersong" -- a reference to "Summersong," a cherished bauble from the band's back catalog -- rings coyly. "So long," Meloy chirps. "Farewell/Don't everybody fall all over themselves." For a band of such bookish and fanciful repute, this is a dose of puckish self-awareness and strategic misdirection.

On the whole, What a Terrible World, What a Beautiful World strikes a note of pop concision and maturity. Lyrically, there are fewer thistles, minarets and palanquins -- and musically, less digressive excess -- that once made up the Decemberists' style.

"Make You Better" is about as lean an indie-rock single as the band has produced; it has a near equal, for catchiness, in "The Wrong Year." The retro sheen of "Philomena" lights a snapshot of adolescent sexual awakening that for Meloy, feels startlingly frank. Along similar lines is "Lake Song," in which he recalls a moment when he was "17 and terminally fey," but ablaze with yearning.

Hot tracks: "Make You Better," "The Wrong Year," "Philomena" and the refreshing "Better Not Wake the Baby."

-- NATE CHINEN,

The New York Times

B+ Marianne Faithfull

Give My Love to London

Easy Sound

In November 1964, a pristine-voiced Marianne Faithfull released "As Tears Go By," the Mick Jagger/Keith Richards song. After her chaotic relationship with Jagger ended, she spiraled in and out of drugs. But she emerged 35 years ago with the wondrous album Broken English , her once pure tones now rough and gravelly, but no less beautiful for their emotional honesty. Hers became a voice that was near-perfect for the songs of Kurt Weill, Tom Waits and Nick Cave.

This is her 20th album, and while it has a number of collaborators, Faithfull's voice still commands the listener's attention. She can be tender and sweet or rock with a vengeance. Her voice and her world may be ravaged and ripped asunder, but Faithfull rails against it all with passion.

Hot tracks: the title song, written by Steve Earle; her torchy take on Hoagy Carmichael's "I Get Along Without You Very Well" and the cacophonous "Mother Wolf."

-- ELLIS WIDNER

B+ The Mike Longo Trio

The Mike Longo Trio Celebrates Oscar Peterson Live

Consolidated Artists

Pianist Mike Longo is best known for his decades-long association with jazz legend Dizzy Gillespie as a sideman, music director, composer and arranger. On this album, he pays tribute to the great pianist Oscar Peterson, with whom he studied intensely for six months in 1961.

On this impressive set, Longo offers standards recorded by Peterson such as Cole Porter's "Love for Sale" and Fats Waller's "Honeysuckle Rose," but takes to heart his mentor's emphasis on "not playing like anyone but yourself." He doesn't try to imitate Peterson, but emulates his hard-driving swing, creative improvisations and technical command. Longo has a special chemistry with bassist Paul West and former Peterson drummer Ray Mosca.

This is fresh-sounding, straight-ahead jazz, played by a pianist undeservedly overlooked in a half-century-plus musical career.

Hot tracks: "Love for Sale," the blistering tempo of "Fascinatin' Rhythm," an uptempo take on "Always."

-- CHARLES J. GANS,

The Associated Press

B Jazmine Sullivan

Reality Show

RCA

At 27, Philadelphia-born Jazmine Sullivan has already spent a lifetime in the music business, writing (while still in her teens) songs for nu-soul artists such as Jennifer Hudson, and topping Billboard's hip-hop charts with 2008's "Need U Bad."

There have been rough roads, such as the one that led Sullivan to retire from music in 2011, only to return in 2014 with a personal tale of an abusive relationship. Reality Show is an apt title for Sullivan's return.

Her voice still has the bluesy ache of her youth, only now it carries experience and hurt, as on "Forever Don't Last" and the not-so-shiny "Silver Lining."

These tunes allow Sullivan to paint portraits of desperation in the face of failed love.

But she pulls Reality Show, thank goodness, away from that with the sensual synth-soul of "Veins," the muted sass of "Mascara," the throbbing rap-pop of "Dumb" (with Meek Mill) and the gospel-tinged uplift of "Masterpiece (Mona Lisa)."

With Reality Show, Sullivan has crafted a welcome and welcoming return.

Hot tracks: "Masterpiece (Mona Lisa)," "Dumb," "Veins."

-- A.D. AMORISI,

The Philadelphia Inquirer

Style on 01/27/2015

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