The artist: Ludacris

The album: Battle of the Sexes (DTP Recordings)

The spin: Ludacris new album Battle of the Sexes was supposed to be a duet album between him and Shawnna, a female rapper signed to his DTP label. So when Shawna left the label last year in a contract dispute, Ludacris expanded the idea to collaborating with female rappers in general, with the idea to showcase a feminine perspective severely lacking in modern rap.

But while collaborations like “Hey Ho” talk about sexual double standards and “BOTS Radio” give relationship advice, the vast majority of this supposedly forward-thinking concept album is actually a return to Ludacris’ roots. Hip-hop’s premier jester tried to inject gravitas into his last few albums, dabbling in social consciousness and self-consciously trying to thrust himself into the conversation of “great” rappers.
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The artist: Yeasayer

The album: Odd Blood (Secretly Canadian)

The spin: Psychedelic pop band Yeasayer came out of nowhere in 2007 with “All Hour Cymbals,” a dystopic affair recalling the Talking Heads’ “Remain in Light” and other Brian Eno-infused work. Similar to Vampire Weekend, the debut was so strong that it wasn’t unreasonable to think the band would just fade away after exhausting their best material.Songs such as “2080” and “Sunrise” were both catchy and forward-thinking; to duplicate these would be a challenge.

It seems the band felt something similar to this as well, as the first thing that stands out about “Odd Blood” is its change in direction. The dark, haunting core that defined “Cymbals” is replaced with a distinctively brighter vision. “Ambling Alp,” while staying faithful to the band’s tendency toward layered synth effects and rhythmic experimentation, is notably different with its feel good chorus, “stick up for yourself son, never mind what anybody else does.” Similarly, the companion tracks “O.N.E.” and “ONE” seize upon a dance pop sound that locates them closer to contemporaries like Cut Copy than the Talking Heads. While “Odd Blood” might not win as many new fans as the debut, it represents a big leap forward in the band’s development.

The grade: A-

– Peter Mongillo

The artist: Sade

The album: Soldier of Love (Sony)

The spin: Like a long-ago lover not quite forgotten, Sade has returned to steal our hearts with more beautiful, uncategorizable music.

It’s been 10 years since her last album, a fatal hiatus for almost any other artist, but just another hibernation for a woman whose disdain for fame only deepens our fascination. Sade’s voice sounds unchanged, a unique emotional instrument that conjures visions of rain-streaked windows and windblown streets. Her topics — love, loss, sorrow, strength — remain the same. But her music has still moved forward.
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The artist: Midlake

The album: The Courage of Others (Bella Union)

The spin: It’s helpful to consider folk rock band Midlake’s third album, “The Courage of Others,” through the prism of its immediate predecessor, 2006’s “The Trials of Van Occupanther.” That album — a cult favorite that got end-of-the-decade shoutouts from Pitchfork, Rolling Stone and the Onion A.V. Club, among others — evoked endless comparison to the naturalistic ‘70s FM radio rock of America, Neil Young and, above all, Fleetwood Mac.

Though well reviewed at the time of its release, in the ensuing years “The Trials of Van Occupanther” continued to build its audience, as the slow-burning pleasures of its poetic lyricism and front man Tim Smith’s wispy vocals revealed themselves. Put simply, Midlake is a group whose strengths take time to unfold — which makes an initial judgment of “The Courage of Others” misleading, particularly since it’s an even more complex and layered album.

Which is not to say “The Courage of Others” is an inaccessible or vastly different work — but it does march away from the classic rock inspiration so prevalent on “Van Occupanther” in favor of a direction more heavily influenced by ‘60s British folk rock. If Fleetwood Mac was the go-to comparison on the last album, this time around it’s all Jethro Tull — or the Fairport Convention — with near omnipresent flutes and warm waves of harmonies. It’s a sound that’s enchanting, magical, often dour and — at least before it has time to grow on you — a bit repetitive.
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The artist: Jeff Bridges and others

The album: Crazy Heart Original Soundtrack (New West)

The spin: If this was just a Jeff Bridges record, you’d think he was an OK singer, but don’t go all Billy Bob Thornton on us. Keep your hobbies to yourself.

As a Bad Blake album, however, this is a cool collection of songs from a 40-year career that would be called fictitious if Bridges didn’t seem to become the washed-up, boozed-up drifting cowboy singer. Imagine Kris Kristofferson if he’d never made it or Billy Joe Shaver if he did and you have an idea of Bridges’ Blake — a South Texas poet/songster who can say a lot with a little. “Funny how fallin’ feels like flyin,’ … for a little while” he sings over a two-step beat on one of the film’s sad and witty tunes.
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The artist: Spoon

The album: Transference (Merge)

The spin: Transference might not be Spoon’s best album — and in Austin, where “What’s your favorite Spoon album?” is one of the first questions we ask potential romantic partners, it’s natural to try and place the record in the band’s hierarchy. But it speaks to their almost insolent consistency that it’s even in the conversation. Seventh full-length Transference is a winding, shifting soundscape, accessible to the bushels of fans the band picked up after Ga Ga Ga Ga Ga yet with just enough jagged edges to stay fresh.
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The artist: Katharine McPhee

The album: Unbroken (Verve)

The spin: If one gleans anything from “Unbroken,” Katharine McPhee’s sophomore album, it would be this: Girl is sad.

We can only speculate why — channeling the angst from her struggles with eating disorders? Being dropped by previous label RCA Records? Things with husband Nick Cokas not working out well? Recently watched “The Notebook”? The lyrics are a bit too obtuse to say for sure, but “Unbroken,” from the wistful lament of “Had It All” to the sweetly melancholic “Surrender,” chooses heartbreak as its central theme. McPhee and a cadre of co-writers return time and again to images of loss and regret, giving “Unbroken” an unexpectedly tragic tinge. When she closes the album out with a cover of Melanie’s novelty hit “Brand New Key,” the ray of sunshine is practically a relief.
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The artist: Vampire Weekend

The album: Contra (XL)

The spin: The bolt-from-the-blue brilliance of Vampire Weekend’s first album rested largely on how successfully it fused everything stereotypical upper-class white people like — with four dapper Ivy League-educated gentlemen crooning about images of Cape Cod summers and infatuations with Louis Vuitton-adorned girls — with the habit-forming beats of African popular music. That mixture gave the band the catchiest and most resonant multicultural white guy pop this side of Paul Simon’s Graceland.

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The cover of the debut CD by Steven Vincent (myspace.com/stevenvincent) provides a clue that the West Palm Beach-based singer/songwriter doesn’t take himself as seriously as most do. It’s a self-portrait of his feet.

The EP opens innocently enough with tongue-in-cheek tales of cars (Head Turner) and old girlfriends (We Had Then) before the oddities start. Past the Sun is practically a doo-wop update of Elton John’s Rocket Man, and Jump Around parodies the stereotypical island-themed gigs favored by many area solo performers. Vincent’s strong lyrics, vocals, multiple instruments and humor form a bond that overcome even his use of programmed drums.

See Vincent from 7 to 10 p.m. on Wednesdays at the Old Key Lime House, 300 E. Ocean Ave., Lantana (561-582-1889), and from noon to 4 p.m. on Fridays at the Tiki Waterfront Sea Grill, 200 E. 13th St., Riviera Beach (561-845-5532).

Lake Worth-based roots-rock trio Viva Le Vox (myspace.com/vivalevox) has built its growing reputation on its live shows since forming in summer 2008. It’s debut CD Desperation Alley, for better or worse, shows why.

Vocalist/guitarist Tony Bones, bassist Scarecrow Jenkins and drummer Antoine Dukes approximate Tom Waits fronting a rockabilly trio on the opening Basking in the Twilight. But the shape-shifting piece creates expectations that the meandering title track and others don’t quite meet. Ballad of a Broken Young Man, raucous live, lacks the same fire here. It’s a recurring theme through the closing Makeshift Life. A live version of this CD would’ve offered up less sameness and done the band more justice.

See Viva Le Vox at 8 p.m. on Monday during the Everglades Earth First Benefit at Propaganda, 6 S. J St., Lake Worth (561-547-7273).

’ROUND TOWN

The area location of B.B. King’s is finally open, and the huge upstairs nightclub takes up half of a block in CityPlace. The primary nightly house band is led by longtime South Florida guitarist and vocalist Gary King, and you can also see touring acts like Biscuit Miller & the Mix (Wednesday) and James Brown tribute act Tony Powers & the Godfather of Soul Band (Thursday), each at 7:30 p.m. at B.B. King’s, 550 S. Rosemary Ave., West Palm Beach (561-420-8600). … Johnnie Brown’s also opened last month at the old Elwood’s site in Delray Beach, and it looks like a South Beach version of its predecessor. But there’s still rotating bands at 9 p.m. on Fridays and Saturdays; islandic rock trio The 3 Shots at 5 p.m. every Sunday; the R&B Band at 8 p.m. every Monday; oldies vocalist Joey Dale at 8 p.m. every Tuesday; classic rock trio The Flyers at 8 p.m. every Wednesday; and Elvis impersonator Scott Ringersen at 7:30 p.m. every Thursday. All at Johnnie Brown’s, 301 E. Atlantic Ave., Delray Beach (561-243-9911). … and thanks to West Palm Beach punk band Die Stinkin’ (myspace.com/diestinkin) for the humorous Christmas parody CD Humbug.

The artist: Timbaland

The album: Shock Value II (Blackground)

The spin: Before the “Shock Value” series, Timbaland never had a signature CD as a solo artist, unlike fellow superstar producers Dr. Dre and Kanye West. Producers can showcase their talent in that setting, free to unleash their creative id without compromise and look for inspiration in unlikely places. “Shock Value II” is the CD Timbaland has been building his entire career toward, the work of a great musician at the top of his game.

After more than a decade of consistent success, he doesn’t need to justify his musical decisions. “Shock Value II” reflects that – featuring everyone from Daughtry and Chad Kroeger to Miley Cyrus, the Fray, Drake and Justin Timberlake. Timbaland tweaks the music for each artist but keeps a consistent sound – a futuristic mash-up of R&B, rock, pop and rap destined to be copied endlessly.
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