DIRE STRAITS, Live 1978-1992 (Rhino Entertainment Company). The more things change, the more they stay the same. And, in this case, become more popular. Such is the world of Dire Straits, as this collection of live performances proves. Mark Knopfler’s unique approach to guitar, which was already proficient, gets even more so with more gigs under his belt, and the rest of the band falls in line behind him. All the classics are here, with some of them finding slightly new arrangements as time goes on. Regardless, this is a great chance to experience a band that inspired a million guitarists in a live setting. If you were too young to experience Dire Straits live in the eighties, here’s your chance to catch up.

The Cyberiam, Unobtanium (Independent). Chicago prog-metal marvels The Cyberiam have created a solid album full fascinating twists and turns, never giving the listener a chance to settle into one sound. But the guessing and anticipation becomes part of the fun! Laid back vocals and subtle piano tones are suddenly overtaken by driving bass and wailing guitars before things abruptly head back in the other direction. But this is far from indecisiveness. It is musical balance well-earned and achieved. Unobtanium is a musical adventure best taken repeatedly.

JOHNNY CASH, Songwriter (Universal Music Entertainment). Johnny Cash’s career can be summed up in a single word: transcendence. He was too big for any one genre, despite the industry’s desire to make him fit in one particular realm. Uh-uh … that ain’t happening. “Hello Out There,” the opening track of Songwriter, wastes no time driving that point home. Country? No. Rock? Nah. It’s simply … Cash. So, You’ll pardon the artist if he roams from place to place with skill and gravitas, making that realm his own during his stay. Strong and clear of voice, accompanied by just the right arrangements, it’s easy for Cash to make his meaning known on every song. He chooses solidity over flash, as usual, which allows the songs to permeate the soul of the open-minded listener. Johnny Cash is both songwriter and storyteller. This kind of art should be part of a class.

GOGO PENGUIN, From the North — GoGo Penguin Live in Manchester (XXIM Records)

There’s something to be said for consistency, which is precisely what one gets from GoGo Penguin. Tranquil jazz grooves augmented with modern day aggression, spacious piano melodies, chest-thumping — albeit subtle — drum work, and some of the finest upright bass tones you’ll hear on record … it’s all here, and it’s all what GoGo Penguin does best. The music is sophisticated, but it doesn’t need to be overthought in order to enjoy it. This band’s gift is its ability to reach into the soul and place itself precisely where it wants and needs to be. The listener need do nothing more than press “play.” Everything else will take care of itself.

BENT KNEE, Twenty Pills Without Water (Take This To Heart Records). Since their last release, Bent Knee has gone from a sextet to a quartet. Fortunately, their music hasn’t suffered for it. If anything, the band’s sound has grown leaner and tighter with more focus. The mix is heavier on the bottom end, which gives it more oomph. Courtney Swain’s voice soars as always, and Gavin Wallace-Ailsworth’s drums push the grooves a bit harder than in the past where appropriate. The remaining instruments strike a steady, but delicate balance within the mix. In many ways, Twenty Pills … sounds less like an album and more like a purge, even on the mellow numbers. Regardless, this is some of Bent Knee’s best work in many ways.

COURTNEY CUTCHINS, From Grunge to Grace (Laseryn Music). Growing up in Seattle during the nineties all but guaranteed exposure to the grunge movement. Jazz vocalist Courtney Cutchins is no exception, to the point where Soundgarden and Nirvana play a role on this album. Cutchins’s voice is quite lovely on the jazz numbers, but no one is going to forget Chris Cornell when she attempts “The Day I Tried to Live.” The other standouts are the efforts of guitarist Nir Felder and pianist David Cook, who positively … well, cook when given the opportunity. Inspiration can lead to good things, and that’s what happened here. Take it for what it is, which is plenty good. Just don’t expect a jazz-grunge revolution.

MIKE KENEALLY & BRYAN BELLER, Freaks in a Mellow Mood, vol. 1. (Exowax recordings). It’s been said the quality of a song can be gauged by the ability to play it solely on acoustic guitar (or piano). Herein lies a solid case in point. Guitarist/vocalist Mike Keneally and bassist Bryan Beller “unplug” and let the music speak for itself in this collection. Keneally ends “The Car Song” by saying it’s one of those “songs that shouldn’t be played on acoustic guitar.” Nahh … the acoustic gear works just fine. Keneally and Beller are both top-tier players (check their respective CVs), so the ability to bring the chops was never in question. The material is a nice look back into Keneally’s classic catalog. The songs are given remarkable new life from a slightly different angle. It’s nice to be able to hear rockers stripped back to their roots with the acoustic guitar and guitar occupying the front, center, and everything else in the spectrum while Keneally’s voice soars over the top. This is songcraft at its finest.

DAVID GILMOUR, Luck and Strange (Sony Music Entertainment). These days, a new David Gilmour release is like a pair of old shoes — you slide into it with ease and find instant comfort. The trick is to find something new to enjoy within that realm of comfort. The shadow of Pink Floyd is not something David Gilmour can just slide out of without anyone noticing. Yet he manages to do so to varying degrees of success on Luck and Strange. The album’s mid-tempo rhythms are fairly consistent, but Gilmour makes the songs stand out individually mostly via new or seldom used guitar tones. Gilmour also makes the most of tasteful arrangements that would never sound right in the context of his “day band.” In fact, it’s not until “Scattered,” which is toward the end of the record, that Pink Floyd rises to dominate the proceedings. The song is great, but we should be grateful that its presence is temporary. After all, this is not a Pink Floyd album. David Gilmour has succeeded in showing us another side of his musical self.

TONY LEVIN, Bringing it Down to the Bass (Flat Iron Records ). He’s such a legend in the progressive rock community, people tend to forget just how versatile a bassist Tony Levin really is. In some ways, Bringing it Down to the Bass has the feel of a career retrospective. Elements of the work he did on projects like Pieces of the Sun or when he plays with Stick Men, Liquid Tension Experiment, and The Levin Brothers are clearly present. Levin moves deftly between bass, Chapman Stick, and cello to continue to build on those foundations. He also takes his singing to a new level in fine style. Bringing aboard guests like Dominic Miller, Gary Husband, Manu Katché, and his brother Pete just makes things better. This is more than an album … it’s one man’s journey through all that has made him what he is. And then some.

FOXING, Foxing (independent). Over the years, these indie-rockers have made it clear that they are not afraid to bring the heavy. Among the earnest vocals and atmospheric soundscapes lie the overwhelming need to step on the “distortion” pedals. Lucky for us. That’s not to say the music on this album is one-dimensional. Far from it. The “heavy” simply adds another musical layer to the St. Louis-based band’s musical aesthetic, which some might recall as a “cleaner” sound during the band’s early days. The songwriting on Foxing is top-tier, the arrangements are taut, and sitting still becomes all but impossible within 90 seconds of the first tune. Just be sure to pay attention during all that movement. There’s genius to be taken in and appreciated.

BILLY BARNETT, Hey! It’s Me (The Music House Studios). Everything you need to know about St. Louis-based singer/songwriter/guitarist Billy Barnett can be found on the cover of his new album. This is also a record best experienced on LP. Why? Because, like the cover, this release clearly shows two sides of the artist. Side One features the seasoned musician playing like what he is — a true professional who’s been there and done that in the world of music. His singing and playing are low-key and reserved in a constant state of smolder. He doesn’t need to show off his chops. His subtle playing speaks for itself. Side Two allows Barnett to revisit his youth. The music is raw and more aggressive. Barnett plays like the kid who couldn’t wait to establish himself before his peers and, eventually, the rest of the music community. It works. Barnett has found his groove. And yes, both sides are definitively HIM.

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