JD McPherson
Signs & Signifiers
Rounder
Street: 04.17
JD McPherson = Sam Cooke + Wynonie Harris + Big Joe Turner
Every once in a while, a record comes along and twists your brain in a knot, leaving you pondering if anything else will ever be this good. Igniting a fire with the rhythm and blues of the late ‘40s to the soul music of the early ‘60s, McPherson’s voice breathes red-hot flames into his well crafted songs. The record begins with “North Side Gal,” a jumping tune that captures that all-too-brief moment where R&B and rock n’ roll were pretty much the same thing. It’s all killer and no filler with this record, but one noticeable standout is the dark and emotional “A Gentle Awakening,” with a beautiful string arrangement and the lonely icy notes of piano: This song is heart-wrenching. These boys have meticulously constructed a record that consists entirely of vintage music, but never sounds tired or old. There’s something entrancing about this music and McPherson himself––its originality is firmly rooted in the amazing music that came before it, an honestly rare thing. –James Orme

John Wesley Coleman III
The Last Donkey Show
Goner Records
Street: 02.21
John Wesley Coleman = Jay Reatard + Violent Femmes
Judging by the drawings and barely legible handwritten track listing inside the album cover, John Wesley Coleman is undoubtedly insane. This air of weirdness permeates the latest record from this Texan garage-rock balladeer. The Last Donkey Show, a rock n’ roll cowboy carnival released on Memphis garage juggernaut Goner Records, still channels a low-fi garage attitude, but shows off Coleman’s musical dexterity as he strays from the raucous insanity of his previous work on solo projects and Austin group Golden Boys. Musically, the album is all over the place—frantic garage-punk songs with absurd lyrics about clowns giving away babies are mixed with vintage pop and sincere country love songs. Coleman makes it work, achieving a perfect balance of off-kilter imagery and pop sensibility that sounds both timeless and totally unique. The Last Donkey Show has an easily accessible sound and is still interesting after a dozen listens. It is a madman’s masterpiece, bound to see heavy rotation among fans of Coleman’s labelmates Ty Segall and Nobunny. –Cody Kirkland

The Kentucky Bridgeburners
Hail Jesus
Slinging Pig
Street: 12.10.11
The Kentucky Bridge Burners = Mojo Nixon + Dead Boys + Johnny Cash’s gospel recordings
When it comes to getting credit for the creation of rock n’ roll, the genre that is most often left out in the cold is gospel. Yet Elvis, Little Richard and so many others had gospel in their soul and repertoire. So, it’s no surprise that Blaine Cartwright (Nashville Pussy) has always dreamed of a record that mixes gospel, punk, and rock n’ roll, so when his side band Nine Pound Hammer dissolved, he was able to pick up the remaining members and bring his dream to life and it is glorious! Hail Jesus is nothing short of an inspiration. Like Blaine himself exclaims, “I need to testify with rock n’ roll.” My favorite song has to be “They Laid Jesus Christ in His Grave,” which examines Jesus not so much as a savior, but more as a folk hero. The tunes are all blues guitar-based, which is played pretty masterfully. The religious message is pretty loose and with the song “We All Know What Jesus Did,” they even look at Christians who think that going to church will save them, and not actually doing good in the world. After a few tracks, it’s apparent that the record is a brilliant concept carried out splendidly, almost as if they had help from a higher power. –James Orme

Lee Fields
Faithful Man
Truth & Soul
Street: 03.13
Lee Fields = Otis Redding + Charles Bradley
During the past 40 years, North Carolina native Lee Fields has become a funk and soul phenomenon. Thanks to the latest revival of soul, the seasoned master saw a second career comeback in 2009 with the release of My World. On his follow-up, Faithful Man, Fields continues to pack a wallop of emotion in his voice, focusing again on deep soul ballads, leaving the funk on the sidelines. One thing immediately noticeable is the strong backing female vocalist––whoever she is, she’s a perfect match. There’s a nice balance of originals and covers, including a smooth version of “Moonlight Mile.” Lee shows off his swagger on the lead single, “You’re the Kind of Girl,” while his voice hits like thunder on “Wish You Were Here,” belting out, “It’s just not fair, wish you were here/Spend all my days, wasting way.” Fields promises us he’s a Faithful Man, but at the end of this 40-minute time capsule, our heart is broken as he cries out “I played with your heart far too long” on the emotional “Walk On Through That Door.” Prepare yourselves, people, you won’t just hear this album, you’ll feel it. –Courtney Blair