Sam Roberts
Love at the End of the World
Rounder/Zoe

Touted as the latest “Springsteen of Canada,” the comparison is valid for Sam Roberts, though calling him the John Hiatt or Steve Earle of the Great White North could also apply, but the Bruce thing is more appropriate because his rocker-at-heart sells records but also mines his troubadour side.  The third album from this Juno (Canada’s Grammys, if you didn’t know)-winner is Love at the End of the World. He recorded the new album with his band in their hometown of Montreal.  It’s roots-rock, alt-rock with touches of blues and, if you will, “Canadian-cana” as opposed to Americana, though Canada is part of the Americas too, of course. Stand-outs include the driving “Detroit `67″ and appealing single “Them Kids.” Roberts delivers grab-you riffs, melodic hooks that aren’t obvious, and probing lyrics that hit on the environment, dogma (”Stripmall Religion”) and, yes, relationships too. The sound is bar-band organic at times, and that’s a good thing. Best line from this only 33-years-old musician: “The kids don’t know how to dance the rock ‘n’ roll.” Heck, this old coot’s been sayin’ that since the early ’90s at least…

Sarah Borges and the Broken Singles
The Stars Are Out
Sugar Hill

Singer-songwriter-guitarist Sarah Borges is the kind of country we could use on the radio — less gussied-up and over-cooked, with touches of ’50s rock and even some bluesy swagger.  This album’s a fine follow-up to Borges and company’s Diamonds in the Dark, thanks to numbers such as the lively “Ride With Me,” more reflective “Better at the End of the Day,” and quite lovely “Symphony.” She’s pouty-challenging in “Do It For Free,” while there’s even a touch of Motown-gone-country for “Yesterday’s Love.” Her crack band backs her every move — tough and tender, and also — cool — swings when they wanna.

Keep Your Soul
A Tribute to Doug Sahm
Vanguard

I was lucky to meet the late Doug Sahm a few times in the ’90s, during his period with the Texas Tornados and great solo albums on Antone’s Records, such as Juke Box Music.  He was always warm, friendly, a touch wacky and the kind of guy you wanted to hang out with in a club, bar or saloon.  From old-style rock ‘n’ roll to Tex-Mex, blues, country and more — he covered it all.  This album is a loving tribute and includes his signature song from his Sir Douglas Quintet beginnings in the ’60s — “She’s About a Mover,” delivered by guitarist Ry Cooder and percussionist son Joachim, is an appropriate opener. There’s Los Lobos turning in a soulful “It Didn’t Even Bring Me Down,” the ever-compelling Alejandro Escovedo tearing it up for “Too Little Too Late,” as does Dave Alvin on “She’s a Dynamite Woman.”  Jimmie Vaghan is pure Texas blues for “Why, Why, Why,” and we also get Texas conjunto legend Flaco Jiminez, The Gourds and the surviving Texas Tornados, with Joe “King” Carrasco up front.  The closer is a happy weeper all the way, as Sahm’s son Shawn leads the Sir Douglas Quintet (including Doug’s old pal Augie Meyers in pumping “Mendicino.” Nice — really nice.

Pearl Jam
Ten
Deluxe Edition
Sony Legacy
CDs & DVD

Ah, the album that really launched the grunge era — not Nirvana’s Nevermind, so there. Released in 1991, Ten sold 12 million copies; so much for a local Seattle scene and underground movement.  The album’s reissue is the first of several planned Pearl Jam re-releases, culminating in the band’s 20th anniversary in 2011. Available in two versions, this edition is the real fan’s delight, featuring the original album, plus a remixed edition by the band’s long-time producer, Brendan O’Brien (Bruce Springsteen, AC/DC, Audioslave). Which is better?  The original has the slight edge because that’s the way we all remember tracks, such as “Why Go,” “Alive,” and “Jeremy.”  But the remix set includes bonus tracks a’plenty, such as “Brother,” “Just a Girl,” “State of Love and Trust,” “Breath and a Scream,” “2,000-Mile Blues” and “Evil Little Goat.” The DVD from the group’s previously unreleased 1992 MTV Unplugged performance is mighty historic in context now as well. Most of all, it’s remarkable how well this stellar debut holds up, some 18 years later.

Simon and Garfunkel
Live 1969
Sony Legacy

Contrast this set to Old Friends: Live on Stage, released decades later. Here, Simon and Garfunkel were young — on the verge of releasing their biggest album of all, Bridge Over Troubled Water. This live archival recording was first released as a Starbucks-only treat a few years ago, and now comes back again to all outlets.  Playing as just a duo — Simon on vocals and acoustic guitar, and Garfunkel on vocals — they captivate with a set that includes some of their biggest hits up to that point: “Homeward Bound,” “At the Zoo,” “Feelin’ Groovy,” “The Sound of Silence,” I Am a Rock,” and “Mrs. Robinson.” Renditions of “Bridge” and “The Boxer” already sound like the classics they’d become — very intimate and quite comforting.

Radiohead
Pablo Honey
The Bends
OK Computer
(Collector’s Editions – 2 CDs)
Capitol

Covered in detail several months back on Buzzine, these are reissues of Radiohead’s first three albums, as the band goes from traditional (and often great) Brit-rock songs (”High and Dry,” “Creep”) to more experimental work. These two-disc sets include live performances, demos and such. Essential? That’s debatable. But for the Radiohead faithful? Did you have to ask?

Return to Forever
Returns
Eagle Records/Fontana

The masters of jazz-rock fusion in the ’80s, alongside Weather Report and Mahavishnu Orchestra, Return to Forever was formed by a former Miles Davis sideman, Chick Corea. While there were several line-ups, the key group of Corea on keyboards, Stanley Clarke on bass, Al Di Meola on guitar and Lenny White on drums reunite here in this performance from 2008, during their first tour together in a quarter-century. Numbers such as “Senor Mouse,” and especially the tripppy “Hymn of the Seventh Galaxy,” get a nice work-out and, in some ways, the playing comes off less noodling and calculated than it did back in the day.  Extended versions of “Song to the Pharaoh Kings” and “Romantic Warrior” are also highlights, as the rounds of solos aren’t merely showy spotlights but find the musicians playing off each other. It’s also a reminder that jazz-rock is a heck more exciting than all that “Quiet Storm” elevator jazz crapola you hear on stations like L.A.’s “The Wave.”