New Music Monday: Bruce Springsteen, Rosanne Cash, Archie Shepp, Lucinda Williams

Bruce Springsteen’s new album isn’t exactly new, though the trumped-up “controversy” over his including remakes, covers and (gulp!) Tom Morello certainly is. We run right at all of it.

Elsewhere, Rosanne Cash has completed an album that combines her penchant for deeply emotional introspection with history-packed narratives that move far afield from the personal moments found on earlier triumphs like 2006′s Black Cadillac and 1990′s Interiors.

Blackie and the Rodeo Kings and Roosevelt Dime both find new ways to invigorate the roots music aesthetic, while Chris Wilson of the Flamin’ Groovies issues one of the most consistently enjoyable efforts ever associated with the group. We also have some new James Vincent McMorrow for our chill-out moments.

Archie Shepp updates a seminal 1972 protest record with an all-star international cast, while we also take another pass at Lucinda Williams’ 1988 self-titled album.

There’s an expanded version of the loose and muscular Buddy Guy/Junior Wells album Play the Blues, and some old Midnight Oil to explore, too …

ALAN WHITE [of Yes] – RAMSHACKLED (POP/ROCK): A reissue of the Yes drummer’s long out-of-print 1976 solo debut, which coincided with similar recordings from each of the band’s members. Perhaps most notable for long-time fans of Yes for “Spring: Song Of Innocence,” which also includes both Jon Anderson and Steve Howe, the album actually focuses more on a not-unconvincing blue-eyed soul and some typically more interesting fusion. Colin Gibson and Bud Beadle appear on Ramshackled, as well as Howe’s concurrent solo effort, Beginnings. (More here.) — Nick DeRiso

ARCHIE SHEPP – I HEAR THE SOUND [with the Attica Blues Orchestra] (JAZZ): You probably know the name from his work with John Coltrane on Ascension, but Shepp’s worthy solo career has long been worthy exploring — if only because the some-time playwright has such a flair for the dramatic. This new reworking of a turbulent 1972 gem is no different, as the saxophonist and a group of international collaborators explore the emotional complexity of the Attica State Prison uprising in ’71. (More here.) — Nick DeRiso

BLACKIE AND THE RODEO KINGS – SOUTH (POP/ROCK): Time on the road had led Black and the Rodeo Kings to a new sound, inside dressing rooms, in the backs of rumbling busses, in the merchandise tent adjacent to the darkened stage. South, recorded appropriately enough during the too-often-overlooked Canadian band’s sojourn to Nashville, captures this more loose-limbed, acoustic-based approach. It captures a newfound intimacy, too. (More here.) — Nick DeRiso

BlastersSlash Recordings (Pop/Rock)

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BRUCE SPRINGSTEEN – HIGH HOPES (POP/ROCK): So what to make of an record that’s comprised of covers, updates of known material, new songs, and older tracks that didn’t fit on previous records? Some have a name for it: a contractual obligation album. Me? I just think it’s a big ball of fun. There’s plenty of fodder here for those tired of Mr. Morello, but this is what Bruce wants — and if Bruce wants walls of guitar brutality? I’ll take it. (More here.) — Mark Saleski

BUDDY GUY AND JUNIOR WELLS – PLAY THE BLUES: DELUXE EDITION (BLUES): Started as another in rock star Eric Clapton’s celebrated CPR efforts for the careers of the blues legends he loved most, this one was almost lost to the Atlantic vaults. In the end, four different producers worked this thing at two different studios. Sessions were held in 1970, then again in 1972. Four different lineups perform, including one with both harpist Junior Wells and Clapton absent. Buddy Guy, the only constant, schools them all. (More here.) — Nick DeRiso

Crazy HorseScratchy: Complete Reprise Recordings (Pop/Rock)

CHRIS WILSON – IT’S FLAMIN’ GROOVY (POP/ROCK): Most Flamin’ Groovies’ albums have some highlights surrounded by lesser lights, but Wilson’s new offering fires on all twelve of its rock ‘n’ roll cylinders. It’s like Wilson somehow took every great moment the Groovies ever had and distilled them onto one album. (More here.) — JC Mosquito

Dave Edmunds… Again (Pop/Rock)
Dean MartinSings Italian Favorites (Vocals)
Deep PurpleLive In Stuttgart 1993; NEC 1993: Live In Birmingham (Pop/Rock)
Doug SahmGenuine Texas Groover: Complete Atlantic Recordings (Pop/Rock)
Elvis PresleyThe Elvis Presley Soundtrack Collection (Pop/Rock)

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Grant GreenFirst Recordings (Jazz)
Grant HartGood News For Modern Man (Pop/Rock)
Harmonica HindsI Would Give You Anything If I Could (Blues)
Hubert LawsCarnegie Hall; Crying Song; How to Beat the High Cost of Living [with Earl Klugh]; Say It With Silence (Jazz)
Iggy PopNew Values; Party; Soldier (Pop/Rock)

JAMES VINCENT McMORROW – POST TROPICAL (POP/ROCK): McMorrow didn’t exactly rush back with another long player after dropping his acclaimed debut in 2010. But he didn’t fool with the recipe that made Early in the Morning work, either. McMorrow again brilliantly explores escapism, loneliness and confidence through Post Tropical — even if this new project lacks anything as galvanizing as his cover of Steve Winwood’s “Higher Love,” from a subsequent EP. (More here.) — Mike Dostert

John ColtraneComplete Mainstream 1958 Sessions (Jazz)
John SebastianReprise Recordings (Pop/Rock)
Jimmy Heath Big BandTogetherness: Live at the Blue Note (Jazz)
Lone JusticeThis Is Lone Justice: The Vaught Tapes 1983 (Pop/Rock)
Lou GrammLong Hard Look (Pop/Rock)

LUCINDA WILLIAMS – LUCINDA WILLIAMS (POP/ROCK): Williams plays country, she plays folk, rock and yes, she plays the blues. But the craftsmanship she puts into these simple and well-practiced forms is uncanny: she crafts uncluttered, straightforward verses about un-straightforward relationships. You know, the kind of relationships that we’re more likely have here in the real world. (More here.) — S. Victor Aaron

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MIDNIGHT OIL – DIESEL AND DUST; Blue Sky Mining (POP/ROCK): There’s a stoic resiliency associated with aboriginal-protest songs like “Beds are Burning” and “The Dead Heart” — amazing, when you consider this group’s rough proto-punk beginnings. Who in this country can listen to these songs and not connect the dots with our own shameful Native American narrative? After all, it’s clear how intractable this type of issue remains, even 25 years later. We still have a very long way to go. (More here.) — Nick DeRiso

REO SpeedwagonGood Trouble; Wheels Are Turnin (Pop/Rock)
Rob Derke and the NYJAZZ QuartetBlue Divide (Jazz)

ROOSEVELT DIME – FULL HEAD OF STEAM (COUNTRY/ROCK): You’d think all of this knee-slapping banjo jazz, rip-snorting jug music and grease-popping soul would be emanating from somewhere in the kudzu-covered reaches of the Deep South — not Brooklyn. But that’s precisely where the four-piece Americana roots-rocking Roosevelt Dime came up with these 12 genre-busting tracks. (More here.) — Nick DeRiso

ROSANNE CASH – THE RIVER AND THE THREAD (COUNTRY/ROCK): Rosanne Cash’s completely realized, stunningly detailed, profoundly touching new album isn’t just a journey through the American South. This is a journey through its soul, its heartbreak, its redemption — and her’s, too. The River and the Thread — with ssists from husband John Leventhal, Derek Trucks, Tony Joe White, Rodney Crowell, John Prine and Paul White of the Civil Wars — is as writerly as earlier successes like Interiors were personal, with universal themes that give it a sense of almost otherworldly timelessness. (More here.) — Nick DeRiso

Sharon Jones and the Dap-KingsGive The People What They Want (R&B)
Stan Kenton Alumni BandRoad Scholars Live (Jazz)
SupersuckersGet The Hell (Pop/Rock)
Taj MahalSing a Happy Song: The Warner Bros. Recordings (Blues)
Tangerine DreamThief: Original Soundtrack (Pop/Rock)
.38 Special.38 Special; Special Delivery (Pop/Rock)
Tinsley EllisMidnight Blue (Blues)

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