Brendan Benson, Lapalco, Star Time.

Benson's follow-up to the brilliant 'One Mississippi' is more subdued than its predecessor. His debut featured jittery songs with deep emotional impact that explored Benson's slightly warped mind. Benson has mellowed a bit and perhaps come to terms with his "issues." This results in pleasant, easy-going tracks like "Metarie" and "Life in the D." At times, Benson's quirkiness is replaced by a less satisfying goofiness ('You're Quiet' and 'Good To Me.') His unique hooks still shine through, especially on tracks like 'Tiny Spark' and 'Folk Singer.' The presence of pop visionary Jason Falkner as a producer and co-writer on several tracks adds additional substance. Benson is one of a very few artists lumped into the "power pop" genre that has a truly original style and doesn't try too hard to mimic the Beach Boys or the Beatles like his peers.

Elvis Costello, When I Was Cruel, Island.

While it's not the greatest record Costello ever produced, a solid outing by this icon can easily overshadow the vast majority of records released in any given year. Elvis really shines here when he is focused on melodic rock ('45' and 'Tear Off Your Own Head.') These songs recall the finest tracks on his best 90s record 'Brutal Youth.' That record also featured Costello's complicated, jazz-tinged melodies, which reappear here in good effect on "Spooky Girlfriend," (which reminds me of "Sulky Girl,") and "Soul For Hire." The album also features some strange experiments with electronica and atmospheric noise that sometimes work ('Dust,') but often fall flat ("When I Was Cruel No. 2.) Overall, this is a solid and listenable record with a few missteps.

George Harrison, Brainwashed, Capitol.

Harrison's return to form in the late 1980s with 'Cloud Nine' and the Traveling Wilburys left fans yearning for more. While we never got anything from him in the 90s, save for a modest live album, George must have been stockpiling good songs. 'Brainwashed' is as satisfying as 'Cloud Nine' and perhaps his best album since 'All Things Must Pass.' I know that seems like a grand statement, but this is an exceptionally solid record. George sounds confident and extremely relaxed on 'Brainwashed,' perhaps accepting his mortality and going for one final grasp at greatness. His signature melodic style and impeccable slide guitar playing are set to tasteful arrangements courtesy of his son Dhani and Jeff Lynne. "Any Road" and "Stuck Inside A Cloud" are classic Harrison, perhaps as good as anything he ever produced during his solo career. "P2 Vatican Blues" and "Between The Devil and the Deep Blue Sea" showcase his humor and playfulness. "Run So Far" and "Looking For My Life" are pleasant, poppy tunes that balance the seriousness of songs like the title track and "Pisces Fish." It's regrettable that George didn't record more albums before his death, but he certainly left us with a good one.

Phantom Planet, The Guest, Epic.

The Guest is a pleasant "indie pop" record that features some great melodies. Alex Greenwald often tries too hard to impersonate Radiohead lead singer Thom Yorke, which really becomes annoying. However, this album fits well into the revival/retro rock genre dominated by bands like the Strokes. Fortunately, Greenwald doesn't use distorted vocal effects on every track like that band. The album's arrangements recall the same genre of New York new wave bands that the Strokes are often compared to, but Phantom Planet is a little tighter, more polished and more tuneful.

Soft Boys, Nextdoorland, Matador.

As a reunion album, this record works surprisingly well. The band sounds tight, going into the studio after a tour to celebrate the re-release of their classic 'Underwater Moonlight.' Hitchcock's voice is still in fine form and his guitar dueling with Kimberly Rew is superb. The only downfall of this record is that there aren't any immediately classic tunes. They all resemble Robyn's recent solo work and chug along with the expected quirkiness and bizarre lyrics. However, none of them really stand out or stick with you after listening. I've heard the album several times and still can't recall any of the songs just by reading the track listing. But while it's on, it sounds like a pleasant reunion of a classic band.

Superdrag, Last Call For Vitriol, Arena Rock.

Superdrag's previous album was recorded for Elektra, rejected and then released by indie label Arena Rock Records. As a follow up, "Last Call For Vitriol" suffers only because it doesn't have a major label recording budget and therefore pales in comparison with the impeccable production of its predecessor. The guitars are thinner, the drums have less power and the vocals are flatter. This is also due in part to a conscious decision by the band to record a more "real" sounding album, devoid of the reverbs and layers of instruments that dominated 'In the Valley of Dying Stars' and 'Headtrip in Every Key.

I was initially disappointed by the production but eventually the band's energy and excellent songwriting won me over. John Davis is still one of the best songwriters in the "power pop" genre, showcasing his talents here with rockers like "Baby Goes To Eleven," "Feeling Like I Do" and "Extra-Sensory." Davis' softer side also makes a pleasant appearance on the excellent track "Way Down Here Without You" and the countrified "Safe & Warm." Perhaps the album's biggest surprise is the superb songwriting of bassist Sam Powers. "Remain Yer Strange" and "Stu" are just as strong as Davis' best tracks here and fit in nicely with the band's style. Unfortunately, this appears to be the last stand for Superdrag in this configuration, as Sam quit and the rest of the group departed to work on solo projects. Hopefully Davis will revive the group with new members. His contributions to independent, melodic pop-rock are invaluable.

Wondermints, Mind If We Make Love You You, Smile.

These guys have made a name for themselves as Brian Wilson's backing band on his recent concert tours. Their first release won over legions of power pop freaks, but never really hit home with me. I find this album a little more interesting, if not amusing. Working with Wilson seems to have turned the band into a Beach Boys tribute. 'Mind if We Make Love to You' imitates early 70s Beach Boys albums (particularly 'Sunflower') so effectively, you might mistake it for another bootleg on the Sea of Tunes label. While the band probably has a bit of their own style, it's hard to see past the Beach Boys references, making the album somewhat less significant than it could be. It's certainly enjoyable, but also quite derivative.

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