CDs of the week

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Brett Anderson: Brett Anderson

Hilary Duff: Dignity

Laura Veirs: Saltbreakers

Cameron Pierre: Pad Up

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Former Suede frontman Brett Anderson's first solo effort, Disney Channel star Hilary Duff's fifth record, and Ibrahim Ferrer's final album, recorded just before his death, are released this week.

POP

Brett Anderson
Brett Anderson (Drowned In Sound)
***
For all Brett Anderson's cheekbones and Bacchanalian pop swagger, Suede were a most ordinary group. In the five years since their demise, Anderson has tried and failed with The Tears - hence this inevitable solo album. Less inevitable is how Anderson has progressed as a singer and songwriter, although it ill-behoves a 40-year-old to be claiming "you're the needle and I am the vein", as he does on Dust and Rain. Elsewhere though, he's made a surprisingly stately record. The beautiful To the Winter is the song of his career, Colour of the Night is chamber music of the darkest hue and, were there a Brit for best opening line, The More We Possess, the Less We Own of Ourselves' "baby thought she really needed that sofa" would be a heavily backed favourite. John Aizlewood

Hilary Duff
Dignity (Hollywood)
**
The name Hilary Duff may not be familiar to you, unless you are 12, in which case you will be too busy screaming and hyperventilating at this point to carry on reading. The star of the Disney Channel's Lizzie McGuire series is releasing her fifth album at just 19, and while it's still an out-and-out pop record, she's clearly trying for a slightly more daring electro sound. Stranger has a funky eastern groove reminiscent of Britney's Toxic, while Happy has a moody chorus that might appeal beyond the schoolkids. Her lyrics attempt to add edge - Dignity seems to be a dig at Paris Hilton, and Dreamer is the catchiest song I've ever heard about a stalker - but Duff 's voice is so lacking in character that you could be listening to anybody. David Smyth

Laura Veirs
Saltbreakers (Nonesuch)
****
This is a record of great clarity. Every instrumental note and vocal nuance is precisely captured, which is very good news because Ms Veirs has a charming voice and her band - whose name gives this LP its title - play with a jaunty verve. If you can imagine music pitched somewhere between Rumours-era Fleetwood Mac and Kristin Hersch, then you might have some idea of what is on offer here. Laura Veirs is a defiantly bespectacled lady, and her lyrics have a certain speccy quality - smart and prone, occasionally, to misting over. If you ever fell in love with the clever and slightly dippy one in school, then Saltbreakers is heartily recommended. There's not a dud track here. Pete Clark

Macy Gray
Big (Polydor)
***
Macy Gray is on her fourth album now (try naming the two that came after 1999's On How Life Is) and still trying to recapture the magic that gave her a hit with I Try. But Gray has always been a wonky proposition - a singer with a fabulous voice but no idea what to do with it (those around her haven't been too much help, either). Big is not bad - mainly because of Gray's growl - but you can't help wondering what could have been had someone steered her clear of fluffy Las Vegas showtunes such as Finally Made Me Happy and organised a collaboration with someone such as Swiss Beatz rather than Will.I.Am from Black Eyed Peas.
That said, away from the cheese - and be warned, there is a fair amount - there's still much to love here. Paul Connolly

The Sounds
Dying To Say This To You (Korova)
****
Never mind the Canadian invasion of Arcade Fire, Metric et al, how about those Scandinavians? First we had the mighty Annie and now we have The Sounds, soon to be followed by the wonderful Robyn. This is The Sounds' second album and they'll have to go some way on future releases to better this mighty cocktail of Duran Duran, Blondie, The Strokes and The Killers. There's nothing fancy going on here - just great, vibrant guitar pop threaded through with wheezing synths and Maja Ivarsson's ice-scoured vocals. Eleven songs, 35 minutes and not a second wasted. Even the ballad, Night After Night, manages to be both sexy and sad. A total pop triumph. Paul Connolly

JAZZ

Cameron Pierre
Pad Up (Destin-E Records)
****
Producer Courtney Pine, who guests briefly on baritone sax, coins the useful word "Afropean" to define artists with African, Caribbean and European roots. It applies to himself and his Dominican-born guitarist, the cricket-loving Cameron Pierre, who makes an impressive straight-ahead debut here with US drummer Rod Youngs and Swedish organist Anders Olinder.
The title track means "get ready to bat" and Back Foot Drive, an attractive progression that hints at Coltrane's Giant Steps, defines a stylish batting stroke. The most leisurely track is Dave Brubeck's classic, In Your Own Sweet Way, improved by a slow Latin tempo, with calypso touches and warm echoes of Wes Montgomery and George Benson. Well played, sir. Jack Massarik

WORLD

Ibrahim Ferrer
Mi Sueno (World Circuit)
****
With his shy, infectious smile, the singer Ibrahim Ferrer was the most heartwarming of the Buena Vista musicians. This final album, Mi Sueño (My Dream), which he was recording just before his death in August 2005, was the fulfilment of a long-held ambition to record an album of boleros - slow, romantic songs. This kind of repertoire can easily sound cloying or sweet, but pianist and producer Roberto Fonseca uses, for the most part, just a small quartet of musicians on piano, guitar, bass and drums which keeps the tone intimate. Ferrer is joined by the singer Omara Portuondo on the reflective duet Quiz·s, Quiz·s. There's a delicate intensity about this album which makes it enchanting listening. Simon Broughton

 

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