American Hi-Fi

“Hearts on Parade” (Maverick)

Compare to: Cheap Trick, Weezer, Veruca Salt

American Hi-Fi has changed styles of music yet again, which proves Stacy Jones is a viable song writer and not just another one of the many frustrated drummers who threw away his sticks and then failed miserably as front man.

“Hearts on Parade” showcases American Hi-Fi’s attempt at a radio-friendly pop-rock sound, which is a nice break from the band’s 2003 hard rock release “The Art of Losing.”

The crassness and vulgarity of the lyrics from “The Art of Losing” are also gone. Jones either found some magical rays of songwriter sunshine or ran out of money and needed to churn out another hit single or two.

Or it could just be that Jones no longer felt challenged writing standard hard rock songs.

The dudes of American Hi-Fi still know how to rock out.

“The Geeks Get the Girls,” the album’s most solid track, represents a blend of both the current as well as the early sound of American Hi-Fi.

“Separation Anxiety” is also evidence that Jones and company haven’t completely abandoned their old ways. The funky, syncopated guitar riff is arguably one of the most catchy licks Jones has ever written.

Personality-wise, this is still the same old American Hi-Fi. With how many songs Hi-Fi has written about girls over the span of three albums, it seems like Jones’ sole reason for existence is to get screwed over by women.

Sucks for him.

— Dan Hopper

Kenny Chesney

“Be As You Are”

(BNA Records)

Compare to: The Beach Boys, Brad Paisley, Alan Jackson

In his most personal work to date, Kenny Chesney has struck gold with his toned-down album, “Be As You Are.”

Although songs resembling “She Thinks My Tractor’s Sexy” are absent from his newest release, it is evident these are the most heartfelt songs Chesney has ever released.

The album kicks off with the slow, smooth style of “Old Blue Chair” and keeps the pace with its title song, “Be As You Are.”

Track three brings a calypso feel, and “Guitars and Tiki Bars” makes it virtually impossible to switch songs.

The most peculiar song on the CD is also the most captivating. “Key Lime Pie” is a song that will remain in your head for days after listening to it, yet leave you wondering why he wrote a song about pie.

The album finishes as it started, with heartfelt lyrics set to a slow tempo. “Be As You Are” is a great listen, especially in the doldrums of winter. Even in frigid temperatures, the album can make anyone feel like they’re on the beach.

— Pat Brown

Sage Francis

“A Healthy Distrust”

(Epitaph)

Compare to: Buck 65, Sole, Atmosphere

When Sage speaks, his words strike like lightning and burn anything in their path.

On Epitaph Records’ first hip-hop release, “A Healthy Distrust,” the father of emo-hop blasts the usual targets with the passion of a martyr.

For those who aren’t familiar with this introspective Rhode Islander, Sage Francis may be the only man capable of winning the biggest slam poetry competition one year and taking the prize at two of the most revered freestyle rap competitions the next.

He also shows adaptability in his album progression. “Personal Journals” splayed Sage’s soul out for listeners, showing him to be more angster than gangster. His Non-Prophets project “Hope” proved he knew the history of hip-hop well enough to make fun of it.

He spits a sarcastic psychoanalysis of guns as a comfort blanket for men in one song and curses God for taking Johnny Cash in another.

Who else does he blame for the strain in his voice? As he poignantly puts it in “Slow Down Ghandi,” “It’s the same who complain about the global war but can’t overthrow the local joker that they voted for.”

— Andrew Mabe

Sound Tribe Sector 9

“Artifact” (1320 Records)

Compare to: Lotus, The New Deal

“Jam band” fans constantly gush about Sound Tribe Sector 9. Check message boards online and read comments from people fresh from a show: “Dude, I have a new favorite band! I danced my ass off!” Live concerts aside, the album “Artifact” isn’t impressive.

Sound Tribe Sector 9 creates live and often improvised electronica on stage by means of real instruments. Since most ambient and “house” music is synthesized, the band honestly deserves respect. The music is beautiful — organic, tribal and mellow.

It’s just not that special.

“Artifact” has an uncanny ability to make all its songs sound the same. It’s a good sound produced by skilled musicians — but the band seems to be content to sit in a rut of low-energy, too-ambient, mediocre music.

There are some shining moments on the disc, like the evil breakdown near the end of “Tokyo,” the slap bass on “Vibyl” or the clean, jazzy guitar on “Possibilities.” Plus, “ReEmergence” and “Peoples” are good songs.

The new Sound Tribe Sector 9 album is worth a listen, but nothing sounds strikingly fresh, and it gets old quick.

— Aaron Butzen