Annie Quick

“Bigger: Ten Songs About Georgette” (Paste)

Compare to: Alanis Morissette, Liz Phair

Musically, Annie Quick’s new album is solid — but it’s nothing extraordinary. It’s the personality Quick puts into her lyrics, not the music, that makes this album stand out.

Her band accurately executes the songs. However, the overall sound lacks the originality necessary to make “Bigger” stand out from any other band. By the end of the album, each song begins to sound too much like its predecessor.

Fortunately, Quick’s voice and lyrics keep this album alive and almost make up for the repetitive arrangements. Quick’s lyrics are passionate and personal, but not a mystery of metaphors. Rather, they are poignant and direct.

On the title track she sings, “You are not the next big thing/ But I thought for a second that you were.”

The inside of the album jacket further promotes the personal nature of the album. There is a photo of Quick, naked, crouching against a wall with lyrics from “Just for You” written across her body.

Quick’s lyrics also carry a calloused, sarcastic tone, particularly on the song “Charmed:” “I can charm the sea/ The fishes in the sea/ So many fishes waiting to be wriggled free/ From the rest of the charming charmed.”

Her vocal phrasing is at times reminiscent of heavier pop-punk bands, placing emphasis where it would not usually be expected.

“Dream Girl” is a slow, deliberate song. The bass line gives to this tune a raw edge of desperation, mirrored in the lyrics: “The tangle that you wound her in/ The endless convocation.”

Quick’s sound and appearance are definitely on the side of punk rock. However, her voice has a sweet melodic ring to it — which would not seem out of place singing the early folk ballads of Jewel.

— Sarah Kloewer

The Von Bondies

“Pawn Shoppe Heart” (Sire)

Compare to: Squad Five-O, Jet, The White Stripes

The Von Bondies sound just like every garage rock band out there — raw, uncut and heavily distorted.

The album starts with a few strums with a deep fuzz effect, leading into an AC/DC-type riff. “No Regrets” is a five- or six-chord rocker complete with an unfaltering rhythm and an emphasis on redundancy.

The repetition isn’t bad, but it can detract from the appeal for those who fear garage rock.

The strongest features of the album are the catchy, forceful song intros, the guitar soloing and the solid drumming.

Every song seems to have similar structure — a three- or four-chord intro, deep bass and drums grooves and a guitar solo of some type.

Don Blum plays drums like Keith Moon. His beats are all over the place, but somehow complement and, in some cases, set the tone for the songs. It seems as if he is leading and not following, which is obviously the drummer’s job.

Jason Stollsteimer’s voice is strong, unique and sometimes comparable to his archenemy Jack White. But unlike White, whose voice is horribly obnoxious at times, Stollsteimer never hits a painful pitch.

Bassist Carrie Smith can also claim lead vocal credits for her part on “Not That Social.” The song is her message to a guy who is attempting to show off his studliness, but failing miserably because he is too reserved while sober.

The line “You’re not that social/ Just a good drinker/ Breathe in/ Breathe out/ I know you’re drowning” is justification for the dude to get a personality, so he doesn’t have to drink to be smooth.

Every song is solid, but the standout tracks seem to be “Tell Me What You See,” “Not That Social,” “C’mon, C’mon” and “Broken Man.”

Garage rock lovers and nostalgic people will love the Von Bondies, but for Jack White worshippers and people who hate all that is “trendy,” the Von Bondies will be merely another band who has “sold out.”

— Dan Hopper

Leftover Salmon “Leftover Salmon”

(High Country/Compendia)

Compare to: Newgrass Revival, String Cheese Incident, Del McCoury Band

Leftover Salmon’s new songs are anything but scraps for the family dog.

In fact, the band’s recent self-titled release showcases some of the freshest, table-ready Salmon yet. Describing its music as “Polyethnic Cajun Slamgrass,” this multiracial music machine continues to take modern bluegrass to the next level, blending traditional string band music with the experimental spirit of jam bands.

The album is an engaging experience, a musical journey of psychedelic indulgence in a hodgepodge of musical flavors. The soulful ballad “Delta Queen” evokes a riverboat ride “all the way down to New Orleans,” then “Just Keep Walkin'” mixes it up with some groove-laden Southern rock. “Woody Guthrie,” a lyrical and stylistic tribute to the American folk music pioneer, takes you back to the Dust Bowl while “Everything is Round” sports an upbeat, hippie-friendly melody.

But please, don’t be misled — foot-stomping, knee-slapping bluegrass is still the main course on “Leftover Salmon.”

And boy, does it go down smoothly. Noam Pikelny’s blazing banjos and the high and lonesome sound of Drew Emmitt’s mandolin are brought to the forefront on “Down in the Hollow” and the instrumental “Lincoln at Nevada.” “Mountain Top” tells of the serenity of life far above the big city (a classic bluegrass theme) and even adds a fiddle to Salmon’s electric bluegrass setup.

Throughout the album, the band stays true to the improvisational philosophy of bluegrass and jam bands alike, and its members take turns soloing on each and every song with various traditional and modern instruments. From mandolin, banjo and fiddle to the raunchy sounds of the electric guitar and Hammond B-3, Leftover Salmon’s innovation is matched only by the skill of the musicians.

There’s no way around it — this album is tasty and satisfying all the way through. If you’re hungry for real progressive bluegrass, stop starving and go get yourself some Salmon.

— Aaron Butzen

Janet Jackson

“Damita Jo” (Virgin)

Compare to: Paula Abdul, Lauryn Hill, Mariah Carey

Janet Jackson has been all about sex and skin for a while — starting with “The Velvet Rope,” peaking around the time of her “wardrobe malfunction” and continuing with her newest album, “Damita Jo.”

All that sexiness has certainly paid off. Jackson has been topping the charts for almost as long as her brother, and eerily enough, she’s headed down the same downhill course — complete with a face she surely wasn’t born with. At least she’s interested in men that are closer to her own age.

“Damita Jo” oozes sexuality on every single song, from the bumping club hits in waiting like “R&B Junkie” to the slower make-out-and-more tracks like “Warmth.”

There could be some worthwhile tracks, if only “Damita Jo” sounded any different than her last sex-crazed album, “All For You.”

There are a few tracks that stand out on “Damita Jo.” “My Baby” features Kanye West and is pretty decent, even though it sounds like it could be Wyclef Jean or any number of male artists. “I Want You” has some touches of classic R&B, making it worth a listen.

However, like most of the over-produced pop albums on the market today, there is something infectious about Jackson’s music. It’s music you don’t need to know the words to, because the only times you’ll be listening to songs like “All Nite (Don’t Stop)” is on a dance floor or on your way to a dance floor.

The songs start to blend together after a while, and nothing ingenious is produced.

When “Velvet Rope” came out, Jackson’s music pushed the envelope, talking about sex without making it dirty. There’s no way she could reproduce that success or the smoothness of “All for You,” but she’s still trying.

There is just nothing memorable about this album, except for the fact it will be a relative success because of the production of Jimmy Jam and Terry Lewis.

Overproduction, for once, makes this album at least worth downloading off of Kazaa.

— P. Kim Bui