Brandon's Buzz

Summer’s most highly anticipated record — at least for the Buzz’s money — arrives in stores this week, and if the first single is any indication, we’re about to drown in a cascade of fabulousness. Read on:

One of the finest female voices in the history of country music, the incredible and endlessly fascinating Tanya Tucker, makes a long-awaited comeback this week with My Turn, her first album in eight years. Turn finds Tucker — who has never sounded better, and that’s saying something! — turning the tables on the music men she has long admired by covering some of their best-known tunes. Among the highlights: a playful take on Charley Pride’s classic “Is Anybody Going to San Antone?” and a slightly mellow version of Merle Haggard’s “Ramblin’ Fever,” as well as what is quite possibly the best cover of Eddy Arnold’s “You Don’t Know Me” since Jann Arden’s devastating one twelve years ago.

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Of all the ridonk, useless “deluxe editions” to which we’ve been subjected of late, this relatively busy week brings one whose original album — a genuine modern classic — actually merits the upgrade. Read on:

 

Obviously emboldened by the brilliantly triumphant ’80s mix they assembled last spring, the folks at Now That’s What I Call Music! have trudged forth with a series of similarly themed compilations, and while subsequent editions (covering, among other genres, the best of country, classic rock, and Motown) have wholly failed to be as uniformly riveting as the ’80s set was, this week brings a fairly worthy successor, as Now That’s What I Call Power Ballads! lands in record stores. A sterling mix of evergreen chestnuts (Journey’s “Faithfully,” Night Ranger’s “Sister Christian,” Aerosmith’s “I Don’t Want to Miss a Thing,” Tesla’s “Love Song”) and forgotten favorites (Sheriff’s “When I’m With You” and Queensryche’s “Silent Lucidity,” a pair of tunes that haven’t crossed my mind in, literally, decades!), the only flaw that bars Ballads from reaching the same level as its vaunted ancestor is the complete and shameful absence of REO Speedwagon and Foreigner, a pair of pioneers who absolutely helped create the power ballad movement, and who could have easily been swapped out for subpar tracks by The Scorpions and Slaughter, neither of which deserves the coveted real estate (sandwiched in between Survivor’s heart-rending “The Search is Over” and Extreme’s smash throwback “More Than Words”) they have been inexplicably handed on this album. Also out this week: installment number 30 in the original Now! series, which passes muster with terrific radio hits from Lady GaGa, Britney Spears, Jason Mraz, Nickelback, and All-American Rejects.

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He was studying in the New York City police academy, aiming to follow in his father’s footsteps as a Brooklyn beat cop. But his killer voice, his love of music, and his dream to be a part of that world carried him out west. A string of smashing club gigs in the Bay Area brought him to the attention of Columbia Records, which — thanks to the bracing success being enjoyed by a young Jersey Everyman called Bruce Springsteen — was at the forefront of the burgeoning regular Joe movement that was spreading like wildfire across the rock music landscape, which had struggled for a time to stay relevant in the wake of the disco explosion of the late ’70s. A strong debut album and a simple name change — Edward James Mahoney became one Eddie Money — and the rest was history.

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