Jack White of the White Stripes and Brendan Benson (of, well, Brendan Benson solo albums) have joined forces with the rhythm section of garage-rockers the Greenhornes to make a superior, fun, no-nonsense album of unadulterated rock and roll. Encompassing stylistic references ranging from the Beatles, sixties blues-rock, Led Zeppelin, prog-rock, 70s new wave, punk, and indie-rock, Broken Boy Soldiers is an album that has both variety as well as a unity of sound. The unity is supplied by Jack Lawrence (bass) and Patrick Keeler (drums) of the Greenhornes, who give every song a solid, simple blues-rock underpinning-no frills, no bells and whistles, just basic rhythms that occasionally reveal unexpected stutters and skips, but never really sway from their 4/4 foundations. The variety is supplied by White and Benson, with White's approach to melody and chord patterns emphasizing his penchant for both blues and prog/psychedelic elements while Benson takes a more melodic, classic Beatle-esque focus. The result is an album whose hooks sometimes come on full force at first listen (e.g., "Steady As She Goes," "Yellow Sun") and at other times take multiple listens to latch onto (most of the rest of the album). At all times, however, the solid underpinnings make sure your attention does not waver. And when the marriage works perfectly, the songs feel like the Beatles are singing over Rolling Stones riffs and rhythms. Not surprising, really, given Benson's effortless McCartney meets Lennon vocals and White's acknowledged brilliance at cranking out pummeling blues-rock riffs and hooks. But don't think that the songs sound as manufactured and cobbled-together as this analysis might suggest, for the truth is the exact opposite. The songs sound effortless, unforced, and completely natural in marrying these elements, showing that this is truly a BAND and not just a Jack White side-project (although it may be that as well). It is also that rare album where the ballads ("Together" and "Yellow Sun") are as good as the rockers. In sum, don't expect anything brand new here, yet do expect something startingly fresh and very, very good.

John Zorn's Tzadik label is renowned for its championing of the new wave of avant-garde artists who frequently feature the electric guitar as their main instrument of choice. Edom fits snugly into this category. Maoz, Israeli-born and NYC-raised, is a giant talent who is able to combine fusion-like jazz licks with traditional Jewish melodies and modalities, then send the result into a rocking, experimental frenzy at a moments notice. Ably assisting Maoz is his three-piece combo of organ, bass, and drums, with John Medeski of Medeski, Martin & Wood making a very significant contribution. His organ often takes a sturdy lead role on many songs. But make no mistake, Maoz' fret-work is the focus, often sounding like a beautiful, unstudied fusion of seventies-era John McLaughlin and Frank Zappa. Like these two artists, Maoz occasionally ventures too far down whatever alley he is exploring, but that's in the nature of this approach and, importantly, his playing is always fluid and melodic regardless of how far "out" it may be. Further, Maoz can deliver delicate, jazzy lines and howling, furious soloing with equal facility, and often within the same song. While a difficult listen over its full 63-minute running time, there is much to be savored here for those whose ears gravitate toward the more experimental end of rock, jazz, and world music.