After Midnight and Cocaine, two of Eric Clapton's signature songs, were both written by J. J. Cale. Now, after more than 40 years into their respective careers, these two have finally teamed up to make an album. And it is a very fine effort, steeped in the laid-back southern blues and gospel that both men occupy as their musical home.

Cale wrote all but two of the tunes, with Clapton authoring or co-authoring (with John Mayer) two more. Regardless of authorship, both artists effortlessly slide into each song, trading vocals and guitar licks throughout. Danger kicks off the album and provides a template for what is to follow. Cale takes the lead vocal, but his voice blends with Clapton's to such an extent that it often becomes hard to tell who is singing lead or backup, or whether the same person is being double-tracked.

Even better is their complementary guitar work. Clapton's trademark "slow-hand" guitar playing is now at something of a late period peak, perhaps inspired by his recent recordings devoted to Robert Johnson. His bluesy, B.B. King-like stylings here fit this song (and the ones following) like a glove.

The surprise is how nicely Cale's more stinging, hard-bitten electric approach plays off Clapton's more laid-back stance, as they trade lead-lines and solos on this track and throughout the album. The principals are ably abetted by help from the likes of Billy Preston (his final recordings before his passing), Taj Mahal, Derek Trucks, John Mayer, and Albert Lee. The result is relaxing, southern-styled driving music of the highest order.

Yes, there are a few clunkers present, as things often get too laid-back for their own good (a frequent criticism of many of Clapton's late-period albums). But each artist seems to be keeping the other on his toes, with the listener being the beneficiary.

Various (yes, that is the group's confusing moniker) consists of two shadowy English gents known only as Adam and Ian. These two have put together an album that forges an unlikely alliance between dubby minimalist techno rhythms and traditional English folk. The upshot is one of the spookiest and most entrancing techno albums to come down the pike since the glory days of Portishead and Tricky.

Most songs see slow, slinky, understated beats complemented by light washes of minor key keyboards, synths, and strings, yielding an unsettling musical ambience. The uniqueness of Various' approach comes in when (uncredited) female vocals singing melodies steeped in traditional English folk glide in on top of this foundation (Shall we call it 'folk-hop"? Let's not.). To use a lyrical analogy from the album, Hater contains modern-day lyrics such as "See ya later, I'd hate to see you soon" delivered by a sensuous, downcast female voice. These lines are then swiftly followed by a chorus of "Fly black raven, fly" that sounds as if it could have come straight out of the 18th century folk canon.

Rather than coming across as forced or contrived, Various uses the oft-disturbing aura of menace that frequently pervades songs in both musical styles as the connecting link. When male voices take the lead on two of the songs, the results are not as remarkable. But when the feminine is at the fore, this album revels in a new/old synthesis that is both original and compelling.