Andre Williams is a 71-year-old R&B legend. Writer of "Shake A Tail Feather" and "Bacon Fat" (covered by the Cramps), among 230 other songs, dubbed "Mr Rhythm by Redd Foxx and "The Original Black Godfather" by the industry as whole, Williams recorded countless sides for Fortune in the 50s, and for Motown and Chess Records in the 60s, and has worked with Ike Turner, Parliament/Funkadelic, and Stevie Wonder, among many others. Some even claim that he originated the "talking" vocal approach in blues and soul when he felt unable to compete with 50s vocal legends such as Jackie Wilson and Clyde McPhatter (of the Drifters). Falling out of favor after the sixties, Williams kept a low profile until the nineties when he was "rediscovered" by young punks and indie-rockers. Now into his sixth decade as a recording artist, Williams shows he's still got it on Can You Deal With It. The best way to describe his current concoctions are as raunchy punk & soul blues, filled with sweaty, sleazy lyrics. It all adds up to a delicious treat. Backed by "hedonistic barroom punks" the New Orleans Hellhounds, with the able help of indie-rock organist Quintron, Williams talk-sings his way through nine bawdy, raucous rockers without holding anything back. The title track starts the disc, opening with an organ blast and a slow but hard-rocking organ & bass-led groove (indeed, the organ work by Quintron is outstanding and dominates much of the musical proceedings). Fuzzed-out electric guitar is added to the chorus, wherein Williams shouts the title, to be answered with "Yeah's" from his backing band. "Hear Ya Dance" is the next tune, which has a slow, sultry groove with Williams talk-singing in a raunchy style, all held together by an instrumental chorus with sinewy electric lead lines. "Never Had A Problem" features honking sax and a Clash-like guitar hook along with scorching electric guitar. "Pray For Your Daughter" is a country-blues stomper, and "Rosalie" is an old-style 50's backporch blues-rocker. Strutting sax and in-the-pocket drumming makes "Your Woman" another standout. While the lyrics are a little smutty ("p-sy" is one of his favorite words), they are really fairly tame by today's standards. The music, however, is anything but. I guarantee that fans of stomping barroom blues rockers, wailing sax and organ, and an old-time/good-time feel, will not be disappointed.

The members of N.E.R.D., Pharrell Williams, Chad Hugo, along with rapping buddy Shay Haley, gained fame as producers for Madonna, Britney Spears, Ludacris, Snoop Dogg, and Kanye West. Seeing Sounds is their third album under the N.E.R.D. moniker, and it finds them splitting the difference (actually, COMBINING the difference) between hip-hop and alt-rock, to great effect. Full of funky bass and drums. rock guitars, and new wave choruses, N.E.R.D. synthesizes sounds in a way few artists are able to accomplish. Opening with cartoon-like theme music and memories of being a kid, the album segues into a great beat on first true song, "Everyone Nose". A fast rap flow combines with a beautiful piano led-melody and a stunning middle eight. "Windows" is fairly rock-centric, but "Anti-matter is a wonderful rock/hip-hop fusion. "Spaz" ups the ante with a strong drum & bass groove topped by an acoustic guitar loop, a very unusual but effective combination. "Sooner Or Later" starts as a straightforward soul song but concludes with a wild, electric wig-out. "Killjoy" combines a Sugarhill Gang style 80s beat with a punchy rock chorus, all enabled by great percussion effects. In short, Seeing Sounds should appeal to hip-hop heads and alt-rockers alike (at least those who like a little genre-bending in their music).