After their trippy adventures in psychedelia peaked with Sgt. Pepper in 1967, the Beatles decided to get back to where they once belonged: spare yet effervescent rock and roll. This third and final installment of the Beatles Anthology series showcases the fertile period between 1968 and 1970 that produced The Beatles (aka The White Album), Let It Be and Abbey Road. As in the previous packages, this 2-CD, 50-track set offers a pop-pourri of acoustically rendered early takes ("Glass Onion," "Happiness Is a Warm Gun"), unreleased versions (Paul McCartney's irresistible rendition of "Come and Get It," which he wrote for Badfinger in 1969) and compelling demos (George Harrison's "Something," with a nakedly plaintive guitar and vocal track).
But it is the second disc, bursting with live jams, that makes this collection scintillating. Instead of relying on the studio wizardry that marked 1966's Revolver and Sgt. Pepper, the Beatles returned to the communal approach of making records as a live unit. Outtakes of "I've Got a Feeling," "Two of Us," "Get Back" and "Oh! Darling," then, become enthralling live versions of the final tracks. For a band that was supposed to be unraveling at the seams in 1970, the Beatles knew how to come together when it mattered most. (Capitol)
The Chieftains
Last year, Ireland's Chieftains scored the biggest commercial hit of their 34-year career with The Long Black Veil. Now how do they capitalize on that breakthrough? With this not exactly radio-friendly album of mostly traditional Spanish songs, recorded with a group of Galician musicians from around the world. But there is method to this apparent marketing madness. Like Ireland, ancient Galicia, a region in northwest Spain, was settled by Celts—and the cultures and music of the two lands are linked to this day, as is beautifully demonstrated by the playing of Carlos Núñez, whose instrument, the gaita, is a Galician version of bagpipes. On "Dueling Chanters," Chieftains leader Paddy Moloney's uilleann pipes and Núñez's gaita blend seamlessly. Like Veil, Santiago features guest artists, including Linda Ronstadt and Los Lobos on the cantina-styled "Guadalupe." The finale, "Dublin in Vigo," is a raucous romp recorded in an Irish pub in Galicia. Like the pub's patrons, you too will be clamoring for more. (RCA Victor)
Blackstreet
That "No Diggity," the first single from this sophomore album, is already a radio smash should come as no surprise. The man behind the foursome is überproducer/composer/singer Teddy Riley. Back in the '80s, Riley practically invented New Jack Swing by combining R&B vocals with hip hop's aggressive beats. That powerful one-two punch flavors "No Diggity," which takes a nasty Delta blues riff and marries it to lip-smacking lasciviousness. The result is an instant, five-minute pop classic. Yet once you get past "No Diggity," the album has surprising depth and showcases rich harmony. On "Don't Leave Me," Blackstreet pours on the heartache and late-night yearning, while a melodically reworked version of the Beatles' "Can't Buy Me Love" oozes sincerity. Of course, Riley knows how to work a crowd, as he proves with the percolating grooves of "Fix." Another Level's strong chart showing has been driven by the sexy vibe of "No Diggity." But Blackstreet have proved that they have more to offer than comeons. (Interscope)
Joshua Redman
Painting in broad, crowd-pleasing strokes, saxophonist Redman is one of jazz's bright young hopes. But his playing can be glib and a little flabby around the middle. Confronted with a musical choice, he often makes the easy one. That said, it's also true that predictions of Redman's descent into abject commercialism were premature. Redman is trying, on his fourth studio album, to negotiate between commerce and artistry. If the soul-gospel tune "When the Sun Comes Down" is riddled with clichés, "Streams of Consciousness" is a meaty and satisfying, loose-limbed excursion. The first and last tracks, "Hide and Seek" and "Can't Dance," are infectious little romps, proof that jazz can swing to a funk beat. Here, Redman proves himself a player of tremendous facility, who—should he follow his better instincts—could become a genuine, open-souled jazz star. (Warner Bros.)
Phish
For years fans have been touting this four-piece, virtuoso jam band as Vermont's answer to the Grateful Dead. And like the Dead, the band—guitarist Trey Anastasio, keyboardist Page McConnell, drummer Jon Fishman and bassist Mike Gordon—are beloved by their devoted legions (Phish heads?) more for the communal musical abandon of their concerts than for their polished studio efforts.
On this, the sixth studio album the Burlington band has released in its 13-year history, Phish, with veteran producer Steve Lillywhite (U2), manages to harness some of their live energy and create a lilting, album-long groove that rocks like a comfortable hammock. Lyrically the group doesn't take itself quite as seriously as the Dead sometimes did. In fact, Billy proves something fans have long known: Phish do laugh, even at themselves. "Theme from the Bottom" is about a finned creature that lives underwater and views the world from down below. And slackers will want to sing along with the chorus of the ironic anthem "Waste": "Come waste your time with me." Forget comparisons to the Dead. Phish is the Green Mountain State's hottest combo since Ben and Jerry. (Elektra)
>Tina Weymouth
SEVERED HEADS
In 1991 when David Byrne announced the demise of Talking Heads, fans mourned the passing of a band that in its 9-studio-album, 16-year history turned out some of the most innovative, influential and downright danceable pop sounds ever.
Now, three members—bassist Tina Weymouth, 45, her husband, drummer Chris Frantz, 45, and keyboardist-guitarist Jerry Harrison, 47—have recorded a new album, No Talking Just Head (MCA/Radioactive), as the Heads. They did so, however, over objections from their old singer and guitarist Byrne, 44, who sued his former bandmates in August, claiming that their moniker would damage Talking Heads' reputation. (An undisclosed settlement was reached out of court in September.) While preparing for the Oct. 15 launch of their first U.S. club tour, Weymouth, who lives in Westport, Conn., with Frantz and their two children, spoke with PEOPLE's Jeremy Helligar.
Any hard feelings toward David Byrne?
We don't hate him, but we hate the behavior. We hate lawsuits like that. It's very antisocial. But we don't feel victimized. We're fine. I wish him well.
Did you invite him to the reunion?
We begged David. We kept telling him that we were going to continue with or without him. Finally it got down to where he would only have a lawyer talk to us. The lawyer said, "Have you ever been divorced?" And I said, "Gee, I have not." He said, "I have, and this is a divorce. David Byrne absolutely will not return."
So why go on without him?
It was driving us crazy not to play together. Now I'm just very happy and grateful to work again with this team.
Get up-to-the-minute celebrity news and photos on your cellphone, iPhone or Blackberry at www.people.com!
