Buddy Guy's 'Sweet Tea' explores the neo-Delta blues

Thousands of CDs are released each year, so a few gems usually get lost in the shuffle. As 2001 comes to a close, The Associated Press takes a look at some of the worthy albums that have been overlooked.

'Sweet Tea' (Silvertone, $17.97) -- Buddy Guy

For decades now, Buddy Guy has ventured into reinvention, record by record, tour by tour. This has kept many of his fans interested, even as it has alienated a few of the old-time faithful.

"Sweet Tea" follows the trend. Guy so embraces the new Oxford, Miss., sound that he traveled to the hill country to record this CD. He taps into the sound so well developed by Fat Possom Records and its star, R.L. Burnside, immortalized in the soundtrack of HBO's "The Sopranos."

Truth is, Buddy Guy in his various incarnations has remained an enjoyable performer, bringing his mischievous sparkle to many recordings. As always, this album is a bit short, especially in the CD era, but Guy's exploration of the neo-Delta blues is heartfelt and lively. And this style, more so than his meanderings into R&B, allows for more free-spirited guitar play on many of the tracks.-- Ralph Siegel, The Associated Press

'1st Born Second' (Interscope, $18.97) -- Bilal

Perhaps one of the reasons why Bilal's impressive debut got such scant attention from consumers this year is because of its schizophrenic nature; the first few tracks on "1st Born Second" try to infuse the singer's eclectic neosoul sound with commercially appealing hip-hop and R&B hooks, with so-so results.

But patient listeners are rewarded by the time they hit the seventh song on the disc, the hilariously tortured "Sometimes," in which Bilal rants about everything from his pain-in-the neck girlfriend to his wish that he "could be drug-free, sometimes." The song recalls the best of Prince or D'Angelo, from the clever lyrics to the screeching vocals.

But while Bilal is most definitely influenced by those artists, he manages not to come off as a copycat. Songs like upbeat "Love It" and slow-burn "Soul Sista" showcase burgeoning talents that are all his own.-- Nekesa Mumbi Moody, The Associated Press

'Rant' (Fuel 2000, $17.97) -- Ian Hunter

Ian Hunter, leader of defunct British cult band Mott the Hoople, is fuming about politics in England. He's lost patience with Dale Griffin, the drummer in his old band, and, at 62, still feels like a kid when he hears rock 'n' roll.

Why should anyone care? Because this underrated singer-songwriter is so good, he makes you care.

On his album, "Rant," Hunter includes "Still Love Rock and Roll," the best cheer for mature rocking since Bob Seger's "Rock and Roll Never Forgets." In "Death of a Nation," he takes the listener into a hazy dreamscape to express his anger and regret at the state of his home country. And "Soap 'N' Water" is a near "Like a Rolling Stone"-caliber evisceration of Griffin for dogging Hunter about the band's breakup.

The album's masterpiece is "Dead Man Walkin' (EastEnders)," a harrowing look at how it feels to be an ex-rock star.

"Now I know what ageism means," Hunter sadly notes about his own career prospects in today's music scene. "You got to try a little harder, you got to be a little stronger."-- Jim Patterson, The Associated Press

'Ballads: Remembering John Coltrane' (Concord, $16.97) -- Karrin Allyson

Diana Krall and Jane Monheit both topped the jazz charts recently with appealing yet risk-free ballad collections. But it's the less heralded Karrin Allyson who's more worthy of Grammy consideration for the year's best jazz vocal album with "Ballads: Remembering John Coltrane." Allyson -- on her seventh Concord release -- takes on the daunting challenge of re-imagining the saxophonist's classic 1961-62 "Ballads" recording, and largely succeeds with the help of guest saxophonists Bob Berg, James Carter and Steve Wilson.

The first eight tracks mirror the Coltrane album, starting with Allyson's tenderly yearning version of "Say It (Over and Over Again)." Wilson's lyrical soprano sax adds a different color on "Too Young to Go Steady" and two other tracks -- though an innovator on soprano, Coltrane only played tenor sax on "Ballads." Another standout is "All or Nothing at All," the only up-tempo number, on which Allyson lets loose with a swinging scat solo.

Allyson allows the music to breathe and stretch out, letting her versions run longer, with one exception, than Coltrane's. Jazz is about taking risks, and Allyson manages to pay a heartfelt tribute while putting her own intimate stamp on a classic recording.-- Charles J. Gans, The Associated Press

'Lonelyland' (Universal, $12.97) -- Bob Schneider

Austin's Bob Schneider doesn't fit the stereotype of Texas singer-songwriters: There's no twang in his vocals, no trucks in his lyrics. Schneider has more in common with Elliott Smith or Freedy Johnston than with Lyle Lovett or Townes Van Zandt, and his music falls into the nebulous zone of rock-slash-pop, a fringe niche these days.

That may be why this marvelous debut album was overlooked this year. "Lonelyland" is distinctive because of Schneider's wry sensibility, his marvelous gift for melody and the album's thick bass, which enriches the texture rather than merely serving the groove.

Not that Schneider can't swing -- he combines an African beat and operatic descant on "Round & Round," then finds a bouncy Latin pulse on "Moon Song."

There are hooks galore throughout the album, making even a pair of seven-minute tunes seem short.

Nearly an hour into the record, Schneider serves up "2002," a musical missive from a slacker to his ex-girlfriend that's both funny and sad. In another era or a better world, it would be a strong contender for song of the year.

-- Steven Wine, The Associated Press