New on CD 11/22/02

'The Blueprint 2: The Gift & The Curse'Jay-Z is haunted. His attempt to emulate hip-hop's two slain giants is apparent throughout "The Blueprint 2: The Gift & The Curse" -- an overly long double album that finds the prolific New York rapper actually struggling to fill time.

Jigga's eighth album in six years begins with a dreamed conversation with the Notorious B.I.G. ("A Dream") and is peppered with lyrical and musical nods to Tupac Shakur (on a boring "'03 Bonnie & Clyde" and uninspired "All Around the World").

"Only two restin' in heaven can be mentioned in the same breath as him," Jay-Z raps about himself in "Hovi Baby."

The repeated references to Biggie and Tupac are too heavy-handed and distract from what the self-anointed "King of New York" does best -- blending fun hip-pop music with cleverly worded personal reflections.

He scores a number of hits along those lines in this 25-song collection. "Meet the Parents" is packed with genuine emotion, Dr. Dre and Rakim boost the catchy if unoriginal "The Watcher 2" and Outkast's Big Boi lends his brilliance to "Poppin' Tags."

And some surprises emerge -- Jay-Z quotes Austin Powers, admits to a nightclub stabbing of Lance "Un" Rivera ("I scratched him") and successfully incorporates Paul Anka's voice into "I Did It My Way."

But too many repetitive beats, cringe-inducing choruses and a surprising amount of lyrical laziness ultimately weigh down Jay-Z's attempt to match the high quality of his old friend B.I.G.'s acclaimed two-CD set "Life After Death."

'Der Fliegende Hollaender'Does the world really need another recording of Wagner's first mature work, "Der Fliegende Hollaender," a retelling of the legend of the Dutchman who must sail the seas for eternity unless he finds a woman faithful unto death?

The answer in this case may depend on your devotion to Daniel Barenboim, who has issued his second complete Wagner recording in less than a year -- with two of the same singers in leading roles.

Jane Eaglen, the English soprano renowned for her Bruennhilde and Isolde, is heard here as Senta, the Norwegian maiden obsessed with the Dutchman's story. She acquits herself admirably -- though Barenboim's decision to restore Senta's Ballad to its original key of A minor does expose her tendency to thin out on very high notes. But while it's nice to hear her as Senta and as Elisabeth on Barenboim's recent "Tannhaeuser," a record of her two signature roles would be more to the point.

Tenor Peter Seiffert, who took the title role in the "Tannhaeuser" album, returns here in the smaller part of Erik, Senta's jilted suitor, and sounds uncomfortable.

Baritone Falk Struckmann is an impressive Dutchman, dark-toned and solid, while bass Robert Holl is warm and hearty as Senta's father, Daland. In the small role of the Steersman, tenor Rolando Villazon reveals a rich voice of uncommon delicacy.

Barenboim's interpretation is fast-paced and muscular, in keeping with the full-speed-ahead nature of Wagner's score. But he doesn't slight the introspective passages like the Dutchman's soliloquy or his Act 2 duet with Senta.

'More Than You Think You Are'How do you top two multiplatinum albums and numerous Top 10 hits? If you're matchbox twenty, you throw away the formula and try something new.

The result: "More Than You Think You Are," which offers a refreshing sound that's both harsher and more soulful than previous efforts.

The first single, "Disease," about leaving an addictive relationship, offers the best rocking vocal effort by lead singer Rob Thomas since the early hit "Push." It's punctuated by a '70s inspired hard-driven melody that offers a danceable beat.

Although "Disease" will likely be the biggest success, the rest of the material shows a wonderful breadth and depth of a band often overlooked for more flashy acts.

"More Than You Think You Are" moves easily between songs such as "Cold," with its rock-driven beat, and "Feel," a gospel-tinged track, and back again.

Although Thomas' writing holds the album together, there are also well-rounded songs written by other band members. Drummer Paul Doucette's "Could I Be With You" and Kyle Cook's "Feel" are solid songs that are part of the whole rather than afterthoughts.

It's an awesome effort; the real question is whether fans will grow with the band on this album.

'The Best of 1990-2000'Two years after U2 roared back to life with "All That You Can't Leave Behind," they've gone and reminded us just how little relevant music they produced during the 1990s.

As with the band's first best-of collection released in 1998 (covering 1980-90), this two-disc set, "The Best of 1990-2000," is heavy with overplayed hits ("Mysterious Ways," "Beautiful Day"). But there aren't many of the obscure nuggets that made the earlier compilation such a pleasure.

The old disc had inspired covers such as the Righteous Brothers' "Unchained Melody" and Patti Smith's "Dancing Barefoot." Yet most of the new B-sides actually are remixes, and bloated ones at that. Hearing "Numb" the first time was enough, but was "Gimme Some More Dignity Mix" really necessary?

Of the two new songs on the first disc, "Electrical Storm" has that old U2 combination of power and beauty. The amped-up version on disc two is even better. But "The Hands That Built America," the theme from Martin Scorsese's upcoming film, "Gangs of New York," is absolute drivel.

'Wait for Me'"Wait for Me" is a delightful follow-up to Susan Tedeschi's best-selling "Just Won't Burn." The new album is laden with blues but laced with soul, R&B and good old rock 'n' roll.

The first single, "Alone," is a sampler of her powerful style -- and of even better things to come.

The title cut is Tedeschi at her it's-over-now bluesy best with a powerful background of saxophone, piano and Hammond B3 organ.

She rocks out with "Feeling Music Brings," which runs more than 7 minutes. The album also includes a charming cover of Bob Dylan's "Don't Think Twice," a raucous "I Fell in Love" and the dreamy acoustic closer, "Blues on a Holiday."

Fans will be thrilled by Tedeschi's vocal and instrumental twists.

'Rabbit Songs'"Rabbit Songs" is a gauzy, dreamy masterpiece, a latticework of lovely vocals and atmospheric guitar, mandolin, pedal steel and orchestra. The melodies are alluring, Sally Ellyson's crystal-pure voice is captivating and the overall effect is enchanting.

This isn't one of those misty albums that creates an atmosphere but nothing more. "Rabbit Songs" is lush and mostly quiet, but there's meat on its bones -- these are honest-to-goodness songs, not little exercises in texture. Hem deserves to be heard, and this is an exquisite album.

--From wire reports