Elvis Presley, “On Stage” (RCA)
How many times will RCA rerelease this famous live disc? So long as the label keeps adding more bonus tracks and audio quality, fans won’t care.
Originally released in 1970 as a 10-song album, “On Stage” has seen a number of reissues. This Legacy Edition, which also includes the 1969 record “Elvis in Person,” comes in the form of a 32-track, two-CD set that covers the familiar (“Hound Dog,” “All Shook Up”) and the covers Presley favored after eight years of making movies (“Sweet Caroline,” the Beatles’ “Yesterday,” and “Proud Mary”).
What was true in 1970 is still true: Presley’s vocals were in beautiful shape at the Las Vegas shows at which these songs were captured. Some of the banter, too, is a priceless portrait of a man they called the King. — Ricardo Baca
Broken Bells, “Broken Bells” (Columbia)
You really must credit Brian Burton, a.k.a. Danger Mouse, for his creative chameleon ability. When the beat-loving producer collaborates with artists — as he has with Gorillaz, Beck, Black Keys, Cee-Lo (together they were Gnarls Barkley) and others — he rarely overshadows his partners.
Instead he complements them, and the products are both unique and familiar. The biggest surprise about , Burton’s band with Shins frontman James Mercer, is its natural, easy feel and sounds. “Broken Bells,” the band’s debut, comes off like it should: the natural points of collision between Burton and Mercer.
More remniscent of the Shins than any of Burton’s previous work, the glitchy record focuses on melody over atmosphere — barely. Burton has fun with some of the backing noises — too much fun, in some cases, as in the rainstick-style noises in “Sailing to Nowhere.” But he and Mercer smartly placed melody at the top of their priorities, and it pays off via an incredibly listenable record. — Ricardo Baca
Andrea Ball, “Dial Tone” (Dial Tone)
Confidence and poise yielded rich rewards for Denver singer-songwriter on her 2008 debut EP, “Beat Beat Pound,” but it also suffered at times from her tasteful restraint.
Two years and dozens of shows later, Ball has returned with “Dial Tone,” retaining the smart, nuanced writing but bringing a maturity and sophistication sometimes missing on the debut.
The album isn’t just darker — although it is often that, particularly on the first couple of tracks — it’s also more emotionally convincing. Songs like “Blind” float in on Nathan Johnson’s warm production, strings and electronic flourishes enveloping Ball’s throaty inflection and piano work.
Repeat-players abound, like the dissonant clash of banjo and horns on “Vanity” that resolves itself in a gorgeous, trip-hoppy chorus. Call it moody piano-rock, jazz-pop, whatever — on “Dial Tone,” Ball proves she has the songwriting and playing chops to sit alongside Denver’s finest musical exports. — John Wenzel
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Ricardo Baca is the founder and co-editor of and an award-winning critic and journalist at The Denver Post. He is also the executive director of the , Colorado’s premier indie music festival. Follow his whimsies at , his live music habit at and his iTunes addictions at .
John Wenzel is the co-editor of Reverb, editor of the blog and an A&E reporter for The Denver Post. His book was recently published by Speck Press. He also maintains a of random song titles.
