Mecna, Coco Zombie

Asian pop diva CoCo Lee was born January 17, 1974 in Hong Kong; a decade later the family relocated to San Francisco, and she subsequently studied biochemistry at the University of California at Irivne. After winning the Miss Chinese-America Pageant in 1991, two years later Lee returned to Hong Kong long enough to take second prize in the New Talent Singing Contest…

At times on Dirty Deal, it's virtually a Little Feat reunion, with five members from the classic lineup helping out on "Three Sides to Every Story," giving it a wonderful, funky momentum. Coco Montoya himself is definitely a better-than-average guitarist and singer when it comes to the R&B/blues axis, although he's at his best on tracks like "How Do You Sleep at Night?" where he has the chance to pull more emotion from his instrument; in this case, more than a touch of bitterness. He's cut from the same cloth as Robert Cray, but without the same soulful subtlety. Montoya is more a shot and a beer than a smooth cocktail.

The expansion into and incorporation of jazz in the electronic scene is a concept far from new, but its impact is best felt on a disc like Coco. Parov Stelar approaches the double album from an innovative standpoint, dismissing the habit of ignoring less prominent tracks on an album by creating something of enviable proportions. Jazz and swing shine through on Coco, the bold brass and beautiful arrangements blending with minimal house and electro elements, melancholic piano and sax. With six singers from different genres making appearances, Stelar creates a melodious patchwork of sounds across 26 tracks…

John Fogerty pulled himself out of the game sometime after his 1976 album Hoodoo failed to materialize and he sat on the bench for a full decade, returning in the thick of the Reagan era with Centerfield in 1985. For as knowingly nostalgic as Centerfield is, deliberately mining from Fogerty’s childhood memories and consciously referencing his older tunes, the album is steeped in the mid-‘80s, propelled too often by electronic drums – the title track has a particularly egregious use of synthesized handclaps – occasionally colored by synths and always relying on the wide-open production that characterized the ‘80s…plus, there’s no denying that this is the work of a middle-aged baby boomer, romanticizing TV, rockabilly, baseball, and rock & roll girls…