THE THROB

While there are many popular recording artists both male and female who successfully cross genres, it is those who have mastered the throaty "throb" -- that emotional cry of the heart -- who top the charts. That's not to denigrate their gifts--it is their ability to cut to the emotional core of a song and, with a god-given gift, share that emotional catharsis with us, the ordinary listener (who, chances are, lacks that gift of . . . the throb) that makes them the stars they are. Certainly Barbra Streisand has it. Michael Bolton. Liza Minelli. Luciano Pavrotti. Rufus Wainwright. Celine Dion. (Okay, now I'm starting to cringe. The throb is admirable but when it gets overused, the performer becomes known for excess and thereby undercuts their own effectiveness.)

And then, there's Reba McEntire.

Everything about this lady is honey-colored: her voice, her looks. And this is meant as a compliment. For while there is always that honest "throb" in the voice, along with an amazing sincerity, there is also intelligence, skill and honesty. She's the real deal, and her talents shine both in her native country singing as well as her work on TV, on film, and even Broadway, where she discovered new heights (and depths) in ANNIE GET YOUR GUN then anyone ever suspected, giving a truly remarkable, classic Broadway performance. (Her performance as Nellie Forbush opposite Brian Stokes Mitchell in the concert version of SOUTH PACIFIC for PBS is also worth cherishing.)

All of this is by way of saying that her new album, DUETS, is understandably a hit, not only on the country but the pop charts as well. Reba brings honest soul to the often soap opera-ish material country deals with, such that you understand why it speaks to so many Americans. Divorces, alcoholism, lost loves, miscommunications--all are part and parcel of our lives, but while most country singers dutifully wail them out, Reba really discovers the character underneath and makes them live. And on this collection, each number is worth the time. "Because of You," her duet with Kelly Clarkson, is enormously effective and is receiving the majority of radio air time, but her work with LeAnne Rimes on "When You Love Someone Like That" is equally deserving. An incredible one-act play occurs in "Every Other Weekend," wherein Reba and Kenny Chesney rendezvous regularly at a parking lot to trade off custody of the kids in their divorce settlement, despite the feelings they may still have for each other, now assumed to be lost in the other. (For those like myself who are not natural country fans, this number alone makes me want to learn more about Mr. Chesney.) Justin Timberlake shows his abilities beyond "boy toy" with the lovely song he contributed, "The Only Promise That Remains," proof that a very long, gifted career is ahead. "Everyday People," a collaboration with the venerable Carole King, champions those folks who rise beyond their humble circumstances to do honestly noble deeds that help and enrich the lives of others. Vince Gill and Faith Hill do more than rhyme on this album, and Trisha Yearwood, Rascal Flats, Don Henley and especially Ronnie Dunn contribute mightily. If you're into country, of course you'll love this album, but even those "too good" to be taken in will be swept away by Hurricane Reba. A splendid album to end the year on.

EXCEPT . . .

James Taylor is back with yet another revisit of his classic material in ONE MAN BAND, this time with just an admirable piano accompaniment (by Larry Goldings) and his own fine guitar work. Recorded in concert in Pittsfield, MA (his hometown in the Berkshires), Taylor reveals the methods behind his madness for an accompanying DVD that captures all the joy, silliness and emotion of his live concert performances. You almost want to slap him for laziness, for not bringing new work to the table--and yet the honesty and freshness that he brings to each "classic" makes the new album just as valuable as the original recordings. An hour with James Taylor is just bound to make you feel good.

And finally . . . if you are a latecomer to the gifted Marc Cohn. join the club. Or better yet, JOIN THE PARADE -- a wonderful new album that reflects on New Orleans and Hurrican Katrna, first encounters, old cars and reflections of one's infinite past. Cohn seems like the love child of Randy Newman and Bruce Springstein, if you can imagine(!), yet he also manages more intimacy and awider range of growl and humor. This album made me rapidly turn to discover his initial, self-titled Grammy winner of almost 20 years ago, MARC COHN, on which he introduced the hit, "Walking in Memphis." A listen to either (or both albums) and you'll be wondering where your ears have been hiding for the last two decades!