New Music Friday: The best albums out Jan. 23

Summary

Podcast Summary: All Songs Considered

Episode: New Music Friday – The Best Albums Out Jan. 23

Host: Stephen Thompson
Guest: Jesse Scott (WMOT, Nashville)
Date: January 23, 2026

Main Theme

The episode celebrates New Music Friday with an in-depth discussion of standout albums and notable reissues released on January 23, 2026. Host Stephen Thompson and guest Jesse Scott review and reflect on new records across genres, from Americana to jazz, folk, and R&B. Through listening sessions, personal anecdotes, and insightful commentary, they explore protest music’s evolving role, Southern musical traditions, and the joy of discovery within roots and contemporary sounds.

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Key Discussion Points & Insights

1. Cat Power – 'Redux' EP (Reissue of 'The Greatest')

• [00:43] Cat Power’s 2006 classic The Greatest gets a deluxe reissue with a three-song EP, Redux, including covers and reimaginings.
• The hosts discuss her rendition of James Brown’s “Try Me” and Prince’s “Nothing Compares 2 U” (popularized by Sinead O’Connor).
• Jesse Scott:

  “Anybody that redoes 1958 James Brown and the Famous Flames in power ballad style is a worthy entry... the piano sounds like it banged off the ionosphere.” (01:09)

• Cat Power’s connection to legendary musicians is highlighted, specifically as a tribute to Teenie Hodges.
• Stephen Thompson:

  “Blurring the boundaries of space and time, playing with classic vintage, beautiful sounds and setting that gorgeous voice against it.” (01:43)

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2. Lucinda Williams – 'World's Gone Wrong'

• [02:39] Lucinda returns with a topical, protest-minded rock album, featuring guests like Mavis Staples and Norah Jones.
• The album is described as her most rocking in years, with “Neil Young-esque, kind of gnarled guitars and screaming organs.” (03:59)
• Protest music’s relevance is debated:
  Stephen Thompson:

  “There’s been this canard... that there’s no protest music anymore... But this is a protest album through and through.” (03:59)

• Songs touch on confusion, surviving dark times, and small joys:
  • “World’s Gone Wrong” calls for resilience and comfort (“Come on, baby, we gotta be strong...”). (05:23)
  • “How Much Did You Get for Your Soul?” delivers a biting yet unnamed takedown with a 60s garage band vibe.
  • “Sing Unburied, Sing” fuels a communal, rollicking spirit.
• Jesse Scott:

  “Lou has always been in touch with everyday people and really represents the poetry of everyday life... just remind you to live your life today.” (05:49)

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3. Carolina Chocolate Drops – 'Genuine Negro Jig' (15th Anniversary Edition)

• [07:48] The influential Black string band’s essential 2010 album is reissued with remixed tracks and seven unreleased songs.
• The Drops’ role in highlighting African American roots in Americana is praised: Jesse Scott:

  “They wrote the book for awareness of African American contributions to roots music... Rhiannon Giddens is a masterful purveyor of these sonics.” (08:31)

• Reissue includes the ageless, vibrant cover of Blue Cantrell’s “Hit ’Em Up Style.”
• Stephen Thompson:

  “Taking this, you know, this kind of revenge minded R&B anthem... and treating it as if it is passed from front porch to front porch...” (09:29)

• Discussed are gospel-tinged tracks (“City of Refuge”), Cajun flavors (“Rattler”), and primal blues (“Jack of Diamonds”).
• Jesse Scott:

  “Their voice together was so important and singular... This is essential listening... so artistically satisfying.” (12:48)

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4. Cassius Culpepper – 'Act One'

• [17:12] Alabama’s Cassius Culpepper bridges country, soul, blues, folk, and rock with authenticity and adventurous spirit.
• Lead track “Southern Man” features Marcus King’s guitar solo and stakes out Culpepper’s roots-music identity.
• Jesse Scott:

  “Can I name this the album of the year? Is it too soon?” (18:02)

• Songs traverse genre lines boldly; “Out of My Mind” has a Teddy Swims/Jelly Roll vibe, shifting to folk and bluegrass (“Broken Wing Bird” with Sierra Ferrell).
• Stephen Thompson:

  “You just have this feeling like it is this survey of Southern roots music that goes so big and is so unafraid to take detours, knowing that listeners are going to follow him wherever he goes.” (18:56)

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5. The Lowest Pair – 'Always As Young as Will Ever Be'

• [21:55] The folk duo returns after six years with personal, thematically expansive songs.
• Kendall Winter’s soft, plaintive vocals contrast with Palmer T. Lee’s gruff folk timbre; together, they blend stunningly.
• Stephen Thompson:

  “Their voices are tethered together in these really, really interesting ways.” (22:48)

• Standouts include “Diamonds” (power pop-Americana), “Tiny Rebellions” (epic reflection on resilience), and “Quantum Physics” (celestial lyricism).
• The album is praised for introspective and philosophical lyrics: Jesse Scott:

  “I particularly love ‘Quantum Physics.’ I mean, how many songs carry such weighty titles?” (25:01)

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6. Julian Lage – 'Scenes from Above'

• [27:43] Jazz guitar virtuoso Julian Lage explores timeless and creative soundscapes.
• His stylistic breadth—collaborating with Gary Burton and John Zorn—is emphasized.
• Jesse Scott:

  “It’s really elegant and timeless... This is a record you could listen to anywhere—on your front porch, while you’re taking a bath.” (29:13)

• “Opal” (liquid and atmospheric), “Red Elm” (jittery, exploratory), “Nightshade” (anthemic centerpiece).
• Stephen Thompson:

  “This is not wallpaper... It still manages to find so much creativity and so much expansiveness.” (30:18)

• Both reflect on how music discovery pushes their boundaries and expands their “wheelhouse.”

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7. Lightning Round: Other Notable Releases

• Ari Lennox – 'Vacancy' (33:53)

  • Steamy, soulful R&B, long-anticipated follow-up to Age, Sex, Location.
  • Stephen Thompson:

    “It’s full of timeless, steamy, soaring soul. Ari Lennox’s new record is titled 'Vacancy.'” (34:39)

• Sammy Brue – 'The Journals' (34:48)

  • Young artist sets newly surfaced Justin Townes Earle lyrics to music; emotionally rich, modern folk.

• Naive Melodies (Talking Heads Tribute) (36:02)

  • Talking Heads classics reimagined by artists like Bilal, Georgia Anne Muldrow, Aja Monet through jazz, dub & Afrobeat lenses.

• Della Mae – 'Magic Accident' (37:12)

  • All-female bluegrass band from Boston; praised for harmonies and powerful musicianship.
  • Jesse Scott:

    “Their vocals are incredible. Their harmonies are magical.” (37:12)

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Notable Quotes & Memorable Moments

• On protest music:

  “This is a protest album through and through. I mean, this is. Everything’s messed up in album form and she’s not kidding around...”
  — Stephen Thompson, Lucinda Williams (03:59)

• On genre openness:

  “You just realize that there are so many brilliant musicians making incredible stuff. And if you open yourself up to it, you’re just gonna find so many more joys in life.”
  — Stephen Thompson (32:02)

• On roots of Americana:

  “What we were doing initially at Americana radio was very country rock. And for us over the years to have expanded our horizons as the tent grew and more and more people were welcomed into the fold of it. You know, this is essential listening.”
  — Jesse Scott, Carolina Chocolate Drops (12:48)

• Jesse Scott’s bold endorsement:

  “Can I name this the album of the year? Is it too soon?”
  — Jesse Scott, Cassius Culpepper (18:02)

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Timestamps for Important Segments

• [00:43] Cat Power – Redux EP
• [02:39] Lucinda Williams – World's Gone Wrong
• [07:48] Carolina Chocolate Drops – Genuine Negro Jig
• [17:12] Cassius Culpepper – Act One
• [21:55] The Lowest Pair – Always As Young as Will Ever Be
• [27:43] Julian Lage – Scenes from Above
• [33:53] Lightning Round: Ari Lennox, Sammy Brue, Naive Melodies, Della Mae

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Tone & Style

Friendly, enthusiastic, deeply knowledgeable, and passionate about music discovery and its cultural resonance. Both hosts champion the importance of protest, roots, and boundary-pushing music while encouraging openness among listeners to new and diverse sounds.

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Recommended For...

Anyone looking for engaging, in-depth commentary on the week’s best new albums and reissues, as well as celebration of music’s ability to connect, comfort, and challenge listeners.

Transcript

[Announcer]

This message comes from Sony Pictures Classics with the Coral, directed by Nicholas Hittner, written by Alan Bennett, starring Ralph Fiennes as a choir master in 1916. Yorkshire making music as war rages on, now playing only in theaters.

[Singer]

Try me, try me.

Darling, tell me.

I need you.

[Stephen Thompson]

Happy Friday, everyone. From NPR Music. It's NEW MUSIC Friday. I'm Stephen Thompson here with Jesse Scott from WMOT in Nashville. Welcome back to the show, Jesse.

[Jesse Scott]

Thank you. So good to be here.

[Stephen Thompson]

It is a pleasure. So the music we are hearing is part of a reissue campaign. Kat Power put out a classic album called the greatest 20 years ago. Now it's being reissued with a three song EP called Redux where she's kind of reunited, revisiting that classic sound, including with a cover of Nothing Compares to youo by Prince, as popularized by Sinead o'. Connor. Jesse, what do you think?

[Jesse Scott]

It's such a trip. I'm particularly fond of Try Me, anybody that redoes 1958, James Brown and the famous Flames in power ballad style is a worthy entry. And you got to pay particular attention to the piano. It sounds like it banged off the ionosphere way back a couple of decades ago. I love this.

[Singer]

I need you.

[Stephen Thompson]

Kat Power has been kind of been working with these, you know, with these great session musicians for ages. In fact, the, the COVID of Nothing Compares to youo that's on this EP is a tribute to Teenie Hodges, a guitarist who played on the original ALB the Greatest. And so she's, you know, as you said, pinging off the ionosphere just, just, just like blurring the boundaries of space and time, you know, playing with a lot of these classic vintage, beautiful sounds and, and setting that gorgeous voice against it. I need you. That's Cat Power. She's got a new EP called Redux as part of a reissue campaign for the classic 2006 album the Greatest. Well, as far as official albums we're gonna be talking about on this week's show, Lucinda Williams is back with a new album called World's Gone Wrong.

[Singer]

Get up every morning and go to.

Work.

He sells cars and she's a.

Nurse.

Working long hours is the devil's curse Things are getting tight but it could be worse she tries hard to ignore the news Nothing makes sense and she gets confused between what is false and what is true and she worries they won't get through.

Come on, baby, we gotta be strong Dark days are getting long.

Looking for comfort and the.

Song Everybody knows the world's Long.

[Jesse Scott]

Lucinda Williams back with 10 topical songs that she wrote Last year. This is the rockin est band that Lucinda has had together in quite a while. Twin guitars. And Lucinda has amazing guests on this record, including Mavis Staples and Norah Jones on Back up on two of the songs.

[Stephen Thompson]

Yeah, I mean, it's interesting. I feel like there's been this canard going around for a really, really long time that there's no protest music anymore. Where's all the protest music there? All this stuff is going on in the world, all this conflict. And, you know, nobody's writing protest music. And it's like, first of all, I'd like you to introduce you to Jesse Wells. Second of all, lots of people are doing protest music. It's not necessarily as widely disseminated as protest has been, perhaps in previous generations. But this is a protest album through and through. I mean, this is. Everything's messed up in album form and she's not kidding around, you know. I mean, first of all, obviously, as you mentioned, bringing in Mavis Staples in the song so Much Trouble in the World, which is kind of built on this dub arrangement that I wouldn't have necessarily expected from Lucinda Williams. But there's also just a lot of this gnarled righteous fury. I mean, the song that we played up front, the world's gone Wrong, you've got just like these Neil Young esque, kind of gnarled guitars and screaming organs. These songs are about a broken world. But even in a song called the World's Gone Wrong by one of our weariest singers alive today, there's still a reminder in this song to experience a little bit of joy once in a while.

[Singer]

Come on, baby, we gotta be strong Dark days are getting long Looking for.

Comfort in the song.

Everybody knows the world's gone wrong Everybody knows the world's gone wrong.

[Jesse Scott]

I dare say Lou has always been in touch kind of with everyday people and really represents the poetry of everyday life, of, you know, common existence. And I think that in her narrative, always are those little joyous touchstones, you know, smell the roses kind of thing, and just remind you to live your life today. We have Today. One of the songs that I adore on this is how much did you get for your soul?

[Stephen Thompson]

Seriously, which, you know, has devastating takedown.

[Jesse Scott]

Protest narrative, but doesn't name names, and also has kind of a jingle jangle 60s garage band vibe.

[Singer]

The devil is a master salesman you weren't so hard to convince he closed the deal as only he can and made you feel like a cr.

[Stephen Thompson]

There's another track, Sing Unburied, Sing, which you know the song is just built on a very familiar riff. I couldn't quite place what the riff reminds me of, but the fire of this song brings up this kind of communal energy. There's a rollicking spirit to a lot of these arrangements. And, you know, and, you know, sometimes when I think of kind of late period Lucinda Williams, I sometimes kind of associate her with dirges a little bit and where her weariness kind of is the sound of someone who has kind of been ground down by the world. And lyrically that comes up on this record, but sonically, it is alive and kicking.

[Singer]

Sing unbered Sing unburied friend Unburied Sing unburied friend Unburied Sing unburied friend.

[Stephen Thompson]

That is Worlds Gone Wrong by Lucinda Williams. Next up, another band knows its way around a little protest music. Carolina Chocolate Drops is back with a 15th anniversary edition of one of its classic records. It's called Genuine Negro Jig.

[Singer]

I wish I had a Nicole, I wished I had a dime I wish I had me a pretty girl, you know I'd call her mine don't get trouble in your mind don't get trouble in your mind don't get trouble in your mind don't get trouble in your mind.

[Jesse Scott]

You know. They so wrote the book for awareness of African American contributions to roots music and continue to do so. Tom Flemons has applied that in his solo career. Rhiannon soared with her commitment to finding the way to tell the story through music. Whether it's ragtime, whether it's jigs, whether it's field hollers and gospel infused, you know, the music that came out of the mojo triangle, which is arguably an area from Memphis to Nashville to New Orleans, is what informs Americana to begin with. And certainly Rannon Giddens is a masterful purveyor of these sonics. And it's great to have new tracks from the Carolina Chocolate Drops.

[Stephen Thompson]

Absolutely. And you know, one of the joys about these reissues and you know, this takes the original record, adds several kind of remastered remixed songs, adds seven totally previously unreleased song to the mix. But part of the joy is just being reminded, hey, break out this record. This thing came out. I mean, it's the 15th anniversary edition. Truth be told, it's really kind of the 16th anniversary edition. But I, who cares, you know, I. I just loved kind of going back and revisiting that absolutely essential, glorious cover of Blue Cantrell's hit Em up style, You know, which is taking this, you know, this kind of revenge minded R and B anthem. But like Turning it into something that sounds ageless, something that, you know, like treating it as if it is passed from front porch to front porch and like finding this total timeless vibrancy. You know, as much as it's, in a way, kind of a novelty song, it is just glorious.

[Singer]

Hey, ladies, when your man want to get buck wild Just go back and hit him up style get your hands on his cash and spend it to the last time for all the hard times when you go Then everything goes from the crypt to the ride in the close so you better let him know that if he mess up, you gotta hit him up.

[Jesse Scott]

I adore City of Refuge, just sweet gospel story and Rattler, which has some Cajun flavor. And I love that they mine all these different flavors in their music. It's certainly not a one dimensional record, and it is joyous and raucous at times even.

[Stephen Thompson]

You know, it's interesting because obviously they've added a number of songs to the end of this record, kind of created this expanded edition. And those pieces are not as polished as the kind of the core album that we got back in 2010, but there's still just fire and rage and joy and kind of velocity to these performances. You know, you mentioned here, Rattler, there's a cover of Jack of Diamonds, you know, that like, is tapping into just this kind of primal blues music. And, you know, man, I love that these musicians individually have continued to make essential music, but there is something about hearing them together.

[Singer]

Jack of diamonds, jack of diamonds, jack of diamonds of all you rip my old pockets of silver and gold Jack of diamonds, jack of diamonds, jack of diamonds of old you robbed my own pockets of silver and gold.

[Jesse Scott]

They burst on the scene and their voice together was so important and singular as well. As they've continued, their paths have been incredibly important to remind us that what we were doing initially at Americana radio was very country rock. And for us over the years to have expanded our horizons as the tent grew and more and more people were welcomed into the fold of it. You know, this is essential listening. This is so important historically and it's so artistically satisfying that it's a must.

[Stephen Thompson]

Absolutely. It expands our view of the present and of the past and of the future and what a gift that is. That's the Carolina Chocolate Drops, their new reissue of Genuine Negro Jig, a 15th anniversary edition with seven previously unreleased songs and several other tracks. Really, if you haven't dug into this record in a while, go back, you're going to be so glad you did. We've got a bunch more records out today, January 23rd, that we're going to talk about in depth. But first, let's take a quick break.

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[Stephen Thompson]

From NPR Music, it's NEW MUSIC Friday. I'm Stephen Thompson here with Jesse Scott from WMOT in Nashville. Jesse, tell us what's going on at the station.

[Jesse Scott]

Well, we are coming up on our 10th anniversary of WMOT Roots Radio. That'll happen in September. And it has just been such an incredible ride. We could not have foretold how many more people would come making music out of Nashville and how joyous it would be with all kinds of new faces and all kinds of new voices in the Maxim. We, of course, as a radio station, you have to kind of be on the perch overlooking the nest of all of this. And it's just been remarkable. I'm so proud of how cooperative everybody is with one another and the kind of music that's being made across the board is remarkable. And for those that say there is no new music, oh, boy, you need to listen.

[Stephen Thompson]

Get me started. Get me started on this. All, all the good music stopped when I turned 20.

[Singer]

Not really.

[Stephen Thompson]

Not how it goes. Not how it goes. You're Just not listening. Nice. Well, and people can [e-mail] and we have an app. Wonderful. Yeah, download that WMOT app. All right, next up, we have got the singer Cassius Culpepper. Cassius Culpepper's new album is called Act One.

[Singer]

Well, you can dress me up in diamonds and you can give me all.

Your gold.

But I'm still need that water, baby Throw the roots down in my soul Ain't nothing you can give me, baby that I ain't already that deep inside. Cause I'm a Southern man and I know who I am yeah, I'm a lover man I got dirt on my hands Came up from the holler I ain't got a dollar blood on these things and I'm a Southern man and I'm always gonna be.

[Jesse Scott]

Can I name this the album of the year? Is it too soon?

[Stephen Thompson]

Well, let's see. It's out January 23rd. We've heard probably 1-500th of 1% of the music that is coming out in 2026. Why not? I mean, it's dynamite, I'm gonna give you that. Tell us about this record. Tell us about this guy.

[Jesse Scott]

Well, so Cassius Culpepper is from Alabama, and he kind of sums up what the Americana movement is all about as he brings country, soul, blues, folk, rock together and spins it and creates something really iconic with it. Never far from his Southern roots and willing to explore all kinds of different tonalities and intensities, he's not afraid of any of it, and he brings it all together. And the songs are amazing.

[Stephen Thompson]

Yeah, the songs are amazing. And also really genre wise, so sonically expansive, you know, you have kind of that classic country rock mission statement in the song Southern man, where he brings in Marcus King, the great blues guitarist, to come in and do, you know, kind of a ripping guitar solo. And, you know, that kind of statement of purpose is the kind of thing that, you know, you expect, you know, from, like, a young country singer. But you also have these forays into blues, into folk music, into, you know, that kind of. There's a track called out of My Mind, you know, which is kind of hitting that Teddy Swims jelly roll kind of bellowing sweet spot. But then kind of late, there's this kind of Mumfordy stomp and clap banjo breakdown. And you just have this feeling like it is this survey of Southern roots music that goes so big and is so unafraid to take detours, knowing that listeners are going to follow him wherever he goes.

[Jesse Scott]

Well, of course, the other standout is Broken Wing Bird.

[Stephen Thompson]

Oh, beautiful song.

[Jesse Scott]

Strips it down totally. And Sierra Farrell joins in on that song. A lovely folky slice in the tradition, sonically, of angel flying too close to the ground. And there's just so much richness on this record. Like I say, it's my number one at the moment. It may be in my top 10 by the time the year is done, but I just want to go on record and say this is something beautiful.

[Singer]

Before she crashed into the ground below.

[Stephen Thompson]

And stopped reaching for the sky. That is act one by Cassius Culpepper, one of the bunch of great records out today, January 23rd. Next up, we've got a duo called the Lowest Pair. The lowest Pair is back with their first album in six years. It's called Always as young as the as will ever be.

[Singer]

I taught you my heart was wide hard to make it to the other side. You said you built a bridge way to cross and I don't know what other people mean the bucket was full the water was clean still the river rose and rose all was lost But I don't want to wait anymore I don't even know what I'm waiting for I'm getting tired of the shore of the youngsters. If I wasn't good to you it.

Was only cause I didn't know how.

To it was only cause I didn't know how to be.

[Jesse Scott]

Now the name comes from John Hartford, from a poem.

[Stephen Thompson]

Yeah.

[Jesse Scott]

And these are iconic voices. They're both so sonically interesting.

[Singer]

Yeah.

[Stephen Thompson]

Kendall Winter from Olympia, Washington, Palmer T. Lee of Minneapolis. They've been making records together since 2014, and these two have been floating around for a while now. And I think it's so interesting, Jesse, how different their voices are and how well those voices blend together. You know, she's got this soft, high, plaintive coo. She reminds me a little bit of Aeneas Mitchell in the way she sings. He's kind of got that kind of grittier, more rustic grounded kind of folk music sound. And together, you know, their voices are tethered together in these really, really interesting ways.

[Jesse Scott]

Check out Diamonds. It's lush power pop Americana, and it retains the roots feel, but it definitely brings it forward in such a rich way.

[Singer]

We can get above the clouds if we keep climbing up this mountain. It's just a little further up. Searching for diamonds in this roof. We can get above clouds if we.

[Stephen Thompson]

Keep climbing up this mountain.

[Singer]

It won't be easy but a couple searching for doubt.

[Stephen Thompson]

There's also a song called Tiny Rebellions you know, this big, stormy, rambling epic. You know, it's more than six minutes long, definitely longer than a lot of this band's songs. And it really sums up, you know, a lot of ideas about living in the world today, about getting through hard and kind of finding yourself on the other side. And it really lets them kind of let loose and go big.

[Singer]

I think I'm so in sweat Falling in love again. In f o v tiny rebellion.

[Jesse Scott]

I particularly love Quantum Physics. I mean, how many songs carry such weighty titles as they sing of particles and energy and, and, you know, they make it celestial, but also boots on the ground.

[Singer]

I heard quantum physicists say a kiss is just, just happening. Not as solid as a thing. We are moving energies. He was Italian and his English was fine. He said, we know the Antelope right now the Antelope relate to the line.

[Stephen Thompson]

It's interesting. You know, this is the lowest Paris first album in six years. And it really feels like they've built of lot a up things to say. Right. Like you mentioned, kind of going big thematically. Even the title always as Young As Will Ever Be, is kind of that kind of gritty philosophy that I think works really, really beautifully. Well, especially when it's dispensed by these voices and the way these voices blend. Another one that I wanted to mention, the song that opens this album is called Give It All Away. And, you know, it's this beautiful message about letting go and sharing and unburdening yourself. And you just get a sense that to have spent a lot of time in the making of this record thinking about their world and thinking about what they want to say.

[Singer]

By now I wonder how the seasons always seem to take us by surprise. Calculated chaos I'm still spinning in kaleidoscoping skies.

[Stephen Thompson]

The lowest pair. Their new album is called Always As Young as Will Ever Be. We've got one more record we want to talk about in depth, as well as a lightning round of some of our other favorite albums out today, January 23rd. But first, we're going to take a quick break.

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[Stephen Thompson]

I'm Stephen Thompson here with Jesse Scott of WMOT in Nashville. Before we get to a lightning ra of some of our other favorite records out today, we wanted to talk about a new record by Julian Lodge. It's called Scenes From Above. So Julian Lodge is kind of a jazz guitar God. You know, he's a former child prodigy, famously performed at the Grammys when he was 12 years old. He's now 38. In that time, he has worked on dozens of albums. He's put out tons of records under his own name and in kind of featured collaborations with other artists. He's also played as a sideman with Gary Burton, John Zorn. Just to give you a sense of the extreme range that this guy is working in within jazz. Gary Burton to John Zorn is a big range. You know, his own music is just gorgeous, right?

[Jesse Scott]

It's really elegant and timeless. And of course, personally, being a huge John Martin fan, I was hoping that Solid Air would be a cover, but it was not. But it was moody and elegant and stark, jazzy. And the other thing, too, that I love a couple of other songs. Opal, which is melancholy talking drum, a bit more percussive. And I loved Ocala for its resonance and easy vibe. This is a record you could listen to anywhere on your front porch while you're taking a bath. It's something to soothe the savage beast. It's really lovely.

[Stephen Thompson]

You mentioned the song Opal, which. Which opens this record, and. And as I was hearing it, I was like, oh, yeah, this is. This is, you know, just great vibes, right? Cool, atmospheric vibes. This almost. Almost liquid guitar sound. And I'm finding myself kind of being soothed by it. But as this record progresses, this is not wallpaper. This is not hanging back, and you lose track of it in your life and you're paying your bills and you. You don't even realize there's music playing. This is not that kind of record. It still manages to find so much creativity and so much expansiveness. Right after Opal, there's a track called Red Elm, and it's more jittery, it's more exp. Exploratory. It's taking kind of that baseline, really cool guitar sound, and it's finding ways to explore beyond that.

[Jesse Scott]

It's very cool. I thank you for turning me on. It's always a joy to hear something from someone you've never heard of before. Oh, not in my wheelhouse.

[Stephen Thompson]

You know, it's funny, our wheelhouses are always so much bigger than we think they are.

[Jesse Scott]

Well, they always get bigger, too, which is so great.

[Stephen Thompson]

And that's part of the joy of getting to do this show. And I hope of listening to this show is like, even if, you know, I don't think of myself as a jazz guy first and foremost. But I'll sit down with these records and really spend some time with them. And then you're like, man, I need to listen to more jazz. I need to listen to more blues, I need to listen to more. And you just realize that there are so many brilliant musicians making incredible stuff. And if you open yourself up to it, you're just gonna find so many more joys in life. I wanted to mention, Jesse, do you remember the song from this record, Nightshade, that kind of pops up about halfway through and just kind of blows out into this kind of massive, anthemic, like 7 1/2 minute centerpiece on this record. I kept going back to that track again and again.

[Jesse Scott]

Yeah, I mean, this is the kind of record that you put on and you leave it on, it plays in its entirety. If you have it on vinyl, you flip it over and listen to the second side.

[Singer]

Sam.

[Stephen Thompson]

That is Scenes from above by the guitarist Julian Lage. Now, Jesse, Yes. We could not possibly get already. We are already at the point in the year where it's like, oh my God, we couldn't possibly get to everything that's great. That's out today. Again, it is January 23rd. We've only just begun. Wait until we get into March with how many great new records come out every week?

[Jesse Scott]

Absolutely.

[Stephen Thompson]

All right, I'm gonna kick off our lightning round. The R and B star Ari Lennox has staple of other people's recordings. She's worked extensively with J. Cole, Summer Walker and others. Ari Lennox last released a solo album in 2022 when her album Age, Sex Location became a sleeper hit. She's been dropping loose singles ever since. And now a full length follow up is finally here. As those singles suggest, it's full of timeless, steamy, soaring soul. Ari Lennox's new record is titled titled Vacancy.

[Singer]

I want you to feel this vacancy come through oh baby, I want you to move in the space with me.

[Jesse Scott]

Tonight Sammy Brew sets the journals out. He sat at the knee of mentor Justin Townserl to create this album. Writing, finishing or reimagining never before recorded songs taken from Earl's journals entrusted to Sammy by Justin's widow. Now Sammy brew is just 21 years old. He's been doing it since he was 13. And this is quite an expose of Sammy Brew's talents. This is a lovely record, worth your time. We miss Justin Towns Earl so much. It's really wonderful to have his words still live in yet another incarnation. That's Sammy Brew and his new album, the Journals.

[Singer]

I talked to God I said sometimes I regret but I beat the eyes. This guitar is all I got left. Lord, I'm ready now, ready now.

Lord.

Come take me now take me now.

[Stephen Thompson]

The music of Talking Heads was heavily influenced by black music, and now a new tribute album finds the flow of influence moving in the opposite direction. The artists on Naive Melodies reinterpret Talking Head songs through the prism of jazz, soul, dub, Afrobeat and other sounds. You can hear classic songs interpreted by the likes of Bilal Aja Monet, Georgia Ann Muldrow and more. And as those names suggest, you're going to hear some pretty inventive interpretation. That album, once again is called Naive Melodies.

[Singer]

You may find yourself living in a shotgun shack and you may find yourself in another part of the world. And you may find yourself behind a wheel of a large automobile. And you may find yourself in a beautiful house with a beautiful wife. And you may ask yourself, well, how did I get here?

Days go by.

[Jesse Scott]

Delamee has been around since 2009. All female bluegrass band out of Boston. Personnel changes have ensued through the years, but they are tight and powerful as ever. Their vocals are incredible. Their harmonies are magical. This is well worth your time. That is magic Accident from Della Mae.

[Singer]

Can we find a common thread Haunts again? We share all our history. Don't leave this mess to me.

[Stephen Thompson]

Leave this mess to me. And that is our show for this week. Thank you, Jesse Scott, for taking time out of your week at WMOT in Nashville.

[Jesse Scott]

Thank you, Stephen, for asking.

[Stephen Thompson]

It's always a pleasure if you enjoyed this week's show. We always appreciate a positive review on Apple or Spotify or whatever app you're listening to right now. This episode was produced by Noah Caldwell and edited by Otis Hart and Elle Mannion. The executive producer of NPR Music is Soraya Muhammad. We'll be back next week to discuss more new music with Andrea Castillo of KVNF in Western Colorado. Until then, take a moment to be well. Always lift with your knees and treat yourself to lots of great music.

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