Brazilian Girls claim on their website, "We are not a jam band, we are a band that jams," which proves true more so in concert than on record. Live, they serve ebullient dance jams to the masses and offer off-kilter commentary. Talk to La Bomb does capture this energy, this blend of organic rhythms and electronic, playfulness with the political, sensual with the profane.

Whereas Brazilian Girls was their perfect record, Talk to La Bomb is uneven. Now, the band’s weaknesses are obvious: "Problem" is a electronic/punkish throwaway, and the wretched "Talk to La Bomb" is repetitive to a fault. The bratty politics that pervade the album also hinder its promising shine. Awkward moments on Brazilian Girls were easily overlooked, here the sore spots are front and center.

There are many saving graces. "Jique" and "Le Territoire" are charging sexual romps. "All About Us," "Last Call," and "Sweatshop" are jewels of pop perfection. Sounding quite engaged, their overall performance still ranks high. Talk to La Bomb still captivates the listener with its charm and vision whether or not you think a song called, "Sexy A**hole" is sexy.

Artist: Justice
Album: "†" (Cross)
Label: Ed Banger Records/Vice Records

In their first album, Cross, Gaspard Augé and Xavier de Rosnay uphold the quirkier tendencies of electronic music while incorporating rock and r&b into their grooves.

This mostly instrumental disc is an explosive wonder, barring a few mellow (the Eno-esque "Valentine") or even dumb moments, (the meager ersatz Peaches flop "The Party" [sic]) it redeems itself with the Aphex-cum-Beck knob-tweezing delights of "New Jack" and both "Phantom" parts one and two. Kraftwerk era keyboards and synths underlie the Nile Rodgers bass on most tracks sounding like an early 80’s funk band gone avant garde.

"D.A.N.C.E.", with its young French choir of boys and girls is annoyingly infectious and a tribute to Michael Jackson, the King of Pop. The way that older sounds are regurgitated as grotesque makes Cross a strangely pretty record. You may care to dance to it or marvel at its bizarre beauty. May (insert any modern DJ here) choke on the mastery of Justice.

Artist: John Phillips
Album: John The Wolfking of L.A.
Label: Varèse Sarabande

The brain of The Mamas and the Papas only released three official solo records in his lifetime. Wolfking is his first and probably the only Phillips record you would need. Released in 1970 and re-released in 2006 with 8 bonus tracks (almost the length of the 33 minute original album). Wolfking hones in on the burgeoning folk/rock, post psychedelic sound of late ‘60s Los Angeles.

The album is imbued with a pastoral haziness and singer-songwriter melancholy. The prevalent slow country accompaniments aid "April Anne" in its colorful, slow character study. "Malibu People," "Drum" and "Let It Bleed, Genevieve" all share a similar sadness which glue together the highlights: "Topanga Canyon" and "Holland Tunnel" are transcendent songs full of regret and emotion. A noteworthy bonus is The Blossoms who serve as the backup singers on Wolfking. As always Darlene Love’s voice shines through any song on which she appears.