This winter of 2017-18, whether you're all bundled up and trudging through snow and ice or wearing board shorts and soaking up the sun at the beach, remember that music makes everything better.
Before Linda Perry became the Grammy Award-winning hit songwriter-record producer and wife of Sara Gilbert, she was the dreadlocked lead singer of the blues-rocking band 4 Non Blondes. There's not much on 4 Non Blondes' 1992 debut album "Bigger, Better, Faster, More" (Interscope/UMe), newly reissued on 180-gram vinyl, to indicate that Perry was capable of writing hits such as "Beautiful" and "Get the Party Started" for Christina Aguilera and P!nk. In fact, the album's lone massive hit single "What's Up" qualified 4 Non Blondes for one-hit-wonder status. "Dear Mr. President," another of the Perry-penned tunes on the album, is the other highlight.
Now in his seventh decade as a recording artist, the remarkable 82-year-old Johnny Mathis returns with "The Great New American Songbook" (Columbia). Throughout his career, Mathis gained a reputation for being a top-notch interpreter of other people's songs. Co-produced by Clive Davis and Babyface, the disc features Mathis' singular renditions of Leonard Cohen's "Hallelujah," A Great Big World's "Say Something," Adele's "Hello," Pharrell's "Happy" and the Josh Groban hit "You Raise Me Up."
With her new Cuban-spiced album "An American in Havana" (susanwerner.com), singer-songwriter Susan Werner proves once again that there aren't any musical genres she's unable to master. Having established herself in the folk world, Werner turned her attention to cabaret-jazz on "I Can't Be New," modern liberal spirituality on "The Gospel Truth," contemporary classical on "Classics," and country on "Kicking the Beehive" and "Hayseed." "1955 Chevy Bel Air" brings all of her songwriting chops, including her ability to pen marvelous lyrics, to the fore. "Havana Moon" is swoonworthy, "Cortadito" puts her fantastic sense of humor on display, and "Stray Dogs" invites listeners to salsa to their heart's content.
Since the release of their respective 2015 albums, the second for Torres and the first for Julien Baker, both artists have undergone musical transformations on their follow-up discs. On "Three Futures" (4AD), Torres (aka Mackenzie Scott) comes across like the kid sister of St. Vincent and Mitski. Sure, there were hints on "Sprinter," including the song "Cowboy Guilt." But metamorphosis is complete for Torres on "Three Futures," as is obvious on "Tongue Slap Your Brains Out," "Helen in the Woods," "Concrete Ganesha" and the near-epic electronic "To Be Given a Body."
While Baker's "Sprained Ankle" was a mostly acoustic guitar and vocal affair, "Turn Out the Lights" (Matador/6131) is more sumptuous. Fleshed out with piano, strings, woodwinds and brass, the guitars are plugged in, adding to the radiance of the music. Even Baker's vocals have a luminescence, especially on "Televangelist," "Everything to Help You Sleep" and "Appointments."
If there's any justice, Jeff Heiskell, former frontman of "The Judybats," will get the recognition he has long deserved. The openly gay frontman of the Tennessee-based band has been recording as Heiskell since putting out 2007's "Soundtrack for an Aneurism." The new Heiskell disc "Emotional Terrorism" (heiskellmusic.com) is as haunting as the title and cover image suggest. That's meant to be a compliment because unforgettable songs "I Want More Life," "Abandoned Property" and the club-oriented "It's Everything" linger like musical ghosts
Benefiting the Tegan and Sara Foundation, whose mission is "fighting for economic justice, health and representation for LGBTQ girls and women," the various artists "The Con X: Covers" (Vapor/Warner Bros.) features an all-star cast of artists commemorating the 10th anniversary of Tegan and Sara's 2007 album "The Con." As is often the case with covers/tribute albums, "The Con X: Covers" is a little uneven. But there is healthy representation by LGBTQ artists, including MUNA ("Relief Next to Me"), Mykki Blanco ("Knife Going In") and Shamir ("Like O, Like H"). There are also delightful surprises including performances by Ryan Adams ("Back in Your Head"), City and Colour ("Hop a Plane"), Sara Bareilles ("Floorplan") and devout Christian artist Hayley Williams of Paramore ("Nineteen").
A pair of bisexual divas has new albums. The new and improved Miley Cyrus, freed from the bonds of Disney and its affiliate Hollywood Records label, defied the odds and emerged as a respectable (if slightly off-kilter) artist on 2013's "Bangerz." Four years later, Cyrus returns with "Younger Now" (RCA), her most mature and assured effort to date. Just listen to the powerful "Inspired" as proof. "She's Not Him" sounds like Joanne-era Lady Gaga, while Cyrus dares to venture into indie-pop territory on "I Would Die for You." She wisely serves up a dance track on "Malibu" and a duet with Dolly Parton ("Rainbowland"), which includes a personal message from Dolly to Miley.
Halsey doesn't completely abandon the electro-pop style that helped to establish her popularity on her second album "Hopeless Fountain Kingdom" (Astralwerks). But she definitely sounds like she's determined to expand her musical palette on "Devil in Me" and "Angel on Fire."
UK-based lesbian singer-songwriter Susie Wilkins rocks like nobody's business on her new four-track EP "She Got Me Good" (susiewilkins.com). The title opener kicks things off on a blistering note, and "Fall to Pieces" lightens up the rock level. "Far Away" adds a gospel choir to the proceedings.
No matter where you are this season, we all need to laugh. Fabulous, "gay as hell" comedian Solomon Georgio nails it on "Homonegro Superior" (Comedy Central). He's an African immigrant who "can say whatever the hell" he wants because he's "black and gay." He takes us through the history of his name, his family's immigration story, fashion faux pas, coming out at 18, culture clashes, porn stashes, society, homophobia and racism, his boyfriend, being "a professional homosexual," straight men, and fisting, all the while making us think as we laugh.