“Buster’s Happy Hour” (Forward/Rhino) — Buster Poindexter

Poindexter stakes a strong early claim for the title of most politically incorrect album of 1994. With such titles as “I Got Loaded,” “Big Fat Mamas Are Back in Style” and “Drunk,” Poindexter is happily out of step with the 12-step `90s.

As a member of the glam-rock group the New York Dolls, the then David Johansen shocked many middle-class sensibilities. But now Poindexter prefers to tweak the narrow minded with a retro album of party-time jump blues, his first release in five years.

The result is 17 whisky ‘n women rockers, primarily covers of classic jump tunes first immortalized by the likes of Louis Jordan and Wynonie Harris. Close your eyes during “Saturday Night Fish Fry” and you can picture the good times rolling right up until the time the cops shut down the dark, smoky nightclub.

“Buster’s Happy Hour” offers the enjoyment of being there, only you don’t wake up with a hangover.

“Greatest Hits (1980-1994)” (Arista) — Aretha Franklin

As with most greatest-hits compilation, this latest album from “The Queen of Soul” is a mixed bag, as her commercial success was up and down during that time period.

Sure, Franklin’s hits are there, including “Freeway of Love,” “Jump To It,” “Who’s Zoomin’ Who” and “Another Night.” Also there are duets with George Michael (“I Knew You Were Waiting (For Me)”) and Luther Vandross (“Doctor’s Orders”). A highlight of the album is a live rendition of “You Make Me Feel (Like A Natural Woman)” with Bonnie Raitt and Gloria Estefan.

But there’s also lesser-known songs such as “Willing To Forgive” and “Honey.” Greatest-hits albums work best when they’re packed from beginning to end with hits, and this one isn’t.

Still the album does offer a good retrospective of the recent part of her career, and Franklin’s voice can add to any song. “Greatest Hits (1980-1994)” offers a good introduction to Franklin’s later works, but her veteran fans have heard these all before.

“Talk” (Victory/PLG) — Yes

The founders of art rock are back with their first effort since 1991’s “Union.” The lineup that recorded the group’s strongest recent effort, “90125,” has been reunited, but Jon Anderson, Trevor Rabin, Tony Kaye, Chris Squire and Alan White fail to recapture the grandeur of that album.

On “Talk,” Yes provides the well-woven, three-part harmony and the cascading, computerized keyboard that’s expected. But none of the seven songs on “Talk” stick in your brain like “Owner of a Lonely Heart” did. In fact, the best cut, “Walls,” is the only one that’s not instantly identifiable as a Yes tune.

And one thing Yes will never be is radio-friendly, with the shortest cuts on “Talk” clocking in at around five minutes. What’s enchanting at four minutes can deteriorate to overblown at seven minutes.

Then there’s the expected Yes epic, the 16-minute “Silent Springs.” But while it has some interesting passages, it’s no “Roundabout.”

“Talk” doesn’t get better with repeated listening. It’s an album only for Yes fans to talk about.

“Natural Thing” (Reprise) — Juliet Roberts

Not to be mistaken with the American actress, British import Juliet Roberts brings many different influences to her American debut. The influences in her infectious dance music include calypso, reggae, blues, soul and jazz.

Roberts and her producer, Dancin’ Danny D, push all the right levers on such uptempo songs as the single “I Want You,” “Caught in the Middle,” “Save It” and the title cut. She also shows off her softer side on the gorgeous ballad, “September.”

From performing from an early age, Roberts has also learned how to pick good material. Most cuts on “Natural Thing” stand up to repeated listening and stick in your head.

The American market is crowded with dance divas, but Roberts is too talented to be overlooked. Her album’s title aptly describes her abilities.