From a legendary songwriter, an ear-catching ‘Surprise’

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“Surprise” (Warner Bros.) – Paul Simon

The real surprise here is the lack of surprises.

After all, it was Simon who brought world music to the masses, with the African rhythms of 1986’s “Graceland” and the Latin beats of 1990’s “The Rhythms of the Saints” and, to a much lesser extent, the sounds of the city streets in the 1997 Broadway flop “The Capeman.”

But after a storied career and nearing retirement age, the 64-year-old Simon really has nothing left to prove on “Surprise.”

The new album is a lot like Simon’s release that most recently preceded it, 2000’s “You’re the One,” in that it’s an amalgam of the singer-songwriter’s musical influences.

For “Surprise,” Simon collaborates with the always-experimental Brian Eno. It doesn’t sound like the most natural of team-ups, and yet it works.

Simon shows he’s no one-trick pony here. He manages to be thought-provoking yet hopeful lyrically, while the music is spare but ear-catching at the same time. Through the years, he’s learned that less is more when trying to get a message across.

So, let’s let Paul Simon follow his own muse and bring forth his latest musical creation when he’s ready. More often than not, he’s proven it’s worth the wait. – Dale McGarrigle

“Live and Rare” (Epic) – Korn

For fans who may argue that Korn’s thrash-metal stylings are best experienced live, the band serves up “Live and Rare.”

Korn plunders material from a taut, emotional performance at New York City’s legendary CBGB for the first seven tracks of this release, and even casual listeners will recognize hits among them such as “Blind,” “Got the Life” and “Freak on a Leash.”

Recordings from CBGB, Woodstock ’99, and other live shows flaunt the metal innovators’ down-tuned sound at its ominous, jangling peak, and wrap it in an audio mosh pit of crowd noise.

Respectable covers of Pink Floyd’s “Another Brick in the Wall (Parts 1, 2, 3)” and Metallica’s “One” will please listeners by hewing close enough to the originals to pay tribute and being executed with Jonathan Davis’ fervent vocal flair.

Korn is definitely not a jam band and this album lacks the extended guitar solos and interludes that may be expected in a live album. A notable exception is a version of “A.D.I.D.A.S.” that ends in a groove that could be a product of the Woodstock environment in which it was produced.

“Earache My Eye,” a cover from Cheech & Chong’s “Up in Smoke” that Korn recorded as a hidden track on 1998’s “Follow the Leader” also is included in this collection alongside “Proud” from the film “I Know What You Did Last Summer.”

Metal enthusiasts will appreciate the quality songs and performances on this release. – Judy Long

“Let Love In” (Warner Bros.) – Goo Goo Dolls

It’s hard to believe this group has eight albums to its credit already … even harder to accept the fact the trio from Buffalo, N.Y., has been together for 21 years. What’s not difficult to digest is the level of success and acclaim they’ve reached.

The great band with the not-so-great name is known for diverse and melodic rock offerings on their most recent platinum albums has gone almost exclusively to the softer side of their sound with this offering, and it still works.

“Let Love In” is the result of singer-guitarist John Rzeznik, Robby Takac and drummer Mike Malinin’s move back to Buffalo from the Left Coast and the “disingenuous” atmosphere of Los Angeles. The punk-inspired Rzeznik rediscovered his roots and renewed a writing partnership with Takac that ended after 1993 album “SuperstarCarWash.”

The newest album’s title pretty much says it all as it evokes an optimistic, happy, intimate feel with songs like “Better Days” along with ear-enlightening selections like the title track, “Feel the Silence,” and “Listen.”

There’s a bonus on this album as well with the inclusion of the trio’s solid cover of the Supertramp classic “Give a Little Bit.”

The Goo Goo Dolls’ eighth album will be first in lots of fans’ hearts. – Andrew Neff

“News and Tributes” (Vagrant) – The Futureheads

On their smart, jittery, danceable debut album, the Futureheads made barbershop quarter harmonies seem cool – at least when paired up with fractured guitar riffs reminiscent of ’80s bands XTC and a fast-paced, pop-informed songwriting mentality.

That, and a buoyant cover of Kate Bush’s “Hounds of Love,” set them apart from the Britpop and dance punk masses pouring out of every pub in England.

On their newest album, “News and Tributes,” the Futureheads manage to mature a bit without sounding flat or uninspired. Though it’s not quite the roller coaster of short, frenetic songs of the first album, it’s still as bouncy and intelligent. And thank God, the razor-sharp three- and four-part harmonies are still there.

“Thursday” explores those harmonies like never before, with quasi doo-wop vocal lines anchoring the song. Two-minute blasts of pure rhythmic energy are what the band’s known for, but with the best tracks on “News and Tributes,” they seem to be looking for a little more legroom to explore melody and guitar sounds and songwriting.

The album’s poppiest track, “Skip to the End,” also happens to be the lead single, and is the most traditional-sounding song the band has done yet.

Though there are a few clunkers like “Return of the Berserker” and “Fallout,” those are more than made up for by the strength of the album’s best songs, the possible second single “Area” and the gleeful “Worry About It Later.” Like their peers in Franz Ferdinand, the Futureheads have managed to follow up their debut with a solid second album. – Emily Burnham