NEIL YOUNG
Prairie Wind
(Reprise/Warner)

Unlike some aging rockers who collaborate with young stars to resurrect their careers, the Canadian tunesmith has been consistently inventive enough—without alienating longtime fans—to stay relevant. Following last year’s rock opera Greendale and having just turned 60 and surviving an aneurysm, Young’s Prairie Wind is the inevitable return to the enlightened folk rock of Harvest.

A distinct sense of mortality permeates the album on songs such as the anthemic “No Wonder,” on which Young intones “Tick tock the clock on the wall/No wonder we’re losing time,” while on “Far From Home” he sings dryly, “Bury me out on the prairie where the buffalo used to roam.” Unlike other parts of his aging body, Young’s resonant falsetto has withstood the test of time: If you liked it thirty years ago, you’ll like it now. DG

TATOPANI
Azure
(Equilibrium)

The diverse careers of the four Japan-based expat musicians who make up Tatopani keep them all busy, so the group’s third album was some time in arriving. The wait was worth it though: The audible joy that percussionist Christopher Hardy, pianist Bruce Stark and saxophonists/multi-instrumentalists Andy Bevan and Robert Belgrade take in their musical interplay is irresistible. From the mischievous, intertwining piano and flute melody of “Nepali Bicycle Song” to the tribal drums and didgeridoo of “Out of the Blue,” Tatopani weaves together world music with traditional jazz instruments in a multicultural tapestry that is varied and colorful. The release concert for Azure takes place at Sweet Basil STB 139 in Roppongi on November 24. See concert listings (jazz/world) for details. DG

SARAH MCLACHLAN
Bloom
(Arista/BMG)

Back in 1997, Front Line Assembly maestro Rhys Fulber merged fellow Canadian Sarah McLachlan’s folk-pop with ambient dance and scored a massive worldwide hit with “Silence.” Having realized the potential of McLachlan’s ethereal vocals mixed with clubbing material, the singer follows as an entire album of dance remixes from the her surprisingly eclectic career. Junkie XL’s “World One Fire” is pulsing and addictive, the Junior Boys bring electro-synth to the proceedings, and Sly & Robbie produce an extraordinary reggae-electronica hybrid version of “Train Wreck.” Although best suited to atmospheric pieces like Talvin Singh’s delicately beautiful Indian version of “Answer,” Bloom is evidence of how a talented vocalist can sound at home in any style. Robert Poole

AMI SUZUKI
Around The World
(Avex)

The fact that Ami Suzuki is still around five years after suing her record company is a testament to her perseverance and to Avex’s astuteness. Despite her idol status, Suzuki has kicked the system to show that, as much as major labels may try to control it, public demand for music can dictate the market. The first two singles, “Eventful” and “Hopeful,” have been catchy tunes ripe for club remixing, but the remainder comprises mostly filler, with three ballads slowing the momentum. Her dubious English pronunciation aside, Ami is the Kylie of J-Pop, sounding inherently dated in the dance-pop crossover style of the early-’90s but somehow fresh because of it. Unfortunately here she’s restricted by the dictum that the album format needs diversity. A brilliant singles artist if ever there was one. RP

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