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On his new album, Ray Wylie Hubbard serves up a mostly greasy plateful of growling, country-fried rhythm and blues, heavy on themes of sin and the South. But most notable is an exception to this mix, a soulful neo-gospel re-working of a late-'90s original called "Resurrection."

Our rock critic reviews Another Fine Day by the band Golden Smog, a band made of veteran rockers from such bands as Wilco, the Jayhawks, and Soul Asylum.

British director Andrew Douglas and American songwriter Jim White got together to make a documentary about life in the deep South. The film that resulted, Searching for the Wrong-Eyed Jesus, is provocative. But is it a documentary?

The backbeat of Gov't Mule's "Mr. High and Mighty" is a heavy-lidded blast of '70s stomp-rock — Foghat's "Slow Ride" functions as a not-so-distant cousin. But rather than extol stoner virtues, the song expresses indignation over the doings of the craven and powerful.

Migrant workers came from around the world to build Panama's transportation systems. They brought, among other things, music with them. Dozens of bands that came to be known collectively as Combos Nacionales married musical styles as distinct and distant as New York boogaloo, Cuban descarga and Trinidadian Calypso. Panama: Latin, Calypso and Funk at the Isthmus charts this uniquely Panamanian hybrid.

Harry Connick Jr.'s song "All These People" chronicles the devastation he witnessed in his native New Orleans during the days immediately following Hurricane Katrina. All proceeds from the single go to Musicians' Village, a New Orleans rebuilding project sponsored by Habitat for Humanity.

Often recalling the rustic delicacy of Iron and Wine — if it were soaked in strings and robbed of some of its stark clarity — Horse Feathers' music radiates homey intimacy, as Peter Broderick fleshes out Justin Ringle's voice and guitar with all manner of warmly unamplified instrumentation.

Saxophonist Kenny Garrett talks with Tony Cox about his attempts to marry Asian music with jazz on his latest CD, Beyond The Wall.

Music critic John Brady offers a review of the new CD by the electronic band Ratatat.

After just four years off the stage, The Fantasticks, the longest-running musical in American theater, is opening in a new revival. The production by Tom Jones and Harvey Schmidt closed in January of 2002. Through the years, Jones, the lyricist, has made various changes to the song, "It Depends on What You Pay," because of its lyrics.