Journey’s ‘Trail’ Rich Blend Of Old, New

Journey “Trial By Fire” (Columbia)

Time stands still for no one. Except for Journey, which has turned back the clock to 1981 on its long-awaited reunion album. Although the retro approach has doomed many a comeback pretender, Journey pulls off the feat with flying colors, managing to make a record that sounds simultaneously like the Journey of yore and a present-day mainstream rock act. Led by highly charged rock hit “Message Of Love,” “Trial By Fire” is rich with the other type of song in which Journey excelled in its heyday: the dramatic power ballad, best exemplified by “When You Love a Woman.” An album that will raise some eyebrows, invite some cynicism, and inspire more than a few 30-something music fans to get out their lighters.

Phish “Billy Breathes” (Elektra)

Rock ‘n’ roll journeymen’s latest album is a typically diverse excursion into the edges of rock, jazz and blues, highlighted by Trey Anastasio’s adventurous writing and the band’s improvisational talents. From the exuberance of lead single “Free,” to the vulnerability of piano ballad “Waste,” to the intensity of instrumental jam “Cars Trucks Buses,” the album paints a colorful stylistic palette that will no doubt appeal to the group’s large and loyal fan base, despite the absence of a clear radio hit. A band that continues to build its following the old-fashioned way: by performing tirelessly and challenging itself to make records that break new ground.

Alan Jacksons “Everything I Love” (Arista)

Country music Jeremiahs can stop weeping and wailing: Alan Jackson is back on the job, and country music remains in very capable hands. There’s enough fiddle, steel guitar and mandolin here to fuel any 10 modern country albums. Jackson wrote or co-wrote half of the album’s material and the remainder of the songs are as strong as his own compositions. The first single, “Little Bitty,” is one of Tom T. Hall’s lesser-known wordplays. Jackson’s co-written “Buicks to the Moon” is a continuation of the “Tall Tall Trees” genre of love songs, and “A House with No Curtains” is a gem of a country-Gothic composition. Jackson covers all his country bases: his “Must’ve Had a Ball” will find a rousing welcome in honky tonks, “Walk on the Rocks” is a father/son weeper, and the other cuts deal with the eternal country tension between men and women.

Phil Collins “Dance Into the Light” (Atlantic)

After a synthetic-sounding, self-produced home recording failed to energize his fan base, pop star Phil Collins decided to play to his strengths by cutting an album of solid pop tunes that feature his drumming, singing and writing talents. Played by a band of longtime Collins associates and produced by Hugh Padgham, who oversaw most of Collins’ and Genesis’ biggest hits, “Dance Into the Light” is a welcome return to basics, highlighted by the peppy title track, the tribal-sounding “Lorenzo,” the “Rubber Soul”reminiscent “Love Police,” and a surprisingly effective cover of Bob Dylan’s “Times They are A-Changin’.” The album’s low point is a “Graceland” rip-off, “Wear My Hat.” On the whole, a step in the right direction for Collins, who recently left Genesis to focus on his solo career.

Kitaro “Peace on Earth” (Domo)

You wouldn’t think that new-age star Kitaro would have an affinity for Christmas, but after “Peace on Earth,” he should become acquainted with the old holiday tradition of getting a lump of coal in his stocking. The Japanese synthesist selects the most mall-shopper-worn Christmas carols and renders them with one-fingered readings as if he’d just unwrapped his first toy keyboard. Draped in cliche arrangements that include ample strings and the treacly Children’s International Peace Choir, Kitaro’s Hallmark-safe version of Christmas will leave you yearning for a truly silent night.

Susan Ashton “A Distant Call” (Sparrow)

Opting to work not only with longtime producer Wayne Kirkpatrick, but with Brown Bannister and Michael Omartian, Susan Ashton has come up with her most expansive and expressive project to date. Three years since her last solo album, fans who have been eagerly anticipating this release won’t be disappointed. The songs are a strong and varied collection. In addition to co-writing three tunes, Ashton gathered material from the cream of the Christian songwriting community, including Gordon Kennedy, Pierce Pettis, Jeff and Gayla Borders, Amy Grant, Billy Sprague and Michael W. Smith. She even tackles two Sheryl Crow songs with admirable results: “Hundreds Of Tears” and “All Kinds Of People.” Her delicately evocative voice shines on such cuts as the uplifting “Send a Message,” the groove-oriented “Crooked Man,” and the beautifully introspective “You Move Me.”