Joe Henry - Civilians (Anti-/Shock) and Josh Rouse - Country Mouse City House (Shock)

Joe Henry's one of those guys you listen to every third album and think "How the hell did I miss this guy's previous stuff?".

Civilians reaffirms Henry's as a most astute songwriters.

After producing for a string of diverse talents (Ani DiFranco, Solomon Bourke, Aimee Mann), he's firmly planted his flag into the rich soil of his own talent.

Standouts include the poignant Civil War, the trenchant Our Song and the sublime Parker's Mood: "When I came home this morning I was dead on my feet/Drunk on the victory of my own defeat/Now I'm reeling on the ceiling but what yardbird law is this?/When a heart in chains is what remains of the prelude to a kiss".

To get the Tom Waits comparison is high praise, but there's plenty of evidence here Henry has the same sparse, wry yet pointed approach to his craft which lifts him into the top echelons of storytellers. Josh Rouse's Country Mouse City House is less substantial - but it never had any intentions of grandeur.

It's a pleasant offering of pop, folk and a little swing, albeit with clunkers that should have died a subdued studio death.

But there's some highlights too - opening track Sweetie is as adorable as the title suggests, Hollywood Bass Player is sharp and sassy, and Nice to Fit In rocks along just fine. Rouse's seventh album hits the right notes when it sounds like a blend of Lloyd Cole meeting Alex Chilton - he just doesn't do it enough.

Ratings:4/5 (Joe Henry)
3/5 (Josh Rouse)

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