FANTASIA

'Free Yourself' (J Records)

"American Idol" has been a mixed blessing, delivering television that's fun to watch and a batch of records less fun to listen to.

The latest entry comes from this year's winner, Fantasia Barrino, a spunky young single mom who won America over with an electrifying soul style that recalled the likes of Gladys Knight and Diana Ross.

The good news is that unlike previous winner Ruben Studdard, Fantasia doesn't stray far from her strengths on "Free Yourself." Working with top-flight producers like Jermaine Dupri, Missy Elliott and Rodney Jerkins, Fantasia sounds natural whether she's building a slow burn ("Ain't Gon' Beg You"), leading a dance workout ("It's All Good") or asserting herself on hip-hop track with Jazze Pha ("Don't Act Right").

Missy has a hand in three winning songs, the lush title track, the upbeat "Selfish (I Want U 2 Myself)" and, the disc's standout, "Good Lovin'," which captures the feel of an old Al Green ballad.

During her Fox run, Fantasia had a tendency to sound like one of the Disney characters in the movie of the same name. Not a problem here. She even pulls off a pair of standards -- the Gershwins' "Summertime" and Willie Nelson's "You Were Always on My Mind."

The only time she sounds less than professional is on "Got Me Waiting," where the vocal is lispy. "Baby Mama," a shout-out to young moms, also is questionable, more for subject matter that seems to celebrate the situation she found herself in.

"I Believe," the kind of scenery-chewing ballad that sends "Idol" fans to the phones, wraps up a debut record that doesn't sound like the product of a singer who got here by winning a TV talent contest.

-- Scott Mervis, Post-Gazette Weekend editor

ROLLING STONES

'Live Licks' (Virgin)

There are times when Jagger's singing isn't all it could be, so intent on playing to the back rows that he drains all the soul from "You Can't Always Get What You Want." And Richards? He sounds even deader than he looks on "You Don't Have to Mean It" (which, in Keith's defense, isn't nearly as tricky to stomach as his "How in God's name did this ever make it on a record?" death march through what used to be the melody to "The Nearness of You" by Hoagy Carmichael. And what's the point in having Sheryl Crow onstage if we can't see her?

But despite all that, this latest in a never-ending stream of live recordings by the "World's Greatest Rock 'n' Roll Band" finds the Stones in fine, if ragged, form. It rarely feels like anybody's going through the motions here. And the set list is truly inspired, blending staples as obvious yet welcome as "Brown Sugar," "(I Can't Get No) Satisfaction," "Start Me Up" and "Gimme Shelter" with some genuine (or relative) surprises -- the raucous raunch of "Neighbours," "Angie," "Beast of Burden" (in its first appearance on a live recording), "Monkey Man," "Worried About You" (a long forgotten gem from "Tattoo You" with classic "Emotional Rescue"-era falsetto from Jagger) and spirited covers of Otis Redding's "That's How Strong My Love Is," B.B. King's "Rock Me Baby."

And it's all capped off with a life-affirming romp through Solomon Burke's "Everybody Needs Somebody to Love," with Burke himself on hand to help out on the vocals and pronounce the band "the crowned kings of rock 'n' roll."

"Get Yer Ya-Ya's Out!," of course, remains the band's essential live recording (even with the overdubs), but this is nice. In fact, it's strong enough to make a somewhat reasonable person wish he could have taken a sabbatical to catch a few more shows on that last Stones tour.

-- Ed Masley, Post-Gazette pop music critic

THE MINUS 5

'At the Organ' (Yep Roc)

Those whose introduction to the world of Scott McCaughey was last year's brilliant "Down With Wilco" would be well advised to check out "At the Organ," a seven-song EP that features many of the same musicians -- Wilco, Peter Buck, the Posies' Ken Stringfellow -- backing McCaughey on an effort that offsets effortlessly inessential outtakes from those sessions with a couple songs recorded elsewhere and two repeats presented in alternate versions.

"Days of Wine & Booze" is captured in its infancy with atmospheric urgency, plenty of organ (in accordance with the EP title) and several notes of Bruce Thomas' "Pump It Up" bass line. Slowing it down, says McCaughey, was a Tweedy suggestion. And the man was clearly onto something there, resulting in the haunting gem that sets the tone for "Down with Wilco." It's a different kind of brilliant here, though. And "The Town That Lost Its Groove Supply," the other "Down With Wilco" repeat, is a clear improvement in this straighter rock approach. As a bonus, they throw in a "Groove Supply" video.

As for the "new" songs, "At the Organ" kicks off with a smile, a ridiculous rocker recalling the bandleader's goofier moments in the Young Fresh Fellows called "(I've Got a) Lyrical Stance." And the lyrical stance? It doesn't really have one. As McCaughey, who co-wrote the rocker with Tweedy and Buck, jokes in the liner notes, "It took not one, but three of the greatest songwriters of our time to pen this manifesto."

Other highlights range from "Hotel Senator," its atmosphere recalling "Yankee Hotel Foxtrot" with a sing-along chorus that's strictly McCaughey, to the Beach Boys-flavored avant-pop hooks of "Formerly Hail Centurion," which also features the endearing lyric, "I don't care if your bird can sing/I'd like a voice tonight."

-- Ed Masley

JARVIS HUMBY

'Assume the Position...It's Jarvis Humby' (Hard Soul)

"We Say Yeah!," the lead-off track, is where garage rock meets what The Who would call maximum R&B -- a rubbery bass groove, blasts of old-school Hammond B3 organ, a blink-and-you'll-miss-it blues harp solo and plenty of lyrical attitude from a singer who makes it all sound more like Philadelphia's Interpreters than it probably should. They lose some footing on the blatant "So You Want To Be A Rock 'n' Roll Star" knockoff that follows (right before the blatant knockoff of Santana covering the Zombies), and not every cut matches the primal intensity of "We Say Yeah!" But as modern garage-rock efforts go, it isn't every day you find an instant party this intent on putting bodies on the dance floor, led by bassist Dave Heard. Highlights range from "We Say Yeah!" to an explosive, organ-heavy "Badger," a funky Spencer Davis-flavored Brian Auger cover, "Black Cat," and "Formaldehyde," a rocker that grooves like the Sonics reborn as a Stax band. Sure, it's all been done before, but these guys put it out there with an energy that makes you wonder if they honestly believe they're onto something new here.

-- Ed Masley