Laugh
By subduing some of his trademark acoustic ferocity, Keller Williams has come up with a markedly more cohesive collection than past efforts. Rather than showcasing the technical wizardry that has earned him acclaim, here Williams melds his formidable skills with Tye North's restrained bass and Dave Watt's unerring drumming to create a more integrated work that backs away from the series of glancing blows and showy displays of instrumental prowess found on some of his earlier works. His stream-of-consciousness lyrics are still intact, but these wry observations and travelogues from the road show a greater depth and insight. The overriding theme here--the importance of honoring one's own eccentricities and remaining psychologically and intellectually free--are best expressed on the rather droll "Alligator Alley," a play on theRolling Stones' "Sympathy for the Devil," in which he wades deeply into the shoals of paranoia before proclaiming, "I set Willie free / Yeah, that was me." Indeed, his covers further amplifyLaugh's keynote theme: bothAni DiFranco's "Freakshow" and theMichael Hedges's "Spring Buds" applaud the importance of following your own path. Which is exactly what Williams intends to do, laughing all the way.--Jaan Uhelszki