JEFFREY MORGAN’S MEDIA BLACKOUT #609.249!

Bruno Mars – Doo-Wops & Hooligans (Elektra) :: Music whores a vacuum which is why, now that Michael Jackson’s gone, space has opened up for Bruno to moonwalk into his void with an album that merges an ace imitation of MJ’s voice with Freddie Mercury’s breathy archness, all sheathed in a synthesized swirl that’s straight outta the ’80s—and as we all know, nothing says the ’80s better than Bruno!

Bruce Willis – The Return Of Bruno (Motown) :: That’s right, Motown. What were you expecting? Stax?

Cybill Shepherd – Moonlighting (MCA) :: Stax, you idiot! Not stacked! Stax!

Miles Davis – The Man With The Horn (Columbia) :: It don’t mean a thing if it ain’t got that schwing!

Grace Kelly & Phil Woods – Man With The Hat (Pazz) :: Sometimes I think that you can’t find a jazzier cat than big boppin’ sax man Woods. As if studying with the great Lennie Tristano wasn’t enough, he then married Bird’s widow Chan and shuffled off to Paris. You’ll probably know him best for his smooth solo on Billy Joel’s syrupy single “Just The Way You Are” but don’t hold that against him because he’s more than made up for it by joining sax siren Kelly for this new album of smooth soundin’ duets. Bonus points awarded if she calls her next album Dial S For Sax.

Grace Kelly – Dial M For Murder (Alfred Hitchcock) :: Geddit?

Dave Rave – Live With What You Know (Bongo Beat) :: What if The Who Sell Out-era Who and the Rubber Soul-era Beatles had recorded an album together? The result would’ve been this practically perfect in every way pop record, which is nothing less than Dave Rave’s apex of auditory expression. In fact, it’s so sonically stellar that it would’ve easily made my Village Voice 2010 Top Ten list had I heard it last year—so let that be a lesson to all you tardy publicists!

SIZZLING PLATTER OF THE WEEK: Jonny Burke – Distance & Fortune (Dreamcar) :: Jonny comes rockin’ outta left field in 4/4 time with a voice that sounds like snarky Alice Cooper; lyrical skills that easily evoke Elvis Costello on a magnanimous day; and wiry Keith Richards riffs which simply reek with the sonic simplicity of Bowie’s “Rebel Rebel.” Then he unexpectedly detours into Elliott Murphy country-folk territory for a spell before blasting out the other side in full-bore rock mode again. If I didn’t know any better, I’d say that this is the sound of someone who’s completely confident in the knowledge that he can do just about anything he wants to in the studio—but I do and he can.

Be seeing you!