"Back when he was a young geek storming pop through punk, who would have thought Elvis Costello's singing would end up more distinguished than his word-slinging? As his high baritone matured, however, its nasal angst gained technical command and emotional gravity, till eventually it could swallow a string quartet, an avant-jazz combo, a symphony orchestra — jeez, even Bacharach-David. So this meeting with the great Sixties and Seventies New Orleans hitmaker is more than its Katrina angle. It's one collaboration in a series, timed just right.

The Allen Toussaint oldies Costello covers avoid the overfamiliar, and his delivery has a way of adding a post-disaster historical context to Toussaint's intended meaning — not just with socially conscious material like ""On Your Way Down"" and ""Freedom for the Stallion"" (""They've made money, God"") but with love songs such as ""Nearer to You"" (where the ""you"" could be his city) or ""Tears, Tears and More Tears"" (with its lost, well-remembered ""walk in the park""). Although Elvis' title tune and the four co-written new songs are less winning, ""Broken Promise Land"" bites the hand that doesn't feed it with sarcastic gusto, and ""International Echo"" captures and holds the joy both men take in the record-making process it portrays. Costello's Imposters negotiate Toussaint's tricky rhythms jauntily enough, and the Crescent City Horns add warming coloration. But it's the master's steady, rollicking piano that elevates the music — and keeps the ever-elusive Costello honest."

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."