The second of back-to-back solo albums cut in the early 1980s, The Brightest Smile in Town presents a more balanced mix of vocal and instrumental tracks than its predecessor, Dr. John Plays Mac Rebennack. While it's fun to hear the great New Orleans pianist romp through "Box Car Boogie" and patiently work his way through the twilight blues of "Pretty Libby", the unexpected treats are the best: a heartsick version of Jimmy Rodgers's "Waiting for a Train"; a Doc Pomus cover, "Average Kind of Guy", that sounds like Randy Newman on a particularly good day; and "Marie La Veau", a highly syncopated bow to one of the Crescent City's many voodoo queens. By the time Rebennack ends Brightest Smile with two gorgeous instrumentals-a lovely take on Harold Arlen's "Come Rain or Come Shine" and "Suite Home New Orleans"-you're reminded just how encyclopaedic his knowledge of American music is. -Keith Moerer The second of back-to-back solo albums cut in the early '80s, The Brightest Smile in Town presents a more balanced mix of vocal and instrumental tracks than its predecessor, Dr. John Plays Mac Rebennack. While it's fun to hear the great New Orleans pianist romp through "Box Car Boogie" and patiently work his way through the twilight blues of "Pretty Libby," the unexpected treats are the best: a heartsick version of Jimmy Rodgers's "Waiting for a Train;" a Doc Pomus cover, "Average Kind of Guy," that sounds like Randy Newman on a particularly good day; and "Marie La Veau," a highly syncopated bow to one of the Crescent City's many voodoo queens. By the time Rebennack ends Brightest Smile with two gorgeous instrumentals-a lovely take on Harold Arlen's "Come Rain or Come Shine" and "Suite Home New Orleans"-you're reminded just how encyclopedic his knowledge of American music is. -Keith Moerer.