While Boardwalk Empire includes plenty of authentic recordings in its re-creation of the mob wars of the Roaring '20s,
Boardwalk Empire, Vol. 2
reaffirms that having contemporary artists interpret the era's songs keeps the HBO series from seeming too archival. Presenting highlights from seasons three and four, the collection features performances from a roster of more established artists than the soundtrack's first volume. The results are often accomplished --
David Johansen
slips into the boisterous "Strut Miss Lizzie" like a pinstripe suit -- but not always as thrilling as when younger or lesser-known artists blend almost imperceptibly into the songs. For better or worse,
Elvis Costello
is unmistakable on his version of "It Had to Be You;" as captivating as he is, he detracts from the illusion of authenticity artists like
the National
's
Matt Berninger
creates with his rendition of "I'll See You in My Dreams." Other inspired pairings include
Neko Case
, who sounds as effortlessly charismatic and appropriate singing "Nobody Knows You When You're Down and Out" as she is anywhere else, and
St. Vincent
, whose knowing sweetness tempers the naive admonishments to grin and bear it on "Make Believe." Two very different grande dames provide some of the album's biggest highlights:
Liza Minnelli
is just as brassy and sassy as expected on "You've Got to See Mama Ev'ry Night (Or You Can't See Mama at All)," while
Patti Smith
plays against type on her playful rendition of the sad-sack chestnut "I Ain't Got Nobody." Performances such as these make
more theatrical than the first volume, but fans will be pleased to hear more songs by
Stephen DeRosa
, whose turn as
Eddie Cantor
is one of the show's highlights. Likewise, this collection introduces
Margot Bingham
, who joins the cast in season four and showcases her wide range with the flirty "I'm Going South" and the winsome "Somebody Loves Me." Elsewhere, the show's musical diversity expands with
Loudon Wainwright III
's "The Prisoner's Song" and
Pokey LaFarge
's "Lovesick Blues," both of which add a hillbilly/country feel, and with
Rufus Wainwright
's "Jimbo Jambo," an example of the jaunty exoticism of the age that might be a little troubling to modern listeners. On the whole, however,
is an expansive, entertaining soundtrack that captures just how thoroughly the show crafts its mood and atmospheres. ~ Heather Phares