T Bone Burnett is a name that you may not recognize, even though I'm sure we've all heard something he has had a hand in creating. In the 14 years since his last album, Burnett has been busy working on movie soundtracks and producing other artists' albums. He has taken part in films such as Walk The Line, The Big Lebowski and has won a Grammy for his production of the O Brother, Where Art Thou? soundtrack.

Not only involved with major motion pictures, Burnett has collaborated on projects with some major musicians including the Wallflowers, Elvis Costello, Roy Orbison and Tony Bennett. He has also teamed with the Coen brothers to form their own indie record label, DMZ Records, which has so far released mostly soundtracks. Now T Bone has turned once again to his own music with a 40-track retrospective 20/20: The Essential T Bone Burnett and his new solo record The True False Identity.

T Bone's latest album has a dark, moody feel to it, which is a sound I'm drawn to like a moth to a flame. After a sample listen of "Zombieland," I was hooked and had to hear the rest of the CD.

The 12 tracks on The True False Identity are divided into two parts, six each, kind of like some bands would do in the old days with their vinyl L.P.s. The first six fall under the title "Art Of The State", the next six "Poems Of The Evening." The mood from the first to the second half doesn't change much at all and the lyrics still ring with social and political sting; Burnett's lyrics are filled with creative wordplay, so you have to listen and bring your own interpretations to the table.

"Zombieland" gets this disk off to a good start. With its heavy upright bass and slow drum thump, T Bone's guitar slips in and out though the background rhythm, which is soaked in a New Orleans/Haitian voodoo vibe, complete with maracas and other shake and rattle instruments. As a matter of fact, the whole album has that mysterious vibe throughout.

"Palestine, Texas" is what sets this disk on fire for me. The drums kick out a steady rumble-drum-march sort of beat, which makes you want to stomp your feet, while the guitar soars and gets your head to thump in time with your foot. More steady bass work and this wonderful swirling sound that'll make your head spin as you turn up the volume. Burnett's rap-like vocal delivery of his "Rat Pack-inspired" lyrics puts the icing on the cake and makes this track the one to watch. With the heavy beat Burnett shows that older folks can still crank out some very solid catchy tunes, without being pretentious or sounding forced.

"Seven Times Hotter Than Fire" keeps the momentum going, with its loud, straightforward rocking sound. This track brings to mind the primal/noisy sound of The White Stripes, making tracks two and three the power punch on this disk.

"There Would Be Hell To Pay" and "Every Time I Feel The Shift" slow the pace a little while highlighting Burnett's songwriting abilities. In "Hell To Pay" we learn the fates of Curtis and Delia, another dark number that goes right to the heart. Whereas "Every Time I Feel The Shift," focuses on the political issue of church and state, or rather faith and state and how the masses seem to forget what has gone before them in just a few years.