New albums from Future, Randy Houser and The-Dream

Future “Future Hndrxx Presents: The WIZRD” (Epic)

How many times can one warble variations on “When it come to emotions, I play camouflage,” not to mention “Jumpin’ on another jet / Jumpin’ on another jet” in the same robo-tripping quaver? One Future album is excellent: Dirty Sprite 2, named for the cough syrup habit he says he’s kicked. The others only hit a nerve sporadically, and this one has 20 tracks. So casual fans can add “Call the Coroner” to the highlight reel, with its hypnotic Buju Banton-cum-”Bodak Yellow” melody and fun boasts like “I don’t have no stylist,” as well as the addictive “Krazy but True,” which credibly takes credit for the way 2019 rappers “drop your mixtapes, your adlibs ...” — Dan Weiss Randy Houser “Magnolia” (Stoney Creek)

Randy Houser earned his keep as a Nashville songwriter penning line-dance novelties like Trace Atkin’s “Honky Tonky Badonkadonk” before embarking on a solo career in 2008. He’s worked the burly voiced tough-but-tender side of the mainstream country aisle ever since. “Magnolia,” though, has the feel of a project that relies on his instincts more than commercial calculation. The Mississippi-bred singer and guitarist puts his best foot forward here, coming off as an honest man on “Whole Lot of Quit,” bellying up to the bar with co-writer Hilary Lindsey on “What Whiskey Does” and knocking out a formulaic but effective should-be hit single with “Nothin’ on You.” — Dan DeLuca The-Dream “Ménage à Trois Sextape Vol. 1, 2, 3” (Radio Killa)

“We don’t need no bridge for this song,” Terius Nash sings toward the end of “You and I,” from his first new release in half a decade. But, oh, yes, he does. Sly callback as it is to the “I don’t need no hook” cruise control of his first single in 2007, he could also generate hooks in his sleep in the year that he co-owned both Beyonce’s “Single Ladies” and Rihanna’s “Umbrella.” But these songs cry out for shaping. After two more good albums and two forgettable ones, this mixtape may yet be a fiveyear clearinghouse for a real album. That would explain how utterly devoid of new ideas it is. — Dan Weiss