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(09/19/02 4:00am)
I hope those seasoned Ani DiFranco aficionados out there will forgive the fact that I was only recently turned on to this guitar-strumming righteous babe's music by a friend. Since hearing the content of nearly all of her previous albums just last year, I find myself constantly thirsty for new material that's chocked full of emotionally profound messages and bold statements. So Much Shouting, So Much Laughter definitely delivers this and more.\nLaughter, like DiFranco's last album, Reveling/Reckoning, is two discs, each with its own subtitle. Disc one is dubbed "Stray Cats," while disc two is called "Girls Singing Night." Laughter is her first live album since 1997's gold-selling Living In Clip, featuring three previously unrecorded songs and 20 classics, including "32 Flavors" and "Jukebox," from throughout DiFranco's career. Even though the songs are old standards, she recreates them.\n"Shrug," her first new track, starts out with an extended intro with the sounds of a keyboard, smooth brass and DiFranco on guitar. Her soft sound slowly builds and then retracts, and when combined with the band, a relaxing mood is created, no matter what may be going on around you. \n"Welcome To:," the second previously unrecorded track, starts out speaking to an audience. She says the song is about going home for the holidays and having to "subject herself to her family." The bittersweet feelings she seems to express about her family come out from time to time in her voice when she gets louder. Yet, her soft, subtle quality dominates the majority of this track, with her guitar complementing her sound throughout.\nThe last piece of new material comes in the form of a poem backed by minimal music. In "Self Evident" she uses alliterations in place of a melody. DiFranco dazzles me with a political message, speaking about everything from Sept. 11, Afghanistan and Iraq, to George W. ("George W. Bush is not president"), eliciting a rousing response from the crowd. \nMy one complaint would be the fact that this is a live album. At times I have to strain to hear what she is saying or singing. Then again, a benefit would be that this is a live album. Even if you're not a fan, you should use this album to take a trip inside DiFranco's soul.
(09/19/02 4:00am)
With her follow-up to last year's Scorpion, Eve Jeffers brings style and grace to the rap genre with witty lyrics and hot collaborations, proving once again she is a force to be reckoned with. In Eve-Olution, Eve speaks her mind in a blunt, yet tasteful, manner, proving that controversy isn't necessary in order to sell rap.\nLike most rap albums, Eve's starts out with an "Intro," transitioning into the first of the album's four collaborations. "What" is a hard-edged track featuring Truth Hurts (of "Addictive" fame). Eve, who shares writing credits, raps hard, while Truth Hurts adds light melody.\n"Gangsta Lovin'," Eve-Olution's first single, flows smoothly with a little help from R&B chanteuse Alicia Keys. I like the lazy-river pace of this track. Keys' subtle yet full sound complements Eve's lyrics perfectly.\nEve is an "Irresistible Chick" when she speeds things up on the fourth track. Her vocals are softer here, letting the drum track create the necessary backbeat. The chorus verses are a little too sing-songy for me, but overall they are enjoyable.\nFrequent Eve collaborator Mashonda joins Eve on "Party in the Rain," with subpar results. Mashonda's distracting vocals seem whiney and strained, taking away from Eve's flow. In "Let This Go," Eve redeems herself, combining her rap skills with a catchy chorus.\nOne of the better tracks on the album is "Hey Ya'll," featuring Snoop Dogg, joined by Nate Dogg. Eve jumps in over a minute later, adding a lady's touch to the track and stealing the spotlight once again.\nThe chorus for "Figure You Out" takes the male and female perspectives of a relationship. Eve's writing skills come through, giving substance and a beat to the otherwise worn-out love song.\nThe rest of the disc is good enough, reuniting Eve with some of her Ruff Ryder crew, Jadakiss and Styles of the Lox. \nAs a musician, Eve knows that radio listeners like some kind of collaboration with a big-name artist, her last one being the Grammy-winning "Blow Ya Mind," which featured No Doubt's Gwen Stefani. \nThis last summer, Eve flexed her acting muscles with a small role in "XXX" and with a larger role in the newly-released "Barbershop." With Eve-Olution reinforcing her already solid music career, I wish her luck in Hollywood. She's a tough, irresistible chick.
(09/19/02 12:47am)
With her follow-up to last year's Scorpion, Eve Jeffers brings style and grace to the rap genre with witty lyrics and hot collaborations, proving once again she is a force to be reckoned with. In Eve-Olution, Eve speaks her mind in a blunt, yet tasteful, manner, proving that controversy isn't necessary in order to sell rap.\nLike most rap albums, Eve's starts out with an "Intro," transitioning into the first of the album's four collaborations. "What" is a hard-edged track featuring Truth Hurts (of "Addictive" fame). Eve, who shares writing credits, raps hard, while Truth Hurts adds light melody.\n"Gangsta Lovin'," Eve-Olution's first single, flows smoothly with a little help from R&B chanteuse Alicia Keys. I like the lazy-river pace of this track. Keys' subtle yet full sound complements Eve's lyrics perfectly.\nEve is an "Irresistible Chick" when she speeds things up on the fourth track. Her vocals are softer here, letting the drum track create the necessary backbeat. The chorus verses are a little too sing-songy for me, but overall they are enjoyable.\nFrequent Eve collaborator Mashonda joins Eve on "Party in the Rain," with subpar results. Mashonda's distracting vocals seem whiney and strained, taking away from Eve's flow. In "Let This Go," Eve redeems herself, combining her rap skills with a catchy chorus.\nOne of the better tracks on the album is "Hey Ya'll," featuring Snoop Dogg, joined by Nate Dogg. Eve jumps in over a minute later, adding a lady's touch to the track and stealing the spotlight once again.\nThe chorus for "Figure You Out" takes the male and female perspectives of a relationship. Eve's writing skills come through, giving substance and a beat to the otherwise worn-out love song.\nThe rest of the disc is good enough, reuniting Eve with some of her Ruff Ryder crew, Jadakiss and Styles of the Lox. \nAs a musician, Eve knows that radio listeners like some kind of collaboration with a big-name artist, her last one being the Grammy-winning "Blow Ya Mind," which featured No Doubt's Gwen Stefani. \nThis last summer, Eve flexed her acting muscles with a small role in "XXX" and with a larger role in the newly-released "Barbershop." With Eve-Olution reinforcing her already solid music career, I wish her luck in Hollywood. She's a tough, irresistible chick.
(09/19/02 12:45am)
I hope those seasoned Ani DiFranco aficionados out there will forgive the fact that I was only recently turned on to this guitar-strumming righteous babe's music by a friend. Since hearing the content of nearly all of her previous albums just last year, I find myself constantly thirsty for new material that's chocked full of emotionally profound messages and bold statements. So Much Shouting, So Much Laughter definitely delivers this and more.\nLaughter, like DiFranco's last album, Reveling/Reckoning, is two discs, each with its own subtitle. Disc one is dubbed "Stray Cats," while disc two is called "Girls Singing Night." Laughter is her first live album since 1997's gold-selling Living In Clip, featuring three previously unrecorded songs and 20 classics, including "32 Flavors" and "Jukebox," from throughout DiFranco's career. Even though the songs are old standards, she recreates them.\n"Shrug," her first new track, starts out with an extended intro with the sounds of a keyboard, smooth brass and DiFranco on guitar. Her soft sound slowly builds and then retracts, and when combined with the band, a relaxing mood is created, no matter what may be going on around you. \n"Welcome To:," the second previously unrecorded track, starts out speaking to an audience. She says the song is about going home for the holidays and having to "subject herself to her family." The bittersweet feelings she seems to express about her family come out from time to time in her voice when she gets louder. Yet, her soft, subtle quality dominates the majority of this track, with her guitar complementing her sound throughout.\nThe last piece of new material comes in the form of a poem backed by minimal music. In "Self Evident" she uses alliterations in place of a melody. DiFranco dazzles me with a political message, speaking about everything from Sept. 11, Afghanistan and Iraq, to George W. ("George W. Bush is not president"), eliciting a rousing response from the crowd. \nMy one complaint would be the fact that this is a live album. At times I have to strain to hear what she is saying or singing. Then again, a benefit would be that this is a live album. Even if you're not a fan, you should use this album to take a trip inside DiFranco's soul.
(09/12/02 4:00am)
A cappella gives me a break from the flood of "pseudo angry girl skater chick" music that has dominated the radio in recent months. I admittedly enjoy the soulful, guitar/piano-infused music from artists like Michelle Branch, Vanessa Carlton and Avril Lavigne, but they have dominated my summer music-listening. BOCA 2002 is my oasis in the desert.\nBOCA (Best of College A Cappella) is brought to us by Varsity Vocals and CASA, two a cappella organizations that have brought together a compilation of some of the best collegiate a cappella groups around the nation (including IU's own Straight No Chaser and Ladies First).\nThe UCLA group Awaken brings us the Bangles' classic, "Walk Like an Egyptian." The soloists, for the most part, deliver a crisp and clear sound. Weak vocals and an absence of personal flare hold this track back, with some of the singers unsuccessfully trying to mimic Susanna Hoffs of the Bangles. Straight No Chaser dazzles us with Lenny Kravitz's "I Belong to You." The deep bass in the background is standout, providing a sort of pedestal for the melody. While soloist Michael Luginbill doesn't sound much like Kravitz, his talent is immense.\nThe University of Pennsylvania's Off the Beat delivers Dido's "Here With Me." Soloist and arranger Maria Bashian works the vocals, adding personality to an otherwise uninspired song. The backing vocals are the best part of this track, recreating almost perfectly the eerie-techno-trance-like music from Dido's song.\nFrom Claremont College, the Shades sing their rendition of Sophie B. Hawkins' "Damn I Wish I was Your Lover." Soloist Jenna Dawsey's vocals stand out amidst the voices that surround her melody. Also listen for Ladies First singing the Destiny's Child hit, "Independent Women Part I." These Ladies once again prove that they can make good music with Ashley Griffin wailing on the solo.\nUnfortunately, BOCA isn't made up of all stellar tracks. Take, for instance, the University of Southern California SoCal VoCals' rendition of Britney Spears' "Drive Me Crazy." While soloist Julie Moffitt takes the writing credit, the dismal track contains very little original material, and Spears isn't attributed at all.\nOverall, though, BOCA delivers, allowing me to rediscover my love for a cappella music.
(09/12/02 12:58am)
A cappella gives me a break from the flood of "pseudo angry girl skater chick" music that has dominated the radio in recent months. I admittedly enjoy the soulful, guitar/piano-infused music from artists like Michelle Branch, Vanessa Carlton and Avril Lavigne, but they have dominated my summer music-listening. BOCA 2002 is my oasis in the desert.\nBOCA (Best of College A Cappella) is brought to us by Varsity Vocals and CASA, two a cappella organizations that have brought together a compilation of some of the best collegiate a cappella groups around the nation (including IU's own Straight No Chaser and Ladies First).\nThe UCLA group Awaken brings us the Bangles' classic, "Walk Like an Egyptian." The soloists, for the most part, deliver a crisp and clear sound. Weak vocals and an absence of personal flare hold this track back, with some of the singers unsuccessfully trying to mimic Susanna Hoffs of the Bangles. Straight No Chaser dazzles us with Lenny Kravitz's "I Belong to You." The deep bass in the background is standout, providing a sort of pedestal for the melody. While soloist Michael Luginbill doesn't sound much like Kravitz, his talent is immense.\nThe University of Pennsylvania's Off the Beat delivers Dido's "Here With Me." Soloist and arranger Maria Bashian works the vocals, adding personality to an otherwise uninspired song. The backing vocals are the best part of this track, recreating almost perfectly the eerie-techno-trance-like music from Dido's song.\nFrom Claremont College, the Shades sing their rendition of Sophie B. Hawkins' "Damn I Wish I was Your Lover." Soloist Jenna Dawsey's vocals stand out amidst the voices that surround her melody. Also listen for Ladies First singing the Destiny's Child hit, "Independent Women Part I." These Ladies once again prove that they can make good music with Ashley Griffin wailing on the solo.\nUnfortunately, BOCA isn't made up of all stellar tracks. Take, for instance, the University of Southern California SoCal VoCals' rendition of Britney Spears' "Drive Me Crazy." While soloist Julie Moffitt takes the writing credit, the dismal track contains very little original material, and Spears isn't attributed at all.\nOverall, though, BOCA delivers, allowing me to rediscover my love for a cappella music.
(07/25/02 8:23pm)
When I picked up the soundtrack album to the new film "The Brothers," I admit I was excited yet apprehensive. I was excited because I generally enjoy soundtracks, and "The Brothers" album features "all new music" from a whole slew of rap and R&B artists. I was apprehensive because I had never heard of a majority of the artists listed. So I took a chance.\nThe first track starts the album well with a rhythmic R&B piece from Eric Benét, "Love Don't Love Me." The drums keep a steady beat with Benét sounding in the intro like a toned-down Whitney Houston in "I'm Your Baby Tonight." As his voice gains strength and volume, the chorus picks up the pace and carries the piece to the end.\n"Lay It Down" by Jermaine Dupri starts off with strange synthesized chords leading into hard vocals by a feisty Lil' Mo. When Dupri starts rapping, the song deteriorates into a repetitive yet energetic piece that gets better with each refrain of Lil' Mo's chorus.\nThe next track, "Good Love" by RL, is a standard R&B ballad with passionate vocals by Robert Lavelle Huggar; the piece fails to impress me, sounding like every Boyz II Men song. "Let It Go" by Jaheim featuring Castro has potential, combining elements of disco, rock and rap, creating a track with a lot of fun and spunk.\nOne truly standout track is "Two of a Kind" featuring the father and son duet Eddie Levert Sr. and Gerald Levert. The duo sounds like K-Ci & JoJo initially, but once the song gets going, the soul spills out of my speakers, creating a beautifully personal story about a father and son.\nOther tracks include a disappointing contribution from Snoop Dogg and tracks from Somethin' For The People, Maze, Lil' Johnny, Cassie, Dave Hollister, No Question, and some of the film's score by Marcus Miller.\nThe themes of the songs all revolve around love and relationships. The film shares similar themes. The film and album seem to go hand in hand.
(07/25/02 8:23pm)
There is an abundance of pop and R&B artists out there today, so it takes originality, flair, good looks, good moves and a certain amount of that thing called talent to make it as an artist in this category. Richard Lugo has all of the above, and he is only 15.\nBorn in Queens and raised in southern Florida, Lugo was discovered by producer Dallas Austin, a man partially responsible for the success of Boyz II Men, Monica and other well-known R&B artists.\nIn his debut album, Boom, Lugo proves himself worthy starting with his first track, "All the Girl I Need." This track starts out with a subtle Spanish flair before jumping into a piece sounding much like an 'N Sync tune with throbbing synthesizers and drums.\nThe title track is decent but nothing spectacular. Although Lugo's energy pulses through this piece starting with the breathy vocals in the intro, the song never really moves until it gets to the chorus, and the chorus is rather dismal.\n"Me" starts out with a pulsating synthesizer before moving into Lugo's rapidly yet clearly delivered lyrics. The chorus is sung intensely by Lugo and background vocalists, creating a good track with a beat.\nThe interlude, "You're Not 17," incorporates Lugo and a female in an exchange of dialogue dealing with age, which serves as a kind of transition into "Just Act Like." This track deals with how age doesn't matter in love, which coming from a 15-year-old is somewhat funny. The synthesizers move this track quickly with Lugo's fast-paced lyrics keeping the beat.\n"Ocean Drive" is a smooth track with the Latin beat coming through in the lyrics and the background music. The synthesized sounds keep the piece distinctly pop while managing to not cover up Lugo's vocals.\n"Ven, Ven, Ven" displays Lugo's vocal talent both in the chorus and the verses, creating a moving salsa track sure to inspire dancing. "Lil' Senorita" is a standout ballad, as is "Snow in June," combining to create a soul-filled debut by a fresh young Latino artist.
(07/25/02 8:23pm)
How do you turn your dorm room or apartment into your own personal jazz club? Grab a cappuccino, take a seat, dim the lights and crank up your stereo. Disc of choice? Rick Braun's Kisses in the Rain. Now, close your eyes and listen to the music. \nKisses in the Rain is Braun's impressive solo debut album with Warner Brothers. The artist previously collaborated on several albums with top-name jazz musicians, including 2000's popular Shake it Up, where Braun performed with Boney James.\nWith the masterful Braun featured on trumpet, this album combines the talents of many other jazz musicians. \nSeven of the 10 tracks are co-written and produced by Braun. Track one, "Car Wash 2000," features Braun on the flugelhorn, adding a hip-hop feel to the jazzy number. With Harvey Mason on drums, the piece remains up-tempo, and energetic Nathan East on bass seems to keep the beat in the background.\nThe title track on the album, "Kisses in the Rain," features Braun on the trumpet, sounding smooth and light. Percussion plays a large part in the piece, keeping the other musicians together in terms of beat, creating a hypnotic, soothing rhythm. Peter White on acoustic guitar adds a Spanish flair to the track as well.\n"Use Me" starts off sounding more like a pop song than a jazz piece, but when Braun comes in playing both the trumpet and flugelhorn, the difference between the two genres is made clear. Marty Grebb on the baritone saxophone adds a certain sultriness to the piece. \nStandout tracks include "Your World," one of two tracks with vocals, sung here with soul by Sue Ann Carwell. "Middle of the Night" starts with what sounds like a short rain shower, adding atmosphere to the piece and enhancing Braun's trumpet solo.\nOverall, the 10 tracks on the album all deserve praise. The combination of sounds from the variety of instruments used on each piece really adds flavors never really tasted in previous jazz albums. Braun is an artist who will continue to dazzle listeners with originality and variety.
(07/25/02 8:23pm)
There is a lot to be said for Hesher's (aka Chippy Love) first album, cleverly titled Self-Titled Debut Album. For a new musician to have an artist like Everlast collaborating on a track means he must have some sort of standing in the industry. Either that or he must just have some powerful friends. Regardless, Hesher makes his mark with Self-Titled Debut Album.\nThe album's powerful, high-energy first track, "Presto-Chango," combines elements of rock, metal, rap and hip-hop, creating a bizarre yet original sound. "Whose Generation" is a cool reinvention of the Who's "My Generation," featuring Hesher on vocals along with Everlast and rapper Biz Markie. \nThe tracks cover many topics, from lighters to cheese sandwiches, the latter being the third track. "Crazy American Cheese Sandwiches" is a bizarrely mesmerizing track, sounding similar to Beastie Boys or even the Bloodhound Gang. It features Hesher on main vocals with help from Miho Hatori of the band Cibbo Matto. \n"Out My Window" slows down the album's pace a bit, showing Hesher's more sensitive side. "Anytime of the Day" gets the listeners moving with Hesher's low voice blending with Jenny Fujita's higher tones on background vocals, creating a rocking track with a chorus that flows.\nA different sound seems to emanate from each track on Hesher's album. "High Plains Grifter" sounds similar to Beck both in vocals and in the funky musical style, with a trumpet making the piece fun. "Lighter Thief," only a minute and a half in length, shows listeners that Hesher can rock hard and strong.\nThe final track, "Thanks to You," winds the album down on a positive note. The song rocks in the style of Barenaked Ladies, especially when the chorus comes around. Other tracks worth listening to are "Something's Always …," and "Loves the Attention."\nSelf-Titled Debut Album is a strong first shot at superstardom in today's industry. Hesher seems to understand what is necessary to succeed in the business. An original sound for one thing, and friends with connections.
(07/25/02 8:23pm)
Bridge is Blues Traveler's first release since the untimely death of bassist Bobby Sheehan. Bridge brings back John Popper on vocals and harmonica, Ben Wilson on keyboards, Brendan Hill on drums, Chan Kinchla on guitar and Tad Kinchla on bass.\n"Back in the Day" starts with heavy bass sounds then moves into drums and keyboards, toning things down before Popper's vocals come in. The chorus of this song is energetic and catchy.\nThe second track, "Girl Inside My Head," is different from other Blues Traveler tracks. It seems more like a rock song at first, although once the chorus comes in, the good old traditional sound of the band comes back. \n"Rage" starts off with a hard introduction with heavy bass and drums. It plays out for a couple seconds before Popper chimes in sounding particularly sinister with his vocals. This track seems darker yet still cool with Popper's vocals harmonizing with background vocals to create a snazzy sound.\n"Just For Me" sounds like a classic Blues Traveler track and moves at a super-quick pace, similar to Barenaked Ladies' "One Week." Popper's vocal range and talents on the harmonica are evident here and emphasize Blues Traveler's trademark sounds.\nIn a track dedicated to Sheehan, "Pretty Angry" starts out with Popper clearing his throat before humming and crooning throughout the heavy keyboard introduction. From the beginning this track is filled with heart and emotion. When Popper begins singing the lyrics, the soul of the piece comes through clearly with Popper sounding mellower with less energy than normal.\nThe album's final track, "Decision of the Skies," nicely rounds out the album with an energetic yet toned-down sound. It becomes clear that the harmonica is truly an underused instrument in today's music scene.\nBridge should be considered a gift to fans and those who have not yet heard the bluesy sounds of Blues Traveler. The band also proves itself to be strong as it faces such a tragedy as the death of a member.
(07/25/02 8:23pm)
Talent was one thing R&B chanteuse Aaliyah Haughton found early on. \nUnfortunately, a plane crash Saturday ended the 22-year-old's life before her prime, as her career in both music and film was taking off.\nIn July, Aaliyah's self-titled third album was released, debuting at No. 2 on Billboard's Top 200 albums chart.\nThe first track of Aaliyah, "We Need A Resolution," features Timbaland and Aaliyah's sultry sound, exhibiting her range. One of the album's best tracks is "Loose Rap," featuring Aaliyah's sexy vocals and Static from Playa adding more of a hip-hop feel to the piece.\nAnother standout, "Rock The Boat" lets Aaliyah groove in the songs smooth, flowing chorus. The quiet, subtle beat exhibited throughout the track backs Aaliyah's soft, yet strong and soulful vocals. According to Aaliyah's official Web site, it was the video for "Rock The Boat" that she had just completed filming before the crash.\nIn "More Than A Woman" Aaliyah promises to be more than a lover, coming off sweet, her thick voice carrying the chorus and background vocals. \nIn "Extra Smooth," Aaliyah sings about a man who thinks he's all that. "I wish you'd quit trying to be extra smooth," she sings. Aaliyah uses her lower register in this track, almost in a chant, warning this man that he's really nothing special.\n"I Refuse" shows off Aaliyah's vocal strength and passion in her work. Starting off quiet with subtle keyboard backing her vocals, Aaliyah's intensity grows steadily, telling the story of a woman refusing to let a man control her life.\nThe album is strung with beautiful songs full of soul and a special energy embodied in the young singer. "I Care 4 U" and "Read Between The Lines," like the other tracks, display the seemingly delicate, fragile sound backed by a powerful strength. \nAaliyah combined strength, soul and a sultry sound unusual for someone so young, first proven when she appeared on the long-running television talent show "Star Search" and on her 1994 debut, Age Ain't Nothing But a Number.\nThe second album, One In A Million, released in 1996 and boosted Aaliyah's career further up into the clouds, yielding the title track and the sexy "If Your Girl Only Knew."\nAaliyah sang on the soundtrack of the animated film "Anastasia," "Dr. Doolittle" and "Romeo Must Die," receiving two Grammy nominations. Her first acting performance in "Romeo Must Die" caught the attention of Hollywood. Aaliyah recently completed filming on the follow-up to Ann Rice's "Interview With The Vampire," "Queen of the Damned," starring as the title role. \nNext up for the singer and actress was a role in two upcoming sequels to the hit movie "The Matrix."\nAaliyah was to be a presenter on this year's MTV Video Music Awards, and was nominated for best R&B/soul or rap song of the year for the Seventh Annual Soul Train Lady of Soul Awards to be aired starting Sept. 1.
(07/25/02 8:23pm)
In the tradition of Vanilla Ice, Eminem and the Bloodhound Gang, we have Little-T and One Track Mike in their debut album Fome Is Dape. \n It's funny how the album cover features two urinals -- the perfect location for this disc from the latest group of "white boy" rappers. \n Although the content of Eminem's lyrics is often controversial, they do have substance (most of them), and allow Eminem to exhibit his talent. \n The only thing Fome Is Dape exhibits is that record contracts are being handed out like free samples at a grocery store. \nThe first track, cleverly titled "Intro," is a little more than one minute of hip-hop music leading into the title song. Mike and T should have just continued the hip-hop beat for the entire length of the CD, rather then attempt to make sense lyrically.\nThere were a couple of times while listening to the album where I thought I was hearing Eminem. "Immune" sounds eerily similar to Eminem, and one of the rappers even resembles Marshall Mathers with darker hair.\n"Wings" could have been a semi-decent track, if it weren't for the redundant chorus. The background beat keeps the rap at a steady pace, allowing the listeners to bop their heads along. Just make sure your windows are rolled up if you are going to crank this tune.\n"Loosendin" is slower paced, which I like, the lyrics coming through loud and clear, more mellow (in the style of Uncle Kracker), than a majority of the other tracks. \nAlthough "Shaniqua," the duo's single, doesn't really have any musical value hidden in it, it serves to amuse and certainly does, telling the story of a guy who keeps getting phone calls for a girl who moved out the year before.\nWhat the music world does not need are more rappers that think they have talent. The term "one hit wonder" seems to be used more and more frequently to describe the fates of many new artists in recent years. Little-T and One Track Mike just happened to get lucky.
(07/25/02 8:23pm)
It must be Macy Gray's psychic energy and drive which, combined with other elements, allows The Id to surpass its predecessor. While On How Life Is highlighted Gray's distinct vocal style, the record lacked the vigor of her latest release. \nThe Id starts off on the right track with "Relating To A Psychopath," a fast-moving, disco-funk-rock number. "Boo" slows things down a bit, still maintaining just the right amount of soul, especially in the chorus.\n"Sexual Revolution" starts off relaxed, with Gray's vocals sounding vulnerable with nothing but soft strings and chorus backing her up. The backup vocals get stronger, as do the strings, and then all of a sudden, we have a rock-pop song. For "Sexual Revolution," think Billie Holiday on lead vocals and the Supremes doing back-up.\nGray reaches out to the children of the world in "Hey Young World Part 2," featuring Slick Rick, mixing in a choir of young voices and leaving me craving part one.\nThe first released single, "Sweet Baby," featuring Erykah Badu, doesn't represent the style of the rest of the disc, much like the first album's "I Try." Gray puts her heart into the piece, shown both in the performance and the lyrics which she wrote.\n"Harry" talks about mixed signals between a guy and a girl. What was a one night stand for her was something deeper for him. "Gimme All Your Lovin' Or I Will Kill You," speaks about getting love any way you can, including sex at gun point. Erotic? Not so much, but a good song nonetheless.\nOther standout tracks include the groovin' "Don't Come Around," featuring Sunshine Anderson harmonizing with Gray in the chorus. "My Nutmeg Phantasy" combines elements of 1970s disco, featuring Angie Stone and Mos Def. \nSinging of love, sex and psychopaths, The Id even includes a number for the kids -- Gray proves she's here to stay with a brighter, more inspired sound.\nRating: 9
(07/25/02 8:23pm)
Let me get defensive for a second. I wouldn't quite call myself a Britney "fan"… more like an admirer, if you will. I look at Ms. Spears as an all-out entertainer. Her vocal talents are, well, absent. But Spears has the spunk and the flare that make her a shooting star whose luster doesn't seem to be diminishing anytime soon.\nHer self-titled third album is chock full of bubblegum pop, although slightly different than her past two discs. Think of ... Baby One More Time as Bazooka. One flavor, not much variety. Oops…I Did it Again can be thought of as Bubble Yum. A couple different flavors to chose from, but nothing spectacular. Britney can be looked at as Bubblicious -- there is more variety in musical style, giving Spears a new flavor to work with, yet still reminding us that it is just bubblegum.\nSpears' first single, "I'm a Slave 4 U," produced by hip-hop and rap masters The Neptunes, is fun. While it doesn't allow Spears to "sing" per say, she seems to have a blast dipping down into her lower range and right back up to the top again.\nThe album's first ballad, "I'm Not A Girl, Not Yet A Woman," has writing talents, courtesy of Eminem favorite Dido. The track allows Spears to exhibit the best singing of her career thus far -- the sound is developed and full, without techno fluctuations or funky diphthongs. \nSpears covers "I Love Rock 'n' Roll," popularized by Joan Jett. She seems to be getting into the habit of remaking classic rock tracks, also covering "(I Can't Get No) Satisfaction."\nSpears writes several tracks on this album, among them, the 1970s disco, funky sounding "Anticipating," reminiscent of Janet Jackson.\nJustin Timberlake, Spears' boyfriend, lends writing and vocal talents with the final track "What It's Like to Be Me." Songs like "Cinderella," and the repetitive and rather drab "Boys," leave more to be desired in terms of lyrical substance and musical variety, but Spears has fun with them.\nIf she can manage not to lip sync and hit the right notes, many of these songs would be fun to see live with Spears' sensual and spasmatic dance moves. She is on her way to becoming total entertainer; case in point: look for her movie debut in February.\nRating: 5
(07/25/02 8:23pm)
In the tradition of Creed, Lifehouse, Staind and Matchbox 20, I bring you The Calling and its debut album, Camino Palmero. \nWhat's new and different about The Calling? Well, nothing really. The band's lead singer Alex Band sounds eerily similar to Scott Stapp, Creed's lead singer. The album really offers little in the way of imaginative writing or sound, and basically folks, we've heard this group before through the vocals of Stapp and all those bands I mentioned before.\n A couple of the band's tracks were recently featured in the popular WB show, "Smallville." "Wherever You Will Go" starts out slow and smooth with Stapp, err, I mean Alex Band (sorry) crooning ever so sexily into the chorus. The song itself is good but the fact that it sounds just like Creed bothers me slightly. Guys! That musical niche is already overflowing, dig out your own!\n"Unstoppable" starts out with a short but sweet electric guitar intro before Band chimes in with his thick and hearty voice. The backing vocals of the band members combined with Band's voice create magic in the chorus verses.\nWe really see that "Nothing's Changed" with the second track and it's doubtful that anything will change for The Calling, for the band's sound continues to dwell in the already crowded corner of alternative rock bands.\n"Could It Be Any Harder" starts out with Band's vocals fading in and out, getting louder then softer, then louder. This effect is a nice touch to the otherwise bland track.\n"Things Don't Always Turn Out That Way" sounds darker and more mysterious other tracks on the disc. Band's voice drifts between sounding like Creed to sounding more like Marilyn Manson, all the while the lyrics sounding like they belong in a pop song.\nI recognize talent when I see it, and I definitely see potential peering out from within The Calling's currently cliched sound. The writing talent is there, as is the musical talent. Band's voice is something to behold, it's just that the manner in which it is showcased has already been done before.\nThe verdict? Isn't obvious? If you like Creed, purchase Creed's latest album. Right now The Calling is like grape juice. It's just a matter of time before it ferments as a band.\nRating: 4
(07/25/02 8:23pm)
While listening to Green Day's latest release, International Superhits! I found myself saying, "Oh yeah, that was a Green Day song, wasn't it?" The only Green Day album I have ever purchased was Dookie, and believe me I thought it was a waste of my "hard earned" allowance back in 1994. In my world, Green Day's only album had been Dookie. I mean, aside from the occasionally released single the group didn't produce much in the way of new music, (not that any of their newer albums should be considered music). All of the sudden, they have a "best of" album.\nThe album does contain two new tracks. First, "Maria" starts with the expectedly hard sounds of Green Day and the unintelligible babbling of lead vocalist, Billie Joe Armstrong. The chorus, I admit is somewhat catchy, although head banging for any extended period of time gives me a headache, proving that I would not last too long in a mosh pit. The second new track, "Poprocks and Coke," is also somewhat catchy, though in a few years I will have to be reminded who performed these songs because the only songs I associate with Green Day are from Dookie. \nThe first recognizable track for me was "Welcome to Paradise," from Dookie, mostly because the only lyrics I can understand are the title lyrics in the chorus. Popular tracks, "Basketcase" and "When I Come Around" are also found on this album.\nFrom Nimrod, we have "Good Riddance (Time of Your Life)," which I somewhat enjoy, being more ballad-like than anything else I have heard by the band. The lyrics I can mostly understand, and what I do gather from the content have a sincere meaning.\nWarning boasts the recent hit, "Minority," which goes back to the whiny vocals of Armstrong, repeating the incessant and annoying chorus seemingly forever.\nGreen Day may just not be my type of music, although it would make more sense for a more seasoned group to put out a greatest hits album. Everyone from Madonna to The Backstreet Boys seems to be spewing out greatest hits compilations recently. For the love of what's holy! Wait 10 or 20 years folks! Give yourself a chance to actually produce more than five or six real hits.\nRating: 3
(07/25/02 8:23pm)
Jewel's new album, This Way, offers her fans a new sound. The sound is stronger and more vibrant than either of her two previous albums. Jewel adds a hint of country combined with some other flavors, making the album a joy to listen to.\nThe first single released, "Standing Still," is a smooth number where Jewel rocks throughout. The track starts out with Jewel's normally soft and subtle voice, but as it gradually approaches the chorus it becomes stronger, with a fuller sound. The chorus itself is catchy and the drums and bass really add emphasis to the piece. It's uphill from the chorus on.\nDon't let the title to "Jesus Loves You," scare you off; it really isn't a preachy song at all. The first verse starts off, "They say that Jesus loves you, what about me?" Throughout the song Jewel seems to be evaluating where she stands in life, just where exactly she fits in, in the scheme of things. The song has a sort of folksy feel to it making it genuine.\n"Everybody Needs Someone Sometime" is the first track off This Way with that splice of country twang. Jewel gets into full country mode with her normally soft voice gripping every dip and glide the song takes us into. "Break Me" is more traditional Jewel, relying on her fragile tonal quality to carry the song through. Jewel uses her lower range effectively in this piece, whipping up feelings of sadness, longing and hope in one lyrical phrase.\nThe best track of the album, "Serve the Ego," is the most unlike Jewel that I have heard her sing. She strays away from her typical material, rocking out for portions of the chorus and going for a somewhat middle-eastern harmony in other parts. Jewel uses her high and low ranges beautifully in this track and harmonizes exceptionally well with herself on background vocals. As an added bonus, listen for her two live recordings at the end.\nI really was pleasantly surprised by what Jewel had to offer on this disc. I still like her debut Pieces of You the best, but This Way is far superior in terms of sound, and maybe contains slightly less lyrical self-glorifying arrogance then did her sophomore album, Spirit.\nRating: 9
(07/25/02 8:23pm)
If I Was Your Prince\nVarious Artists\nRex Records\nReviewing music for the past year and a half, I have been subjected to a lot of crap. Let's just say I will be adding If I Was Your Prince to the steadily growing collection of un-listened-to discs in my closet.\nThe premise for If I Was Your Prince is to give a slew of unknown artists the chance to cover Prince tracks. Sounds like a Grammy-winning idea to me.\nThe first track features Lascelles Gordon and Ben Cowan together as 7 Hurtz with Toronto rapper, Peaches and Bitch Lap Lap covering "Sexy Dancer." The track combines synthesizers and a rapid drum beat creating an '80s sound almost identical to Prince's, interspersed with laughable bits of dialog between two girls on their way to a party. \n"Annie Christian" is covered by British duo Fort Lauderdale. Heavy guitars and a falsetto squeal similar to Prince's make this track a decent re-creation, though in the end, it's just another cover.\nFinnish electronica group Op: l Bastards re-invent "If I Was Your Girlfriend" with less then pleasant results. The vocals here are so muted the listener can barely pick them up. Prince's ad-libbed soulful squeals that complement the original are sorely missed.\nCapitol K puts its own spin on "Dance On" combining sounds of electronica, guitar and impressive percussion. Simian's version of "Under the Cherry Moon" attempts to hypnotize the listener with its trance-like quality. To be frank, it put me to sleep.\n"The Ballad of Dorothy Parker" showcases yet another electronica group, The Broadway Project featuring Jeb Loy Nichols on vocals. The mish-mosh of percussion, guitar and various other sounds in the background prove to be quite a distraction. London indie band Hefner sounds very good covering "Controversy," with lead singer Josee Hurlock bringing forward the melody of the piece. This could be the best track on the album.\nThe up and coming British group Bronze Age Fox sings an old Prince favorite, "The Most Beautiful Girl in the World." Bronze Age Fox slows down the tempo on this track adding bits of synthesizer; a new interpretation for a "classic." \nOverall this compilation is below average in terms of content and talent. Of all the artists to cover, why choose Prince?\n
(07/25/02 8:23pm)
Abandoned Pools\nHumanistic\nExtasy Records International\nAdmittedly, I am reviewing Abandoned Pools' debut album, Humanistic, because the cover looked cool. Abandoned Pools singer Tommy Walter was the bassist for the Eels on their first album, Beautiful Freak, back in 1996. Walter does all the instrumentals on Humanistic with few exceptions, and takes credit for the writing.\nThe first track, "The Remedy," starts out sounding dark and ominous with synthesizer and a steady, constant drum beat before Walter comes in softly yet soulfully on vocals. The sing-songy yet catchy chorus starts in no time following the percussive beat. The song's tone is dark and morose but is sung with heart, and the lyrics have meaning.\nThe first single, "Mercy Kiss," starts out softly with the hum of an electric guitar gradually getting louder before the drums explode onto the track, picking up the pace and cranking up the volume. Walter wails and whines in the chorus, then immediately goes back to monotone for each verse.\n"Start Over" begins with a slow and steady trance-like beat with percussion and synthesizers. Walter makes use of his upper range in this track, nicely harmonizing with himself on background vocals in the chorus. "Monster" has a quiet intro that almost sounds muffled. Walter weakly comes in amid bass, guitar and percussion sounding slightly strained. \n"Blood" is the song that really allows Walter's soft and harder edges to come through. Birds chirp through the intro into the first verse of "Suburban Muse," when Walter comes in accompanied by Angie Hart on background vocals. "Sunny Day," although catchy in some portions, tends to drone a little bit.\n"L.V.B.D." tries too hard at being a hard, head-bangin' track and sort of fails. While the beat is there, Walter's vocals sound misplaced. Walter sounds best in a less frantic style like "Sunny Day," or even in "Ruin Your Life," where his vocals are only backed with light percussion and strings.\nWhile Abandoned Pools doesn't exactly have a completely original sound, it is hard to be a pioneer in a world of music where everything has been done already. Walter does his best and with a rather pleasant outcome.\n
