DG's Album Reviews

DG's MUSICAL PREFERENCES: I'm an eclectic, so every type of music is reviewed here, except country and oldies (the only two musical types I do not like). The sources are pretty simple: they're albums I've purchased with my own money (not yet the big-time guy that gets them for free) and, to get reviewed here, they have to be relatively new. Most of the albums I do acquire are relatively new ones (e.g. still spawning singles), so most of my collection will be reviewed. I will, however, make references to albums of previous years that I've collected but, since I only started my World Issues Page in February, are not reviewed. I've been listening to music intensively for about five years now, and, having heard millions of songs over the years, I think I have a pretty good handle on what is good and what is not.

WHAT DG LOOKS FOR: First and foremost, the tracks have to be a pretty good listen. There's nothing worse than listening to an album that lulls you to sleep. Second, I look for creativity and originality, something to set the work apart from others in its class, and also to see if the artist, within the album itself, can also be creative and original. Third, it has to work. A discombobulated album won't score a lot of points with me, as it almost proves the artist didn't try too hard or "tried too hard". Fourth, I look for artistic merit- one should never forget that artists, in the end, create "art", so artists that can succeed in creating deep, sensual and overall stunning music get rewarded here. No "cookie-cutters" allowed.

Anyway, here are the reviews.

This Edition:
Vin Diesel is XXX: Music From And Inspired By
Justin Timberlake- Justified
Nick Carter- Now Or Never
8-Mile: Music From And Inspired By
E-Type- Euro IV Ever
Ian Van Dahl- Ace
Pink- M!ssundaztood
My Picks
Capsule Reviews for Other 2002 Albums

Vin Diesel is XXX: Music From And Inspired By

Rating: W

Song Of The Album: Moby- "Landing"

My Alternate Title: "Let's get the worst rockers, the worst beatmakers and the worst rappers and make an album!"

Genre: Hard Rock/Electronica/Hip-Hop/R&B/Rap

(NOTE: The quotes of XXX contain my opinions of the album and are NOT mean to be XXX's own opinions. With an album as bad as this one, I figured I'd have some fun and provide a fictious dialouge between XXX and the album maker for a change. I also tried to make it funny but forgive me if it's not- I'm an album reviewer, not a commedian. So don't hold it against me :) )

(XXX walks into Soundtrack Guy's office) XXX: So, do you have the soundtrack for the movie I requested?

Soundtrack Guy (SG): Yes! It's right here. You'll love it I'm sure. (Hands XXX the soundtrack)

XXX: Thanks. (Leaves)

(A week later, XXX returns to SG visibly upset) XXX: What kind of a joke is this? You call this an album? (Holds "XXX Soundtrack")

SG: (Quivering) What? I thought you'd like it. Really. We put so much effort into this, I mean we got so many big names to help you out, you know, so we thought "there's no way this can't be good". How could we go wrong? How could we? I mean it's not-

XXX: (Cutting him off) Did anyone ever punch you in the face for talking too much?

SG (Calming down but now confused): Sorry. Seriously, though, I'm perplexed. I mean all those names…we thought there'd be no way you wouldn't like it.

XXX (Disgusted): Oh c'mon. To start with, I can't stand Nelly anymore. I mean, what kind of a hook is "Stick out ya wrist many amiss/Stick out ya chest are those baguettes?" Not only is that infuriating, it's insulting my intelligence as we speak. Not only that, but the guy can't rap to save his life. Queens Of The Stone Age prove they don't know what they're doing in "Millionaire", varying quiet/loud tones to virtually no effect at all. Hatebreed? They sing "I Will Be Heard" and trust me, with all that yelling, I am hearing them but I don't think I want to anymore. Mushroomhead's "Before I Die" isn't even a song, it's constant yelling. Drowning Pool's "Bodies" has to be one of the stupidest songs I've ever heard. Mexican rapper Fermin IV sounds really dumb, and I've heard many Spaniards who can deliver better than that bozo. Dani Stevenson sounds like a bad Destiny's Child rip-off in "Yo Yo Yo", while the Neptunes lay their worst song ever with "Truth Or Dare" with Kelis and Pusha T- I mean, not even THE BEAT is good. I've come to expect a lot more from this guy. Plus, I've heard P. Diddy declare too much in the "Lights, Camera, Action!" Club Mix with Mr. Cheeks and Missy Elliott that "this is the remix". Does the guy even know how to rap? I mean, if I hear him say "this is the remix" again I think I'm going to scream. WE KNOW IT ALREADY. SHUT UP PLEASE. Oh, and don't think I'm supporting Mr. Cheeks or Missy either: their raps were horrendous, proving neither has any real talent, just like that idiot P. Diddy. Pastor Troy's "Are We Cuttin'?" seems to be taken straight from Ludacris' "Rap Crap School": I mean, how else can I explain a beat and rhymes that bad? Still, the absolute worst song EVER DONE has to be Joi's "Lick", six and a half minutes of my life I'll never get back. I mean that sexually explicit song goes on forever, with the absolute dumbest lyrics ever and a chorus that is forehead-slapping bad: "I love it when you lick", with a sexually explicit emphasis put on "lick". If I hear that song ever again, I'll scream.

SG: …but…isn't there at least SOME good songs on there? I mean, 22 songs on a double CD set (one with rockers and electronica and the other, "The Xander Zone" with the urban) there must be SOMETHING good.

XXX: (Now pleased, making SG breathe a sign of relief) Well, there's Gavin Rossdale's "Adrenaline" for one. A great high-energy rock song and pure brilliance from the Bush frontman. Oribtal's "Technologique Park" may not be original, but the Crystal Method-ish song is pleasing nonetheless. The Big Tymers' "Still Fly" is absolutely hilarious, and Mack 10, Ice Cube, Butch Cassidy & W.C. Jr. do provide a smart song about street life and it's dangers in "Connected For Life". Still, the best song on it is Moby's "Landing", a much better version of "Extreme Ways" and easily his best song ever…(Anger returns)but none of those can even begin to erase the stain left by those bad songs!

SG: (Quivers again)…but, but-

XXX: NO BUTS! This album you send me is a complete disgrace for me. I've never heard an album this bad in my life. Most of the rappers seem mired in worn sexual cliches while the rockers are mired in constant yelling- you tell me, HOW IS THAT MUSIC? This is a disgrace. You call THIS (Holding album) an album? Stop peddling this garbage at me! I trusted you and you blew it! I want my money back you blubbering fool!

SG: Please! Don't hurt me…

XXX: You know what, I won't hurt you- I'll just strap you to this chair (grabs SG, who kicks and screams in protest but to no avail, and straps him into a chair in the office with handcuffs XXX is carrying) and force YOU to listen to it forever. That'll teach you for giving me this disgrace of an album. Goodbye! (Storms off)

SG: (album plays) Oh no, this is torture. Make it stop! Make it stop! Pleeease. Anything but this! No! No! No! (scene fades out)

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Justin Timberlake- Justified

Rating: WWW

Song Of The Album: "Rock You Baby"

My Alternate Title: "Funkadelic Pop"

Genre: R&B/Pop

Probably ever since 1999's "No Strings Attached", *N Sync have done everything in their power to distance themselves from the "manufactured" pop image. There was the band's repeated insistance that they're just simply a group and not Backstreet Boy wannabes, the fact they've begun writing and having considerable more control over their music and their alignment with Nelly and The Neptunes for their early 2002 smash "Girlfriend". Though the BSB have aligned with The Neptunes before (2000's awful "The Call"), the *N Syncers decided to go more towards R&B than adult contemporary like the BSB, and, with frontman Justin Timberlake's solo debut "Justified", produced largely by The Neptunes, it puts a rubber stamp on this ideal.

The result is more of a mixed bag, but Timberlake shows us that he can pull off some tricks to keep this album worthwhile. There's the first single, "Like I Love You" with Clipse, which seems to be an extension of *N Sync's "Girlfriend" in its overtly yearning context. It's a funky delightful R&B pop groove and was a fine choice as a first single. "Cry Me A River", the second single, is another great funk groove, as the Timbaland track borrows Aaliyah's "Are You That Somebody" and uses the beat with smashing success. "Rock You Baby", a Neptunes track, is the album's strongest and liveliest track, and, no doubt if it is ever a single the clubs will eat this song up. "Never Again", produced by Brian McKnight, closes the album and, though isn't at all that deep, is touching, personal and an overall beautiful ballad and album closer. Overall, The Neptunes came to play here, as their beats again show why their production is in such high demand, giving most of the album's faster songs the edge they need to stay interesting.

On the downer, the album's slower songs tend to be really dull and overtly canned, as a song like "Take It From Here" will attest. Furthermore, the album's opener, "Seniorita", is, although being all about fun, pretty well stale and forgettable, though Timberlake's attempt to involve the crowd establishes that this album is all about Timberlake wanting to have fun and nothing else. "Last Night"'s funkiness is very tiring until the end, while "(And She Said) Take Me Now" drags for far too long. Overall, Timbaland's beats are less impressive than The Neptunes', making their bubble-gum like beats annoying as opposed to fun like The Neptunes'. Also, songs tend to start real dull and finish better, but, like Vanessa Carlton's "Be Not Nobody" (which had the same flaws), this great finish does nothing to rescue the songs from the gutter.

Overall, Timberlake's "Justified" is an enjoyable album but leaves the listener largely wanting more, and not in the good sense. "Justified", I take it, is meant as an appitizer, as Timberlake shows off what he intends to do on later works, but, even then, this appitizer leaves far too much to be desired than it should. I have no doubt that he will have a great career and will get better with future works, but, unfortunately, though he leaves us with a good teaser, it's only a teaser and that means "Justified" doesn't do as well as it should have.

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Nick Carter- Now Or Never

Rating: WWWW

Song Of The Album: "I Stand For You"

My Alternate Title: "The Next Bryan Adams"

Genre: Pop/Alt/Rock

Poor Nick Carter. As a Backstreet Boy, he automatically has the adulation of millions of teens, and, as the youngest Boy and widely held by the girls as the best looking, he gets more adulation than he could possibly dream about. However, because of this label as a "teen idol", Carter's musical credibility is at stake, since, despite all the teen adulation, the music critics and the adults- whom he'll have to impress if he wants a career- slam him as nothing more than teenybopper fodder, with his pretty boy looks the only real basis for his career. So, obviously, when rumblings came out that he wanted to do a solo album, eyes obviously rolled in the adult world, and, when "Help Me", a Backstreet Boy-ish alt/pop tune, came out, people were again ready to declare the man as teenybopper trash, here today, but gone tommorow. Poor Carter. How long can it be before he gets respected? Can he ever get respect?

Well, after an album like this, Carter won't have to take too long. It's a thoroughly delightful twelve-song romp that'll have the listener constantly asking themselves, "this is Carter?" Probably the first thing the listener will notice is the fact that Carter recalls many '80s artists (and even some present day artists) in his songs. The likes of Bon Jovi ("Girls In The USA" f/Mr. Vegas), Bryan Adams (single No. 2 "Do I Have To Cry For You?"), U2 ("I Got You") and New Order ("Blow Your Mind") are recalled, as well as contemporaries Michelle Branch ("I Just Wanna Take You Home") and The Hives (a touch can be noted in "Is It Saturday Yet?") throughout the album, but don't get Carter wrong. This isn't Carter ripping off other artists: this is Carter paying tribute to them and he does this admirably. He does have a few songs to call "his" though- there's "Help Me" (single No. 1), the amazing up-tempo rockish "I Stand For You" and the peacfully uplifting "Who Needs The World", and, considering he wrote quite a bit of the album (including "I Stand For You" and "Do I Have To Cry For You?"), he shows himself a capable songwriter to boot.

Still, like Avril Lavigne before him, Carter needs to do a lot more in ensuring his influences lurk subtly and do not rise to the surface. Although, as a new artist, he can be forgiven for this, he has to make sure that, in the future, he can definitively call his work "his" and not someone else's. However, he's got a step on Lavigne such that he does the distinguishing a lot better than she does, but it's still not as good as it should. Also, the pace drags in the middle, and, while the songs are still great, the middle section, as a cohesive whole, is still the weakest section of the album and is, nevertheless, a tiny letdown.

Overall, though, Carter has wonderfully established himself as a rising pop star and an artist who is here to stay. The alt/rock influences in his brand of pop make his work compelling and invigorating, giving him a very huge edge against his pop peers. Whereas Justin Timberlake's shaky debut means suspicious eyes will now be cast on his work, Carter's wonderful debut gives him the respect he deserves. In fact, his debut reminds one of a young Bryan Adams, and, considering who it is, Carter's made the right decisions. Simply put, Carter is here to stay, and for a long time yet.

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Music For And Inspired By: 8-Mile

Rating: WWW

Song Of The Album: Eminem- "Rabbit Run"

My Alternate Title: "Rap All-Stars Vol. 1"

Genre: Rap

As always, there are times when one wonders if the rap game is anything more than just "bling-bling" and how much sex they can have. Ever since the days of Public Enemy, it seems rappers forgot how to be creative and decided that the rap game was supposed to be all about how they could one-up each other's stories. Then there's Eminem, one of rap's few bright spots, who's always there to remind us that, yes, rap does have meaning, and, to prove it, brought together some of rap's biggest stars- like Jay-Z, Nas and Rakim- for the soundtrack for his movie "8-Mile", and, while it's not as stellar as it should, "8-Mile" does enough to stay interesting.

The obvious star of the show, again, is Eminem, whose four tracks are the brightest of the album. "Lose Yourself" is his best single since "Stan", as Eminem expertly raps about the hardships of life and the importance of not giving up. "Rabbit Run" continues on that same veil, as Eminem displays that he can display his tortured side as well as anything else. Furthermore, it's his raps that saves a song like D12's "Rap Game" from being a stinker, showing that he has enough talent to carry any song by itself. Not to be outdone is 50 Cent, who receives great exposure on this album and doesn't disappoint, clearly establishing himself as one of rap's rising stars and showcasing himself as a future Eminem in the making. His disses of Lil' Bow Wow and Lil' Kim are the material that would make Eminem proud, and, why not? Eminem is bringing up, and no doubt the two will have a great future together. Nas' "U Wanna Be Me" again showcases the New York rapper as one of rap's smartest rappers ever, although, in explaining the rules of how to succeed in rap, he does go overboard in saying to the effect of, "you must not challenge me! I am the best". Nas, we know you're good: there's no need to defend your honour. I know he's probably reeling from Jay-Z's disses at this point, but I still thinking even here he's taking things a little too personally. Overall, most of the rappers- like Jay-Z, Nas, Eminem and Gangstarr- rise to the occasion, delivering stunning rhymes and proving why they're great rappers in the first place.

That said, the beats could use a lot of work, as the intended dark tones sometimes became too dull to effectively compliment the raps, especially towards the middle. Also, it's not like the rappers are flawless either: Obie Trice's "Adrenaline Rush" is as awful as they come, as Trice tries way too hard to be Eminem and falls flat on his face. Bizzare's rap in "Rap Game" truly is, well, bizzare but not in the good sense: his lame jokes and messed up meaning make people scratch their heads over his rhymes, as the guy makes no sense and his attempt to be "cool" fails miserably. This goes too for the rest of the D12 clan (besides Eminem): look, this isn't a competition to see how disgusting you guys can get. IT'S RAP. "Oh look, I'm so cool! I can dis Elton John! No wait, I'm better! I can rap about me eating pooh!" * smacks head * The sooner they realize that they'll be "cool" by really rapping the better they'll be. The middle section of the album drags the affair, and, after Eminem's "8-Mile", most of the rest of the album is a mixed bag, making a very, very incoherent work overall.

Still, despite all its flaws, "8-Mile" does have enough to stay interesting. Eminem's raps again deliver and show why he's the best rapper out there today, while the emergence of 50 Cent as a bona fide rap star makes this album worthwhile, if only to hear what a fresh talent he is. It's not the slam dunk Eminem probably wanted, but, nevertheless, it's still a worthwhile addition to any collection.

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Pink- M!ssundaztood

Rating: WW

Song Of The Album: "Family Portrait"

My Alternate Title: "I have feelings too!"

Genre: Pop

If there ever was an artist to be incensed at the thought of being another teenybopper fad, it's Pink. Labelled incessantly by the press as a wannabe pop star for hits like "Most Girls" and "There You Go", Pink decided to make sure "M!ssundaztood" is as different from the teen pop stars as possible, enlisting the services of 4 Non Blondes' frontwoman Linda Perry to create more of a rock feel to her style. Furthermore, Pink decided to give Aerosmith's Steven Tyler and Bon Jovi's Richie Sambrora shots on this album, and, with Pink set to divulge herself from the deepest of her feelings, the pieces seem in place for what should be a landmark triumph.

Alas, it isn't. It isn't so much that Pink's new form of pop- a deeper, more personal version- actually fails, it's just that Pink really doesn't know what to do with it. The deep songs, although containing genuine feeling and depth, sound more like they come out because Pink feels like she "needs" them as opposed to "wants" them. That, in a nutshell, is the central flaw to "M!ssundaztood": it's the general focus- almost an obession- by Pink to write songs that are as deep and as different as possible just so she can no longer be seen as a teen pop star and nothing more. The end result is that, for too many of the songs, she tries way too hard: there's "My Vietnam", where Pink tries to make fun of a father who argued the importance of perservence because of his military service (yet turning the family into a war), but, through all the ridicule, it becomes completely ridiculous. "Don't Let Me Get Me" is largely incomplete, as Pink seems to have started to write a deep song but fails to finish it. "Numb" is largely incoherent, "Misery" is lamer than Aerosmith's version, the cover of Aerthra Franklin's "Respect" is lifeless and the "fly-girl" theatrics of the title track is just really awful. The album is also very formulaic, as the deep songs have a segment and the upbeat ones have theirs too: it's almost as if Pink has this mixture to a tee, but the manufacturedness of this feel gives "M!ssundaztood" a small sense of irony considering it's meant to be as anti-pop as possible.

That said, Pink's obession sometimes produces genuine, heartfelt songs that do feel like Pink is genuinely expressing herself as opposed to just her simply wishing to rid herself of an image. "Just Like A Pill" effectively describes Pink's frustrations with a lover who's only bringing her down, while "18 Wheeler" shows a confident Pink when dealing with a guy trying to take advantage of her. There's also "Dear Diary" which sounds like it came straight from Pink's diary, but the real keeper is "Family Portrait": it's a very deep song dealing with Pink's dysfunctional family and how she doesn't want it to break up. Then, the final moments come around where Pink, perhaps crying, tells her father to stay, pleading "I'll be a good girl" as the song fades out. It's a touching masterpiece and certainly a haunting and very deep one indeed. You almost get all of Pink's inner struggles and by the time the song's done, you sympathize with her. It's songs like this one that proves Pink's new pop, a deeper version isn't indeed flawed: just the overall intentions behind them are.

Overall, while "M!ssundaztood" didn't come out as good as Pink probably would have hoped, but it isn't because the concept is flawed, just the intentions are. Too often, Pink is preoccupied with shedding the teen pop image soley, so, thus, she tries way too hard way too often. There's no reason why Pink's "deep pop" can't work: the gems, like "Family Portrait", prove it can- but she needs to shed her obessions with getting away from Britney Spears and just focus on herself first. It's the driving obession that brings the album down, and, once she gets over it, she'll shine. Overall, what we're left with is an album that, although revolutionary, doesn't deliver as it should, but, even in those terms, it's not a complete failure: it provides a glimpse for the future and while this one didn't work out, it will later.

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Ian Van Dahl- Ace

Rating: WW

Song Of The Album: "Will I"

My Alternate Title: "Hardly"

Genre: Dance/Electronica

For the record, Ian Van Dahl is not one guy- it's a Belgian trio featuring DJ/producers Christophe Chantzis and Erick Vanspawen and singer Annemie Coenen, with two other female dancers. They've been pretty successful as dance artists in Europe and even here in North America, as hits like "Will I", "Castles In The Sky" and the new hit "Try" have become dance chart mainstays and have gained some mainstream exposure. So, naturally, when their latest, "Ace" came out, there was quite a bit of attention paid to it, making it one of dance's most highly anticipated releases.

It's also one of dance's biggest failures. Listening to this utterly repetitive, boring incoherent, messy dull and overall lame excuse for a dance album is better suited for curing insomnia than to provide any actual enjoyment. It shouldn't be, thus, no surprise that "Try", their latest single, has had a lot of the fat cut out of it because the album version has way too many useless segments, so, to ensure it is good they chop it up, because the album version stinks. The first half of the album has a lot of incessant thumping to cover up the fact they're not trying, just like many dance artists. As the album continues on, it just drags, feeling excruciatingly dull and needlessly long, as the band is often very repetitive. As for the individual songs themselves, "After All" is, after all, terrible, as, just like the album, it drags for far too long, though the worst has to be the wildly incoherent "Try". Just "try" listening to it- just try. I doubt you'll get through it.

As for positives…well, uh, the album cover is, uh, nice. The CD's a good mirror…I really don't know. Okay, so there is some: Coenen's voice is top notch, as she proves she can sing and overall does her work, unlike her DJs. Some segments shine- like the halfway mark and end of "Try"- plus the single "Will I" is a great stand alone song. Also, this album isn't THAT bad compared to a lot of dance acts- though it is not much better, I will concede.

Overall, you can use "Ace" (hardly) as a mirror or as a cure for insomnia, as an album this bad really has hardly any redeemable qualities. If you like your dance to be boring, repetitive, dull and incoherent, IVD is for you. Other than that, you're better off finding something else.

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E-Type- Euro IV Ever

Rating: WWWWW

Song Of The Album: "Life" f/Nana

My Alternate Title: "Putting Uncreative Dance DJs In Their Place"

Genre: Dance/Euro

If you don't know E-Type, the Swedish dance DJ, you definitely should. Around since 1991, E-Type- whose real name is Martin Eriksson- has been a mainstay on the Swedish charts with countless hit singles and albums, and, with each new hit, Eriksson gained more of a following. He was albe to eventually perform "Campione", the official Euro 2000 soccer championship song, gaining an even wider audience, setting the stage for the late 2001 release "Life" and this album in Europe. It went platinum in Sweden and, after a later 2002 release here in North America, Eriksson seems poised to take North America by storm.

Why not? This album is every bit as good as dance should be, as Eriksson varies his work greatly and is captivating every time. "Life" simply is the best track ever done in 2002- if not ever- as the entrancing, invigorating, lively and energetic song puts DJ Sammy's "Heaven" to shame- amazing since "Heaven" is also a great track. "Life"'s so good, it's impossible not to feel better after hearing it, and that's a testament to how much work Eriksson puts into his work. "Borschstjii" is also very intriguing, providing a circus-like feel that adds a bit of playfulness to the work. "Star" is very relaxing and entrancing, as Eriksson's voice captures its essence and the music has a rhythmic flow so good not even the likes of Moby has reproduced it in terms of quality. It's a really moving track and, like "Life", is one of the album's instantly likeable tracks. Furthermore, on top of being a great musician, Eriksson's voice is top notch, as is the voice of his usual sidekick Nana, as both add another element to this already captivating album.

If there is any problem it's the fact that a lot of the work requires the listener to dig deep to find it's full appreciation, as a lot of the tracks don't show their full nature on the surface. Not that I have a problem with Eriksson's subtle ways, it's just that casual listeners may take a while to understand the full value of this exceptional work. Also, Eriksson's work isn't that sophisticated compared to the likes of Paul Oakenfold, but, then again, to produce the sounds needed to make this album, there's not much that is needed and, arguably the result is better than a lot of the dance that exists today, even from the likes of the always impressive Oakenfold.

Overall, "Euro IV Ever" is a dance album you don't want to miss. There's a lot of creativity and energy in this work, as Eriksson went to great lengths to ensure that "Euro IV Ever" is the slam dunk that "Life" is. Certainly, E-Type is an artist that is worth checking out even if you're not a dance fanatic, as "Euro IV Ever" provides something for everyone- upbeat, energetic songs, playful, sensual songs, and the moody, moving songs- all done very, very well and is by far the best dance has ever seen in 2002, if not ever.

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My Picks

Well, with an all-out bonanza (eight album reviews), I close the year with an album fitting every rating category. To start, there is E-Type, the dance DJ who puts clever and creative spins on almost every aspect of the Euro dance world, providing a product, with "Euro IV Ever" that dazzles every step of the way. Next is Nick Carter, whose alternative/rock style of pop is very invogorating and refreshing, positioning Carter as the next Bryan Adams and a great new artist in the making. Eminem's "8-Mile" is next, as the rap all-stars album delivers with great rhymes- the best of which are done by Eminem, as usual- even if the beatmakers don't exactly do their job in every track. Justin Timberlake's pedestrian but still somewhat enjoyable "Justified" follows, and, while Timberlake does make something a little worthwhile, it leaves the listener wanting more, and not in the good sense. Pink's "M!ssundaztood" is next, and, while the deep pop concept works with songs like "Family Portrait", the whole album is weighed considerably down by Pink's obvious obession to distance herself from her teen pop origins, and winds up trying way too hard too many times. Ian Van Dahl's pathetic excuse for a dance album is next, as "Ace" is a lesson in uncreative dance DJs and overall presents nothing more than a cure for insomnia. Finally, there's the horrible, utterly repulsive "XXX" soundtrack, featuring some of the worst rock and urban songs ever done. Somebody forgot to tell them that rock is more than yelling and screaming, and that urban is more than sex. Oh well: if you like Frisbees, at least you get two. Anyway, tune in next month for the 1st Annual DG Awards, where I'll award the best in quality music in 2002. Until then, Merry Christmas and a Happy New Year from me here at DG's Entertainment Beat.

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Capsule Reviews For Other 2002 Albums

Since I began my reviews in May 2002, not every album I bought in 2002 was covered in full by my reviews. So I decided to give each other album I bought a capsule review here to make up for this fact, and here is what I have to say:

The Calling- Camino Palmero (W)- This is a collection of stale kiddie power ballads that rip-off Matchbox 20 in some form or another. There's really only one direction for this kind of recording- the radio- and nothing else. The fact that there's so much calculation on this album is pretty much a given, and to say it's not entertaining would also be kind. Simply put, these kids should have stayed in school.

Creed- Weathered (WWW)- Well, Creed may still be a band fit for the radio and nothing else, but at least they have some life. Songs like "One Last Breath", "Bullets" and "Stand Here With Me" are pretty solid tracks and the fact the band at least tries to put forth an honest effort keeps this album from the trash bin. However, Creed still is mainly a shadow of their former selves, and considering what an achievement "My Own Prison" was, this recording, though mildly entertaining, is simply inexcusable.

Atomic Kitten- Right Now (WW)- If you like your pop to be really bad kiddie disco numbers, Atomic Kitten are for you. This trio of wholesome British girls only want to have fun and can be excused for that, but considering that many others have done their style to death- and far better- Atomic Kitten are mainly a band that can never be taken seriously.

Default- The Fallout (WWWW)- Produced by and co-written largely with Nickelback frontman Chad Kroeger, Default produce the same kind of all-out rock that Nickelback themselves are known for, and, like Nickelback, also make it their strong suit and do it with their own twist. The Western feel on "Live A Lie" is a nice touch, while the personal "Wasting My Time" is a true keeper. Still, the standout is "Sick And Tired", co-written by Kroeger, being a great kick-in-the-teeth hard rock number that's instantly catchy and very biting. Default may be similar in style to Nickelback, but they do enough to ensure that they are their own entity- and an enjoyable one at that.

David Usher- Morning Orbit (WWWW)- Really great dark pop/rock largely still in the veins of Moist. The first three songs are very stale and boring but after that the album is a collection of excellent tunes- like "Butterfly", "Joy In Small Places" (with Snow), "A Day In The Life" and the rock version of "Black Black Heart". Usher has shown himself as the premier male songwriter in the pop world with this work and shows that he- and his band Moist- has a very bright future ahead of them.

Goo Goo Dolls- Gutterflower (WWW)- An improvement over 1998's largely stale and filler-filled "Dizzy Up The Girl", the Goos manage to pen at least seven or eight enjoyable tunes on this twelve song set. Robbie Takac's voice improves in this recording and actually has a keeper himself (unlike on "Dizzy Up The Girl") in "Think About Me". However, it's still the radio tracks that shine the most- like "Big Machine" and "Here Is Gone"- so the Goos still have a lot of work to ensure they can get a whole album's worth of the type of quality that exists in their radio tracks, but, considering this album doesn't have that much filler shows that the Goos are headed in the right direction.

Choclair- Memoirs Of Blake Savage (WWWW)- Canadian hip-hopper Choclair shines largely where Canadian hip-hoppers do- the dancefloor- so the fact that this album is every bit as enjoyable as it is danceable should be no surprise. Choclair's raps may be mainly about having sex and/or partying it up, but, unlike his American counterparts, can do it with substance and has the talent to ensure that they're not cliched at all. In fact, there's really only one stinker on this album- "Mr. Savage"- as the rest- including the excellent "Light It Up" and "Rockwell PSA's"- all give the listener something enjoyable to dance to. Yeah, the interlude in the middle where he declares "I know y'all been bouncin' to my album" may be a little bit of a brag, but, considering the album's this good, he's earned it.

Fat Joe- Jealous Ones Still Envy (WWWW)- Mixing thug and party raps and thoughtful street raps, Fat Joe presents a hip-hop album that is very entertaining and smart at the same time. It's not exactly revolutionary- 2 PAC did these rhymes better- but at least Fat Joe isn't mired in the same cliches that bog down many of his hip-hop contemporaries (including guests like Ludacris and Busta Rhymes). When Fat Joe isn't partyin' it up he's mulling over the death of his friend Big Punisher, but he also ensures that he keeps his friend's spirit alive even though, unfortunately, he is not. Fat Joe also tells people in "My Lifestyle" that the thug life may look good but the glamour isn't worth the pain it incurs. Hey, through all these players who believe getting the girl is easy, it's refreshing to hear someone who's telling it like it is, and that's the quality that makes Fat Joe one of hip-hop's better performers.

Puddle Of Mudd- Come Clean (W)- Yeah, "She Hates Me" turned out to be a great radio track, but extrapolate that over an album and you get trash. When the band isn't singing personal power ballads ("Drift & Die" and "Blurry"), they're out yelling their brains out and being really childish. Really, do we need another post-grunge sell-out? The answer: an emphatic "no".

Eiffel 65- Contact (WW)- They set themselves up as a mildly enjoyable bunch with "Europop" but with "Contact" all but prove that they're out of ideas. Every single song is a "Europop" rehash, including the first single "Lucky (In My Life)", "I DJ With Fire" and "Losing You". With a product this bad, it should be no surprise that Eiffel one-hit- since, after all, that's all they have the ability to create.

Ghetto Concept- Presents 7 Bills All-Stars (WWW)- This is another, largely, party hip-hop album as the boys decide to strut their stuff and prove they're a legitimate rap commodity. In the overall picture, it works, but there is still quite a bit of filler and downright horrible tracks (particularly in the middle) that weigh the whole product down. Still, these guys were able to make one of the smartest hip-hop songs ever in "Rest In Peace", so they don't need to worry anymore: they've proven themselves as a legitimate rap force once and for all.

P.O.D.- Satellite (W)- Heard the radio tracks? As in "Alive", "Youth Of The Nation" and "Satellite"? Good, because that's all that's good about this album. Bascially, the guys shout their brains out and showcase themselves as rather silly cavemen. Through all this, I have one question to ask: did they really try or are they just out to show us that they're really not serious? Oh well: at least I have a good Frisbee if nothing else.

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-DG

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