Rating System:
WWWWW- You can't go wrong with this.
WWWW- Excellent.
WWW- It won't change the world, but it's still good
WW- I'm not so sure about this...
W- Well, it makes an excellent Frisbee...
DG's Pick Of The Month (Tie):
Lacuna Coil- Comalies (WWWWW)
Evanescence- Fallen (WWWWW)
DG's Pick (For The Trash Bin) Of The Month:
AFI- Sing The Sorrow (W)
The rest:
Matthew Good- Avalanche (WWW)
Fabolous- Street Dreams (WWW)
Talib Kweli- Quality (WWWWW)
Thievery Corporation- The Richest Man In Babylon (WWW)
Howie Day- Australia (WWWW)
The Flaming Lips- Yoshimi Battles The Pink Robots (WW)
The White Stripes- Elehpant (WWW)
Linkin Park- Meteora (WWWW)
Opeth- Deliverance (WWW)
The All American Rejects- (Self-Titled) (W)
The Roots- Phrenology (W)
Cradle 2 The Grave- Original Soundtrack (WWW)
Seether- Disclaimer (WWWW)
Ja Rule- The Last Temptation (WWW)
Roch Voisine- Higher (WWW)
DJ Krush- The Message At The Depth (WWWWW)
WOW! Christian Hits 2003 (WWW)
Musiq- Juslisen (WWWW)
Jaheim- Still G.H.E.T.T.O. (WWW)
Craig David- Slicker Than Your Average (WW)
DJ Sammy- Heaven (WWW)
Daredevil- Original Soundtrack (W)
Spek- Don't Sweat The Small Stuff (WW)
Sean Paul- Dutty Rock (WWWW)
Sugababes- Angels With Dirty Faces (WWW)
Sigur Ros- () (WWW)
The Music- (Self-Titled) (WW)
Stacie Orrico- (Self-Titled) (W)
Uncle Kracker- No Stranger To Shame (WWW)
Queens Of The Stone Age- Songs For The Deaf (WW)
M2M- The Big Room (WWWW)
Weird Al Yankovic- Poodle Hat (WWW)
Matthew Good- Avalanche (WWW)
Song Of The Album: "21st Century Living"
Alternate Title: "The Great Debate"
Genre: Mainstream Rock
With the turns of Our Lady Peace and Billy Corgan towards more direct approach to rock (and their subsequent loss in quality), Pearl Jam's continuous quality decline, and the loss of relevance of Bush, Econoline Crush and The Tea Party, mainstream rock's last hope for profound and interesting metaphorical material lay solely in the hands of Vancouverite Matthew Good, this time on a solo project after his band was fractured in recording "The Audio Of Being". Sensing this- or maybe not- Good set out to fufill this goal with "Avalanche", and achieved just that.
"Avalanche" is, essentially, like a lot of Good's work- multi-textured but smooth mellow rock loaded with imagery and metaphors. His goal is to make you think, which is exactly what he does- exploring the "Bright Side Of Nowhere", "A World Called Catastrophe" and the "House Of Smoke And Mirrors", each one as thoughtful as their title suggests. Then there's the shocking "21st Century Living", where voiceover actors debate about "super sizing the world" and everything about it. Topics range from the Third World debts, the possessions of the wealthy and Good's album (and its profits), among others, making a profound statement about the world we live in now.
That said, "Avalanche" has its own share of pitfalls, one of them being its length. At 70mins plus, Good's form of rock develops into tedium at times, forcing the listener to feel its length. He also resorts to ripping himself off at times, using, for example, the same drumwork for "Near Fantasia" and "Pledge Of Allegiance". Also, "Avalanche" is a bit too indirect- yes, it is thoughtful but with all the metaphors flying in all at once and nothing really tied together, it could make for a rather confusing experience for some.
Still, "Avalanche" is a worthy album, and, as far as I'm concerned at least, it more than makes up for the disappointments that were the Zwan and 50 Cent recordings. Good's fourth album points him in the right direction, one that just may, in future years, put him among Canada's- if not the world's- rock greats.
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Fabolous- Street Dreams (WWW)
Song Of The Album: "Never Duplicated"
Alternate Title: "Continuing The Party"
Genre: Party Rap
If there ever was a guilty pleasure of mine (other than Manowar), it would be Fabolous. I mean, you can't get any more generic than this guy- he's all about partying, women, drinking, cars, money, etc., all topics which are in full force here. However, he seems to have this innate ability to keep these topics interesting, spouting some very clever and funny lines (e.g. a diss of Wyclef Jean on "Respect", "I got star power that BET lacked" ("Sickalicious" f/Missy Elliott)). It also doesn't hurt that the beats on this album are very danceable and enjoyable, and that his attempts at depth (e.g. "Can't Let You Go", "Change You Or Change Me") are actually quite good. The standout here, though is "Never Duplicated", where Fabolous complains about rappers who use him just to get Top 40 airplay, and, although he's not exactly as one-of-a-kind as he thinks he is, he does make a point of rappers too weak to get airplay themselves. This album, overall, isn't as phenomenal as Fab might have you believe- for one thing, the chorus of "My Life" rips off Jennifer Lopez's "All My Life"- but it's still a pretty decent and worthwhile party album.
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Talib Kweli- Quality (WWWWW)
Song: "The Proud"
Alternate Title: "The Lyrical Monsoon"
Genre: Hardcore/Socially Conscience Rap
Every rapper- good or bad- has the one hallmark album they always refer back to. Nas has "Illmatic". Eminem has "The Marshall Mathers LP". Dr. Dre has "The Chronic". Well, chalk up another hallmark album in the form of Talib Kweli's "Quality", a rap album we'll probably never get again and just may be talked about for years like the other aforementioned classics.
Just about every aspect of this album is done well, from the beats to the flow to the actual rhymes themselves. I note especially Kweli's flow, probably rap's best, as Kweli delivers his words at full throttle constantly bombarding the listener like loud drum beats on a rock album. As for the songs themselves, there's just about everything here. There's the serious, socially conscious rap numbers like "Get By", where Kweli recounts the horrors of street life and the need for people to get away from that, and the album's standout, "The Proud", where Kweli notes three dates that were important to him and delivers a message that the world needs to hear. In the first verse, he brings up June 11, 2001, or Timothy McVeigh's execution, and concludes in his verse that the U.S. is killing themselves. Then it's August 4, 2001, when police gunned down four Blacks in a neighbourhood and boldly declares that the police have declared war on the Black people of America. Finally, September 11, 2001 comes up, where Kweli laments at the new reality of the world, but also boldly declares that the U.S. government themselves are just as dangerous as the terrorists were that day, threatening the world with their tactics- all in the name of "safety" I might add (ironic, isn't it). Then Kweli gets into some general attacks, boasting very well about his rapping prowess and how no other rapper can match him in "Put It In The Air" and "Good To You", songs that put the Swollen Members to shame. Then Kweli shows off his lighter side (hey, you can't expect him to be serious all the time), bringing in Michael Rappaport of T.V.'s Boston Public for two comedic interludes (in one, he tells Kweli he should adopt "T. Kweli" like Puff Daddy did with "P. Diddy") and making amazing party tracks, like single No. 1 "Waitin' On The DJ", or, as I call it, " 'Hot In Herre'- the RIGHT way".
Weaknesses? Well, you'll have to stretch to find them on an album this good, but they are there. For one, comedian David LaChapelle comes up with a very lame opener, "Keynote Speaker", acting as a preacher to tell everyone about Kweli. In short, Talib, leave the lame openings to 50 Cent: your talent sells itself. Then there's "Talk To You", which is still solid, but the lack of a bassline does hinder it somewhat. Still, though, "Quality" puts Kweli in a league all by himself, and allows him to say what other rappers simply cannot- that "I AM the best."
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Thievery Corporation- The Richest Man In Babylon (WWW)
Song Of The Album: "Resolution"
Alternate Title: "An Average Message, But An Important One"
Genre: Electronica
It's safe to assume Washington electronica duo Thievery Corporation intended this album to be some sort of anti-American political message, as it is filled with references to American intentions of the time. There's songs like "Facing East", which uses Middle Eastern sounds juxtaposing their electronica beats to suggest "this is where the U.S. is going", "State Of The Union", where the reggae-tinged raps blast the government for being a "mockery", and the title-track, where they blast the government for having "no guidance". It all comes wonderfully to a head in "Resolution", an apocalyptic-toned song where it seems like all will be lost, sending the very tragic message that the U.S. will eventually destroy us all. It ties up the whole album nicely and makes the whole album's point all that more powerful. Granted, this album isn't extraordinary- for one, the beats have all been done before, there's way too much filler and song titles like "Heaven's Gonna Burn Your Eyes" suggest more than what they actually are- but, although ordinary, it still sends a powerful message that deserves to be heard.
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Howie Day- Australia (WWWW)
Song Of The Album: "Everything Else"
Alternate Title: "THIS is depression"
Genre: Adult Alternative/Rock/Pop
Poor Howie Day. After hearing "Australia", his independent debut re-released by Sony last year, all I could think of is how depressed the man is. On several of his songs, like "Everything Else", "Sorry So Sorry" and "Morning After", Day sounds like he's literally gone nuts because of his depression and comes off very Alanis Morissette-ish in tone. His insane songs make his other really depressing songs like first single "Ghost" sound light in comparison, but don't get me wrong: even those songs shine just as much as his insane songs do. Another point of interest here is that there's also a mix of produced songs (like "Ghost" and "More You Understand") and raw songs (like "Disco" and "Slow Down"), two of which ("Disco" and "Kristina") were supposedly "recorded by Howie Day in his basement". Interesting. Overall, Day's insanity makes a very solid and enjoyable album, showcasing an artist who will have a long and enjoyable career. I just hope he gets happy doing it.
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The Flaming Lips- Yoshimi Battles The Pink Robots (WW)
Song Of The Album: "Approaching Pavonis Mons By Balloon (Utopia Planitia)"
Alternate Title: "Well, we do have ideas..."
Genre: Pop
What to make of The Flaming Lips' latest foray into the pop world, what to make...well, I can't say this was any good, as it sounds like the Lips had all these amazing ideas but never really spent the time to make any of them gel. What a pity that is, because that would have made a great album, but, alas, it isn't so. Songs like the messy "Yoshimi Battles The Pink Robots Pt. 2" and the confusing "All We Have Is Now" (a song that speeds up and slows down quite randomly it seems) only serve to further typify this point, featuring a lot of studio tricks that only serve to clog the final product instead of help it. However, "Yoshimi Battles The Pink Robots Pt. 1", "Do You Realize?", "Flight Test" and the trippy instrumental closer "Approaching Pavonis Mons By Balloon (Utopia Planitia)" do present the kind of sound the band wanted, showing that not all is lost with this very experimental group. Alas, they're only four songs on an eleven-song album, and while I give them credit for their extraordinary vision, I just hope next time their album won't be clogged with as much useless material as was found here.
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The White Stripes- Elephant (WWW)
Song Of The Album: "It's True That We Love Each Other"
Alternate Title: "The Mouse"
Genre: Garage Rock
I'll admit, trying to sit through the "garage rock revolution" of 2002 was a chore...you had The Strokes, The Vines and The Hives, all complete utter crap (ESPECIALLY The Vines). Then there was The White Stripes, the only band that seemed to have potential, emerged with the modest rock hit "Dead Leaves And The Dirty Ground", a song that twisted its messiness into something quite enjoyable, being one of those magnetic sounds that you just couldn't hate even if you wanted to. It set the stage for a much-anticipated and much-hyped follow-up, "Elephant", one they hoped would build on their potential.
Well, suffice to say, The White Stripes haven't exactly struck gold, but they haven't turned up brass either. "Elephant" is a mildly enjoyable garage rock affair, one that probably won't leave a mark but does not stink either. The highlights of the album include the cheeky final two tracks, "It's True That We Love Each Other" and "Girl You Have No Faith In Medicine", and the blues song "Ball And Biscuit", featuring some excellent guitarwork by Jack White. Partner- I don't know what to call her now- Meg White even gets a chance to sing in "In The Cold Cold Night" and does so admirably, nailing the vocals on this beautiful lounge-esque song, though she's no Cristina Scabbia by comparison.
On the downer, "Elephant" is full of filler, most of which are rip-offs of themselves. "There's No Home For You Here" and "The Air Near My Fingers" are almost note-for-note exactly like "Dead Leaves And The Dirty Ground" (musically speaking), the theatrical cover "I Just Don't Know What To Do With Myself" suspiciously sounds like Freddie Mercury doing "Dead Leaves And The Dirty Ground" (they must love that hit don't they?) "I Want To Be The Boy To Warm Your Mother's Heart" rips off Jewel's "You Were Meant For Me", and "Hypnotize", a re-hash of the previously annoying "Fell In Love With A Girl". Then there's the really messy "Black Math", as the duo wallow in a mess of guitars and drumwork without ever making it gel.
As a whole, "Elephant" isn't a classic, but it isn't bad. The White Stripes still exhibit their potential and still show the world that they can deliver if need be: they just need to be more focused next time around.
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Linkin Park- Meteora (WWWW)
Song Of The Album: "Session"
Alternate Title: "Linkin Dances Vol. 1"
Genre: Electronica/Nu-Metal
I'll admit, the very thought of a "new Linkin Park album" sent shivers up my spine. Despite some great moments ("In The End", "Papercut"), "Hybrid Theory" was largely a wash, mired in useless yelling and atrocious musicianship, presenting a band that really didn't have a hope in the world. So, to say that the prospects for "Meteora" were not high is an understatement- as far as I was concerned, Linkin Park would be the next Papa Roach.
My was I wrong.
"Meteora" has Linkin Park finally finding their footing, developing a sound and actually making it theirs, even if it isn't completely original. The band has developed a largely Nine Inch Nails-ish industrial feel, ditching the simple hip-hop beats of "Hybrid Theory" for more elaborate electronica sound, a sound that elevates the band's otherwise generic sound to new levels. Hey, there may be nothing in Brad Delson's guitar riff arsenal, Rob Bourdon's drumming or Chester Bennington's singing, but at least beatmakers Mike Shinoda (when he's not rapping) and Joseph Hahn came to play and then some.
I'll admit, I can't get enough of the DJ'ing on this album. Of course, it's nothing Paul Oakenfold, DJ Krush or Moby couldn't do and may not make them legends, but it is still great. Shinoda and Hahn have more tricks in one song than many dance DJ's have in their entire catalogue. Songs like "Don't Stay" (a borderline NIN rip-off I might add) and "Numb" benefit from the duo's tricks, all coming to a head in "Session", an instrumental track which is a series of cuts and loops all delivered at a breakneck pace. Hearing that makes me curious what the two of them could do on an album all by themselves. Then there's songs like the orchestral/electronica mixed "Breaking The Habit", coming off as a trippy version of Staind's "It's Been Awhile" (and being the album's "In The End"), and "Nobody's Listening", where the hip-hop beats return for just this one track (and, despite what you think, these beats here are solid). The song tracks the tribulations the band faced in making an album, allowing Shinoda to deliver a clever line: "I hate my rhymes (but I hate everyone else's more)". Don't get me wrong: Shinoda the rapper probably will never be confused for Eminem or Talib Kweli, but he seems to have at least a small step on the more uncreative rappers like Nelly and Ja Rule.
However, the album still has its fair share of problems, starting with the clich�d and cheesy angst-ridden lyrics (though the band's emotions are real, though, saving those lyrics). Also, as stated before, outside of the DJ'ing, the musicianship is simple and sometimes even awful, and, although he cuts back on it considerably, Chester Bennington's yelling is still quite annoying on songs like "Hit The Floor". Finally, the first few songs are comparatively weak to the final tracks, and, although it makes for a great progression, their weakness is still noticeable.
Overall, "Meteora" probably won't be confused as one of rock's classics, but points to a brighter future for Linkin Park and proves "Hybrid Theory" was just a misstep. It comes in the midst of another nu-metal act's startling improvement- Disturbed- and proves that Linkin Park have finally arrived and just may be here to stay.
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Lacuna Coil- Comalies (WWWWW)
Song Of The Album: "Comalies"
Alternate Title: "Profound Catchiness"
Genre: Metal
It's always struck me as odd as to why Italy's Lacuna Coil have never hit it big. Arguably one of contemporary metal's best bands, the band has a knack- shown widely here- for crafting insanely catchy but deeply profound melodies, riffs and hooks, allowing it to stick in your head very, very easily just like the pop songs. It'd be as if, say, The Matrix actually wrote something philosophical instead of some silly songs about heartbreak and something about being complicated, but, the way LC have set themselves up, The Matrix- and just about every other songwriter- should learn something off them, because distinct bands like LC don't spring up everyday.
For instance, they could learn immensely off "Angel's Punishment", maybe the album's catchiest number, where the verses simply have lead vocalist Cristina Scabbia repeating monotonously but hauntingly "war�destruction" over and over again in the verses, while the chorus has guitarist Andrea Ferro's desperate wails replied by Scabbia's powerful and haunting vocals, easily one of the music industry's best. It sticks in your head but delivers a stunning message at the same time, one about war's devastating effects. Then there's the single, "Heaven's A Lie", which, at the root of it, is a love song where one partner searches for truth in their current relationship. "Set me free/Your Heaven's a lie/Set me free with your love" grunts Ferro in the chorus, while Scabbia explains in verse one "I need to know/When I will fall into decay" and in verse two "I need to know/Why did I choose to betray you" (by the way, the weeping you hear in the background is The Calling, because they know they can't come up with something nearly as good as that). It all comes to a head in the end with the title track, the absolutely stunning and symphonic Italian-English hybrid closer. Arguably, the symphonic effects in all the songs- a la Cradle Of Filth- help lift LC's profoundness even further, adding a surreal ness to the songs and ensuring the stuff that's stuck in your head for days actually means something.
If there is any downfall to any of this, it's the fact the songs can sound a little too similar. If you've heard "Heaven's A Lie", you've heard- essentially- the other songs on the album. Not that I'm complaining- "Heaven's A Lie" is an extraordinary song that I could hear forever without it getting tiring- but it would be nice if LC had a bit more variety. Also, the simplicity of the song structures- especially the guitar work, which is just constant chugging- although itself necessary for the songs to work, is very noticeable, so those who'd want more elaborate metal might be iffy about this. Still, LC are the "cure for the common song", a really, really catchy bunch like the pop stars- only they have something most of them do not: SUBSTANCE. Now, if only they can get the airplay�
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Evanescence- Fallen (WWWWW)
Song Of The Album: "Hello"
Alternate Title: "Metal Returns To The Mainstream"
Genre: Metal
There were two things Evanescence's first single- "Bring Me To Life" (with the 12 Stones' Paul McCoy) did for them. One, it immediately made several compare them to Linkin Park, as the rapid-fire lyrical nature of the chorus (though I don't call it rapping) and the up-tempo, driving nature of the song resembled Linkin Park. However, the second thing "Bring Me To Life" did- for those who knew about them- start comparisons to Italian metallers Lacuna Coil, who also have a female lead singer in Cristina Scabbia. Well, ditch the Linkin Park references and stick to the LC comparison, because the two bands are very, very similar.
Now, before I move on, I'd like to say that Evanescence are not shameful rip-offs- they may be similar, but the Arkansas band does enough to distinguish themselves from the Italians. Probably the most striking difference between the two is the fact Evanescence are far more elaborate than LC were. Lyrically, they're very text-heavy, which means they lose a lot of LC's catchiness (but not the profoundness, mind you). Also, the guitars do a lot more than LC's do, sometimes resulting in brilliant solos ("Going Under"). It may not put Ben Moody in the same league as Zakk Wylde, but at least he shows skills many of the nu-metal bands lack. Then, there's the variety (in just the song structures, though), as two of their songs- "My Immortal" and "Hello"- are simply piano-driven tracks, allowing for Amy Lee's brilliant and powerful vocals to show their true strengths. However, just like LC, they provide the Cradle Of Filth-type orchestral arrangements and the lyrical profoundness, though the topics are mostly about pain. Don't let that deter you though: they're as much about expressing pain as they are about overcoming it, like in "Whisper" and "My Immortal". Still, when they do talk about pain, it's not in the childish sense like Papa Roach- instead, they'll stammer "Don't try to fix me I'm not broken/I'm living the lie so you can hide" ("Hello", which comes off as one's conscience) or "Pouring crimson regret and betrayal/I'm dying praying bleeding and screaming/Am I too lost to be saved?" ("My Tourniquet"). Makes up for all those years of hearing "life's not fair" by those dunderheaded nu-metallers and kiddie rockers.
Still, Evanescence don't always shy away from the nu-metallers: for example, "Taking Over Me" can get a bit whiny. Plus, the arrangements do, at times, become a little too overpowering, as if the band is trying way too hard. However, those are just minor complaints: Evanescence are, for all intents and purposes, still far ahead of the nu-metallers, a major label, immensely-hyped band that actually carries the distinction those nu-metallers wish they had: they are metal; and very good at that.
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Opeth- Deliverance (WWW)
Song: "Master's Apprentice"
Title: "On A Dark, Gloomy Night�"
Genre: Death Metal
Opeth's latest North American release continues their tradition for elaborate, orchestral death metal, and, for the most part, "Deliverance" hits the mark. There are all of six songs on the album, most of which are ten minutes plus (there's a two-minute instrumental, "For Absent Friends", right before the fifth track), all of which present a compelling dark atmosphere that help the band stay ahead of many of their counterparts. For example, Mikael Akerfeldt's decision to alternate between growling and clean vocals on "Master's Apprentice" work to perfection, using the clean vocals to lament and build into anger, after which Akerfeldt growls his disgust away. It's not just all Akerfeldt on this album: the rest of band is also up to the challenge, providing excellent, dark musicianship that matches Akerfeldt's emotional outbursts. In "Wreath", for example, guitars answer every one of Akerfeldt's grunts three quarters of the way through, with the very precise drumming doing great to keep the overall pace. Like all the other songs, the musicianship allows the songs to reach an amazing crescendo at the end, the big grand finale that's as good as it's supposed to be. However, what really stops this album from being a classic is the fact it delves into tedium way too much. It's not so much that the band rips themselves off at times, but they can get repetitive and that drags the overall product down. There's nothing wrong with ten minute plus songs (as the Black Light Syndrome will attest), but, unlike the Bozzio/Levin/Stevens crew, Opeth still don't know how to keep all of those minutes interesting. This isn't to say that "Deliverance" is a bad album- it's a good album that's worthy of attention- but there's the nagging feeling that it could have been better. For now, we're stuck with this, but at least it's enjoyable.
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The All-American Rejects- (Self-Titled) (W)
Song: "My Paper Heart"
Alternate Title: "The All-American Rejected"
Genre: Mainstream/Pop Rock
There's a reason why The All-American Rejects call themselves that: because absolutely no one- and I mean NO ONE- wants anything to do with them- well, at least not with an album that's as terrible as theirs. Just about every song they write about is how some girl decided to break their hearts, in that oh-so-juvenile way of crying to their mommies about how terrible their lives are. "Oh, my girlfriend left me. My life's so miserable. I can't take it anymore. WAAAA!" Oh suck it up you big baby. Of course, that's not the only sonic crime they're committing: we have the "oh so grand" (sarcasm) "Happy Ending", which aims big with a clockwork-like (literally) sound but becomes a song Simple Plan cut from their album, and "Drive Away", a blatant rip-off of Lit's "My Own Worst Enemy". Sure, there's "My Paper Heart", which uses the drum machine to actually concoct something interesting, but the reality is that these Rejects are about as hopeless as The Calling. They're not as bad, but they're frighteningly close, providing one stupid, generic pop-rock song after another, all providing "One More Sad Song" at each take. I just hope this Frisbee actually flies: otherwise, it's really a lost cause.
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The Roots- Phrenology (W)
Song Of The Album: #18 (f/Talib Kweli)
Alternate Title: "Still searching for 'it'"
Genre: Rap
Every once in a while, there's an album whose weakness you just can't explain. The artist may be a talented one and may actually put in a genuine effort in their work, but for some reason, it just doesn't work out. Such is the case for The Roots' "Phrenology", an album that has the well-received rap band strutting their stuff but failing to really hit their mark. It's not so much that they're hopeless like acts like The Calling, AFI or Papa Roach- they do possess the talent for a solid album, it's just that "Phrenology" just doesn't work out. For example, there's "Rock You", which sounds like the Swollen Members making a rock song, and weak socially conscious rap songs in "Sacrifice" and "Quills". In fact, the rapping overall is very weak, as Blackthought's verses are rarely ever interesting. He's a gifted rapper, yes, but despite his great flow, his actual lyrics are not that strong here. Unfocused? Maybe. However, he's not totally to blame- there's the "artsy" instrumental tracks like "Water" which become tedious and rather boring, although "Water" does feature some really nice guitarwork. This isn't to say that The Roots don't actually shine anywhere on the album- there's "The Seed 2.0", a really rocking song with Cody ChesnuTT, and "Pussy Galore", where, despite some really bumpy moments (mostly in Blackthought's verses), The Roots manage to slam the rudimentary sex rap song (complete with the "sexed up" beat). Finally, there's the hidden eighteenth track (I don't believe it has a title) featuring Talib Kweli, with the first half being a smart socially conscious rap and the second half being an instrumental, with impressive DJ'ing and beatboxing from Razhel. However, despite how good that track is, there's that lingering feeling that's the way the rest of the album should haven been, which is a real disappointment considering how the rest of the album played out. Hopefully next time they'll hit their mark.
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Cradle 2 The Grave Original Soundtrack (WWW)
Song Of The Album: Big Stan- "The Hand That Rocks The Cradle"
Alternate Title: "The Great Gangsta Epic"
Genre: Rap
DMX has always had a penchant for making some of gangsta rap's most meaningful songs, like last year's hit "Who We Be". He also has a penchant for making some "whoop it up" bloopers, like "Party Up", but I'll let that slide. So it should come as no surprise that his latest project, the soundtrack to the movie "Cradle 2 The Grave" (where he also stars) is an album full of gangsta rap and rappers, like veterans like Eminem, DMX himself and Foxy Brown to up-and-comers like Joe Budden and Big Stan. It's really, really long (at eighty minutes plus), but it's still a solid work nonetheless. The brightest of the tracks is Big Stan's "The Hand That Rocks The Cradle", with great wordplay, rhyming and a very rapid flow, while DMX himself scores big with his two tracks, "X Gonna Give It To Ya" and "Right/Wrong". Then there's Brown's "My Life (Cradle 2 The Grave)", a very touching and personal song where, in one line she wonders why rappers continue fighting with 2PAC and The Notorious B.I.G. dead. Of course, there's the fair share of crap here- like Budden's mundane "Drop Drop" and Baby's really stupid and clich�d "Won't Be Coming Back", but don't let that deter you- despite it's length, it's still an album worth checking out.
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Seether- Disclaimer (WWWW)
Song Of The Album: "Broken"
Alternate Title: "Real Pain Vol. 1"
Genre: Mainstream Rock
Grunge may be written off, but with a band like South Africa's Seether, it may not be dead just yet. This band combines the sounds of old Creed (the "My Own Prison" stage), Nickelback and Nirvana in their recording, passing with flying colours. Among the highlights are "Gasoline", a smart Nirvana-esque song about the tribulations of a Cover Girl wannabe, "Sympathetic", a punchy and somewhat catchy pop-rock song and the best song on the album, the mellow, heartfelt love-lamentation closer "Broken". However, the band does seem to have quite a bit of fat and repetition in this recording, dragging down the overall product, and frontman Shawn Morgan's yell does get annoying in some songs ("Needles", "Pride"). Still, this is a young band with a lot of potential, so it's safe to say this isn't the best we've heard from them yet.
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Ja Rule- The Last Temptation (WWW)
Song Of The Album: "Emerica" f/Young Life & Chink Santana
Alternate Title: "Murder Inc. Is Out Of the Doghouse"
Genre: Rap
I'll admit, before listening to this there was nothing more grating than hearing Ja Rule's yammering about "Murder Inc." and his annoying pop-rap songs while he pretended he was a thug. Yet "The Last Temptation" seems to be something completely different for the rapper, who's finally admitted his role isn't that of a gangsta but of someone who's really just out to have as much fun as he can. The contrived posing is gone, just a fun party vibe with gangsta references (somehow, I wonder if 50 Cent is listening�)- in fact, during the album he even admits this, simply stating that he's just out to make hits; and hits he makes. Outside of the first two singles here- the atrocious "Thug Lovin'" with Bobby Brown and the passable "Mesmerise" with his frequent aide Ashanti, the two weakest songs on the album- it's quite enjoyable and fun to listen to, even if it's not exactly the classic Ja Rule might have wanted. For example, there's single No. 3 "Murder Reigns", where Ja Rule gets personal, contemplating his tribulations and wishing he could blow them all away- quite literally in fact. Then there's "Rock Star", which uses wonderfully the sample to Lenny Kravitz's "I Belong To You". In fact, the beats- which are mostly samples- are used quite well, even if they're not exactly inventive. Finally, there's "Emerica", the album's highlight, which uses a silly (I mean that positively) "carnival"-like beat while Ja and his associates literally have fun exaggerating their bling-bling lifestyle, all while exclaiming "Welcome to Emerica" in the chorus. Could Ja be making a statement about "The American Dream"? Well, the raps ARE exaggerated and the beat suggests it's supposed to be silly, so I think so at least. So, in short, while it's not a classic and doesn't make Ja a great rapper (he's improved but he's still average), it's a sign that- gasp- he might actually have a chance now. Seriously.
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Roch Voisine- Higher (WWW)
Song of the Album: "Tears In My Coffee"
Alternate Title: "Another Instalment of My Confessionals of My Life's Story"
Genre: Adult Alt/Pop
At first glance, Quebec AC artist Roch Voisine really doesn't present a good impression. Song titles like "Tears In My Coffee" suggest an album that's as sappy as they come, an album featuring a man who's crying like a baby in that "oh-please-not-again" story of a broken heart- kind of like Papa Roach with crooning. Well, Voisine's not a whiner, actually, but in fact someone who just simply has a view on his life that he'd like to share with the rest of us- sometimes a joyful one and sometimes a tearful one; and, sometimes one that really doesn't have anything to do with his life. Remember "Tears In My Coffee"? Believe it or not, that song has Voisine lamenting at the atrocity that is "reality TV"- "its rock and roll/To sell your soul" he explains. He wonderfully slams reality TV, particularly ones dealing with families, explaining that moments no family should ever have to go through are "good for the ratings", all while he cries "tears in my coffee" and boldly declares it "trash TV". Ha- take that Survivor! There's more to "Higher" than just that song- like the title track, single No. 2, a joyous and upbeat exclamation of love, and the similarly upbeat "That's More Like It". Then there's the first single, "By Myself", a mellow, emotional and personal song with decent guitarwork that shows he can also do slow songs well. Still, the up-tempo songs shine more than the slow songs, like "Since You Left", one of the few times this album features a really sappy and whiny Voisine singing about his lost love. After I heard it, all I could tell him is "suck it up you big baby". Then there's "Myriam's Song (Will You Be My Wife)" which is actually a good song but it's a blatant marriage proposal, and marriage proposals don't belong on albums. Sorry, I don't know either of them so why should I care? Finally, on songs like "Life's A Beach" and "Don't Give Up" he gets too simple at times, but it doesn't end up hurting the songs too much. Overall, there are a few shaky moments, but it's still a very enjoyable and solid album and one worthy of attention.
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DJ Krush- The Message At The Depth (WWWWW)
Song of the Album: "Song For John Walker" f/Anticon
Alternate Title: "THE Electronica Album"
Genre: Electronica
Japanese turntablist DJ Krush's "The Message At The Depth" is to electronica what Talib Kweli's "Quality" is to rap: an extraordinary, one-of-a-kind album that we'll probably never ever hear again. It's a mad flurry of sounds, very intricate and fast, but with a lot of complexity and depth to boot. It may not make him Paul Oakenfold, but I wouldn't be surprised if he actually got there eventually.
For example, there's the astoundingly rapid-fire instrumental "Sanity Requiem", which swerves all over the place at a blinding rate, almost portraying an insane-like thought process. Then there's the ten-minute "The Blackhole", another furious track that eventually explores the depth the title suggests. It's not all instrumentals here (though I wouldn't mind if they were with a guy like DJ Krush)- in fact, eight of the eleven tracks have vocals, but they're not just the simple stuff that pervades a lot of electronic music- they send a message, often social or political. "What About Tomorrow" explores the "bleak" future, exclaiming "No more bombing/No more shooting/Let the children be", while in "Aletheuo" (the song which has the video), DJ Krush and guest Angelena Esparza complain bitterly about the effects of WWII.
The best out of all the songs here, though, is "Song For John Walker" (with rappers Anticon), a blatant anti-American track. The first verse has Dose saying "once a f***ing gan we got a dollar model President/Carving his face up for the cover of the next new nickel�Curling perfect sers with his thin lips�oh yeah w***/You got Empire guilt". In the next verse, Alias exclaims "it's dreams with dusty dash boards and chipping paint/At least the animals have something to poison themselves with", finishing his verse with "Time to give the fall out shelters a make over/Grab a pen and a pad and IKEA catalogue today". The song finishes with Dose throwing a barb at George W. Bush, telling everyone, "No matter what you do G.W. there will be no dollar for you/Woah is the billionaire/Woah is the billionaire/Do the math/Give him a bomb to suck on". Oooohhh�
In short, this isn't perfect- it can get too tedious at times- but it's still brilliant. A sonic masterpiece that will eventually leave it's mark and needs to be heard.
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WOW! Christian Hits 2003 (WWW)
Song Of The Album: SoulJahz- "All Around The World"
Alternate Title: "Christian Music: Alive And Well"
Genre: Christian (Eclectic)
Christian music may have lost quite a bit of its relevancy over the past few years, but it still hasn't lost its bite. This album- a double CD- is a compilation of the biggest Christian hits over 2002, hits that, like modern mainstream radio, don't always shine but at least stay entertaining. Arguably, the best music here is found on the second or "White" disc, which features many of the bigger names- Jars Of Clay, Stacie Orrico, Third Day and Jump5 (who also happen to be on the Lizzie McQuire soundtrack)- who show why they're the bigger names by delivering. The best out of all of those is Jars Of Clay's Lifehouse-like "I Need You" and Orrico's catchy and fun "Security", both being metaphorical enough to pass of as more than just Christian music. Of course, the best out of all the songs on the "White" disc is the SoulJahz's (yeah, I know: corny name but still�) "All Around The World", a straight pop song written days after 9/11 that asks the world to stop hating each other. It has kiddie appeal, but at the same time has a meaning that transcends the age group, therefore presenting something more than the Backstreet Boys ever did. The good songs are not all stuck on the "White" disc (though because of the really poor organisation, the other "Blue" disc is comparatively bare): there's two faith-affirming alt/pop gems from Rachael Lampa and Mark Schultz, and, arguably, the best on the "Blue" disc, Nichole Nordman's "Holy". Of course, "Holy" presents the first disc's major problem: it's the only song that takes the Christian faith and applies it to today on the disc. The rest? They just rehash the same themes ad naseum, rarely (if ever) adding anything new. I mean, it's great to hear them say with conviction "you are my everything" but after the ten billionth time it gets annoying. The second disc improves on this, though- like the SoulJahz song- but even there the clich�s get rolled. Overall, it isn't bad, but just like every other genre, a compilation like this is just a teaser- you really have to dig deeper to really find the goods.
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Musiq- Juslisen (WWWW)
Song Of The Album: "Mother-Father"
Alternate Title: "The Great Soul Groove 2002"
Genre: R&B
With all the slick, party hip-hop influenced "R&B" it's easy to lose sight of the few who do it right- like Musiq (no "SoulChild" surname this time, though). Here, "Juslisen" is a stripped-down, bare-essentials, "raw" and easy to listen to R&B album, using none of the tricks found on too many "R&B" albums today. Well, maybe ONE trick: "If I Woulda Knew" ("Girl Next Door Remix") uses the same sample that Ashanti's "Foolish" did, only this time the sample doesn't have the life sucked out of the track like in the latter example. The organisation here is also brilliant: fast songs start the album allowing the listener to get into the slower stuff lying ahead, then the fast songs appear again to close. It's kind of like a sonic concept album (loosely) as every song seems to have a purpose for the next one. His voice also plays a key role here: it's a very dynamic and multi-faceted voice, allowing him to change tempo almost on a dime, a very impressive feat if I might say. Song-wise, the best song here is "Mother-Father", where Musiq thanks his parents for raising him since "I now can see that it wasn't easy raising me". He may be young but at least he's grown, so I send him my props. Problem areas? Well, there's only one major pitfall: the song "Babygirl". Not a brick may be missing in the girl, but a beat in the right place is, though. Still, "Juslisen" is an invigorating listen and should at least show everyone that real R&B isn't gone just yet.
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Jaheim- Still G.H.E.T.T.O. (WWW)
Song Of The Album: "Everywhere I Am"
Alternate Title: "Pop-R&B: The RIGHT Way"
Genre: R&B/Pop
If Musiq provides a pleasing break from pop-R&B with his actual R&B recording, Jaheim provides a case that today's pop-R&B isn't a lost cause. "Still G.H.E.T.T.O." is just as fun as it is slick, providing great beats by the dozen and without any big name producers (seriously, do The Neptunes have to produce everybody?). The up-tempo songs like "Tight Jeans" and "Let's Talk About It" work better than the slow songs because of Jaheim's relatively limited vocal dynamics (he's not as good at tempo changes as Musiq is), which arguably require them, but that isn't to say the slower songs are a total write off: "Everywhere I Am", a song about his late mother, comes off as very touching and heartfelt, a beautiful personal ballad. Mary J. Blige also comes in to give Jaheim another gem, "Beauty And The Thug", about just that. Yes, the album's glossy sheen is noticeable and the subject matter isn't too much different from other pop-R&B albums, but "Still G.H.E.T.T.O." is still worth it.
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Craig David- Slicker Than Your Average (WW)
Song Of The Album: "2 Steps Back"
Alternate Title: "I May Be Confused, But I Still Have Hope"
Genre: R&B/Pop/Garage
"Slicker Than Your Average" is kind of like two albums in one: the first, much larger "album" (approximately 60% of this album) has garage artist Craig David sounding like a shameless sell-out, one who's ditched the intricacies and inventiveness of garage (which made him enjoyable with "Born To Do It") for the stale, boring brand of American pop-R&B in its worst. It's even more appalling to hear him snap back at his critics for accusing him of "being R&B" and state that he's still "garage" in the title track, all while singing in a blatant R&B song. If that's not a sell-out track right there I don't know what is. The other more interesting "album"- 40% of this album and mostly at the back - has David returning to his garage roots, spinning various sounds at a rapid-fire pace that's interestingly infectious. I note "2 Steps Back" especially, because of the song's memorable hook and very danceable sequence- it's not revolutionary electronic music but it's still brilliant, a la Daniel Bedingfield. Still, it would have been nice if David went with one direction (preferably the garage one) because the lack of coherence really hurts the product. Hopefully next time around he'll know exactly what he's doing.
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DJ Sammy- Heaven (WWW)
Song Of The Album: "Take Me Back To Heaven"
Alternate Title: "Casual Beauty"
Genre: Dance/Pop
Spain's DJ Sammy may be a one-hit wonder with the title track (a lively cover of Bryan Adams' dry hit), but at least his album shows he has more than just the odd hit up his sleeve. The songs here are simple and catchy- and right up the radio's alley I might add- very danceable but at the some time intricate enough to stay entertaining. There are the acoustic guitars in "Sunlight (Bossa Nova Vibes)" for one, and the ethereal vocals and swooping sounds in "El Condor Pasa" for another. The highlight of them all is "Take Me Back To Heaven", a Sash! sound-alike that counts as the darkest and most compelling moment on the album. Still, there isn't a lot that here that hasn't been done before (like the bassline-heavy "Beautiful Smile") and it really isn't that intense, but, regardless, "Heaven" shows that DJ Sammy is more than just a one-hit wonder.
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AFI- Sing The Sorrow (W)
Song Of The Album: "The Great Disappointment"
Alternate Title: "Your Average Teeny-Bopper Rock Band- WITH BIG WORDS!"
Genre: Rock
For a time, I'd always mentioned The Calling as the worst band who've ever graced the planet. I mean, I thought NOBODY could EVER top some of the schlockiest, simplest, blandest, most radio-ready and dullest "rock" to ever hit the airwaves- it just isn't fathomable. However, the forgettable are meant to be forgotten, and thanks to Orange County- what, rockers, because they sure are not punk anymore- A Fire Inside (A.K.A. AFI), The Calling no longer have that distinction.
Now, you may be wondering how a band can descend THIS low after being good (but not great) on their previous work. It's simple really: get them a recording contract and they'll think they can put in as many tricks as they want just to hide the fact they have as much depth as your average teaspoon. I mean, I've never heard orchestral arrangements THIS bad before: they're all overdone, overwrought and cheesy, wanting to be meaningful but coming out duller than a butter knife. Guys, you're not going to be taken seriously if you try too hard. Then there's the "really profound lyrics" they decided to write. Take "Silver And Cold" for instance and watch it become a Simple Plan song:
AFI: "I came here by day, but I left here in darkness and found you on the way/Now it is silver and silent/It is silver and cold/You, in sombre resplendence, I hold."
SP: "I came here early but it's cold and it's getting late/Then I saw this girl I really wanted to date/So I said, 'screw going home', here's a beauty all alone"
AFI: "Your sins into me, oh, my beautiful one now/Your sins into me/As a rapturous voice escapes, I will tremble in prayer and beg forgiveness"
SP: "So I said to her, 'speak and I will wash all your pain away'/Then I heard her voice and what she'd done and I was afraid"
Yeah, it's probably not perfect, but you get the idea. Then, a little later on, AFI do the translating for me, exclaiming that "I'll fall asleep for you", sounding perplexingly like Simple Plan's "I'd Do Anything" (part of that chorus reads, "just to fall asleep with you"). Of course, "Silver And Cold" isn't nearly the only misstep- how about this one, the opening line from "Dancing Through Sunday"? "Will you join me in this dance of misery, cradled in impossibility?" Genius really *rolls eyes*. How about NO, you big cry baby. Then this "gem" pulled from "Paper Airplanes": "you'll never find a soul inside, no life, but nothing's died/No lights but quite the show (just as long as no one knows all motion is pantomime)". That sounds like something Slipknot would make up, only using "pantomime" instead of "gone" or "has stopped". Of course, vocalist Davey Havock doesn't help much, using an annoying, Sunny Sandoval-like wail on some tracks like "Death Of Seasons", screaming his way to an ear-grating performance that leaves me wanting to hear someone scratching a chalkboard. Hey, at least it's more interesting than hearing Havock's annoying yells. Mind you, there ARE two good ones here- "Girl's Not Grey", the catchy yet dark single, and the best song on the album, a really dark song where the profoundness of the arrangements and lyrics actually work, fittingly called "The Great Disappointment" because that's what the album is.
However, that does nothing in the end. AFI's "Sing The Sorrow" is still very forgettable, stale and plain old boring rock music, something that wants depth but fails dramatically in its attempt. If you want profound rock, please go to Opeth, Lacuna Coil or Green Carnation, bands that KNOW how to use profound lyrics and arrangements and leave these shameless poseurs alone.
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Daredevil Original Soundtrack (W)
Song Of The Album: Evanescence- "My Immortal"
Alternate Title: "A Lesson In Boring Rock"
Genre: Rock
Okay, I'll make this simple: I'm going to list the good songs and neglect to mention the rest because they're WAY too boring and forgettable to even mention:
Evanescence- "My Immortal"
Evanescence- "Bring Me To Life" (f/Paul McCoy)
Nickelback- "Learn The Hard Way"
Seether- "Hang On"
12 Stones- "Let Go"
If you want to explore just how boring the rest of the songs are (from such "talents" as The Calling, Finger Eleven, Drowning Pool and Chevelle), go ahead, but don't act like I didn't warn you.
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Spek- Don't Sweat The Small Stuff (WW)
Song Of The Album: "Smell The Coffee"
Alternate Title: "Aren't I So Cute? Take Me Seriously!"
Genre: Pop/Rap
Awww�look at former Dream Warrior Spek. Isn't he such a pretty boy? The kind the girls will go on and on about because he's "just so cute"? I mean, we've GOT to take him seriously, right? *cough* Sorry, but I'll pass, because his "adorable" work is just as boring as paint thinner. I'll give him credit for wanting to do non-threatening "adult" rap, but does it have to be this boring? I mean, every song here is the same thing: light-hearted, acoustic-tinged pop-rap, all with attempts at "cheeky" (or, rather "cheesy") lyrics and melodies all meant to make the listener say "isn't that just SO cute"? It's enough to make a grown man cringe. Take a song like "Don't Wanna Dance": it is, essentially, Spek's big hit ("Smell The Coffee") slowed down to dullness, while "Join" sounds WAY too much like Alanis Morrissette's "Unsent". Then there's "Very America", which almost sounds like a portrait of someone being described by guffaws from passers-by, where the cheekiness just becomes cheesy. In fact, there's really nothing here that has any staying power after his huge hit, the bouncy, summery and brilliant "Smell The Coffee", and thus no reason why his work should be taken seriously.
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Sean Paul- "Dutty Rock" (WWWW)
Song Of The Album: "International Affair"
Alternate Title: "Have The Summer Whenever You Want"
Genre: Dancehall
Besides 50 Cent and Avril Lavigne, Jamaican-born, Toronto-based Sean Paul is the biggest sensation in North America with good reason: his stuff is brilliant. For one, Paul's delivery and flow is great (even if he does repeat himself more often than not), able to keep tracks interesting even when the beats run dry ("I'm Still In Love With You"), and the light, fun and catchy song structures make every song a summer song. It's an 80 minute-plus album, but because every song is so good, it sure doesn't feel like it. Among the highlights include "Get Busy", an insanely catchy and entertaining song (no wonder it hit No. 1 on Billboard), and the hard-hitting and punchy "International Affair". Of course, there are the fair share of missteps, including The Neptunes-produced "Bubble", which sounds as though The Neptunes didn't even try, and the remix of "Gimme The Light" (with Busta Rhymes), a very lame send up of the already great original. Then there are the skits�they're meant to be comedic, but Paul & Co. have absolutely NO flair for comedy. Still, those are just minor complaints really, because "Dutty Rock" deservedly needs its time to shine.
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Sugababes- Angels With Dirty Faces (WWW)
Song Of The Album: "Virgin Sexy"
Alternate Title: "Teen Pop Is Alive And Well"
Genre: Pop
While Pink was out telling the world about how "original" she was with her "deep pop", Britain's Sugababes were out to remind everyone that it wasn't Pink who started the trend, they did. It also shows that when it comes to pop- and dance as well- it's the Europeans who get it right. Insanely catchy yet very meaningful (though this isn't nearly Lacuna Coil in comparison), the Sugababes show that doesn't have to be stupid to work. For example, the album's highlight, "Virgin Sexy", a song warning one particular virgin that she's simply not ready, has the girls playing two sets of perspectives- one, from the third person scoffing at the girl and the other from the first person, showing the girl's insecurities. Hey, it's not revolutionary but it beats hearing "hit me baby one more time". Other song highlights include the very catchy and fun "Round Round", and the closer, "Breathe Easy (Acoustic Jam)", which, despite some shaky moments, provides a light, mellow closer that shows the girls have some singing abilities. The downfall to all this, though, is the album's propensity for words that are two syllables or less- I mean, yes they present a meaningful message, but the simplicity of the word choice gets annoying after a while. Also, the cuts and swoops of the distinctly pop musical backdrops tend to repeat themselves often, so the material can be a bit too similar sometimes. Despite all this, though, the Sugababes show that teen pop still has its bite.
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Sigur Ros- () (WWW)
Song Of The Album: "Untitled #8"
Alternate Title: "Sveng-E-Lar: "The REALLY Extended Version"
Genre: Mood-Pop
Apart from maybe The Flaming Lips and a handful of other artists, there isn't a band that's as different as Sigur Ros. The Icelanders- showing that there's still hope for a country that brought us Bjork- have a very distinctive blend of moody, entrancing music. Yet, like the Lips' "Yoshimi Battles The Pink Robots", "()" has an extraordinary vision that's more powerful than the album itself, and while the result is still enjoyable (unlike "Yoshimi"), "()" represents a relative disappointment. This is mainly because the climax, the eighth and final track, while being a beautiful blending of pop-rock influences with some really gloomy arrangements, really doesn't hit the high point the album needed. Of course, this doesn't mean the rest of the album isn't at fault, because the faults there mean the album required a stronger closer than it actually got. For one, it's an extremely introverted album, one that requires the listener's full attention to really digest- this isn't for the casual listener at all. Secondly, the album can get really repetitive- for example, the gibberish that is their vocals (it's an apparently indecipherable "Hopelandic" language) seem to constantly sound as though they're repeating "you sat along the fire alone". It's not so much that "()" is a bad album- I'd just rather have "Sveng-E-Lar" instead.
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The Music- (Self-Titled) (WW)
Song Of The Album: "Take The Long Road And Walk It"
Alternate Title: "We're Half Of Ourselves"
Genre: Rock
For years, rock bands have been experimenting with electronic sounds and electronic-similar sounds within their song structures- for example; Econoline Crush's "The Devil You Know" was, according to the band, supposed to be a blend of electronica and rock (though it had mixed results). Britain's The Music represent the latest foray into this sound, and it doesn't work out in the end. At first, the album represents an invigorating, electronic-feeling rock that is very lively, as present on tracks like "Dance". Then, halfway through the album, The Music sound as though they've run out of ideas, churning out the same stuff that they did over the last five songs over the first five songs (e.g. "Getaway" is essentially "Dance" with words). Then you have songs like "Disco" and "Too High" that meander for far too long, and "Turn Out The Light", a stale attempt at Clark Nova. It's not so much that The Music are hopeless- "Take The Long Road And Walk It" recalls the '70s with vigour- but next time they may want to have a full album's worth of ideas.
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Stacie Orrico- (Self-titled) (W)
Song Of The Album: "Security"
Alternate Title: "Your Average, Run-of-the-mill Pop Star"
Genre: Pop
Stacie Orrico may have a meaningful message to pass along to the teens of our world, but it would be nice if she didn't rip off just about every other pop star on the planet to do so. For example, single No. 1 "Stuck" makes her sound like a laughable P. Diddy project, while the ballad "Strong Enough" rivals Kelly Clarkson's "A Moment Like This" in sappiness. Then there's "Tight", a horribly lame "let's party" track that rips off Redman's "Let's Get Dirty" in the third verse. Of course, not all of Orrico's work here is a lost cause- there's the catchy and fun "Security" (the album's only good song)- but it would be nice if she didn't sound like every other pop star on the planet.
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Uncle Kracker- No Stranger To Shame (WWW)
Song Of The Album: "Letter To My Daughters"
Alternate Title: "The Diary Of A Rock Star"
Genre: Rock-Folk
After hitting it big with "Follow Me", it shouldn't surprise anyone that Matthew Shaffer (A.K.A. Uncle Kracker) decided to follow that path for his next album- and with good reason too (it was his best song to date). "No Stranger To Shame" is no classic, but it's no dud either, a moving, mellow reflection of a rock star dealing with his life. There's "Memphis Soul Song", where Shaffer sings a moving song about love-affirmation, and the album's highlight, "Letter To My Daughters", where Shaffer tells his family from his tour bus, "I love you�I miss you and I'll be back home soon". Of course, it's not like Shaffer has given up his rap-rock roots- the last hidden track has a cocky Shaffer throwing barbs at his high school teachers for failing him and telling him he'd do nothing with his life. It's brilliant, but I can't say that about the album's opener, a corny Kid Rock-like rap-rocker called "Keep It Comin'". Overall, Shaffer seems like he's found where he wants to go- and what a decision that is.
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Queens Of The Stone Age- Songs For The Deaf (WW)
Song Of The Album: "Mosquito Song"
Alternate Title: "Generic Rock- To The Fullest"
Genre: Rock
Queens Of The Stone Age have been regarded by ignorant media types as a metal band, but don't believe any of the hype: "Songs For The Deaf" is a cookie-cutter rock album, though it doesn't exactly rival Creed or Saliva in corporate schlockiness. Production takes away a lot of the album's heaviness, and while that may work for the radio, it doesn't work for an album, especially one that wants to be known as a metal one. Then there's the fact many of the tracks here are the methodical, driving "Go With The Flow" (a great single nonetheless) with a few minor alterations, for example either being slowed down or sped up. Then there's "Millionaire" and "Six Shooter", which are horrible KoRn rip-offs, and the rather clunky "Song For The Dead", which stars and stops three times, dragging for far too long in the process. It's not all lost here- "Mosquito Song" playfully exaggerates the threat of "monster" mosquitoes (and just in time for the summer too) and shows the band does have potential, while the punk-ish "Another Love Song" makes for enjoyable listening. However, "Songs For The Deaf" is still much too slick to pass a metal recording- or a good one, for that matter.
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M2M- The Big Room (WWWW)
Song Of The Album: "Eventually"
Alternate Title: "Soul-Pop With Attitude"
Genre: Alt/Pop
My, how much Norway's M2M- Marit Larsen and Marion Ravon- have grown. They're done with the cheesy pop songs like "Don't Say You Love Me" and have moved-on to Michelle Branch-esque alt/pop, albeit with a much lighter sonic edge. That doesn't mean they don't have any bite- for example, in "Jennifer", Ravon states her desires for a girl who gets all the attention: "I wish someone would drop her". Well�at least she's honest. There's more of where that came from, like on the biting "Miss Popular" and the sympathy-for-girls track "Sometimes". Hey, the topics (teenage life) may not be that far reaching, but at least there's a sense of emotion and honesty to this recording, bringing in a lot of spice to the table (kind of like Branch, now that I think of it). Finally, there's "Eventually", the moving and heart-warming closing ballad, ending the album on just the right note. If the girls ever do make another album (I've heard they split), considering how good this one is, who knows how much better the next one will pan out.
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Weird Al Yankovic- Poodle Hat (WWW)
Song Of The Album: "Genius In France"
Alternate Title: "The Updated Parody: Vol. XI"
Genre: Comedy-Pop
At some point, you'd think Weird Al Yankovic's hit parodying would get tiring: I mean, after ten albums, you'd think he'd run out of ideas. Yet "Poodle Hat", while not exactly a classic comedic romp, shows that Yankovic still has plenty of ideas still up his sleeve�and then some. For example, "Trash Day" turns Nelly's "Hot In Herre" into a song about a man who never takes out his trash, making him unattractive as opposed to what Nelly *sigh* raps about. Then there's "A Complicated Song", parodying- you guessed it- Avril Lavigne's "Complicated", turning it into a spoof of loner teen life. The best of all of them is "Angry White Polka Boy", where Yankovic doesn't change the words to numerous nu-metal songs like Papa Roach's "Last Resort" and Disturbed's "Down With The Sickness", just the beat: he replaces the rock guitars with accordions and sings the lyrics with cheerful aplomb, showing just how stupid the originals were. The hit parodies work better than the general ones (like the lame attempt at R&B sex songs with "Wanna Be Ur Lover"), though it's not to say there's exceptions: "Couch Potato" turns into a bland and redundant statement against watching T.V. while making fun of Eminem's mega-hit "Lose Yourself". Then there's "Genius In France", which makes fun of all the "smart rock" songs including, at times, metal (whose riffs are found at times throughout the recording), all the way up to the epic time length (it's eight minutes long). What does it do? Details the life of a man who's stupid, one who can't get anything right yet remains a "genius in France". "I'm not the brightest crayon in the box/Everyone says I'm dumber than a bag of socks/I barely even know how to put on my own pants/But I'm a genius in France (yeah)" he opens, setting the tone for the entire song. "Poodle Hat" may not make Yankovic's greatest albums of all time- let alone the comedy ones- but it's still a great album to hear.
-DG