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(07/12/07 4:00am)
At Van Halen's induction into the Rock and Roll Hall of Fame, Sammy Hagar introduced Velvet Revolver as, "the best rock and roll band left on the planet." In today's pop-heavy mainstream, few bands that can wail like they can. Perhaps it is cheating because they are a supergroup, being comprised of three former Guns N' Roses members and Scott Weiland of the Stone Temple Pilots. With this in mind, it was to be expected that Velvet Revolver would bring the heat on their new album, "Libertad." \nEarly into the album, it is clear why Slash is one of the best rock guitarists of the past 20 years. His riffs and solos provide the highlights of the album. In addition, Weiland's voice sounds better than it has in years, hitting notes that he could not quite reach on the band's debut release "Contraband."\nEach track sounds fresh and rocks hard. "She Builds Quick Machines" is a catchy tune that is sure to be a crowd-pleaser. Another rocker is "Just Sixteen," with its blaring guitar and driving drums. Also, be sure to stay tuned for the hidden track at the end of "Gravedancer." The patient listener will find a song with a country twang reminiscent of Led Zeppelin when John Paul Jones busted out the mandolin.\nIn a music scene that is filled with pretty voices and prettier faces, it is refreshing to hear an album come out like Libertad. The album is a little more audience-friendly than any of Velvet Revolver's other rock counterparts in the industry today, which is sure to make it a hit. Just ask Sammy Hagar.
(07/12/07 4:00am)
Standing in the front row of the balcony, I knew I was in for a big night. Having arrived early enough to obtain these seats, I was able to soak in my surroundings. The theme of the weekend was the Big Top, and the stage was set accordingly. Camera rigs and cranes were visible on the sides of the venue and on the stage. Wheels were already in motion for what was set to be Umphrey's McGee's second music DVD.\nThe music DVD is a unique aspect of the music world. It has the ability to do several things. It takes a step up from the live album, enabling the listener to also view the band and perhaps see an incredible stage presence that would have been lost with the CD. For a while it was impossible to hear the name Coldplay and not think about Paul Rudd making fun of Seth Rogan in "The 40 Year Old Virgin." But their live concert DVD is so high-energy, it truly shows the talent of the band, furthering them from the movie's punch line. \nNowadays, monster HDTVs and sound systems have allowed the music DVD to become a way for people to experience bands that they might never have even had the chance to see. It also gives concertgoers the chance to relive some of their favorite shows, the memories of which might be a little hazy. With the volume cranked up loud enough, it's the same as having the best seat in the venue. Some people would prefer avoiding the nosebleed seats and instead would rather pop in a DVD to get a chance to watch BB King caress Lucille. The music DVD affords today's generation of music lovers the chance to see Jimi Hendrix light his guitar on fire at the Monterey Pop Festival as well as see the others who left us too early, such as Janis Joplin, Jim Morrison and Kurt Cobain.\nThere are basically two types of music DVDs. There's the concert DVD, which generally portrays a band's live act. This format has captured Jimmy Buffet in the first concert ever at Wrigley Field and Led Zeppelin in the midst of all their blues-rock and raw energy. Then there is the documentary. This not only contains performances but also serves to give the events a context. Its style often heightens the experience with added touches of culture and history, which serve as a quick ride in the DeLorean to the time and place of the concert. This style has transported viewers to places all the way from the world of Woodstock to the psychedelic train of Festival Express. \nA truly special experience is being at a concert that is being filmed for a music DVD. These gigs usually see the band well-practiced and at the top of their game. It also means that the lights and sound will be near perfection. In addition, the band is sure to play their biggest hits and crowd-pleasers, as well as some fun covers. The icing on the cake for all of this is finding yourself on the DVD once it is released.\nFlash forward to a very drunk dial from a friend informing me I am on on the DVD, rocking out to "Prowler." Soon, a copy of the DVD has been delivered to my door. I pop it in, and there I am captured for a brief moment, but there forever.
(06/28/07 4:00am)
It is only appropriate for the band that has enjoyed over 20 years of success by constantly evolving its music to drop something like The Mix-Up. The Beastie Boys' seventh studio release should come with a warning label that cautions, "Listening to this album might make you feel a bit confused," or as the three Jewish-born MC's from NYC might say, "meshuga."\nIn an all-instrumental album that serves as both a nod to the past and a window to the future, the Beastie Boys don't rap a single verse, a la 1992's Check Your Head. Mike D trades in his prowess on the mic for drumsticks on this CD, which dances along the industrial side of acid jazz.\nThe Mix-Up offers up an array of styles on a groove-heavy platter. There is "14th St. Break" and its psychedelic rock guitar that could have been on The Beatles' Revolver. Then there is "The Gala Event," a spacey, almost electronica tune for which the Boys have already made a video. Mike D is no Art Blakey, but with Adrock on guitar and MCA on bass -- and with the help of keyboardist Money Mark and percussionist Alfredo Ortiz -- the boys from the boroughs do a solid job of laying down jazzy tunes like "Freaky Hijiki" and the album's opening track, "B For My Name."\nOverall, the Beastie Boys' latest release shows the audience another fold of a band that after two decades can still show us something fresh -- even if it is at the expense of your roommate kvetching about how the new Beastie Boys album he just downloaded doesn't sound like them at all.
(05/31/07 4:00am)
"Makes Me Wonder" is the perfect name for the first single off of Maroon 5's sophomore studio album. It Won't Be Soon Before Long begins great, and it is different from anything we've ever heard from this band before, similar to the sounds of Prince and Michael Jackson. From there, however, it goes downhill, with few other tracks that really impress, so much so that it makes me wonder what could have been if they had just stuck to their guns.\nThe band has done several interviews in the last year in which they talked about their upcoming album. They discussed how they felt that their first album, Songs About Jane, didn't really portray the true character of the band. Lead singer Adam Levine told fans that they were much weirder than their first album let on.\nThe first track on the album, "If I Never See Your Face Again," introduces the listener to a new Maroon 5. It's the same old pop-rock with a little bit of soul, but it is bigger and more in-your-face. The single "Makes Me Wonder" does the same, but is much more danceable and synthed out. It's definitely a tune that is going to be stuck in your head. Fans might recognize the chorus of "Nothing Lasts Forever" as the hook that Levine provided for Kanye West's "Heard 'Em Say." One highlight that infuses the album with a little bit of rock is "Can't Stop." The band then reveals the truly new, weird sound they alluded to in "Kiwi," which also includes a pleasantly surprising guitar solo from James Valentine.\nIn this album, Maroon 5 really shows what kind of sound they are capable of. Hopefully, we'll be hearing more of it in the future.
(05/10/07 4:00am)
It would be easy to listen to the new Rush album, Snakes and Arrows, and think: 'the 1980s called, they want their album back.' But from the opening track it is clear that there is something fresh about this album. This album is a return to the monster progressive sound that Rush hit the scene with, but also serves to show how far they have come as a band. With the assistance of Grammy-winning producer Nick Raskulinecz, known for his work with the Foo Fighters, Rush has delivered again on its 18th full-length studio album.\nAs the proverbial needle drops on the first track, "Far Cry," the listener is greeted with a juxtaposition of acoustic and electric guitars and a few bars later, a thumping bass line that is sure to get your head bopping. Vocalist Geddy Lee sounds as good as ever as his voice soars over the vast soundscape of all that is Rush. One highlight off Snakes and Arrows is the epic-sounding instrumental, "The Main Monkey Business." Drummer Neil Peart drives this track that any progressive rock fan will love. Another highlight is "The Way the Wind Blows," a track that is opened up by a blues riff that works its way in and out of the tune as it plays. \nThis disc will surely quench any fan's thirst for more Rush but may also bring in some new fans. The band covers the grid in terms of genres, moving seamlessly from progressive beasts to ballads. For a band that has seen fame since the mid- to late-'70s, it is truly a feat to create a new album that stays true to their sound while also sounding new, relevant and exciting. The more listeners spin this album, the more they will appreciate the utter complexity that this band brings to the table. Snakes and Arrows is a must-listen for any fan of this band or progressive rock itself. Guitarist Alex Lifeson thrills throughout, and at the album's end the listener is left wanting more.
(03/29/07 4:00am)
B-Sides don't make an A album, and that's a scientific fact. So I've seen this band somewhere in the ballpark of 40 times, and I heard that their new album drops pretty soon. I should be psyched, right? The last show I caught they were sounding better than ever. \nUmphrey's McGee's latest album, The Bottom Half, is a double-disc composed of B-Sides from the band's Safety in Numbers sessions as well as outtakes, alternate mixes and some banter from the band. Disc one has many tracks that fans would recognize as a part of Umphrey's live repertoire for some time, as well as a couple of new songs. The second CD offers a look into the recording process of the band as well as a few new tunes, a cappella tracks and other bits and pieces that found the studio floor. The album's artwork was provided by Storm Thorgerson, who is well known for his album designs of Pink Floyd's Dark Side of the Moon and Led Zeppelin's Houses of the Holy as well as an endless list of other A-list artists. Thorgerson does an excellent job of playing on the theme by using women with onions as their bottom half. \nWhile Safety in Numbers showed how far the band had come in terms of songwriting and maturity, the new album goes back to some of the face-melting and progressive songs that many Umphreaks have come to know and love. Many of the tracks on the first disc show what the band has shown before -- an incredible talent for taking their songs that can become monstrous jam vehicles and turning them into well-produced, complex studio songs. The album's single, "Bright Lights, Big City," is very playful and has many synth sounds dancing around the band's almost disco-like tune. The addition of horns to "Higgins" shows immediately in the intro and gives the song a nice swing feeling. Another highlight is the first disc's final track, "Divisions," a song that has long been an epic standard of Umphrey's shows. The complexity of the song and layers of guitars play out beautifully in the studio version.\nThe second disc provides an interesting view into the decisions that the band went through while in the studio. It offers alternate mixes that give the audience a slight twist on many favorite tracks from Safety in Numbers. We're also given some new songs, including "Alex's House," a fun track that shows off the band's harmonies, but also has the raw qualities of the studio recording process.\nWhile there are definite highlights to this double-disc release from the Umphrey's, there is a reason that many of these tracks were the B-Sides and the mixes that were ultimately not used. This album is indeed The Bottom Half, the 'top half,' if you will, was the last album.
(03/22/07 4:00am)
Welcome to the big kids table, Joss Stone. On her third album, Introducing Joss Stone, the 19-year-old with golden pipes takes the songwriting reins and creates an outstanding record. The album is filled with soul, R&B, hip-hop, rock and enough Motown overtones to make the listener wonder whether Berry Gordy woke up one day and decided to produce a new album.\nStone, who has emerged as one of the best female voices on the music scene, is backed by the beats of producer Raphael Saadiq on the disc, and the two do a great job of bringing a ton of energy to each track. However, like any novice songwriter many of the tracks include themes of love and sexuality, with lyrics such as "Baby I'm hungry/ I want and I need/ Bring me your sugar/ And pour it all over me baby."\nThe album's single, "Tell Me 'Bout It," features girl group-style harmonies that only bring Stone's voice further to the forefront. The track serves as a perfect example to demonstrate how so many different music styles were combined to create a fresh pop sound. "Tell Me What We're Gonna Do Now" features hip-hop great Common. The track is a duet about a couple and is highlighted by Common rhyming a verse and Stone delivering in the chorus. Lauryn Hill is also featured on the track, "Music," a song in which Stone does a great job of describing her passion for her art.\nThis album, which is a long way from Stone's two previous albums, does a great job living up to its title. This is what we've all been waiting for: the girl with the booming voice showing the world what she's made of. The disc has the 'wow' factor necessary for an artist's third release, telling the world that Joss Stone is here and going to stay for a long, long time.
(02/01/07 5:00am)
Not Too Late, the third release from Norah Jones, which hit shelves Tuesday, is everything one would expect from the sweet-singing Jones. The album is once again centered on Jones' beautiful voice. The combination of jazz, blues, country and pop overtones in her voice provide for an incredible sound that these tracks put on showcase. The album has a more mature, full sound than Jones' two previous albums, 2004's Feels Like Home and 2002's Come Away With Me. \nAlthough it takes strides musically, there are not as many catchy, radio-accessible tunes on Not Too Late. The single, "Thinking About You," is without a doubt the most pop-based song on the album, but it lacks a hook that will get stuck in people's heads the rest of the day after hearing it. The album is full of tunes that are mostly sad -- stories about pain, relationships, love and love lost. All the songs tell stories about characters, or possibly Jones herself, that fit into the theme of the album's title, that it's not too late and that there is some hint of hope. Jones also focuses one song on politics. In "My Dear Country," she talks about what Election Day means in America today, but also leaves a positive feeling for our country and freedom of speech when she says, "I love the things that you've given me/ And most of all that I am free/ To have a song that I can sing/ On election day." One highlight of Not Too Late is the album's second track, "Sinkin' Soon." The music is fun and swinging, and it is one of Jones' best vocal performances on the album. The music and Jones' voice paint such a colorful picture, you can almost see her singing in a saloon in the Wild West. Through the use of metaphor, she describes a relationship that is on the way out. The album's title track, "Not Too Late" is perfectly placed as the album's closing song. It does a great job of summing of the theme of the album and provides a message of hope. \nThe album features many of the same artists who have provided music for all of Jones' albums. Daru Oda is also back providing beautiful harmonies throughout the album. Producer Lee Alexander is credited with co-writing many of the tracks with Jones and should be credited with bringing out Jones' voice on a whole new level with this album. The songs are much more put together and sound less like a jazz singer and her piano. \nThere is not a bad song on the album, but Not Too Late fails to amaze. A third album is supposed to knock the socks off the audience, but this CD fails to do that. It is what we would expect from Jones, nice songs to listen to, but does not make the next step. The album is worth giving a listen, and any Jones fan will certainly enjoy Not Too Late.
(02/01/07 3:07am)
Not Too Late, the third release from Norah Jones, which hit shelves Tuesday, is everything one would expect from the sweet-singing Jones. The album is once again centered on Jones' beautiful voice. The combination of jazz, blues, country and pop overtones in her voice provide for an incredible sound that these tracks put on showcase. The album has a more mature, full sound than Jones' two previous albums, 2004's Feels Like Home and 2002's Come Away With Me. \nAlthough it takes strides musically, there are not as many catchy, radio-accessible tunes on Not Too Late. The single, "Thinking About You," is without a doubt the most pop-based song on the album, but it lacks a hook that will get stuck in people's heads the rest of the day after hearing it. The album is full of tunes that are mostly sad -- stories about pain, relationships, love and love lost. All the songs tell stories about characters, or possibly Jones herself, that fit into the theme of the album's title, that it's not too late and that there is some hint of hope. Jones also focuses one song on politics. In "My Dear Country," she talks about what Election Day means in America today, but also leaves a positive feeling for our country and freedom of speech when she says, "I love the things that you've given me/ And most of all that I am free/ To have a song that I can sing/ On election day." One highlight of Not Too Late is the album's second track, "Sinkin' Soon." The music is fun and swinging, and it is one of Jones' best vocal performances on the album. The music and Jones' voice paint such a colorful picture, you can almost see her singing in a saloon in the Wild West. Through the use of metaphor, she describes a relationship that is on the way out. The album's title track, "Not Too Late" is perfectly placed as the album's closing song. It does a great job of summing of the theme of the album and provides a message of hope. \nThe album features many of the same artists who have provided music for all of Jones' albums. Daru Oda is also back providing beautiful harmonies throughout the album. Producer Lee Alexander is credited with co-writing many of the tracks with Jones and should be credited with bringing out Jones' voice on a whole new level with this album. The songs are much more put together and sound less like a jazz singer and her piano. \nThere is not a bad song on the album, but Not Too Late fails to amaze. A third album is supposed to knock the socks off the audience, but this CD fails to do that. It is what we would expect from Jones, nice songs to listen to, but does not make the next step. The album is worth giving a listen, and any Jones fan will certainly enjoy Not Too Late.