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Kyle - 11/21/2011
An amazing debut from Cher Lloyd. People had their doubts about the album but if given a chance, much more people will appreciate it. There are no disappointing tracks. 5 out of 5!
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Jon Murphy - 11/20/2011
Very good album including a lot of raw emotion. This seems to be very unique in its styling as a hip-hop/rap album in the modern day, since often music is toned down, whereas DMX manages to keep a strong passionate/aggressive style that few artists have. Loved this album!
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Dean Elson - 11/15/2011
The Album Real, Real Gone ... a timeless album with superb musical content .. The melodic overtones of times gone by and with an acoustic edge to it, influenced by the great man himself ... Van Morrison.
The acoustic numbers on this album blend well with the other arrangements, Herbie shows his true colours here and easily demonstrates his masterful lyrical and acoustic guitar talents on this wonderful album. I only wish I could have got hold of this album sooner .... A must to chill out to in the evening after a stressful day ! A+++
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Josh Stephenson - 11/14/2011
It's fair to say that the impact Beyonce has made upon the pop world is quite surmountable, since her early days in Destiny's Child to her gradual progression in becoming the biggest pop diva on the planet, she's is now a one woman brand recognized around the world. Yet despite her many plaudits Beyonce has yet to have an album beside her name you could class as great, sure there have been some great singles but she has lacked that career defining album. In '4' Beyonce may have finally reached that goal by creating an album about the trials and tribulations of love, which never loses sight of the beauty that can lie within the chaos.
The album kicks off with the huge ballad '1+1' in which Beyonce's voice towers above a simple plucked guitar that builds nicely among simple keys and electronics before culminating in a huge guitar solo. It's a song reminiscent of some of the great female vocalist of our time and is quite heart-wrenching as Beyonce sings 'See baby we aint got nothing without love'. The album continues strongly with the fantastic 'I Care', which details the story of a woman trying to keep a relationship together when it's clear there is no future in it. It combines some great, scattered drums alongside an 80's inspired synth line before reaching this huge hooky chorus. Not enough credit is given to how well Beyonce uses her voice, not only can she hit the high notes but she understands when to use a softer tone when the song demands it, something that in this reality show age is starting to wane. This is demonstrated best on 'I Miss You' a softer song built entirely off a simple beat and very little other instrumentation, which allows Beyonce to show her fantastic vocal range.
It's in the middle of the album that the problems start to show starting with the Kanye West produced 'Party'. It's kicks off badly with Kanye managing to outdo himself with a guest verse worse than what he did on Katy Perry's 'E.T' coining the term 'Swagu' to rhyme with 'Swag'. Whilst the beat itself is a delicious 80's inspired pop ditty, it's just far too mellow to really feel like a party song no matter how good a job Beyonce does with it. A bonus comes in the form of a great guest verse from Andre 3000 mainly because it's nice to know he's bothered to still rap nowadays. The problems continue with the next two tracks the 90's throwback 'Rather Die Young' that feels like a Destiny's Child B-Side and the ultimately forgettable 'Start Over'.
Fortunately the mid album slump is stopped with a series of tracks that are the best on the album. 'Love On Top' is a modern dance track mixing Detroit horns with modern electronics to create a nice soul fusion that Beyonce does so well, and the track 'End Of Time' creates a similar feel with it military drums, a nice splattering of horns and overlapped vocals giving the track a power to it that 'Rather Die Young' was so sorely missing. It's on the universally loved 'Countdown' that all the elements come together to create the best song on the album. Utilising these bombastic, schizophrenic drums, gloriously joyful horns and some eccentric electronics, it mixes perfectly with Beyonce's vocals and fun lyrics to become the best Beyonce song since the amazing 'Crazy In Love'. Especially when you consider with the constant changes in pace and frequent breakdowns it's a very daring song for a mainstream market, so credit to her for been able to pull it off in such an accessible and fun manner.
This daring attitude continued further on the track 'Run The World', with heavy sampling from Major Lazer you know to expect a strange sound but this is something else entirely. It's a bizarre mix of an African infused beat alongside military drums that combines well with some Beyonce empowerment lyrics before transitioning into this bizarre breakdown. It's a difficult track to get your head around and I'm still not sure if it's pushing the boundaries of modern pop music, or one of the most annoying tracks of the year.
Ultimately Beyonce has created an album that lives up to her name featuring some truly fantastic pop music and what may well be the single of the year in 'Countdown'. '4' is more than anything else cements Beyonce's place as the number one pop diva on the planet.
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barry clay - 11/7/2011
laura marling has hit her peak with this stunning album,with acoustic strumalongs and lovesongs that will melt the hardest of hearts essential folk for a new era from a lady not frightened of taking risks and saying how she feels, the stunning Sophia and all my rage my favorites from an outstanding collection of songs.a must for fans of folk and great music.
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Dean Elson - 11/7/2011
The Album Real, Real Gone ... a timeless album with superb musical content .. The melodic overtones of times gone by and with an acoustic edge to it, influenced by the great man himself ... Van Morrison.
The acoustic numbers on this album blend well with the other arrangements, Herbie shows his true colours here and creative ease, easily demonstrates his masterful lyrical and acoustic guitar talents on this wonderful album. I only wish I could have got hold of this album sooner .... A must to chill out to in the evening after a stressful day ! A+++
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Paul Gilronan - 11/4/2011
Wild Beasts just keep getting better and better. With their first album 'Limbo Panto' they were difficult to pin down to any particular genre. Their second, 'Two Dancers' established them as a truely unique British band, there were shades of Jeff Buckley and Anthony & The Johnsons but their sound was a freah take and pure innovation.
With this, their third album for Domino Records they have toned down their sound and made a very laid-back and haunting record. On first listen it is not immediate how poerful the record is but after a couple of listens the tunes sneak their way into your subconcious....all the best albums do this. If you lend yourself to this album as I did then you will find guitar lines that keep you awake at night with their brilliance.
If you have never heard Wild Beasts music I would suggest beginning with the album 'Two Dancers' but this is a close second. I look forward to their next album with great interest.
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kencharmer@btinternet.com - 11/1/2011
Overall..this release is a masterpiece. It oozes quality. Sonically it is different to anything
we have heard before from this period... The sound stage for me, is superbly set out by Ellen Fitton at Universal
Mastering Studios - East. The re-mastering of the original tapes gives us each instrument in its place from right to
left on the sound stage and the separation allows each element to be heard and appreciated. This is particularly
noticeable with the masterful arrangements on 'Chameleon'. After the opening 'wall of harmony' of the 'Prelude' to
'A New Beginning ', 'Sun Country' is very much the 'sum of so many good parts' that I just described ..each distinctive
and separate. Frankie Valli's vocal is somewhat withdrawn in the mix and as a result more effective as the
music interacts with his lead and the Seasons harmony. This doesn't happen so well on the vinyl or anything mixed
since its original release. It may not be to everyone's taste but I love it.
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Kenji Lloyd - 10/31/2011
Coldplay return with their first album in just over three years, and it is an utterly triumphant from its intimate start right through to its beautiful conclusion.
It's interesting to note how apt it is to talk of Mylo Xyloto's 'start' and 'conclusion', given that Chris Martin, the band's lead singer and pianist, has talked about it being a concept album. Good concept albums are few and far between these days - the last great one, in my mind, being Green Day's American Idiot - but Coldplay have done an absolutely amazing job creating a coherent concept with this album.
Mylo Xyloto tells the story of Mylo and Xyloto and how they fall in love in the most unlikely of places, a dystopian oppressive world. We are introduced to them in the quiet opening instrumental title track, before moving into Hurts Like Heaven, with its powerful chorus statement, "You use your heart as a weapon, and it hurts like heaven."
We are next offered the album's second single, Paradise, which opens with a beautiful set of strings before immersing us into a drums-laden, bass-heavy, synth-strong anthemic song, with its protagonist's dreams of paradise. The moments of stripped-down piano and vocals contrast wonderfully with the more electrified moments, and the harmonies in the pre-chorus are exceptional, showing Coldplay doing what they do best.
We then move through a series of fantastic songs, starting off with Charlie Brown, which has fast become a fan-favourite already, with more terrific harmonies, and plenty of sing-along moments to thoroughly enjoy. We soon arrive at the album's first single, Every Teardrop Is A Waterfall, which kicks off with a perfect synth melody. This is a song that will get stuck in your head for days on end, and you'll love that it will.
In a few songs' time, we come to Princess of China, which sees an unexpected collaboration between Coldplay and Rihanna, two of the biggest and most popular artists working in music at the moment. It is immense. Coldplay offer us something unlike anything they've written before, and it's brilliant to see that they're still willing to push themselves to create a new sound five albums down the line. Rihanna's voice lends a delicate but powerful sense of beauty that few female vocalists can offer, and it is proof that both artists are absolutely at the top of their game.
We soon then find ourselves at the final three tracks of the album, and they are an utterly blistering finale, working together so well. A Hopeful Transmission is a short thirty-second instrumental that leads fantastically into the stadium-filling track, Don't Let It Break Your Heart, which gives us something that only Coldplay are doing in music right now, offering us a sound that is simultaneously capable of filling an arena whilst maintaining a distinct sense of intimacy.
The very final track, Up With The Birds, is wonderfully divided within itself intro three sections, each a perfect complement to the others, and each a perfect way to finish the record. It opens with Chris Martin singing above his piano, and we gradually shift with the addition of strings into a guitar-fuelled catchy new verse, injected with a real sense of hope: "I know one thing. Good things are coming our way." We are then brought back to the intimacy of just a lone piano to truly close the album, and it is an utterly beautiful finish to what is definitely some of Coldplay's finest work to date.
It is both astounding and entirely unsurprising that they have been able to bring us something with such an incredible and new sound; they are four immensely talented musicians, and they never fail to bring us something amazing with each new album. Mylo Xyloto is far and away one of my Top 3 Albums of the Year, and it is most definitely worth seeking out for yourself; it really is a powerful, emotive work of art.
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Joshua Stephenson - 10/25/2011
The story of Zach Condon is a well-known one. Young man travels to Eastern Europe, falls in love with the music and crafts a unique hybrid of it and American Indie. 'The Gulag Orkestar' and 'The Flying Club Call' were albums of depth and uniqueness not seen often in the modern music market. So it comes as a surprise that the groups 3rd full length is the most accessible album they've put out to date, but fortunately it is also one of the catchiest and well-produced albums of the year.
Lead single 'Santa Fe' was a bit of a red herring with its modern electronic feel, harking back to the second half of the 'March of the Zapotec' EP, and its general upbeat tone since the rest of 'The Rip Tide' is quite sombre and melancholic. The title track itself is the best example of this, whilst quite grand with its swirling horns it settles down into a sombre, lonely piano whilst Condon drawls 'This is the house were I feel alone, feel alone now'. It is a gorgeous song that shows the full extent of Condon's rich voice and his penchant for writing a ballad. 'Goshen' is another example of this sombre style with it's solitary piano featuring for most of the song as Condon details a story of failed lovers, before it explodes back into life with horns and militant drums.
It's worth noting that whilst the Eastern European influence may have faded, it is still very much a part of the best moments on the album. Such as in the opening track 'A Candle's Fire' which starts with a sorrowful accordion, before bursting at the seams with these luscious horns, guitar and drums, it's the perfect culmination of all that has come before mixing the uniqueness of Balkan music and American Indie into a 3 minute pop song. 'East Harlem' also does a great job of mixing the two styles as Condon delivers a lovelorn ballad over ukulele; tight piano and those ever present sumptuous horns. It also shows of the fantastic lyricist Condon has developed into 'Another rose wilts in East Harlem/Uptown, downtown/A thousand miles between us/She's waiting for the night to fall/ Let it fall, I'll never make it in time'. The entire album is full of lyrics of wit, melancholy and optimism that collide beautifully with the music around him, whilst allowing him to show off his delightful baroque-like voice that is getting better with each album.
There are some minor missteps, 'Vagabond' is one of the more upbeat tracks but feels quite throwaway and although the strings on 'Payne's Bay' are wonderfully arranged the song itself leaves a bit to be desired. Perhaps The Rip Tide's biggest fault is also it highest compliment in that it is a very brisk album, covering 9 tracks in just 33 minutes it leaves you wanting more in a way previous Beirut albums didn't, but its brevity means the experience is too fleeting to be mesmerising.
Ultimately then 'The Rip Tide' is a wonderfully orchestrated album that brings together Beirut's eastern influences with accessibility to great effect and the development of Condon's lyrics leaves much to look forward to. It's 'Port of Call' that finishes the album strongly opening with delicate ukulele, before horns and keys filter in slowly whilst Condon's voice booms through the track. Yet it's the lyrics that hit strongest tackling the theme of loneliness that has been running throughout the album, the track ends on a positive note with Condon accepting what he is and looking forward to the future. For Beirut, the future is very bright indeed.
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Pellegrino Montalbano - 10/22/2011
Originally released in 1987 this was Mango's breathrough album showcasing his amazing vocal range and relaxing tone. Each song on the album conveys emotion. From the biggest single of 1987 "Bella D'Estate" co-written with Lucio Dalla,telling of a love destined to only last the duration of summer but to remain in the heart forever. To the melodic sounds of "Arcobaleni" and "Stella Del Nord" songs which are carried by Mango's soothing voice. The album also includes "Dal Cuore In Puoi" Mango's entry into Sanremo, Italy's most prestigious musical festival.A song which was well recieved by the public and critics alike.One of the standout tracks of this album is the beautifully haunting "Raggio Di Sole" a song with minimal music instead it is Mango's voice which is the instrument,as it is on the other haunting melody "Sogni". This album is beautifully crafted,playing with your emotions but will always leave you feeling uplifted and will never grow old or outdated.
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Gareth - 10/21/2011
Back with the unmistakable nasal tones, it's Liam Gallagher with new band Beady Eye. Liam still has the swagger and his snarl but in the latter years of Oasis you couldn't half help but feel that this rock n roller had become a parody of his former self.
This album was rolled out reasonable quickly after the demise of Oasis and safely falls into the ball park safety net left by oasis. It is pretty much safe to say that most Oasis fans will purchase this album as it sounds like an oasis album with all four of the members being in Oasis at the time of their collapse. Those being Gem Archer, Andy Bell and Liam Gallagher, joined by Chris Sharrock on Drums and unofficial member, Jeff Wootton on bass, previously a member of the Gorillaz line up alongside Damon Albarn.
Although this falls very nicely into the genre safety net that oasis once resided, it is obviously not a follow on from the last Oasis album 'Dig out your soul', as the sound is far less developed. Noel Gallagher was the only member of oasis to attempt to push them forward whether this is through production, instrumentation or technology to try to develop the oasis sound, however little this may have shown. However the Beady Eye album seems happy to sit contently offering nothing new, not trying to push any barrier with its retro 60'/70's sound. With all members now being responsible for the song writing you may believe that several songs would sound different from one another but they all sit broadly alongside one another very cosily, sounding similar. Not overly complicated lyrically or musically.
The opener starts off sounding like a movie soundtrack and for those that mourn the loss of oasis, it's a welcome return, not Oasis as it could never be but the closest sounding you going to get. Nothing new here but the feeling of an oasis mirage in the drought. It does have freshness about it that latter oasis albums failed to show, the same yet with a new sense of purpose. The song 'Millionaire' initially seems very drab and uninspiring. The first single 'The Roller', is a very good rock n roll number, although the band seemed to have recorded Liam Gallagher's vocals over the 'Instant Karma' backing track by John Lennon. 'The very naff title 'Beatles and Stones' doesn't get any better once the song starts with lines 'wanna stand the test of time like Beatles and Stones', I suppose this is probably true of Liam Gallagher, but will the same be said about Beady Eye as a collective in years to come. Beatles and Stones and 'Wind up Dream' do appear to be more filler than killer, and 'The Light', again is starting to hit the right spots but the sounds of the drums and keys throughout really do have a 60's feel to them. In the song 'For Anyone' Liam's vocal seems higher and softer than they have sounded for a good number of years, you would have to go back as far as Morning Glory, Oasis' 1995 offering to hear anything quite like this. Musically sounds Beatlesque, coming from the era of 'The Beatles for Sale'. 'Kill for a Dream' I would say is an unexpected strong point on first listen, with a classic Liam Gallagher delivery "and you say to the driver just drive, cause you've never felt so alive", the good feeling gained from this track is soon thwarted by the mandatory introduction of the "Na na nana na's" by Liam, the song could have been saved by just cutting the song short. 'On the Edge of the Noise' is a harder sounding track than most of the album with distortion on the vocals but a repetitive song. The song 'Wigwam' has a nice groove to the song created by the style of rhythm guitar and the drums, but again annoyingly ruined by the 'Sha la la's", the song ends up being to long and drawn out at over 6 minutes.
'Beat Goes On' and 'Mourning Son', to me sound a little cheesy, with the former sounding like a cheesy sing a long song, they are just willing you to do it, and 'Mourning Son' sounds as though Liam Gallagher is attempting to justify his attempts at being a John Lennon impersonator. The lyrics include "blinded by what you idolise", I think Liam, definitely is.
On first listen I was disappointed by this album as it was safe and very retro sounding and could have been quite easily lifted from the 60's, however the more I have listened to it and more fond of this album I have become. The original feelings relinquish and leave you enjoying the record for what it is, reminding you of Oasis and welcoming back one of the best lead vocalists of the past 20 years.
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Sean Anderson - 10/17/2011
This is Paolo's second album and, despite having also enjoyed his first album, he has managed to refresh himself and pull off a different style capably.
The album can be separated into two distinct halves. The first has a distinctive jazzy sound, while the second is more folk. It might seem gimmicky and mismatched, but I enjoy the variation.
What is great about this album is that he's trying something different. It's refreshing to hear an album with a kind of music that you don't often hear.
This is real feel-good music. You can't resist doing a jig to a lot of the tracks and it's ideal for sticking on in the background in the summer to relax.
There's a real sense that Paolo isn't just churning it out, but also having a good time singing it. It's noticeable when music is performed enthusiastically. He also demonstrates this on live performances.
What remains to be seen is if he can reinvent himself again for his third album or if he will become a bit too whacky.
A fun album. Don't look into it too deeply: just enjoy!
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Dominic Carter - 10/15/2011
For a man of still a young age, The Awakening brings both the emotional strength and maturity of a performer much older. This is not surprising baring in mind the personal aspects which are the nucleus for many of the songs on the record. His father's death and the fathering of his own daughter prevalent throughout many of the songs, become just two personal events which feature, helping to both connect with the listener whilst giving real depth to the album.
Alongside the powerful lyrics are catchy pop songs, such as Up and Forever, a 60s style injection to James's usual soulful self. I suppose that is what is so remarkable about this album. He has successfully been able to tell a story in each of his tracks but with very different flavours leading from track to track. Reggae meets Soul meets Pop all in the space of thirteen songs.
Lead off track Right By Your Side clearly stands out as a James Morrison hit. The ballad brings together the old material, gives it a slight twist and then is reformed into something bigger and better. One life is a further a song which is easily one of the best on the album. Despite the simple chorus, the songs lack of complexity arguably helps to highlight James's ability to keep it simple and just create good music.
However, in my opinion the killer tune on the album is Slave to the Music. Written in a hotel room by James at "4:05" in the morning, it is probably the only song which has ever drawn out my funky side. And for this reason it goes down as my favourite song of all time. It's samba style riffs and soulful singing moulds together into some sort of genius potion. I can't get enough of that potion.
In fact I can't get enough of this album. This is arguably James's best all-round album and will definitely become core material for his tour next year. I can imagine the dancing in the aisles already....
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Julian Howard - 10/13/2011
When most people are asked if they've heard of The Waterboys they will pause for a moment and then say "oh yes, they did the Whole of the Moon in the 80s". But if people's memories stop there, no one told Mike Scott. Never one to wallow creatively, he went on from the Big Music of that early era to Irish-inspired folk, then rock, before a solo career and back to rock and folk again. Scott's love of poetry harks back to his university days and his albums have frequently paid homage to the greats. Glimpses of Yeats have appeared in 1988's masterful Fisherman's Blues as well as 1993's spiritual but rockier Dream Harder.
Several albums on and with nothing left to prove, Scott has turned his enormous singer-songwriter talent to what many might see as a hubristic attempt at marrying the mystical poetry of Irish poet WB Yeats to the 'Waterboys sound'. I'll admit I was apprehensive at what this was going to sound like but thankfully he has pulled it off, and brilliantly at that. His basic approach has been to blend the folky style of 1988's Fisherman's Blues with the later rock sound of his 1990s work and then apply the mix sensitively to Yeats' words. Sonically this is far more natural than the Celtic rock effect you might be forgiven for thinking would result. Scott is too subtle and too talented for that. Instead a multi-talented band provides a firm platform for the lead instrument of choice to give just the right amount of mystical and literary edge, be it Steve Wickham's masterful use of the fiddle or Scott's own penetrating Edinburgh-tinged vocal entreaties.
Yes, there are times when things get a little forced and he is reduced at one point to virtually reciting out loud with the band playing in the background. In this sense more work on matching the music to the words might have helped, but such moments are few and far between and credit must be given for the innovative way in which Scott has spliced different elements of Yeats' poems in order to make the songs work as a whole. Some die-hard literary fans may feel this is a compromise but the effect is well worth it.
Overall, Waterboys and Mike Scott fans should be delighted. New listeners for their part will be getting a taste of what the top of the musical mountain must look like to an artist who has quietly plugged away and pursued his own vision for over 30 years without compromise.
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Zoe McBride - 10/10/2011
Brilliant website, very clearly laid out, easy to use and great for finding the latest offers. This is an amazing CD with really powerful songs. Five stars to both the site and the CD!
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Dale - 10/1/2011
Malachai (formerly Malakai) are a psychedelic blues duo group made up of Gee Ealey and Scott Hendy from Bristol in England. The band's debut album is full of variety and catchy songs, mainly because they manage to mix some creative influences while also putting their own unique twist to a consistently good and enjoyably messy album that demands to be repeated over and over again.
Ugly side of Love is an explosion of rock 'n' roll reinvigorating the sounds of bygone days by mixing garage psychedelia with a spice of 80s punk swagger over 13 very unique tracks spanning just over 32 minutes.
The album kicks off with a tribute to the 1979 New York gang film "The Warriors" which along with "Snowflake" and "Fading World" are some of the best songs this album has to offer. I love how it goes from the irresistibly catchy rhythm of "Snowflake" which you just can't help but sing along to, to the earnestly soulful "Fading World" which deserves many listens. The Ugly Side of Love finishes on a high note with "Simple Song", as it brings an unexpected end to this brilliantly bizarre journey.
Each Song has its own clear identity, although sometimes it can feel a little disjointed, but on a plus side it makes it very rarely dull because although they do have a particular style, none of the songs sound too similar or ripped off from each other.
The entire album sounds very vintage; Gee and Scott have rediscovered a niche sound which is as enjoyable as it is intriguing.
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Mark Walters - 9/29/2011
This is one of the most hotly anticipated records of 2011.
It is the first in ten years not to feature guitarist John Frusciante who has collaborated on some of the peppers most successful records to date.
Recorded in both in Hawaii and studio 2 at Eastwest studios in Los angeles, right next door to the studio where such classics as the beach boys pet sounds and others where make.
The music throughout the record has a heady African influence due to Michael Balzary (Flea) mixing over the past few years with African Exprez a project set up with Blurs Damon Albarn. This is used to good effect and along with some very thought provoking lyrics waves in a chapter within the band.
The music does feel like a natural progression from 2006's Stadium Arcadium but does lack guitar chord progressions that John Frusciante was famous for, this thankfully does not detract from the album over all, and with new member Josh Klinghoffer adding a welcome new angle. I'm With You is not a masterpiece but a dam good try.
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Gareth - 9/27/2011
With the multi million selling, global success of Adele's second album '21' her fist album may have been quickly forgotten and overlooked, but with its recent resurgence back into the top ten along side '21', maybe this is a good time to re visit and remind ourselves, just how good Adele's debut album was and is, and how relevant it still is. The debut album from Adele. A beautiful record, refreshing and an easily listenable journey. You put on one song and end up listening to the whole album every time.
The first song 'Daydreamer' is the voice of Adele and an acoustic guitar really draws you in with its stops and starts, where the guitar stops and only her vocal bridges the gap as the guitar comes in again, a lovely start to an album. The second song 'Best for Last', a great song with an even better and very memorable bass line that just sticks in your head. The third song and one of the big hits from the album 'Chasing Pavement', in my opinion one of the slightly weaker tunes, but with catchy piano riff and chorus along with the repetitive use of the chorus makes it perfect for radio play. The song 'Cold Shoulder', I believe to be one of the best songs on the album with some fast drumming and piano and a truly magnificent vocal. 'Crazy for you' and 'First love', like the first track, are real stripped backed numbers, with guitar and piano respectively, both beautiful. I would say that 'Melt My Heart to Stone' and 'My Same', are good songs but have to be pushed to the side, but only because of such a high standard on the album. The song 'Right as Rain' sounds as thought it should be a cover of a 70's style soul song, re worked and the Bob Dylan cover 'Make you Feel My Love' is jaw droppingly stunning, far more stunning than even the creator himself could ever have imagined it himself I am sure.
The deluxe edition of this album has a second cd, containing 10 live acoustic recordings, from the Hotel café in Los Angeles. A majority of the tracks are live versions of the songs taken from the '19' album, with 2 different songs being introduced which are 'That's It I Quite I'M Moving On', and an alternate version of the song Adele recorded with the Raconteurs 'Many Shades of Black'.
Adele herself called her music 'Heartbroken soul', with this I would concur, her voice at times soulful and angelic sounding like motown/Atlantic recording artists and at others splinted, raw and folky with remnants of the late Janis Joplin, but always powerful and so controlled, along with the heartbroken nature of her words is a very descriptive account of her work in two well thought out words. If you own the second album by Adele or not, no record collection is complete without this album.
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Joshua Stephenson - 9/21/2011
The Beastie Boys have been going along time now, hell its been 25 years since 'Licensed To Ill' hit stores, and in those intervening years the Beastie Boys carved themselves a niche in Hip-Hop that only they can fill. Now with the release of 'Hot Sauce Committee Part Two', delayed following a cancer scare for MCA, the Beastie Boys have managed to prove their relevance to the 21st Century Hip-Hop scene whilst making an album that may be the most fun you'll have with a record all year.
Let's start off with the production on this record because it is insane. There is so much going on in each track that it can be hard to keep up, from deep, bass-y synthesizers to distortion ridden guitar lines, it is constantly mixing itself up. In one track the vocals could have heavy distortion and the guitars squealing around as in the fantastic 'Say It', and then in the next track you could have bizarre electronics buzzing around a crisp beat as in 'Here's A Little Something For Ya'. 'Hot Sauce Committee' really is an album you need to play through some high quality speakers so that you can get the full effect of every little bit of distortion, reverb and a strange fondness for the cowbell. It's like experiencing colour for the ears and is that trademark Beastie Boys sound that no other Hip-Hop group can pull off.
As for individual standouts 'Make Some Noise', the lead single, manages to be a throw down of relevancy whilst evoking nostalgia and keeping the track fun at the same time. Built off a thick synth beat, a crisp drumbeat, some strange samples and that ever-present cowbell the Beastie Boys roll back the years by saying 'We got a party on the left/A party on the right/We gotta party for our right to fight'. We even get a guest appearance from Nas on the track 'Too Many Rappers', which has all four men exchanging verses whilst a stuttering synth line bounces back and forth. It's a testament to Nas that he manages to hold his own on this track, not because he's not a technically gifted rapper, but because the Beastie Boys have such a distinct sound and delivery it can be incredibly hard to keep up with them yet Nas does an admirable job.
An area where a collaboration didn't work out so well was on the Santigold featuring track 'Don't Play No Game That I Can't Win', which although it is an incredibly funky, reggae inspired track doesn't really fit in with the tone of the album or the Beastie Boys style to a lesser extent. Don't get me wrong on its own it's a solid track, but in the context of this album it didn't really work for me. Other tracks that I didn't feel worked particularly well were 'Tadlock's Glasses' and 'Multilateral Nuclear Disarmament', which came across as filler tracks to pad out the album.
Whilst lyrically this album doesn't go for any particularly high-brow moments, what we do have is a lot of witty one liners and amusing disses that the Beastie Boys have been putting out with ease for years, but yet still manage to get a laugh from me. This is really apparent on tracks like 'Funky Donkey', which is funny enough in that it has men in their mid-40's talking about a funky donkey, but when you throw in absurd lines like 'Stop sweating me about the weather/Go shave a sheep and knit yourself a sweater' you've got me rolling on the floor! To top it off this track is built of an incredibly groovy bass line that makes it a great track to dance too as well. Speaking of hilarious moments everytime I hear 'The Larry Routine' with the fantastic line 'Well my name's Mike D but I got a new name/ And that new name is Larry' I will without fail burst out laughing!
That right there encapsulate everything that is great about 'Hot Sauce Committee Part Two' it's an album that is almost impossible to not fall in love with. From the great one-liners to the sublime production on every single track, it's an album that demands to be played loud at parties across the world and as we all know no one gets a party going better than the Beastie Boys.