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Ribviews
Whether theyre
straight out of the kitchen or have been sitting under a heat lamp for
a minute, here is a sample of releases Ribbers decided to taste. Like
other zines, we have rated them, but with our own complicated culinary
system from one rib (lowest) to five ribs (bestest).
A
B C
D E
F G H I J K L M
N O P
Q R S
T U V W X Y Z
Jerry Lee Surber Hey Guitar (TEJAS Records). 5
ribs-smokin’.
Jerry Lee Surber holds his head up high as he sings his heart out on
his latest release, Hey Guitar. The singer/songwriter has a lot to share
with the world after a near death experience, which left him in a coma
for five weeks in January and February 2000. He found his way back,
fully recovered and is stronger than ever as indicated by his latest
compilation of Texas storied songs, which are dripping with sweat and
tears.
The album begins with the raucous, “Educated Redneck, a nod to
Surber’s ever-present sense-of-humor. What follows is a palette
of different sounds and emotions from the ironically upbeat, “Please
Let Go Of My Heart” to the radio-friendly “Don’t Have
To Love Me Back,” the soulful, harmonica-heavy “Down in
Mexico,” the fiery, wide-ranging, “Showdown (at the Lonestar
Saloon)” and the cheerful ode to his only daughter Shawn Michelle
entitled, “Mornin’ Light.” Surber made his bones in
the band Texas during the 70s’ and has proved he can stand on
his own as a songwriter. There’s a message behind his music, and
it’s time the rest of the world heard it. Will Jordan
Sebadoh III (Domino). 5 ribs
- the freed pig.
All the raw, indie-folk elements bleed through on Sebadoh’s III.
This remastered, re-released album has 41 tracks recorded around the
time of III’s sessions. Sebadoh made their bones in the late 80s’/
early 90s’ with lo-fi basement tapes of gritty, independent folk
grunge, picking up a cult following along the way. III is a classic
from its era and translates well today. Will Jordan
Cordion: Motifs (Beatservice). Could use a bit
more seasoning: 3-½ ribs.
Oslo duo Christopher Johansen and Tommy Jansen pull from several bags
of tricks - most notably totally unnecessary beats and clicks but otherwise
all-organic - to avoid the "stiff as Norwegian wood" schtick.
Drawing inspiration from Euro film tracks, Cordion comes across like
a (very) poor man's Radiohead on cuts like "Relish Words Softly
Spoken" and "Zeigeist" with nice little eerie noise loops,
even taking a Jeff Buckley/Chris Martin turn with "Unfold"
and prominent strings on "Confession of Age." A simple but
seemingly well-thought-out sophomore effort. David Thornton
The Game Doctor’s Advocate (Geffen). 4 ½
ribs-smokin’.
He may have parted ways with former mentors 50 Cent and Dr. Dre, but
The Game’s follow-up to 2005's multi-platinum The Documentary
proves he can stand on his own. Though the new album at times sounds
like a rehash of The Documentary, at least he’s stayed true to
his original themes of gangbanging on the West Side. It starts out slammin’
with a militant intro, “Lookin’ At You” and smokin’
tracks follow. Other highlights include: “Compton,” “One
Night,” “California Vacation” (feat. Snoop). Pop this
one in and bang it loud. Will Jordan
Desmond Decker In Memoriam: 1941-2006 (MVD Audio). 5
ribs - Island flavor.
No reggae collection is complete without Desmond Decker and there is
no better representation of his soul-stylings than In Memoriam: 1941-2006.
Recorded at Roll Over Studios in London on January 2004, this is Desmond
Decker’s last ever recording. It features 20 sweet, upbeat reggae
songs from the popular, “Israelites” to “Hippopotamus,”
“007 (Shanty Town)” and “Problems.” Get it while
it’s still hot. Will Jordan
Jade: Banned in America (ARG). Shave the fat:
3 ribs.
This highly attractive Asian Ofra Haza/Shakira (CD jacket sports no
less than 10 pics of her) who doesn't write any of her own material
opens with an Evanescence edge on "Kiss Me," takes a Q from
Stacey on the downright freaky "Three Blind Mice" and shows
some genuine pop-radio potential on "My Love is Black." Many
of the remaining tracks, however, tend toward sound-samey and, even
worse, ordinary filler - a classic case of a great voice singing the
usual relationship dreck, but at least she rocks occasionally. Check
out www.jade.music.com for an interesting explanation of the album's
title. David Thornton
KT Tunstall Eye To The Telescope (Virgin). 4 ½
ribs - chevreux flambe.
After repeated television exposure with her single, “Black Horse
and the Cherry Tree,” KT Tunstall is gonna be hard to stop. The
catchy song rocks and so does most of Eye To The Telescope. The Scottish
singer/songwriter’s new album has already reached Gold status
in the US and platinum in the UK and is smoking award ceremonies in
both places. From opening “Other Side Of The World” to coda
“Through The Dark,” there is obvious evidence of Tunstall’s
true talent and dedication as a stand-out songwriter. Will Jordan
Rachel Sage: The Blistering Sun (Mpress). Savor
every morsel: 4 ribs.
Admittedly, the pedigree was off putting: another super-sensitive singing/songwriting
girl from the East Village; prestigious ballet school and Stanford drama
degree; ad-jingle author; and the coup de grace, Lilith Fair! Sage,
however, dispels the trepidation right from the start with the Ricky
Lee Jonesy swing of "Alright, OK," the brilliant polka-tinged
story-song "93 Maidens," the soulful "Violet or Blue"
and the jazzy "Lonely Streets." Predictably, things get a
little too Tori Amos by track 10, but that's not necessarily a bad thing.
The lasting impression is that Sage actually sings, unlike the usual
folkie yelp, and a stellar lineup of backing musicians doesn't hurt
either. It ain't rock 'n' roll, but Sage is a pro and it really shows.
David Thornton
Aloha Some Echoes (Polyvinyl). 4 ribs - say goodbye
to taste buds.
A deliberate need to be distinct drives the force behind Aloha. The
album peaks and crashes with every song and moves like a Flaming Lips
soundtrack. Tony Cavallario’s haunting vocals have been slowly
stirred in with his own shaky guitars and keyboards as well as Matthew
Gengler’s thumping bass playing, Cale Parks thundering drumming
and TJ Lipple’s percussive hypnotics. Buckle up for this ride.
It gets pretty odd. Will Jordan
Railroad Earth: Elko (Sci Fidelity). Potbellied
and otherwise: 4 ribs.
Eschewing the bluegrass and jam band labels, this six-piece Americana
outfit echoes somewhere between the Jayhawks and Waterboys on this two-hour,
two-disc live set. No doubt about it, the band's talents are immense
(singer Todd Sheaffer wrote or co-wrote everything here), not escaping
the notice of the likes of Phil Lesh. First-side highlights include
the stunningly beautiful "Bird In a House" and the nearly
16-minute "Head." On side two, "Mighty River" makes
you wonder if musicianship can be too good. Also listen out for the
mind-blowing fiddle on the 15-minute "Warhead Boogie," and
look for Railroad Earth at a hippie stronghold near you. David Thornton
Otto Von Schirach Maxipad Detention (Ipecac). 4
ribs - serve warm with swollen whale abdomen.
There’s no way to even begin trying to categorize Otto’s
latest machine-gun peppering electronic explosion. This Gabber Bass
Drums/Breakcore Gabber Jungle/Gore Grind creepy mix is an 18-song journey
into the distorted mind of the half Cuban/ half German DJ. Each track
was handpicked and sequenced by Mike Patton, owner of Ipecac Records,
which is obvious if anyone’s familiar with Patton’s unique
taste on past endorsements. Will Jordan
Matchbox Romance: Voices (Epitaph). More Damon's
than Famous Dave's: 3 ribs.
Cleverly concealed in a matchbox cover, this follow-up from the Poughkeepsie
four-piece is much more akin to My Chemical Romance than Matchbox 20.
That the record starts with a bang on the two opening tracks and doesn't
really revive until six numbers later illustrates the problem with CDs,
whereas on LPs you usually got at least one or two good songs on the
first of the flip sides and didn't have to bother with the rest. Though
more literate and accomplished than most of their West Coast counterparts,
this is pretty standard issue - albeit mopey - punk-pop. The fact that
they're Epitaph's biggest rock act is probably due to accommodating
fans with low ticket prices on tours like Take Action! and Warp. David
Thornton
Virgin Passages Mandalay (Fire). 3 ½ ribs
- dark meat.
Drifting listlessly through unchartered territories, Virgin passages
make rainy day music with dark, lurking clouds looming over each track.
This Staffordshire trio creates hypnotic folk music that never lightens
after appropriately titled, opening track, “Hate Hate Hate.”
Album highlights or low lights in this case include: title track, “Mandalay”
as well as “Part Weatherman” and “Like Dogs.”
Save this for the darkest of days. Will Jordan
Hot Karl: The Great Escape (Headless Heroes). Jump
these bones: 4-1/2 ribs.
On the heels of the success of Orthodox Jewish rapper Matisyahu comes
this highly impressive debut of "suburban dork rap" from Calabasas,
Calif.'s Jensen-Gerard Karp, aka Hot Karl. Virtually every song here
registers, from the opening "duet" with MC Serch, "Let's
Talk," to the closing funky dis on club culture, "The Afterparty."
In between are such gems as the fabulous female backing vocals on "Suburban
Superstar," '80s/early '90s pop culture cross references in "Kerk
Gybson" and "Back/Forth," the hilarious "Butterface"
about girls with great bodies but less-than-optimum looks, and the good
grooves on "I've Heard" - all interspersed with some pretty
silly "skits." The only drawback is that Karl raps in an (inevitable?)
Eminem voice, but nonetheless it's obvious he spent a lot of time on
these mad rhymes. A bonus is the funny stories and "fun facts"
about each song in the liner notes. David Thornton
Omni Batterie(Natural High). 4 ½ ribs-fresh
meat.
Omni takes a fresh new approach with his boundless flows on Batterie.
Conceived and recorded in Australia, Batterie reflects the many places
the emcee has passed through on his exploits to spread his west coast
flava. With help from Australian crew Hilltop Hoods and West coast vet
Aceyalone, Omni gets the push he needs to kick out a fresh new jam.
From opening Batterie to coda Boost, this album smacks of flava. Will
Jordan
The Sounds: Dying to Say This to You (New Line). Getcha
some: 4 ribs.
Tragically hip Swedish fivesome - it's amazing their moniker hasn't
been used before - records 10 primitively cool post-punk numbers (not
counting the rocking reprise of "Night After Night") at Oakland's
Studio 880 (Green Day's "American Idiot") with a little help
from their well-heeled, like-minded friends: Jeff Saltzman (The Killers)
producing and Adam Schlesinger (Fountains of Wayne) and James Iha (Smashing
Pumpkins, Perfect Circle) adding extra production work. Fans of ultra-'80s
keyboards ("Queen of Apology," Tony the Beat"), even
down-and-dirty dance grooves (the half male-sung "Don't Want to
Hurt You"), will find endless delight spinning this disc. David
Thornton
The Disco Biscuits Rocket 3 (Diamond Riggs). 4
ribs-takes like chicken.
Taken from a live recording of the band’s 2004 New Years Eve show
in NYC, Rocket 3 is a must-have for Bisco fans. The three original tracks
on this release were originally considered for release on the April
2006 Live album The Wind at Four to Fly, but never made the cut, due
to the length of the songs. Despite the lack of radio-friendly tracks,
diehards will salivate over these live versions of “Magellan,”
“Frog Legs,” “Crickets,” and bonus track “Hope.”
Will Jordan
The Vestals: Songs About Girls ... and other mysteries (Warming House).
Patience with these coals: 3-1/2 ribs.
Brothers Ben and Jeremy Gordon - no, not ice cream (well, Ben was once
fired from Dairy Queen - whip up a maelstrom of sweet melodies on their
sophomore effort. Sharing seven songs apiece, the head-to-head sibling
"rivalry" rears its head most beautifully on back-to-back
tracks 3/4, 7/8 and 12/11 (Jeremy listed first), with the aforementioned
coming out on top on the first two and Ben on the latter. Contrary to
comparisons with other brother combos, as well as Ben Folds, these Minnestoans
recall Red Kross' Jeffrey and Steven McDonald ("Third Eye"
era) more than anyone else. David Thornton
Micha P. Hinson: Micha P. Hinson and the Opera Circuit (Jade Tree).
It would behoove you to buy this: 5 ribs.
This Abilenian alto by way of Memphis and now, of all things, a Manchurian
(due to his association with Earlies member John-Mark Lapham, whose
father once played with Buddy Holly, whom Hinson bears a slight resemblance
to) feeds a sordid past of drug addiction, prison and fundamentalist
upbringing into his brand of music called everything from Southern gothic
and cosmic country noir to Leonard Cohen-style troubadourism. Highlights
from this second effort range from the Polyphonic Spree-minus-the-chorus
sounds of "Jackeyed" to the absolutely gorgeous "She
Don't Own Me" (most likely about his infamous Vogue model turned
stripper ex-girlfriend) and the amazingly touching closing trilogy -
if these epics don't well up some emotion within you, there must be
something wrong, and the sense is that Hinson, like Elliott Smith, wants
to leave a glorious impression before it's too late. David Thornton
Ween Shinola Vol. 1 (MVD Audio). 5 ribs-tastes
good on the bun.
It’s no secret that we at Rib are the enormous fans of Ween and
we know we’re biased, but this album just freakin’ rocks.
We’ve had this one for a while, but it’s now available for
US distribution. Originally released by Ween's own Chocodog label, Shinola
Vol. 1 is the first in a series of rarities collections by the Pennsylvania
duo. From the opening distorted, lo-fi creepy exclamation, “Tastes
Good on th' Bun” to the melodically upbeat “Boys Club,”
the wonderfully dreamy “Did You See Me?” and the ever-funky
“Monique the Freak,” this compilation is a must-have for
any avid Weener. Dean Ween says it best: “Shinola is a collection
of odds, ends, and leftovers from around our studio and contains killer
new mixes of a lot of songs that have been floating around the web in
really crappy fidelity for a long time. I don't mind telling you that
it’s a really great record. Also, this is the first installment
in a series. There will be more of these to come in the future. The
record was produced and mixed by Andrew Weiss and Ween and it’s
an ugly one. You really wanna pick this up, I’m not shitting you.
This record has been a long time in coming.” Dare we elaborate?
Will Jordan
Ladyfinger (NE): Heavy Hands (Saddle Creek). All
ears ... of corn, that is: 3-1/2 ribs.
This Omaha quartet, thus the NE over legal wrangling (i.e., Dinosaur
Jr./Charlatans U.K.; nothing to do with Luscious Jackson song), rocks
in that uniquely passionate Midwestern way on their debut, rattling
off like Jesus Lizard but without punk, metal or emo inflections - just
heavy-handed drumming with low and loosely tuned guitar licks. Nothing
too distinguishing here, but Ladyfinger really shines on the shorter
numbers - everything under three minutes really registers, not to mention
a knack for clever song titles ("Diet Smoke"). David Thornton
Various Artists: U.S. vs. U.K. Punk (Sanctuary). Tastes
like old leather: 3 ribs.
In celebration of punk's 30th anniversary comes this "battle of
the anarchists." Boasting four live tracks - including the opener,
a demo of the Sex Pistols' "Anarchy in the U.K." without the
"get pissed, destroy" ending - this CD pits eight British
bands on the first side against eight American acts on the other. Perhaps
following one after another would have been a better measure, but what
does become evident is the Britons' penchant for pop (the Undertones'
"Teenage Kicks," Generation X's "One Hundred Punks"),
which perhaps is what made punk so much more of a sensation there after
America's Ramones (represented here with "Beat on the Brat"),
ironically, first unleashed the genre on the world. The U.S. side, by
contrast, is a decidedly rockier affair, as evidenced by the Stonesy
raunch of the New York Dolls' wretched but very fitting live version
of "Personality Crisis" as well as offerings by Iggy Pop (great
sample lyric: "I'm chairman of the bored"), Black Flag and
Suicidal Tendencies - the confusion of the latter two's inclusion all
the more puzzling being West Coast and from the '80s. David Thornton
Earmint Another Early Evening (EV). 4
½ ribs-fresh, minty fresh.
His production skills have garnered him underground praise in Chi-City,
and with the release of his debut, Another Early Evening, Earmint should
grab new listeners. His skills compare to RJD2 and his collabs are no
less impressive. Laboring over vintage synths, an $8 guitar and ancient
Studio Vision Pro software the DJ created undeniably funky beats that
drove folks to the sounds. Each track is representative of Earmint’s
diverse flavor as well as embodying each lyricist’s style from
Psalm One on “The Flashy Slang” to Diverse on “The
Bluesinger” and Longshot on “Watch Me Climb.” Step
into Earmint’s world and you may not want to leave. Will Jordan
Gerry Mitchell & Little Sparta: Scalpel Slice. Words
get in the way of some pretty good grub: 2-1/2 ribs.
As collaborations go, things either go swimmingly or sink like the Stone
Roses. In this case - a first between the Scottish poet and a multinational
ensemble with Scottish heritage (including the Mekons' Susie Honeyman
on violin) - Mitchell's often indecipherable Pogues brogue hinders the
lush Highlands accompaniment, made all the worse with the lack of a
lyric sheet. Case in point: Though a little long-winded, the instrumental
"Ruins" is by far the most beautiful track. As for the closer,
"Even the Saints": Come again. David Thornton
[Daryl]/Black Tie Dynasty: Bloody Basin EP (Idol). Hardly
hearty combo platter: 2-1/2 ribs.
Dallas label pairs a couple bands from its roster for the fifth in its
split-single/EP series. The opening collaborative title track is nothing
great, but BTD and [Daryl] do admirable jobs individually on the blissed-out
"Signs" and Ned's Atomic Dustbin cover "Happy,"
respectively, before vocalists Cory Watson and Dylan Silvers share duties
on the mondo bizarro "Gloria." Makes you wonder if this is
mutual admiration or record company motivation. David Thornton

Murder Was The Case, Snoop Dogg Tha Doggfather (Koch).
5 ribs-serve with gin ‘n’ juice.
Snopp Dogg was first sighted on Dr. Dre’s debut album Chronic,
puffin’ blunts and spittin’ his buzzed, sleepy-eyed-style
and rose to superganstardom over night. Murder Was The Case ranks alongside
classics The Chronic and Doggstyle as “one of Death Row’s
finest” and includes hits, “What Would You Do” and
“Natural Born Killas” as well as DVD footage. Tha Doggfather
is another classic with the hits, “Snoop Bounce,” “Vapors”
and “Snoop’s Upside Ya Head.” Both of these releases
are must-haves in any Death Row collection and if you missed ‘em
the first time, don’t make the same mistake twice. Will Jordan
Sponge: The Man (Idol). Slow-cook for best flavor:
3 ribs.
Detroit quintet kicks its fifth album off on a high note with the frantically
fuzzy title track before dropping the ball on subsequent hard rockers
that strive to emulate Alice in Chains (right down to the "angry
chair" lyric in "Fame & Glory") but come off more
like one of those faceless, testosterone-Fueled bands so prevalent at
the moment. Another case in point is "Higher (Part Two),"
co-written by Gun and Roses' Gilby Clarke and sounding like one of those
generic wannabes on his ridiculous reality show. Vocalist/songwriter
Vin Dombroski does show an impressive range with a good case of Mike
Ness and even Lou Reed on "Back Against the Wall" and "All
the Drugs in the World," respectively, and the fact that "Unlucky"
has yet to become a hit is a rock-radio crime. David Thornton

Big Bill Broonzy Amsterdam
Live Concerts 1953 (MRCD). 5 ribs-smothered
with hot sauce.
Taking the blues out of Mississippi was hard enough back in the day,
but to take ‘em overseas, was downright revolutionary. Big Bill
Broonzy was known for taking risks and telling stories. Amsterdam embraced
his southern charm and easy-going way and gave him a new podium to sing
his songs. Amsterdam Live Concerts is a two-disk collection that features
the long awaited recording s of two shows from February 1953. There
are 25 songs and in-between story-telling, plus photographs and extensive
liner notes about Broonzy’s legacy. Will Jordan
The Eames Era: Double Dutch (C Student). Too much
molasses in the marinade: 2-1/2 ribs.
Named after husband-and-wife design duo Charles and Ray Eames, these
Baton Rouge-based bubblegum popsters turn in a couple of good performances
(the coy and fun "Listen for the Sun" and "Year of the
Waitress") on their otherwise incessantly jumpy and underwhelming
first full-length effort. Better than - or maybe equal to - Ezra, but
that's not saying a whole helluva lot. David Thornton
Dan The Automator Presents 2K7 (Decon). 4 ribs-tastes
like chewy leather, yet strangely delicious.
The lineup for the new soudtrack for NBA’s 2K7 video game reads
like a roster of underground hip-hop allstars. From Lupe Fiasco &
Evidence (“Catch Me”) to Mos Def (“Here Comes The
Champ”) to Charlie 2na (“Anchor Man”) this compilation
represents a whole different breed of MCs that many times go overlooked
by such mainstream sponsors as the NBA. Kudos to The Automator for staying
true to his roots and holding it down for some of his favorite artists
by lifting them up on this one. Once again The Automator’s beats
go uncontested, making it much easier to ball along to each track. Will
Jordan
Black Wire (Giant Pecker). Grab a hold of this
big fatty: 4 ribs.
These three emaciated English boys, who also employ a drum machine in
favor of a degenerate drummer, come with a lot of questionable baggage
for a debut - from meeting while trying to lift a Suicide disc to the
Kaiser Chiefs writing "I Predict a Riot" after seeing a Black
Wire show. Sandwhiched between the cool dub and minimalism of the first
two tracks to the downright danceable last pair, Jesus and Mary Chain
meets the Clash on everything from ska to reverbed rockabilly. David
Thornton
Westbound Train Transitions (Hellcat). 4 ribs-“good
enough” to be downright tasty.
Boston septet Westbound Train have proven themselves many times over
in live settings, and with Transitions plan on convincing the world
of their abilities as a powerful ska oufit. They’ve shared the
stage with like-minded ska heavy hitters such as The Skatalites, The
Mighty Mighty Bosstones and The Toasters and follow in similar footprints.
From opening track “Transition 1” to coda “Travel
On,” Transitions echoes the true Westbound Sound—“a
bridge between ‘60s staples like reggae, soul and blues with modern
touches of jazz and country.” However described this band is discombobulatingly
talented. Will Jordan
Dirty on Purpose: Hallelujah Sirens (North Street). Just
as good as Dreamland: 5 ribs.
Some of the grandest things come in the dinkiest of packages. Within
a thin plastic cartridge with a sticker on it is mood music of the first
order, one ethereal gem after another of soft female vocals (mostly
by Brooklyn-based singer/songwriter Jaymay) overlying loud yet - despite
their name - clean washes of otherworldy soundscapes that reach a supersonic
shoegazing peak on the second half of "Always Looking," and
the emergence of a male voice marriages the Yo La Tengo-like twee-pop
to even better effect on most of the remaining cuts. David Thornton
Peeping Tom (Ipecac). Right off the rotisserie
with an apple in its mouth - 5 ribs
Peeping Tom is the latest brainchild of Mike Patton –
the mad musical genius notorious for his work in Faith No More
and Mr. Bungle. Patton’s love for musical freedom led
to the formation of Ipecac Records – an independent label featuring
an impressive roster of progressive artists. Pushing boundaries is Patton’s
forte, and Peeping Tom is no exception to the rule.
Unfortunately, Patton receives as much criticism as praise. A number
of die-hard “fans” are disappointed with this album. The
rumor mill, which has been spinning for years due to several delays
in the release of this recording, presented Peeping Tom as
pop. There are a number of elements that make Peeping Tom an
easier listen than Patton’s other projects; but the portrayal
of the album as popular music, in the current sense of the term, is
far from accurate. The underlying weirdness beneath the catchy hooks
and danceable (yes, danceable) beats manages to retain Patton’s
fingerprint while maintaining a perfect balance between great music
and experimentation.
Peeping Tom features a number of spectacular artists including
Norah Jones, Massive Attack, Dan the Automator, and Kool Keith. Each
artist lends a special signature to their respective tracks while miraculously
maintaining seamless transitions and a sense of cohesiveness. One track
flows into the next, and the album as a whole feels very solid. Your
Neighborhood Spaceman, featuring Jel and Odd Nosdam, is the album’s
strongest track and features spacey effects behind sublime drum loops
and cool jazzy melodies. The chorus hits hard with a pounding, fat bass
effect. The vibe continues with Kill the DJ, featuring Massive
Attack. Patton’s chums from across the ocean really contribute
to the track, and the groove is remarkable. Bottom feeder frequencies
continue on Doesone’s How You Feelin? It is hard to recall
the last time Patton made a danceable track, and the idea is even laughable
to many; however, if there was a track to make you shake, this would
be it.
Peeping Tom is listenable, danceable, and weird at the same
time. Patton has come close to nailing this formula before, most notably
with General Patton and the X-Ecutioners and Dan the Automator’s
Lovage, but this album represents the culmination of previous
experimentation and the ultimate fruition of Patton’s forays into
other forms of music. Peeping Tom receives Rib Magazine’s
highest possible recommendation. Shane Newsome
Raised Fist: Sound of the Republic (Burning Heart). Crunchy:
3 ribs.
The fourth release by Sweden's Raised Fist, and their first in four
years, opens full throttle with "You Ignore Them All" before
relief sets in on the next and best cut, "Perfectly Broken,"
that the rest of the record isn't as insanely intense. Other outings,
employing the skills of ex-Dark Funeral drummer Matte Modin, range from
a Tool/Helmet hybrid on 'Sunlight" to even 311 on the title track
and industrial on the last number, the four-minute "Time Will Let
You Go, All Alone, I Break" (which, naturally, being the longest
song, are the extent of its lyrics). The most striking thing about lyrical
content, though, is how the band injects itself into no less than five
songs with lines like "we will go out on tour and make all the
people go insane whether they like it or not" and "I have
to put all this in rhymes on a CD you're still going to buy." Other
hints of self-importance include turning down a slot at Ozzfest and
singer Alle Hagman's Thai boxing six days a week to maintain his "aggressive
energy." David Thornton
World Party Dumbing Up (Seaview). 5 ribs-aged
to perfection
When Karl Wallinger’s ship of fools came crashing down after riding
the high seas during the stormy mid-80s and tumultuous ‘90s, he
anchored his vessel and took some time out to charter a new course.
The UK singer returns to the helm of the familiar vessel with a partial
UK release of Dumbing Up. Now remastered and repackaged with two new
tracks, new graphics and a DVD of World party action Dumbing Up is getting
Wallinger a fresh start while holding on to his musical roots. Songs
like “What Does It Mean Now,” “See The Light”
and “Till I Got You” echo old World Party sounds with a
new world attitude. Will Jordan
Richard Butler (Koch). Extra juicy: 4
ribs.
Stating "an artist can say as much with a whisper as a scream,"
the Psychedelic Furs frontman strikes out on his own for the first time,
and there's something to be said for nearly three decades of experience.
The opening track, "Good Days, Bad Days," succinctly sets
the mature and meloncholy tone by reflecting on his recent divorce and
the loss of his father, followed by "California," which is
not about the state itself but more about acceptance of his current
state of being. Several other songs couple softly psychedelic atmospherics
with Butler's out-front and distinctly different vocals about his usual
theme of looking at the big picture - the sun and stars, tides and plate
tectonics, heaven and love (remember Love Spit Love?) - to great effect
on the grandly gorgeous "Nothing's Wrong" and "Maybe
Something." But perhaps Butler's greatest gift is his ability to
sum up life's shortcomings without the slightest hint of bitterness.
David Thornton
Toubab Krewe (Upstream). 5 ribs-worldly
flavor.
Fusing together West African rhythms and American rock and roll, Toubab
Krewe brings a new philosophy to modern day music making. The Ashville,
NC quintet traveled across the globe to research rhythm and sound and
it’s obvious by their self-titled CD they took the listen to heart.
The release has a natural vibration that reverberates through each track
from opening “Devil Woman” to coda “Bamana Niya.”
These boys deserve listeners. Once you hear them, it’s hard to
put down. Will Jordan
Burning in December. Cut rate: 2 ribs.
Two guys and a drum machine mix Ozzy-like vocals with turns of Genesis
("Wake Up"), Aldo Nova ("No Way Out") and Queensryche
("Next to You") on this horribly dated debut. Not to say it's
all bad - the longest and most cliched cuts actually turn out to be
their best: "Sweet Surprise, "Against the Grain" and
"Judgment Day," all of which stretch over six minutes. But
all this comes off like something "American Idol" rockers
Bo Bice or Chris Daughtry would put out. Best anthem attempt: "Can
You Feel It?" Most Yngwie Malsteen hair metal moment: "Midnight
Hunter," featuring the cheesiest keyboard opening ever (and the
ending is pretty comical, too). David Thornton
The Streets The Hardest Way To Make An Easy Living (Vice/Atlantic).
4 ribs-skin and bones.
It’s seems like just the other day when Mike Skinner first stumbled
onto the mainstream airwaves. Now he’s bitching about it with
his latest, The Hardest Way To Make An Easy Living. Out of the three,
this is Skinner’s most serious so far, though it seems a bit overboard.
Whining about “I don’t know how much money I have,”
Skinner is basically crying about “being so fucking bored,”
as if he has already forgotten the UK slum of Birmingham, he was desperately
intent on clawing his way out of. There is a sense of humor underneath
The Streets’ new release, and it’s filled with good production,
plenty of catchy beats and decent hooks, but it’s sometimes it’s
hard to get the joke. Will Jordan
From First to Last: Heroine (Epitaph). Cooks quickly
but chaos too controlled: 3-1/2 ribs.
Combining the networking savvy of Myspace.com with the vocal theatrics
of 18-year-old singer Sonny Moore and the talents of bassist-on-loan
Wes Borland and producer Ross Robinson (Slipknot, Korn, Deftones), these
former Floridians are currently playing the Warp Tour in support of
their sophomore release. Opening with the unrelenting "Mothersound"
and closing with the awesome title track, what lies between is a Mars
Volta-like maelstrom interspersed with the industrial
elements of "Aftermath" and "The Levy" (programmed
by Nine Inch Nails knob twiddler Atticus Ross), the staccato stratospherics
of "The Crows Are Coming For Us" and the click-track-collage
balladry of "Waves Goodbye." David Thornton
Oh No & Galt MacDermot Exodus Into Unheard Rhyming (Stones Throw).
4 1/2 ribs-smells like burning hair, but tastes
like Westside ribs.
Oh No was born into a life of music. His father Otis Jackson (70s’
soul singer) uncle Jon Faddis (jazz trumpeter) and brother Madlib (iconic
hip-hop maestro) all paved the way for Oh No’s break out. Besides
Madlib, Oh No has made more beats for Stones Throw Records than any
other DJ. Exclusively utilizing samples from the original R&B funk
master Galt MacDermot (composer of famed musical HAIR), Oh No reinvents
old school beats and rhythms with his own Cali-based twist. When looking
to unite a force to lyrically drive the rhythms into an amalgam of hip
hop greatness, he released his long-reaching tentacles and came back
with a formidable cast. The finished product is some smooth soul slayings,
reminiscent of early Native Tongue styling. Tracks like “Get Yours,”
featuring Blackmoon’s Buckshot, “Smile A Little Bit”
with De La Soul’s Posdnous, “Know Better” with Wordsworth
and “Keep It Lit,” featuring MED & Wildchild make Exodus
Into Unheard Rhyming an instant hip hop classic. Will Jordan
Cavalier King: The Sun Revolutions (Rubric). So
elegant it's almost inedible: 5 ribs.
Chris Taylor - who wrote, produced and performed everything except drums
and keyboards on this astonishing debut disc in his tiny Brooklyn apartment,
not to mention painting all its artwork - uses the alter ego Cavalier
King to flawlessly execute these comic-book-type tales ranging in influence
from The Smiths and The Strokes on opening and closing cuts "Renegade"
and "Victory," respectively, to Jeff Buckley on his namesake
number. It's hard to pick highlights from such an excellent album, but
"The Unprotected" (which recalls another one-man band, The
New Radicals) and "Champagne & Cocaine" are absolute standouts,
and the anthemic title track (and its reprise), "Angels of Mars"
and "The War Is On" ain't too bad either. Taylor's ability
to make even lesser songs like "The Finest Hour" engaging
speaks volumes of his talent. David Thornton
Shooter Jennings Electric Rodeo (Universal South). 4
½ ribs-best chased with Early Times.
Barrels loaded, whiskey poured and easy women ready, Shooter Jennings
brings the honky-tonk back to country with his latest, Electric Rodeo.
Carrying on his father’s tradition of outlaw living, the tattooed
heir croons with drunken authority and a deeply soaked southern blues.
The album open with the raucously rockin’ title track, “Electric
Rodeo,” then has ups and downs as manic as a bi-polar condition
until it ends with the mournful coda “It Ain’t Easy.”
Daddy Waylon would be proud. Will Jordan
The Robocop Kraus: They Think They Are ... (Epitaph). Aged
to almost perfection: 4-1/2 ribs.
This Nuremberg-based outfit rides the crest of new wave and post-punk's
best traits for its fourth effort - what has to be the absolute apex
of those genres' long-running resurgence. The first and last pairs of
tracks alone are worth the sticker price, but just about every other
song registers here as well. David Thornton
Tha Dogg Pound Cali Iz Active (Koch). 4 ribs-straight
gangstafried.
Ten years ago, when Tha Dogg Pound first crip-walked out of California
hoods with gangstafried lyrics and bangin’ beats they helped the
west coast conquer the globe with Snoop Dog behind the helm. Snoop,
Kurupt and Daz return with more fly, geographically loyal, gangsta grooves
with their latest, Cali Iz Active. The release features 16 thugged-out,
anthemic tracks and a slough of guest appearances from Ice Cube to Diddy,
David Banner and Paul Wall. Chuuch! Will Jordan
Spitfire: Self-Help (Goodfellow). One very course
meal: 3 ribs.
Virginia's Spitfire makes its return to the metalcore scene as a five-piece
unit after almost four years out of the fold. The band's fast-and-slow,
stop-and-go dynamics make for an interesting listen, but what really
would be impressive is some musical variety - which they do manage to
pull off on the Ministry-like "Dear John" and My Bloody Valentine-ish
wall of sound at the beginning of album closer "OHM Driver."
However, Jon Spencer's (no, not that one) constant throat shredding
tends to wear thin as fast as the guitars. David Thornton
.
Panoramic Rhythm Through The Unobstructed View (Rhythmic Union). 3
½ ribs-Caribbean–style.
Panoramic is a palette of cultural colors. Rich in calypso, Afro-Cuban,
Brazilian and East Indian rhythms, the Caribbean group creates laid
back island sounds that help drift the day away. Trinidadian Liam Teague
is thought of one of the best pannists of his day. Mix together the
talents of Robert Chappell (piano, marimba, vibes, tabla), Orlando Cotto
(congas), Doug Stone (saxophones), Phil Beale (drum kit) and Joshua
Ramos (bass) and you’ve got the most talented island house band.
Will Jordan
Time Again: The Stories Are True (Hellcat). Rough
around the edges but still excellent: 4 ribs.
This no-frills SoCal punk rock quintet rips through 13 songs in a mere
27 minutes on their full-length debut. Mostly mohawked and tatted like
their biggest supporter, Rancid's Tim Armstrong (kudos are also given
to The Offsping's Dexter Holland), songs range from the refreshing regretlessness
of "Say Again" to the ska-inflected closing cut, "Streetwalker."
Other highlights include 'Life on the Run" and "Deadly Nights,"
all resulting in a good dose of derivative yet fun debauchery - minus
"Criminals," but it's less than a minute long anyway. David
Thornton
Bettye LaVette I’ve Got My Own Hell To Raise (Anti-).
4 ribs-dripping with flavor.
Bettye LaVette’s heart is in her hands on I’ve Got My
Own Hell To Raise. Her vocals ooze with emotion and the sound has
no barriers. It sinks and swells with a gasping breath, stepping in
and out of soul, country, jazz, blues, gospel and R&B. The release
has a timeless appeal, though an obvious early 60s’ roots. Sit
back and listen to LaVette croon in this 2005 recording session as she
first did in 1962 Detroit. Will Jordan
Sworn Enemy: The Beginning of the End. (Abacus). Tough
but tasty nonetheless: 3-1/2 ribs.
Straight-up romping, stomping chew-you-up-and-spit-you-out, kick-ass
old-school Metallica/Pantera speed metal of chugging precision, but
things never get too complicated for some serious headbanging. David
Thornton
Flair (Storage B. Records)
"Yes, we're from Nashville! No, we're not
country!" Flair states on their Myspace Web page. This becomes
immediately evident on the tough Benatar shards of "Hurting Me"
that open Flair's half-hour debut CD. Sandwiched between the first side's
hard-rocking bookends are a couple of jangle-pop gems, beginning with
the scrumptious Sundays-isms of the album's "Stand"-out track,
before becoming a mostly acoustic affair on the flip side. Vocalist
Andrea Davis' Delta blues-soaked roots first become evident on the record's
only live cut, "Heaven Sent," before her pristine pipes really
come to the fore and get to soar on the last two numbers. Like their
name implies, this band has the talent to carry them forward. Catch
them now at a bar, ballpark, fraternity party or summer festival before
they hit the big time. David Thornton
Cast King of Old Sand Mountain, Alabama Saw Mill Man (Locust
Music). 4 1/2 ribs-best served with a cheap bottle
of red wine.
When Matt Downer climbed the Sand Mountains in 1998 in search of stripped
down, traditional country saw mill music, he discovered a handful of
fellas who were still picking the old school way. The one name that
kept coming up throughout was Cast King, a 93-year-old fiddler whose
voice resonates with bone-jarring saw mill work, cheap wine, outlaw
ways and hard times. Downer not only recorded the weathered, hard-lived
singer, but also sat down with King on the guitar. The result is some
of the most honest, refreshingly under-produced country music released.
Will Jordan
Tre Hardson SlimKid Tre’s Café (Flying Baboon).
4 ½ ribs-tastes great, less filling.
Tre Hardson aka Slimkid was first introduced to the music scene in the
late ‘80s with the jazz-nasty, comedy quartet, The Pharcyde. He
took his solo efforts on the road in 2000 and has been behind the mic
since. His latest release, SlimKid Tre’s Café
is more of the same from Slim, illustrating his important contribution
to Pharcyde’s unique sound. Funny-ass songs like “Knockin’,”
the catchy, smoothness on “When You Love Someone,” the conscious-inspiring
“Stepping Stones,” and the slowed down, “You’re
Mine” all remind of the old days when Slim was at the helm of
the Bizarre Ride brothas. With the new release, Slim should be able
to rise above his old definition and reinforce his own identity as a
true lyricist. Will Jordan
Madlib Beat Conducta Vol 1-2 Movie Scenes (Stones Throw). 3
½ ribs-Mad flava.
Madlib returns with another onslaught of hip hop instrumentals on his
latest release Beat Conducta. Mining “library records”
made for TV and film in the funky 1960’s and 1970’s, Madlib
has created 35 tracks of nostalgia. The album can be stripped down to
individual tracks or played in its entirety as a complete sonic landscape
of an era that’s encapsulated in the music. Will Jordan
Gnarls Barkley St. Elsewhere (Downtown). 5 ribs
– ummm ummm good!
Cee-Lo and Dangermouse join together like the Wonder Twins to create
Gnarls Barkley, an amalgamation of 70s’ and 80s’ sounding
riffs with soulful crooning and futuristic bombs dropping throughout.
On St. Elsewhere, Cee-Lo, takes on a new but familiar form, as a cool
drink of Courvoisier poured into a gaudy, platinum-encrusted chalice.
The buzz that emanates from his emotional high-pitched singing mesmerizes
and ensnares each listener with a wave of smooth yet deadly grooves
rippling through each track. Dangermouse takes the form of an enormous
rat with lightning reflexes he uses to create discombobulating beats
and rhythms that confuse. The result is dynamic as the duo kicks out
uncontrollably danceable tracks such as “Crazy, “Smiley
Faces,” “Feng Shui” and a much-overdue remix of Violent
Femmes’ “Gone Daddy Gone.” Will Jordan
Thievery Corporation Versions (ESL). 5 ribs- old
taste-new flavor
Recreating familiar sounds with their own undeniably unique twist of
urbane vibrations, Thievery Corporation’s latest release, Versions,
epitomizes the duo’s capabilities as booty-shake-making machinists.
From an ill interpretation of Herb Albert’s “Lemon Tree”
to a haunting version of The Doors’ “Strange Days”
to the dizzying mid-eastern sounds emitted in Transglobal Underground’s
“Khalghi Stomp” Versions doesn’t let up until the
record stops spinning. Rising above the smog-filled clouds that hover
over their hometown of Washington D.C., Thievery Corporation aka Garza
and Hilton are redefining old sounds while somehow holding tight to
the song’s original charm. Will Jordan
Marley's Ghost: Spooked (Sage Arts). Rolls
off the tongue: 3-1/2 ribs.
"O Brother," here we go again. Riding the resurgence of Americana
that has yet to smooth out since that movie's 2000 release, this eclectic
quartet - named after "A Christmas Carol" character Jacob,
not reggae's Bob - celebrates its 20th year with this 13-song collection
recorded on a farm in Washington state and produced by Van Dyke Parks
of Beach Boys fame. After a cover of Dylan's "The Wicked Messenger,"
the record really hits its mark on the straight-up country "High
Walls" and Junior Brown soundalike "Last Words," minus
the guit-steel of course. The next number, "Palms of Victory,"
features the group's renowned four-part gospel harmonies interlaced
with organ provided by Parks. Track 8 is an instrumental that sounds
like it rolled down from the hills of Eire, followed by the yodeling
of "Cowboy Lullaby," where the only hint of the album's title
comes into play, and the closing a cappella sea chanty is preceded
by the jazzy swing of "There's Religion in Rhythm." David
Thornton
Jessi Colter: Out of the Ashes (Shout! Factory).
Succulent: 4-1/2 ribs.
Undoubtedly spurred by the emergence of son Shooter Jennings, with whom
Colter collaborates on "The Passion of the Christ"-inspired
closer (and even giving a shout-out to Ben Harper in the liner notes),
the 59-year-old original "lady outlaw" breaks a 20-year silence
with this Don Was-produced outing. The opening hymn introduces the recurrent
theme of Colter as the "sparrow" before Was' influence comes
to the fore on the hard-driving blues of "You Can Pick 'Em"
and "Velvet and Steel," which are reminiscent of his earlier
work with Bonnie Raitt. Other echoes of stellar female stylists include
fellow Arizonan Stevie Nicks ("The Phoenix Rises" and "The
Canyon," not necessarily in voice but scope), Patsy Cline ("You
Took Me By Surprise") and even Lucinda Williams on the unbelievably
uplifting but all too short "Out of the Rain," where Colter
shares vocals with Tony Joe White and, thanks to studio trickery, late
husband Waylon Jennings. Though the album slows considerably - albeit
gorgeously - after a serviceable redux of Dylan's "Rainy Day Women
#12 and 35," this gallant comeback represents everything that can
be right about country music. David Thornton
Thunderbirds Are Now!: Justamustache (Frenchkiss). Avant
grilled: 3-1/2 ribs.
Firing off with the uncategorizable "Better Safe Than Safari"
and "Eat This City," this Detroit quintet - led by brothers
Ryan and Scott Allen, who often sound like girls whereas Red Kross'
McDonalds just look like it - rattles off eight more keyboard-driven
gems that contain elements ranging from the Chemical Brothers ("198090")
to "Kiss Me, Kiss Me, Kiss Me"-era Cure on the awesome "Enough
About Me, Let's Talk About Me." Other highlights include the catchy
but lyrically odd
"From: Skulls" and the final cut, "Cobra Feet,"
where guitars finally get top billing (but it's still hard to believe
they were Tool wannabes four short years ago). A disposable, sometimes
tinny-sounding minor record but often a hella lotta fun to boot. David
Thornton
The Gris Gris: For the Season (Birdman). Extra
tangy: 4 ribs.
Taking its name from voodoo talismans, this super-psychedelic Oakland
outfit (pronounced gree-gree) begins its second release with a flawless
first half - a six-song suite that starts off with a seeming homage
to Iron Butterfly's "In-A-Gadda-Da-Vida" ("Ecks Em Eye")
and delves into some Radiohead/Cramps riffs by track 3 before the Airplane
takes off and briefly orbits on tracks 4 and 5 then glides to a crash
landing on live favorite "Year Zero." The next number, "The
Non-Stop Tape," fittingly sounding like something out of "Texas
Chainsaw Massacre" given the record was recorded in the middle
of nowhere there, is followed by acid guitar and melacholy on "Medication
#4" and "Skin Mass Cat," respectively, before single
"Pick Up Your Raygun" gives a 21st century coating to "Paint
It Black" and the title track winds things down for seven
and a half minutes. Sounding as if it were recorded in a far-off room
throughout makes "For the Season" a great (very) late-night
listen. David Thornton
Everchanging Nomad: Hero Today, Gone Tomorrow (Turner). Very
well done: 5 ribs.
When launching a whole new genre of music ("future pop"),
it doesn't hurt to have the master of three of the five songs nominated
for Oscars in 2004, Gavin Lurssen, behind the boards. Portland, Ore.,
natives Damon Lynn and Vance Crofoot wisely eschew grunge for their
stunning debut, favoring instead a clean wash of guitars and keyboards
with highly resonant vocals. Following the opener, described as "sort
of like a Sunday school lesson for atheists," is first single "You
Know," which, like tracks 4 and 7, incorporates a sound akin to
The Smiths/Morrisey's best material. Other beautiful cuts include "Antilove,"
"Just Friends," the remarkably lush "Atmosphere"
and lyrically brilliant "Handmedowns." The anti-religious
rhetoric here could be a turnoff for many, but the music is great -
and so are the meanings behind the message if you're willing to listen.
David Thornton
Wilson Gil & The Willful Sinners: American Banned (Tinnitus). Tastes
like propane: 3 ribs.
Ripping off the Ramones right from the start on first single "My
Town" and Neil Young later on "Most Loved," these San
Francisco rebel rockers combine their influences to offer up a healthy
dose of punk, grunge and country for their second album. Gil, whose
day job involves caddying corpses for his mortuary service, isn't much
of a singer but some of the song titles here attest to his talent for
telling a good story ("Six Before Seven," "Bitches and
Stitches," "Can't We All Just Get a Song" and "Twinkies
and Speed") about drinkin', druggin', fightin' and fuckin', as
well as a wicked pen ("California bad vibrations" on "Bad
Reputation"; a tale of addiction and male prostitution on "Stripped";
and double suicide on the seven-minute-plus swan song, "Top Story").
The problem lies in that there just isn't enough background raunch befitting
a band like this. For that, Horton Heat revs much harder. David
Thornton
Jo Potter: 8 Circles (ROAR). Please pass the trans
fat: 2-1/2 ribs.
Seeing "indie singer/songwriter" came with a lot of trepidation,
which was immediately vanquished upon hearing the rocking opening number,
"Walk Away" ... but that was short-lived. Of the following
15 songs, 14 are basically about the same thing - Potter's personal
relationships. The lone exception, "Together," however, is
embarrassingly cliched (sample lyric: "We all may look different
but inside we're the same"). Not to say that the record is completely
uninteresting: "I Am Missing You" is a nice touch, "Burn"
is as convincingly horny as anything Melissa Etheridge has ever put
out and track 15 is "More" of a good thing, but the South
Floridian's inflection often wanders into Brooke Hogan kind of unoriginality.
Other common pratfalls are repetition - tracks 12 and 13, "Stay"
(who'd thought Lisa Loeb would be better at anything!) and "I Hate
When You Go" are obviously an extension of the same theme - and
contradiction (bonus track "You Won't See Me Cry" is a kiss-off
to ex-boyfriend CD is named after). Potter's voice
is marginally good and the writing is pretty up to par, it's just that
the "confessional" tag results in some pretty faceless pop
music (worst offender: "Round and Round"). David Thornton
And 1 Streetball Mixtape (Ubisoft). 3 ½
ribs - virtual taste.
What would streetball be without the hip hop? Recognizing its importance
in the sport, videogame maker Ubisoft has released the And 1 Streetball
Mixtape. The compilation, mixed by oldschool DJ Green Lantern, features
tracks by Kool G. Rap, Clipse, Bun B and Smitty. Each track, like the
court has its own flava, from east coast to west, north to south. Every
summer And 1 hosts the And 1 MixTape Tour, pitting players from each
city against each other and raising the bar for the most innovative
streetball moves invented. Will Jordan
Public Enemy featuring Paris Rebirth Of A Nation (Guerilla Funk) 4
ribs.
Public Enemy is undoubtedly one of the most influencial groups in hip-hop.
Minus Flava’s sellout appearances on VH1(at least he’s always
been consistently bizarre), PE members have always stayed true to their
original sound and stuck to their guns musically and philosophically.
Chuck D remains one of the most profoundly outspoken MCs. His partnership
with Paris, takes the music to the next level. After a lengthy hiatus
for all included, it’s nice to hear some new tunes from the bunch.
Every song is like a trip back in time with a new spin. Will Jordan
Dean Martin Cha Cha De Amor, Happy In Love, Dino-Like Never Before
(EMI) 4 ½ ribs-vintage flava-best
served with a stiff drink.
For diehard Rat Pack fans the wait is over—reissue label Collectors
Choice Music will release the nine albums Dean Martin recorded for Capitol
Records between 1953 and 1962. In addition, the label will also release
compilations of various non-LP singles that Capitol released in the
mid-‘60s. Cha Cha De Amor (1962) is an Afro-Cuban-Latin collection
produced by Nelson Riddle filled with swooning south-of-the-border swing.
Happy in Love (1966) and Dino—Like Never Before (1967) are released
together and are a collection of Martin’s singles. The beloved
boozing crooner had an extensive relationship with Capitol, but for
fans, those songs have never sounded clearer. Will Jordan
The Love Drunks (Alive) 4 ½ ribs-still
buzzing from this one.
If you cross-bred John Spencer Blues Explosion with the Stooges and
tossed in Jerry Lee Lewis, you’d have The Love Drunks. Belching
out of the Atlanta underground rock scene, The Love Drunks hammer out
a sound that has waves of rockabilly, blues and garage-punk played the
old-school way with Rickenbacker guitar riffs, upright bass thumps,
swing-worthy drums and the moans and screams of an equally talented
lyricist. Combined the group has an old time sound with a new school
approach. Play this one loud. Will Jordan
Substance Abuse Overproof (Threshold) 4 ribs-finger
lickin’ good.
After collaborations with MF Doom, Souls of Mischief, Aceyalone and
the like, Substance Abuse is finally dropping their own full-length
debut. Filled with old-school samples, new-school beats and fluid lyricising,
Overproof showcases the perfect collaboration of the group’s members
(Eso, Tre and Subz) as they echo an underground LA sentiment that was
birthed by like-minded Alkaholiks, Del and Souls of Mischief. Highlights
include: “Night On The Town” with Kool Keith, “No
Guarantees” and “Profitless Thoughts” with MF Doom.
Other guests on the album are: Rasco, Motion Man and Saafir. Will
Jordan
Project Polaroid (Threshold) 4 ½ ribs-mystery
meat-tastes like people.
For those who don’t know, Project Polaroid is basically the new
Kool Keith album. However, don’t discount his partner-in-crime
TomC3, the genius behind the beats. When the two come together, they
form something of a maniacal pair—Kool Keith’s out-there
lyrics spoken emphatically over TomC3’s futuristic soundscapes.
Each track on Project Polaroid comes together to form a complete Lo-fi
classic with elusions to a sci-fi soundtrack from the opening intro
to coda “Photo Shop.” Will Jordan
Sleater-Kinney The Woods (Sub Pop). Raw like sushi:
4-1/2 ribs.
This being their seventh album, and first for seminal Seattle label
Sub Pop, you just knew these three grrrls named after an interstate
exit were just itching to try something new. Judging from the press
photo, the fear was they'd left Kill Rock Stars behind to literally
clean up their act - but what an un-Phair assessment! As the album title
suggests, this is a decidedly dark and cathartic yet very alive affair,
mostly ditching the vocal interplay between Corin Tucker and Carrie
Brownstein in favor of "guitarmonies." After powerful opening
number "The Fox," featuring Tucker's distinctive wail –
quite simply one of rock music's most powerful instruments - things
get right to the point on "Wilderness" before soaring on the
oh-so un-alternative Hendrix solo stylings of "What's Mine is Yours,"
which are also amazingly employed on the obvious concert-closer, the
11-minute "Let's Call it Love," which for not one moment gets
old and where drummer Janet Weiss really goes to town. Other highlights
include "Jumpers" (which would've been a stronger single than
the Elastica effectations of "Entertain") and the gorgeous
"Modern Girl." David Thornton
Steve Lehman Demian as Posthuman (PI Recordings)
Saxophonist and composer Steve Lehman expands and sometimes subverts
the traditional jazz vision on his latest release. He openly embraces
electronics in several pieces, even utilizing synthesized textures and
special effects on such numbers as “Damage Mobility,” “Cognition
– Drew Hill,” “Community” and “Cognition
– Ernest Jeffries.” Though most pieces are short (less than
five minutes average) Lehman manages to include ample room for piercing,
taut solos without neglecting either ensemble cohesion or rhythmic vitality.
Much of the bottom end fire comes from electric bassist Meshell Ndegeocello
and/or drummer Tyshawn Sorey, whose efforts both individually and collectively
keep the backgrounds and accompaniment challenging and fluid. Lehman’s
playing can be breezy, edgy or blues-based, and he also occasionally
provides additional lines on sopranino, but the star second soloist
is pianist Vijay Iyer. Though only featured on the opening and closing
songs, his thoughtful exchanges nicely augment the scratches, swoops
and other effects of Jahi Lake on turntable and through various devices.
This isn’t straight-ahead mainstream, not completely outside material,
but an expertly played combination of both styles, enhanced by a touch
of vintage jazz-rock sensibility. Ron Wynn
Deadboy & The Elephantmen We Are Night Sky (Fat Possum).
4 ½ ribs (rare meat)
For a band that claims to be “already dead,” Deadboy &
The Elephantmen’s sound is very much alive. Though primarily a
duo, Dax Riggs (guitar/vocals) and Tessie Brunet (drums/vocals) call
on others when needed. The songs featured on We Are Night Sky
are a personal outpouring of emotional ramblings, written and recorded
by Dax in his current headquarters in Houma, Louisiana, with the exception
of tracks 1, 4, 6, & 12, which were recorded at Fat Possum's studio
in Water Valley, Mississippi, and 3 & 7, recorded at two studios
in Houma. The songs vary from primitive rock to sparse acoustic but
Dax's powerful voice (think Lou Reed) and often dark/eerie themes backed
by Tessie's soft vocal harmonies allow a smooth consistency to We
Are Night Sky. Will Jordan
Numbers on Napkins Waiting for Tomorrow (Bad Stain). Utterly
tasteless: 1-1/2 ribs.
If this is any indication of the Phoenix punk scene, things definitely
aren't rising! Produced by the "legendary" Aaron Carey, whose
credits include the thoroughly un-punk Stevie Nicks and Sheryl Crow,
this is a horribly recorded, energy-drained concoction of mercifully
short Sum 41/Bad Charlotte shit with a lyric sheet - cumplete with typos
- that reads like 10 teen wet dreams ranging from funny ("You know
she never drags her teeth when she's suckin' on my meat") and kind
of amusing ("It's hard to get hard when you're starin' at the lard,"
sung in a hick accent) to downright ridiculous ("I watched my rummer
overdose on cocaine - he was detergent, now he's suds"). Though
this is a debut, these guys have been around awhile and should know
better and maybe should re-enroll in the School of Rock. David Thornton
Michael Attias Renku (Playscape)
Soprano, alto and baritone saxophonist Michael Attias heads a pianoless
trio that takes a drastically different stylistic turn than either the
combos of Sonny Rollins or Gerry Mulligan. While those groups each operated
without chording instruments, they let the other rhythm section members
fill in that space and also handle those duties. The Attias unit often
has all three players complimenting each other, but seldom features
the kind of unison melodic exposition or interplay that’s usually
heard in this setting. There are some pieces like “Ciao Monkey,”
where Attias’ baritone, alto or soprano are the musical focus,
with Attias’ demonstrating great facility in both upper and lower
registers, and also able to deliver crisp, striking lines and solos
on other cuts like “Work,” “Dark Net” or “The
Crunch.” On “Work,” bassist John Hebert and drummer
Satoshi Takeishi operate more like the prototype supporting tandem,
with Hebert dispensing fat, full and jutting lines and Takeishi overlaying
crackling drum and cymbal statements on top of the arrangements. However,
on other numbers like “Renku” or “Hotel new #1,”
Hebert may be moving one way and Takeishi heading the other, or they
may merge their efforts and let Attias establish a different direction.
Rank is never predictable or typical improvisational fare,
but it’s frequently inventive and consistently delightful. Ron
Wynn
Four Zone My Turn (Spytech). 3 ½
ribs - funktafried.
Four Zone has his own La-bred flava, though strays from the typically
familiar geographical stigmas. Bent more on head nodding hooks than
C-walkin’ beats, Four Zone’s debut, My Turn, is
a reflection of a rapper who grew up on the west coast “listening
to A-ha while reciting NWA lyrics in his head.” In addition to
being a lyricist, Four Zone is a hell of a beatboxer, whose skills have
taken him from a gig on Entertainment Tonight to alongside
the likes of Rahzel, Biz Markie and Doug E. Fresh in a hip hop documentary.
My Turn features club lovin’ tracks such as “Bounce”
and “Lap Dance” and offers production by DJ Cheapshot and
Vin Skully of Styles of Beyond fame. Will Jordan
Lamb of God Killadelphia (Epic). Cheaper by the
pound, pound, pound: 2-1/2 ribs.
This way-long live set, basically 75 minutes of the same thunderous
thing recorded over two sold-out shows at Philly's Trocadero and accompanied
by a gold-selling DVD, boasts 16 songs from the ferocious Richmond five-piece's
entire catalog. Though coming with a warning label, you can hardly decipher
a fucking word ... except that one, when singer RandyBlythe urges the
crowd to "make some noise" about a million times in his between-song
banter. Featuring Chris Adler's turn-on-a-dime, jaw-dropping drumming
and likened to Pantera and Slipknot, though not nearly as muscular or
inventive, respectively, these "current supreme rulers of American
heavy metal" rip out the hard riffage and surgical precision in
"Terror & Hubris in the House of Frank Pollard," "Omerta"
and the vitriolic, venemous two minutes of standout cut "Bloodletting."
Other moments of note include the vocal shredding on "Pariah,"
a scary call to the mosh pit on the otherwise lame "Subtle Arts
of Murder & Persuasion" and the first 50 seconds of "Vigil"
which, besides the opening salvo, contains the only (relatively) mellow
moment here, but the band would have done better by leaving the last
four tracks off the disc. David Thornton
Cypress Hill Greatest Hits From The Bong (Columbia)
Cypress Hill has managed to retain sizable audience following and interest
over the last few years despite not being nearly as publicized or spotlighted
on radio as during the early ‘90s. Then their mix of defiance,
posturing, rebellion and paranoia proved inviting, fueled by the high-pitched
verbal style of B-Real and the deeper, more menacing answering rhymes,
taunts and comments of Sen Dog. This 12-cut disc does contains the most
important bits from the group’s lineup, among them “Insane
In The Brain” and “How I Could Just Kill A Man.” “Insane”
at least has some humor, while “How I Could Just Kill A Man”
in unrelenting in its message of homicidal fury and anger. Other numbers
such as “Throw Your Set In The Air,” “The Only Way”
and “Latin Thugs” spotlight the additional elements that
have made Cypress Hill successful, among them forays into metal, rock
and Latin pop, though never fully deserting the hardcore frame that
underlines their tunes. Still, it’s a bit surprising that the
disc doesn’t contain more material, with only the bonus reprise
of “Latin Thugs” done in faster, reggaeton mode, offering
fans any extras for their dollars. While it would be a stretch to view
them as groundbreakers or innovators, Cypress Hill did usher in a new,
intriguing sound during their heyday, and this set offers most of their
best singles. Ron Wynn
The Sha-Pels Night of Malta (Shed Records). 4
ribs - good ole Tennessee cookin’.
The jazz nastiness of the Chattanooga, Tenn. based Sha-pels is best
described by the dizzying fortitude of each band member’s instrumentation.
Whether it be told by Russ Cannon’s complex guitar strumming,
Arettie Ford’s thundering bass thumping, Rich Howell’s ever-present
saxophone blowing or the crashing and all encompassing drumming of Matt
Chappell, each has a very distinct voice. Forget about trying to lump
these guys into any one genre. The Sha-Pels sound is a blur of all things
good, though sometimes can be disorienting and has doses of jazz, ska,
surf, psychedelic rock and metal skattered throughout. From opening
“Bizarre Sorceress” to coda “The Four Thursdays,”
Night of Malta is a journey into the minds of each of these
disturbingly honed musicians, but pack light, because you may just get
lost along the way. Will Jordan
MxPx Panic (SideOneDummy). Thick and thin: 3 ribs.
"We were either going to slowly die or do something extraordinary,
dig deeper than we ever have before," says Mike Herrera, vocalist/bassist
and chief songwriter of this veteran skate-punk trio. And thus the title
of the album, recorded in a mere 22 days in the group's own Bremerton,
Wash., home studio. Following the short shots of "The Darkest Places"
and "Young and Depressed," which are pure power popdespite
their gloomy names, is the first single, "Heard That Song,"
with Socially Distorted vocals that probably play well on satellite
radio. Tracks four through seven are good adolescent angst anthems,
starting with the Offspring-ish "Cold Streets" and ending
with the cutesy cowpunk of "Late Again," but the second half
of the record is a mostly empty bag of tricks. David Thornton
Ludacris Ludacris Presents..Disturbing Tha Peace (Disturbing
Tha Peace)
Although his cinematic profile has greatly increased over the past year
thanks to acclaimed appearances in Crash and Hustle and
Flow, Ludacris is not yet ready to follow the likes of Ice Cube,
L.L. Cool J., Will Smith or Ice-T into rapping semi-retirement or hip-hop
irrelevance. He’s sometime participant, other times assembler,
mentor and inspirational figure on Disturbing The Peace, a
collection of rap skits, rhyme collaborations and confrontations, plus
some remixes and even a bit of vocal/romantic fervor from frequent Peace
member Bobby Valentino, who teams with Smoke from the Field Mob and
Lil’ Fate on “Table Dance.” Ludacris reigns on “Family
Affair,” “That’s My SH*t” and “Georgia,”
which has vocal hook/lick from Jamie Foxx filtering through the discourse
between Ludacris and Field Mob. The loping, alternately comical, profane
and prophetic commentaries from other contributors like Norfclk on “Put
Ya Hands Up,” Playaz Circle on “You Ain’t Got Enough”
and the tandem of Rich Boy and Gangsta Boo on the lyrically questionable
“Break A NI**A Off,” are other noteworthy (or at least notable)
entries. Ludacris and his cronies can be combative, charming, annoying,
sometimes obnoxious or threatening, but eventually this CD offers a
full picture of what’s happening both good and bad currently in
Southern rap, Atlanta division. Ron Wynn
The Strokes First Impressions Of Earth (RCA). 4
ribs - ummm-comes with a juicebox.
More angst infused sweat and tear drippings from The Strokes with their
latest, First Impressions Of Earth. It completely lives up
to the anticipation. Since their inception, The Strokes have seemed
bred for badass rock music making, creating enormous, emotive pop sounds,
all the while holding firm to their roots. First Impressions Of
Earth transcends the first two with an even heavier sound and more
emotion than might should be revealed. Will Jordan
Steve Porter Porterhouse (Fade). The other white
meat: 3 ribs.
Porter is a DJ who defies genre description, which should be more of
a success with dance music – matter over mind - but is a real
bitch for record reviewers. Porter, who hails from western Massachusetts
and now calls New York home, drew upon a close network of talent from
the Boston area for his first-ever mix compilation - an almost 75-minute,
26-song set culled from more than 300 he considered. Included in the
mix are nine original tracks, four of which appear in extended versions
on an EP of the same name: "Hulkinator," "Funk Theory"
and "Fountainia," which all offer up nice splices of '80s
keyboards and percussion, as well as the very housey "Junk in the
Trunk." Regression may not always be a good thing, but this is
actually a progression over last year's "Homegrown" debut.
David Thornton
Wendy Williams Brings The Heat, Vol. 1 (EMI)
Some fans enjoy the gossip “scoops” and frequently feisty
interviews that are the calling card of broadcaster Wendy Williams.
But Brings The Heat Vol. 1 thankfully doesn’t venture
into that arena. Instead, this is a collection of recent rap, R&B
and even pop reggae pieces spotlighting such current and/or rises stars
as Amerie, Guerilla Black, N2U and M.O.P. Besides supplying a spicy
introduction and closing work, Williams joins with Mario Winans on “Stand
Up.” Still, the real musical fire comes from Amerie, whose sultry
vocal is crisply contrasted by Nas on “Man Up!” Jaheim teams
with Jadakiss on “Everything,” and Beenie Man displays the
energy and slashing verbal facility of dancehall victors on “Good
Woe.” Most these cuts are good, a few excellent, though neither
Julez Santana or Marques Houston deliver particularly memorable performances.
But the single most dominant number comes from Dwele on “Money
Don’t Mean A Thing.” Tearing through the narrative with
unexpected ferocity, he makes it seem he really believes the theme that
finances should take a backseat to emotional fulfillment and inner peace.
Whether he really buys the message or not, Dwele soars above
the crowd and emerges as most arresting artist featured on this otherwise
solid anthology. Ron Wynn
The Mars Volta Scabdates (GSL/Universal). 5 ribs
- ya need a bunch of napkins with this one.
Someone beam me back to earth. My brain is still buzzing after listening
to Mars Volta’s live album, Scabdates. Scabdates features
music recorded between May 2004 and May 2005 during the 2003-2005 tour
in support of Frances the Mute and De-Loused in the Comatorium. Anyone
who’s witnessed a Mars Volta gig can attest to the insanely operatic
tendencies the band dispels on stage and thanks to the slick production
and mixing of Omar A. Rodriguez-Lopez, the true madman behind the music,
now the unprivileged others will get the idea of what they’ve
missed. Will Jordan
Tarantula A.D. Atlantic EP (Kemado). Slightly
skewered delight: 3-1/2 ribs.
The opening track - a cello piece reminiscent of "Pod"-era
Breeders - really sets a mood, its obscure film score ambience overwhelming
the occasional metal rave-up. The pianos of the following title track
then eerily meld into the ghostly background vocals of "France
Atlantic" before reaching a crescendo in the genre-packed tour
de force, "La Casa Blanca." This band - forced to attach A.D.
to its name for legal reasons - has a great sound, if only they could
take it to the next level with actual songs. Adding to the timelessness
of the music, however, is a vinyl-looking CD. David Thornton
Marita Brake The Celtic Rose (Bodyplanet). Drink
it down with pints of pale ale: 4 ribs.
A concept album if there ever was one! Having never set foot on the
Emerald Isle, this Illinoisan with a stellar musical resume and an eye
for the movie soundtrack industry doesn't hold back her affinity for
all things Irish in her first Celtic-inspired effort. Starting with
the pretty piano tinkling and clean acoustic guitars and strings of
the opening instrumental (which is reprised at the close of the record)
and followed by two numbers which really show off Brake's resonant voice
is another wordless wonder, "The Paisley Shawl." After the
ethereal "Standing Stones" - like something you'd hear overhead
while browsing through the bookstore at Great Smoky Mountains National
Park - is another instrumental, the piano-only "Innisfree,"
followed by the haunting title track - and now you can shut off the
CD player, unless the a cappella of "On Me Mother's Grave"
might intrigue you. This ain't Sinead O'Connor or Dolores O'Riordan
(thank God for small miracles), but the Irish imagery is authentic and
well intact. David Thornton
The Chemistry (Razor & Tie). Reeks like old
leftovers: 2 ribs.
The first impression: Like we need another Cali pop-punk band. The second:
Man, this sounds a lot like Third Eye Blind. With guitarist Thomas Scriven
saying (much less admitting) that a TEB show "totally changed my
life," The Chemistry enlisted that group's guitarist, Kevin Cadogan,
to man the boards at the famed recording studio The Plant in Sausalito
for its debut. The result is obviously somebody else's vision (even
the words "simple life" on "Deja Vous" pay pathetic
tribute to Stephan Jenkins' "Semi-Charmed" ramblings; virtually
every song sounding like a dead - i.e. lifeless - ringer for Cadogen's
old outfit, especially on the aptly titled "The Same" as well
as "She Takes You." Highlights of this thoroughly banal batch
include "Jones" and "Still Alive," which would have
wisely been put among the opening tracks, but all we get there are great
guitar intros that quickly dissolve into the mopey and whiney holding-back
blahs. Let's just hope this isn't the launching point of another 10-year
soft-core cycle that TEB so unceremoniously heaped upon the "alternative"
record industry. David Thornton
Turpentine Brothers We Don't Care About Your Good Times (Alive).
Lean and mean: 4 ribs.
Nothing particularly original here, or well recorded for that matter
(which just adds to the record's psycho-night-at-the-skating-rink overtones),
but everything about this bare setup of guitar, organ and drums played
through Leslie speakers "bigger than Oprah" is deliciously
edgy and dirty swagger, best exemplified in "Somethin's Not Right"
and the instrumental "Wrong Night" as well as the Curtis Mayfield
cover "Fool For You," the "A Girl Like You" (Edwyn
Collins) guitars of "One Man" and the title track's "soul"
send-off. Give these Boston boys – and girl - a bigger budget
and they're bound to go places. In the meantime, you'll likely catch
them playing your town's seediest dive bar. David Thornton
Mark Gothard Poppy Fields & Pearls. Half baked:
2 ribs.
Deriving a title paying obvious homage to Tom Waits' "Heartattack
and Vine," this L.A.six-string slinger brings a street performing
vibe to his plaintive and reflective yet repetitive guitar grooves.
Though possessing an appealing voice, especially on "Ode to Jack,"
"Whispered in Your Ear" and "One of the Angels,"
much of the writing is way off the mark (for example, "If Thomas
Jefferson Were Here" will have you thinking, "He can't be
serious!" And listening to "Something to Me" will have
you wondering, "I thought the NEXT song was called "Sleep"!)
The two bonus tracks, including the Tom Petty-ish "Blaze,"
are better but still far from great. As Simon Cowell would so callously
say, "Don't quit yer day job" ... just yet. David Thornton
Sunspot Cynical. Well past expiration date: 1-1/2
ribs.
Straight from the Dairy State comes this festering pile of pure American
cheese. Following the passionately putrid "The Breach" and
Live-like "Way I Fall" is a Husker Don't stab at cool called
"Turn This Off," which you would be wise to do though it IS
the album's rockingest tune. "The Heidegger Paradox," an oh-so
Loverboy toast to T.G.I. Fuckday, pretty well encapsulates Midwestern
hedonism before the album's sophomoric lyrics (made even worse with
liner-note guffaws) reach a low point on "Scott Bakula," which
quite possibly could be the worst song EVER! The coda of this mercifully
short set is called "The Happy Song," and that's exactly how
you'll feel once it's all over - unless you're unfortunate enough to
discover the bonus track. One has always heard that Madison is a great
party town, but all the accolades this trio have received over the years
make you hate to hear what else Wisconsin has to offer! David Thornton
NYCO Two. Processed to within an inch of its life:
2-1/2 ribs.
Leader Ted Atkatz, who took a yearlong sabbatical as principal percussionist
for the Chicago Symphony Orchestra, overreaches his influences on this
quartet's oddly titled debut effort. Cases in point: "Surrender"
(John Mayer), "Soda Can" (Jeff Buckley), "Side of the
Road" (Ben Folds) and "Jilli" (Coldplay). Things are
actually funked up a bit for "Let Me In" and "Cash For
Time," "2X21" is all of one minute of spacey coolness
and the souful opener "English Song" is nice, but don't believe
the hype. David Thornton
Victory at Sea All Your Things Are Gone (Gern Blandsten). Raked
over the coals: 3-1/2 ribs.
You can't blame the dour mood here, after their Japanese violonist was
deported and the drummer's house - which also served as the Boston band's
practice space - was destroyed by fire, forcing the group to cancel
its first tour in 12 years. Highlights among the 10 numbers belted out
by chief songwriter/guitarist Mona Elliott in a most un-Mama Cass-like
baritone include "Cecille" and the even more passionate "Bored
Otherwise," the lyrical genius of "The Letter" and other
such emotional gems as "Four Leaf Clover," "The Party"
and "No Such Thing as Hearts," where Elliott really gets to
rip. Interesting side note: Dave Norton is the first drummer to play
on two consecutive Victory at Sea albums! David Thornton
Richie Hawtin DE9 - Transitions (Novamute). As
original as Adam's rib but overly ambitious: 2 ribs.
Now is the time on "Sprockets" when we dance! This latest
in a series is a mind-numbing, barely audible 21-song affair (28 on
the "superior" DVD version) where one of electronica's most
prolific artists uses the latest software to "strip apart, and
then reassemble, his component tracks to make completely new pieces
of music" that Hawtin has given his own names for. The whole thing,
which could be likened to a 75-minute cell phone ring (though the last
two tracks are fairly good), plays like a one-upmanship effort on Hawtin's
part, and he even admits that it might piss other DJs off. One of geekdom's
finest hours, but this wasn't made with listeners - much less dancers
- in mind. David Thornton
Misstress Barbara Come With Me…(Uncivilized World). More
comebacks than a McRib sandwich: 3 ribs.
As the album title suggests, this Montreal Sicilian invites all comers
to "share a new groove" as she embarks on her 30s - even showing
her face for the first time ever on the sleeve. After the opening shot,
which exalts "this is too hot" a whole lot, the Queen of Techno
- aka Barbara Brown when spinning house beats - takes us on a journey
of mostly minimalist electro funk on standouts like the bomb-dropping
"Don't You Want," the filthy beats of "He-Man,"
the tongue-in-cheek "I Love You" (which along with the overly
repetitive "Eleven O Seven" is an original track) and "Pimp
the Box," which gives new meaning to the term "arcade fire."
For downshifting away from her usual hard drive and mixing things up
a bit, "Miss Stress" pretty much passes the test. David
Thornton
Lotek Hi-Fi Mixed Blessings. 3-1/2 ribs-Shake
and bake.
Across the pond, urban music takes on more of a West Indian than hip-hop
vibe and with the exception of "How It Go," that's mostly
the case here. Opening with the jam dub rock of "Ram Dancehall"
(featuring Earl J) and the straight-up reggae on the under-two-minute
"Blessings," the record reaches a peak with "What You
See" and "Slowburn" followed by Shlomo's lightning-fast
raps on "Dazzle Interlude," the raga riddims of "Move
Ya Thing" (featuring Roots Manuva and Sandra Melody), the rootsy
"Sticks & Stones" and the bouncy "Showdown."
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