Like You'll Never See Me Again

Thursday, November 22, 2007

Alicia Keys' early body of work sometimes had a tendency to paint her as precious chanteuse, sounding self-consciously "important" and measured. With "No One," the opening bid from fourth album "As I Am," out Nov. 13, the 27-year-old began to act her age, loosening up and delivering a youthful hit drenched with soul-soaked effervescence and a cool beat as appealing to the kids as the Sunday champagne-brunch crowd.[...more]Alicia Keys' early body of work sometimes had a tendency to paint her as precious chanteuse, sounding self-consciously "important" and measured. With "No One," the opening bid from fourth album "As I Am," out Nov. 13, the 27-year-old began to act her age, loosening up and delivering a youthful hit drenched with soul-soaked effervescence and a cool beat as appealing to the kids as the Sunday champagne-brunch crowd. Sure enough, it topped the R&B/hip-hop singles chart and reached the top five at top 40. "Like You'll Never See Me Again" is also appreciably less polished, with a series of riffs packed with such genuine emotion, you can visualize Keys waving her arm to the heavens in the studio. Production with Kerry Brothers, who accompanies the majority of tracks on the new disc, adds playful bells that sound like raindrops, finger snaps—and enough creamy harmonies to remind that Keys, no matter how loose, is the premier R&B female talent of our time. A year from now, the singles will still be popping from this project.

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Nowhere to Now Here

Tuesday, November 20, 2007

We're not surprised that music from the Kin's new album "Rise and Fall" was placed in episodes of Lifetime series "Army Wives." Song pluggers should heed the Aussie duo, for the pair's endearing romanticism would make good backdrops to tales on the small and big screen alike.[...more]
We're not surprised that music from the Kin's new album "Rise and Fall" was placed in episodes of Lifetime series "Army Wives." Song pluggers should heed the Aussie duo, for the pair's endearing romanticism would make good backdrops to tales on the small and big screen alike. "Nowhere to Now Here" leads off "Rise and Fall" with deep, canyon-like rumbles, then swoops in on an orchestral wave as wide as its cinematic scope. Strings drive the song urgently enough that you can see the hero of a grand adventure—something in the vein of Robin Hood—charging onward, intent on rescue. It's one of the more inspiring songs on "Rise and Fall," and it launches the soulful album on an exhilarating note.

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Saving My Face

Monday, November 19, 2007

"Hold On," the first single from KT Tunstall's second album "Drastic Fantastic," was enthusiastically received by triple A radio, topping airplay charts for 10 weeks, making Tunstall one of only two female solo artists to secure the No. 1 spot for as long a time[...more]
"Hold On," the first single from KT Tunstall's second album "Drastic Fantastic," was enthusiastically received by triple A radio, topping airplay charts for 10 weeks, making Tunstall one of only two female solo artists to secure the No. 1 spot for as long a time (Sarah McLachlan first set the record in 1997 with "Building a Mystery"). The 32-year-old singer/songwriter from St. Andrews, Scotland, delivers another polished pop gem with follow-up "Saving My Face." A refreshingly forthright lyricist, Tunstall takes aim at plastic surgery and 50-year-old women who try to look like teenagers in this arena-friendly anthem. The song, which builds to an emotional crescendo punctuated by "whoa, oohs" and "oh, yeahs," showcases Tunstall's growing sophistication as both writer and vocalist. Although unapologetically embracing a pop sensibility with "Saving My Face," she successfully combines accessibility with a nuanced and heartfelt message.

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Good Enough

Friday, November 16, 2007

A look at Evanescence on paper reveals a band that should be in its glory. Following a best new artist Grammy Award for 2003 debut studio album "Fallen," a Billboard 200 No. 1 debut for 2006 follow-up "The Open Door" and the top 10 launch single "Call Me When You're Sober," the group toured the world for nearly a year. So what happened? Single follow-ups "Lithium" and "Sweet Sacrifice" never even charted in the States. The fourth single from "The Open Door," piano-driven rock ballad "Good Enough," is as intense and affecting as anything before it—and this time, Lee's lyric steps from the dark side, reveling in the relief of positivity: "It's been a long time coming, but I feel good enough." It's a make-or-break moment for a band that seemed to own the world one year ago. —Chuck Taylor

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Just Fine

Thursday, November 15, 2007

Fine, indeed. The lead single from Mary J. Blige's eighth album "Growing Pains" makes an about-face from her usual urban-diva stature. "Just Fine" is a joyous, wholly infectious, uptempo romp, a triptych through all that is positive in life—about how good it feels to feel good. Opening with a vibe reminiscent of Michael Jackson's "Don't Stop 'Til You Get Enough," the track catapults into a myriad of joyous instrumental synths, hand claps, cow bells and a dancefloor vibe that borders on disco, as Blige sings, "Having a really good time, I'm not complaining/And I'll still wear a smile if it's raining." Amid numerous previous confessionals trumpeting struggle and challenge, what a joy to hear Blige letting it all go—and inviting all along for the ride. —Chuck Taylors

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Eos

Wednesday, November 14, 2007

Those longing for a soundtrack honoring autumn and winter's pagan holidays won't feel complete until they purchase Ulver's "Shadows of the Sun." The black metal/folk band handles the despair of the human condition so devoutly, you'll feel compelled to kneel alongside the Norwegians to pay homage. The album's opening track, "Eos," is all you need to know about the gorgeously dark record. Subtle, humming organs; whining Theremin; and crying violins cast a reverent atmosphere associated with places of worship, but these altars are scattered across nighttime landscapes as remote as the face of the moon. Goths who identify with the genre for its fashion sense will find Ulver's eeriness unsettling—the band unflinchingly delves and revels in its misery; Type O Negative lovers will detect that group's mournful harmonies. Pure brooding beauty. —Christa L. Titus

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Piece of Me

Tuesday, November 13, 2007

So guess who got the last laugh? "Gimme More," Britney Spears' launch single from fifth studio album "Blackout," peaked at a robust No. 3 on The Billboard Hot 100, garnering plenty of top 40 attention and consumer download love, while the album catapulted in at No. 2. Follow-up "Piece of Me" has already fostered scrutiny with lyrical response to obsessive media attention: "I'm Mrs. Lifestyles of the Rich and Famous, I'm Mrs. Oh my God that Britney's shameless/ I'm Mrs. 'Extra,' 'Extra,' this just in, I'm Mrs. she's too big, now she's too thin." Musically, the song drips and drools '80s synths, alongside a drowsy midtempo clip, as Brit sings in a heavily layered near-monotone. Again, the cover of Us will be as big a catalyst for radio as vocal prowess. —Chuck Taylor

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Me Odio

Tuesday, October 30, 2007

With the vintage trumpet sound of Cuban great Alfredo "Chocolate" Armenteros as a backdrop, "Me Odio," the second single from Gloria Estefan's "90 Millas," is a slow, sexy song that's an invitation to take the dancefloor up close and personal. Although hip-hop and salsa remixes of the track are playing on radio, the sultry original is by far the best of the lot. Estefan's voice plays with overdubs for a lush, layered feel, as repeating verses become almost hypnotic, with trumpet, trombone and piano solos providing an endless variety of counterpoint. The delicious result may defy tropical radio's typical fare and score a deserved hit. —Leila Cobo

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(Love Is) A Bitchslap

Shoot some whiskey, light a cigarette and eye the spandex-clad babe across the room. Sebastian Bach's solo album "Angel Down" has finally arrived, and it's everything a Saturday night in a Jersey bar full of trouble should be. Since he's been busy with Broadway, TV and touring, this record has been eight years in waiting. Bach's delivery of lead single "(Love Is) A Bitchslap" assures that he's still oozing 'tude: His growling about "I got a knock-down draggin' out fight in my mind" recalls Skid Row's walloping "Piece of Me." Axl Rose pays accompaniment with his own signature whines —and he's one of the few frontmen whose piercing vocals truly complement Baz's gritty wails. Revved-up guitars and skewering solos make this feel like 1989 all over again, in the best way (read: no overblown Aqua Net production tricks).—Christa L. Titus

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Dark Road - ANNIE LENNOX

The maiden voyage from Annie Lennox's "Songs of Mass Destruction" —only her fourth album in 15 years —is a melancholy ballad that sets up the set's overall vignette of a voyeur combating a turbulent and cold world. Depressives aside, face value of the song is utterly bewitching, opening elegantly low key before Lennox fires up a blow-torch chorus and exclaims, "It takes strength to live this way, the same old madness everyday/I wanna kick these blues away, learn to live again." One listen forces reflection, but again, on face value, the dusky, seductive voice of Lennox is such a joyful noise that it's tough to stay down but for so long. Compelling side note: The album's lyric liners reveal only the verses of "Dark Road," not the somber chorus above. Perhaps Lennox is offering a silver lining, after all.—Chuck Taylor

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Lost Highway

As Bon Jovi prepares to share the stage with Big & Rich and Gretchen Wilson during its current tour—demonstrating that it means serious business with newly established country roots—latest single "Lost Highway," the title track from its No. 1 album, neatly walks a line between adult top 40-ready pop/rock and Nashville native, further intimating that 2006 No. 1 country track "Who Says You Can't Go Home" with Jennifer Nettles was no fluke. The New Jersey band sounds perfectly at home here, singing could-be redneck lyric, "I drive, watching white lines passing by, with my plastic dashboard Jesus waiting there to greet us/ Hit the gas, there ain't no brakes on this lost highway." The recent crossover phenomenon of well-tread rock acts finding acceptance at country continues to be a savvy move. And why not? Everyone wins.—Chuck Taylor

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S.O.S. - JONAS BROTHERS

An entire generation of youngsters learned to appreciate CDs, radio, music—and young love—thanks to last decade's bounty of teen idols: Hanson, 'N Sync, Backstreet Boys, 98 Degrees . . . ah, it seems like yesterday. Since, however, radio has indulged a droning cadence of sound-alike hip-hop, deserting its ambassadorial role to expose kids with accessible talent. Thankfully, Hollywood trio Jonas Brothers are commanding hold of the mainstream with enough steely resolution to force top 40's hand. The act's second, self-titled album debuted at No. 5 on The Billboard 200, as high-profile appearances—including the Teen Choice Awards and an upcoming slot on the Miley Cyrus/ Hannah Montana tour—have virally ignited two singles and videos: "Hold On" and "S.O.S." With its manic faux-wave beat, storytelling lyric about a broken heart primed for healing and ready-made teen idol vocals from 17-year-old Joe Jonas, the latter song's appeal is just opening the door for the phenom in store for the sibling threesome. These dudes have it all: versatility, youth, looks and hooks. Truly a match made in pop heaven. —Chuck Taylor

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Until the End of Time

Justin Timberlake's sixth release from solo bow "FutureSex/LoveSounds" has earned props as the first time that six tracks from one release have hit the top 40 since Michael Jackson's "Dangerous" more than 15 years ago. With Beyoncé now stripped onto "Until the End of Time," it's quite likely JT will score the tenacious set's fourth No. 1—which has already catapulted into the top five at R&B. The meandering song is clearly a tribute to Prince, with its soul-soaked guitar-driven shuffle and funkified production—think "I Would Die 4 U" on Xanax. While Timberlake's vocals are smoothed out to near anonymity, as usual, he employs recognizable falsetto amid layers of appreciably creamy harmonies. It's Beyoncé, however, that really fuels the passion of the track, with her loosest vocal performance since "Listen" from "Dreamgirls"—and Timberlake is wise enough to sprawl her vocal across the song so that it commands the lead. The mantra here: unstoppable. —Chuck Taylor

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Poetry Man - QUEEN LATIFAH

Thursday, October 25, 2007

Queen Latifah's second album of jazz, soul and blues standards, "Trav'lin Light," is a marvelous sonic achievement, recorded with such satiny care and class that it seems a crime that anyone might belittle the listening experience with an MP3 player or computer. These songs are meant to be savored with a creamy merlot, the soft glow of moonlight—and full illuminated surround sound. First single is a cover of Phoebe Snow's "Poetry Man," produced with understated precision by Geffen chief Ron Fair and featuring piano by Joe Sample. Latifah's vocal delivery is a rare thing of beauty, radiantly soft and yet playfully caressing, with lush harmonies that smolder the arrangement like expensive perfume. A loving achievement that pacifies the simmering world, if but for five minutes. —Chuck Taylor

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Better Get to Livin' - DOLLY PARTON

Dolly Parton's latest album might be titled "Backwoods Barbie," but this uplifting single reveals the timeless entertainer to be more sage philosopher than country kewpie. She introduced this buoyant anthem during a recent prime-time appearance on ABC's "Dancing With the Stars," and country programmers would do well to keep it in the limelight. At the heart of the track is Parton's sweetly distinctive vocal, backed by the angelic voices of acclaimed gospel songbirds Sonya and Becky Isaacs. The well-crafted lyric finds Parton encouraging others to live life to the fullest. Full of Parton's signature wit, wisdom and personality, it's the musical equivalent of getting a much-needed pep talk from your favorite aunt. —Deborah Evans Price

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It Never Rains in Southern California - BARRY MANILOW

Wednesday, October 24, 2007

Among the few things one can count on in life: the taste of McDonald's cheeseburgers, "I Love Lucy" reruns are still funny—and Barry Manilow never wearing out his welcome at the top of the charts. His latest album, "The Hits of the Seventies," burst onto The Billboard 200 at No. 4: his 33rd charting album, 11th top 10 and 10th top 10 debut. While radio may be less indulgent than stalwart dedicated fans, launch single "It Never Rains in Southern California" (a No. 5 Billboard Hot 100 hit and No. 2 AC hit for Albert Hammond in 1972) is the ideal blend of Manilow's earnest signature meshed with a modicum of kitsch. The arrangement is true almost to the note, while the idol of millions adds his own touch with well-placed modulation at the peak, accompanied by a swirl of cotton candy strings. In all, exactly what one would expect: an elegant ride down familiar turf. —Chuck Taylor

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