O.G. Funk - Out of The Dark (1993)

Country: U.S.A.

Genre: Rapcore, Funk

Label Number: RCD 10303

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© 1993 Rykodisc

Out of the Dark Review by Victor W. Valdivia

In contrast to the multiple side projects that involve Parliament-Funkadelic alumni (such as Slave Master and Hardware), O.G. Funk is actually a P-Funk project through and through. Some of P-Funk's most legendary graduates -- Bernie Worrell, Billy "Bass" Nelson, Jerome "Bigfoot" Brailey, and Gary "Mudbone" Cooper, along with such collaborators as Grandmaster Melle Mel and Bill Laswell -- construct a sound that's very close to mid-period Funkadelic records such as Let's Take It to the Stage and Cosmic Slop. The music ranges from the "Maggot Brain"-like epic "Music for My Brother," an instrumental tribute to Eddie Hazel, to the thundering funk-rock of "Yeah Yeah Yeah" (which recasts the intro to Funkadelic's "Music for My Mother") to "I Wanna Know" (a reworking of "I Wanna Know If It's Good to You"). Unfortunately, such borrowing does highlight the album's one noticeable flaw -- frequently, it seems that Nelson and Brailey are simply resting on their laurels by rehashing their earlier, more successful Funkadelic songs. It is certainly true, though, that Worrell, Nelson, and Brailey have every right to reaffirm their connection to a past they had a big part in creating. (It doesn't hurt that the musicianship is top-notch.) The album also has enough original tracks, such as "Don't Take Your Love From Me" and the title track, to be worth one's while. Out of the Dark should be required listening for P-Funk fans, but even newcomers will find plenty to enjoy here.

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Milk - Never Dated (1994)

Country: U.S.A.

Genre: Hip-Hop

Label Number: AMCD-3021

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© 1994 American/First Priority Music

Never Dated Review by Nitsuh Abebe

The Never Dated EP lays out decent hip-hop that puts a more urban spin on Beastie Boys-style rhyming. Ad Rock guests on "Spam," and Rick Rubin even turns up as executive producer.

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AG - The Dirty Version (1999)

Country: U.S.A.

Genre: Hip-Hop

Label Number: AG8888

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© 1999 Silva Dom Records

The Dirty Version Review by Matt Conaway

Though billed as A.G.'s first solo effort, The Dirty Version is actually a collaborative effort between A.G. and his Ghetto Dwella affiliates (D-Flow and Party Arty). Wherever A.G. emerges, beats are sure to follow, and the production (Showbiz, Premier, Buckwild, Diamond D, and Lord Finesse) is the LP's backbone. Even though A.G.'s frequent collaborations with the Ghetto Dwellaz create disconcerting gaps in continuity, there's no disputing the groupings between A.G. and his esteemed D.I.T.C. cohorts, "Drop It Heavy" featuring KRS-One and Big Pun, "Weed Scented" featuring Guru and O.C., and "Underground Life" featuring Fat Joe and G.D. While A.G. runs the risk of overexposing himself before the highly anticipated D.I.T.C. project, this serves as an adequate appetizer before the impending feast.

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Pearl Jam - Lost Dogs (2003)

Country: U.S.A.

Genre: Grunge, Post Grunge

Label Number: E2K 85738

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© 2003 Epic Records

Lost Dogs: Rarities and B Sides Review by Stephen Thomas Erlewine

At the peak of alt-rock in the '90s, Pearl Jam were the biggest band in the world. Nirvana may have kick-started the alt-rock explosion, but not long after Nevermind knocked Michael Jackson's Dangerous off the top of the charts, Pearl Jam overtook their fellow Seattleites, selling many more copies of Ten than Nevermind, as the album achieved saturation play on radio and MTV, thereby setting off a wave of imitators, ranging from Stone Temple Pilots to Seven Mary Three and scores of bands that have been lost to time. They defined the sound of the decade, at least in terms of mainstream alt-rock. But, like all their fellow grunge rockers (though not like Smashing Pumpkins), they bristled at the notion of stardom, and ducked the spotlight. After following Ten with the effectively scattershot Vs. in 1993, each subsequent record played to a smaller audience, partially because the group decided to follow an idiosyncratic muse while shutting out the outside world by doing few videos and interviews and then sinking into a long rather futile battle with Ticketmaster that sapped their strength, as well as their popularity. By the end of the decade, they were selling far fewer records and they had the occasional hit -- such as the fluke Top Ten "Last Kiss" (included on Lost Dogs) -- but they were a far cry from being the biggest band in the world, even if they retained a passionate following.

The shift from world's biggest band to world's biggest cult band was a deliberate move, of course, one that came about through their precisely crafted, often humorless, deliberately idiosyncratic records that came after Vs.. If a song didn't fit the specific mood of an album, it was shelved. This meant that there was a lot of material that was never heard (apart from the occasional concert or bootleg, naturally), or some of it drifted out on singles released through their fan club. Then, it being the '90s, the golden age of the multipart international single and benefit compilation albums, there were a number of officially released songs that never made it to a proper Pearl Jam album. These two things meant that a Pearl Jam rarities collection was necessary, and when they reached the end of their contract with Epic ten years after Ten, the group assembled the double-disc, 30-track set Lost Dogs. Completists, who likely have much of this material anyway, should note that this is not a complete collection of B-sides and non-LP tracks -- there's nothing from the Singles soundtrack, the Merkinball EP is absent, scores of live B-sides are thankfully left behind. Instead, this is a selection of the best B-sides, stray singles, and compilation tracks, enhanced by no less than 11 previously unreleased cuts and presented in a non-chronological sequence. This approach has a considerable benefit for the band, since, for one, it doesn't play like a dumping ground for rarities; like all Pearl Jam albums, it follows its own internal logic and has its own flow. Better still, the album benefits from what it chronicles: the loosest, hardest-rocking, most relaxed, and most intimate music the band cut. Since their proper albums are so somber and tightly controlled, it seemed as if the band didn't have a sense of humor, or even gave themselves a chance to breathe. These songs not only prove that assertion false; they capture what the band sounded like at its peak -- they capture their passion, their open-heartedness, their stance as true believers. This spirit was damped on the albums since they deliberately shied away from it and obscured it with ventures into experimentalism, but here, they not only sound committed but also eclectic and alive. This is where the nonchronological sequencing is a plus -- everything here sounds like it could date from their heyday of the first of the '90s, even though much of it dates from later. This is further proof that Pearl Jam consciously turned away from the big, anthemic sound and spirit that won them a mass audience with Ten -- they still had the songs and sound, they just chose to bury it. Lost Dogs crackles with that passion and it has another advantage: unlike most of Pearl Jam's album, it's a fun, compulsive listen. More than any other album in its catalog, Lost Dogs captures what Pearl Jam stood for and what it felt like at their peak. It may not have any of their defining songs -- apart from concert favorite "Yellow Ledbetter," that is -- but it does define their spirit, which is why, against all odds, it's the best album Pearl Jam has yet released.

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Pearl Jam - Lightning Bolt (2013)

Country: U.S.A.

Genre: Alternative Rock

Label Number: B0018982-02

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© 2013 Monkeywrench/Republic Records

Lightning Bolt Review by Stephen Thomas Erlewine

Perhaps it's destined that a band who considered the Who and Neil Young idols would have no quarrel with middle age; nevertheless, the settled nature of Pearl Jam's Lightning Bolt comes as a bit of a jolt. Long ago, Pearl Jam opted out of the rat race, choosing to abandon MTV and album rock radio, ready to take any fans who came their way, and in a way, Lightning Bolt -- their tenth studio album, arriving 22 years after the first -- is a logical extension of that attitude, flirting with insouciance even at its loudest moments. Often, this record seems to ignore the very idea of immediacy; even when the tempos are rushed and the amplifiers are revved up, Pearl Jam never quite seem to be rocking with abandon, choosing to settle into comforting cacophony instead. Then again, nothing on Lightning Bolt -- not the wannabe breakneck rocker "Mind Your Manners," not the tightly coiled title track, not the glam stomp of "Let the Records Play" -- proceeds with any manner of urgency, with even the loudest rockers unveiled at a measured pace that allows plenty of space for solos by Mike McCready. The guitarist has room to roam and the band has a supple, natural interplay that only comes from almost 30 years of collaboration, but here more than ever, all the emotional notes seem to derive from Eddie Vedder, who is not only the chief songwriter/lyricist but a spiritual touchstone. Eying the milestone of 50, Vedder is very comfortable in his skin: he's no longer raging against the dying light or tilting at windmills, he's choosing his battles, knowing when to lie back so he can enjoy the rush of rock pushed out from his familiar, but never lazy, colleagues. This unhurriedness may seem to run counter to the rebellious spirit of rock & roll, but for all their insurrectionist acts, Pearl Jam weren't upstarts: they eagerly accepted the torch of arena rock when it was handed to them. On Lightning Bolt, they've grown into that classic rock mantle, accentuating the big riffs and bigger emotions, crafting songs without a worry as to whether they're hip or not and, most importantly, enjoying the deep-rooted, nervy arena rock that is uniquely their own.

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Chali 2na - Fish Market (2004)

Country: U.S.A.

Genre: Hip-Hop

Label Number: CHF-1001

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© 2004 Movement

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KRS‐One - The Mix Tape (2002)

Country: U.S.A.

Genre: Hip-Hop

Label Number: KOC-CD-8458

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© 2002 Koch Records

The Mix Tape Review by Jason D. Taylor

KRS-One found himself in a war of words in 2002, as the young prince of mainstream hip-hop Nelly sought out a battle of epic proportions; little did he know what he had gotten himself into. Although KRS-One has built a reputation for releasing quality, reggae-tinged hip-hop over the last decade, on The Mix Tape he allows his thoughts to be shared with the masses, including the sensational retaliation on "Ova Here." While the album is 13 tracks long, there is very little material actually offered up, as more or less the intended goal was to release the lead single as soon as possible and let KRS-One's opinions be aired. Even with his scathing assessment of the current rap scene, this respected MC handles himself with dignity and class, using his intelligence to spark the war of words instead of his ego. As of such, The Mix Tape is a great, albeit brief, trip through the mind of KRS-One, and a thoroughly enjoyable listen.

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Temple of The Dog - Temple of The Dog (Deluxe Edition) (2016)

*Reissued in 2016 by A&M Records. 

This pressing contains a new mix by Brandon O' Brian 

and has been remastered by Billy Joe Bowers at Casa De Amor. 

This is a 2 disc set. Disc 1 contains 13 tracks total. 

Disc 2 contains 12 tracks total.

Country: U.S.A.
Genre: Grunge

Label Number: B0025509-02
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© 1991-2016 A&M Records
AllMusic Review by Steve Huey
Featuring members of Soundgarden and what would soon become Pearl Jam, Temple of the Dog's lone eponymous album might never have reached a wide audience if not for Pearl Jam's breakout success a year later. In turn, by providing the first glimpse of Chris Cornell's more straightforward, classic rock-influenced side, Temple of the Dog helped set the stage for Soundgarden's mainstream breakthrough with Superunknown. Nearly every founding member of Pearl Jam appears on Temple of the Dog (including the then-unknown Eddie Vedder), so perhaps it isn't surprising that the record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness. What is surprising, though, is that Cornell is the dominant composer, writing the music on seven of the ten tracks (and lyrics on all). Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities. It isn't just the band, either -- he displays more emotional range than ever before, and his melodies and song structures are (for the most part) pure, vintage hard rock. In fact, it's almost as though he's trying to write in the style of Mother Love Bone -- which makes sense, since Temple of the Dog was a tribute to that band's late singer Andrew Wood. Not every song here is directly connected to Wood; once several specific elegies were recorded, additional material grew quickly out of the group's natural chemistry. As a result, there's a very loose, jam-oriented feel to much of the album, and while it definitely meanders at times, the result is a more immediate emotional impact. The album's strength is its mournful, elegiac ballads, but thanks to the band's spontaneous creative energy and appropriately warm sound, it's permeated by a definite, life-affirming aura. That may seem like a paradox, but consider the adage that funerals are more for the living than the dead; Temple of the Dog shows Wood's associates working through their grief and finding the strength to move on.

tags: temple of the dog, temple of the dog album, deluxe edition, 2016, flac,

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Temple of The Dog - Temple of The Dog (1991)

*First pressing. 

Contains 10 tracks total.

Country: U.S.A.
Genre: Grunge

Label Number: 75021 5350 2
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© 1991 A&M Records
AllMusic Review by Steve Huey
Featuring members of Soundgarden and what would soon become Pearl Jam, Temple of the Dog's lone eponymous album might never have reached a wide audience if not for Pearl Jam's breakout success a year later. In turn, by providing the first glimpse of Chris Cornell's more straightforward, classic rock-influenced side, Temple of the Dog helped set the stage for Soundgarden's mainstream breakthrough with Superunknown. Nearly every founding member of Pearl Jam appears on Temple of the Dog (including the then-unknown Eddie Vedder), so perhaps it isn't surprising that the record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness. What is surprising, though, is that Cornell is the dominant composer, writing the music on seven of the ten tracks (and lyrics on all). Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities. It isn't just the band, either -- he displays more emotional range than ever before, and his melodies and song structures are (for the most part) pure, vintage hard rock. In fact, it's almost as though he's trying to write in the style of Mother Love Bone -- which makes sense, since Temple of the Dog was a tribute to that band's late singer Andrew Wood. Not every song here is directly connected to Wood; once several specific elegies were recorded, additional material grew quickly out of the group's natural chemistry. As a result, there's a very loose, jam-oriented feel to much of the album, and while it definitely meanders at times, the result is a more immediate emotional impact. The album's strength is its mournful, elegiac ballads, but thanks to the band's spontaneous creative energy and appropriately warm sound, it's permeated by a definite, life-affirming aura. That may seem like a paradox, but consider the adage that funerals are more for the living than the dead; Temple of the Dog shows Wood's associates working through their grief and finding the strength to move on.

tags: temple of the dog, temple of the dog album, 1991, flac,

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Chase Phoenix - Cut To The Chase (2004)

Country: Canada

Language: English

Genre: Hip-Hop

Label Number: BAX 9008

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© 2004 Underworld Inc.

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tags: chase phoenix, cut to the chase, 2004, flac,

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Agallah - You Already Know (2006)

Country: U.S.A.

Genre: Hip-Hop

Style: Gangsta Rap, Pop Rap

Label Number: BBG-CD-40

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© 2006 Babygrande

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Joe Jackson - Night & Day (1982)

*U.K. first pressing. 

Contains 9 tracks total.

Country: United Kingdom

Genre: Pop

Label Number: CDA 64906

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© 1982 A&M Records

Night and Day Review by Stephen Thomas Erlewine

1982 will forever be known as the year that the punks got class -- or at least when Joe Jackson and Elvis Costello, rivals for the title of Britain's reigning Angry Young Man -- decided that they were not just rockers, but really songwriters in the Tin Pan Alley tradition. (Graham Parker, fellow angry Brit, sat this battle out, choosing to work with Aerosmith producer Jack Douglas instead.) Both had been genre-hopping prior to 1982, but Jackson's Night and Day and Costello's Imperial Bedroom announced to the world that both were "serious songwriters," standing far apart from the clamoring punkers and silly new wavers. In retrospect, the ambitions of these two 27-year-olds (both born in August 1954, just two weeks apart) seem a little grandiose, and if Imperial Bedroom didn't live up to its masterpiece marketing campaign (stalling at number 30 on the charts without generating a hit), it has garnered a stronger reputation than Night and Day, which was a much more popular album, climbing all the way to number four on the U.S. charts, thanks to the Top Ten single "Steppin' Out." Night and Day had greater success because it's sleek and bright, entirely more accessible than the dense, occasionally unwieldy darkness of Imperial Bedroom. Plus, Jackson plays up the comparisons to classic pop songwriting by lifting his album title from Cole Porter, dividing the record into a "night" and "day" side, and then topping it off with a neat line drawing of him at his piano in a New York apartment on the cover. All of these classy trappings are apparent on the surface, which is the problem with the record: it's all stylized, with the feel eclipsing the writing, which is kind of ironic considering that Jackson so clearly strives to be a sophisticated cosmopolitan songwriter here. He gets the cosmopolitan, big-city feel down pat; although the record never delivers on the "night" and "day" split, with the latter side feeling every bit as nocturnal as the former, his blend of percolating Latin rhythms, jazzy horns and pianos, stylish synths, and splashy pop melodies uncannily feel like a bustling, glitzy evening in the big city. On that front, Night and Day is a success, since it creates a mood and sustains it very well. Where it lets down is the substance of the songs. At a mere nine tracks, it's a brief album even by 1982 standards, and it seems even shorter because about half the numbers are more about sound than song. "A Slow Song" gets by on its form, not what it says, while "Target" and "Cancer" are swinging Latin-flavored jams that disappear into the air. "Chinatown" is a novelty pastiche that's slightly off-key, but nowhere near as irritating as "T.V. Age," where Jackson mimics David Byrne's hyper-manic vocal mannerisms. These all fit the concept of the LP and they're engaging on record, but they're slight, especially given Jackson's overarching ambition -- and their flimsiness is brought into sharp relief by the remaining four songs, which are among Jackson's very best. There is, of course, the breakthrough hit "Steppin' Out," which pulsates anticipatory excitement, but the aching "Breaking Us in Two" is just as good, as is the haunting "Real Men" and the album opener, "Another World," a vibrant, multi-colored song that perfectly sets up the sonic and lyrical themes of the album. If all of Night and Day played at this level, it would be the self-styled masterpiece Joe Jackson intended it to be. Instead, it is a very good record that delivers some nice, stylish pleasures; but its shortcomings reveal precisely how difficult it is to follow in the tradition of Porter and Gershwin.

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Approach - Ultra Proteus (2004 Reissue)

*Reissued in 2004 by © 2002-2004 Coup d'État/Datura Records. 

This pressing contains 18 tracks total.

Country: U.S.A.

Genre: Hip-Hop

Label Number: CDE17

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© 2002-2004 Coup d'État/Datura Records

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tags: approach, ultra proteus, 2002, 2004, flac, reissue,

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Mentake - Mentake (2006)

Country: U.S.A.

Genre: Alternative Rock

Label Number: TOXCD-3056

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© 2006 Tox Records

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Various Artists - A Testimonial Dinner: The Songs of XTC (1995)

Country: U.S.A.

Genre: Alternative Rock, Salsa, Pop

Label Number: THI 57019.2

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© 1995 Thirsty Ear

A Testimonial Dinner: The Songs of XTC Review by Bret Love

Though most tribute albums aren't worth the cost of the packaging, A Testimonial Dinner deserves a listen simply because the artists involved appear to have been selected more for their love of XTC than for their MTV appeal. Spacehog's take on "Senses Working Overtime" captures the perky but warped pop sensibilities perfectly, while Sarah McLachlan's haunting acoustic version of "Dear God" is, even by Andy Patridge's admission, arguably better than the original. Ruben Blades' invigorating Latin spin on "The Man Who Sailed Around His Soul" is simply magical, and They Might Be Giants lend their quirky style to a cover of "25 O'Clock," a song originally recorded by XTC's side-project the Dukes of Stratosphear. To top it all off, even XTC shows up (disguised as Terry & the Lovemen) to contribute "The Good Things," a lilting, psychedelic track reminiscent of the Summer of Love's groovy, harmony-laden pop. With nary a dud to be found, A Testimonial Dinner is the rare tribute album that does its subjects proud.

tags: various artists, a testimonial dinner, the songs of xtc, 1995, flac,

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Various Artists - We Will Fall: The Iggy Pop Tribute (1997)

Country: U.S.A.

Genre: Punk Rock, Alternative Rock, Garage Rock

Label Number: ACD 1492

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© 1997 Attic

We Will Fall: The Iggy Pop Tribute Review by Stephen Thomas Erlewine

Pieced together with newly recorded cuts and previously released tracks, We Will Fall: The Iggy Pop Tribute is an average tribute record that will only be of interest to hardcore Iggy fans. Boasting an artist roster divided between the obscure (Blanks 77), the predictable (Joey Ramone, Joan Jett), the superstar (Red Hot Chili Peppers), and the arcane (Jayne County), the record has a handful of good cuts, but no song comes close to matching the intense, crazed fury of Iggy's original version, nor does We Will Fall offer significantly new interpretations of warhorses like "Search and Destroy," "1969," and "Funtime." So, it's another tribute album designed for collectors, either of the saluted artist or the featured bands, since the performances will make casual, curious listeners wonder what the big deal is.

tags: various artists, we will fall, the iggy pop tribute, 1997, flac,

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Various Artists - A Tribute To Marilyn Manson: Anthems of Rust & Decay (2000)

Country: U.S.A.

Genre: Industrial Music

Label Number: CD-8547

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© 2000 Dwell Records

Anthems of Rust and Decay: A Tribute to Marilyn Mansion Review by Stacia Proefrock

It was only a matter of time until there was a tribute to Marilyn Manson, the band that is more cultural phenomena than musical force. And, predictably, the most interesting thing about this album is its packaging. Featuring the darkly beautiful computer-generate art of Chad Michael Ward, the album contains a collection of up and coming bands and Manson associates like Spookykid.

tags: various artists, a tribute to marilyn manson, anthems of rust and decay, 2000, flac,

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Europe - Europe (1983)

*U.S. first pressing. 

Contains 9 tracks total.

Country: Sweden

Language: English

Genre: Hard Rock

Label Number: EK 45093

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© 1983-1989 Epic Records

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Europe - Wings of Tomorrow (1984)

*European first pressing. 

Contains 10 tracks total.

Country: Sweden

Language: English

Genre: Hard Rock

Label Number: CDEPC 26384

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© 1984-1987 Epic/Hot Records

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Europe - Out of This World (1988)

*U.S. first pressing. 

Contains 12 tracks total.

Country: Sweden

Language: English

Genre: Hard Rock

Label Number: EK 44185

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© 1988 Epic Records

Out of This World Review by Andy Hinds

One look at the song titles and you know you're not in for any surprises ("Open Your Heart," "More Than Meets the Eye," "Ready or Not," "Never Say Die"). Still, Europe produces made-to-order lite metal with admirable craftsmanship and occasionally memorable hooks. "Superstitious" even has a disarming gospel quality. This is hard rock with all the edges sanded off. Capable lead singer Joey Tempest carries the tunes with nonthreatening panache, while Kee Marcello (who proved his virtuosity on Europe's previous by performing "Flight of the Bumblebee") provides plenty of nice guitar solos.

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Europe - Prisoners In Paradise (1991)

*U.S. first pressing. 

Contains 10 tracks total.

Country: Sweden

Language: English

Genre: Hard Rock

Label Number: EK 45328

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© 1991 Epic Records

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Europe - Start From The Dark (2004)

Country: Sweden

Language: English

Genre: Hard Rock

Label Number: FM1018

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© 2004 Friday Music

Start from the Dark Review by Greg Prato

They're baaack! Nearly a decade-and-a-half has passed since we last heard from one of hair metal's leading bands, Europe, and the group has returned with Start from the Dark. While the group has earned a bit of a bad rap over the years (their keyboard-heavy tale of Armageddon, "The Final Countdown," was voted one of the 'Most Awesomely Bad Songs of All Time' on VH1), there's no denying that under all the pretty boy good looks and pop hooks, Europe was a talented band -- especially when compared to the other similar acts of the era. Europe's latest sees the group toughen up their sound a bit (especially when compared to their aforementioned Final Countdown era), as guitarist John Norum's heavy riffs serve as the main focal point, not keyboards, especially on such tracks as "Got to Have Faith" and the title track. In fact, even when the band takes the volume down a notch, as on "Reason," they wisely no longer try to heighten the 'syrup factor' with keyboards. Fans longing for Europe's return should enjoy Start From the Dark, even if their sound may be a bit heavier nowadays.

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Europe - Secret Society (2006)

Country: Sweden

Language: English

Genre: Hard Rock

Label Number: TT00672

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© 2006 T&T/Sanctuary Records

Secret Society Review by Greg Prato

When you think of '80s pop/prog-rockers Europe, arena-worthy singalongs (à la "The Final Countdown"), and tear-inducing power ballads (à la "Carrie") immediately come to mind. But with the group's 2006 effort, Secret Society (their second since reuniting in the early 21st century), Europe has endured a total musical makeover. In place of their once glossy pop production is a much more heavy sound, while the once overtly melodic vocals of Joey Tempest have toughened up considerably, and guitarist John Norum's once shredding leads have been considerably scaled back. Led Zeppelin is obviously a major influence on the album-opening title track, while cuts such as "Love Is Not the Enemy" and "Let the Children Play" feature some unmistakably nu-metal riffs. And Europe certainly receive credit for producing and writing the album entirely on their own -- as they're one of the few '80s-era rock veterans who did not have to ask for assistance from outside help to reinvent and update their sound. As evidenced by Secret Society, Europe have succeeded in creating an album that faithfully reflects the sound of rock radio circa 2006.

tags: europe, secret society, 2006, flac,

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