March 18, 2017

Poison - Hollyweird (2002)

Country: U.S.A
Genre: Hard Rock
Label Number:  CYND 6975

© 2002 Cyanide Music
AllMusic Review by Stephen Thomas Erlewine
It was inevitable that the original lineup of Poison would make a comeback effort in 2002 -- they had spent so long on the VH1 airwaves, they had set the stage for a storming return. Like many bands of their era, they were smart enough to make the comeback on a small indie label, which meant they had little pressure to conform to the shifting tastes of their time, and instead could offer a new record in their old style. And that's exactly what Hollyweird (wonderful title, eh?) is -- a return to the sound of Open Up and Say Ahh, but by an older, wiser, more ambitious band. "Ambitious" shouldn't be read as if the group has gone prog, although at times they can have the pomp and circumstance of Meat Loaf ("Wishful Thinkin'" has a chorus straight out of Jim Steinman). Instead, they're sprinkling serious subjects among the party anthems, in an attempt to draw a portrait of their hometown. Their (largely) serious intentions are given weight by their leanest, hardest production yet, the first to really showcase the band as a rock band, not a pop-metal outfit. The thing is, it all works, and the result is one of Poison's best records, if not their best; it says a lot that by far the worst moment is not an original, but an awful cover of a Pete Townshend song (granted, it's "Squeeze Box," the worst song he ever wrote). It may not really appeal to anybody but the converted -- despite their wide exposure on VH1, only the diehards are likely to buy a Poison album in 2002 -- but the weird thing is, this would be the album to convince doubters that the band is actually pretty good after all.

tags: poison, hollyweird, 2002, flac,

Poison - Crack a Smile... And More! (2000)

Country: U.S.A
Genre: Hard Rock
Label Number: 72435-24781-2-5

© 2000 Capitol Records
AllMusic Review by Steve Huey
While the Greatest Hits 1986-1996 CD featured two newly recorded songs, Crack a Smile...And More is the first album of (mostly) new Poison material since 1993's Native Tongue. The main body of the album was recorded in late 1994 but not released until 2000, and while it features the two new Greatest Hits songs, the rest of the repertoire has never appeared on any previous Poison album. There are also four previously unreleased outtakes -- three from the Crack a Smile sessions, one from Open Up and Say...Ahh! -- and four songs done for a 1990 MTV Unplugged special ("Your Mama Don't Dance," "Every Rose Has Its Thorn," "Unskinny Bop," "Talk Dirty to Me"). It's easy to argue that, whether heard in the musical climate of 1994 or 2000, Poison sounds a little ridiculous singing pop-metal tunes with sleazy, often immature lyrics. But that misses the point -- Poison was always at least a little bit ridiculous, and that's precisely what made their music so much fun. And these songs are surprisingly up to par, as is the slightly awkward yet endearing version of "Cover of the Rolling Stone" -- maybe there's no one killer single here, but Crack a Smile is a consistently enjoyable listen. Poison knows exactly what they're doing, and they have enough self-deprecating humor to realize that it's "Tragically Unhip" (as one song title puts it), but they don't care -- they're making this music just for fun. Longtime fans should be quite pleased that this effort is finally seeing the light of day, because it captures Poison doing what they've always been best at -- and they're finally content with that.

tags: poison, crack a smile and more, 2000, flac,

March 17, 2017

Poison - Flesh & Blood (1990)

Country: U.S.A
Genre: Hard Rock
Label Number: CDP 7 91813 2

© 1990 Enigma/Capitol Records
AllMusic Review by John Book
On their third album, vocalist Bret Michaels puts in his best performance. "Unskinny Bop" and the anthemic "Something to Believe In" were both Top Ten hits.

tags: poison, flesh and blood, 1990, flac,

Poison - Native Tongue (1993)

Country: U.S.A
Genre: Hard Rock
Label Number: CDP 0777 7 98961 2 7

© 1993 Capitol Records
AllMusic Review by Stephen Thomas Erlewine
Ditching most of their party anthems, as well as guitarist C.C. Deville because he allegedly wasn't up to par, Poison adds guitar whiz Richie Kotzen and makes a bid for respect. Leader Bret Michaels has decided to accentuate the populist strains of ballads like "Something to Believe In" throughout Native Tongue. It often falls short -- Kotzen's playing is too proficient for the lite metal hooks that the rest of the band have mastered -- but Poison gets points for trying, and they do come up with some tracks, like the single "Stand," that could stand with some of their previous anthems.

tags: poison, native tongue, 1993, flac,

March 16, 2017

Poison - Look What The Cat Dragged In (1986) ☠

Country: U.S.A
Genre: Glam Metal
Label Number: CDP 7 46735 2
☠: Selected by Lass
© 1986 Capitol Records
AllMusic Review by Steve Huey
Poison's debut album took its cues from the big, anthemic pop hooks of Def Leppard and the rebellious street-tough posturing of Mötley Crüe, as well as a raunchy, adolescent obsession with sex. But Poison really carved out their niche as the ultimate glam metal band, using tight-assed boogie and over-the-top visual extravagance -- costumes, makeup, teased hair, and so on -- to an even greater extent than most of their contemporaries. It was derivative and formulaic, to be sure, but Poison wholeheartedly embraced that formula from the beginning with a conviction often missing in their peers, and it's that ridiculous, good-time excess that keeps Look What the Cat Dragged In's catchiest songs, especially the party anthems "Talk Dirty to Me" and "I Want Action," just as much fun today, if not more so.

tags: poison, look what the cat dragged in, 1986, flac,

Poison - Open Up And Say… Ahh! (1988) ☠

Country: U.S.A
Genre: Glam Metal
Label Number: CDP 7 48493 2
☠: Selected by Lass
© 1988 Capitol/Enigma Records
AllMusic Review by Steve Huey
Poison's best album still has a bit of filler that fails to deliver the big hooks and catchy riffs of their best material; when that happens, Bret Michaels' affected "rawk & rowl" singing accent begins to grate. But thankfully, that doesn't happen very often on Open Up and Say...Ahh!, which solidified the group's status as hair metal's top party band. The ballad "Every Rose Has Its Thorn," Poison's only number one hit, and the Top Ten "Nothin' But a Good Time" became their most widely recognized signature songs; a cover of Loggins & Messina's "Your Mama Don't Dance" also hit the Top Ten, and the sometimes-overlooked "Fallen Angel," one of their best songs, got plenty of MTV airplay. But the agreeable raunch of album tracks like "Love on the Rocks," "Good Love," and "Look But You Can't Touch" helps make Open Up and Say...Ahh! Poison's best overall album.

tags: poison, open up and say ahh, 1988, flac,

Ramones - Brain Drain (1989)

*U.S. first pressing. 
Contains 12 tracks total.
Country: U.S.A
Genre: Punk Rock
Label Number: 9 25905-2

© 1989 Sire Records
AllMusic Review by Eduardo Rivadavia
Though it contains one of the Ramones' biggest radio hits, "Pet Sematary" (written for Stephen King's movie of the same name), 1989's Brain Drain finds the "bruthas" from Queens at an all-time inspirational low. And since the aforementioned track is actually reviled by most of the band's hardcore fans, the listener has to make do with opener "I Believe in Miracles" and closer "Merry Christmas (I Don't Want to Fight Tonight)," which bookend the amazingly dull tracks in between with the record's only bright moments. The final Ramones album recorded for Sire Records (their label from day one), Brain Drain was sadly also the last to feature bassist and creative leader Dee Dee Ramone.

tags: ramones, brain drain, 1989, flac,

March 12, 2017

Backstreet Boys - Black & Blue (Special Edition) (2000) ☠

*U.K. special edition. 
Contains 2 bonus tracks.
15 tracks total.
Country: U.S.A
Genre: Pop
Label Number: 9221172
☠: Selected by Lass
© 2000 Jive Records
AllMusic Review by Stephen Thomas Erlewine
When 'N Sync usurped the Backstreet Boys' record of number of albums sold in a single week early in 2000, it had to hurt the Backstreets, since it was played in the press as if they had lost the teen pop throne. By the time the group released their third album, Black & Blue, Thanksgiving week 2000, 'N Sync was still popular, but the arc of No Strings Attached illustrated that they were weak where the Backstreets were strong -- namely, they couldn't really deliver the seductive mid-tempo pop tunes and ballads that were the backbone of the Boys' crossover success. Songs like "Shape of My Heart," which flows as gracefully as "I Want It That Way," prove that the Backstreet Boys do teen pop ballads better than anyone, but what's interesting about Black & Blue is how aggressively they protect their territory. Of course, it's relative protection, since they, like 'N Sync and Britney Spears, work with Max Martin, the man behind the biggest hits by all three artists. Consequently, it's not a coincidence that "Get Another Boyfriend" is a dead ringer for "It's Gonna Be Me" crossed with "Baby One More Time," but what gives Black & Blue character is that it's clear that the Backstreets want to remain kings of their world. So, the ballads are smoother than ever, and their dance numbers hit harder, all in an attempt to keep their throne. It works, even if it takes a couple spins before the singles stand out, since the Backstreets' material and voices are stronger than that of their peers, adding up to state of the art teen-pop.

tags: backstreet boys, black and blue, special edition, 2000, flac,

Janet Jackson - All For You (2001)

Country: U.S.A
Genre: R&B, Pop
Label Number: 7243 8 10144 2 4
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© 2001 Virgin Records
AllMusic Review by Stephen Thomas Erlewine
The Velvet Rope was a fairly bold move on Janet Jackson's part, as she got seriously sexy -- too serious, actually, since it had a fairly bitter tone, underscored by hints of perversity. Four years later, marked by one hidden marriage revealed through a divorce, Janet returned with All for You, an album that is as about sex as much as The Velvet Rope, yet there's a key difference -- it feels sexy, not pornographic. With her trusty collaborators Jimmy Jam and Terry Lewis in tow, she's created a record that's luxurious and sensual, spreading leisurely over its 70 minutes, luring you in even when you know better. And there are certainly moments that make you wish you knew better. For one, it's plotted like The Velvet Rope, filled with skits and deliberately recalling the record with its obsession with flesh and how it builds on '70s soul and soft rock. This time around, instead of Joni Mitchell, she appropriates America's "Ventura Highway" for "Someone to Call My Lover," one of the record's best cuts, and "interpolates" Carly Simon's "You're So Vain" on "Son of a Gun," with Simon singing and...well, I guess you could call it rapping...right along. The twist is, this is an anti-music industry song and a particularly foul-mouthed entry on the album, sitting comfortably alongside another industry song, the slow groove "Truth." And that fills out the three main themes of the album -- divorce, industry, and sex -- with a little bit of love on the side. These keep things humming throughout this overly sultry, overlong album, which intrigues with its very texture even as it lulls at its length. After all, there's a lot to be said for texture, and All for You is alluring, easily enveloping the listener. Though it's hardly as explicit as The Velvet Rope, apart from a section where she proclaims "I just want to suck you, taste you, ride you, feel you, make you come -- come inside of me" (mind you, this album did not have a parental advisory sticker on its first pressings), this is her sexiest-sounding record, thanks to Jam and Lewis' silky groove and her breathy delivery, two things that make the record palatable throughout too many spoken interludes and songs that just don't quite click. Even if there is a fair share of filler, this is hardly as strained as The Velvet Rope (though in many respects, it's every bit as self-conscious), and there's an ease to its construction, topped off by such songs as "All for You" and "Doesn't Really Matter" that maintain Janet, Jam, and Lewis' reputation as the leading lights of contemporary urban soul. It'd be nicer if the album was leaner, concentrating on just the great songs, but indulgence is what this record encourages. Janet sprawls out throughout the album, indulging her whims, desires, and fantasies, but -- fortunately for us -- her indulgences are alluring in their self-absorption. Of course, it helps to have Jam and Lewis on your side to articulate your indulgence.

tags: janet jackson, all for you, 2001, flac,

Janet Jackson - The Velvet Rope (1997)

Country: U.S.A
Genre: Pop, R&B
Label Number: 7243 8 44762 2 9
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© 1997 Virgin/JDJ Entertainment
AllMusic Review by Stephen Thomas Erlewine
Where janet., Ms. Jackson's third blockbuster album, implied sexuality with its teasing cover and seductive grooves, its sequel, The Velvet Rope, is sexually explicit, offering tales of bondage, body piercing, and bisexuality. Not that you'd necessarily know that from listening to The Velvet Rope, since the album sags with endless interludes, murmured vocals, and subdued urban grooves. Working with her mainstays Jimmy Jam and Terry Lewis, Jackson essentially reworks the hushed atmosphere of janet., neglecting to put a new sonic spin on the material -- for an album that wants to push the limits, it sounds surprisingly tame. Similarly, Jackson's attempts to broaden her sexual horizons frequently sound forced, whether it's the references to piercing or her recasting of Rod Stewart's "Tonight's the Night" as a lesbian anthem. Furthermore, the album is simply too long, which means the best moments sink into the murk. And that's unfortunate, because there are good moments on The Velvet Rope, but at its running time of 70-plus minutes and 22 tracks, it's hard to work up the patience to find them.

 tags: janet jackson, the velvet rope, 1997, flac,

Janet Jackson - 20 Y.O. (2006)

Country: U.S.A
Genre: R&B, Pop
Label Number: 0946 3 30416 2 2
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© 2006 Virgin Records
AllMusic Review by Andy Kellman
Janet is 40 years old, but she has said that she feels half her age, and her breakthrough as a pop phenomenon occurred in 1986 -- hence the title of her ninth album. 20 Y.O. is her safest and tamest work since 1984's Dream Street, not only because she couldn't have possibly taken her sexed-up confessional routine beyond the tidbits and techniques divulged throughout 2004's Damita Jo. With only a few exceptions, 20 Y.O. provides further refinements of the fun, flirtatious, midtempo songs of her past several albums. This is not a problem. Even when there are clear instances where Janet, along with principal collaborators Jermaine Dupri, Johnta Austin, Jimmy Jam, and Terry Lewis, are taking an extended ride on the electro-nostalgia bandwagon -- "So Excited" samples Herbie Hancock's "Rockit," patches of "Get It Out Me" resemble Afrika Bambaataa's "Looking for the Perfect Beat," "Show Me" might not have happened without the existence of Ciara's "Goodies" -- they are too fresh and infectious to be considered knock-offs. There are crafty analogues and references to various points in Jackson's past: "This Body"'s rock edge recalls "Black Cat" (though it's more of a strutter than a headbanger), "Daybreak" sparkles and glides like "Runaway" and "Escapade," and "Take Care" is a classic Janet ballad in the vein of "Come Back to Me." The parallels are natural enough that they don't seem all that premeditated. Almost as significantly, the album is roughly 20 minutes shorter than usual, with only a handful of interludes, so there's little meandering, in turn making it easier to become familiar with the curves. What really differentiates the album from its predecessors is that there's almost no trace of tension to be heard. It's all about fooling around and being in love. Janet's gang of assistants is on top of its game, and Janet herself has remembered that she doesn't have to be willfully explicit or eclectic to make a sexy and wholly enjoyable album.

tags: janet jackson, 20 yo, y.o., 2006, flac,

March 11, 2017

Janet Jackson - Janet. (1993)

Country: U.S.A
Genre: Pop, R&B
Label Number: 0777-7-87825-2-0 V2-87825
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© 1993 Virgin Records
AllMusic Review by Alex Henderson
After Control and Rhythm Nation 1814, Janet Jackson had quite a lot to live up to. Anyone who expected Jackson to top Rhythm Nation -- her crowning achievement and an incredibly tough act to follow -- was being unrealistic. But with janet., she delivered a respectable offering that, although not as strong as either Control or Nation, has many strong points. As before, Jackson is joined by the prolific Jimmy Jam/Terry Lewis team, and their input is valuable on everything from the angry "This Time" and the hypnotic "That's the Way Love Goes" to the '60s-flavored "What'll I Do" and the sociopolitical "The New Agenda" (which features Public Enemy leader Chuck D). But perhaps the CD's most exciting track is "Funky Big Band," which samples jazz legend Lionel Hampton's 1938 big-band classic "I'm in the Mood for Swing" with thrilling results. There are a few throwaways (including the lightweight ballad "Again"), but despite its shortcomings, janet. is a welcome addition to her catalog.

tags: janet jackson, janet, janet., 1993, flac,

Kylie Minogue - Fever (Hyper Edition) (2003) ☠

* Japanese Hyper Edition released in 2003. 
Contains a bonus disc with 10 tracks.

Country: Australia
Genre: Pop
Label Number: TOCP-66130·31
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☠: Selected by Lass
© 2001-2003 Parlophone
Allmusic Review by Chris True
Fame can be a fleeting mistress, and nowhere more so than in the land of dance-pop divas. Many are lucky enough to have a hit album, much less two or three. What usually takes a one-hit wonder from the singles charts to career diva lies less in catchy hooks than in a combination of talent and the choice of collaborators. Obviously, the master of this technique is Madonna, whose talent and eye for talent in others has made her not only a worldwide pop sensation, but a worldwide icon. Arguably, running a close second is Kylie Minogue. Starting off as not much more than a female voice for the massively successful Stock, Aitken & Waterman hit factory, she moved on to work with some of the most prominent dance producers of the early '90s, making her one of the most visible pop stars outside of the United States. By 1997, she moved on to working with writers outside the genre. While this may have translated into poor record sales, her motives were in the right place. With 2001's Fever, Minogue combines the disco-diva comeback of the previous year's Light Years with the trend of simple dance rhythms which was prevalent in the teen dance-pop craze of the years surrounding the album's release. While on the surface that might seem like an old dog trying to learn new tricks, Minogue pulls it off with surprising ease. The first single, "Cant Get You Out of My Head," is a sparse, mid-tempo dance number that pulses and grooves like no other she's recorded, and nothing on Light Years was as funky as the pure disco closer of "Burning Up." And while it's hard not to notice her tipping her hat to the teen pop sound (in fact, on this record she works with Cathy Dennis, former dance-pop star and writer/producer for Brit-teen pop group S Club 7) on songs like "Give It to Me" and "Love at First Sight," her maturity helps transcend this limiting tag, making this a very stylish Euro-flavored dance-pop record that will appeal to all ages. Not one weak track, not one misplaced syrupy ballad to ruin the groove. The winning streak continues. [The U.S. version, released in early March of 2002, included the hidden tracks "Boy" and "Butterfly" -- a B-side and Light Years album track, respectively.]

tags: kylie minogue, fever, special edition, 2001, flac, japan,

March 08, 2017

Disturbed - Asylum (2010) ☠

Country: U.S.A
Genre: Alternative Metal
Label Number: 524038-2
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☠: Selected by Lass
© 2010 Reprise Records
AllMusic Review by James Christopher Monger
Disturbed's fifth long-player opens with an uncharacteristic instrumental, a bleak …And Justice for All-era Metallica-inspired dirge that shoots out the lights and sets the stage for the blistering title cut. That brief detour from the formula will likely draw in some of the band’s detractors, but Asylum is hardly a rewiring of the band’s sound. What Disturbed has always excelled at is machine-like execution of carefully plotted brutality, and the thirteen tracks that occupy Asylum are textbook examples of the Chicago-based outfit’s mastery of commercially viable, yet still cool enough for the fringe, modern metal. The foundation may be set, but between David Draiman's clear and concise, powerhouse vocals, which carry melodies (specifically on the choruses) that ricochet around convention like a pinball, and guitarist Dan Donegan's tasteful, occasionally beautiful guitar work, Disturbed gets to have it both ways. That the band can tackle the Holocaust (“Never Again”), global warming ("Another Way to Die”), lycanthropy (“The Animal”), and miscarriage (“My Child”) with the same amount of intensity that they bring to a cover of U2's “I Still Haven’t Found What I’m Looking For” (not so cleverly disguised as “ISHFWILF”), is admirable, but what really sets Disturbed apart from other 21st century metal acts is their ability to consistently repackage and resell their sound in a way that avoids redundancy.

tags: disturbed, asylum, 2010, flac,

March 06, 2017

Ramones - Acid Eaters (1993)

*European first pressing. 
Contains 12 tracks total.
Country: U.S.A
Genre: Punk Rock
Label Number: 7243 8 27676 2 6

© 1993 Chrysalis/Radioactive Records
AllMusic Review by Stephen Thomas Erlewine
Tearing through a bunch of psychedelic and garage rock classics from the 1960s, the Ramones regain much of the fun and abandon of earlier records, making Acid Eaters easily their best record in a decade; the guest appearances of Pete Townshend ("Substitute") and ex-porn star Traci Lords ("Somebody to Love") help make the record a blast.

tags: ramones, acid eaters, 1993, flac,

Ramones - Mondo Bizarro (1992)

*U.S. first pressing. 
Contains 13 tracks total.
Country: U.S.A
Genre: Punk Rock
Label Number: RARD-10615

© 1992 Radioactive Records
AllMusic Review by Eduardo Rivadavia
A new record deal and the addition of an enthusiastic new bassist (C.J. Ramone) revitalized the Ramones, making Mondo Bizarro the band's strongest release in years. Returning longtime producer Ed Stasium certainly deserves much credit for helping the "bruthas" rediscover their unique combination of pop hooks, savage guitar riffing, and most importantly, sense of humor. This is immediately obvious on songs like "Censorshit" (which addresses the Tipper Gore - P.M.R.C. issue), "The Job That Ate My Brain," and the absolutely hilarious "Cabbies on Crack." Recently departed charter member Dee Dee Ramone also contributes a few surprisingly commercial (but still awesome) songs in "Poison Heart" and "Strength to Endure," the latter is sung by rookie C.J. "I Won't let it Happen" as an acoustic ballad in the classic Ramones mold. Although "Touring" is little more than a poor remake of "Rock'n'Roll High School," Mondo Bizarro still marks a solid return to form for punk rock's greatest institution.

tags: ramones, mondo bizarro, 1992, flac,

Billy Idol - Charmed Life (1990)

Country: United Kingdom
Genre: New Wave
Label Number: F2 21735

© 1990 Chrysalis Records
AllMusic Review by Johnny Loftus
By 1990's aptly named Charmed Life, Billy Idol was seemingly more well-known for his excessive lifestyle than his creative zenith of a few years prior. This made his channeling of Jim Morrison on a rowdy cover of "LA Woman" even more apt. He had done so before, of course, most memorably on 1986's Whiplash Smile. But where Idol's clever amalgam of dance beats and punky guitar breaks had done its part to define the 1980s, his update of the classic Doors song was the new sound of the same old seedy, City of Angels underbelly, remixed for the cusp of a new decade. Its mirthful screams and bizzaro beat speak ("She drinks my wine spo-dee-o-dee") also marked one of Charmed Life's few memorable moments. "Cradle of Love" was another obvious high point; together with its saucy video the clattering, histrionic single was largely responsible for the LP's platinum status. But Steve Stevens had departed prior to Charmed, taking his pyrotechnic guitar with him, and his absence is certainly felt. The album wallows in mood pieces like the greaser-tinged "Endless Sleep" or the confessional "Prodigal Blues." While the latter cut does feature a surging melody and some great synth textures, its guitar blasts don't ring with the same fervor. Likewise, the fiery soloing of "Right Way" doesn't mesh as well with Idol's vocal or the synthetic-sounding backing track -- the whole thing is like the classic pieces of a Idol song, disassembled. Charmed Life probably will offer the sneering rocker's true fans some teeth-sinkable material. But it's impossible not to notice its inconsistencies.

tags: billy idol, charmed life, 1990, flac,

Billy Idol - Whiplash Smile (1986)

Country: United Kingdom
Genre: New Wave
Label Number: VK 41514

© 1986 Chrysalis Records
AllMusic Review by Johnny Loftus
Although it was ultimately an unsatisfying album, failing to live up to the promise of its fabulous single, "To Be a Lover," Whiplash Smile still burned clean with an immediately recognizable 1980s energy. Like Billy Idol himself, who affected the punk archetype but cut it with a two-dimensional, cartoonish plasticity perfect for the decade, Whiplash Smile expands on the sound of the 1983 breakthrough Rebel Yell while cleverly leaving its key elements unchanged. Idol's inherent Jim Morrison-ness was fleshed out, and Steve Stevens' already atmospheric guitar work was blended even more seamlessly with a percolating pot of shifting styles, new wave dance beats, and synth-heavy production. "Soul Standing By" and "Man for All Seasons certainly rocked -- Stevens' guitar work crackles with inventiveness, even augmented as it is with multiple overdubs. But like most of Whiplash, the songs seemed to exist in a phantom zone akin to the prismatic holding cell of General Zod and his cohorts in Superman II. The plodding "Beyond Belief" and the weird, Marty Robbins-meets-Del Shannon-in-space vibe of "Sweet Sixteen" are similarly opaque. There's plenty to listen for on Whiplash Smile, and Idol's attempt to expand his palette is admirable. Unfortunately, there's nary a memorable hook here outside of the single and whatever mileage can be gained from his trademark sneer. In that sense, Whiplash Smile is similar to so much music of the decade, which got by with rayon flash and giddy video posturing but little in the way of reality. But that means that Whiplash Smile is also disappointing: Idol's best work was equally as era-defining, but it lived on to be just as memorable after the calendar flipped on the Me Decade.

tags: billy idol, whiplash smile, 1986, flac,

March 05, 2017

Crucified Barbara - The Midnight Chase (2012)

Country: Sweden
Language: English
Genre: Hard Rock
Label Number: GMRCD9034
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© 2012 GMR Music Group
Review by SGstriker for Ultimate-Guitar.com
Loud guitars. Groovy drums. Red hot vocals. Catchy choruses. What more could you ask for in a hard rock CD? This has all of those things, but it also has more. It has four very awesome WOMEN who rock as hard as any other band out there today. Crucified Barbara are Mia Coldheart (lead vocals/lead guitar), Klara Force (rhythm guitar/backing vocals), Nicki Wicked (drums/backing vocals), and Ida Evileye (bass/backing vocals). They hail from Stockholm, Sweden as a part of the "sleaze rock/metal" revival that has been happening there for the better part of the last decade. "The Midnight Chase" is the band's third full-length release. It follows "In Distortion We Trust" (2005) and "'Til Death Do Us Party" (2009). This band has been gaining a following in Europe, and has only just recently been getting some exposure in the United States. I personally hadn't heard of them until just a few weeks ago. I was introduced to them via a friend, and every since I heard the opening track to "The Midnight Chase" ("The Crucifier"), I haven't listened to anything else BUT this album. The album opens with "The Crucifier". The song is very reminiscent of Motorhead to me, at least in terms of instrumentation. Fast paced, in your face, and very metal. It was an early favorite of mine on the album. The second track, "Shut Your Mouth", is a mid tempo rocker with a pretty catchy chorus. There are times where the groove reminds me of something Avenged Sevenfold would have written. "Rules And Bones" is a standout on the album in my opinion. It's one of the slower songs on the album, and it's got some great riffage, particularly after the chorus. "If I Hide" is another standout track. I believe it was written about how rhythm guitarist Klara Force and bassist Ida Evileye met. I love the chorus in this song. It's very powerful. The following song, "Rock Me Like The Devil", sounds like a single to me, and it's a very good one. Catchy sing along chorus, great guitar solo from "Mia Coldheart", and some really good riffage. "Count Me In" is definitely the slowest track of the album. It would be the album's ballad. I know it sounds like I'm praising the album at this point, but it does have some flaws. I think the mix could have used a LOT more  bass, and a little less vocal volume. It's not overly distracting. It's more of a personal preference. The musical style isn't exactly groundbreaking. It is what it is: Hard rock tinged in metal and sleaze. And for what it is, it's really good -- Full Review Here

tags: crucified barbara, the midnight chase, 2012, flac,

March 01, 2017

98° - Revelation (2000) ☠

Country: U.S.A
Genre: Pop, R&B
Label Number: 012 159 354-2
☠: Selected by Lass
© 2000 Universal Records
AllMusic Review by Stephen Thomas Erlewine
It's hard not to feel a little sorry for 98°, since they're often overshadowed by their peers, the towering giants of male teen pop, Backstreet Boys and 'N Sync. They've had hits as big as either group, but when it came time to release Revelation in the fall of 2000, they didn't have the grudging critical respect of the Backstreets or the cultural cache of N'Sync, who had dolls hitting toy stores the same month Revelation was unleashed. They were simply a teen pop band, capable of amiable dance-pop numbers and tuneful ballads, both of which sounded quite nice coming out of the radio. Not surprisingly, they wanted a little bit more than simply being an effective singles band; they didn't just want to hold their own with the Backstreets and N'Sync, they wanted to escape their shadow. The title of Revelation (much like the title of the Sync's 2000 release No Strings Attached) is a tip-off to their goal: They want to provide doubters with a revelation that they can indeed deliver strong music. If Revelation doesn't actually hold any, well, revelations, that shouldn't be held against the band, since they do wind up turning out a perfectly acceptable mainstream dance-pop album. Apart from the infectious opening cut, "Give Me Just One Night (Una Noche)," a song clearly influenced by Ricky Martin, and maybe "Dizzy," which adopts Cher-like vocoder tricks, they never stretch the boundaries of the music too much, preferring to just serve up straight dance-pop and sweet ballads. They lean a little heavily on the ballads, thereby aligning themselves with the Backstreet Boys' classy crooning rather than N'Sync's charged adolescent pop. That wouldn't be a problem if the songs were just a little better constructed, so that the melodies stand out prominently on the first listen, but ultimately, the album feels a little samey. Not bad, necessarily, but a little familiar, especially since the peppier songs have stronger hooks and attitude. The preponderance of ballads weighs down the album a bit, even if some of them hold up quite well on their own, and they make Revelations seem like it has more filler than it actually does. Ultimately, it's a good singles album, which may not be enough to make 98° hold their own with the Backstreets or Sync, but it is enough to make for a solid teen pop album.

tags: 98 degrees, revelation, 2000, flac,

98° - 98° & Rising (1998) ☠

Country: U.S.A
Genre: Pop, R&B
Label Number: 314530956-2
☠: Selected by Lass
© 1998 Motown Records
AllMusic Review by Stephen Thomas Erlewine
Really, 98° is a great idea for a teen-pop band: take an attractive boy band in the vein of Take That or N'Sync and have them sing Boyz II Men crossed with the Backstreet Boys. 98° followed this formula on their eponymous debut and were more or less successful. However, they've mastered the sound on their second record, 98° and Rising. Like any teen-pop with chart aspirations, 98° and Rising is far from a perfect album, as it alternates sure-fire hits with filler cut from the same mold, but that should be expected. What's nice is that songs like "The Hardest Thing" and "True to Your Heart" are well-crafted radio singles, with memorable hooks and excellent production. That same production -- which makes the ballads smoove and the dance-pop infectious -- carries weaker moments of the record, but at the end of the day, it's the singles that make 98° and Rising entertaining. And for many fans, that will be quite enough indeed.

 tags: 98 degrees, 98, degrees and rising, 1998, flac,

98° - 98° (1998 Reissue)

*Reissued in 1998 by Motown Records
This pressing contains 13 tracks total.
Country: U.S.A
Genre: Pop, R&B
Label Number: 314530879-2

© 1997-1998 Motown Records
AllMusic Review by Leo Stanley
98°' eponymous debut album is an appealing mixture of urban soul and pop-oriented hip-hop, all targeted at teens. It may lack a set of consistently engaging songs, but the best cuts suggest that the group is capable of some dynamic contemporary soul. [98°' debut album was reissued in the spring of 1998, with the Diane Warren composition "Was It Something I Didn't Say" added as a new track. The song was included after it received exposure in the film Fame L.A.]              

 tags: 98 degrees, 98, degrees album, 1997, reissue, flac,