April 11, 2021

Linkin Park - Meteora (2003) ☠

Country: U.S.A.
Genre: Nü-Metal, Alternative Metal
Label Number: 48186-2
☠: Selected by Lass
© 2003 Warner Bros. Records
Perhaps if the cut-'n'-paste remix record Reanimation hadn't appeared as a stopgap measure in the summer of 2002, Linkin Park's second record, Meteora, would merely have been seen as a continuation of their 2000 debut, Hybrid Theory, instead of a retreat to familiar ground. Then again, Reanimation wasn't much more than a way to buy time (along with maybe a little credibility), so it's unfair to say that its dabbling in electronica and hip-hop truly pointed toward a new direction for the group, but it did provide a more interesting listening experience than Meteora, which is nothing more and nothing less than a Hybrid Theory part two. Which isn't to say that Linkin Park didn't put any effort into the record, since it does demonstrate that the group does stand apart from the pack by having the foresight to smash all nu-metal trademarks -- buzzing guitars, lumbering rhythms, angsty screaming, buried scratching, rapped verses -- into one accessible sound which suggests hooks instead of offering them. More importantly, the group has discipline and editing skills, keeping this record at a tight 36 minutes and 41 seconds, a move that makes it considerably more listenable than its peers and, by extension, more powerful, since they know where to focus their energy, something that many nu-metal bands simply do not. (It must be said that there will surely be consumers out there that will question paying a $19.99 retail for a 36-minute-and-41-second record, though some may prefer getting a tight, listenable record at that price instead of a meandering 70-minute mess.) So, it must be said that Meteora does deliver on the most basic level -- it gives the fans what they want, and it does so with energy and without fuss. It's also without surprises, either, which again gives the album a static feeling -- suggesting not a holding pattern for the band, but rather the limits of their chosen genre, which remains so stylistically rigid and formulaic that even with a band who follows the blueprint well, like Linkin Park, it winds up sounding a little samey and insular. Since this is only their second go-round, this is hardly a fatal flaw, but the similarity of Meteora to Hybrid Theory does not only raise the question of where do they go from here, but whether there is a place for them to go at all. 

tags: linkin park, meteora, 2003, flac,

Linkin Park - Minutes To Midnight (2007)

*Standard pressing. 
Contains 12 tracks total.
Country: U.S.A.
Genre: Alternative Rock
Label Number: 44477-2

© 2007 Warner Bros. Records
Damned if they do, damned if they don't -- that was the conundrum facing Linkin Park when it came time to deliver Minutes to Midnight, their third album. It had been four years since their last, 2003's Meteora, which itself was essentially a continuation of the rap-rock of their 2000 debut, Hybrid Theory, the blockbuster that was one of the biggest rock hits of the new millennium. On that album, Linkin Park sounded tense and nervous, they sounded wiry -- rap-rock without the maliciousness that pulsed through mock-rockers like Limp Bizkit. Linkin Park seemed to come by their alienation honestly, plus they had hooks and a visceral power that connected with millions of listeners, many of whom who were satisfied by the familiarity of Meteora. They may have been able to give their fans more of the same on their sophomore effort, but Linkin Park couldn't do the same thing on their third record: they would seem like one-trick ponies, so they'd be better off to acknowledge their advancing age and try to mature, or broaden their sonic palette. Yet like many other hard rockers, they were the kind of band whose audience either didn't want change or outgrew the group -- and considering that it had been a full seven years between Hybrid Theory and Minutes to Midnight, many fans who were on the verge of getting their driver's license in 2000 were now leaving college and, along with it, adolescent angst.

So, Linkin Park decided to embrace the inevitable and jumped headfirst into maturity on Minutes to Midnight, which meant that poor Mike Shinoda was effectively benched, rapping on just two songs. In many ways, it seems like even the guitarists were benched this time around, since Minutes to Midnight doesn't really rock, it broods. Apart from a handful of ringers -- "Given Up," the Shinoda-fueled "Bleed It Out," easily the best, most visceral track here -- this is quiet, atmospheric stuff, dabbling with electronic textures that were cutting edge in 1996 but sound passé now. Also sounding passé are the tortured musings of lead singer Chester Bennington, who still is tormented by love, loss, family, any number of items that sound convincing coming from a man in his early twenties, but not so much so when the thirties are approaching rapidly. And yet the way Bennington and his mates, shepherded by producer Rick Rubin, try to sound mature isn't always convincing, either, possibly because it sounds like a skate punk uncomfortably trying on his big brother's suit. They have the chops to rock, and when they deign to do so on Minutes to Midnight they sound comfortable, they sound right, but too often they run away from this core strength.

tags: linkin park, minutes to midnight, 2007, flac,

Jay-Z - Kingdom Come (2006)

*Standard pressing. 
Contains 14 tracks total.
Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: B0008045-02

© 2006 Roc-A-Fella Records
Jay-Z's retirement from making albums was more like a working holiday. After he announced his retirement, released The Black Album, and threw the Fade to Black party, he collaborated with Linkin Park on Collision Course, teamed with R. Kelly for the abysmal Unfinished Business, and appeared on tracks by Beanie Sigel, Bun B, Memphis Bleek, Kanye West, Pharrell, Lupe Fiasco, and Beyoncé. He kept busy behind the scenes as Def Jam's CEO and president, and he also stepped up as a major philanthropist, donating a million dollars to the Katrina cause and actively addressing the global water crisis in Turkey and South Africa. In the midst of these and other well-publicized activities, Jay-Z recorded Kingdom Come, his eighth and weakest studio album. When placed in the context of his prolific discography, the greater part of the album wilts, and it's not a good indicator that Jay-Z continues to lean on a familiar cast of producers rather than actively seek up-and-comers. (The fresh talent here is limited to Syience and Gwyneth Paltrow's Chris Martin; they contribute one track each.) There's only a small handful of highlights. On the title track, Just Blaze's masterful contortion job on Rick James' "Superfreak" backs Jay's nearly top-form, Black Album/Blueprint-worthy boasts: "I been up in the office, you might know him as Clark/Just when you thought the whole world fell apart/I take off the blazer, loosen up the tie/Step inside the booth, Superman is alive." Two of the four Dr. Dre productions feature assistance from Mark Batson (Anthony Hamilton), and they both strike a fine balance between maturity and ferocity -- much more so than the clumsy "30 Something," where Jay proclaims that "30 is the new 20," which would actually make him 27 and a fourth-grader a zygote. (He might as well say, "You wear Huggies, I wear Depends/You drink from a sippy cup/I sip my solids.") Apart from the above-mentioned bright spots and a poignant, somber track about the Katrina disaster ("Minority Report"), the album is a display of complacency and retreads -- a gratuitous, easily resistible victory lap -- that slightly upgrades the relative worth of The Blueprint². 

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tags: jay z, jay-z, kingdom come, 2006, flac,

Jay-Z - The Blueprint 3 (2009)

*Standard pressing. 
Contains 15 tracks total.
Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: 520856-2

© 2009 Roc Nation
When Jay-Z first made a series out of his best album, 2001's The Blueprint, it became a game of high expectations. The Blueprint of the first volume was Jay-Z as vital as he'd ever been, storming back to the hardcore after a few years of commercial success. The Blueprint²: The Gift & the Curse was a complete turn, a set of half-cocked crossovers, bloated to bursting with guest features that obscured his talents. The Blueprint 3 is somewhere between the two, closer to the vitality and energy of the original but not without the crossover bids and guest features of the latter (albeit much better this time). Kanye West is in the producer's chair for seven tracks, and it's clear he was reaching for the same energy level as the original Blueprint (which he produced). "What We Talkin' About" begins the album with a wave of surging, oppressive synth, while Jay-Z enumerates (with an intriguing lack of detail) what he's said and what's been said about him, ending with a nod not to the past but the future (and Barack Obama). West also produced the second, "Thank You," and while it starts with typical Jay-Hova brio, the last verse piles on the unrelenting criticism of unnamed rappers doomed to weak sales. There's plenty more lyrical violence to come, but most of the targets are much safer than they were eight years earlier. (Jay doesn't sound very convincing when he claims in "D.O.A. [Death of Auto-Tune]" that it's not "politically correct" to rail against one of the most reviled trends in pop music during the 2000s.) From there, he branches out with a calculating type of finesse, drawing in certain demographics via a roster of guests, from Young Jeezy (hardcore) to Drake (teens) to Kid Cudi (the backpacker crowd). The king of the crossovers here is "Empire State of Mind," a New York flag-waver with plenty of landmark name-dropping that turns into a great anthem with help on the chorus from Alicia Keys. The Blueprint 3 isn't a one-man tour de force like the first. Jay is upstaged once or twice by his guests, and while the productions are stellar throughout -- Timbaland appears three times, and No I.D. gets multiple credits also -- it's clear there's less on Jay's mind this time. Not tuned out like on Kingdom Come, but more content with his dominance as a rap godfather in 2009. 

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tags: jay z, jay-z, the blueprint 3, 2009, flac,

Jay-Z - American Gangster (2007)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: B0010229-02

© 2007 Roc-A-Fella Records
 "Y'all n*ggas got me really confused out there. I make 'Big Pimpin' or 'Give It to Me,' one of those -- that had me as the greatest writer of the 21st century. I make some thought-provoking sh*t -- y'all question whether he fallin' off." When you've built up a back catalog of eight studio albums and walk the earth as one of the biggest, most high-profile artists of the '90s and 2000s, you're bound to get some mixed signals from those who pay attention to you. However, the jury did not take long to reach a verdict on 2006's Kingdom Come: the consensus on it (as a major fall-off) was as swift and strong as the consensus on Reasonable Doubt (as a classic). Once used copies of Kingdom Come became easily attainable for less than two dollars, it was apparent the next Jay-Z album might not be so anticipated. He'd need to get some fresh inspiration and make some corrective maneuvers.
Fortunately, both came unexpectedly -- rather than by desperate force -- after he saw an advance screening of the early-'70s period piece American Gangster, which played a direct role in nine of the songs on this album of the same name. While several tracks connected to specific scenes are also rooted in productions trading in the regal grit that made up so much '70s soul, the album is not a straight narrative, broken up by tracks like the boom-clap of "Hello Brooklyn 2.0" (produced by Bigg D) and the glitzed-out pair of "I Know" (a half-icing Neptunes layer cake) and "Ignorant Shit" (where Just Blaze transforms the Isleys' quiet storm staple "Between the Sheets" into a high-gloss anthem). Combined with the tracks laced with '70s soul -- including six produced by Diddy & LV & Sean C, one by Toomp, and two by a newly forged partnership between Jermaine Dupri and No I.D. -- it all adds up to an album that seems nearly out of time, at least when it comes to the years spanning Jay-Z's career, without resembling a true regression. "Success," for instance, takes its lead from The Black Album's "Public Service Announcement," with blaring organ over heavily weighted drum knocks, yet despite the likeness, it's one of the album's highlights. And while Jay mentions American Gangster and protagonist Frank Lucas directly, and intersperses some tracks with dialogue, the connection does not overshadow the album. It's not like he's yelling "Shaft's Big Score 2K7!" or "Leonard Part Six, Part Two!" It's all as natural as Scarface riffing off Scarface.
And that might be the most common complaint about the album -- it's really just another case of Jay-Z being Jay-Z, albeit with different presentation. Unless you know each verse from Reasonable Doubt through Kingdom Come, it might sound like he's dealing with no variation on well-worn themes, the exact same thoughts and emotions that make up older tracks about his past as a drug dealer -- the rise, the arrogance, the conflictedness, the fall, and all stages in between. When he's in the right frame of mind, though, as he is throughout much of the album's duration (it is a bit sluggish in spots), he's as affective with his subject as Isaac Hayes and Marvin Gaye were with romance. Just as key, the level of insolence and spite on display here is as high as it has ever been. "I got watches I ain't seen in months/Apartment at the Trump, I only slept in it once/N*ggas said Hova was over, such dummies/Even if I fell I land on a bunch of money" has more of those qualities than all of Kingdom Come. One could say that's not really saying much, but regardless of context, this is a very good Jay-Z album. He is, for the most part, doing what he has done before: what he does best.

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tags: jay z, jay-z, american gangster, 2007, flac,

Jay-Z - The Black Album (2003)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: B0001528-02

© 2003 Roc-A-Fella Records
If The Black Album is Jay-Z's last, as he publicly stated it will be, it illustrates an artist going out in top form. For years Shawn Carter has been the best rapper and the most popular, a man who can strut the player lifestyle with one track and become the eloquent hip-hop everyman with the next, an artist for whom modesty is often a sin, and yet, one who still sounds sincere when he's discussing his humble origins or his recurring doubts. After the immediate classic The Blueprint found him at the peak of his powers, and The Blueprint²: The Gift & the Curse came as the most deflating sequel since Star Wars: Episode I, his follow-up (and possible siren song) impresses on the same level as the best of his career. As he has in the past, Jay-Z balances the boasting with extensive meditations on his life and his career. The back history begins with the first song, "December 4" (his birthday), on which Carter traces his life from birth day to present day, riding a mock fanfare and the heart-tugging strings of producer Just Blaze, along with frequent remembrances from his mother in This Is Your Life fashion. The other top track, "What More Can I Say," opens with Russell Crowe's defiant "Are you not entertained!?" speech from Gladiator, then finds Jay-Z capping his career with another proof that he's one of the best of all time, and a look into what made him that way: "God forgive me for my brash delivery, but I remember vividly what these streets did to me." He also goes out with a few words for underground fans who think he's sold too many records for his own good. On "Moment of Clarity," he lays it out with an excellent rhyme: "If skills sold, truth be told, I'd probably be lyrically Talib Kweli/Truthfully I want to rhyme like Common Sense/But I did five mil, I ain't been rhyming like Common since." The first single, "Change Clothes," is much more interesting than the lightweight club hit it sounds like, a keyboard-heavy pop sequel to the Neptunes' "Frontin'" (the anthem that rocked the summer of 2003, and his last collaboration with professional beat-maker and amateurish falsetto Pharrell Williams). And he can rock with the best as well, working with Rick Rubin on a cowbell-heavy stormer named "99 Problems" that samples Billy Squier and outrocks Kid Rock. The only issue that's puzzling about The Black Album is why one of the best rappers needs to say goodbye -- unless, of course, he's simply afraid of being taken for granted and wants listeners to imagine a rap world without him. 

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tags: jay-z, jay z, the black album, 2003, flac,

Jay-Z - Magna Carta... Holy Grail (2013)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: B0018877-02

© 2013 Roc-A-Fella, Roc Nation
Like few other album openers, "Holy Grail" encapsulates what follows it and reflects a particular point in an artist's career. It's a vigorous if not particularly moving track, principally produced by Timbaland and J-Roc, which expresses bewilderment and conflicting emotions about rising from poverty to opulence. The first of a few early-'90s references is made -- the chorus of Nirvana's "Smells Like Teen Spirit" is quoted -- and Jay-Z is as triumphant and as troubled as ever. He doesn't enter until the 80-second mark, preceded by a theatrical verse and hook from summer 2013 tour partner Justin Timberlake. As with a significant portion of Magna Carta...Holy Grail, it has a dashed-off, created between business engagements quality -- maybe there wasn't enough time to ask Timberlake who translated his version of the Hebrew Bible ("Sippin' from your cup 'til it runneth over"). Likewise, the album's remainder is sporadically energized and frequently hasty-sounding, played safe with just enough timely pop-culture references and sonic curveballs to demonstrate that Jay-Z still has his finger on the pulse. He has Timbaland and J-Roc -- also co-producers of Timberlake's 20/20 Experience -- involved with most of the tracks, highlighted by a pair that sample Adrian Younge's 2011 psych-soul masterpiece Something About April, as well as some brilliantly bleary and prickly work on "F.U.T.W." Significantly lighter lifting is done by a cast that includes the likes of Pharrell and Swizz Beatz, as well as Kyambo Joshua and Mike Dean, who shine on the scuffed-up Gonjasufi-sampling finale "Nickels and Dimes." For all the lyrical flaunting of material wealth -- revolutionary art, designer fashion, yachting, globe-trotting -- the greatest ostentatious display here is in the enlistment of 2012/2013's hottest producer, Mike Will, for a single minute-length track. Unsurprisingly, it's the wildest, most advanced moment on the album. Jay-Z is armed with and weighed down by an immense back catalog. Any given track is bound to be compared to a past highlight. The MC indeed can't help sounding more mechanical than novel and, as a 43-year-old referencing Internet memes, he's possibly a little desperate to relate to younger listeners. He still drops some casually brilliant reminders that he remains one of the best, as on "Oceans" ("Only Christopher we acknowledge is Wallace/I don't even like Washingtons in my pocket") and on "Nickels and Dimes" ("Pardon my hubris, Stanley Kubrick/With eyes wide shut, I could cook up two bricks"). The album is an adequate addition to one of the most impressive artist discographies within any genre, not great enough to overshadow the heavily scrutinized corporate alliance that assisted with its ascent. 

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tags: jay z, jay-z, magna carter holy grail, 2010, flac,

Mario Winans - Story of My Heart (1998)

*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: R&B
Label Number: 314530776-2

© 1997 Motown
*No professional reviews are available for this release.

tags: mario winans, story of my heart, 1998, flac,

Jay-Z - The Blueprint (2001) ☠

*European pressing. 
Contains 13 tracks total.
Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: 586 396-2
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☠: Selected by Lass
© 2001 Roc-A-Fella Records
AllMusic Review by Jason Birchmeier
When Jay-Z dropped "The City Is Mine" in 1997 and claimed New York's hip-hop throne upon the Notorious B.I.G.'s demise, many smirked and some even snickered. Four years later in 2001, when he released The Blueprint, no one was smirking and no one dared snicker. At this point in time, nobody in New York could match Jay-Z rhyme for rhyme and nobody in New York had fresher beats -- and many would argue that Jigga's reign was not just confined to New York but was, in fact, national. Yes, Jay-Z had risen to the top of the rap game in the late '90s and solidified his position with gigantic hits like "Big Pimpin" and "I Just Wanna Love You (Give It 2 Me)." Furthermore, The Blueprint's leadoff single, "Izzo (H.O.V.A.)," dominated urban radio numerous weeks before the album hit the streets, generating so much demand that Def Jam had to push up the album's street date because it was being so heavily bootlegged. So when Jay-Z opens The Blueprint dropping rhymes about "runnin' this rap sh*t," it's not so much arrogance as it is a matter of fact. And by the time he brutally dismisses two of his most formidable opponents, Mobb Deep and Nas, less than ten minutes into the album, there's little doubt that Jay-Z's status as the top MC in the game is justified. But that's just one song. There are 12 other songs on The Blueprint -- and they're all stunning, to the point where the album seems almost flawless. Besides rhymes that challenge those on Reasonable Doubt as the most crafted of Jay-Z's career to date in terms of not only lyrics but also flow and delivery, The Blueprint also boasts some of his most extravagant beats, courtesy of impressive newcomers Kanye West and Just Blaze. Moreover, if the rhymes and beats alone don't make The Blueprint a career highlight for Jay-Z, the minimal guest appearances surely do. For once, listeners get exactly what they want: Jay-Z and nothing but Jay-Z, over beats so loaded with marvelously flipped samples the songs don't even need big vocal hooks. Besides, when you're already the top MC in the game, there's no need for crossover attempts. Uneven albums like Hard Knock Life were the crossover attempts, and now that Jay-Z is "runnin' this rap sh*t," a fully realized masterpiece like The Blueprint is the glorious result.

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tags: jay z, jay-z, the blueprint, 2001, flac,

Jay-Z - The Dynasty: Roc La Familia (2000)

*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Hip-Hop
Style: Gangsta Rap, Pop Rap
Label Number: 314 548 203-2
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© 2000 Roc-A-Fella Records
AllMusic Review by Andy Kellman
At the time of The Dynasty Roc la Familia's release, Jay-Z had already established himself as a towering figure in the rap world. His previous two albums -- Vol. 2: Hard Knock Life and Vol. 3: Life and Times of S. Carter -- spawned numerous gigantic hits and were filled the brim with the biggest hitmakers in rap: producers like Timbaland and Swizz Beatz; rappers like Juvenile and DMX. So rather than try to one-up these albums with yet more super-producers and big-name rappers, Jay-Z took a different approach on The Dynasty. He brought in a stable of up-and-coming producers (the Neptunes, Just Blaze, Kanye West) and handed the mic to his in-house roster of Roc-a-Fella rappers (Beanie Sigel, Memphis Bleek, Freeway) with the intention of bolstering his rap "dynasty" (i.e., Roc-a-Fella). The approach works well. The Dynasty Roc la Familia still sounds like a Jay-Z album, but it's different enough from his past work to make it exciting and unique. In particular, the productions set Jigga apart from his peers in 2000, especially "I Just Wanna Love You (Give It 2 Me)" by the Neptunes, a fun, playful song a world apart from the rugged Ruff Ryder beats Swizz Beatz had been offering Jay-Z a year earlier. In terms of rapping, the omnipresence of Beanie Sigel and Memphis Bleek spices up "Parking Lot Pimpin'," another album highlight, but is a drag on other songs, where Jay-Z seems like a guest on his own album. Guest appearances by Snoop Dogg and Scarface are much more welcome, two of only three non-Roc-a-Fella guest features here. The Dynasty plays overall like a Roc-a-Fella mixtape rather than a Jay-Z album, which means you'll have to endure a lot of promotional posse tracks, particularly toward the end of the album. Still, the few standout tracks here are career highlights for Jay-Z and well worth wading through the occasional filler to find.

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tags: jay z, jay-z, the dynasty roc la familia,

Jay-Z - The Blueprint²: The Gift & The Curse (2002)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: 440 063 381-2
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             *****
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© 2002 Roc-A-Fella Records
AllMusic Review by Andy Kellman
Jay-Z kept The Blueprint incredibly tight, focusing on a single sound and letting nothing interfere with some of the best raps of his career. The Blueprint²: The Gift & the Curse is a radically different record, with the most respected rapper in the business trying on a range of styles, collaborating with a lot of guests (from Rakim to Lenny Kravitz to Scarface to Beyoncé Knowles), and working with an army of producers (Neptunes, Dr. Dre, Timbaland, Heavy D, Kanye West). No one else in hip-hop possesses enough power of personality to carry a 110-minute double album, and if Jay-Z can't quite manage it either, he certainly delivers some solid material in the process. The discs are split into "The Gift" and "The Curse," though there's no concept in view, just a loose collection of tracks ranging from unapologetically sexed-up party joints to theatrical epics and even taking in a Dirty South feature for Outkast's Big Boi. It's clear Jay-Z's in control even here, and though his raps can't compete with the concentrated burst on The Blueprint, there's at least as many great tracks on tap, if only listeners have enough time to find them. Good choices for highlights include the Neptunes' bounce track "Excuse Me Miss," the horn-driven blast of "The Watcher 2" produced by Dr. Dre (featuring Truth Hurts), and "I Did It My Way," which balances the trad-pop singalong of "Hard Knock Life" with the digital drumrolls of "The Takeover." 

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tags: jay z, jay-z, the blueprint 2, the gift and the curse, 2002, flac,

Various Artists - Slam (The Soundtrack) (1998)

*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Hip-Hop, R&B
Label Number: EK 69587

© 1998 Immortal/Epic/Sony Music Soundtrax
AllMusic Review by Andy Kellman
*No professional reviews are available for this release.

tags: various artists, slam the soundtrack, ost, 1998, flac,

April 10, 2021

Wool - Box Set (1994) ☠

*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Grunge
Label Number: 828 498-2
☠: Selected by Lass
© 1994 London Records
AllMusic Review by Andy Hinds
Wool followed up their excellent debut EP, Budspawn, with the slightly more accessible but uneven full-length album Box Set in 1994. Still essentially a punk band at heart, Wool has expanded their range to include more overt pop (as on the bouncy opener "Eden") and even psychedelia ("Take a Look") with generally satisfying results. In fact, what Wool has become is a scruffy hard rock band with punk rock roots and an inclination toward medicated introspection. Songs like the rollicking "Kill the Crow" and "Blackeye" are near-perfect pop-punk, with more grit and attitude than most of the bands who were popular in the early '90s for doing watered-down versions of the same. Box Set's energy often sags due to moody pieces like "Chances Are" and "God Rest His Soul" (which are fine tracks nonetheless) and the tongue-in-cheek "box set" concept in the album's liner notes reads like an unfinished joke. Still, this was an unfairly overlooked album, lost amid the overwhelming glut of alternative rock in the early '90s (which saw far lesser bands like Bush receiving undue amounts of attention). Box Set was unfortunately the band's last work; after guitarist Franz Stahl was recruited to join former Scream bandmate Dave Grohl in the Foo Fighters, Wool dissolved.

tags: wool, box set, 1994, flac,

Solomon Grundy - Solomon Grundy (1990) ☠

*A photo of the disc is included in the RAR file.
Country: U.S.A.
Genre: Grunge
Label Number: NAR CD 049
☠: Selected by Lass
© 1990 New Alliance Records
AllMusic Review by Richard Foss
The sole album by Solomon Grundy was originally called Stone Soup and Other Stories, and the name survives on the original LP: side one is called Stone Soup, side two Other Stories. It seems likely that the two sides were cut at different recording sessions or at a different time, since the Other Stories tracks have a slightly different character than their predecessors. The first six tracks are lively proto-grunge, musically interesting but constrained by Van Conner's limitations as a vocalist. The thundering bass and guitar over pounding drums are invigorating and the snappy time changes come just often enough to make it work as hard rock with a pop edge, but Conner is just not a powerful singer. He is best when his bandmates fill in with primitive harmonies, as in "Quiet Sea" and "Simplify." The songs on side two are somewhat more inventive, have a greater stylistic variation, and show greater promise. If Solomon Grundy had stayed together and toured behind this record, they could have broken through in a way that Screaming Trees never did; "My Mind" could have been a hard rock hit and the odd, ragged punk-folk "One Day" must have sounded great in concert. There are plenty of hints on this album that Solomon Grundy might have been a chart-topper rather than a footnote in Seattle scene history.

tags: solomon grundy, solomon grundy album, 1990, flac,

Roots Manuva - Brand New Second Hand (1999)

*A photo of the disc is included in the RAR file.
Country: United Kingdom
Genre: Hip-Hop
Label Number: BDCD010

© 1999 Big Dada Recordings
A bright moment for British rap, the debut album from Roots Manuva introduced a hip-hop chameleon boasting dark productions and a distinct style, plus much more to say than most rappers. Both his raps and his productions rely on ragga as a bed, but instead of leading the party, Roots Manuva used it to reflect on the world ("Strange Behaviour") and his religious background ("Baptism"), as well as play the usual game of the dozens ("Dem Phonies"). Also of interest is the devastating "Clockwork", originally released on the Ninja Tune label compilation Funkungfusion. If anything, these low-key , bass-heavy productions (some by the rapper himself) aren't able to convey Roots Manuva's lyrical finesse and thematic complexity.

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tags: roots manuva, brand new second hand, 1999, flac,

Mark B. & Blade - Hitmen For Hire: E.P. (1998)

Country: United Kingdom
Genre: Hip-Hop
Label Number: JFR 011 CD

© 1998 Jazz Fudge
Instead of delving farther into abstract hip-hop, Mark B teamed up with the rapper Blade for his second album. The collaboration works quite well, as Blade and B (plus Mr. Thing from Scratch Perverts on scratching) construct a dense underground rap album that fortunately never moves too far into beat headspace. From the scratchy old samples on "Intense Preparations" (featuring Lewis Parker) to the 808 bump of "Use Your Head," Mark B displays his considerable production skills, and Blade matches him with verbal dexterity. As could be expected, there are a couple of instrumentals that get a bit bland, and (for better or worse) there are many sophomoric samples. Any way you dice it though, Hitmen for Hire is an excellent hip-hop album.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: mark b and blade, hitmen for hire, ep, 1998, flac,

Mark B. & Blade - The Unknown (2000)

*A photo of the disc is included in the RAR file.

Country: United Kingdom
Genre: Hip-Hop
Label Number: WORDCDJ 010

© 2000 Wordplay/Source Records
*No professional reviews are available for this release.

* Due to past abuse, comments for the Hip-Hop section have been disabled. 


tags: mark b and blade, the unknown, 2000, flac,

Radiohead - Amnesiac (2001)

Country: United Kingdom
Genre: Experimental Rock
Label Number: CDP 7243 5 32764 2 3

© 2001 Capitol Records
Faced with a deliberately difficult deviation into "experimentation," Radiohead and their record label promoted Kid A as just that -- a brave experiment, and that the next album, which was just around the corner, really, would be the "real" record, the one to satiate fans looking for the next OK Computer, or at least guitars. At the time, people bought the myth, especially since live favorites like "Knives Out" and "You and Whose Army?" were nowhere to be seen on Kid A. That, however, ignores a salient point -- Amnesiac, as the album came to be known, consists of recordings made during the Kid A sessions, so it essentially sounds the same. Since Radiohead designed Kid A as a self-consciously epochal, genre-shattering record, the songs that didn't make the cut were a little simpler, so it shouldn't be a surprise that Amnesiac plays like a streamlined version of Kid A, complete with blatant electronica moves and production that sacrifices songs for atmosphere. This, inevitably, will disappoint the legions awaiting another guitar-based record (that is, after all, what they were explicitly promised), but what were they expecting? This is an album recorded at the same time and Radiohead have a certain reputation to uphold. It would be easier to accept this if the record was better than it is. Where Kid A had shock on its side, along with an admirably dogged desire to not be conventional, Amnesiac often plays as a hodgepodge. True, it's a hodgepodge with amazing moments: the hypnotic sway of "Pyramid Song" and "You and Whose Army?," the swirling "I Might Be Wrong," "Knives Out," and the spectacular closer "Life in a Glasshouse," complete with a drunkenly swooning brass band. But, these are not moments that are markedly different than Kid A, which itself lost momentum as it sputtered to a close. And this is the main problem -- though it's nice for an artist to be generous and release two albums, these two records clearly derive from the same source and have the same flaws, which clearly would have been corrected if they had been consolidated into one record. Instead of revealing why the two records were separated, the appearance of Amnesiac makes the separation seem arbitrary -- there's no shift in tone, no shift in approach, and the division only makes the two records seem unfocused, even if the best of both records is quite stunning, proof positive that Radiohead are one of the best bands of their time.

tags: radiohead, amnesiac, 2001, flac,

Coldplay - A Rush of Blood To The Head (2002) ☠

Country: United Kingdom
Genre: Pop Rock
Label Number: CDP 7243 5 40504 2 8
☠: Selected by Lass
© 2002 Capitol Records
In 2002, the members of Coldplay were still in the midst of their ascent, riding the breakthrough success of their sleepy debut, which established wide-eyed vulnerability and earnestness as an indelible part of their image. Soft and soothing, the precious Parachutes set them up for a lifetime of inaccurate comparisons to Radiohead, even though the similarities started and ended with The Bends. And just like Radiohead, they quickly evolved into another beast altogether: plugging in the guitars, amplifying the bombast, tattooing their hearts on their sleeves, and shooting for the arena rafters in a fashion more similar to U2. Their sophomore effort, A Rush of Blood to the Head, made the message clear within the first seconds of the intense opener "Politik." As Will Champion's drums crash, Jonny Buckland's guitar swells, and Guy Berryman's bass churns, frontman Chris Martin bursts through the Wall of Sound, jolting listeners awake with the desperate cry, "Open up your eyes!" Angsty and urgent, songs like "Politik" and the title track introduced fresh elements into the Coldplay repertoire, expanding their emotional palette and showing critics that they could really rock when they wanted to. This was the sound of a new Coldplay, one that developed confidence, a voice, and a budding imagination to separate themselves from the Travises and Elbows of the world. The aggressive wallop of "God Put a Smile upon Your Face" -- a live staple and fan-favorite single -- typified the trademark sound of the era, combining Champion and Berryman's groove with Buckland's outer-space noodling, a style that they'd blast into the stratosphere on the follow-up effort, X&Y. Along with "Daylight" and "A Whisper," the track helped establish Coldplay as an arena rock presence, pulling them out of the indie-dwelling bedroom and onto the big stage. From that platform, Coldplay also delivered three of their most enduring and beloved singles: the sparkling "In My Place," the weepy ballad "The Scientist," and the piano-kissed showstopper "Clocks." With A Rush of Blood to the Head, Coldplay pulled back the curtains to reveal a robust and energized unit, one that would soon conquer the mainstream with a steady evolution into the world of pop. At this moment -- before issuing the two highest-selling albums in the world in 2005 and 2008 and becoming an international stadium sell-out presence -- Coldplay were coming to grips with their music's power and possibility, a young band hungry, bright-eyed, and primed for stardom.

tags: coldplay, a rush of blood to the head, 2002, flac,

Coldplay - X&Y (2005) ☠

Country: United Kingdom
Genre: Pop Rock
Label Number: CDP 7243 4 74786 2 8
☠: Selected by Lass
© 2005 Capitol Records
After Radiohead stubbornly refused to accept the mantle of world's biggest and most important rock band by releasing the willfully strange rocktronica fusion Kid A in 2000, Coldplay stepped up to the plate with their debut, Parachutes. Tasteful, earnest, introspective, anthemic, and grounded in guitars, the British quartet was everything Radiohead weren't but what the public wanted them to be, and benefited from the Oxford quintet's decision to abandon rock stardom for arcane art rock. Parachutes became a transatlantic hit and 2002's sequel, A Rush of Blood to the Head, consolidated their success by being bigger and better than Parachutes, positioning Coldplay to not be just the new Radiohead, but the new U2: a band that belongs to the world but whose fans believe that the music is for them alone. To that end, Coldplay's third album, X&Y -- slightly delayed so it follows Rush of Blood by nearly three years, but that's no longer than the time separating OK Computer and Kid A, or The Unforgettable Fire and The Joshua Tree -- is designed to be the record that elevates Coldplay to the major leagues, where they are at once the biggest and most important band in the world. It's deliberate and sleek, cinematic and pristine, hip enough to sample Kraftwerk and blend in fashionable retro-'80s post-punk allusions without altering the band's core. Indeed, X&Y is hardly a bold step forward but rather a consolidation of Coldplay's strengths, particularly their skill at crafting surging, widescreen epics. But if X&Y highlights their attributes it also brings Coldplay's weaknesses into sharp relief. Forget the fact that they, by any stretch of the imagination, do not rock -- rocking is simply against their nature. They are a meditative band, reflecting on their emotions instead of letting them go in a cathartic blast of noise and rhythm. This isn't a problem -- after all, there have been plenty of great bands that do not rock & roll -- but their terminal politeness does cripple their music, preventing it from being as majestic as its aspirations. Coldplay is well scrubbed and well behaved, possessing a textbook education in classic rock and the good sense to never stretch any farther than needed. They are the perfect middlebrow rock band -- clean, pristine, and rational, seemingly smart since they never succumb to pounding, primal riffs, but also not weird enough to be genuine art rock. It's ambitious, yet its ambitions are modest, not risky, so their ambitions can be fulfilled without breaking a sweat. And since their sweeping yet subdued theatricality does recall the more majestic moments of Radiohead and U2, they have won millions of fans, but another crucial reason that Coldplay have a broad appeal is that lead singer/songwriter Chris Martin never tackles any large issues, preferring to endlessly examine his feelings. Like on Parachutes and Rush of Blood, all the songs on X&Y are ruminations on Martin's doubts, fears, hopes, and loves. His words are earnest and vague, so listeners can identify with the underlying themes in the songs, and his plain, everyman voice, sighing as sweet as a schoolboy, is unthreatening and unassuming, so it's all the easier for listeners to project their own emotions into the song. But for as impeccable as X&Y is -- and, make no mistake, it's a good record, crisp, professional, and assured, a sonically satisfying sequel to A Rush of Blood to the Head -- it does reveal that Martin's solipsism is a dead-end, diminishing the stature of the band. Where U2 is big in sound, scope, ambition, and intent, Coldplay is ultimately big music about small things, and even if X&Y is a strong, accomplished album, its limited, narcissistic point of view is what prevents the quartet from inheriting the title of the biggest and most important band in the world.

tags: coldplay, x and y, 2005, flac,

Radiohead - Pablo Honey (1993)

Country: U.S.A.
Genre: Alternative Rock
Label Number: 0777 7 81409 2 4

© 1993 Parlophone
Radiohead's debut album, Pablo Honey, is a promising collection that blends U2's anthemic rock with long, atmospheric instrumental passages and an enthralling triple-guitar attack that is alternately gentle and bracingly noisy. The group has difficulty writing a set of songs that are as compelling as their sound, but when they do hit the mark -- such as on "Anyone Can Play Guitar," "Blow Out," and the self-loathing breakthrough single "Creep" -- the band achieves a rare power that is both visceral and intelligent.

tags: radiohead, pablo honey, 1993, flac,