January 03, 2022

One Be Lo - The R.E.B.I.R.T.H. (2007) ☠

Country: U.S.A.
Genre: Hip-Hop
Label Number: None
☠: Selected by Lass
© 2007 Subterraneous Records
Michigan's One Be Lo has always prided himself on his work ethic, his ability to get his music out to his fans with or without the backing of a bigger label. For 2005's S.O.N.O.G.R.A.M., the rapper was signed to the venerable Fat Beats, but for the full-length follow-up, R.E.B.I.R.T.H., Lo turned back to his own Subterraneous Records. He also looked outside the Subterraneous crew for his production, culling beats from West Coasters like Vitamin D and Jake One, as well as the Molemen's Memo and Texture from the Labteks. Unfortunately, the beats on R.E.B.I.R.T.H. are sometimes lacking, the soul samples too short, the loops too derivative, which has the tendency to make the tracks blend into one another. The production, under the direction of One Be Lo, assuredly, also relies far too much on film dialogue samples to propel and guide it. More than half the songs on the album include this added dialogue, which, though it is appropriate contextually, goes on for much too long, filling in the spaces where the MC might have had a guest add a verse instead. In fact, that's one of the most noticeable things about R.E.B.I.R.T.H.: it's all about One Be Lo. Besides a couple of instrumentalists (who turn the otherwise powerful "Gray" into a smooth jazz number) and a vocalist (Marvin Scruggs on "Keep It Rollin'"), the record depends solely on one man to keep it going. While this sometimes means the verses can be short, it doesn't mean they're lacking in quality, or even that they're particularly repetitive. There are the usual boastful rhymes, but they're done well, and more importantly, balanced with other topics, including race ("War," "Gray," "Don't Sleep" -- which samples the famous line from Nas' "N.Y. State of Mind"), Michigan's failing economy ("Born & Raised"), problems of the urban poor ("The G Gap"), the current state of the world ("Headlines," with its kind of Encino-Man-meets-Marvin Gaye approach), and mortality ("Hip-Hop Heaven"). It is this last song that best shows off the rapper's intelligence and skills. One Be Lo subtly and cleverly uses allusions to life and death throughout the song, which tells of a typical, productive day in his home studio ("I'm feeling so alive," "I'm dead tired"). But the genius is in how he plays with the hook. "I finished another record, I'm in hip-hop heaven" he ends his first verse, contrasting that later with "Local rapper One Be Lo, age 30, found dead/I'm in hip-hop heaven," the last line of the track. With a less careful, purposeful MC, this could be corny, but Lo is smart and talented enough with his words to prevent his message from seeming forced or overly sentimental, and this trend is seen throughout the entirety of R.E.B.I.R.T.H., making it both an effective and affective album without sacrificing any of its grit.

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


tags: one be lo, the rebirth, 2007, flac,

January 02, 2022

The Indians - Indianism (1993)

Country: U.S.A./United Kingdom
Genre: Indie Rock
Label Number: 314 513 851-2

© 1993 Polydor
The Indians comprised a lead singer from Los Angeles, a drummer from London, and an Italian guitarist. The union yielded a fairly entertaining mix of alternative pop, laced with hip-hop and dance elements on Indianism. The songs range from the sprightly, jangly pop of "Bed of Roses" to the funky "Love" to the anthemic "Look up to the Sky," which incorporates strings and a psychedelic-tinged guitar solo to good effect. While the music is never groundbreaking, everything is melodic and lead singer Angie Bianca gives a pleasant voice to the songs, a bit like a sturdier Natalie Merchant. The ultimate undoing of Indianism is the bland, uneventful, and superficial lyrics ("The Key," "Caught a Rainbow," "Believe"). It's too bad because there are hints of potential, but, instead, Indianism adds up to an album that is fine example of the narrow margin between noteworthy and mediocre.

tags: the indians, indianism, 1993, flac,

Tony D - Droppin' Funky Verses (1991)

Country: U.S.A.
Genre: Hip-Hop
Label Number: 162 444 025-2

© 1991 4th & Broadway
In the early '90s, Vanilla Ice was the whipping boy of hip-hop's hardcore, which resented the fact that someone with such limited rapping skills was selling millions of CDs. Some of Vanilla's most blistering critics were fellow Anglos; as they saw it, he was making white rappers look bad and making it even more difficult for them to be accepted by African-American listeners. But one theory has it that Vanilla inadvertently did other white rappers a favor -- he made them work extra hard to prove that they weren't anything like him and that other white guys could, in fact, rap. And to be sure, there are many white MCs who have excellent rapping skills, including Everlast, House of Pain, Beastie Boys, 3rd Bass, Eminem, and Tony D. The latter showed a lot of promise on Droppin' Funky Verses, his debut album of 1991. Anyone who doubts that a white MC can rap his funky head off need only listen to forceful numbers like "Birdie Disease," "Tony Don't Play That," and "Harvey Wallbanger," all of which are pure, unadulterated hardcore rap with a strong East-Coast flavor. It's impossible to miss the fact that Tony D is from the Northeastern corridor; no one will mistake Droppin' Funky Verses for either West Coast gangsta rap or Southern bass. The Trenton, NJ, native's sample-heavy production is quite typical of Northeastern hip-hoppers of the early '90s; as a producer, he reminds one of Marley Marl or DJ Mark the 45 King rather than a West-Coast heavyweight like the influential Dr. Dre. Droppin' Funky Verses falls short of superb, but it's definitely solid -- and it leaves no doubt whatsoever that an Anglo MC can have impressive rapping skills.

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


tags: tony d, droppin funky verses, 1991, flac,

Aerosmith - Rock In a Hard Place (1982)

*U.S. first pressing. 
Contains 10 tracks total.
Country: U.S.A.
Genre: Hard Rock
Label Number: CK 38061

© 1982-1988 Columbia
Rock in a Hard Place is the sound of Aerosmith at their most "out of it." Not to say it's a horrible album by any means -- in fact, there are more than a few pleasant surprises -- but without the guitar team of Joe Perry and Brad Whitford, it didn't possess the magical chemistry of their '70s classics. Jimmy Crespo and Rick Dufay filled in for the departed duo, and it turned out to be the group's most studio-enhanced and experimental record up to this point. To keep up with the then-current musical climate, vocoders and synthesizers can be subtly detected, as heard on the space-age "Prelude to Joanie" and in the beginning to the otherwise tough rocker "Lightning Strikes," which served as the album's lone single/video. "Jailbait," "Bitch's Brew," "Bolivian Ragamuffin," and the title track showed the band could still rock out despite their three-year layoff between albums, a cover of "Cry Me a River" showed their gentle side, while the psychedelicized "Joanie's Butterfly" was the album's surprise highlight. But it didn't take an expert to know that Aerosmith was not the same after the loss of the aforementioned members. And so did the band, who welcomed Perry and Whitford back into its ranks two years after Rock in a Hard Place.

tags: aerosmith, rock in a hard place, 1982, flac,

Aerosmith - Done With Mirrors (1985)

Country: U.S.A.
Genre: Hard Rock
Label Number: 9 24091-2

© 1985 Geffen Records
Joe Perry returned to the fold in 1985, and Aerosmith turned out their finest record since Rocks. Unlike the records that preceded it, Done with Mirrors is powered by the same smart-assed lyrics and filthy guitars that formed the core of Aerosmith's best songs. It didn't receive the commercial or critical attention that Permanent Vacation did two years later, but Done With Mirrors is the better album; it marks the beginning of their remarkable comeback.

tags: aerosmith, done with mirrors, 1985, flac,

Aerosmith - Permanent Vacation (1987) ⚓

Country: U.S.A.
Genre: Hard Rock
Label Number: 9 24162-2

© 1987 Geffen Records
The much-ballyhooed reunion of the original Aerosmith lineup had pretty much fallen flat on its face after 1985's hit-and-miss Done With Mirrors. Realizing that the band simply couldn't do it alone, A&R guru John Kalodner capitalized on the runaway success of Run-D.M.C.'s cover of "Walk This Way" and decided to draft in the day's top hired hands, including knob-twiddler extraordinaire Bruce Fairbairn and career-revitalizing song doctors Desmond Child and Jim Vallance. Together, they would help craft Permanent Vacation, the album which would reinvent Aerosmith as '80s and '90s superstars. Yet, despite the mostly stellar songwriting, which makes it a strong effort overall, some of the album's nooks and crannies haven't aged all that well because of Fairbairn's overwrought production, featuring an exaggerated sleekness typical of most mid-'80s pop-metal albums. Furthermore, Desmond Child's pedantic writing often compromises the timeliness of even the best material. On the other hand, pre-fab radio gems like "Rag Doll" and "Dude (Looks Like a Lady)" remain largely unassailable from a "delivering the goods" perspective. But remember kids, this is Aerosmith, so that can only mean one thing: a guaranteed number of incredible tracks for any time and place. These include the earthy voodoo blues of "St. John" and the excellent hobo-harmonica fable of "Hangman Jury." And, although some of the remaining cuts lean to the filler side, both the awkwardly Caribbean title track and the cover of the Beatles' "I'm Down" are well executed. Finally, the crowd-pleasing schmaltz of "Angel" showcases the band at the peak of its power ballad cheese. A valiant effort, this album proved to be the crucial catalyst in reintroducing Aerosmith to the masses, but if you're looking for an even better example of the band's renewed strength, check out Pump first.

tags: aerosmith, permanent vacation, 1987, flac,

Aerosmith - Pump (1989) ⚓

Country: U.S.A.
Genre: Hard Rock
Label Number: 9 24254-2

© 1989 Geffen Records
Where Permanent Vacation seemed a little overwhelmed by its pop concessions, Pump revels in them without ever losing sight of Aerosmith's dirty hard rock core. Which doesn't mean the record is a sellout -- "What It Takes" has more emotion and grit than any of their other power ballads; "Janie's Got a Gun" tackles more complex territory than most previous songs; and "The Other Side" and "Love in an Elevator" rock relentlessly, no matter how many horns and synths fight with the guitars. Such ambition and successful musical eclecticism make Pump rank with Rocks and Toys in the Attic.

tags: aerosmith, pump, 1989, flac,

January 01, 2022

Overweight Pooch - Female Preacher (1991)

Country: U.S.A.
Genre: Hip-Hop, House
Style: Pop Rap
Label Number: 75021 5349 2

© 1991 A&M Records
When a female rapper goes around calling herself Overweight Pooch, people are likely to assume either one of two things: either she has a low self-image and suffers from a lack of self-esteem, or she's so darn confident that giving herself such a moniker doesn't even faze her in the least. Female Preacher, the rapper's debut album, indicates that the latter is the case. Greatly influenced by Roxanne Shante, Pooch brings a lot of confidence to such raps as "Kickin' Da Blues," "Ace Is a Spade," and "Queen of Rap." Although Pooch is hardly the most original MC in the world, she clearly has decent chops and rhyming skills--and much of this CD is catchy, if conventional and derivative. Despite its imperfections, Female Preacher indicated that Pooch had some potential. But the album didn't go very far commercially, and Pooch never escaped from obscurity.

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


tags: overweight pooch, female preacher, 1991, flac,

Blue Scholars - Blue Scholars (2004)

Country: U.S.A.
Genre: Hip-Hop
Label Number: None

© 2004 Not On Label
*No professional reviews are available for this release.

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


tags: blue scholars, blue scholars album, 2004, flac, 

Rappinstine - The Ultimate Creation (1991)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: 9 26622-2

© 1991 Qwest/Warner Bros. Records
With a style that's somewhere between Young MC and Candyman, Rappinstine was the type of rap act that appealed to those who liked their hip-hop drenched in R&B. The Ultimate Creation, a commercial outing that unites lighthearted rapping with R&B and funk melodies, obviously wasn't recorded with hip-hop's hardcore in mind. Hip-hop purists tend to take a dim view of rap that appeals to R&B and pop fans, and tunes as overtly commercial as "Mary Jane" (which is based on Rick James' 1978 hit) and "Funk You Up" stood little chance of winning those purists over. But that doesn't mean that this CD is without artistic merit -- in fact, The Ultimate Creation is a generally decent, though not remarkable, party album. Rappinstine doesn't do a lot of sociopolitical material -- its subject matter is usually lighthearted and escapist -- but the group has a noteworthy message song in "The Good Life." Based on T.S. Monk's Chic-influenced 1981 hit, "The Good Life" describes an inner-city youth's desire to get ahead despite the obstacles he faces. Some of the material is routine, but when Rappinstine finds the right groove, The Ultimate Creation can be fun and catchy.

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tags: rappinstine, the ultimate creation, 1991, flac,

Living Legends - Creative Differences (2004)

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

© 2004 Legendary Music
Creative Differences is a throwback to the first golden age of classic hip-hop albums: early De La Soul's pop-culture giggles, Digital Underground's playful rudeness, A Tribe Called Quest's cross-cultural fearlessness, Public Enemy's sonic fingerprints and the no-rules aesthetic of the Wu-Tang Clan are all touched upon at different points in this sprawling masterwork. The Living Legends crew has continued to expand from their early days, now including Japanese rapper Arata (who contributes raps in his native tongue to the storming "How You Take It" without sounding either out of place or gimmicky) alongside both first-generation members like Murs, Eligh, Scarub and the Grouch and more recent additions like the Belgian rapper Krewcial. Topics range from the goofily scatological (farting is a particularly favored topic) to the pointedly political, and the beats are an equally varied and often inspired lot. Ever since the Wu-Tang appeared, there's been a healthy trade in enormous hip-hop collectives, but the Living Legends are one of the few such groups to be able to maintain some kind of quality control; Creative Differences is as wide-ranging as the title suggests, but there's a clear aesthetic at play here, which means that the thoughtful first single "Damn It Feels Good" and the much sillier title track don't sound like they were flown in from two different albums.

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tags: living legends, creative differences, 2004, flac,

Living Legends - Classic (2005)

Country: U.S.A.
Genre: Hip-Hop
Style: Pop Rap
Label Number: LM00522

© 2005 Legendary Music
*No professional reviews are available for this release.

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tags: living legends, classic, 2005, flac,

PHD - Without Warning (1991)

Country: U.S.A.
Genre: Hip-Hop
Style: Hardcore Hip-Hop
Label Number: TUF CD 0573

© 1991 Tuff City
*No professional reviews are available for this release.

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tags: phd, without warning, 1991, flac,

Champ MC - Ghetto Flava (Promo C.D.) (1994)

*Promotional disc. 
Contains the album in its entirety. 
17 tracks total
Country: U.S.A.
Genre: Hip-Hop
Label Number: 92357-2

© 1994 EastWest America
*No professional reviews are available for this release.

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tags: champ mc, ghetto flava, 1994, flac,

Divine - Maid In England (1988) ☠

*First pressing. 
Contains 13 tracks total.
Country: U.S.A.
Genre: Hi-NRG
Label Number: CD 9066
☠: Selected by Lass
© 1988 Galaxis/ZYX Records
*No professional reviews are available for this release.

tags: divine, maid in england, 1988, flac,

Helium - The Dirt of Luck (1995)

Country: U.S.A.
Genre: Indie Rock
Label Number: OLE 124-2

© 1995 Matador
Helium's first full-length album expands on Timony's feminist lyrical bent and adds more colors to the band's musical palette. Full of what Timony calls "cartoon and monster movie music," The Dirt of Luck is a tight, focused album that is also diverse. The sludgy "Pat's Trick" mingles with the sweet-sounding and sweetly named "Honeycomb," which shares space with the nasty-sultry sounds of "Medusa" and the shimmery drone pop of "Baby's Going Underground." It's tied together by the album's spacious sound and Timony's singing, which is fuller and richer than on the group's debut.

tags: hellium, the dirt of luck, 1995, flac,

Helium - The Magic City (1997)

Country: U.S.A.
Genre: Indie Rock
Label Number: OLE 195-2

© 1997 Matador
The No Guitars EP suggested that Helium was expanding their sound past the wonderful, angular indie rock of The Dirt of Luck, and The Magic City confirms that suspicions. A rich, colorful array of sounds, The Magic City blends lo-fi indie-rock with '70s prog rock. Mary Timony is a sharp songwriter, and she balances her instrumental excesses with remarkable introspective lyrics. Surprisingly, the sitars, keyboards, and harpsichords are not indulgences -- they're integral to the sound of the record, making The Magic City sound alternately fantastical and frightening. It's an impressive leap forward, confirming Helium's status as one of the '90s' best indie-rock bands.

tags: hellium, the magic city, 1997, flac,

December 31, 2021

KIÏŸÏŸ - Sonic Boom (2009)

Country: U.S.A.
Genre: Hard Rock
Label Number: RR 7805-2

© 2009 Kiss/Loud/ Roadrunner Records
In the 11 years since their last album, the big and bloated Psycho Circus, the reunited, original, make-up wearing Kiss split once again when Ace Frehley and Peter Criss hit the door. In a shocking move that disgusted Kiss purists, remaining members Paul Stanley and Gene Simmons decided that Ace and Peter's characters were up for grabs, and handed the make-up over to their new guitar-playing spaceman, Tommy Thayer, and their catman 2.0, Eric Singer, for subsequent tours. It was hardly the first time Paul and Gene were painted as an anything-for-a-buck duo -- they've licensed everything from Kiss action figures to Kiss caskets after all -- but maybe, just maybe, it was a sincere move after all, one designed to please fans. Unlike Psycho Circus with Ace and Peter, Sonic Boom with Tommy and Eric captures the spirit of the original group through simple, unashamedly macho songs that could have appeared on any of their pre-Destroyer albums. Lunkheaded lyrics like "The deck is loaded when I like what I see" ("Russian Roulette") or "Danger you, danger me, danger us" ("Danger Us") aren't so much an issue when the hooks are as solid and the songs are as exciting as they are here. "Yes I Know (Nobody's Perfect)" is the quintessential Gene song with the usual demon bass fills, plenty of cowbell, and "Baby it's time to take off your clothes" lyrics, while the closing "Say Yeah" is a sure fan pleaser, falling somewhere between "Black Diamond" and "Nothin' to Lose." Besides the underlying feeling that there's a bit more smirking than before, there's little sign the original duo have matured, which is good news, but the old-school idea of one song for the spaceman ("When Lightning Strikes") and one for the cat ("All for the Glory") should've been dropped, as both slow down the proceedings, plus Eric's number sings of "We're all for one and we're all for the glory" with absolutely no sense of irony. No one will be turned on to the band by Sonic Boom, and all the usual criticisms -- dumb, sexist, gaudy, and dumb -- apply, but the Kiss Army have waited over two decades for something this solid and fun. Pretend this is the back-to-basics follow up to Love Gun, and those 20 years of so-so albums fade away. Classic and maybe even a little awesome, Sonic Boom makes that "hottest band in the world" tag much easier to swallow.

tags: kiss, sonic boom, 2009, flac,

KIÏŸÏŸ - Monster (2012)

Country: U.S.A.
Genre: Hard Rock
Label Number: B0017219-02

© 2012 UMe/Kiss Records
As Kiss approach 40 years of ridiculously dumb rock & roll fun, it makes sense that their 20th studio album, Monster, is more self-referential than anything. Following 2009's Sonic Boom, the album marks the second set of tunes by a revamped "original" Kiss lineup, with Paul Stanley and Gene Simmons joined by new guitarist Tommy Thayer and re-emerging drummer Eric Singer donning the makeup and personas originated by Ace Frehley and Peter Criss, respectively. Dressing up these semi-random players in the classic comic book costumes is just step one in re-creating the feel of Kiss' 1970s over the top heyday. Monster is a tremendous throwback to the superhuman partying and heavy metal Ragnarök of Kiss albums like Destroyer and Love Gun, with meaty riffs, hamfisted drumming, and a combination of Simmons' patented demonic growls and Stanley's interstellar party-starting, not to mention amounts of cowbell that would have been above average even in 1977. "All for the Love of Rock & Roll" is a big-hearted boogie rocker that would have fit on Frehley's stoney 1978 solo album, while the campily sinister metal riffage of "The Devil Is Me" and "Freak" fit more into the era of slick radio metal of 1992's Revenge. The muddy analog a cappella intro of "Eat Your Heart Out" sets the tone for tongue-in-cheek double entendres updating "Shout It Out Loud" with slightly different lyrics but the same bell-bottomed irreverence. It's only when Kiss stray from their most formulaic compositions that they start to falter. The remarkably dumb sex tale "Take Me Down Below" isn't just improbable macho fantasy, it's uninspired and boring. Musically, lyrically, and stylistically, it offers nothing, not even the joyful stupidity of the throwback feel of much of Monster. At this point in their career, attempts at innovation are Kiss' worst enemy. It's amazing to think that the bandmembers who once sang "My power is my age" and "Don't let them tell you that there's too much noise/They're too old to really understand" are still trotting out the same schtick as Paul and Gene enter their early sixties. These 12 songs might not score many new recruits for the Kiss Army, but for the innumerable fans of multiple generations who grew up with and lived their glory days listening to Kiss, the familiarity is what will make the record a keeper. With Monster, Kiss hit the mark best when rewriting the sound they developed as youngsters and when they keep it simple, predictable, and fun.

tags: kiss, monster, 2012, flac,