Visage - The Anvil (1982)

*First pressing. 

Contains 9 tracks total.

Country: United Kingdom

Genre: Synth Pop

Label Number: 800 022-2

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© 1982-1983 Polydor

The Anvil Review by Dan LeRoy

When they recorded the follow-up to their surprisingly successful debut, the members of Visage appeared to be dealing from a position of strength. But the dance club-fueled, style-obsessed new romantic movement that had propelled the group to success in England was already crumbling, and frontman Steve Strange had begun to take his role as the movement's figurehead a little too seriously. The Anvil, rumored to be the subject of a multi-million dollar feature film (a project that never materialized), emphasizes Strange's penchant for melancholy and melodrama. Where the band's debut undercut such pretensions with humorous tracks like the twangy "Malpaso Man," only one tune here -- "Night Train," with a rubbery bassline and blasts of brass backing a tongue-in-cheek tale of intrigue -- dares to take liberties with Visage's moody image. Still, with backing from the same core of post-punk all-stars (Ultravox's Midge Ure -- who co-produced the album -- and violinist Billy Currie, as well as Magazine keyboardist Dave Formula), Strange and drummer Rusty Egan sound just as good as before, and despite once again closing an album with a forgettable instrumental ("Whispers"), almost all the band's efforts on The Anvil are extremely well-crafted synth pop. Two, in fact, are essential new wave artifacts. The title track takes a despairing look around clubland, setting Strange's best-ever lyric to a grim parody of a hit in the meatmarket disco it describes; it suggests he'd become disillusioned with the scene that had spawned Visage. "The Damned Don't Cry," meanwhile, is even better, a ghostly groove that comes closer than anyone would have thought possible to recapturing the haunted magnificence of "Fade to Grey," the band's signature hit. [Note to collectors: The 1997 One Way reissue appends two bonus tracks to the running order. Welcome is the rocked-up remix of "We Move," one of Visage's best singles. The dance mix of "Frequency 7," a bleeping and buzzing electro-instrumental, is fun but nonessential.]

tags: visage, the anvil, 1982, flac,

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Billy Currie & Steve Howe - Transportation (1988)

*First pressing. 

Contains 8 tracks total.

Country: United Kingdom

Genre: Synth Pop

Label Number: ILPCD 030

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© 1988 Illegal Records

Transportation Review by Aaron Badgley

Originally released in 1988 on the I.R.S. label No Speak, this was Billy Currie's debut solo album. It remained out of print for a number of years, until Currie reissued it on CD through his own label (Puzzle and Voiceprint). Ultravox fans will be thrilled to obtain this lost gem on CD, others might not be so enthused. This is an instrumental, new age-type of album, heavily supported by a number of guest artists (including Steve Howe and Simple Minds' bassist Derek Forbes). This album is not bad, it is just not terribly original. A dozen new age albums have this sound. Currie can write some truly beautiful tunes ("Airlift" and "Over-Soul"), but others sound pretentious (such as the title track and "India"). It is a relaxing album and ideal to cure insomnia.

 tags: billy currie, steve howie, transportation, 1988, flac,

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ABC - Skyscraping (1997)

Country: United Kingdom

Genre: Pop Rock

Label Number: 74321456532

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© 1997 Blatant

Skyscraping Review by Stephen Thomas Erlewine

After spending half the better part of a decade in semi-retirement, Martin Fry regrouped ABC for the surprisingly successful comeback Skyscraping. Instead of pursuing the dance-pop inclinations of ABC's late-'80s records, Fry returns to the grandly theatrical new romantic pop of Lexicon of Love, cutting it with some contemporary dance production techniques. Collaborating with Heaven 17's Glenn Gregory, Fry constructs a number of shiny pop gems, highlighted by glammy guitars and shining synthesizers. While Skyscraping isn't as consistently thrilling as his best '80s singles, it has a number of fine moments, and is ABC's best record since How to Be A...Zillionaire!.

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T. Rex - Futuristic Dragon (1994 Remastered Edition)

*Reissued and remastered in 1994 by Edsel Records. 

This pressings contains 16 tracks total.

Country: United Kingdom

Genre: Glam Rock

Label Number: EDCD394

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© 1976-1994 Edsel Records

Futuristic Dragon Review by Dave Thompson

The most blatantly, and brilliantly, portentous of Marc Bolan's albums since the transitional blurring of boundaries that was Beard of Stars, almost seven years prior, Futuristic Dragon opens on a wave of unrelenting feedback, guitars and bombast, setting an apocalyptic mood for the record which persists long after that brief (two minutes) overture is over. Indeed, even the quintessential bop of the succeeding "Jupiter Liar" is irrevocably flavored by what came before, dirty guitars churning beneath a classic Bolan melody, and the lyrics a spiteful masterpiece. While the oddly Barry White-influenced "Ride My Wheels" continues flirting with the neo-funk basics of 1975's Bolan's Zip Gun, the widescreen sonic majesty of Futuristic Dragon was, if anything, even more gratuitously ambitious than its predecessor. "Calling All Destroyers," "Sensation Boulevard" and the magnificent "Dawn Storm" all bristle with lyrical splendor, while "Casual Agent" revisits some older glories with its near-slavish re-creation of the old "Rip Off" vibe. But if the other tunes pursue Bolan's new-found fascination for pomp over pop with barely disguised glee, he wasn't above slipping the odd joke into the brew to remind us that he knew what he was doing. "Theme for a Dragon" is an all-but Wagnerian symphonic instrumental -- with the sound of screaming teenyboppers as its backdrop, and the punch line lurking further afield among the handful of obvious hits which he also stirred in. The first of these, the big-budget ballad "Dreamy Lady," scored even before the rest of the album was complete. It was followed by the idiotically contagious "New York City," a piece of pure pop nonsense/genius which so effortlessly returned him to the British Top 20 that, for a few weeks through mid-1976, the idea of seeing "a woman coming out of New York City with a frog in her hand" really didn't seem as silly as it sounded. And when he followed that up with the rhythm'n'punk swagger of "I Love to Boogie," few people would deny that Bolan was on the way back up. That particular gem would be featured on his next album, 1977's Dandy in the Underworld; the Edsel remaster of Futuristic Dragon does, however, wrap up three further cuts from the era, the single sides "Laser Love," the languid "Life's an Elevator" and, best of all, "London Boys," a piece of undisguised childhood nostalgia which was allegedly written about David Bowie, one of Bolan's teenaged running mates. The song, incidentally, was drawn from a proposed concept album, ambitiously titled "London Opera" (one of two Bolan was then considering, the other was the sci-fi themed Billy Super Duper). The project was never completed, however -- for something else was stirring in the capital's bowels, that snarling monster which emerged as punk. And the moment Bolan saw it, he knew precisely what it represented. He began work on a new album right away.

 tags: t rex, futuristic dragon, 1976, 1994, flac, remaster, 

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T. Rex - Dandy In The Underworld (1977)

*This is the German first pressing. 

Contains 12 tracks total.

Country: United Kingdom

Genre: Glam Rock

Label Number: 2292-43946-2

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© 1977-1987 TELDEC

Dandy in the Underworld Review by Dave Thompson

Marc Bolan welcomed the advent of punk rock with the biggest smile he'd worn in years. The hippest young gunslingers could go on all night about the influence of the Velvet Underground, the Stooges, and the Ramones, but Bolan knew -- and subsequent developments proved -- that every single one of them had been nurtured in his arms, growing up with the ineffable stream of brilliant singles he slammed out between 1970-1972, and rehearsing their own stardom to the soundtrack he supplied. With tennis racquet guitars and hairbrushes for mikes, they stood before the mirror and practiced the Bolan Boogie. Of course, most punks only knew three chords. That was all Marc ever taught them. Dandy in the Underworld, released early in 1977, confirmed Bolan's punkoid preeminence. Still retaining its predecessors' demented soul revue edge (most successfully via the yearning "Soul of My Suit") but packed solid with powerful pop (the previous summer's hit "I Love to Boogie" included), Bolan's personal predictions for the punk scene literally exploded out of the grooves. The title track and the churning "Visions of Domino" all bristle with revitalized energy, while "Jason B. Sad" cheekily medleys Bolan's own "Bang a Gong" and "Telegram Sam" melodies into a dead-end drama utterly in keeping with the new wave's own belief that the future was futile. By the time the album wraps up with the rock'n'armageddon-flavored "Teen Riot Structure," Bolan was not simply wearing the mantel of punk godfatherhood, he was happily sticking safety pins through it and preparing his next move, the driving "Celebrate Summer" single -- absent from the original album, but included now as one of five bonus tracks appended to the Edsel remaster. Riding in on buzzsaw guitar and thundering bass, it packed a killer chorus and an uplfting message ("Hey little punk, forget that junk and celebrate summer with me") and it really was the greatest record he'd made in years. It was also his last -- a month after its release, Marc Bolan was dead. Sorrow immediately imbibed Dandy in the Underworld with a dignity that, had Bolan lived, it probably wouldn't have otherwise deserved -- it is not, overall, one of his strongest albums, and the demos and outtakes included on the later volumes of the Unchained series suggest that his proposed next album would have left it far behind. But conjecture, like hindsight, can be a dangerous gauge. At the time, Dandy not only seemed bloated with promise, it was pregnant with foreboding as well. Listen again to the lyrics of the title track -- self-mythologizing autobiography and not a happy ending in sight. Just like real life.

 tags: t rex, dandy in the underworld, 1977, 1987, flac,

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Various Artists - True Romance (Motion Picture Soundtrack) (1993)

Country: U.S.A.

Genre: Film Score, Trance, Grunge, Pop Rock

Label Number: 2959-20017-2

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© 1993 Morgan Creek Records

True Romance [Motion Picture Soundtrack] Review by Gregory Heaney

While the film was directed by Tony Scott, it's easy to see the imprint of writer Quentin Tarantino on the soundtrack to 1993's True Romance. With an eclectic track list that includes the dreamy drift of Chris Isaak's "Two Hearts," Soundgarden's crunching yet melodic "Outshined," and the late-night pulse of Nymphomania's "I Want Your Body," the collection shares the frantic, all-over-the-map feeling of the film, pushing and pulling listeners in a million different directions while they try to find their bearings. Unlike some of Tarantino's other soundtracks, True Romance isn't necessarily essential listening, but for fans of the film, it makes for a nice stroll through the film's strange but romantic world.

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Ash - Trailer (Promo CD) (1995)

*This is a promotional disc not intended for consumer sale.

This is the US pressing issued in 1995. 

Contains 11 tracks total.

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

Country: United Kingdom

Genre: Punk Rock, Power Pop

Style: Pop Punk

Label Number: 9 45985-2

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© 1994-1995 Reprise Records

Trailer Review by Ralph Heibutzki

Imagine classic punk maneuvers crossed with Nirvana- and Dinosaur Jr.-style leanings, goosed by a bolt of Mega City Four, and you've got this Irish trio's reference points. Such a blueprint sounds unimaginative on paper, but singer-guitarist Tim Wheeler's relentlessly catchy confections stand up to the Britpop vanguard's finest hours. Not surprisingly, then, the band's recorded debut emphasizes stripped-down velocity over finesse. Such priorities aren't surprising, since the band began racking up U.K. indie chart hits before graduating high school! (The original version of Trailer appeared in 1994, on Infectious Records.) Still, why quibble about Ash's influences, when the goods are so emphatically delivered? "Punk Boy" and "Jack Names the Planets" could give Green Day a run for its pop-punk roses, while grungier tracks like "Hulk Hogan Bubblebath" stay heavy, without losing their melody. "Day of the Triffids," which references the similarly titled English thriller, points to the band's love of all things extraterrestrial. The standout track is "Petrol," a characteristically deft exercise in soft-loud, start-stop dynamics that points to the band's maturity -- which included layered harmonies, greater tracking of guitars, and even orchestration, if required. More than a decade after they formed in their native Belfast, Ash's rugged individuality remained intact; here's where it all began. Heavy guitar devotees shouldn't miss this one.

 tags: ash, trailer, promo, 1994, 1995, flac,

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Seven Day Diary - Skin & Blister (Promo CD) (1995)

*This is a promotional disc not intended for consumer sale. 

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

Country: U.S.A.

Genre: Alternative Rock

Label Number: 9 45870-2

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© 1995 Warner Bros. Records

Skin and Blister Review by Tom Demalon

Fronted by lead singer/guitarist Pamela Laws and bassist Nancy Hess, the northern California quintet Seven Day Diary's full-length debut, Skin and Blister, is an engaging and occasionally superb album. Musically, they start off as a little bit of the Pixies, adding some lovely female harmonies and polishing everything a bit with Gil Norton's production help. Laws sounds a bit like Pat Benatar fronting Belly on the more driving rockers, like on the tumbling "Starfish" and the driving "Today and Everyday." The galloping jangle pop and coy lyrics make "Air" a breezy standout. Skin and Blister is wonderfully dynamic and the folk-rock and dreamy vocals make "He Can" another strong track, showcasing the band's pop sensibilities. It's a debut well worth checking out.

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Various Artists - The Goonies: Original Motion Picture Soundtrack (1985)

Country: U.S.A.

Genre: Pop Rock, Pop, R&B, Film Score

Label Number: EK 40067

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© 1985 Epic

*No professional reviews are available for this release. 

tags: various artists, the goonies, original motion picture soundtrack, ost, 1985, flac,

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Various Artists - Freejack Soundtrack (1992)

Country: U.S.A.

Genre: Hard Rock, Alternative Rock, Pop Rock, Film Score

Label Number: 2959-20008-2

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© 1992 Morgan Creek Records

*No professional reviews are available for this release.

tags: various artists, freejack soundtrack, ost, flac,

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Mumbleskinny - Hinge (1997)

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

Country: U.S.A.

Genre: Post Grunge

Label Number: 17752-2

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© 1993 Giant Records

*No professional reviews are available for this release.

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Various Artists - Barb Wire: Original Motion Picture Soundtrack (1996)

Country: U.S.A.

Genre: Hard Rock, Alternative Rock, Pop Rock

Label Number: 828 746-2

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© 1996 London Records

Barb Wire Review by Whitney Z. Gomes

Ah, soundtracks: arbitrary solo cuts only the most ardent fan would seek out, and throwaway tunes the artist couldn't care less about. This aural companion to Pamela Anderson's sexpot vehicle actually has some interesting, if not brilliant, moments of entertainment; and as a whole, the CD definitely cooks. Shampoo certainly comes through with a most excellent contribution wrapped around the heroine's catch phrase "Don't Call Me Babe (later to appear on the Jawbreakers soundtrack)." Fellow femme fatales (with one dude in tow) Die Cheerleader prop Patti Smith. And how can you lose when you cover Nick Gilder (Hagfish does "Hot Child in the City") or "Word Up" (Gun blasts the Cameo classic). True, the smoking Gun number loses some impact without a soaking wet Anderson gyrating along during the opening credits, but at least you don't have to sit through the rest of the movie. The seeds of Methods of Mayhem can be heard in then-hubby Tommy Lee's first real solo shot, "Welcome to Planet Boom." Also shorn of their respective bands, Michael Hutchence and Johnette Napolitano roll out a couple drive-bys: the former another retread remake, the latter a real rocker. As with any compilation, many of these tracks now appear on more worthy collections; the other tunes, like most parent soundtracks, fell through the cracks.

 tags: various artists, barb wire, barbwire, original motion picture soundtrack, ost, 1996, flac,

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Basil Poledouris - Free Willy - Original Motion Picture Soundtrack (1993)

Country: U.S.A

 Genre: R&B, Film Score

Label Number: EK 57280

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© 1993 Epic

Free Willy Review by Stephen Thomas Erlewine

The soundtrack to the warm-hearted children's film Free Willy was a collection of pleasant incidental music and immaculately produced adult contemporary-oriented pop songs, like Michael Jackson's theme song, "Will You Be There." All of the music blends fairly well together, but fails to sustain interest throughout the record.

 tags: basil poledouris, free willy, original motion picture soundtrack, ost, 1993, flac,

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Suzi Quatro - Can The Can (1997 Reissue) ☠

*Reissued in 1997 by RAK. 

This pressing contains 13 tracks total 

and non-remastered audio

Country: U.S.A.

Genre: Glam Rock

Label Number: 7243 8 52351 2 2

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☠: Selected by Buccaneer

© 1973-1997 RAK

Suzi Quatro Review by Dave Thompson

As glam rock debut albums go, you'll have to search a long way to find one that outclasses Suzi Quatro's opening shot. Though her fame and, of course, her hit singles thus far were based around songwriters Nicky Chinn and Mike Chapman's guileless ability to crank out the classics, away from the glare of TV and radio play the pair allowed Quatro and partner Len Tuckey full rein. The result was an album of several very distinct parts, inextricably linked by the sheer power of the Quatro personality. The heart of Suzi Quatro lies in the band's choice of covers. Harking back to Quatro's years in Detroit clubland, there's a Slade-meets-Stonesy grind through "I Wanna Be Your Man," a raucous blast through "All Shook Up," and, restating the song's claim to be the best rock & roller any Briton ever wrote, Johnny Kidd's "Shaking All Over," garageland sexuality oozing out from every pore. Chinnichap's "Primitive Love," one of the finest songs that the duo ever left unnoticed on an LP, then echoes that same intent, seething percussion and unearthly crowd sounds building around a jungle chant that reduces Quatro's characteristic cries to a breathy growl that is pure animal seduction. Of Quatro/Tuckey's own contributions, "Glycerine Queen" (already familiar from a B-side) and "Shine My Machine" are the most in character, straightforward rockers bolstered by the band's already trademark roiling rhythm. "Skin Tight Skin," on the other hand, is the most adventurous, bucking the formula in favor of a slow swing and a vocal that is straight out of West Side Story. Suzi Quatro remains one of the most nakedly sexual albums of the entire glam rock epoch -- and one of the hottest debuts of the decade.

 tags: suzi quatro, can the can, 1973, 1997, reissue, flac,

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Mott The Hoople - The Hoople (1974) ☠

*This is a repress of the original 1974 LP pressing on CD. 

Contains 9 tracks total and non-remastered audio.

Country: United Kingdom

Genre: Glam Rock

Label Number: CK 32871

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© 1974 Columbia Records

The Hoople Review by Stephen Thomas Erlewine

Mott was so good that the sequel, appropriately named The Hoople, has been unfairly dismissed as not living up to the group's promise. No, it doesn't compare to its predecessor, but most records don't. The bigger problem is that Mick Ralphs chose to leave during the supporting tour for Mott, leaving Ian Hunter as the undisputed leader of the group and subtly changing the character of the band's sound. Even with Hunter as the band's main songwriter, Ralphs helped shape their musical direction, so without a collaborator in hand, Hunter was left without a center. It isn't surprising that the record seems a little uneven, both in terms of songwriting and sound, but it's hardly without merit. "Roll Away the Stone," a leftover from Mott, is first-rate; "Crash Street Kidds" rocks viciously; "The Golden Age of Rock & Roll" is a pleasant spin on Bowie-esque nostalgia (think "Drive-In Saturday"); and Overend Pete Watts follows through on that theme with "Born Late '58," a perfectly credible rocker. This all makes The Hoople an entertaining listen, even if it doesn't compare to Mott's earlier masterpieces.

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Various Artists - Tommy Boy (The Movie) (Music From The Paramount Motion Picture) (1995)

Country: U.S.A.

Genre: Alternative Rock, Pop Rock, Pop

Label Number: 9 45904-2

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© 1995 Warner Bros. Records

Tommy Boy (Music from the Motion Picture) Review by Stephen Thomas Erlewine

Tommy Boy is a standard-issue collection of mediocre, mainstream alternative rock featuring no distinctive cuts, even though it has big names like R.E.M.

 tags: various artists, tommy boy, the movie, music from the paramount motion picture, ost, soundtrack, 1995, flac,

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Sammie - From The Bottom To The Top (Promo CD) (2000)

*This is a promotional disc not 

intended for consumer sale. 

Contains 14 tracks total.

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

Country: U.S.A.

Genre: R&B

Label Number: CDP 7243 5 23168 2 3

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© 2000 Freeworld Entertainment/Capitol Records

From the Bottom to the Top Review by Stephen Thomas Erlewine

There's no mistaking little Sammie for Sammy, the post-Pavement indie-rock combo of the mid-'90s. No, Sammie is an urban R&B singer. He's also a kid, not that you'd really be able to tell that from a cursory listen of his debut album, From the Bottom to the Top. At times, his voice does sound a little thin, but for the most part, it's surprisingly soulful and convincing -- not as stunning and assured as the young Michael Jackson, but certainly a lot better than most child singers. If he's not yet skillful enough to disguise the sometimes uneven material, that's still forgivable, because the tracks that do work, work really well. By and large, those are the songs written and produced by executive producer Dallas Austin, who keeps the beats fresh and light and the hooks strong and catchy -- particularly on uptempo numbers like the opener "The Bottom" and "Can't Let Go," featuring Lloyd of N'Toon. That's not to say that other producers and writers come up empty or that Sammie can't handle slower songs -- the midtempo soul of "Crazy Things I Do," produced and written by C. "Tricky" Stewart, is proof that he can -- but he sounds his most infectious when the beat is a little faster and the hooks are a little sharper. Perhaps that's due to the songwriting, which gets a little undistinguished as the tempo slows, or perhaps it's due to the fact that while Sammie is an impressive talent, he has yet to mature. Either way, the end result is the same: From the Bottom to the Top is entertaining, but not always engaging. Still, we have to remember that this is a debut album from a child singer. Judged on that basis, it's charming and, at times, impressive. Sammie does well this time out, and he'll probably do better next time around.

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China - Sign In The Sky (1989)

*European first pressing. 

Contains 13 tracks total.

Country: Switzerland

Language: English

Genre: Hard Rock

Label Number: 842 247-2

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© 1989 Vertigo

*No professional reviews are available for this release

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China - Go All The Way (1991)

*European first pressing. 

Contains 15 tracks total.

Country: Switzerland.

Language: English

Genre: Hard Rock

Label Number: 848 715-2

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© 1991 Vertigo

*No professional reviews are available for this release. 

 tags: china, go all the way, 1991, flac,

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Various Artists - Music From & Inspired By The Motion Picture Pootie Tang (2001)

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

Country: U.S.A.

Genre: R&B, Hip-Hop

Label Number: HR-62329-2

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© 2001 Hollywood Records

Pootie Tang Review by Jason Birchmeier

By mixing older classics with a number of new songs by contemporary artists, the Pootie Tang soundtrack makes for a fun listen, even if it's not as loaded with superstars and potential hit singles as the other rap/urban soundtracks of 2001. There are a trio of songs that were commissioned specifically for the film -- 702's "Pootie Tangin," Karl Clanton's "Why Pootie Why?," and "Ode to Pootie," written and produced by Prince Paul -- all three of which are standout moments on the soundtrack. Elsewhere, the older classics -- Bell Biv DeVoe's "Poison" and Zapp's "I Want to Be Your Man" -- obviously stand out for not only nostalgic reasons but also because these are amazing songs that faded into obscurity a bit over the years. There's also a remix of Master P's roof-raising "Make Em Say Ugh" that isn't really that much different from the original in terms of production, but features new rhymes by P, Silkk the Shocker, Mia X, and Snoop Dogg -- this should interest Dirty South fans, as should the admittedly impressive "Dirty Dee," another above-average No Limit contribution. Erykah Badu's "Southern Woman" seems almost effortless, with her singing some insightful lyrics over a sparse human-beatbox track courtesy of Razhel, but it's a wonderful moment thanks to its modesty. Another song worth checking out is Roscoe and Nate Dogg's "Yesterday," yet another stunning moment for the latter smooth-voiced vocalist who seems to be everywhere in 2001. This leaves only a few other tracks of acceptable though not impressive quality on this relatively brief 14-song, 55-minute soundtrack. This lack of exhaustive filler is in fact welcome, and makes the soundtrack a more satisfactory listen. Pootie Tang isn't quite as jaw-dropping as the Baby Boy soundtrack, for the sake of comparison, but it's yet another impressive rap/urban soundtrack for the already soundtrack-heavy summer of 2001.

 tags: various artists, music from and inspired by the motion picture pootie tang, ost, soundtrack, 2001, flac,

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Various Artists - Bait: Music From & Inspired By The Motion Picture (2000)

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

Country: U.S.A.

Genre: Hip-Hop, R&B

Label Number: 9 47859-2

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© 2000 RuffNation Records/Warner Bros.

Bait Review by Heather Phares

The original soundtrack to Jamie Foxx's action/comedy Bait features a contemporary mix of hip-hop and R&B from Memphis Bleek, Scarface, Fat Joe, Donell Jones, Mya, and Ramsquad. Nelly & the St. Lunatics' "Icey," Total & Missy Elliott's "Quick Rush," Trick Daddy's "Can't F**k With Me," and Liz Leite's "L.I.Z." are some of the album's highlights, along with performances by Beanie Sigel, No Question, Sonz of Sacrifice, and Majusty.

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Various Artists - Hardball: Music From The Motion Picture (2001)

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

Country: U.S.A.

Genre: Hip-Hop, R&B

Label Number: CK 86025

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© 2001 So So Def Recordings/Sony Music Soundtrax

Hardball [Music from the Motion Picture] Review by Brad Kohlenstein

Hardball. Let's face it. The movie is The Bad News Bears set in inner city Chicago, with a love story thrown in just for good measure. The soundtrack feels like it was made for Lil' Bow Wow, so its no surprise that the pint-sized rapper shows up on more than one track. The collection bounces back and forth from lighthearted hip-hop, like "Where's the Party At" and "Big Poppa," to heavier street songs like "Ghetto" and "You Can't Break Me." Much of the album is mediocre R&B and rap, but Mobb Depp's "Play," a soulful call to city youths, is a true gem. The songs are full of cute little baseball references and there's even an urbanized version of "Take Me out to the Ball Game." The soundtrack closes with a saccharine-sweet ballad from Xscape, just to let you know that this story has a happy ending.

 tags: various artists, hardball, music from the motion picture, soundtrack, ost, 2001, flac,

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