Faith No More - The Real Thing (1989)

Country: U.S.A
Genre: Alternative Rock

Label Number: 9 25878-2

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© 1989 Slash/Reprise Records
AllMusic Review by Ned Raggett
Starting with the careening "From Out of Nowhere" driven by Roddy Bottum's doomy, energetic keyboards, Faith No More rebounded excellently on The Real Thing after Chuck Mosley's was fired. Given that the band had nearly finished recording the music and Mike Patton was a last minute recruit, he adjusts to the proceedings well. His insane, wide-ranging musical interests would have to wait for the next album for their proper integration, but the band already showed enough of that to make it an inspired combination. Bottum, in particular, remains the wild card, coloring Jim Martin's nuclear-strength riffs and the Bill Gould/Mike Bordin rhythm slams with everything from quirky hooks to pristine synth sheen. It's not quite early Brian Eno-joins-Led Zeppelin-and-Funkadelic, but it's closer than one might think, based on the nutty lounge vibes of "Edge of the World" and the Arabic melodies and feedback of "Woodpeckers from Mars." "Falling to Pieces," a fractured anthem with a delicious delivery from Patton, should have been a bigger single that it was, while "Surprise! You're Dead!" and the title track stuff riffs down the listener's throat. The best-known song remains the appropriately titled "Epic," which lives up to its name, from the bombastic opening to the concluding piano and the crunching, stomping funk metal in between. The inclusion of a cover of Black Sabbath's "War Pigs" amusingly backfired on the band -- at the time, Sabbath's hipness level was nonexistent, making it a great screw-you to the supposed cutting-edge types. However, all the metalheads took the song to heart so much that, as a result, the quintet dropped it from their sets to play "Easy" by the Commodores instead!

tags: faith no more, the real thing, 1989, flac,

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Minotauri - II (2007)⚓

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

Country: Finland
Language: English
Genre: Doom Metal

Label Number: FDOOM015
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© 2007 Minotauri/Firebox
Review by Grigoris Chronis for Metal-Temple.com
A quarter of Finland's territory lies above the Arctic Circle, and as a consequence the midnight sun can be experienced - for more and more days, the further up north one comes. At Finland's northernmost point, the sun does not set for 73 consecutive days during summer, and does not rise at all for 51 days during winter (source: Wikipedia). Now, tell me, what kind of music a band located up there is expected to create? Thankfully, MINOTAURI is long ago added to the list if excellent Finnish bands. Let Doom reign…
Whoever's familiar with Finnish Black metallers MORNINGSTAR, he will easily recognize Ari Honkonen's name in the MINOTAURI lineup. It is written that Honkonen (HEATHEN HOOF/ex-PERKELE, too) created the band in order to expose his retro-Doom (with NWOBHM influences) restless will. Well, judging by the Pain Of Life 7 single (Iron Bonehead Productions) I got back in 2000, he definitely succeeded in, so. I wondered why didn't the band ink deal with the most appropriate - for their style - record label, Italy's Black Widow? And then, there it was: after a couple (or more) of split single (w/REVEREND BIZZARE)/live album/EP, the same-titled album is issued in 2004 via Black Widow. One album shall you get from this label, and you can as well stop reading the review; you know what to expect. 2007 sees MINOTAURI inking deal with the Firedoom division of Firebox Records. A good move for the band, this may be. In any case, II sees a set of seven new track plus the songlist of the act's Satan In Man single (2004) and the aforesaid split EP (2004). The bnad is not destined to alter its will towards other sub-genres. Thus, the spirit of Doom Metal bands like WITCHFINDER GENERAL, SAINT VITUS, (early) CATHREDRAL, (the mighty) PENTAGRAM and (some of) CANDLEMASS floats around the whole songs list. The production is less 'metal' and more 'heavy', drawing influence from the archegonia of 'twisted' BLACK SABBATH and 'occult' PAGAN ALTAR. Distorted bass, chaotic vocals and mesmerizing 'dusty' guitars serve the wants of MINOTAURI; a 70s aura (aka the Black Widow catalogue) is clearly visible plus the pounding epos of drums will travel you to doom-ie places of archaic times. No kidding, MINTOAURI lets bands like SOLITUDE AETURNUS and COUNT RAVEN sound too up-to-date. Of course, here is the benefit of  Honkonen having experience of the Black Metal ideals, now transforming it nicely for the will of MINOTAURI. Too much said? Maybe. 'Ancient' Doom Metal fans may proceed in order to lay down their souls to eternal solitude. MINOTAURI offer a beautiful (weird word, huh?) album and it's times I think the sun should not shine anymore up there in Suomi…

tags: minotauri, ii, minotauri ii, ii album, 2007, flac,

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Minotauri - Minotauri (2004)⚓

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

Country: Finland

Language: English
Genre: Doom Metal

Label Number: BWRCD 077-2
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© 2004 Black Widow Records
*No professional reviews available for this release.

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Sisqó - Return of Dragon (2001)

Country: U.S.A
Genre: R&B

Label Number: 314 548 836-2

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© 2001 Def Soul/Dragon Records
AllMusic Review by Jason Birchmeier
Sisqó's second solo album, Return of Dragon, follows up a debut that unexpectedly shot to the top of the charts a year earlier and remained there, week after week. That debut album, Unleash the Dragon, was almost solely powered by an omnipresent summer anthem in "Thong Song" -- a difficult feat to duplicate, an even more difficult feat to top. But even if Return of Dragon doesn't have a surefire novelty hit like "Thong Song" on it, it still has enough firepower to carry Sisqó back to the top of the charts. It's a safe record, no doubt, offering only ten full-length songs and an ensemble cast of songwriters and producers. But regardless of how few risks Sisqó takes on this album, the result is commendable, an energetic, slick, and stylish album with plenty of subtle sex and overt gloss -- everything early-2000s pop listeners demand in their superstars. To be honest, though, pop fans aren't looking for well-crafted albums but rather dynamite singles. And this album has its fair share. In fact, somewhere around half of these ten songs could function as hit singles in 2001, with "Can I Live," "Dance for Me," and "Close Your Eyes" being the most obvious choices. In particular, "Can I Live" stands out on the album mostly because of its over-the-top execution; here, the timeless Teddy Riley takes the reigns with songwriting partner D'Wayne Jones, crafting a jittery Timbaland-style beat and working various members of Sisqó's new affiliates, the Dragon Family, into the song. Yet while "Can I Live" stands out as a step in a new direction for Sisqó, "Dance for Me" takes a look back to "Thong Song," resulting in a similarly sexy dancefloor anthem that is just dying for a sleazy, near-naked-dancers-everywhere MTV treatment. In short, Sisqó gives you exactly what you want -- assuming you liked his debut album -- offering a can't-miss collection of should-be hits and even more of his ceaseless crooning.

tags: sisqo, return of the dragon, 2001, flac,

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Kid Rock - Rock N' Roll Jesus (2007)

Country: U.S.A
Genre: Country Music

Label Number: 7567-89971-7

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© 2007 Atlantic Records
AllMusic Review by Stephen Thomas Erlewine

When it comes right down to it, what Kid Rock attempts is kind of tricky: he's trying to create new classic rock, songs to compete with Skynyrd and Seger as the soundtrack of choice for jukeboxes and pickup trucks across the country. This is the sound of the white-trash, downriver rocker in him coming through, triumphing over the jive rapper who brought him his fame. It was there even when he was aping the Beastie Boys and yodeling in the canyon, but once the country-rock of "Picture" revived the sales of the flagging Cocky, he put all his chips on classic rock, beginning with 2004's eponymous platter, a good record without a single hit single. That lack of a hit was enough to scare Kid, to strip away his few lingering subtleties and turn out an album as big, bold, and brainless as 2007's Rock N Roll Jesus. Apart from a drum loop here and a chanted bridge there, this is classic white-trash rock through and through, but where his heroes were creating a blueprint, Kid Rock is doggedly following their path, and he won't ever let you forget it, either. He name-drops relentlessly, steals songs titles from both Alabama and Billy Squier, cribs rhyme schemes from Seger and melodies from Elton John ("Blue Jeans and a Rosary" is straight out of "Levon"), adopts John Fogerty's fake mushmouth Southern accent for his obligatory Big Easy salute, "New Orleans," and pays homage to Back in Black with his cover art. He works hard to evoke the ghosts of the past, hoping that all his allusions will give him classic rock cred by association, when it only winds up underscoring the distance between him and his heroes. Nowhere is this truer than on "All Summer Long," a spin on "Night Moves" built entirely upon the chords from "Werewolves of London" with a slight lift from "Sweet Home Alabama" on the chorus, which only brings to mind how much better those three songs are than this mash-up.
Kid Rock's problem on Rock N Roll Jesus is two-fold: his music is so cluttered with comforting clichés, it plays like music for a theme restaurant, and his words fall flat. Of the two problems, the music isn't as serious: splashy and silly though it may be, at least it gets the basic sound right, even if it's way too polished and precise. Kid chases after shopworn riffs without ever reworking them or infusing them with enough spirit to make them his own; they just lie there, crushed beneath the weight of classic rock history. Nor does he goose his conventional chords with his signature ribald humor, which perhaps is the most shocking and notable thing about Rock N Roll Jesus: he's lost all of his verbal facility, to the point where he can no longer tell a dirty joke. It's as if by leaving rap behind, he's also discarded any claims at being clever. The man who once saluted all his heroes in the methadone clinics now just lazily spits out profanities and rhymes "things" with "things," telling lowlife tales so generic they feel invented. It's not that his topics are tired -- easy sex is as timeless a topic for rock & roll as true love -- but he's no longer inhabiting a role, he's acting it, which makes his tawdry tales not only cheap, but disposable. There's one exception to this rule and that's his nasty, clumsy David Allan Coe-styled kiss-off to ex-wife Pamela Anderson, "Half Your Age," the one song that is truly steeped in the dirty grit of real life. It may ring true, but it's so mean-spirited, it strips him of any residual roguish charm -- and when a rogue loses his charm, he just comes across as a prick, as Kid Rock does on Rock N Roll Jesus.

tags: kid rock, rock n roll jesus, 2007, flac,

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Accept - I'm a Rebel (1980)

*Reissued by Victoria on an unknown date. 

This is a repress of the original 1980 LP release.

Country: Germany
Language: English
Genre: Heavy Metal

Label Number: X-80.0500

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© 1980 Victoria
AllMusic Review by Eduardo Rivadavia
Coming off a less than stellar first album, Germany's Accept showed a marked improvement with 1980's I'm a Rebel. The production values still leave something to be desired, but both the band's trademark guitar crunch and vocalist Udo Dirkschneider's gravelly shriek are evident for the first time on this album. Their songwriting skills are also evolving rapidly, with the title track (their first bona fide classic), "China Lady," and "The King" showing the first glimpses of the power and energy that would soon turn Accept into Germany's most successful metal band -- second only to the Scorpions.

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Faith No More - Album of The Year (Limited Edition) (1997) ☠

*U.K. limited edition. 

Contains a second disc with 6 remixed tracks.

Country: U.S.A
Genre: Alternative Rock

Label Number: 828 902-2

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☠: Selected by Lass

© 1997 Slash/London Records
AllMusic Review by Greg Prato
Faith No More's 1997 release Album of the Year featured the talents of another new guitarist, Jon Hudson, who replaced Dean Menta (Menta only toured with the group in support of King for a Day before being dismissed). Like King for a Day, Album is more straightforward musically than past releases and remains one of FNM's most focused and concise works. Recorded in bassist Billy Gould's home studio, Album of the Year would turn out to be their last studio recording before splitting up in 1997. A trio of outstanding tracks -- "Stripsearch," "Last Cup of Sorrow," and "Ashes to Ashes" -- blend hard rock and pop melodicism the way only FNM can, while "Helpless" is an unpredictable composition that alternates between heavy guitar riffing and Mike Patton's tempered vocals. The explosive album opener, "Collision," and "Naked in Front of the Computer" show that the band can still compose prime heavy rockers, while other musical forms were included as well (the romantic ballad "She Loves Me Not," the evil boogie of "Home Sick Home," and the Middle Eastern sounds of "Mouth to Mouth"). For the gripping album closer, "Pristina," the '90s turmoil in Yugoslavia is used as a backdrop for a tale of lovers being separated due to war. Album of the Year was a fitting way for one of alt-rock's most influential and important bands to end its career.

tags: faith no more, album of the year, limited edition, 1997, flac,

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Dru Hill - InDRUpendence Day (2010)

Country: U.S.A
Genre: R&B

Label Number: KEG00009

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© 2010 Kedar Entertainment Group
AllMusic Review by Andy Kellman
Eight years after Dru World Order, Dru Hill return with their literally hard-fought fourth album -- a process documented on the Centric series Keith Sweat’s Platinum House. With Woody and Scola out of the group, Sisqó, Nokio, and Jazz are joined by Tao. The vocal arrangements on Dru World Order often sounded cluttered. Now that the group is back to being a quartet, there’s greater clarity, and Tao complements the sound of the original members while adding a new dimension with a higher register. Despite Dru Hill's lengthy absence, not much of an adjustment was necessary for them to remain contemporary. Past collaborators Nate Mooring and Wirlie Morris, along with Jason Scott, divide the production duties. The sound is mainstream R&B circa 2010, albeit on a smaller budget. Nothing trumps any given song from the group’s string of Top Ten singles -- these voices could have used some better material -- but the album will likely please most of the fan base, as it is a rather skillful update of the familiar.

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Boy George - This Is What I Do (2013)

Country: United Kingdom
Genre: Pop, Reggae-Pop

Label Number: VME002CD

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© 2013 Very Me Records
AllMusic Review by James Christopher Monger

The first studio album from George Alan O'Dowd in nearly two decades, This Is What I Do begins appropriately enough with "King of Everything," a surging, late-period Elton John-inspired power ballad/anthem that finds the newly refurbished (chemically and spiritually) pop icon trying to make amends with pretty much everybody. Boy George has spent the majority of his time away from the studio in the headlines, and This Is What I Do spends the majority of its just under an hour running time explaining why, apologizing, and wondering "What's the word on the street/Have I lost my crown/Or will I be king again." George's voice, once a throaty, alternately cocky and pleading croon that could melt the paint off of the walls, now smolders at a much lower level, and that huskiness lends a mournful and bluesy patina to the 12-track collection that dutifully reflects the artist's newfound maturity. George may have lost a little of his edge, but he's still a commanding presence, even if his reputation precedes him in a way that does him no favors. Songs like the breezy country-soul confection "It's Easy" and the richly detailed, autobiographical "Live Your Life" suggest an artist whose rebirth may blossom via the death-cheating, soulful singer/songwriter route, while more propulsive numbers like "Bigger Than War," which is almost a dead ringer for the Sopranos theme (Alabama 3's "Woke Up This Morning"), show that the former Karma Chameleon hasn't lost his ability to shape-shift. That said, much of This Is What I Do is so mired in rote recovery-speak and murky midtempo reggae (the last six tracks are nearly interchangeable) that it never manages to leave any emotional footprints in the listener's head. Sure it's mature, soulful, and often beautiful, but it's also mostly forgettable.

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Backstreet Boys - In a World Like This (Target Special Edition) (2013)

*Target retail store special edition. 

Contains 2 bonus tracks.

14 tracks total.

Country: U.S.A
Genre: Pop

Label Number: 81003908-2

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© 2013 K-BAHN, BMG Rights Management
AllMusic Review by Stephen Thomas Erlewine
Usually, teen idols sprint away from the notion they're racking up the years, but the Backstreet Boys cannily decided to treat their 20th Anniversary as a very big deal, bringing Kevin Richardson back into the fold -- he left after 2005's Never -- for a tour, a documentary, and In a World Like This, the band's seventh album. Over the course of the back half of the 2000s, Backstreet Boys slowly accepted their advancing age, making a slow shift from dance-pop toward adult contemporary, and although it has a sharper gleam in its sheen, In a World Like This doesn't find BSB reversing this trend. Working primarily with longtime colleague Max Martin, Morgan Taylor Reid, and Martin Terefe, who has produced Jason Mraz, Ron Sexsmith, James Morrison, and KT Tunstall among other singer/songwriters, Backstreet Boys take sideways glances toward their past but focus on the present, happy to keep things smooth even when the rhythms get a little heated. Most of the heavier dance beats come courtesy of Reid -- the single "Permanent Stain," "One Phone Call," the shoutalong closer "Soldier" -- but even then it rarely feels as if the Backstreet Boys are desperate for a club hit; as much as anything, these harder beats are there for some variety in texture. Max Martin does an admirable job in deglossing his hooks on the title track, but where BSB really shine are on the Terefe tracks, which sometimes hint at the breezy acoustic melodicism of Mraz, but better still evoke the classic stripped-down soul of prime Babyface, especially on "Try" and "Trust Me." Perhaps there are moments where texture trumps composition, but overall In a World Like This is a surprisingly mature and fine record from a former boy band that seems unafraid to act its age.

tags: backstreet boys, in a world like this, target edition, 2013, flac,

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Kid Rock - Devil Without a Cause (1998) ☠

Country: U.S.A
Genre: Rapcore, Hip-Hop, Southern Rock

Label Number: 7567-83119-2

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☠: Selected by Buccaneer

© 1998 Lava/Atlantic Records
AllMusic Review by Stephen Thomas Erlewine
It's unlikely that even Kid Rock believed he had an album as good as Devil Without a Cause in him. Nobody else believed it, that's for sure. But he didn't just find the perfect extention of his Beastie and Diamond Dave infatuations here, he came up with the great hard rock album of the late '90s -- a fearlessly funny, bone-crunching record that manages to sustain its strength, not just until the end of its long running time, but through repeated plays. The key to its sucesss is that it's never trying to be a hip-hop record. It's simply a monster rock album, as Twisted Brown Trucker turns out thunderous, funky noise -- and that's funky not just in the classic sense, but also in a Southern-fried, white trash sense, as he gives this as much foundation in country as he does hip-hop. But what really reigns supreme on Devil Without a Cause is a love of piledriving, classic hard rock, not just that of hometown hero Bob Seger, but Lynyrd Skynyrd, Van Halen, and faceless arena rock ballads. The Kid makes it all shine with rhymes so clever and irresistible that it's impossible not to quote them. For all its modernity -- Rock's rapping, the titanic metallic guitars, Joe C's sideshow sidekick, the plea to "get in the pit and try to love someone" -- this is firmly in the tradition of classic hard rock, and it's the best good-time hard rock album in years (certainly the best of the last three years of the '90s).

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Kid Rock - Cocky (2001) ☠

Country: U.S.A
Genre: Rapcore, Country Rock

Label Number: 83482-2

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☠: Selected by Buccaneer

© 2001 Lava/Atlantic Records
AllMusic Review by Stephen Thomas Erlewine
Great title. Pretty good album. Perhaps it shouldn't be a surprise that Kid Rock decided to follow his Devil Without a Cause blueprint for its follow-up, since that was the record where he figured out how to mix "the hard rock/Southern rock with the hip-hop," creating a towering, powerful original blend of country-fried metal, heartland rock, knowing arena rock posturing, old-school rap, and classic American hard rock. It was what he planned to do from the outset, so why should he give it up now that he could finally do what he always wanted? Still, there's no denying that a sequel simply does not pack the punch and the surprise of the original, no matter how well it's constructed, and that's why it initially is easy to view Cocky as a bit of a disappointment, since it not only offers nothing new, it seems considerably tamer than its predecessor. How could it not? Not only does Kid have nothing to prove this time around -- he not only went platinum, he did it ten times-plus and then landed Sheryl Crow and Pam Anderson -- he no longer has his midget sidekick, Joe C., around to enhance the Midwestern carnival atmosphere of his entourage. That wild, white-trash Fellini-esque vibe is missed, as is the overwhelmingly great songwriting of Devil, but if not viewed as direct competition with its predecessor -- which is, after all, the great hard rock album of the late '90s, filled with great sounds and songwriting -- Cocky is a pretty good sequel. One that roots itself deeper in classic rock than in hip-hop and one that isn't as gonzo or as funny, but is still much, much funnier and looser than any of its competitors, while rocking much harder. If the songs aren't classics or if it tends to drift instead of staying focused like Devil, it still is better than anything else in Kid's catalog and anything else from his rap-metal competitors (he makes all of them sound like rank amateurs), and it has better riffs and earthier rhythms than any hard rock artist since .38 Special, while retaining a true Michigan flavor. That might not make it the equal of Devil Without a Cause, but unpretentious, blue-collar hard rock hasn't sounded this good in nearly 20 years, and that's reason enough to celebrate.

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Kid Rock - Kid Rock (2003) ☠

Country: U.S.A
Genre: Rapcore, Country Rock

Label Number: 83685-2

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☠: Selected by Buccaneer

© 2003 Atlantic/Lava/Top Dog Records
AllMusic Review by Stephen Thomas Erlewine
Kid Rock gained his fame as a white-trash rapper, but he retained his fame as a white-trash rocker, using the breakthrough of 1998's Devil Without a Cause to refashion himself as a modern-day blue-collar rocker, as comfortable with crunching bluesy riffs as he is with heartbroken country. The former Bob Ritchie started this transformation on 2001's Cocky, an enjoyably jumbled album that didn't quite take off until "Picture," his straight country duet with Sheryl Crow, was embraced by country radio, reviving the album and even bringing him nominations from the CMA. Kid was already in the process of abandoning metal and, to a lesser extent, hip-hop, so he seized this opportunity to become a full-out rocker and outlaw country singer with his next album, 2003's Kid Rock. Many of Kid's signatures are still in place -- the bragging, the boasting, the songs about sex, fame, and rock & roll, the hard riffs, the self-mythology -- but it no longer sounds like a mix of David Lee Roth and the Beastie Boys (even if the latter's Rod Carew rhyme from "Sure Shot" is lifted for "Intro," just moments after a "So Whatcha Want" reference); it sounds as if Hank Williams, Jr. and David Allan Coe are his new role models. Both Hank and Coe have a similar sense of inflated ego and penchant for name-dropping that borders on self-parody, and Kid Rock follows the same path here, particularly on the numerous rockers -- rockers that range from the heavy, heavy "Jackson, Mississippi" to laid-back, loose-limbed boogies like "Rock n' Roll Pain Train." He wisely plays up the sensitive side of "Picture," too, borrowing from DAC's soul-searching ballads and Bob Seger's introspective numbers. He even revives "Hard Night for Sarah," a song Seger wrote and recorded in 1979 but never released (something that likely wouldn't have happened if he hadn't switched management to Seger's longtime partner, Punch Andrews), and the tune, along with the similarly effective original "Single Father" (inexplicably listed as a bonus track, when there is no other release of the album without it), gives Kid Rock an emotional underpinning it needs, since so much of this is nothing but good-time music. Of course, there's nothing wrong with good-time music, and Kid is proud to make party music -- which he should be, since he does it well. Song for song, this is better-written and harder-rocking than Cocky, and while it's easy to wish that Kid was still as witty and funny as he on Devil Without a Cause, there's a certain cornball charm to his unabashed silliness and how he treats every rock & roll cliché as if it was a newfound truth. That's the power of Kid Rock's personality -- he may blatantly borrow from his influences, and he may recycle and celebrate shopworn clichés, but he does it with flair, style, good hooks, and charisma that shines through on each track. It's what makes Kid Rock -- both the artist and the album -- kind of irresistible. As silly, foul-mouthed, and obvious as he is, he does it so well you just can't help but like the guy.

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Kid Rock - The History of Rock (2000)

Country: U.S.A
Genre: Rapcore, Hip-Hop

Label Number: 7567-83314-2

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© 2000 Lava/Atlantic Records
AllMusic Review by Stephen Thomas Erlewine

Devil Without a Cause was so good it caused everybody to re-evaluate Kid Rock, including Rock himself. As he prepped a follow-up, he unleashed The History of Rock, a hodgepodge of new songs, unreleased tunes, demos, old cuts, and re-recordings. This not only bought the Kid time, it gave him a chance to revamp a past that was bordering on the seriously lame. According to The History, Rock always knew what he was doing. Anyone that's heard The Polyfuze Method knows that's not the case, but that's the beauty of The History, since the early stuff now sounds of a piece with Devil. It isn't nearly as good, but it has some of the same thrills since his band hits harder and funkier than any of its rap-rock peers and Rock now has a fully cultivated persona. Still, the songs just aren't here. Apart from the "Get Out of Denver" rewrite "Born 2 B a Hick," "Early Mornin' Stoned Pimp," "3 Sheets to the Wind," and maybe the Skynyrd-aping "Prodigal Son," the older recordings are still clumsy, something the new song "American Bad Ass" is not. A shameless slab of self-mythology where the former Bob Ritchie calls out tag lines from Devil and places himself in the company of Seger, the Beasties, and No-Show Jones, all to a sample of Metallica's "Sad but True," it's cool, more or less, but not as monumental as "Bawitdaba," which had true wit, original riffs, and a sense of purpose. But, once you've worn out Devil and you need a new fix, you're not going to find it on the older Kid Rock albums -- you're going to find it here. It's not a great listen, but its swagger and white-trash style make it the second-best record in his catalog to date.

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K-Ci & JoJo - X (2000)

Country: U.S.A
Genre: R&B

Label Number: 088 112 398-2

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© 2000 Island Records
AllMusic Review by Alex Henderson
X is the Roman numeral for ten, and this late-2000 release is titled X because it marks Cedric "K-Ci" Hailey and Joel "JoJo" Hailey's tenth anniversary in the recording business -- first as one half of the trio Jodeci, then as the duo K-Ci & JoJo. X, the duo's third album, isn't a radical departure from its two previous albums; like 1997's Love Always and 1999's double-platinum It's Real, this CD emphasizes romantic material and combines a high-tech urban contemporary production style with an appreciation of classic soul. K-Ci & Jo-Jo were never a carbon copy of Jodeci, and X won't be mistaken for Diary of a Mad Band. Though X contains a few hip-hop-minded, up-tempo selections (including "Game Face" and "Thug N U Thug N Me"), romantic ballads and slow jams are dominant. A few of the tunes are retro-soul gems -- especially "Wanna Do You Right" and the Bobby Womack-influenced "I Can't Find the Words" -- although most of the time, X is merely decent urban contemporary. One thing that's never in doubt is the Hailey Brothers' skills as vocalists; while a lot of urban contemporary artists get over on image alone, K-Ci & JoJo really do have impressive vocal ranges. X isn't a masterpiece, but unlike all of the urban artists who have nothing more than image and attitude going for them, the Hailey siblings bring some genuine talent to this generally pleasant, if predictable, CD.

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K-Ci & JoJo - Love Always (1997)

Country: U.S.A
Genre: R&B

Label Number: MCAD-11613

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© 1997 MCA Records
AllMusic Review by Alex Henderson
After becoming two of the best-known R&B singers of the 1990s as half of Jodeci, brothers K-Ci and JoJo Hailey formed a cohesive duo for Love Always. A definite surprise to Jodeci fans, the CD contains few traces of new jack swing and lacks the type of suggestive, R-rated lyrics the foursome had become known for. It was clear that the great soul music of the 1970s was very much on K-Ci & JoJo's minds when they made this album, an unpretentious collection of ballads and slow jams that isn't mind-blowing, but is definitely above average. In contrast to the homogenized nature of so much '90s R&B, things are refreshingly organic on such cuts as "Now and Forever," "Still Waiting," and "Baby Come Back." And an impressive cover of L.T.D.'s 1976 hit "Love Ballad" may very well be the best thing the Hailey brothers have ever done -- inside or outside of Jodeci.

tags: k-ci and jojo, k ci & jojo, love always, 1997, flac,

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K-Ci & JoJo - It's Real (1999)

Country: U.S.A
Genre: R&B

Label Number: MCADE 11937

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© 1999 MCA Records
AllMusic Review by Stephen Thomas Erlewine

K-Ci & JoJo's first album Love Always established the Jodeci refugees as fine R&B vocalists, blending classic soul traditions with contemporary urban production and technique. Blessed with strong sales and good reviews, Love Always became a hit, setting up high expectations for the duo's second album, It's Real. For those expecting a flat-out masterpiece, It's Real will disappoint, primarily because it doesn't so much as expand on past glories as it simply replicates them. Since they're good singers with generally good material, this isn't a problem, even if it makes it all seem a little too pat and predictable. Occasionally, the Hailey brothers decide to rely a little bit too much on their impressive vocal technique, taking off on soaring glissanados that ultimately distract as much as they impress. That, combined with the stylistic similarity of the material, makes It's Real bog down a little bit, but the very best moments -- "Makin' Me Say Goodbye," "I Wanna Get to Know You," "How Long Must I Cry," "Hello Darlin'," among others -- are contemporary urban romantic soul at its finest, which is reason enough to hear the disc.

tags: kci and jojo, k ci & jojo, its real, 1999, flac,

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Boy George - Tense Nervous Headache (1988)

Country: United Kingdom
Genre: Pop, Synth Pop

Label Number: CDV2546

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© 1988 Virgin Records
AllMusic Review by Aaron Badgley
The history of Boy George's second solo album is somewhat confusing and frustrating for fans/collectors. Tense Nervous Headache was released as the follow-up to his brilliant solo debut, Sold, and was released in Japan, England, and parts of Europe. For some reason, Boy George was not happy with the outcome of this album, as he said that the album was over-produced and did not achieve what he wanted. So, he decided to "fix it" before releasing it in North America, where it became known as High Hat, with a different track listing and a slightly different sleeve design. Some of the tracks were remixed by Bobby Z. Still not entirely happy with the finished product, Boy George and Virgin went back in the studio, changed tracks, added several others, altered the sleeve yet again, and produced the album Boyfriend for the European market. The CD version of High Hat became the "official" version released worldwide; however, Europe was treated to this CD (and Japan, where an additional track,"No Clause 28," was added), which has several additional songs compared to the original vinyl. So, after all that work, what about the music? Sadly, this album was not worth the effort. It is muddled, poorly recorded, and rather drab dance music that's missing the soul and excitement of his debut effort. The songs are over-produced and his voice gets lost in the mix. Boy George has one of the most distinctive voices in pop music, and here it merely blends into the rest of the music. There are some highlights, including his great rendition of "What Becomes of the Broken Hearted," and the opening tracks, "Don't Cry" and "You Are My Heroin," briefly revisit the glories ofSold. "You Are My Heroin" was especially cheeky given his problems with that particular drug. Overall, a disappointing sophomore effort.

tags: boy george, tense nervous headache, 1988, flac,

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Nirvana - MTV Unplugged In New York (1994)

Country: U.S.A
Genre: Acoustic Rock

Label Number: DGCD-24727
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© 1994 DGC
AllMusic Review by Stephen Thomas Erlewine

If In Utero is a suicide note, MTV Unplugged in New York is a message from beyond the grave, a summation of Kurt Cobain's talents and pain so fascinating, it's hard to listen to repeatedly. Is it the choice of material or the spare surroundings that make it so effective? Well, it's certainly a combination of both, how the version of the Vaselines' "Jesus Doesn't Want Me for a Sunbeam" or the three covers of Meat Puppets II songs mean as much as "All Apologies" or "Something in the Way." This, in many senses, isn't just an abnormal Nirvana record, capturing them in their sincerest desire to be R.E.M. circa Automatic for the People, it's the Nirvana record that nobody, especially Kurt, wanted revealed. It's a nakedly emotional record, unintentionally so, as the subtext means more than the main themes of how Nirvana wanted to prove its worth and diversity, showcasing the depth of their songwriting. As it turns out, it accomplishes its goals rather too well; this is a band, and songwriter, on the verge of discovering a new sound and style. Then, there's the subtexts, as Kurt's hurt and suicidal impulses bubble to the surface even as he's trying to suppress them. Few records are as unblinkingly bare and naked as this, especially albums recorded by their peers. No other band could have offered covers of David Bowie's "The Man Who Sold the World" and the folk standard "Where Did You Sleep Last Night" on the same record, turning in chilling performances of both -- performances that reveal as much as their original songs.

tags: nirvana, mtv unplugged in new york, 1994, flac,

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Mount Salem - Endless (2014 Reissue)

Country: U.S.A
Genre: Doom Metal

Label Number: 3984-15281-2
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© 2013-2014 Metal Blade Records
Review by Dom Walsh for LouderThanWar.com
Endless comes roaring at you like a rabid dog. A cacophony of guitars, drums and organ helps set the stall out immediately on the aptly titled Good Times. When this awesome mix is complemented by the glorious vocals of singer Emily Kopplin, you can tell straight away that this album is going to be good.
The Tower sees the guitars continue to snarl in a mist of reverb, creating a suitably doomy atmosphere. Around the track’s mid point the guitar part allows the band to add another facet to their sound and leads to the song’s crushing end with the drums being battered and again the vocals are blisteringly good.
A bluesier introduction adorns Lucid before it settles into another mid tempo, chugging slab of doomy rock. As the track matures, the blues feel is more prevalent as the organ adds a cold and haunting atmosphere against an increasingly heavy back drop.
Full Moon sees Kopplin  serenading your ears with a mournfully sung introduction. The guitars and drums slowly build towards the fastest paced track of the album so far. The whole track motors on and is a real neck wrecker of a track. Mescaline has a heavier harmonic feel to it, with the organ providing the mainstay of the mix. This serves as the introduction to the towering Mescaline II. The aforementioned vocals are sublime throughout and the range and delivery on Mescaline II is spine tingling. Along with a great solo to close, this is definitely one of the many highlights here.
Penultimate track, Hysteria, carries many of the same characteristics of the album and the slow, doomy chug of the guitars is one of the most Sabbath sounding moments here. Again, the organ gives a ghoulish slant to proceedings making the album an exciting and sinister listen. The End signals the album’s closure with more doom-laden worship, Mount Salem saving some of the most powerful riffs until the end to really close out the album in crushing style.
I can’t emphasise enough how wonderful the vocals are on this album. Ranging from devilish snarl to bluesy, soulful cries, it certainly helps set the album apart from your regular doom record. The guitar work is also varied throughout. Obvious influences such as Black Sabbath and Saint Vitus underpin the sound, but the skill with which the band execute their formula is excellent. This album is certainly going to be one of my highlights of the year.

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