September 16, 2017

Melanie C - The Sea (2011)

*European pressing. 
Contains 1 bonus track and 12 tracks total.

Country: United Kingdom
Genre: Pop, Electronic, Pop Rock
Label Number: 5052498-7892-2-1

© 2011 Red Girl Records
AllMusic Review by Jon O'Brien
It's difficult to remember a time when Spice Girls' solo careers weren't met with either total apathy or utter bemusement, but at the start of the noughties, Melanie C appeared poised to become the Robbie Williams of the group, with debut Northern Star racking up over a millions sales, spawning two U.K. number one singles, and sticking two fingers up to the skeptics who argued that a girl-band singer, best known for doing back flips in track suits would never appeal to an older album-buying audience. Unfortunately, it's all been downhill since then, and after taking herself too seriously on 2003's underperforming Reason, her solo career has fallen the wayside of her former bandmates', with the self-pitying pub rock of 2005's Beautiful Intentions and 2007's more encouraging but still slightly bland This Time failing to make any kind of impact whatsoever. But while the rest of the Spice Girls appear content to concentrate their efforts on trashy reality shows and fashion ranges, the artist formerly known as Sporty Spice continues to persevere with what she became famous for, as evident on her fifth studio album, The Sea. The good news is that while the four-year gap between her first and second record killed her career, the same lengthy time away this time around appears to have rejuvenated it, as its 11 tracks, co-written with the likes of Starsailor's James Walsh, Guy Chambers, and Spice/Spiceworld producer Richard Stannard, are the most mature and accomplished she's produced in over a decade. Drenched in luscious cinematic strings, the tribal drums and new age melodies of the title track, the Latin-tinged percussion of "Weak," and the twinkling, ambient electronica of the epic eight-minute "Enemy," feature the kind of orchestral production which show that Melanie's sometimes rough-around-the-edges tones have pleasantly mellowed somewhat: "Think About It" and "Stupid Game" are bombastic Katy Perry/Kelly Clarkson-esque pop/rock anthems which prove she can still compete with those who were barely in their teens during the peak of Spicemania, while the grandiose "Get Out of Here" sounds like Muse's cover of "Feeling Good" crossed with a John Barry James Bond score. The X-Factor winner's "Beautiful Mind" and '80s-inspired "Drown" are perhaps just two string-soaked ballads too many, while "Burn," with its simplistic, childlike production, is pure synth pop by numbers. But The Sea is still a huge leap forward from her past three efforts, and had it been released as the follow-up to Northern Star, rather than 12 years down the line, it could possibly have sustained her initial solo success.

tags: melanie c, the sea, 2011, flac,

Melanie C - Version of Me (2016)

Country: United Kingdom
Genre: Pop, Pop Rock
Label Number: REDGCD6

© 2016 Red Girl Records
AllMusic Review by Stephen Thomas Erlewine
For Version of Me, her first pop album in five years, Melanie C seems to take several cues from Ellie Goulding. What draws Melanie C to that light is its sleek, urbanite gloss, equal parts pop, R&B, and electronica. Melanie C is a stronger personality than Ellie Goulding -- she's not as dexterous a singer, but that's her appeal -- and the songs on Version of Me also have strong contours: not necessarily hookier melodies, but arrangements that emphasize movement instead of shimmer. Version of Me still tends to collapse into style, grooving on feel instead of song, but Melanie C actually winds up giving the album a bit of a kick. No matter how anodyne and elegant her electronic surrounds are, she punctures their sheen with her earthiness, and that gives Version of Me an unexpectedly nervy heart.

tags: melanie c, version of me, 2016, flac,

Melanie C - Stages (2012)

Country: United Kingdom
Genre: Musical, Stage & Screen
Label Number: REDGCD4

© 2012 Red Girl Records
Review by Ian Foster for The Reviews Hub.com
With her 2010 performance as Blood Brother’s Mrs Johnstone gaining her an Olivier-award nomination and a forthcoming turn as Mary Magdalene in the arena tour of Jesus Christ Superstar, erstwhile Spice Girl Melanie C’s connection to the world of theatre is a genuine one and so the release of a CD of musical theatre songs could well be seen to be more than just paying lip service. Recorded with long-time collaborator Peter-John Vettese, Stages is, according to the official website, “a collection of songs from the theatre that have been important to Melanie at various stages of her life”. Songs, from the theatre. Remember this.
Over a confused and unimaginative track-listing, which covers a bewildering array of songs whose connections to the theatre are often far from apparent, this seems destined to be a collection that will disappoint fans of both Melanie C and of musical theatre. What this album wants to be – and arguably should have been – is a collection of easy listening soft jazz. Chisholm is a much more effective singer when relaxed, her distinctive nasal tone appears far less frequently, and so the gentle swing through the Gershwin-penned Aren’t You Kinda Glad We Did from The Shocking Miss Pilgrim is rather pretty, and renditions of I Only Have Eyes For You and My Funny Valentine are quietly efficient.
But not content with being a musical theatre-jazz standard hybrid, Stages further smudges its identity with the spurious inclusion of generic numbers whose connections to the central theme are tenuous at best. Anyone who a) thinks the world needs another version of Both Sides Now or more crucially b) considers it as representative of musical theatre (it is part of the soundtrack for Priscilla, Queen of the Desert in case you were wondering) should seriously look at their career choices. Likewise with the Bacharach/David classic I Just Don’t Know What To Do With Myself, apparently here as part of Shout! The Mod Musical and admittedly far from horrendously sung and arranged here, its inclusion speaks of a massive failure of imagination in song choice, a complete lack of faith in the concept of a musical theatre album, or perhaps both.
Sadly though, even when Stages does what it ostensibly set out to do, it comes up extremely short. A stab at Sondheim in Another Hundred People is brave but lacking the vocal precision that the song demands to really come alive, the big-band treatment of Maybe This Time smooths out the rough edges of desperation that is the core of the song, the list of things that the singer of Hair’s Ain’t Got No / I Got Life does not have should be amended here to include the necessary soul to sing this song and give it meaning and incredibly given that there’s a genuine connection to musical theatre for once with Tell Me It’s Not True, the impassioned finale from Blood Brothers, the arrangement here is horrific, the final two minutes in particular are just criminal. Even the much-touted Spice Girl reunion with Emma Bunton guesting on Chess’ I Know Him So Well is rendered dull and lifeless by a rendition which tinkles along unobtrusively with little impact.
Ultimately, the conflict between creativity and marketability has resulted in something which is at best inoffensive pap and at worst, a calculated yet uninspired opportunist move. It is most frustrating as the hints of what could have been are here: a stripped-back take on The King and I’s Something Wonderful has a shimmering delicacy and Lloyd-Webber’s I Don’t Know How To Love Him has a certain charm. But with album notes that proclaim a lack of interest in singing anything in character on this album, the final product is a confused mess and predictably rather soulless. The world of musical theatre is full of writers, old and new, who deserve to be showcased with passion and respect and fortunately, we have a raft of wonderful hard-working, under-rated stars who are willing to do just that. So instead, for a real look at the varied vibrancy of the world of musical theatre, listen to the likes of Julie Atherton, Helena Blackman and Annalene Beechey demonstrating real commitment to the genre.

tags: melanie c, stages, 2012, flac,

September 13, 2017

Melanie C - Northern Star (2000 Reissue)

*Reissued in 2000 by Virgin Records. 
Contains 2 bonus tracks and 14 tracks total.

Country: United Kingdom
Genre: Pop, Pop Rock, Electronic
Label Number: 7243 8 50065 2 4

© 1999-2000 Virgin Records
AllMusic Review by Stephen Thomas Erlewine
Although she wasn't anointed Indie Spice by the British music press until after the Spice Girls' second album, Melanie Chisholm always made it clear that she preferred Blur to Take That. Of course, her personal musical tastes never surfaced on the Spices' albums, which may be the reason she is the first Spice to release a solo album while still in the group. With her debut, Northern Star, Mel C wants to break from her Sporty Spice persona while proving herself as a legitimate musician and she does, more or less, with a surprisingly diverse record. Melanie C has a fairly strong voice, a good sense of melody, and carries a tune with some personality, which is one of the reasons why the genre-hopping of Northern Star works. She can convincingly deliver everything from the pop balladry of the title track to the snarling, neo-industrial punk statement of purpose "Goin' Down." And it's a good thing that she can sound convincing on a variety of different styles, since Northern Star attempts to summarize pop music circa 1999. It begins with "Go!," a William Orbit-produced slice of swinging '60s pop with electronica underpinnings, and closes with the ballad "Feel the Sun." In between, she tries a bit of everything -- Brit pop on "Suddenly Monday," post-Garbage modern rock on "Ga Ga," techno-inflected dance on "I Turn to You," urban balladry on "Never Be the Same Again" (complete with a rap by Left Eye Lopes), and melodic adult pop on "Why." Certainly, that's a bit more stylistically schizophonic than Geri Halliwell's album, but that's its charm. It's not a knock-out, yet Northern Star is a solid, well-crafted alterna-pop of modest but palpable charms.

tags: melanie c, northern star, 1999, 2000, reissue, flac,

Melanie C - Reason (2003)

Country: United Kingdom
Genre: Pop Rock
Label Number: 724358240528

© 2003 Virgin Records
AllMusic Review by Stephen Thomas Erlewine
When Mel C launched her solo career in 1999 with Northern Star, she embraced her persona of "Indie Spice," turning out a colorful, promising collection that was hardly "indie," but surely had more musical weight than any other Spice Girl-related solo platter (which may be why it was one of only two released in the U.S.). It didn't sell particularly well, though, which must have scared Melanie Chisholm, if the four-year gap between Northern Star and 2003's Reason is any indication. And if the near half-decade between records isn't a sign that she was shocked into change after the indifferent reaction to her debut, the streamlined, safe approach on Reason is proof that Mel C was desperate to make sure she still had a career of some sort. Falling somewhere between Robbie Williams' stabs at MOR and Geri Halliwell's adult contemporary balladry and dance-pop, Reason aims for the pop center, trying to reach as many people as possible while still trying to retain some semblance of hipness. It winds up sounding flattened out, particularly on the ballads, which contain no aural character and tend to play up the fact that Chisholm has little range as a vocalist. The mid-tempo and dance numbers fare better since they play to her strengths and their hooks are more evident, but too much of Reason sounds stuck in time, as if it could have come out in 1999 as easily as 2003. This would be alright if the songs worked, but most of them are colorless and characterless, sounding as if their main goal is to get on pop radio. There are two exceptions to the rule: the sweetly soulful "Lose Myself in You," sounding like "Say You'll Be There" slowed down for seduction, and "On the Horizon," a number co-written by ex-New Radical Gregg Alexander which, along with Santana's "Game of Love," proves that he is the catchiest, smartest professional mainstream pop songwriter of the early 2000s. But two songs do not make an album, and these bright moments -- along with, to a lesser extent, the lead single/album opener, "Here It Comes Again," whose slow crawl is mannered, but a bit of a grower nonetheless -- aren't enough to make Reason work, which is a real disappointment after the very good, very promising Northern Star.
tags: melanie c, reason, 2003, flac,

Melanie C - Beautiful Intentions (2005)

*German release. 
Contains 13 tracks.
Country: United Kingdom
Genre: Alternative Rock, Pop Rock
Label Number: 5051011-0537-2-6

© 2005 Red Girl/313 Music
AllMusic Review by Matthew Chisling
Beautiful Intentions, the third solo album by former Spice Girl Melanie C, marked a turning point in the big-voiced pop star's career; it was the first album released on Melanie's own label, Red Girl Records, following her departure from Virgin Records. Thus, Melanie C was finally allowed to don the name "Indie Spice," which she had lingering around her for some time already. The new creative control that Melanie C had over her album broadened her horizons considerably; Melanie allowed herself to fly more freely on Intentions, giving her solo music -- which was always rock-tinged pop music -- a sharp new look. On Beautiful Intentions, Melanie C developed her style into an aggressive pop-angled album boasting heavy beats with dramatic rock swings doused in musical cyclones of energy. She borrowed qualities from other heavy-talented rock divas such as Anastacia to produce a more bombastic sampling this time around. Individually, the majority of the songs were well suited for radio, with strong lyrical support, thanks to Melanie, who co-wrote all but one track on the album. What's most exciting is how, on the album's choice ballads, Melanie C actually soars over the music and kicks Spice booty with terrific vocals; the poignant "First Day of My Life" is the strongest individual track, as Melanie glimmers with poise over simple yet classy music. Tracks like "Next Best Superstar" and "Beautiful Intentions" showcase Melanie C best in the pop light, and the remaining ten tracks all support her stunning voice with contemporary rock synthesized with pure pop. The final product is simply dazzling; and Beautiful Intentions is without a doubt the strongest solo album by any of the Spice Girls. Truth be told, it was one of the strongest solo pop albums of 2005, regardless of artist.

tags: melanie c, beautiful intentions, 2005, flac,

Litany - Aphesis: The Sapience of Dying (2008)

Country: Greece
Language: English
Genre: Doom Metal
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© 2008 Eat Metal Records
*No professional reviews available for this release.

tags: litany, aphesis the sapience of dying, 2008, flac,

Spiritus Mortis - The God Behind The God (2009)

Country:Finland
Language: English
Genre: Doom Metal
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© 2009 Firebox Records
Review by @DemonDust for Metal Rage.com
Yes, another Finnish doom metal band! But this time it is no newcomer to the scene. In fact Spiritus Mortis is the oldest doom metal band from that particular country. Formed in 1987, the band has released numerous (eight to be exact) demo records, yet this is only their third full length record. I really wonder what that says about the band, being around for that long but not releasing a full length record until 2004. Oh well, let’s review The God Behind The God.
Spiritus Mortis plays doom metal in the traditional vein, which means it sounds like bands such as Black Sabbath, Pentagram, Cathedral, Candlemass, Trouble and Solitude Aeternus to name a few. The band recruited a new vocalist this year, and it is none other than Reverend Bizarre vocalist Sami Hynninen. His band quit two years ago, so I guess he was a natural choice for the band to pick. Also his voice fits the music really well, Sami has an epic voice which he can use in both a low and high pitch, creating the suiting dynamics vocally. Musically the tempo goes from dramatically slow to slightly up-tempo, just like most of the bands mentioned above.
Overall the production of this record is quite fine, and also the songs have been written in a good traditional fashion. This makes it a nice listen for every fan of this type of doom metal and I advise all to check them out if it appeals to you.
tags: spiritus mortis, the god behind the god, 2009, flac,

Spiritus Mortis - Spiritus Mortis (2010 Remastered Edition)

*Reissued & remastered in 2010 by Firebox Records. Contains 4 bonus tracks & 18 tracks total.

Country: Finland
Language: English
Genre: Doom Metal
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© 2004-2010 Firebox Records
AllMusic Review by Eduardo Rivadavia
Some 15 years in the making, Spiritus Mortis' self-titled debut offers an interesting time warp to heavy metal's more innocent days, circa 1988: part New Wave of British Heavy Metal galloping simplicity, part Candlemass-style, melodic doom, and part Black Sabbath-approved primitive sloth. In other words, there's a lot more going on here than one would expect from a self-described, straight-up doom band. Namely, the aforementioned galloping rhythms, which, when they don't charge right through tracks like "Forever" and "Vow to the Sun," regularly jolt initially creeping numbers like "Death Walking," "Forbidden Arts," and "...In Me" into decidedly undoom-like, higher rpms. Eventually, it's the aptly named "Doom Mood" that actually slows down enough to fit the bill, and subsequent offerings like "Flames" and "The Throne Will Fall" are fittingly drenched in bellowing, quasi-operatic vocals, thunderous yet clearly toned guitar riffs, rumbling Rickenbacker bass, and heavier-than-thou drumming. Except for the totally unnecessary, piano-led goth-schmaltz witnessed on closer "Mighty One," this is a solid if largely unoriginal album whose greatest downfall comes at the hands of a rather dodgy production job. Still, for metalheads looking for a retrofitted ride to nostalgia (or a similar take on Sweden's more accomplished Krux), it's hard to resist giving this release a chance, if only to dig on the monstrously chugging grooves and bright chorus of the excellent "Sweet Oblivion."

tags: spiritus mortis, spiritus mortis album, 2010, remaster, 2004, flac,

Spiritus Mortis - Fallen (2006)

Country: Finland
Language: English
Genre: Doom Metal
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© 2006 Black Lotus Records
AllMusic Review by Eduardo Rivadavia
Over the course of a largely undocumented two-decade career, marked by more mistakes and misfires than would be possible to list here, Finland's Spiritus Mortis added yet another blunder to the pile by accepting an offer to record their first full-length album from well-intentioned but financially doomed British label Rage of Achilles, which released that opus only months before going out of business in 2004. Lucky for them, enterprising Greek independent Black Lotus was waiting in the wings, ready to scoop them up for album number two, 2006's Fallen. This, like its predecessor, betrays a strong influence from Chicago's Trouble and Sweden's Grand Magus, while offering surprisingly few examples of the long-winded, sluggish grinds which most listeners would consider classic doom. Rather, Spiritus Mortis prefers -- and excels -- when delivering relatively brisk, hard driving, and notably brief retro-rockers like "New Age," "Divine Wind," and "Wasteland" (where unexpected organs actually have the band sounding like Rainbow). Somewhat more moderately paced standouts include "Leave Me" and "Sleeping Beneath the Lawn," which opens with some minimalist piano tinkles as ominous as its title; but others, like "All the Words Were Spoken" and "All This in the Name of Love," fall a little closer to boredom -- the latter's imaginatively creepy lyrics notwithstanding. Another regular sticking point for Spiritus Mortis' work is Vesa Lampi's somewhat dodgy vocals. Whether due to unsympathetic production or purely to lack of chops (it's hard to put a finger on which) his vocals frequently fail to match the quality standards of the instrumentation behind him. Then again, on the dreadful closing ballad, "Goodbye," the entire group sounds out of sorts, and clearly out of their comfort zone. For the most part, however, Fallen is an entertaining second effort, which shows marked improvement over Spiritus Mortis' first effort -- here's to some measure of stability and fewer distracting mistakes in years to come.

tags: spiritus mortis, fallen, 2006, flac,

September 10, 2017

King Diamond - Voodoo (1998)

Country: Denmark
Language: English
Genre: Heavy Metal
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© 1998 Metal Blade Records
AllMusic Review by Andy Hinds
On King Diamond's eighth concept album, the prolific horror rocker hasn't entirely run out of ideas, although the material on Voodoo is generally predictable. Set in New Orleans, the story line is loaded with more witchcraft, haunted houses, and ghosts. The music stays true to form as well; Diamond's cartoonishly ghastly vocals haven't lost any of their bite, long running sideman Andy LaRocque maintains his own high level of proficiency on the guitar, and the band in general turn in dependably workmanlike performances. Overall, King Diamond achieves a sort of musical equivalent to the classic Hammer horror films of the 1960s. He invests a sincere enthusiasm in his work that is hard not to appreciate.

tags: king diamond, voodoo, 1998, flac,

Velvet Revolver - Libertad (2007) ☠

Country: U.S.A
Genre: Hard Rock
Label Number: 82876 88859-2
☠: Selected by Lass
© 2007 RCA Records
AllMusic Review by Stephen Thomas Erlewine
Velvet Revolver always seemed like the answer to a quintessential L.A. rock & roll question: what does the engine of Guns N' Roses do when they're left to rust by the side of the road? It was long past the point when Slash, Duff, and Matt Sorum could possibly hope that Axl would abandon Buckethead, Tommy Stinson, and whoever else was toiling away in the studio under the GNR banner and go for a reunion tour, and old rockers need a place to make noise even while they're in the process of fading away, so they started a new band (Izzy may or may not have been invited to the party, but he long ago started following his own path and never seemed interested in coming back into the fold). A band as big as this needed a true star to front it -- a lesson well learned from the charisma-free black hole that was Slash's Snakepit, where the vocalists never could quite spar with the guitarist -- so even if they flirted with Buckcherry's Josh Todd, there really was only one choice to fill the singer's slot and that was Scott Weiland, who wasn't abandoned from his own imploding band, Stone Temple Pilots, as much as alienated from them due to a combination of ego and excess. A band in search of a singer, a singer in search of a band, both parties calling Los Angeles their home, both well-known for their all-encompassing love of rock & roll debauchery -- it seemed like nothing could go wrong.
As it turned out, nothing quite went unquestionably right, either, as their 2004 debut, Contraband, met the GNR-meets-STP expectations but never transcended them. It was far from a flop -- selling millions around the world -- but it wasn't quite compelling either, partially because it was too easy to hear the separation between Slash's sleazoid blooze riffs and Weiland's hazily psychedelic melodies, and they had yet to find a common ground apart from a handful of songs. Despite this, it was hard not to feel some affection for Velvet Revolver, since they were so unrepentant in their love for old-school rock & roll theater, and also since they were driven by Slash and Duff, two of the most lovable characters in '80s hard rock, and there was a certain joy to hearing them play again on a big stage where they belong. But the key problem with Velvet Revolver is that the GNR aesthetic doesn't quite gel with Weiland. If GNR are the kind of band all rock fans feel good about loving, Weiland is the kind of frontman who gets grudging respect; it's possible to love his music, particularly the irresistible swirling melodies, without really loving him. A large part of this is that he exudes a reptilian coldness that doesn't thaw even when paired with the big, blowsy rock of Slash and Duff, but instead of giving the music tension it just means that it doesn't quite gel, since both parties play to their strengths instead of finding a collective sound.
That's as true on their second album, 2007's Libertad, as it was on Contraband, but this record is more cohesive than the debut, partially due to the presence of Weiland's old STP producer, Brendan O'Brien, who lends the recording color and texture that enhances the melodies while still giving the guitars considerable muscle. O'Brien amplifies the energy for both the singer and the band and, taken on their own terms, they sound quite good. Weiland gets off some great tunes (as on the "Days of the Week" sequel "She Mine"), sometimes the band dominates (as on "Spay"), and sometimes everything suddenly clicks (as on the relentless opener, "Let It Roll," where both parties shine). Too often, though, there are concessions between Weiland and the others during the course of a song, with the bandmembers getting to ride their riffs during the verse, then fading into the background as Weiland delivers a chorus that is indelibly his own, as on "She Builds Quick Machines," which seesaws between the two extremes. This isn't necessarily a bad thing because both camps are good at what they do and the individual pieces of the songs are pretty enjoyable, but as Libertad rolls on, it's hard not to wish that Velvet Revolver buckled down and acted like a band, finding a way to fuse their two aesthetics into a whole, instead of stroking their individual egos by indulging in what they're good at.
Of course, indulgence is the very reason the band exists: it's what made them stars, and without GNR or STP around, all the guys in this band need some outlet for their energies (which may only be partially musical). And in that regard, Velvet Revolver fulfill a need for the bandmembers, but also for an audience that is craving rock & roll that is proudly about good times -- an audience that is not insubstantial in 2007, but is poorly served. Libertad won't necessarily provide that audience with lasting sustenance, but it is a quick enough fix of old-fashioned rock & roll hedonism that does do its job reasonably well, as it has the riffs and melodies to please, even if they're not quite pulled together as full-fledged songs. And that's all down to the band acting as a group of stars instead of a group -- the charisma of each individual bandmember still shines brightly, but if they can funnel that into some kind of group charisma next time around, they might finally have an album that lives up to their past instead of merely doing no disservice to it.

tags: velvet revolver, libertad, 2007, flac,

Rise & Shine - Empty Hand (2011)

Country: Sweden
Language: English
Genre: Doom Metal
Style: Traditional Doom
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© 2011 I Hate Records
*No professional reviews available for this release.

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Rise & Shine - FlowerPowerMetal (1998)

Country: Sweden
Language: English
Genre: Doom Metal
Style: Traditional Doom
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© 1998 Black Widow Records
*No professional reviews available for this release.

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Rise & Shine - Ghosts of The Past (2006)

Country: Sweden
Language: English
Genre: Doom Metal
Style: Traditional Doom
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© 2006 Plugged Records AB
*No professional reviews available for this release.

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Rise & Shine - Roadflower (1999)

Country: Sweden
Language: English
Genre: Doom Metal
Style: Traditional Doom
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© 1999 Black Widow Records
*No professional reviews for this release.

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Joe - Ain't Nothin' Like Me (2007)

Country: U.S.A
Genre: R&B
Label Number: 88697 06704 2

© 2007 Kedar Entertainment
AllMusic Review by Andy Kellman
Can you think of many R&B artists who first appeared during the new jack swing era and continued to release good, up-to-date albums on a major label throughout the first decade of the 21st century? You probably cannot. If you can, Joe is likely near or at the top of that list. His sixth album -- which went through a number of titles and projected release dates until it landed in April 2007 as Ain't Nothin' Like Me -- is up to the standard of 1997's All That I Am and 2000's My Name Is Joe. Contemporary as ever, Joe seeks production and songwriting assistance from a number of ubiquitous heavyweights and up-and-comers, including the perpetually on-the-rise Tim & Bob (who first worked with Joe on 2000's "So Beautiful"), hot Norwegian team Stargate (Ne-Yo's "So Sick," Beyoncé's "Irreplaceable"), Sean Garrett, Bryan-Michael Cox, Johnta Austin, the Underdogs, and Cool & Dre. A handful of tracks aren't all that necessary, but if you were to trim the sequence down to ten or so, you'd have a 40-minute album that is not too far from faultless. The Tim & Bob, Stargate, and Sean Garrett productions complement each other well, especially within the album's opening four-song stretch. Beats dance and skip, supported by simple and roomy but effectively layered ornamentation -- music box-like melodies, floating synthesizer accents -- that is never laid on too thick. They're ideal for a nuanced vocalist like Joe, who can affect desire, pain, and devotion with the slightest of adjustments. From there, the quality level fluctuates, and there are too many ballads, but "Let's Just Do It" (another spacious, midtempo glider) and "Just Relax" (where Joe and Cool & Dre jack A Tribe Called Quest's "Electric Relaxation" and sidestep corniness) are two other standouts. While a very basic name, a lack of flashiness, and sizeable gaps of inactivity have only gotten in the way of his popularity, Joe has maintained relevant and reliable since he debuted.

tags: joe, aint nothin like me, 2007, flac,

September 09, 2017

Velvet Revolver - Contraband (2004) ☠

*White cover. 
Released in 3 different album colors (red, black and white) 
Track list remains the same for all covers.
Country: U.S.A
Genre: Hard Rock
Label Number: 82876 59795 2
☠: Selected by Lass
© 2004 RCA Records
AllMusic Review by Johnny Loftus
Contraband features Slash, Duff, and Matt Sorum (as well as additional guitarist Dave Kushner) cranking out an updated version of Guns N' Roses swagger behind Scott Weiland's glammy, elastic vocals. With STP's vocalist and such a high percentage of ex-Gunners, Velvet Revolver really is a supergroup. "Went too fast I'm out of luck and I don't even give a f*ck," Weiland spits on "Do It for the Kids," and a peel from Slash's arsenal backs him up. Maturity has clearly come at a price for both parties. Weiland still mugs and sings like a florescent lizard king. But his appetite for the spotlight has somehow become more voracious even as he fights cynically against it, and longs for an escape. For their part, Slash, Duff, and Co. like stirring up their old demons -- check the explosive entrance on "Set Me Free" to get things a-tingling like the old days. But they're not running a nostalgia show, so there are new tricks and sounds, too, and plenty of choruses that shift into STP-style layering and vocal phrasing. The bass-heavy throb of "Big Machine"'s verses surges into a hard-charging '90s alt. rock chorus; "Headspace" alternates representative chunks of both bands' sounds with veteran skill; and "Superhuman" rants about illegal substances in language everyone can understand. Overall, Contraband sounds pretty much like you'd expect of such a collaboration. Lead single "Slither" is an immediate highlight, its gasoline-drinking cocaine strut staining it as the offspring of "Big Bang Baby" and "Nightrain", while the album's detours -- "Fall to Pieces", the gorgeous "Loving the Alien" -- are painted in dusty reds and browns, like idealized fever dreams of escaping to the desert with the one you love. These mediations point to the pain behind Weiland's cynical veneer, and perhaps the entire band's veteran hope for a head-clearing open space. Remember, between them they've probably seen it all. With Contraband, Velvet Revolver pull off something tidy - their music manages both hedonism and maturity.

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September 08, 2017

Joe - And Then... (2003)

Country: U.S.A
Genre: R&B
Label Number: 82876-53707-2

© 2003 Jive Records
Review by Allmusic.com
Joe maintains his steady recording output with And Then..., another in a line of his generally solid if not overly exceptional albums highlighted by a couple standout cuts. For And Then... Joe collaborates with a few talented producer/songwriters, namely R. Kelly ("More & More," "Make You My Baby") and Roy "Royalty" Hamilton ("Sweeter Than Sugar," "And Then...," "Street Dreams"), who handle approximately half the album. Kevin "Shekspere" Briggs, another top-notch contemporary R&B songsmith, also contributes a small late-album gem, "Bedroom." As always, Joe is only as good as the songs he's singing -- he's a fine vocalist with a smooth delivery and a velvety tone, but not necessarily outstanding on his own -- and here he's in really good hands, especially on the aforementioned Kelly and Hamilton songs, which rank among the very best of his career.

tags: joe, and then, 2003, flac,

Joe - My Name Is Joe (2000) ☠


Country: U.S.A
Genre: R&B
Label Number: 01241-41703-2
☠: Selected by Lass
© 2000 Jive Records
AllMusic Review by Stephen Thomas Erlewine
Joe is hardly an appropriate name for a lover man -- it seems more like a moniker for a custodian than a Casanova -- but that's exactly what Joe is. He's an old-fashioned romantic soul crooner in the vein of Al Green, Marvin Gaye, D'Angelo, and, well, Gregory Abbott. He's not as ambitious as D'Angelo is, but that doesn't really matter, since he delivers the goods on his third album, My Name Is Joe. Joe never oversings or oversells a song, he just lays back and sweetly sings. There may not be much variety or many remarkable songs on the record -- "Get Crunk Tonight" stands out with its stuttering, fade-in-fade-out intro and its stylishly funky beat -- but that doesn't matter because this is essentially a mood record, and that mood is love. And it's not a bad romantic mood-setter, either, since Joe is an appealing vocalist, the production is lush without being syrupy, and the songs are all fairly strong, even if only a handful are exceptional ("Somebody Gotta Be on Top," "Treat Her Like a Lady," "Get Crunk Tonight," the N'Sync duet "I Believe in You"). And, really, that's enough, since anyone that gets hooked by a single from My Name Is Joe just wants an assurance that the album will deliver more of the same -- and it does.

tags: joe, my name is joe, 2000, flac,

Joe - All That I Am (1997)

Country: U.S.A
Genre: R&B, Soul
Label Number: 88697 06704 2

© 1997 Jive Records
AllMusic Review by Leo Stanley
Joe's second album, All That I Am, is an entertaining collection of contemporary soul that alternates between smooth ballads and hip-hop-inflected dance-pop. At his best, Joe can make this music irresistible; at his worst, he merely makes it entertaining. There are a few slow spots on the record, but at its best, All That I Am is first-class urban soul.

tags: joe, all that i am, 1997, flac,

Pantera - The Great Southern Trendkill (1996)

Country: U.S.A
Genre: Groove Metal
Label Number: 61908-2

© 1996 EastWest Records America
AllMusic Review by Steve Huey
Thankfully, Pantera has stopped attempting to outdo each successive album in terms of start-to-finish intensity, but that doesn't mean they don't try in spots. The Great Southern Trendkill is burdened with passages in which Phil Anselmo's vocals cross the line into histrionics, making the band's trademark intensity sound dull, forced, and theatrical rather than sincere. The lyrics, which reached their apex with Vulgar Display of Power's focus on personal politics and integrity, have degenerated into half-baked rants against drugs and pop-culture media. But Trendkill is partially redeemed by trading Pantera's usual pound-then-pound-harder approach to albums for a greater variety of tempos and moods. Dimebag Darrell, while mostly sticking to his familiar riffing style, does coax some intriguing, unexpected sounds from his instrument. Ultimately, though, the ballads and slower tracks ("10's," "Suicide Note, Pt. 1," and "Floods") provide the album's most chilling, memorable moments, and rank with their best material. Longtime Pantera fans will find plenty to enjoy here, and the band's expanding range bodes well, but overall, Trendkill is an inconsistent outing.

tags: pantera, the great southern trendkill, 1996, flac,