MINI REVIEW: COLD MOUNTAIN ORIGINAL SOUNDTRACK

Artist: Various artists including Alison Krauss and Jack White
Album Title: Cold Mountain (Music From The Miramax Motion Picture)
Genre: Folk/Americana
2003
Sony Records

When did I buy it?: A friend bought it for me, and it must have been in the year 2004.  I can't remember for sure.


Why did I buy it?: I saw the movie and was really intrigued by the music.  I had read an article about the soundtrack album, how it was supposed to be like "O Brother, Where Art Thou?" but with older styles of music.  While watching the movie, one of the Alison Krauss songs won me over and I must have mentioned it to the friend who bought it for me.

What are the best songs?:  First, I must mention the Sacred Harp Singers at Liberty Church.  Sacred Harp singing uses shape notes and seems to be primarily church music.  It's a very old tradition in American music, and two performances are included here -- "I'm Going Home" and "Idumea."  The former is a rousing performance, very rhythmic and joyous.  The latter, however, steals the show and is probably the finest song on the entire album.  It's a tsunami wave of voice, one powerful voice that goes straight to your heart and soul.  It sounds like the soundtrack to the end of the world.  I cannot remember which scene used "Idumea," but one doesn't need a scene to appreciate this masterpiece.  I can't make out too many of the words, but just listening to the sound of the combined voices moves me greatly.  I also like how one can sometimes make out the louder of the voices above all the rest.

There are some great, simple fiddle-and-banjo tunes by Tim Eriksen, Riley Bagus, Stuart Duncan and a few others, traditional musicians all.  The best of these is Tim Eriksen's "Am I Born To Die?"  The fiddle has a mournful, droning quality that matches the sorrow of Tim's vocal.  You can really feel the sadness and despair in his voice, even without paying attention to the words.  The peoples of Appalachia descend from the Scottish and Irish, and the sound of Tim Eriken's voice here is the voice of centuries of suffering and hard times shared by anyone Celtic.

"Like A Song Bird That Has Fallen," by the Reeltime Travelers, is a good, honest, simple song with percussive banjo, droning fiddle and good folky female vocals.  It's quiet, and it's delightful.

Another of the best songs on this soundtrack is Cassie Franklin's "Lady Margret."  This is a ballad, a Child Ballad in fact, sung a capella.  I'm a sucker for simple, direct songs such as these with no instruments to distract from the power of the human voice.  And what a voice Ms. Franklin possesses!  I love how she plays around with the vowels and the rhythms of the words.  This is an authentic, gripping, haunting song and I just adore it.

Jack White of the White Stripes contributes several songs to this soundtrack, and he does quite well.  His best performance is "Great High Mountain," as Appalachian as they come.  It sounds almost like a Stanley Brothers song and, once again, the fiddle here has a droning quality that reminds one of bagpipes.  Listen closely and you'll hear echoes of the Old Country in that fiddle.

Lastly, Alison Krauss' "You Will Be My Ain True Love" is just incredible.  This is the song that made me want the album.  It's in a minor key and has beauty, sorrow, and so much more.  It's used in a particularly powerful scene in the movie, and when you see this song playing with those images, you won't forget either.

Any bad stuff?:  Gabriel Yared's contributions stick out like a sore thumb.  They are pieces from the movie's score, and while they might be perfectly fine, they just don't fit in with an album full of songs.  They're tacked on to the end of the album, four in a row.  I think I've only listened to a couple of them in their entirety. 

Overall thoughts:  I have a great appreciation for traditional American music like what you find on this album, and the older and simpler, the better.  Truth be told, I like this album much more than "O Brother, Where Art Thou?"  Most of the songs here fit the Civil War theme - quiet, dignified, bittersweet, full of barely-restrained pain.  This is music for thinking and feeling, not for dancing.  What I like best about the album is the great variety of styles represented.  This album includes contemporary folk, authentic-sounding 19th Century folk, mountain balladry, Sacred Harp singing, fiddle tunes and more.  The music here is very simple compared to what we have now, but there's something sacred about the simplicity.  This is what it used to sound like, decades before recorded music and performing bands.  This is music for home, for church, and for one's self. 

This album doesn't get the same amount of attention as "O Brother," and I think a lot of people are missing out on some truly great music.  The music here led to the kind of music on "O Brother," and it's every bit as good.  There are some absolutely amazing performances on this album, and I wish more music fans would take a listen to it.

Tuesday Tunes - 10/13/09

Your tunes are ready:


Tell us about one album you purchased that you were seriously disappointed in and why? And do you still have that album in your collection?

In 2004/05, I was excited about the new Alison Krauss and Union Station album Lonely Runs Both Ways.  The first single "Restless" was pretty good, and I wanted to buy the album.  I did buy it in January of 2005, but I didn't like it too much and I still don't like it too much several years later.

There are some good songs on the album, but many of them are too boring and safe.  Alison Krauss has a very pretty voice, but it can put you to sleep if it's not matched to good songs.  I thought the band got too far away from bluegrass on Lonely.  Too many of the songs are bland, CMT-ready ballads.  Union Station is a good band, but they're only as exciting as they songs they choose to record and perform.    

What songs do I like on Lonely Runs Both Ways?  "Restless," of course.  "Goodbye Is All We Have" puts Alison's voice to good use.  Maybe it's the melody that counts.  "Rain Please Go Away" is a lot of fun.  "Gravity" is very pretty.  "My Poor Old Heart" has a nice darkness to it.  "Unionhouse Branch" is a great instrumental. 

In all, I think there's only a handful of songs that really turn me off on Lonely Runs Both Ways, but they're enough to really turn me off the album as a whole even if the album doesn't deserve it.  That's kind of sad.

Oh and, yes, I still have it in my collection. 

Review: Sgt. Pepper's Lonely Hearts Club Band (Remastered)

Right now, I can only afford one of the Beatles' remasters, and I bought the must-own Beatles album: Sgt. Pepper.

What's my verdict?  Is it really worth the money?  It is!  The sound is much improved over the previous CD issue.  That is to be expected.  The vocals, particularly, sound a lot better.  They are prominent in the mix and don't sound like they're coming from a cave or underwater (except for the distorted, echoed vocals).  For example, on "Good Morning Good Morning" John's vocal sounds like it was recorded yesterday.  On the previous CD version, his vocal sounded rather dated.

For the most part, the sounds are louder (but not too loud).  It sounds like most any modern CD in my collection.  I compared this version with MP3s of the previous version, and the difference was easily noticeable in most cases.  It even sounds great on my iPod!  I definitely notice things that I didn't before.  Some things I'm not going to notice because, well, my hearing isn't as great as it once was.  Mostly, though, I can hear everything better.  Paul's bass is thicker, and the strings on "She's Leaving Home" sound marvelous.  The harpsichord part on "Fixing A Hole" could have been louder, but I don't expect everything to be perfect.

Read More . . .

Album and DVD Review: Jeff Buckley "Grace Around The World"

When I heard the news about the new Jeff Buckley compilation Grace Around The World, I was skeptical. Grace Around The World is a package of live recordings of the Grace songs on DVD and audio CD. The deluxe edition, which of course is the one I purchased, also comes with a DVD of the Amazing Grace documentary. We have heard live versions of these songs before, in at least two CDs and one DVD of a concert. How much can a Buckley fan take? Did Mary Guibert and the team at Sony find really great, intense, different versions? Is the audio high-quality? These are all questions I had before buying the album/DVD. Here are my answers:

CD Portion

Unfortunately, most of these songs sound pretty much as you'd expect them to. The playing is great on some of them, and Jeff is in fine voice throughout, but Buckley fans have heard these chords, heard these melodies, memorized these lyrics. Of course, each version of a particular song will be slightly different, but not enough to matter.

By far, the best songs on this album are those recorded in Germany. Jeff's guitar tone is especially ethereal and beautiful. He sounds really in-the-moment and focused, and it shows. I don't know if So Real, Mojo Pin and What Will You Say are the only songs from this gig that were recorded, but I think the album would have worked better if there were more songs from this session. Especially unique is the 12-minute version of Mojo Pin. Jeff begins very quietly with a soft, chilling guitar sound and wordless singing. He keeps this up for many minutes, eventually adding some vocals. I've never heard this piece before, and it almost reminds me of "You and I" from the Sketches album. It sounds very Eastern and is kind of spooky. After this beginning, Jeff launches into the Mojo Pin we all know and love. Somehow, the first part of the song makes the actual song even more special and entertaining. Jeff sounds very intense and takes it to another level. This version sounds great even though he doesn't change the song very much, so I consider it a success. What Will You Say features some great guitar, and intense vocals as usual.

Eternal Life and Last Goodbye were recorded at MTV in London, and they're not too different from versions we've already heard. The slide guitar on the latter is perhaps a little more gorgeous, but otherwise it's the same song we all know so well. Eternal Life, on the other hand, is bizarrely dedicated to a pedophile (?) and sounds like a combination of the heavier version and the studio version. I greatly prefer the more intense Mystery White Boy version.

Lover, You Should Have Come Over and Lilac Wine are more intense and a little prettier, respectively, than their studio selves. "Lover" is the version on the Live In Chicago DVD. I'd be more upset about that if the song wasn't so great.

One thing I do not like about this album is the sound quality. Most of the songs sound OK, but some are so soft that you can barely hear them without boosting the volume. I know Jeff had a tendency to sing softly, but this is ridiculous. Especially bad is Hallelujah, which is a solid version once you can actually hear it. These same problems plagued the Mystery White Boy album, and I was hoping this effort would bring us better audio. I was wrong, and I'm not happy about it.

One song that is recorded well is Dream Brother, at the Howlin' Wolf in New Orleans. Jeff's vocals here are high in the mix, so you can hear him just fine. The Eastern influences of this song are displayed a little more, which is wonderful. Even so, it's not that different.

That leaves us with two versions of Grace and a second version of So Real. I really do not know what the point was in adding two more songs to the CD. The first version of Grace, which starts the album and DVD, sounds a lot like other live versions of the song. It's nothing we haven't heard before. Why can't they find a better version of this song? The second So Real is closer to the studio version, and thus not necessary and not special. I like the song, but it's not that great. I wish Jeff had written more lyrics for it. The second version of Grace sounds a lot closer to the studio version than the first version here, and by the time I hear it I start to get Grace fatigue.

The best thing about this album is the band. The guitar playing is incredible, especially in the songs recorded in Germany. Mick Grondahl's bass has more of a presence here, and there are times when his playing is just breathtaking. Matt Johnson proves why he was the best drummer for Jeff, keeping the beat steady and sure. Sometimes the band gets lost beneath Jeff's amazing voice, but we should remember that Jeff put together a really great band. They had a lot of practice together with all the live shows, and you notice it when you hear these songs.

I think I know the problem with this album. Most of the performances come from sessions done for promotional TV shows. I think the point of these performances was to do the song as perfectly as possible, leaving little room for new interpretations. Jeff wasn't in his true element - the live show. Only those who were there know what he was like when the cameras weren't rolling, and maybe that's the point. Maybe you just had to be there. Listening on our stereos, iPods and computers, removed from the live experience, the songs just don't have the same impact once we've heard them a million times.

DVD Portion

The DVD, which seems to be the main part of the package, brings us closer to that elusive live experience, and it helps these versions of the Grace songs immensely. Some are done in TV studios, and others before studio audiences. You can see how intense Jeff was and how much he put into his performance. The audio, thankfully, is a little better than it is on the CD. Still, there's no getting around the fact that we know these songs and we've heard them too many times to count.

In between the songs, you will find snippets of an interview between Jeff and a lady interviewer. It appears to be in someone's apartment (Jeff's?), with Jeff relaxed and insightful. I like how the editors of this project matched the themes of the songs with the themes of the clips. For example, Jeff talks about religion before the song "Hallelujah" is performed. I really enjoyed these clips, because they show how much of a thinker Jeff really was. He had a lot of soul, a lot of ideas, and a lot of love to share. I could have watched many more of these clips. There is also a clip montage of a "day in the life of Jeff Buckley" with Jeff reading his itinerary while images of tour buses and shows flash on the screen.

There are some bonus performances: "Grace" and "So Real" from the last portion of the audio CD, and another version of "Last Goodbye" as well as an instrumental "Vancouver." None of these are essential, although "Vancouver" is a good look at the band jamming.

The DVD also includes a video for "Hallelujah." It's not the studio version of the song, but I believe it's a version used in the extended EPK from a few years back. Interesting, but nothing we fans haven't seen before (at least we haven't seen the whole thing).

There is also a "Star Tours" feature which shows Jeff and the band on their tour bus. This feature is very funny and entertaining, and could have been longer. The last thing on the DVD is an "interview" between Merri Cyr and Jeff on Jeff's tour bus. This clip unsettled me. It feels like something private, something we're not supposed to see. I can't help but think that Jeff would be mortified if it came out when he was alive. Earth to Mary, mother of Jeff: We don't need to see everything. Respect your son's privacy, for crying out loud!

Amazing Grace Documentary

Now this is more like it! Two Jeff Buckley fans (one of them interned for Jeff during his career) sought to make a documentary about Jeff, his music and his music's impact on the world. They got the permission of Mary Guibert and made a splendid documentary that has won awards and been eagerly awaited by all the Buckley fans who were unable to see it at film festivals.

This documentary has been described as a look at his music, not a biography, but it does follow his career progressively. There are interviews with all of Jeff's band members but one, friends of Jeff like Chris Cornell, producers, writers, artists, and even Jeff's mother Mary. There are a few people missing, but perhaps they declined to participate. There are also clips of Jeff talking about his career and music. Some of the footage has been released before, but some seemed new to me.

In between the interview clips are clips of Jeff performing his famous Grace songs. The version of "Lover, You Should Have Come Over" is particularly spectacular. Why couldn't that have been on the other two discs? There are even a few brief clips of Jeff at Sin-e. We even get to hear from Sin-e owner Shane Doyle.

I thought the documentary was very well put-together and even beautiful. It's a great tribute to a wonderful artist. It fills in some of the blanks for me, through both information and visuals. For example, I now know what the Wolf River (the place where Jeff died) looks like. In the end, Jeff has the last word as he sings Grace. This version has been seen on the extended Grace EPK, but we get to see the whole thing here. I got chills just hearing his powerful voice belt out the tune. That's what it's all about.

Final Thoughts:

This package isn't so bad if I think about it as the Amazing Grace documentary plus bonus video clips and a CD of the performances. Honestly, I think I've reached my limit on the Grace material. The next project will have to be very enticing if it includes more than a few songs that album. If Mary and/or Sony cannot or will not find and release some truly rare performances and songs, then I think it's time to put the Jeff Buckley releases to bed. You can only release the same ten songs so many times. I'm glad I bought Grace Around The World for the documentary and the wonderful, haunting version of "Mojo Pin," but the rest did not excite me.

(Free) Album Review: "LeftRightLeftRightLeft" by Coldplay

To thank their fans, Coldplay is giving their latest album away to everyone who attends a show on their latest tour, and to everyone else through their website. It's a live album, taken from shows on the Viva La Vida tour. The title of the album is LeftRightLeftRightLeft, which goes nicely with their latest French/revolutionary image.

I downloaded the .zip file of songs without any problem, and I've listened to the album a couple times now. I think it's good, but not great.

There are two kinds of live albums: live albums that show the artist putting a creative stamp on their studio material, whether through improvisation or new arrangements; and live albums that sound pretty much like the studio recordings with the addition of crowd noises and grittier instruments. This live album is the latter, but don't let that discourage you.

With a few exceptions, most of these songs sound just like you'd expect them to. I think that is perhaps an indication of Coldplay's talent. If they can make songs sound consistent during a live show, they obviously know what they're doing. I do, however, wonder how many things were pre-recorded. It's hard to tell when you can only hear the music and not see it being made.

The nine songs here lean heavily toward material from Coldplay's latest album Viva La Vida. There is one song from their recent E.P., "Glass Of Water," and a not-commercially-released song called "Death Will Never Conquer." That one is sung by drummer Will Champion. I didn't much like it when they released it through their website, but this version is fun, if short. It reminds me of a pub sing-along. Fan favorites "Fix You" and "Clocks" make appearances too.

By far, the best thing on this album is the pared-down version of "The Hardest Part," coupled with piano instrumental "Postcards From Far Away." The vocals are in the spotlight here, and they're beautiful. If you didn't like "The Hardest Part," from third album X&Y, take a listen to this version.

Although most of the songs might sound overly familiar to fans who own the studio albums, there is something that makes them a bit different: the energy level. The crowd noises, the clapping, the singing along, the cheering - it all creates an infectious magic. That's one thing live albums have to offer that studio albums do not. You really feel like you're there among the other fans, and that makes this album worth the download.

One thing that this live album makes apparent is the stadium-ready nature of Coldplay's songs. Songs start soft, then build, then release. You really feel the release here, much more than on the studio versions. "Death And All His Friends," the album-closer, is a good example.

If you'd like to download LeftRightLeftRightLeft, you can go to www.coldplay.com and see if it's still available. If you're reading this months after I've posted, perhaps the band still has it on their site, or maybe they're selling it in stores.

Album Review: BeauSoleil "Alligator Purse"

The members of BeauSoleil are at a point in their career where they can do whatever they please musically. Of course, they'll never give up their traditional Cajun roots, but each new album offers something different, something new, something exciting. That was true for their last studio album, Gitane Cajun, and it's true for their latest, Alligator Purse.

This album has roots in a Hurricane Katrina benefit that bandleader Michael Doucet participated in. He reconnected with producer Michael Pillot and decided to use Mr. Pillot as the producer on BeauSoleil's next adventure. A group of famous folks from the Katrina benefit tagged along - people such as Natalie Merchant, Garth Hudson and John Sebastian.

When I first read the press release for Alligator Purse, I was worried that this would be a "guest artist" album. They have certainly had guests on other albums, so this is nothing new. I need not have worried, because most of the guest spots work well with the BeauSoleil sound. However, I'm not a huge fan of Garth Hudson's organ playing on "I Spent All My Money Loving You." It's too jarring and out-of-place.

What kind of album is Alligator Purse? It's a very fun album! The first four songs are all fast-paced and filled with great playing and singing. The albums kicks off with a traditional reel, "Reel Cajun/451 North St. Joseph St." New member Mitch Reed joins Michael Doucet with a second fiddle, and the fiddles lead the way on this whirlwind of a tune. I don't recall ever hearing Michael play so fast. Michael keeps up the great fiddling on the next song, "Rouler Et Tourner," a Cajun cover of blues song "Rollin' and Tumblin.'" There isn't much accordion on this one, but the fiddle playing is good and bluesy. Michael also sings very well on "Rouler." He's always done the blues well, and I'm glad he put this song on the album.

"Carriere Zydeco" is an instrumental, and a splendid one at that. The Creole influence comes out, and once again the fiddling takes the prize. Accordionist Jimmy Breaux gets to finally be heard with the rest of the music, and drummer Tommy Alesi also shines. I really enjoy this cut, and I wish they had put more like it on the album.

"Little Darlin'" features a guest vocal from Natalie Merchant on a genuine bluegrass song. This may be a BeauSoleil first! If you think BeauSoleil would do bluegrass well, you'd be proven right by this song. Everyone gets a solo here, which keeps the song rooted in the BeauSoleil tradition. "Marie" slows things down before they spin out of control, and features lead accordion by the always-wonderful Jimmy Breaux and some good sax playing too.

After a couple slower numbers, "Bosco Stomp" brings back the dancing with a very famous Cajun number. David gets his only singing appearance here, and makes the most of it with a high-pitched wail. "Theogene Creole" is reminiscent of other BeauSoleil Caribbean-style songs. Michael took the lyrics and melody from a field recording and fancied them up.

After the halfway point, the album gets away from Cajun and puts BeauSoleil into unfamiliar territory. "Les Oignions" has a sound straight out of New Orleans with jazzy trumpet and call-and-response vocals. "The Problem" is a J.J. Cale song and is pretty straightforward except for the solos by fiddle, accordion and guitar. Finally, "Valse A Thomas Ardoin" closes the album with a very traditional accordion-and-fiddle waltz originally by the legendary Amede Ardoin. Michael has done these traditional-sounding Ardoin songs on his solo albums, but not on a BeauSoleil release - until now.

When I think about it, this album really follows the footsteps of the previous Gitane Cajun. It features many authentic Cajun tunes, but mixes in some newer, non-Cajun tracks. There's a little of this for the traditionalists, and a little of that for everyone else. I've noticed that Jimmy's accordion isn't used quite as much as it used to be. Perhaps that's due to Michael's status as the leader of the group. As much as I like Michael's fiddling, I wish the accordion could be featured more prominently as in the band's earlier days. I have definitely noticed the presence of new member Mitch Reed. He has a style of bass playing different from Al Tharp - thicker and stronger. This is especially evident on "Carriere Zydeco." He's also a wonderful fiddle player (and a true Cajun), and brings the two-fiddle style to more of the songs than in the past.

On Alligator Purse, I definitely prefer the more traditional songs. The more mainstream songs are fairly good, but not as good as a two-step done by the masters. I did like the bluegrass number, but "I Spent All My Money Lovin' You" and "The Problem" aren't, to coin a term, BeauSoleil-ey enough for me. My favorite tracks here are "Reel Cajun," "Rouler Et Tourner," "Carriere Zydeco" (the first part of the album is stellar), "Bosco Stomp," "Theogene Creole" and "Les Oignons."

BeauSoleil keeps rocking after more than 30 years and continues to put out strong albums. If I could send the band a message, I'd tell them to keep up the good work and to put more songs like "Carriere Zydeco" on the next album!

MINI REVIEW: SARAH MCLACHLAN "WINTERSONG"

Artist: Sarah McLachlan
Album Title: Wintersong
Genre: Pop/Christmas
2006
Arista Records

When did I buy it?: I bought it in December of 2006, just a couple months after it was released.

Why did I buy it?: I like Sarah McLachlan, and I needed to get a Christmas album. This was my first.

What are the best songs?: I honestly like the non-traditional songs here the best. Perhaps the best song on the album is the warm, wonderful version of "Have Yourself A Merry Little Christmas." Sarah's voice on this song is as sweet as a candy cane. "River," a cover of Joni Mitchell, gives Sarah a chance to show her vocal talents. The same applies for "The First Noel/Mary Mary," which Sarah turns into an intense tribal-sounding showcase. It is the most daring of the songs on this collection.

"Happy Xmas (War Is Over)" is even better than John Lennon's version. It is a wonderful start to the album, and Sarah treats it with respect. "What Child Is This? (Greensleeves)" is very haunting, a contrast to the happy Christmas songs played over the radio this month. "Christmas Time Is Here" injects a bit of jazz into the mix, and features the wonderful Diana Krall on piano.

Any bad stuff?: I'm not a big fan of "I'll Be Home For Christmas," and Sarah doesn't do anything interesting with it. "In The Bleak Mid-Winter" sums up much of the mood of this album - subdued and bleak. I think Sarah could have put a couple happier, fun songs to break up the mood.

Overall thoughts: Sarah McLachlan's voice is perfect for Christmas songs. She can take any melody and make it sound great. She takes old favorites and new discoveries and makes them all sound like classics. This album is full of lullabies and soft piano, making this a more contemplative Christmas album. It's a good album to put on when you've had enough of the rushing, shopping and baking and want to slow things down.

Sarah McLachlan is not a big risk-taker, and most of the songs here play it fairly safe. Don't expect to hear fanciful interpretations of songs you know and love already (except for "The First Noel"). What you will find is a collection of Christmas songs done in a serious manner, without the hokey, cheesy plastic layer that so many Christmas classics have obtained over the years. Sarah brings things back to basics and does it well.

Sarah wrote her own original for this collection, the title track "Wintersong." It sounds just how a Sarah McLachlan Christmas song should. Perhaps someday in the future it will become a new classic covered by other artists on collections such as this.

MINI REVIEW: BILLY JOEL "AN INNOCENT MAN"

Artist: Billy Joel
Album Title: An Innocent Man
Genre: Pop
1983
CBS Records

This review is also my entry for this week's Tuesday Tunes.

When did I buy it?: I bought this on one October 1, 2008. I was going to buy only Rockferry by Duffy, but decided to look around a bit after I found it. I had Billy Joel on my radar, and found a used copy of An Innocent Man. Of course I bought it! How could I not?

Why did I buy it?: This all started with the video for "The Longest Time." I've always enjoyed that song, and when I saw the video on TV I started listening to it quite a bit. That led me to look up Billy's other videos. I noticed that many of his good songs are from this album, and thought I should buy it someday.

What are the best songs?: There are so many! Let's start with the best, "An Innocent Man." Piano-driven, honest, passionate - this song is amazing. The lyrics are profound ("Some people see through the eyes of the old before they ever get a look at the young.") This is incredible stuff. Next up is "The Longest Time," which sounds like a cover of a doo-wop classic until you find out Billy Joel wrote it. It has a timeless quality that shows just how great Billy can work. He overdubbed all the background vocals. Once again, the lyrics are wonderful.

"This Night" is pure romance. The chorus melody is from Beethoven, but sounds very natural in the context of the rest of the song. "Tell Her About It" is a great deal of fun all the way through. Billy writes another set of great lyrics about talking to your lover and telling her how special he or she is. This song is an homage to the great old Motown hits, and you can tell Billy really did his homework on the style.

"Uptown Girl" is another fun one. Yes, it's cheesy, but just try to resist singing along. It's neat to hear Billy change his voice to near-falsetto for this Frankie Valli tribute. "Careless Talk" is another 50s homage. Here, you get a taste of the quality of Billy's singing voice. He's smooth. He can belt it out like no one's business.

Finally, "Keeping The Faith" sums everything up. Billy discusses the hows and whys of this album full of yesterday's sounds. He remembers the good times, but reminds you that "the good old days weren't always good and tomorrow ain't as bad as it seems."

Any bad stuff?: "Leave A Tender Moment Alone." It belongs with "Just The Way You Are." Everything else on this album is golden.

Overall thoughts: I can't remember the last time I've had such fun listening to an album. I can't remember the last time I've wanted to sing along to everything. I can't remember the last time the lyrics, music and voice on an album were all spectacular and sounding great. I know Billy Joel isn't quite "cool" anymore, but this album is too good to ignore. Billy might not have the best voice I've ever heard, but he can sing amazingly well. His voice can be sweet, passionate and rough all in the same song.

Billy's goal with this album was to bring back the sounds of his youth, or at least try them out himself. He absolutely succeeded. No matter how old you are, you have to appreciate the feelings these songs bring up. This album points to a time when music was fun and songs weren't vulgar or materialistic (well, OK, "Easy Money" excepted). Most of these songs are good, old-fashioned love songs, the kind they don't write anymore.

For one shining moment in 1983, they did write them like that again. We have Billy Joel to thank for that. If you appreciate good music, you owe it to yourself to hear this album. If you don't like at least half the songs on it, I will publicly apologize for being wrong.

MINI REVIEW: THE FINN BROTHERS "EVERYONE IS HERE"

Artist: The Finn Brothers (Neil and Tim)
Album title: Everyone Is Here
Genre: Pop/rock
2004
Nettwerk America

When did I buy it?: I received it for Christmas in 2004.

Why did I buy it?: It was highly recommended by a friend with good taste in music. She introduced me to the music of Neil Finn, so I thought her recommendation would be a good one.

What are the best songs?: "Won't Give In" is the lead-off track and sounds like a hit single. It starts with Neil's voice, familiar to many, then brings in Tim's vocals for those of us unfamiliar with him, as I was. "Anything Can Happen" is another sure hit, and it was used in an episode of the TV show "Scrubs." The brothers harmonize perfectly on this uplifting song.

"Luckiest Man Alive" is Tim's first turn to shine. The lyrics are very sentimental and there is an ache in his voice that lets you know he feels what he sings. "Disembodied Voices" is another good song for harmony, and you can clearly distinguish between Neil's voice and Tim's voice. The song is a look back to boyhood chats in the dark.

"Gentle Hum" is Neil's showcase. It's a piano-led track and features the distinctive gorgeous Neil Finn vocals that Crowded House fans have come to know and love. It is indeed a gentle song, and a good way to end this great album.

Any bad stuff?: "Edible Flowers" might not sit well with everyone. It's a bit too tender and melancholy for my tastes. Some of the lyrics on this album are awkward. "This is our last chance, we've got to do it now" - what is "it"? Why should we "taste the edible flowers?" Fear not - most of the lyrics on this album are well-written.

"A Life Between Us" is as close to filler as this album gets. I forgot how the song sounded after several months between listens. Also, I think Neil should have had more lead vocals. The lead vocals seem to go to Tim most of the time, with most of the other songs featuring harmonies throughout.

Overall thoughts: I am always a big fan of sibling acts. Blood siblings seem to sing well together, which is great if you love harmonies. I had never heard (or heard of) Tim Finn before hearing this album, so the unfamiliar voice was a pleasant surprise. His rougher, more fragile singing voice is a perfect companion to Neil's sweet tones.

This album is full of great music. The instruments are played well, the melodies are fairly catchy, and the harmonies are so, so wonderful. Neil and Tim Finn are natural musicians, and their combined talents make for a must-hear album. If you are a fan of good, tuneful music played and sung by musicians who take their work seriously, there will be something on this album you'll enjoy.

MINI REVIEW: PAUL MCCARTNEY "MEMORY ALMOST FULL"

Artist: Paul McCartney
Album Title: Memory Almost Full
Genre: Pop/Rock
2007
Hear Music

When did I buy it?: I bought it just a month after it came out, in very late June of 2007.

Why did I buy it?: I had heard many good things about this album, so I was intrigued. I liked "Dance Tonight" well enough, and I had never bought a Paul McCartney solo album. What better time than now? I thought.

What are the best songs?: Those who enjoy Paul's rock side will be pleased with this collection. "Only Mama Knows" rocks as hard as anything Paul has ever done. Similarly, "Nod Your Head" will remind you of "Helter Skelter." It's a brief, but powerful, end to the album.

"Ever Present Past" and "See Your Sunshine" bring out the catchy pop melodies that Paul creates so well. "Feet In The Clouds" has wordplay reminiscent of Ringo's contributions to classic Beatles tunes, and is very easy on the ear.

Paul shows off the pure power of his voice in the epic tracks "Gratitude" and "House Of Wax." The latter, in particular, has a haunting, dark feel that surprises and delights. "That Was Me" is another rockin' tune that features Paul's wonderful voice. It's a neat look back at a life full of memories.

Yes, "Dance Tonight" is a punchy little burst of mandolin goodness. A decent first single, not the best song on the album, but not the worst.

Any bad stuff?: "You Tell Me" is melancholy and sung entirely in falsetto. It's not an easy track to hear. "Mr. Bellamy" is pleasant, but weird. "The End Of The End" has a positive message about death and dying, but the lyrics are not up to par.

Overall Thoughts: Some people like him, some don't. I happen to like him, and I think I made a good decision to purchase his latest album. I really have no idea if it's the right starting point for a new Paul McCartney solo career listener, but it's a quality choice. Some of the songs are very good, some very powerful, some very tuneful. However, there is very little that matches up to the best of the Beatles' work. Does that matter? I don't know, but I do know that what we have hear is an album with a number of good songs done by an artist who still "has it." Paul's voice is as strong as ever, and his ear for rock and pop is still in full force. I keep enjoying this album, and that is what matters.

Album score: I don't do that anymore. I end up giving 4 out of 5 most of the time. I tend to review albums that I like, so you can assume that if something is reviewed, I would give it a good score.

MINI REVIEW: PETE YORN "NIGHTCRAWLER"

Artist: Pete Yorn
Album Title: Nightcrawler
Genre: Rock
2006
Columbia Records

When did I buy it?: I bought it in February of 2007. I found it in the used bin, which was awesome because I was going to buy it for full price.

Why did I buy it?: I had heard some of the songs on it and I thought they were good. When I found out “Ice Age” was on it, that kind of sealed the decision. I wasn’t disappointed, unlike my listen to Pete’s second album Day I Forgot.

What are the best songs?: Most of the songs on this album are good, in my opinion. It’s so hard to choose the best. “Vampyre” starts things off darkly and intensely, with some great echoed vocals. “For Us” and “Undercover” are two great single-worthy songs. “For Us,” in particular, sounds like nothing else in the Pete Yorn catalog. “Undercover” has a killer riff that will get stuck in your head for hours, and Pete’s vocals are just gorgeous.

“The Man” is a country-tinged song with some fine singing by Pete and special guest Natalie Maines of Dixie Chicks. Their harmonies really make the song special, and the melody is fine as can be. “Maybe I’m Right” features a very satisfying chorus, made more powerful by some awesome drumming. The choruses on this album are some of Pete’s best yet. “Alive” is one of Pete’s most pop-oriented songs. It’s a piece of sunshine and goes down smooth as water.

“Ice Age” is the most beautiful thing Pete Yorn has ever created. It’s a gentle, tender, soft, romantic rock ballad. Pete’s voice on this song is gorgeous and delicious, allowing him to show his softer side on an album full of rock. I wouldn’t be surprised if it gets played at many proms in the next few years.

Any bad stuff?: Most of the songs on this album are at the very least decent, but I can mention a few low points. “Same Thing” has some good Yorn singing, but not much more than that. It’s slow and fairly un-melodic. “Georgie Boy” is a weird electronic experiment, not a typical Pete song at all. It is capable of being liked, but it just doesn’t seem to fit with the other songs.

“Bandstand In The Sky” is a very poor way to end the album. It’s not a very memorable song. On any other album, it might be considered good, but not compared to stuff like “Undercover” and “Maybe I’m Right.”

Overall thoughts: After Day I Forgot, I was a bit cautious about Pete Yorn’s output. I was very happy to discover that my caution about the third album was unnecessary. In fact, I may go so far as to say this is the best of his albums to date. It’s a lot more balanced than Musicforthemorningafter and keeps that album’s mix of folky sounds and hard rock. The melodies are stronger than ever, and the hooks are actually there.

The best thing about this album is that it’s so hard to decide the best song on it. There are so many highlights that nearly half of the songs are candidates for The Best Song. A good handful of these songs should be on Pete Yorn’s greatest hits, whenever that comes about.

After hearing this album, I’m very excited to hear what Pete Yorn will do next. He’s finished with the “day in music” concept batch of albums, so now he’ll be free to do whatever he feels like doing. If he keeps cranking out albums like Nightcrawler, he could become one of this generation’s best musicians.

Album score: 4 out of 5

MINI REVIEW: PRINCE "PURPLE RAIN"

Artist: Prince and the Revolution
Album Title: Music From Purple Rain (more commonly known as Purple Rain)
Genre: Rock/Soul/Funk
1984
Warner Bros. Records

When did I buy it?: I bought it on March 7, 2007, which was a Wednesday.

Why did I buy it?: This was one of those "must-haves" for the music library. I've seen it often at my favorite music store selling for $10 in the bargain bins, but never seriously thought about buying it until this year. Of course, the day I decided to buy it, it wasn't in the store. I had to go to Fred Meyer to purchase it, and I got it for $8. That's the lowest price I've seen for it yet!

I've recently gained an appreciation for Prince and his music, and I thought that this would be a good place to start with His Purpleness.

What are the best songs?: Most of the songs are great! "Let's Go Crazy" starts out with that great church-like introduction, and this isn't your momma's church. What follows is a few minutes of guitar-driven rock and funk, with Prince demanding that you go crazy and let loose. What a great way to start an album! "The Beautiful Ones" is a gorgeous ballad. It would be ordinary if not for the end of the song when Prince screams out in passion, letting his love for the woman show with every squeal and sigh.

"Computer Blue" is a nice piece of funk. It will make you get up and dance and shake all over. It also features some wonderful (but too brief) vocals from Prince. "When Doves Cry" is a pure classic. The strong beat, the jangly piano, and Prince's smooth singing make this a winner all around. The guitar playing is very strong too, and the lyrics are filled with strange, sexual imagery. "Baby I'm A Star" is another upbeat, funky dance tune. I think it's my favorite song on the album, especially due to Prince's impressive vocal performance. You'll be amazed at what his voice can do when you hear this song. Even when he isn't screaming, the tension in his voice unnerves you and makes it clear that Prince is feeling every word.

"Purple Rain," the last song on the album, is epic. Prince leaves behind the showing-off and delivers a heartfelt, moving rock ballad. If "Let's Go Crazy" is the perfect start to the album, then "Purple Rain" is the perfect finish.

Any bad stuff?: "Take Me With U" is an average, dated love song. Prince can do, and has done, a lot better. Perhaps it fits with the movie, but it drags down an otherwise excellent album. "Darling Nikki" is the most explicit and most weird song on the album. It's a very hard, dark song in contrast to the sensual imagery of the lyrics. Well, perhaps the lyrics aren't as sensual as they seem at first glance. What saves this song, though, is the odd backward vocal part at the end. It throws you for a loop and manages to sound almost gospel-like. If you think about it, there are many gospel tidbits scattered around Purple Rain ("Let's Go Crazy," the title track, and this).

"I Would Die 4 U" is another fairly average song. It's not bad at all, but not as strong as some of the other songs on the album. Even though a break was needed from Prince's screaming and crying, I still miss it in his vocal performance in this song.

The only other major misstep is the decision to cut "Computer Blue" to one lyrical verse. I enjoy Prince's vocals on that song so much that one verse simply isn't enough!

Overall thoughts: This album has certainly earned all the acclaim it has been given over the years. It does sound a bit dated in a few places, but what else can you expect from one of the seminal albums of the 1980s? Prince delivered a great set of very strong songs (with the exception of "Take Me With U"). It's more of a rock album than a funk album, but there are indeed songs that bring the funk. The upbeat songs, in particular, get inside your head and move you physically as well as emotionally.

The guitar is great, the grooves are punchy, but what sets this album apart is Prince's very expressive singing voice. Vocally, this album almost reminds me of Grace by Jeff Buckley. Both singers can dial it down and deliver a smooth ballad, but in the same song they can scream and wail and push their voices to the limits. It's the singing on Purple Rain that makes me listen to it time and time again, even though I've only owned it since March.

Album Score: 4 out of 5

ALBUM REVIEW: "Yours Truly" by Natalie MacMaster

I’m a huge fan of Canadian Celtic fiddle player Natalie MacMaster. I discovered her online in 2001, and I’ve loved her music ever since. I buy each new album she puts out, and I’ve even seen her in concert twice. So when I heard she was putting out a new album called Yours Truly (without a firm release date until just last month), I was very excited. It’s her first album since 2003's Blueprint. Natalie titled it Yours Truly because she composed many of the tunes and feels it’s the album that shows “her” the most. If that’s true, then the album tells us that Natalie is quite talented (as if we didn’t already know that!) and that she has a very diverse range of influences and interests, but still keeps her love for the traditional.

I’m very impressed with Yours Truly after a few days of listening. It sounds very different than everything she’s released before, yet hints of previous recordings still show through. This is the album that finally puts it all together for her - the sense of adventure, the playfulness, the beauty and the need to keep things fresh and interesting. I have a lot to say about this album, so I’ll just go track-by-track.

1) Volcanic Jig

The jig, written by Natalie herself, sounds like a standard Cape Breton jig, but has a hint of sweetness in the playing that sets it apart from most other jigs. She has managed to take the lovely spirit of tracks such as “Eternal Friendship” and apply it to a faster dance tune. That’s pretty amazing! Her touring band backs her on this track (and many others). The addition of a cello deepens the sound and provides a great contrast to Natalie’s fiddle playing. The jig is also noteworthy because it stands alone. Most other Cape Breton tunes I’ve heard are played in sets of at least two, but here Natalie keeps it to just one. That’s already a big departure from her past work.

This track starts out gentle, but gets more thunderous as the drums seriously kick in and Natalie plays harder and harder. That’s an example of how her band can supplement her playing and make the tunes give off subtle emotional cues that Natalie may not be able to accomplish solo.

2) NPG

This track is a further departure from her earlier work. It shows off Natalie’s playful and adventurous side. Bagpipes from Matt MacIsaac start things off, then Natalie’s fiddle comes in and plays off what the pipes are doing. The rest of the song is a give-and-take between Natalie and Matt - a real duel between pipes and fiddle. The main reel is typically Cape Breton, and when it kicks in, the pipes and fiddle duet instead of duel. The pipes add a power that Natalie’s fiddle alone cannot achieve. I’m so glad she’s finally added bagpipes to her recordings.

There are a few moments in this track where Natalie pulls out some interesting sounds from her fiddle beyond what a traditional player might do. I don’t know how else to describe what she plays here, but it shows her ability to put personality into her playing. Violins, more than any other musical instrument, have that potential in the right hands.

This is a very upbeat, modern and energetic song. It really shows Natalie’s new direction and spotlights her good relationship with her fellow band members. This track, and a few others, really sound similar to her live show.

3) Flea As A Bird

On “Flea As A Bird,” Natalie shows us what she’s learned from her previous album (which featured bluegrass instrumentation in addition to her fiddling). The first tune in this set (this is the first official set on the album) has hints of country and bluegrass playing. I really love how she can do so many different styles.

After that first crackerjack tune, the set moves right into traditional Cape Breton reels. Natalie plays these with her usual energy and fire. Matt MacIsaac joins her again for “The Night We Had The Goats Reel” and “The Marquis Of Tullybardine Reel.” All of these tunes except one are traditional, but Natalie makes them her own.

4) Farewell To Peter

Apparently Natalie was a good friend of the late journalist Peter Jennings, and she’s written a tribute to him for this new album. It’s a lovely air performed on fiddle, cello and acoustic guitar. It reminds me of “Blue Bonnets Over The Border” quite a bit, but it’s an original composition by Natalie. That should show you how wonderful she is as a composer. She’s really coming along well as a musician, and that’s saying something considering her consistent quality thus far in her career.

5) Matt & Nat’s

Just like on track two, things get exciting and loud. With the powerful electric guitar booming alongside the fiddles and pipes, this track reminds one of another Cape Breton fiddler - Ashley MacIsaac (I don’t know if he’s related to Matt or not). Natalie’s fiddle is, surprisingly, just as powerful as the amplified guitar and bass. Matt (this time on electric pipes) and Natalie thrash their way through a very dance-worthy reel. Never before has a song on a Natalie MacMaster album had such raw power and energy. Never before has she been this purely modern! Her last album was made to show the magic of acoustic instruments - this is just the opposite. I think this one might give the purists a hard time, but those of us who grew up on rock music will appreciate it. It may also change your mind about the ability of the fiddle to rock and roll.

6) David’s Jig

I’ve heard this one from her Live album, and this version is just as good. It sounds a lot like that live version, except the fiddle has been treated with some sort of echo effect (or perhaps multi-tracked). I don’t think I’ve ever heard Natalie mess with the sound of her fiddle before, so this is yet another first for this album. When the jig changes to a reel, we get a real treat - Natalie’s own stepdancing! Oh, but it’s not just stepdancing - it’s multi-tracked dancing that gives off a powerful percussive punch. It sound like there are fifteen Natalies dancing at the same time!

Natalie wrote both the jig and the reel, and they have a dark edge to them that you don’t normally find in Cape Breton tunes. I think that’s the main difference in a Natalie tune versus a traditional tune - she puts some attitude in the music. Matt gets a whistle solo before we get back into the jig one last time. The band really makes a difference on this album. I really hope she records with them again on future albums.

7) Danny Boy

I knew I wouldn’t like this one, and I was right. Michael McDonald sings it, with Natalie playing a little bit of violin but not too much. This is a weakness of the songs on her albums that feature vocals - it becomes more about the singer than about Natalie. Michael sings the song well enough, but it’s kind of cheesy and melodramatic. Natalie’s playing is the best part of the song, and she doesn’t play much at all until the second half of the song. This is the only song on the entire album that I dislike.

8) Traditional Medley

Just like the title suggests, this is a traditional Cape Breton tune set. It’s really the only traditional set on the whole album unless you count “Flea As A Bird.” Even her In My Hands album had more traditional work than what can be found here. As I mentioned before, purists may balk but I think it’s great that she’s stretching beyond her traditional roots. One can only play tune sets so long before the desire to do something new comes along.

I can’t really judge a traditional set because most traditional sets are good, so I’ll just say that this is as good as all her previous traditional work. It’s full of bounce and energy, never letting up for a moment.

9) Cape Classico

How to summarize this track? I don’t think it can be easily done. Here, Natalie plays around with song structure and mixes two completely different styles. Cello comes along for the ride, giving a boost to the normal fiddle sound. The song starts off with a fairly fast reel by Natalie, helped along by the cello, piano and even some banjo. After the reel is over, Natalie starts playing softer and sweeter. I don’t know how to categorize what she does on these breaks between reel sections, but they sound slightly classical. Maybe that explains the title. After the slower section ends, Natalie takes a pause and starts the reel again. This repeats several times during the song, and works brilliantly. The pauses are especially refreshing. This song reminds me of absolutely nothing Natalie has ever done before, and she wrote it herself to boot! This is one of the standout tracks on the album. The reel is just magnificent.

10) Julia’s Waltz

Now we come to my favorite song on the album. Normally the slower tracks aren’t my favorites, but this one is just a complete gem. It starts with some accordion, which Natalie has used only twice before on her songs. It adds something new and special to the mix. It also gives us an appetite for Natalie’s violin. When it finally comes in, it’s playing a beautiful waltz. A waltz, I might add, that Natalie wrote herself. I think this is the best thing she’s ever written and possibly the most beautiful piece she’s ever played. It has a dark, emotional edge to it yet it stays beautiful. The accordion adds a slight European touch, which I love. What I love even more is the control that Natalie has with her violin (make no mistake, this is a violin track). She has the melody in the palm of her hands and she teases it and ebbs it and flows it like the (Mac)master she is.

I am so in love with “Julia’s Waltz.” To me, it shows how far Natalie MacMaster has come as a composer and musician. This is as beautiful as they come.

11) Mother Nature

This song is yet another in the album-ending group of wonderful compositions. Natalie’s playing is divided into two modes - a choppy, percussive bowing to start things off, followed by a gorgeous and dramatic reel. Male voices call out throughout the track, and somehow their voices and Natalie’s playing conjure images of sailing on the sea. I don’t know if it was Natalie’s intention to make a song that puts a listener’s mind in the coast of Nova Scotia, but that’s what this song does for me. I love how Natalie tries out a unique style of playing. Usually percussive bowing is used to complement the main melody. This choppy bowing IS the melody for parts of the song! I love that. It’s so different and refreshing.

12) Interlude

This is Natalie’s chance to thank many different people. I love how she made it an actual track on the album. The piece she plays in the background is quite beautiful in its own right. I know how nervous she is about putting her own voice on the tracks, so it’s cool that she did it here. As if that wasn’t cool enough, the end of the track features her daughter Mary Frances Rose making the noises babies tend to make. It’s so adorable! I’m really glad that Natalie thought to put that on her album. I’m sure little Mary will appreciate it when she’s older. Once again, Natalie has thrown out all the rules on this album and it pays off big time.

Overall Thoughts:

I love this album more and more as I listen to it over and over again. This is not at all what I expected a Natalie MacMaster album to sound like, and that’s a good thing. Natalie has moved beyond her previous albums and created pieces of music that move her and show off her supreme talent. It was good to hear all those sets of jigs and reels on previous albums, but it’s time for her to strike out and become a true artist. This is the album that will do that for her.

So many of these songs sound fresh and new, with ideas that break the usual Celtic fiddle mold. I love the integration of her touring band into the mix. One can hear the great working relationship among the musicians. Sometimes Natalie’s fiddle seems like one part of the whole instead of the main focus. It shows that she knows how to integrate with other musicians instead of taking the spotlight every single song. I love all the experimentation (electric guitar, studio effects on the fiddle and stepdancing, non-traditional song structure, among others).

Natalie has been expanding her sound from album to album, but never as strongly as she has on this one. I think we should appreciate her for doing so. I can’t wait to see what she has in store for us next. Perhaps she will become a star in America as well as Canada. If she keeps creating songs like “Julia’s Waltz,” it could happen. Yes, I miss the traditional sets, but I love the new stuff even more. Job well done, Natalie MacMaster!

MINI REVIEW: AUDIOSLAVE "OUT OF EXILE"

Artist: Audioslave
Album Title: Out Of Exile
Genre: Rock/Hard Rock
2005
Interscope Records

When did I buy it?: I bought it on the day it was released, May 24 2005.

Why did I buy it?: I was an Audioslave fan from the time I bought their first album in 2003, so I was curious about their sophomore effort. I had the chance to preview it online, and I liked it so much that I wanted to buy it right when it came out. I specifically wanted it for the track "Doesn't Remind Me."

What are the best songs?: There really aren't any bad songs on Out Of Exile. Even the weakest tracks offer either beauty or power, or both. The album starts off strong with "Your Time Has Come." While perhaps not the killer opener that "Cochise" was, it still kicks major butt with its relentless guitar and drum attack.

The second track, title track "Out Of Exile," is perhaps the strongest song on the album. It combines a heavy Rage-style instrumental assault with Chris Cornell's poetic lyrics and beautiful singing voice and melody. The main melody will be stuck in your head for days, and the chorus is classic Cornell. The beautiful melodies continue on third single "Doesn't Remind Me." Even more so than "Out Of Exile," this song's verse melody will grab your attention. Chris plays it smooth and soulful during the verses, crazy and loud during the chorus. This gem of a song is then capped off with a sweet guitar solo from Tom Morello. "Doesn't Remind Me" is truly a unique and great Audioslave track and one of their best so far.

"Drown Me Slowly" keeps the hard rock vibe going. Unlike some of the previous tracks, Chris brings out his primal scream for the whole song. Morello puts his mark on it with a weird hip-hop inspired solo. "Heaven's Dead" may not appeal to the hardcore fans, but it's as good a power ballad as any released in the past few years. This shows the beautiful, thoughtful side of Audioslave, at least moreso than on other songs.

Lastly, "#1 Zero" is a hard-rocker of the finest caliber. The lyrics, about a would-be power struggle between two people, are quite interesting. Beyond the lyrics, the band gives a very fine instrumental performance. The song starts out slow and semi-quiet, but gets very intense in the middle section. When the intensity kicks in, it packs the power of a freight train and then some!

Any bad stuff?: Like I said before, all the songs are good. I want to get that out of the way before I start my complaints so that I don't have to keep repeating it.

"Dandelion" may be a good song, but the title makes it stand out uncomfortably. I don't think the hardcore fans appreciate it very much, so it probably should have been a B-side instead of an album track.

"Be Yourself" should not have been the first single. It's not a hard-rocking song, and thus did not capture the imaginations of either the hardcore Audioslave fans or casual radio listeners (I want to note here that, by "hardcore fans," I mean the fans who favor the faster, more aggressive songs over the slower ballads). I think "Out Of Exile" would have been a better choice for first single. That said, this track will please fans who loved "Like A Stone."

The only filler track on the album is "Yesterday To Tomorrow." I don't think it really breaks any new ground in the Audioslave sound. It would have been one of the standouts of their debut, but it has much stronger competition from the best songs on Out Of Exile.

That's it for the negative points. The rest of the album is just amazing.

Overall Thoughts: To use a baseball analogy, Audioslave's first album was a bunt - it was a solid effort, but didn't go as far as it could have. Out Of Exile, on the other hand, is a home run in every way possible. The band sounds so much better here on every track. They sound like a true band, a testament to the time they spent on the road promoting their debut. They sound a little lost on some the tracks from that first album, but on this one they seem to have a direction that moves beyond their previous projects. Yes, the band members are still going to sound like Rage Against The Machine. Why wouldn't they, after so much time together? Chris Cornell is still going to sound like Chris Cornell. The difference this time is that they blend those two elements together in a better way.

This album is packed with great melodies courtesy of Chris Cornell. It's hard rock, but yet it still sounds beautiful. That combination of beauty and power should become a huge part of Audioslave's style. "Doesn't Remind Me," in particular, blows away everything they did on the previous album. The creativity is there and it shows. A lot of fans didn't like this album, and I don't really know why. I think it's the fault of previous expectations against actual results. I came into Audioslave fandom without much real knowledge of either Rage or Soundgarden apart from the hits, so I hear things with fresh ears. And what these ears hear is one of the most exciting, captivating, diverse and just plain rocking albums of the past few years. The future looks bright for Chris, Tom, Brad and Tim.

Album Score: 5 out of 5. Yeah, I said it. Five out of five. Not one of these tracks is skip-worthy. I immediately fell in love with this album, and I'm still in love with it.

MINI REVIEW: LOS LONELY BOYS "LOS LONELY BOYS" (SPECIAL EDITION)

Artist: Los Lonely Boys
Album Title: Los Lonely Boys (Special Edition)
Genre: Rock/Blues/Latino
2004
Epic Records

When did I buy it?: I received it as a gift from my grandparents during Christmas 2004.

Why did I buy it?: I bought the first edition in July 2004 after discovering their big hit "Heaven." I had a gift card to spend at Circuit City and wanted a fun, upbeat summer album. After listening to samples online, I picked Los Lonely Boys. I put the special edition (with three new tracks and a bonus DVD) on my Christmas list because I wanted the new extras, especially bonus track "I Walk The Line."

What are the best songs?: This album is jam packed with screaming blues rockers reminiscent of Stevie Ray Vaughan, Carlos Santana and Jimi Hendrix. Los Lonely Boys don't really break new ground on their debut, but they still deliver a fun, energetic set of original tunes.

Album-opener "Senorita" is a good example of their "Texican" rock and roll style combining blazing Stratocaster guitar riffs and thundering bass lines with Latin-influenced touches. On many of their songs, the Boys sing in both English and Spanish. Their breakthrough single "Heaven" is a good, catchy prayer/ballad/song with smoking guitar riffs by lead guitarist Henry Garza. His influences shine strong in his playing, and he's a good player even if he doesn't yet have his own style.

"Hollywood" is a beautiful, upbeat acoustic ballad. Henry mixes it up a bit by playing Spanish-style acoustic guitar instead of his usual Fender. It's a catchy tune and shows off Henry's fast picking. "Nobody Else" is another ballad, and stands out due to the use of organ and the splendid harmonies of the Garza brothers. They really do sing well together, and the best songs on this album are the songs where they harmonize well.

"Onda" is a good showcase for the Boys' instrumental chops, especially Henry's amazing Santana-influenced guitar playing abilities. Especially notable, aside from the guitar, is drummer Ringo Garza and his loud, pounding shimmering playing.

"Real Emotions" and "Tell Me Why" are two good blues-based rockers with powerful vocals. "Real Emotions" is another showcase of Henry's influence from Carlos Santana. It sounds a lot like Santana's big hit "Smooth" with Rob Thomas, but is different enough to avoid plagarism. "Velvet Sky" is one of the more beautiful songs on the album and features the soaring harmonies of all three brothers. It's definitely one of the vocal highlights of the entire album.

Of the three bonus tracks, "I Walk The Line" is the standout. It was featured on a Sony commercial in 2004 (that commercial really should have been included on the bonus DVD!) It pays tribute to Johnny Cash's original but takes a new, faster, guitar-based direction.

Any bad stuff?: "More Than Love" is the second single off the album, and I absolutely hate it. Unlike the better "Nobody Else," it's a mediocre, uninspiring ballad. It doesn't feature any good solos, nor are the harmonies particuarly interesting. On another band's album it may be a standout, but in the face of better songs it just sinks and drowns.

"La Contestacion" is another ballad, done acoustically, and although beautiful it doesn't really stand out. Also, it's a rather flat way to end the album (at least the original version of the album). I'm sensing that these lonely boys are much better at rock and roll than they are at singing ballads.

The bonus track Spanish versions of "Heaven" and "More Than Love" are interesting, but not particularly essential. The Spanish "More Than Love" might be slightly more beautiful than its English version, simply because it's in Spanish.

The lyrics on this album are sometimes good, but not at all great. The songs are filled with cliches and aren't very poetic. Songwriting is not this band's strength, but perhaps they'll improve on future albums. Lyrically, the best song is "Heaven" with its simplicity, emotion and honesty.

The liner notes could use a lot more work. They weren't changed one bit for the special edition. Especially helpful would be a song-by-song list of who is playing and singing. At first I assumed that Henry did all the singing, but bassist Jojo sings lead on some of the songs. The two brothers' voices are so similar that I cannot often tell them apart.

My last complaint about the album is that the DVD contains not one, but three video versions of "More Than Love." If I liked the song, this would be a good thing. I obviously do not like it, so it's overkill. The "I Walk The Line" Sony commercial should definitely have been included (and probably was not due, I'm guessing, to legal issues).

Overall thoughts: Wow, I really sound like I hate this album! I actually like the album a lot. I'm a huge fan of Hendrix and Vaughan-style electric guitar, so Henry's similar style is very welcome. Jojo Garza is a fine bass player too, and has a great energy when the band plays live. The lyrics of the songs may be average, but the harmonies and music are really something special. These brothers have been playing together for years and it shows. Their close harmonies are what put this album a cut above many others in the blues rock genre. Also refreshing is the combination of Spanish and English lyrics, as well as the occasional Latin percussion.

The Los Lonely Boys are just starting their professional career, and their debut album is a great first step. They may stick very close to their influences on this one, but with time they'll probably gain confidence and start to experiment a little. In the meantime, this is an exciting, varied collection of mostly original songs with interesting harmonies and simply excellent guitar playing. Definitely a good listen for any Stevie Ray Vaughan, Santana or Hendrix fan.

Album Score: 4 out of 5

MINI REVIEW: BILLY CORGAN "THEFUTUREEMBRACE"

Artist: Billy Corgan
Album Title: thefutureembrace
Genre: Rock/Electronic
2005 Reprise Records

When did I buy it?: I bought it when it was released in June of 2005.

Why did I buy it?: I've been a fan of the Smashing Pumpkins for a couple years now, so I was curious about Billy's solo album. I wondered what it would sound like and what things Billy would do with the music now that he doesn't have a band to answer to.

What are the best songs?: thefutureembrace is an album influenced by many of Billy's favorite bands and styles of music from his teen years in the 1980s. It has a very strong electronic/gothic sound and is quite different in sound than the work Billy did with the Smashing Pumpkins. It's a fairly good album, but not a masterpiece. The best songs are on the first half of the album, and things get spotty from there.

"All Things Change" is a great way to start the album. It's wrapped in synths and drum machines and carried by Billy's clear, uncluttered vocals. It's one of the few songs on this album that I think could be performed by the Pumpkins. The melody is very strong and semi-catchy and sounds a bit like "1979" from Mellon Collie and the Infinite Sadness.

"Mina Loy (M.O.H.) is one of the most powerful and intense songs on the album. It has a dark, gritty guitar riff that gives the song a heavy metal sound. Again, Billy's singing is catchy (although perhaps not as catchy as his earlier work). "Mina Loy" will get stuck in your head and won't let go. This was an immediate standout track for me.

The good times continue with "The Cameraeye." Billy unleashes some quiet, punchy vocals over an almost-hip hop beat and an interesting repeating guitar riff. This track is recommended listening just because it's so different from anything Billy's done before.

"Tolovesomebody" is a cover of the Bee Gee's song, and is worth a listen just for the harmony vocals of Robert Smith from the Cure. Aside from that, however, this is just an average song.

"A100" and first single "Walking Shade" contain heavy synth lines and very distorted guitars. Both songs have a Nine Inch Nails sound, very inorganic and intense. The melodies are decent, and the chorus on "Walking Shade" is particularly catchy.

"DIA" is a very sneaky song. It sounds similar to other songs on the album, but repeated listens reveal magic. Pumpkins drummer Jimmy Chamberlin puts down a very mechanical sort of beat, unusual for him but yet still human enough to be fresh. Billy's vocals might not seem exceptional on the first listen, but his melodies slowly work their way in your head after a while.

Any bad stuff?: This album might be fairly good, but it is nowhere close to perfect. The last three songs on the album are very spacey and not very memorable. Very few of the melodies on the album are on par with Billy's catchiest songs, and the melodies on the last three songs in particular are quite mediocre. "Strayz," the last song, is a very quiet song and a contrast to the busy noise of the other tracks. Too bad it's held down by Billy's uninspiring vocals.

My biggest problem with the album is that there are no songs approaching the beauty of "Tonight, Tonight" or "Rhinoceros" or even "Disarm." Some of the songs are softer than "Mina Loy," but they just don't have the heart or tenderness that some of the Smashing Pumpkins' more beautiful tracks had in abundance. I think that's mostly because of the technological edge of the songs. Instead of jangly guitars and pianos and thunderous drumming, we get wailing synthesizers and extra-distorted guitars. Everything just seems to buzz, and the subtle nature of Billy's guitar solos, riffs and hooks is in short supply.

Overall thoughts: I may criticize this album, but I do understand what Billy tried (and succeeded) to do. It has a particular sound and feeling, and while it may not be a Pumpkins album, it does have its place in Billy's catalog. Billy has made songs with a wall of noise, which gives the music a power that his Pumpkins songs may not have had.

There's a real balance to this album, unlike the "loud guitar anthem-soft piano ballad" sound that the Pumpkins had for much of their career. Nowhere is this more clear than Billy's singing. On past albums, I've struggled to understand what he was saying and sometimes can't hear him very well. thefutureembrace, on the other hand, shows that Billy is singing stronger and clearer than ever. A good thing, to be sure!

This album may not be a classic, but it's definitely not a bad one. You may not understand it the first time you hear it, but give it a chance and you'll be rewarded. Different does not mean bad, and all Billy has done is make a different album than his work in the past.

Album Score: 3.5 out of 5

MINI REVIEW: COLDPLAY "X&Y"

Artist: Coldplay
Album Title: X&Y
Genre: Rock/Pop
2005
Capitol Records

When did I buy it?: I bought X&Y in the middle of June 2005.

Why did I buy it?: I heard it online a couple days before buying it, and decided that it was so good that I needed to have it. I was grabbed by the catchy hooks and lulled into dreams by the lush piano melodies.

What are the best songs?: This album is packed full of great songs, both ballads and rockers. People seem to either love or hate this album, and I love it because the sounds are right up my alley.

"Square One" is a great anthemic burst that starts things off very well. "What If" is a tender piano-filled ballad with some very emotional falsetto vocals by Chris Martin on the chorus. "Fix You" is similar to "What If" but with a grander sound, catchier hook and very meaningful lyrics. The group performed it at Live 8 and it seems to be doing very well as their current single. It's the perfect song to dedicate to someone going through tough times.

"Speed Of Sound" was the first single and it sounds very similar to "Clocks" from the previous album. Even with those similarities, it stands on its own as a very strong track with a gorgeous melody that you can't get out of your head.

Two of the strongest tracks are the arena-anthems "White Shadows" and "Talk." The former has a very strong chorus and absolutely oozes radio appeal. That hook is one you'll be singing to yourself for hours after hearing it. "Talk," on the other hand, has a powerful guitar riff that is a sample from Kraftwerk's "Computer Love." Coldplay had to give Kraftwerk co-writing credits, but it's well worth it because "Talk" is another song that could easily tear up the radio charts. It's a very good example of the strong instrumental skills the band members show throughout the album, in particular Jonny Buckland's U2-like guitar.

Perhaps the best song of all is not even listed as an official track. "Til Kingdom Come" is an unlisted 13th song and was written by the band for Johnny Cash. Cash died before he could record it, so Coldplay recorded it themselves and put it on the album. It's a folky, acoustic song and one can easily see how it would fit Johnny Cash's talent. It's still a great song in it's Coldplay version and really should have been officially part of the album. I think even people who think they hate Coldplay would like this one.

Any bad stuff?: "X&Y" and "Twisted Logic" are good songs, but not memorable enough to stand out. They might be standouts on someone else's album, but they don't stand a chance against the awesome melodies of the stronger X&Y songs.

"Low" is similar in sound to "White Shadows" and "Talk" but suffers from that similarity. It just seems like more of the same, even though it's a good song.

X&Y has been criticized for keeping the same sound that made Coldplay famous and not breaking new ground. That isn't a problem for me (because I love their sound, and this is my first Coldplay album so I have nothing to compare it to) but it has been a problem for many others. As usual, this album is full of gentle melodies, falsetto vocals, tender piano work and an overall avalanche of sweetness. If this doesn't sound like your kind of music, you might want to stay away from X&Y and Coldplay in general.

Lastly, this album has also been criticized for having very simplistic and cliche-filled lyrics. I don't listen to lyrics too much, but I can see why people may think that. My own problem with the lyrics is that certain phrases are repeated over several songs. It makes one wish Chris could think of other things to say.

Overall thoughts: This is a gorgeous, well-crafted album. Every song on here is either beautiful, catchy or both at the same time. Coldplay is really becoming the next U2 and that's very apparent both in the music of this album and the reaction the band has found in America.

Coldplay, and Chris Martin in particular, have a good sense for what makes a song work (musically, if not lyrically). Somehow they manage to combine arena rock bombast with folky piano beauty. This is not an album to get angry to; instead, it's an album to enjoy while celebrating the beauty of life, the beauty of love, and the alienation that both life and love can sometimes bring.

It may be true that X&Y is not for everyone, but it's a shame that even the most hardcore music listener can't find something to like about it. Coldplay get a lot of verbal rocks thrown at them, but as long as they continue making albums like this I think they'll be successful.

Album score: 4.5 out of 5 4 out of 5 (after hearing "A Rush Of Blood To The Head")

MINI REVIEW: NICKEL CREEK "NICKEL CREEK"

Artist: Nickel Creek
Album Title: Nickel Creek
Genre: Acoustic/Bluegrass/Folk
2000
Sugar Hill Records

When did I buy it?: I received it for Christmas in the year 2002.

Why did I buy it?: I first heard of Nickel Creek when they came through "town" (more accurately, they came to a town about 15 minutes away from Eugene city limits) in 2001 or 2002 to perform. I read about them in the newspaper, but I couldn't go to the show. I was slightly intrigued, but not enough to go all the way out to a rural vineyard to see the band's concert.

Several months after they came through the area, I decided to look them up on the internet and see what their music was like. I was starting to gain an interest in bluegrass music then, and thus I was a bit more receptive to the music they make. I found that I really enjoyed their songs, which are bright and acoustic with a fresh sound. I put their self-titled album on my Christmas list and got it, and I've been a fan of Nickel Creek ever since. I even saw them live in 2004 and the concert was really spectacular.

What are the best songs?: What AREN'T the best songs? This album is packed full of gems. I'll start by mentioning their instrumentals. "Ode To A Butterfly," "House Of Tom Bombadil" and "Cuckoo's Nest" are all great bluegrassy tunes with fine musicianship by all members of the band (Chris Thile on mandolin, Sean Watkins on guitar and Sara Watkins on fiddle). "Cuckoo's Nest" in particular is a fun thing to listen to with its slight Celtic influences.

"Robin and Marian" is a surprising instrumental. It sounds similar to something you might hear at a Renaissance fair. In the middle of the tune, though, the band breaks into a brief bluegrass breakdown. It comes totally unexpected and shakes things up with joy.

"Nickel Creek" also has quite a few ballads. "When You Come Back Down" is the song that turned me on to Nickel Creek, and Chris Thile sings it beautifully. Sean and Sara harmonize with him too, something the three musicians do quite frequently in their songs. There is not a trace of twang to be heard, and all three have goregous voices in addition to instrumental chops. "The Lighthouse's Tale" is a sad story that takes the listener on a real journey. Chris' strong vocals carry the emotional lyrics while the band members switch from tender playing to a bouncier bluegrass boogie.

"Sweet Afton" is possibly my favorite song on the entire album. It's a lovely ballad that uses a Robert Burns poem for lyrics. It's gentle and soothing and shows how talented Nickel Creek really is.

"The Fox" is neither instrumental nor ballad. It's a traditional bluegrass tune carried by Chris Thile's amazing mandolin playing and Sara Watkins' sunny fiddling. It's one of the most fun songs on the album and helps end the album on a good note before the slower final track.

Any bad stuff?: Speaking of that final track, "Pastures New" is beautiful but doesn't really do it for me somehow. Perhaps it's missing some vocals to really bring it to life.

Some listeners may be put off by the religious themes in "The Hand Song" (and the more subtle religious message in "Reasons Why," which I don't really notice). Musically, I can't make out any weak points. Every track here is strong.

Overall thoughts: What an amazing album! Somehow Nickel Creek has taken miles and miles of beauty and subtlety, rollicking instrumental romps, and a chestful of influences from Irish to pop to Lord Of The Rings and packaged it all into twelve songs. I'm amazed at how good they all are at both playing their chosen instruments and also singing and harmonizing.

This album is like a concentrated drop of sunshine that breaks into a shimmering light when played. Later efforts by Nickel Creek have been more eclectic and adventerous, but Nickel Creek has never been as purely beautiful and simple as they were on their debut. You can't classify this album as anything but great music, because that's exactly what it is.

Album score: 5 out of 5