Japan were a British pop/rock group, formed in 1974 in Lewisham, South London. The band achieved success in the late 1970s/early 1980s, and contained a couple of soon-to-be music legends in their ranks: Mick Karn and lead singer, David Sylvian.

And having released solo albums before, now, after what seems an eternity since his last effort, we get 'Manafon'. But, after listening to it (several times now), there seems to be a split in the camps of the listeners: 'Manafon' is either a semi-realized album, a demo if you will, perhaps even a low-hi mysterious meld of thoughts; or 'Manafon' is that remarkable album that comes at the end of every decade.

Me, well I tend to side with the latter group. I think Sylvian's latest musical offering shows him to be one of the most creative musicians since the late nineties.

With 'Manafon,' Sylvian takes many more steps into the directions set by immersions in sound and improvisation mapped out by "Blemish" and "Naoshima". His recent collaboration on "Cartography " by Arve Henriksen includes a few pieces that revealed some of these techniques within more conventional musical settings.

If you are a fan of ethereal or gothic rock from the 80's and 90's, this movie score is right up your alley. The score was produced entirely by Atticus Ross, which is impressive considering this is only the second feature film that he's composed original music for exclusively.

Quiet as kept, Ross was himself was 1/2 of a rock band that both opened up for Marilyn Manson, and worked with a variety of other artists like Trent Reznor of NIN. So if you're wondering how a fledgeling movie composer hits the nail on the head composing dark music for a dystopian film, that's your answer.

Indeed, Ross' other film credits include co-writing and producing Go All the Way (Into the Twilight), the Perry Ferrell single for the hit film, Twilight, the score for the Allen Hughes vignette for the film New York, I Love You, as well as the music to the Hughes Brothers TV show 'Touching Evil'.

I have to admit, when I first put on this album, I had fears of 'New Day At Midnight' all over again. Trust me, I am a (huge) fan of David Gray, even playing his music at my wedding, but was disappointed by most of the songs on 'New Day.' Thus, I feared this was part two ... at first.

What kept me listening to this was not only my respect for his song writing and thinking I was missing something, but these great bass lines that, let's face it, Mr. Gray is not known for. The more I kept going back and checking out album, the more I started to uncover.

I love how an artist can reinvent themselves without straying to far from who they are. From start to finish, 'Draw the Line' is a ride. It's got hard-hitting tunes that you can't stop humming like "Fugitive," "First Chance," "Jackdaw," and "Stella The Artist." It's got moving ballads such as "Kathleen" and "Transformation." And it really excels with it's semi-dark, powerful tracks like "Nemesis" and "Full Steam." If this is the kind of album David Gray routinely puts together, I'll be first in line for future releases.

If you are a fan, give it time. You have to unpack this album because it is not just some mindless pop album. This is one of those albums you must hear about 20 times to really get it. Worth checking out! [WC]

Elvis Aaron Presley is one of the biggest-selling artists of all-time, but mere numbers cannot begin to explain the colossal cultural impact he had in the mid-20th Century. He was a central figure in the transformation of the grey, conservative 50s into the technicolour 60s through the liberalising effect of rock and pop music.

'Elvis 75-Good Rockin' Tonight' is a glittering collection fit for a king - in this case, the undisputed, Once and Future King of Rock 'n' Roll. To commemorate the 75th anniversary of the birth of Elvis Aaron Presley, 'Elvis 75 - Good Rockin' Tonight' is the definitive retrospective, a remastered Hot 100 of Elvis classics in one beautifully-packaged four-CD boxed set.

Inded, I scarcely know how to begin to tell you about all the great hits and lesser known exquisite ballads that make this such a worthwhile addition to your Elvis collection. I really like "(Now and Then There's) A Fool Such As I;" Elvis never sounded better--and how's about those drums? The music fits in perfectly with Elvis' singing but wisely the music never drowns out Elvis; you can easily hear what he's singing and I love it.

In addition, "It's Now or Never" stuns me with its natural charm; the poignant "Are You Lonesome Tonight?" showcases Elvis yet again; "(Marie's the Name of) His Latest Flame" has a fine beat that makes this memorable; "Return to Sender" (one of my very favorite all time Elvis tunes); "(You're the) Devil in Disguise;" "In the Ghetto" with Elvis singing faultlessly; "Suspicious Minds" with that incredible arrangement; the awesome "Polk Salad Annie;" the very moving and beautiful "Funny How Time Slips Away;" Elvis' gorgeous rendition of "Always on My Mind" and "Unchained Melody" are just a very few of the magnificent songs on these four CDs. "I Want You, I Need You, I Love You" and "Hound Dog" are equally well done hits from Elvis.

Elvis Presley left us all too soon - fortunately, however, we have CDs, CD box sets, his movies and concerts on DVD and more to remember him fondly and most appropriately as The King of Rock 'n' Roll. This is an absolute must-have for Elvis fans. [MGS]

www.LegacyRecordings.com

Oh dear, oh dear, oh dear ... this is such a depressing, lackluster recording that you wonder why UMe decided to even bring it out. I mean, I can't for the life of me think for a second that The Cranberries have put their backing behind this musical debacle as it is just so bloody lifeless!

Don't get me wrong, for I love The Cranberries in general, but being that lead singer, Dolores O'Riordan has to encourage the crowd at the start of the second song to even clap along (as 'Bualadh Bos' means exactly that, 'Clap Your Hands') you know that there can't be much gusto for the band there live, let alone here; some 15 years later, listening along!

Amazingly still, this is The Cranberries' first ever live album. Including classic recordings from 1994-1998, all captured in various live settings around the world: Los Angeles, Toronto, Michigan, Oslo and even Tipperary, 'Bualadh Bos' hits us with tracks such as "Dreams," "Zombie," "Ridiculous Thoughts," "Promises," "Linger," and more (blandness).

The long, overly-drawn out instrumental before '"Forever Yellow Skies' must mean the band left the stage for a period of time, but why they chose to come back is beyond me! Before "Free To Decide," O'Riordan tells us that it is their new song, and as it happens it is one of the better renditions on the CD.

"You might not remember this next one," she then admits, "because it came out two years ago now." And she is right as she has to coax the crowd along lyrically throughout "Dreams." Later, as the song is heading into its final bend, she asks, "Does anybody know the words?" Hmmm, I think that just sums it up really, sorry!

Whitney Houston is not only an American singer, actress, and former fashion model, but also being a relative of several prominent soul singers - including her mother Cissy Houston, cousins Dee Dee and Dionne Warwick and godmother Aretha Franklin - Houston has been singing since the age of eleven.

When this, Houston's self-titled debut album was released in February of '85, Rolling Stone Magazine praised the new talent, calling her "one of the most exciting new voices in years." Indeed, the New York Times called the album "an impressive, musically conservative showcase for an exceptional vocal talent."

Houston's first single, "You Give Good Love" is one of my all-time favorite songs by her. Just everything about that song is superb, especially Houston's amazing delivery. The people of the world obviously think that "The Greatest Love of All" is this album's finest jewel because it is always sung at graduations, church services and commencements.

Indeed, "The Greatest Love of All" is lyrically the best song on this album because of the inspirational lines she sings just for the children. "Thinking About You" and "Take Good Care of My Heart" are good offerings, but they fall short when comparing them to the rest of this album.

"How Will I Know" was offered to Janet Jackson first, but she turned it down. Houston took the song and made it all her own; you would never know that this song was written for someone else. It has that '80s American Bandstand feel to it. "Saving All My Love for You" is another one of her most definitive songs. It is an R&B classic.

But, after the dance-funk single "Someone For Me" failed to chart in both the US and UK, the album initially sold modestly and failed to make an impact. But the release of the next single, the aforementioned ballad "You Give Good Love", peaked at #3 on the U.S. Billboard Hot 100 while going #1 on the R&B Charts. As a result, the album began to sell strongly before topping the R&B Album chart. Did you know that it had had such a rocky, subdued start to life? No, not may of us think of this debut like that.

And so now this album has become an international success, and indeed was certified 13x Platinum (Diamond) in the United States alone just a few years ago!

As with a lot of acts these days, Bob Seger is another in a long line that has put his just-released 'Early Seger, Vol. 1' CD on sale exclusively at Meijer stores last month. Of course, it follows that he will also have it for sale at www.BobSeger.com this month, but to not put it on general sale re: regular stores which means more exposure up there on Amazon.com come Christmas time is, well, perhaps a little risky.

Featuring songs from a couple of different periods of his career, indeed four of the tracks are also previously unreleased, which is a nice addition to this ensemble of work. You'd think after all this time we'd actually heard all he had to offer - from back then and today - but nope, it seems like he's had some stored away for the past 30 plus years!

Several others have been significantly re-recorded maing them quite different from their original musical states. Basically, there are many tracks brought together here from three of Seger’s (now) out-of-print albums — 'Smokin' O.P.'s' (1972), 'Back in '72' (1973), and 'Seven' (1974).

For me personally, and for a much younger fan here in the office, the three main musical highlights of this collection are actually some of the unreleased tracks - such as "Star Tonight," "Wildfire" and "Days When the Rain Would Come." And although "Days When the Rain Would Come" was actually recorded in 1984, Seger enhanced the original tapes of the other three tracks with fresh vocals, horns and other such new instrumentation - and it all sounds sooooo good!

Also, Seger's music will be featured exclusively in the December 13th episode of 'Cold Case' on CBS.

As you may or may not know, back in 2003 Ike Reilly and bandmates (Tommy O'Donnell, Ed Tinley, Dave Cottini, and Phil Karnats) assumed the name The Ike Reilly Assassination (IRA for short) and released "Sparkle in the Finish."

Six (6) CDs later, inclusive of a couple of digital EP only releases, and the band (minus The Assassination part) are back again (early next year, actually!) with the wonderful, 'Hard Luck Stories' (Rock Ridge Music).

Reilly, a true indie rock raconteur and singer-songwriter, has brought to us (thankfully), a more groove-oriented, melodic album than previous recordings. Inclusive of stimulating rifs, clever thought-provoking lyrics, a James Dean personna and an outstanding band have generated positive activity in many media areas, and this album will go a long way in keeping both them and their fans very happy.

Featuring a melting pot of R&B, furious punk-blues, lounge-pop and classic rock, Reilly's razor-sharp insight and wit are woven throughout as usual. Just more so on this new outting. The ten songs on "Hard Luck Stories" were recorded in Chicago and produced by Reilly and Ed Tinley.

In closing, I'd like to say that as good as the CD is, Reilly truly shines even more in concert. My daughter, Samantha and I were lucky enough to see the band in North Carolina and it proved to be a nice father-daughter bonding experience. So, check them out for yourself as it will be something that you'll remember for a long, long time!

In this 4-disc box-set collection, containing a newly-digitalized count of 60 tracks, it features themes and suites from Horror movies and TV shows spanning 90 years of Cinema. I mean we're going all the way back here to the silent Nosferatu (1922) on all the way through to this years score release to Universal's 'Drag Me To Hell.'

Recorded by The City of Prague Philharmonic, this is a wonderful, incredible orchestral collection of themes and Horror vibes.

Indeed, these orchestral performances are mostly all powerful, all envoking, all vibrant, especially in (surprisingly, perhaps) some of the more recent pieces like both the aforementined 'Drag me to Hell' (Christopher Young) and 'Cloverfield' (Michael Giacchino).

But, that said, there are still classic pieces of musically-scored wonderment in the forms of Franz Waxman ('Bride of Frankenstein'), Elmer Bernstein ('Ghostbusters'), Dimitri Tiomkim ('The Thing From Another World') and James Bernard (Hammer's Dracula movies).

Telling it like it is, Ray Davies, the legendary lead singer of The Kinks has had more than a successful career within the music industry. Indeed, one that spans some 40 years, it has been filled with endless hit songs, some with lyrics that show his wit, cynicism, and sometimes inner personal joy in so many ways that they never fails to make me smile!

He has written some of the best songs ever heard down the years and here on 'The Kinks Choral Collection' we get our history re-taught thru the eyes of the master himself; and a fantastic new choral/band set of arrangements.

Overall this inspirational new album offers so much to explore and admire from fans who own the entire Kinks catalogue on vinyl or to complete newcomers.

It features all-new versions of classics such as "You Really Got Me", "All Day And All Of The Night", "Waterloo Sunset" and many more - all featuring the wonderful-sounding (65 member) Crouch End Festival Chorus.

And lest we forget such Kinks classics as "Shangri La," "See My Friends," and both "Village Green Preservation Society" and the CD opener, "Days."

From the very first track, 'Negative Capability,' you know this is not like any other soundtrack you've heard in a long time. For words are softly spoken, hushed tones are used alongside orchestrations, and they couple to sweep you along through the contours of the track.

Actress Abbie Cornish (as Fanny Brawne - love interest to a young John Keats) gently states: “I still don’t know how to work out a poem,” to which Ben Whishaw (as Keats) explains how reading a poem is like diving into a lake.

At its climax all manner of violins, viola, cello and keyboards are quietly brought together to suddenly come to the fore as one.

Indeed, composer Mark Bradshaw’s work on this entire album is highly impressive and, save for the spoken words each time, each mark an orchestral humbling for the piece in general. The fact that this is Bradshaw’s first feature-length composition is totally amazing to me!

With the entire album not pushing past 24 minutes in length, it contains just 9 tracks, many of which include the lead actors (Whishaw and Cornish) speaking dialogue from the film. That said, there is also a grand work from Mozart in the form of 'Serenade in Bb, K. 361' which has been reworked by Bradshaw into his own 'Human Orchestra.'

When Hal Jordan first becomes a Green Lantern, he is put under the supervision of senior Lantern, Sinestro, only to discover that his so-called mentor is part of a secret conspiracy that threatens the entire Green Lantern Corps. Composer Robert J. Kral catches all the space-faring action with his riveting score.

That's right, the very same man that brought us the riveting chords of 'Batman: Gotham Knight' and 'Superman/Doomsday' has now brought us his revisited animated hero genre with 'GREEN LANTERN: FIRST FLIGHT.'

Straight out the box and track #1, 'Green Lantern: First Flight Main Title (2:05)' is right there, right up in your face, already unveiling what is to come. The 'Hal Meets the Lanterns / The Flight to Oa (3:45)' track is luscious for sure, sweeping in fact. The 'Brutal Attack / The Fate of Kanjar Ro (3:53)' track is just what you would obviously expect, but the ending is dynamite.

Both 'The New Power Arrives (2:37)' and 'Revival of the Green Lantern (2:30)' are some of the best Kral has ever produced, whilst 'The Green Lantern Pledge (1:02)' is as rousing as anything you'll ever hear!

This lady, it seems, can do no wrong. Another fine collection of hillbilly songs in this age of modern country. What is being passed off as country music these days is a farce and a sham. I mean, folks like Taylor Swift make fine pop songs, many of which I do like, but to call her country is more than stretching it.

Anyhow, this latest effort by Patty Loveless is the real deal. I feel her version of "Busted" far outshines all others, and "Working On A Building" "Friends in Gloryland," and "Abraham" are truly outstanding in country gospel.

It seems like so much of what is considered country music today has lost sight of the southern sound. The pride of being a hillbilly singer is gone. 'Mountain Soul II', like Patty's first traditional CD, 'Mountain Soul I', brings the listener to the heart of Appalachia, and for this northern boy, it is quite an enjoyable ride. It is a traditional sound in a non-traditional world.

This video album, that co-exists with the release of the self titled album ‘One eskimO,’ is a true delight that enhances the music experience with a visual epic adventure of One eskimO.

Like all good epic stories this one starts with introduction of the characters where you learn that One eskimO and his soul mate Little Feather have been entwined since birth. As they grow older they fall in love and have a happy life in there igloo. This when the audience is introduced the to the evil character of the story Mr. Top Hot, a short round evil little man that sits high on his thrown in a cave watching over the happy couple (That’s what evil people do in their spare time).

n an envious jealous rage using his magical crystal ball and shadow creatures Mr. Hat decides to interrupt One eskimO and Little Feather’s loving bond by separating them from each other and knocking One eskimO out.

This is when the adventure begins…

One eskimO awakes from a dream sequence to find his love is now lost. Breaking away from a slight depression of loneliness One eskimO sets forth to find his Little Feather by teaming up with his bandmates, Giraffe, Monkey, and Penguin. These characters inject some humor into the adventure with instruments, a magical flying ice cream truck and such traveling across vast spaces and elements.

Throughout the adventure Mr. Top Hat tries to intervene and disrupt this band of heroes from reaching Little Feather by sending his shadow creatures and messing with One eskimO emotionally. This too takes a toll on One eskimO eventually separating him from his bandmates to carry on his quest alone. Does our hero find the girl and stop the evil Mr. Top Hat?

Each segment of the adventure reveals a cliffhanger question leading to the next adventure like this to keep you tuned in like a classic television special. Just like those specials you’ll have to pick up the DVD or download the videos to find out.

I really enjoyed this experience. Both the music and visuals were very stimulating to my eyes and ears. This visual album can stand on its own even if you’ve never hear the album first. I like how the songs are not in the same order of the album to change things up. Overall it has a classic animation feel with some very different modern elements and a pinch of darkness to keep it fresh.

Reviewed by: Ken Tebo

Official Site Link

Itunes Link

"Break-Up" is an album it's tempting to make excuses for in advance. Recorded over three days back in 2006 and now appearing in the shadow of Zooey Deschanel's and M. Ward's 'She & Him: Volume One,' it's finally out and ready to be explored!

This album is my first investment in the music of Pete Yorn, but my second in Scarlett Johansson's musical career. Her 2008 release of Tom Waits covers "Anywhere I Lay My Head" didn't rack up a whole lot of plays on my iPod. But the song "Falling Down" is definitely worth a download (at the very least, check out the video with its Salman Rushdie cameo). Johansson's vocals got mostly lost in her Dave Sitek-produced debut. Here, they more than hold their own, with a bluesy delivery that works well against Yorn's laid-back vocals.

Yorn is said to have been inspired by the Serge Gainsbourg-Brigitte Bardot "Bonnie & Clyde" collaboration of the 1960s. And he seems to have found lyrical inspiration in the songs of the past, too, with many of the lyrics seemingly plucked from a familiar pop-heartbreak grab-bag.

If nothing else, perhaps Scarlett Johansson will do for Pete Yorn musically what she did for Woody Allen at the movies - attract some broader interest to help perk up his career. Which is maybe why the album is being taken off the shelf right now. Ultimately, as it tracks the course of a relationship, the album doesn't quite live up to its early, enthusiastic excitement ("Relator"). [RH]

Pete Yorn & Scarlett Johansson play 'Relator' on Ellen!

'Whip It' suggests what might have happened if Juno had gone to a high school as poky as Napoleon Dynamite's and decided that although her mother wanted her to be a beauty queen like Little Miss Sunshine, she'd rather just strap on roller skates!

Only here the petite, droll, feisty, Ellen Page-like heroine played by Ellen Page is named Bliss. And her idea of sass while chatting up a cute rocker (Landon Pigg) in this desexualized, slow-speed grrrl-power sports fantasy is, "I'm Bliss, but I could change that."

As for the music, well, it is '70s underground fantastic! The music from an excellent movie (based on a great book!) can sometimes pale in comparison, but not here - thankfully.

Indeed, the girl-power-meets-punk-rock spirit of the music featured in 'Whip It' plays an integral role in telling the story, from setting the film's rebellious tone to celebrating the characters' wild individuality. The soundtrack's 19 songs reflect the film's outsider ethos with music from underground artists, including Belgian electro-rockers Goose ('Black Gloves'), Mercury Prize nominees The Go! Team ('Doing It Right'), L.A. beat-punks The Ettes ('Crown Of Age'), Rolling Stone Artist To Watch Apollo Sunshine ('Breeze'), Swedish singer-songwriter Jens Lekman, and Nebraska indie-pop quintet Tilly and the Wall ('Pot Kettle Black').[CdM]

iTunes

Landon Pigg 'High Times' clip

The popular ‘Now…’ franchise has built its reputation on good quality music that appeals to the music fan who might just not want to buy a whole album of one artist but only the hit single they heard and loved on the radio. ‘Country Vol. 2’ does not disappoint, featuring as it does, a generous smattering of major stars, such as George Strait and Alan Jackson, alongside some newer artists, like Jake Owen and Josh Turner.

Just released, the album contains many country number ones and a few that dented the top 20. Not everything is a classic, but it is an absorbing and valuable sampler of the sound of contemporary country during the previous twelve months. The twenty-track set focuses on hits from the last half of 2008 and first half of 2009, extending all the way to recent hits by Dierks Bentley’s ‘Sideways’ and Lady Antebellum’s ‘I Run to You’, which topped the charts in July 2009.

Stand out tracks are from the ever-reliable Alan Jackson (‘Country Boy’), the timeless George Strait (‘Troubadour’) and Sugarland (‘All I Want To Do’). The collection also includes ex-Hootie & the Blowfish lead singer, Darius Rucker, with his country No.1 ‘It Won’t Be Like This For Long’, and new kid on the block, Taylor Swift, with ‘Love Story’, which has become the country song with most paid downloads in history and the first country song to top the mainstream Top 40 chart. So far, Taylor Swift has made over $18 million in earnings this year. Not bad for a 19 year old.

Country may well be one of the most traditional forms of music in America, but the CD has a modern innovation that will appeal to those that want to explore some new music. Buying the CD unlocks bonus downloads from David Nail, Easton Corbin and three other new artists.

Overall, this is an excellent album, possibly better than Volume 1. There is not a bad track on it and it can be argued that there is something here for everyone, whether you are new to country music or a hardened country fan. Recommended.

Peter ‘taB’ Walker

nowthatsmusic.com

'Drag Me To Hell' is without a doubt a great Christopher Young score - mind you, nothing will ever best Hellbound! He really digs back to his roots with the sounds of horrific darkness, spine chilling choirs, crescendo strings and loud brass that weave a wonderful tale of darkness and suspense.

He is also able to include echoes of his more recent lighter works in Tales of a Haunted Banker (ie Glass Act from The Uninvited or Shine On from Sleepwalking) that offer a nice break from the terror.

Status Quo is one of Britain's longest-lived bands, staying together for over 30 years. During much of that time, the band was only successful in the UK, where they racked up a string of Top Ten singles that ran into the '90s.

In America, the group was ignored after they abandoned psychedelia for heavy boogie rock in the early '70s, and as much as this CD won't help their cause in the slightest, it still is a major testament to what a great sounding, original member'd band can still produce in this day and age.

This latest album is a great look into their boogie / rock n roll roots, with highlights including "Beginning Of The End", "Pennsylvania Blues", "Electric Arena", and the rocking "Gravy Train". The last third of the album falls off a bit, and songs like "Saddling Up" may inspire you to hit the skip button, but overall this is a strong record.

For a career that was cut short by illness and a premature death, guitarist, singer, and songwriter Rory Gallagher sure accomplished a lot in the blues music world. Although Gallagher didn't tour the U.S. nearly enough, spending most of his time in Europe, he was known for his no-holds-barred, marathon live shows at clubs and theaters around the United States.

Also, some of Gallagher's best work on record wasn't under his own name; it's stuff he recorded with Muddy Waters on The London Sessions (Chess, 1972) and with Albert King on Live (RCA/Utopia). Gallagher made his last U.S. tours in 1985 and 1991, and admitted in interviews that he'd always been a guitarist who fed off the instant reaction and feedback a live audience can provide.

But, with that all said, this is yet another Rory Gallagher collection, a 2-CD set now, and is a very good representation of his solo career, to be fair. Covering both the acoustic and heavy blues/rock side of Rory, long-time fans will not need this collection, let's be honest!

Whitesnake had just come off the major mainstream success of there 1987 album and were riding the storm of fame and glory. It was no easy task for them to follow-up with a as good or better album. They brought in super guitar hero/legend Steve Vai, which just made things a whole lot wicked, as he ended up recording all guitar parts on the album, which really gives the album a spark that the 1987 album didn't have.

As for the songs they're all fantastic, none of them miss, they're all straight shooters and are filled with tons (and I mean tons) of ear candy, courtesy of Steve Vai. The band sounds tight and I never believed the others who said that Steve didn't fit...although I understand there argument.

This CD + DVD edition features deluxe packaging with a 24-page booklet, featuring rare & unpublished photos and archive memorabilia Includes 6 bonus tracks, including rare b-sides and alternative mixes, plus 2 previously unreleased live versions from Castle Donington 1990.

'Slide It In' has always been my favorite WS album. This Deluxe Edition certainly did not change my mind. In fact, this remastered product is of outstanding sound quality and the songs are still great after 25 years. For many years, I never realized their was a UK version of this album. It's kind of cool to hear the UK versions of 8 of these songs. Apparently, they did not have UK versions of the Hungry for Love and Love Ain't No Stranger. If there were, then they are not included in this edition. The booklet includes interview with David Coverdale and I found very interesting. It explains why there were 2 versions.

The UK versions are good, certainly worthy of owning and "nice to have" but the US versions are better. Probably because this is the version I grew up with and am used to. Slide It In is considered WS' "transition" album. But OH BOY! what a transition. SII is more Rock oriented and was a lead-in to what catapulted WS into superstardom in the MTV days. Their 1987 self-titled album wouldn't have been as popular without Slide It In being the predecessor.

I don't mind that they changed the order of the US versions of the songs. In fact, it brings a new fresh feel. From what I understand, this is the order that David Coverdale originally wanted but of course, the record company moved the title track first and put the best 3 songs in front which most record labels do. Although the best songs are still in the first half, the later half are great as well. In fact, there is not one bad song on this 1984 classic.

The other bonus tracks are OK. Need Your Love So Bad is OK but I'm sure this was a song recorded during these 1984 sessions and just never made the cut. Nice to have but not an essential song.

You really get a nice complete edition with Disc 2. It's always cool to have the videos and think of the good-ole MTV days (when they actually played music videos around the clock) when watching them.

The deluxe edition of this fantastic album contains all 10 tracks from the original album remastered on the first disc. Although admittedly no Pyromania or Hysteria, Adrenalize contains some great tracks: "Make Love Like a Man", "Stand Up (Kick Love into Motion)", "Tonight"...just to name a few. It would be an understatement to say the album isn't too deep, but then again Def Leppard was never exactly known for thought-provoking music.

I personally enjoy the carefree, light, tongue-in-cheek attitude that defines most of the tracks (it's the funniest Def Lep album to date, but in the best way possible). Just like with the deluxe edition of Pyromania, I've heard people complain that the remastering is not really noticeable, but again I have to disagree. The sound quality is definitely improved and it does help give the songs a boost. And just like Pyromania, it really is nice to hear remastered versions of some of the lesser-known songs that haven't made their way onto a compilation album ("Tonight" and "Personal Property" are great examples).

The second disc contains the Adrenalize B-sides as well as some live recordings. The B-sides are nice to have on one disc, though to be totally honest most of them are nothing special. The exception is the "Tonight" demo, which I think may even be better than the version that actually made it onto the album.

This deluxe edition is a must-have for any Lep fan. It contains all 10 tracks from the original album remastered on disc 1, as well as a complete live concert recorded at the LA forum in 1983 on disc 2. I've heard some complain that the remastering on the first disc isn't that noticeable, but I can't agree with that. Comparing the tracks on the deluxe edition with tracks from the original 1983 release, you'd have to be deaf to not hear the improvement.

The sound is clearer, crisper, and brings new energy into the songs that you can't get with the originals. This is especially great if you happen to like songs off the album that weren't necessarily big hits and haven't yet been re-released and remastered on a compilation album ("Comin' Under Fire" happens to be my second favorite song on Pyromania, and I was always disappointed at not having a remastered version of the song, but now I do!).

While the remastering is a great treat, the second disc is really what makes the deluxe edition a must-have. Its 15 tracks cover an entire Def Leppard concert at the LA Forum in 1983 (and I do mean the entire concert...they even left in Phil and Steve's guitar solos). While bootlegs of the concert have been around for ages, the mastered recordings on the deluxe edition sound SO much better.

Stripping away some instrumentation and background vocals and, in some places, adding new, acoustic instrumentation, pushes Michael's vocals to the forefront. An interesting experiment, but it should be remembered that Michael's vocals were originally recorded on top of the finished tracks and were performed to be heard over or complement the arrangements.

Isolated as they are here, some come across as overly forceful or strident. Great vocals they are, but definitely meant to be heard in their original context. Fun to listen to, but after the novelty wears off you'll still much prefer the original recordings.

The 40th Anniversary Legacy edition of this classic album is its best release to date!! Vic Anesini's mastering is fantastic! He brings the music to life as if it were recorded in 2009, not 1969. There are many reasons why you should buy this 2 disc issue. Aside from the mastering, this collection brings together all of the masters from those incredible sessions in one package.

This includes the two albums that came from the sessions, From Elvis in Memphis and Back in Memphis, as well as the 10 other tracks that were released over time. Another fantasic offering from this package are the singles in original mono. In 1960 and 1970, when the vinyl singles were released, they were released in mono. Including these masters is a wonderful trip down memory lane. They do sound different, and to my ear perhaps even better that the stereo versions. It's a matter of taste.

Ernst and Roger, if you read this, the only thing that would have made this package better would have been to include the stereo masters of the singles as well. Since we have the stereo version of In The Ghetto already in the album, it would have made the set complete to place Suspicious Minds, Don't Cry Daddy, and Kentucky Rain in stereo on the end of disc 1, leaving disc 2 with the mono versions for comparison.

This collection pulls the highlights from six of The Jayhawks albums. As a long time fan, I've already got all of these songs, but there is a great three disc set with one disc of rarities and a DVD of videos and a short performance for long time fans. I wrote this review for people not familiar with The Jayhawks.

The Jayhawks sound like a 90s version of late 60s Byrds, with some Crosby, Stills and Nash thrown in. Their sound gets tagged as alternative country, but have a lot of folk-rock in their sound. Gary Louris is a unsung guitarist with a unique sound. The harmonies of Mark Olson (who left in 1995 and is gone for tracks 11-20 on the CD) and Louris mix to sound as one. The first ten tracks are marvels of country-rock, folk-rock - whatever you want to call it, it's great music. If you like this, download "Tomorrow the Green Grass" and "Hollywood Town Hall." Both have great songs not included on this disc.

After Olson left, the band became experimental. "Sound of Lies" had some psychedelic touches and "Smile" had the band going pop. "Rainy Day Music" was a throwback to their earlier sound and is also a great record. But for a Jayhawks primer or shoulda-been hits collection, you can't beat this single disc collection.

I discovered them back when I was working in a little AM station in southern WV right out of high school. The station was throwing away CD singles, two of which were "Blue" and "Bad Time," by The Jayhawks. I took them home, popped in the CD player, and have been a big fan ever since.

Fans can quibble about what isn't here - I would have picked "Two Hearts" over "Miss Williams' Guitar" from Tomorrow the Green Grass and "Think About It" over "Big Star" from the Sound of Lies album (which is also a great song.) I'm glad the band is finally getting their due, and I hope more people pay attention this time around. The best news I've heard lately is that the mid-90s lineup is reforming for a few shows. I liked the Olson and Louris record earlier this year, but I would love to have a new Jayhawks album.

Still, for those curious or those who've heard a song or two, this is a great introduction to one of the finest bands from the 90s.

Meshing simple, exceedingly catchy hooks with rhythmic beats, The Stones Roses led the UK's so-called "Madchester" scene straight into the U.S. with their eponymous debut. Indeed, The Stone Roses were one of those bands who burned brightly... and all too briefly. Thankfully their presence has been long-lasting -- the music of their self-titled first album still lingers long after the breakup of the band. They captured lightning in a bottle, even if their first album's musical perfection was their downfall.

After the panoramic, rumbling buildup of "I Wanna Be Adored," the Roses catch you with rollicking, infectious rock songs and psychedelic trips. While sticking to strong pop melodies and rock instrumentation, the Roses manage to experiment around a bit -- the delicate "Waterfall" is literally turned backwards and replayed, in a song that is almost as good as the original.

The true rock rebellion shows in "Bye Bye Bad Man" with protests concerning French student riots ("Every backbone and heart you break/We'll still come back for more") and an acid-tinged anti-royalist song. Finishing up the unalloyed brilliance is the bitter, complicated "I Am the Resurrection," and the melodic "Fool's Gold" -- two of the best songs on the album.

The Stone Roses spread their influence far in this album -- there are soft ballad-like melodies, whirling psychedelic trips, and rock that rises, crests and slowly sinks. Expect your heartbeat to rise and sink with it -- because this music has a richness and depth that most rock music cannot even begin to equal.

John Squire's guitar riffs are flexible and fluid; it sounds like this guy was reinventing guitar licks all on his own. His shimmering guitar riffs of "Waterfall" are truly magnificent. The deep basslines will drawn you in whether you like it or not, as will Reni's outstanding drumming. Everything culminates in a wild, dense psychedelic mass in the overwhelming "I Am the Resurrection."

Ian Brown's vocals are excellent; unlike many rock singers, he has genuine vocal talent. The writing for these songs is deeply vibrant. Sometimes the intensity is almost breathtaking, as Brown sings, "I am the resurrection and I am the light/I couldn't ever bring myself/To hate you as I'd like." Ow, heavy stuff. But he is equally good with the quieter songs, sounding sad and a little pensive.

The Stone Roses achieved one of the most successful fusions of classic pop songwriting and acid house culture, and managed to snare fans from both genres. By the end of 1989, their debut had landed on many a top-ten list for that year; NME even declared it "The Greatest Album Of All Time."

"The Stone Roses" is an unforgettable musical experience. A culmination of musical genius, this is one of the handful of albums out there without a bad track or a sense of monotony. Ergo, this 2CD/1 DVD Deluxe Edition is very, very highly recommended.

OK, off the bat, you should know that over the weekend I listened to these discs one after the other ... and boy, are they incredible performances caught live, one and all!

This (very) special edition 5-CD box set brings together Gary Moore's performances from five separate appearances at the Montreux Jazz Fest in 1990, 1995, 1997, 1999 & 2001. Disc four, his rock/blues live moment was the one I loved the most (Need Your Love So Bad, Still Got The Blues, Parisianne Walkways, etc.) but come the end of the listening session it had all blended to be a truly incredible listening experience.

So, if you like Gary Moore, his guitar work, the bands he's been in, and all that surrounds the Irishman, well this box set is a must have. Oh, and if you love (not like, but love) the blues played with a power guitar vibe, then this 5-CD live collection is gonna have you in listening heaven.

Moore's career has been on-going now for over 4 decades, but it has always been (for me, at least) his solo work as a blues/rock musician that took him higher than any band he'd been in - and made him top the charts regularily in the UK. His blues/rock stuff is well documented - in life and in these 5 CDs - but it's is pure out-and-out rock era that first got me excited for one of the finest guitarists of his generation.

'Out In The Fields,' 'Over The Hills And Far Away,' 'Empty Rooms,' 'After The War,' and both 'Wild Frontier' and 'Still In Love With You' (which sadly, for me, only the 2 make it onto these 5 discs) were all my cup of tea. So, here in his live blues period of years at Montreux, we get a wonderful combination of true blues, rock blues ... and three versions of 'Parisianne Walkways' - always a fav of his to extend and do live!

Ok, taking it quickly disc-by-disc, the first CD (1990) was a live show that Moore took on after having just released 'Still Got The Blues.' Featuring some 12 songs, the album weighs heavily on the song choice for the set, but we also get stuff like Pete Green’s “Stop Messin’ Around” and Otis Rush’s “All Your Love.” A guest appearance by legend Albert Collins on “Cold Cold Feeling” doesn'y harm either!

Jumping ahead to the next appearance and it's now 1995 and we get a perfect 14 song set. Another couple of Pete Green tunes - “Long Grey Mare” and “Merry-Go-Round” - are both brought to the fore in typical Moore style, but if there was to be a run-of-the-mill disc amongst these, this would be the one.

Quickly returning to Montreux in 1997, Moore gave us just the 11 tracks this time to revel in. With a heavy borrowing of songs from his just- released 'Dark Days In Paradise' album, and with his so-called regular backing band behind him for a change, this was an impeccable live performance. And yes, he plays one of my rock favs, “Over The Hills” so I was very happy hearing it pop up amongst the blues!

Back again after another short break away (1999), we get down to some basic blues for sure, but his rock background comes to the fore too (as previously mentioned). A great Little Willie John’s “Need Your Love So Bad” empowers the recording, whilst a the beloved “Still Got The Blues” is played in all its rock/blues glory. And yes, the set (once again) ends on the usual final act of the late, great Phil Lynott’s “Parisianne Walkways."

Heading into the final disc and Moore’s Montreux juganaunt powers into the final bend with his 2001 performance. Having just released his 'Back To The Blues' album, we got a scattering of that along with classic blues such as T. Bone Walker’s “Stormy Monday” and B.B. King’s “You Upset Me Baby.” Add to that a storming version of Jimi Hendrix’ “Fire” and you can understand why it is a shame Moore doesn't tour as much as he once did.

A native American from Miami, but currently residing in Zurich, Jo Potter has now released her second album ‘Saved’, following up on her debut ‘8 Circles’ from 2003. A collection of 12 songs written by her, and occasionally with collaborators, ‘Saved’ is an impressive sophomore offering. Concentrating on the art of songwriting with catchy melodies and articulate lyrics, her album is an absolute joy to listen to.

Jo has said that one of her influences is Tracy Chapman, and you can certainly hear a touch of Tracy in her voice, as well as the sultry sexiness of a young Sarah McLachlan. But comparisons, if inevitable at this stage of Jo’s career, are somewhat unfair, as she has developed a style of her own. Her voice is her greatest asset. This girl can sing. She really sells a song. The listener feels that she lives and experiences every syllable. There’s an honesty there that is both alluring and infectious. Just listen to her track ‘Something’ to get a flavour of her pleasing and charming style.

The music is probably best described as jazzy, poppy Adult Rock – not dissimilar from a Norah Jones with a dash of Sheryl Crow thrown in for good measure. The band she has assembled plays beautifully and plays in way that perfectly complements her songs and words. The production is flawless, always remembering that what we want to hear is the words and music and not the technical wizardry of those pushing the buttons. Stand out tracks for this writer are the album opener ‘Saved’, the gently rocking ‘Give It To Me’ and the acoustic version of ‘So Beautiful’ that closes the album.

This is a substantial offering from Jo Potter which should see her reputation enhanced and her career move up to the next level. If you like good songs sung and played well then you should check out this album, you won’t be disappointed.

Peter ‘taB’ Walker

www.jopotter.com

Subhumans were at the forefront of the UK anarcho-punk scene in the early 80s, alongside such bands as Crass, Flux Of Pink Indians, Rudimentary Peni, and Conflict. From the start Subhumans were praised for their ability to stretch the boundaries of punk rock with their unique blend of structured dynamic tunes and incisive socio-political lyrics.

Bluurg Records are proud to announce the reissues of the Subhumans back catalogue. Remastered and presented in a deluxe digi-pack with all original artwork, these re-releases give you another chance to hear one of the original UK punk bands at their very best.

'The Day the Country Died' - I first got this record about ten years ago, and it blew my world apart. It was (and still is) much more unique than any other record from that time period. It is utterly flawless. It was perfect for the angry misfit sixteen year old when I got it and even now it is just as potent and even better than ever. Over the past decade my taste in music has wandered all over and I've been quite a snob (I hate to admit), but when I brought this remaster back out and placed into my player for a listen, man, I was amazed at the strength of the song writing!

'From the Cradle to the Grave' - This release is breathtaking, from the opening fifty second long instrumental to the final sixteen-minute title track that ranks among the ten greatest songs ever recorded by anyone, regardless of genre. It's not just Dick's lyrics, brilliant as always, that make this album a classic, but also the music, constantly changing pace and tone, from the upbeat ska/reggae of "Us Fish Must Swin Together" to the threatening "Wake Up Screaming" to the relentless "Reality Is Waiting For A Bus." Frickin' classic!

'Time Flies / Rats' - Normally, I think it's a bad idea for a band to get back together, especially after a decade's gone by. But, I have to say, I was thrilled when the Subhumans got back together. I saw them on that first tour in Pittsburgh - great show! 'Time Flies / Rats' was the first album I had and have had now (regardless of this remaster) close to twenty years! They are one of the few English punk bands that still sound fresh to me.

'Worlds Apart' - Great album. Punk meets ska in England. Politico-punk with soul. The Subhumans are just fabulous, and this album is one amongst a long list of great albums they have released. What makes this album different than some of the others is that most all of the songs have a real ska beat influence. Plus, each and every song is rich in advanced musicianship. This is not just bar-chord 1-2-3-4 punk rock, but real creative fusion in a fine peace-punk style. Plus the recording job is superb.

'EP-LP' - The best material this band ever recorded are their first 4 EP's.And they're all here, beautifully remastered (the sound is excellent). Clocking in at a decent 42 minutes+, this is a skull-splitting record, with the guitar so loud and bright few people will be able to enjoy this as it was meant to be listened to - ie: at full blast! As a bonus, only one of the ska-ish songs that will soften future album releases is present here, and it ain't bad!

'29:29 Split Vision' - The album gets off to a great start with "Somebody's Mother," hands down one of the ten best songs they ever wrote. Amazing riff, and great melody. The third track, "Walls Of Silence," has backing vocals reminiscent of earlier songs like "Get To Work On Time," and a great bassline. The more I think about it, the only real problem with '29:29 Split Vision' is the last three songs, which combine for half the album's length. The song "Worlds Apart" is half the length of their sixteen minute epic "From The Cradle To The Grave," but nowhere near as musically fascinating.

www.EarSplitCompound.com

"Chess" is one of the most revised and re-revised shows in history. Beginning with the original concept album in 1984, the show went through a slightly altered London production, then a drastically altered Broadway version (which tanked), and numerous international productions since then, most of which combined songs and plot elements from both the London and New York productions. Still, Tim Rice seems to have wanted to present a "definitive" version, and so we have 'Chess in Concert', presented in London's Royal Albert Hall in 2008.

This version features some of today's brightest young stars from Broadway and the West End: Idina Menzel, Adam Pascal, Kerry Ellis, and Marti Pellow, as well as baritone crooner Josh Groban as Anatoly. Overall the cast is excellent, although Menzel's vocal stylings will perhaps not be to everyone's taste. She does, however, capture Florence's vulnerabilities quite well, and is an excellent vocal belter.

Kerry Ellis has the pleasure of singing "Someone Else's Story", now a song for Svetlana, whose character has been greatly expanded. She approaches the role with grace and a firm vocal confidence. "Rent" veteran Adam Pascal makes an excellent Freddie, capturing both his sleaziness and rather pathetic narcissism. Marti Pellow, the former UK pop star, takes on the role of the Arbiter, although he plays it coolly and with almost too much subtlety. Finally, Josh Groban is superb as Anatoly, his "Anthem" bringing down the Act I curtain with an inspirational and moving performance.

The CD includes most of the show as presented on the DVD, with some minor deletions of dialogue (the part of Walter has been drastically reduced), and most of the explicit language is retained, except for Freddie's use of the "f" word in Act II. I mention this only because there is no Parental Advisory sticker on the CD, so listeners who might be offended should take note.

Overall this is the most complete version of Chess yet recorded, and though nothing could ever replace the original concept album, it does stand on its own merits and hopefully will introduce this exciting and stirring pop opera to a new generation of listeners. [JMP]

I don't think you could go about this CD looking for a theme as memorable as "Hedwig's Theme". John Williams truly set the scene for Harry Potter when he composed that ubiquitous melody, and I dare say that it would not be matched throughout all 8 Harry Potter films. So what is there on the original score to Harry Potter and the Half-Blood Prince?

Where John Williams (and to some extent Patrick Doyle) amazed with bombastic arrangements and compositions that soared and dived to the excitement of Harry Potter music fans, Nicholas Hooper, in his score for Half-Blood Prince has matched with subtlety and melancholy.

I think it suits the tone and mood of the film perfectly. It took some time getting into this score for this 6th Harry Potter film - because it simply was not immediately engaging. But after watching the movie, and relieving the emotion I first had when I finished reading the book (immense sadness punctured by tiny rays of hope), it occurred to me that Nicholas Hooper was not going for "hook" and "hummability" - what's the point when the best melody has already been created! He went after ambience and atmosphere. This makes the score feel so different to all the previous 5 scores. The score might not recreate scenes for some (for me it does) but it makes you relive the experience.

While I am extremely pleased for the existence of "Hedwig's Theme" (it represents all things Harry Potter to me), I can't help but see that if Harry Potter's world had music, it would be the type contained in this score. Not outrageously showy, not blockbuster-ish, not magnificent. Tracks like "Ron's Victory" don't do the trick for me. I get transported to Harry Potter's world when I listen to "Harry & Hermione", "Dumbledore's Farewell", "Opening", "In Noctem" and "The Friends". These pieces are lush, heartfelt and enchanting. In particular "The Killing of Dumbledore" - such a significant moment in the entire HP series - the crescendo of strings and atmospheric background is excellent composition.

I applaud Nicholas Hooper for coming up with something new and faithful for the Harry Potter films. The score is clearly tinged with Celtic, baroque, jazz flavours over an ambient soundscape. I have to say us Harry Potter fans are truly blessed with such a remarkable collection of music from genius composers to remind us of this magical world long after the books have been read and reread, and the films watched and rewatched. [LF]

With each successive 'Battlestar Galactica' CD release, Bear McCreary manages to produce more and more complete soundtracks that not only tell the story of the series but can literally put you in the moment alongside everyone; alongside the action.

And now, with the release of the impressive 'Battlestar Galactica: Season 4' soundtrack CD comes the news that it's actually La Land Records' 100th soundtrack release. Which makes this 2-CD set one hot mamma of a recording to own!

The whole experience kicks off with a bang as "Gaeta's Lament" begins with the faint hints of what awaits us at the end of the series and the ushers in the desperation that filled the first two episodes of the third season and builds into "The Signal."

This original soundtrack from the knockout fourth season of the Sci-Fi Channel's critically acclaimed television series, starring Edward James Olmos, Mary McDonnell, James Callis, Tricia Helfer and Katee Sackhoff is once again fully-loaded. McCreary enriches and expands his glorious, one-of-a-kind mix of orchestra, vocals, rock, world-beats and synth throughout the first disc, allowing it to filter majestically through onto the second.

Disc One collects Season Four's best musical moments up to "Daybreak," which is the series finale, which begins with "Caprica City, Before the Fall," and brings the season to an end with the short, and yet none the less compeling, "The Passage of Time." A 20-Page CD booklet contains exclusive liner notes from the show's cast and crew. Bear McCreary has outdone himself. One of the most innovative composers working today, his seamless blend of instruments from all over the world creates a unique and moving audio experience. His score is beautiful, and exciting, and it transcends genre.

OK, so here's the be-careful-what-you-purchase game ... for, the soundtrack score CD we are talking about here, composed by Aaron Zigman contains 35 tracks ... whereas, the soundtrack album for the very same film, 'The Ugly Truth' is compiled (save only for the actual score from the movie) of 12 songs from the movie therein!

Ergo, if you wish to own this solid composed work by Zigman you'll just get those 35 artfully created movie fill-in pieces. But, if you liked the bouncy, hit parade music that accompanied the film throughout when you saw it at the movies, well, that one features the music of: Katy Perry, Daniel Merriweather, Nikka Costa, Josh Kelley and Natasha Bedingfield, as well as some dancy dance from Flo Rida in the form of Right Round.

As for the film, well, the perception of the truth may seem dark, but reality is quite beautiful and fun. This story is what life is all about, making people lauch and having fun ... and enjoy into with someone that loves you for you! Heigi is wonderful in this movie, she may be the new Doris Day of today. What it takes to put and smile in your heart for true love she has, and what it takes for you to close your eyes and recall certain scenes is what Zigman has affected here in his 35-track score.

While this album features several familiar names there are a few new artists here as well such as Lady GaGa, Pitbull, and 3OH!3. Some of the tracks have been around for a few months while others are still relatively new. As with the previous two volumes, there's access to bonus content. A good sample from start to finish, the only head scratchers are the Charice song and the obligitary country crossover song (Lady Antebellum), but oh well!

Often though the NOW CDs are also chock full of piffle at best and crap at worst. However this CD is great all the way through. Now I don't have to buy the 3OH!3 or new Black Eyed Peas CD because I have all I wanted from both. In my opinion, the opening 10 seconds to "Pokerface" (as absurd as that song is) is my definition of sublime!

This is NY-based quintet Assembly of Dust’s second studio album and what they didn' caputure last time out the gate, they sure do this time. Featuring wonderful, earthy collabroations from some of the jamband scene’s finest, including Bela Fleck, Phish’s Mike Gordon and others, 'Some Assembly Required' allows lead singer Reid Genauer the chance to hone his destinctive sound.

Combining the deep grooves of blues and R&B with creative guitar work, the band's first "proper" album was a live set, which was quickly followed by five "instant live" albums from their December 2005 tour! Sure this album my not be a live one, but don't let the studio walls fool you - for as much as they kept the songs in, they also allowed some magic to ferment too!

We all know from watching Crosby knock 'em dead with his cover of Elvis Costello's "What's So Funny 'bout Peace Love & Understanding" on the MTV contest "Rock The Cradle" (which he won), that the future is bright and waiting for this talent.

"Time to Move" is the perfect introduction. Showing just a small range of his ability, this album captures you and takes you away from whatever you are doing for it's all too brief 37 minutes. You can compare Crosby with many other artists, including his father, Kenny, but after you listen to this album, you will know that Crosby cannot be pegged.

His variety shows and tickles your patience for what is to come next. Will it be jazz influenced, folk rock or pure singer/songwriter. His talent is unmistakable and his future has many paths. This album will appeal to fans of Mayer & Mraz, but also of CSN&Y and James Taylor.

'Transformers: Revenge Of The Fallen - The Album' is the original soundtrack to the highly anticipated 2009 summer blockbuster of the same name, of course! Featuring tracks from Linkin Park, Green Day, The Fray, Nickelback, Taking Back Sunday, Hoobastank, Cheap Trick and others, the album might sound perfect for all those concerned, but in truth its all a little muddled musically.

With very little variety to expand on, the sequel's soundtrack know's what it wants to be, knows what it has to be, and knows how to make sure you believe it also ... and yet, all the songs have a similar sound and a similar pace!

And, whether you think this is cool or not, a weird thing about this soundtrack that accompanies the movie, is that five of the songs are not even in the movie! Soooooo, why have them at all? Anyway, the first song up is the movie’s signature song, “New Divide” by Linkin Park. Also note that this very same song also appears on the score album, integrated into one of Steve Jablonsky’s ('Texas Chainsaw Massacre') cues. It is followed by Green Day’s “21 Guns,” which shows us nothing new at all.

'Last Time,' the side project from the talented combo of the late Ean Evans (Lynyrd Skynyrd) and Bobby Capps (38 Special), has many stand out tracks, and goes a long way to showcasing their writing talents. "For Something or for Nothing” is a slower tempo song, with deep, real lyrics within it, as well is the excellent "Anything Goes."

Indeed, even the opening track, “Hell if I Know” brings the sounds of the two men out loud and fast, but then again so does much of everything heard on the album. But, in "Hell if I Know" they also use a vocal filter to create a totally unique, signature sound, that you have to hear to truly appreciate.

The groove of “Why” and Ean’s theme song “Mississippi” both blend elements of blues, Southern Rock and metal into a melting pot of a rock song that the good ol' boys of LS would love to have written themselves, one might not wonder.

'500 Days of Summer' is like the world's most engaging anti-fairytale ... about a boy (Tom, Gordon-Levitt), who falls head over shoes for the kind of girl (Summer - Zooey Deschanel), who doesn't believe in love (or fate) in the slightest!

Over a span of 500 days, the story moves in a non-linear fashion from the perspective of Tom, who goes from ecstatic giddiness one moment, indulging in a fantasy song and dance sequence at one point, to crippling depression the next.

This wonderful, oh so wonderful accompanying soundtrack features tracks by Regina Spektor, Feist, She & Him (the group is comprised of Zooey Deschanel and M. Ward), Black Lips, Doves, Carla Bruni, The Smiths and others.

If you ever saw 'Yes Man' (especially the musical segment in the special features where Zooey Deschanel's band sang some songs!) you'll know that she has the pipes for this kind of stuff ... and what lovely pipes! The CD soundtrack also features 'Sweet Disposition,' by Melbourne-based band The Temper Trap along with a great track from Feist.

The easy comparison to make is to King of America, Elvis' first album produced by T-Bone Burnett. The influence of deep rooted American forms of music is strong, all wrapped up in a package which seems to be commonly labeled "Americana". Too much stock shouldn't be put in the comparison, despite the similarities.

Of course, long-time listeners of Costello's hopefully know better than to go in with too many expectations of what they're going to find, other than good songwriting. And songwriting is where I think he is one of the most consistent musicians out there. It is how they're brought through in recording, and constructing, an album that perhaps has a little more variability.

The results here don't make for one of his masterpieces, but they also don't make for a misstep. I love his rock records, but I still have those to put on when I want to hear them, I don't need them to be remade. So, this almost entirely acoustic, more lowkey affair, is a welcome addition. Actually, I've been hoping for an album in this style from him, and this one does disappoint, overall. Top notch musicians were brought in, and they do their job, the music is skillfully played. T-Bone Burnett was of course the perfect choice to this all together. The sound, especially, is excellent.

When the tracklist was first released, I was slightly disappointed to see "Hidden Shame" and "Complicated Shadows", songs he wrote for The Man in Black. I was hoping for fresher material. It turns out that these fit right in, and do well to keep the album moving. Actually, they are part of what I think is the album's strongest stretch, the first five songs. "My All Time Doll" sticks out for that sardonic streak, that any regular listener of Costello's should appreciate. "I Felt the Chill Before the Winter Came" is an effective, emotive songwriting collaboration with Loretta Lynn, which I much prefer to their last joint effort, on his previous album.

For me, the album starts to drag when it hits the songs written for his chamber opera, based around the life of Hans Christian Andersen. "She Handed Me a Mirror", "How Deep is the Red?", and "She Was No Good", here sequenced with a song not from the opera, "I Dreamed Of My Old Lover", which does nothing to lighten the mood. The chamber opera songs are somewhat plodding; too stately, studied, and subdued for this affair, especially sequenced in this block at the middle of the album. Here, the pretensions Elvis Costello is often criticized for, sometimes unfairly in my opinion, can legitimately be recognized.

Thankfully, things pick up significantly with the loose, entertaining "Sulphur to Sugarcane". This is followed by "Red Cotton", a much more welcome, and moving, holdover from the opera. The album closes with a high quality songwriting collab with T-Bone, and a well done cover, which does what a good cover should, and really sounds like a song that belongs to Elvis here.

July 4, 2008 was a landmark night at the DTE Energy Music Centre in the 41-year touring career of Detroit's own Ted Nugent, as he performed his 6,000th show to a raucous hometown crowd. For the 23,000 that attended, this show was an affirmation that a Ted Nugent show is not just a show ...it is a celebration!

With backing from Derek St. Holmes (the vocalist behind "Dog Eat Dog”), Johnny Bee Bdanjek (drummer for Mitch Ryder and the Detroit Wheels), and even former guitar teacher Joe Podorsik, Nugent had his all-star team backing his every move.

This CD (and the subsequent DVD, of course) is one long, and totally engaging, nostalgic trip. With 2 discs and 23 tracks (21 actual songs, an intro, and an outro), the live release features all his big hits and more.

On display and on deck we got “Motor City Madhouse,” “Wango Tango,” “Cat Scratch Fever,” and “Stranglehold,” to name just, well, four! Nugent and his band were on fire this night and knew it. Sure Nugent’s tendency to waffle on about topics like hunting and being in love with Mother America can get a little yawny, but hey, it's Ted, ya'll!

This was a celebration of life, a celebration of Motor City rock n' roll and, on this night, a celebration of over 40 years of touring to all corners of the earth.

Chilled out, and ambient best describe Moby's latest CD "Wait for me". It comprises swirling hypnotic and relaxing strings (soothing and swelling in turn), gentle beats, some instrumentals, and some vocals; a sharp contrast to its more big-diva Dance-oriented predecessor "Last night". "Pale horses" featuring some soothing female vocals repeating "Put me on a train / send me back to my home" is a perfect example.

The mood is downbeat and melancholic, with aural pieces that could act as a backdrop to some epic movie (the trio of instrumentals "Shot in the back of the head", the acoustic "Scream pilots" or "JLTF1" and "JLTF"- the latter with spare vocals - especially). In fact, the few vocals there are stand almost in the background, letting the instruments take center stage.

"Study war" features Spartan lyrics (male vocals crying for no more war) set against a cinematic backdrop. "Walk with me" sounds dirge-like, with tremulous fragmented female vocals, "Mistake" has gently stomping beats, guitars and male harmonies, while "A seated night" sounds like a visit to some ancient monastery.

Title track "Wait for me" features female vocals against cascading piano sounds, and closing cut "Isolate" is a guitar/piano instrumental with an ethereal feel (as is much of the CD really). At first listen, everything tends to sound the same, but repeated listening is required to appreciate its beauty. The album should really be listened to as one piece, much as Moby intended it to be, and I don't really see any single(s) being hits, but what do I know. [NE]

Originally released on ABC-Paramount in 1962, 'Modern Sounds in Country and Western', was a revelation, both for fans of country music and for fans of Ray Charles. The former had never heard their favorites orchestrated with the depth of soul brought to the table by Ray Charles, and fans of the genius singer had never before heard him indulging his love of country songwriting so deeply.

The second volume, issued the same year, follows the same template, with Nashville standards rearranged and conducted by Gerald Wilson and Marty Paich, and recording split between New York and Hollywood.

The album spun off four hit singles, including a chart-topping remake of Don Gibson's "I Can't Stop Loving You" and a heartbreaking cover of Cindy Walker's "You Don't Know Me" that fell just one rung shy of the top. Marty Paich's strings brilliantly underline and shadow Charles' vocals, adding atmosphere without ever intruding or overwhelming the singer or the song.

Track after track, Charles, his arrangers and his band find wholly new ways through these songs, turning "Half as Much" into mid-tempo jazz, layering string flourishes into "Born to Lose," laying the blues on "It Makes No Difference Now" and punching up "Bye Bye Love" and "Hey Good Lookin'" with big band sizzle.

Volume two may not have been as much of a surprise, but neither was it a second helping. Gerald Wilson's soul vision of "You Are My Sunshine," expertly rendered by Charles and a swinging horn section, leaves few traces of the song's mid-20th century origin. Charles, spurred by backing vocals from the Raeletts, sounds like he's reeling off a personal tale of devotion rather than singing someone else's lyric. The Raeletts provide an edge to side one's New York sessions, with the Jack Halloran Singers sitting in on side two's Hollywood takes.

Both album sides yielded hit singles, including a pained reading of "Take These Chains From My Heart," and a slow, mournful take on "You're Cheating Heart." As with the first volume, Charles finds a directness in country songwriting that matches the expression he developed with the blues.

Concord's reissue includes the two volumes' original twenty-four tracks, full-panel cover art (front and back!), original liner notes for each, and new liners by Bill Dahl. Volume one previously appeared as a standalone CD in the 1980s, but the complete volume two only appeared on the (out-of-print) box set The Complete Country & Western Recordings 1959-1986. [HB]

Like many people/followers of Stratovarius, I/we had no idea what to expect after the departure of Timo Tolkki. But, the first thing that I noticed upon listening to this new release - one recorded after the bnd supposedly found time to hibernate for almost a month by the sea in a Finnish forest! - is that Timo Kotipelto seems to have a massive hand now n the song writing.

Sure we're used to him pitching the occasional lyric or two to Tolkki down the years, but outside Kotipelto's first solo album - and a few tracks on the follow-ups - his song writing ability and lyrical prowess is next to nil. Sorry, but come on now, we all know this to be true. 'Polaris' semi-suffers from some stale, wretchedly lyrics if you listen closely enough.

This is a reat treat for Crowes fans, an well-played, well-mixed and well-recorded celebration of a great album along with some outstanding extra tracks, including a smoking rendition of "Bad Luck Blue Eyes Goodbye" from 1992's all-time classic 'Southern Harmony and Musical Companion.'

With a line-up change within the band it left me worried, but the band is back and in my opinion the best they have been in a long time. It's nice to hear that Chris hasn't lost his step as he shows it right away in "Walk Believer Walk." The cover songs are well done and covering Delaney Bramlett's "Oh Elijah" was awesome as the Crowes fit the song perfectly.

My only gripe with this album is the quality of the mix. I feel like it has an almost unrealistic ammount of bass, the guitars are quite tinny, and Chris's vocals (vocals in general) get a little buried at times. Granted, this is a live album, however many of the live albums I have purchased from liveblackcrowes.com have way clearer sound than this.

Four years after her last album, "Everlasting Love", Vanessa had to figure everything out as she tried to reconnect her own fans. The result? She went back to the drawing board, and create her sound that call s it her own. This album is a perfect mixture of R&B/Soul, Quiet Storm, Smooth Jazz, Salsa & Standards.

This album is dedicated to her late father, Milton Williams, a high-school music teacher who have taught Vanessa through her years in school; Milton's favorite singer happens to be Bill Withers, for whom his song "Hello Like Before" is specially written for Vanessa.

Vanessa recorded 11 songs for her album between her summer breaks from her show, "Ugly Betty", and her first single, "Breathless", sounds quite like the love theme for Wilhelmina Slater, the character she plays on her show. She also did two more videos from her album, "Just Friends", & "Close to You". Other stand-out tracks include The Salsa-flavored title track, "Loving You", and "Coming on Strong". The latter 2 songs makes you feel like you're in New Orleans.

Personally, my favorite song off her album is "I Fell In", Which does have a strong making of a #1 Smash hit for Vanessa. I was moved by the song's lyrics, and this happens to be a life-changing song for the people who happens to walk down the same road like everybody else, and this song happens to carry a message of hope in a period of uncertainity of what's happening now.