Swap a CD: 15 Recently Posted CDs

Hard Candy - Madonna

Madonna — 2009-11-22T08:46:47-05:00

All through her career, it has been impossible to divorce Madonna's music from her image, as they feed off each other to the point where it's hard to tell which came first, the concept or the songs. Glancing at the aggressively ugly cover to Hard Candy with its blistering pinks and assaultive leather, it's hard not to wish that this is the one time Madge broke from tradition, offering music that wasn't quite as garish as her graphics. But that is not the case, and Hard Candy is all hard edges and blaring primary colors, an utterly modern, steely sex album for the new millennium, the age of Cialis and an era when Top 40 has pretty much ceased to exist. A pop artist as sharp as Madonna knows this, so she has abandoned the idea of a big crossover hit and pitches Hard Candy directly toward her core audience of club-conscious, fashion-forward trendsetters. This is a smart play, as this is the audience that has always consisted of Madonna loyalists, and it's also is a savvy way to negotiate the explosion of niches in 2008. Madonna relies on the Neptunes and the pair of Timbaland and Justin Timberlake for most of her modern makeover -- a good idea in theory as they are some of the biggest hitmakers of the decade. Sometimes this can result in reasonably appealing grooves -- "Candy Shop" captures Pharrell Williams' flair for slim, sleek grooves; "Dance 2night" conjures Timberlake's Off the Wall obsession nicely; and the icy heartbreak of "Miles Away" is a worthy successor to "What Goes Around Comes Around." But this also points out a shortcoming of Hard Candy: the tracks take precedence over the songs. Madonna's greatness has always hinged on how she channeled dance trends into pop songs, placing equal emphasis on sound and melody, which provided a neat way to sneak underground club trends into the mainstream. Here, she cedes melodic hooks to rhythmic hooks, and sounds as if she handed the reins over to Pharrell and Timba-Lake, trusting them to provide the polish. ~ Stephen Thomas Erlewine, All Music Guide

Built to Last - Grateful Dead

Grateful Dead — 2009-11-22T08:45:29-05:00

Their Greatest Hits 19711975 - Eagles

Eagles — 2009-11-22T08:40:31-05:00

On their first four albums, the Eagles were at pains to demonstrate that they were a group of at least near-equals, each getting a share of the songwriting credits and lead vocals. But this compilation drawn from those albums, comprising the group's nine Top 40 hits plus "Desperado," demonstrates that this evenhandedness did not extend to singles -- as far as those go, the Eagles belong to Glenn Frey and Don Henley. The tunes are melodic, and the arrangements -- full of strummed acoustic guitars over a rock rhythm section often playing a shuffle beat, topped by tenor-dominated harmonies -- are immediately engaging. There is also a lyrical consistency to the songs, which often concern romantic uncertainties in an atmosphere soaked in intoxicants. The narrators of the songs usually seem exhausted, if not satiated, and the loping rhythms are appropriate to these impressions. All of which means that, unlike the albums from which they come, these songs make up a collection consistent in mood and identity, which may help explain why Their Greatest Hits (1971-1975) works so much better than the band's previous discs and practically makes them redundant. No wonder it was such a big hit out of the box, topping the charts and becoming the first album ever certified platinum. Still, there must be more to it, since the album wasn't just a big hit, but one of the biggest ever, becoming one of the very few discs to cross the threshold of 20 million copies and competing for the title of best-selling album of all time. There may be no explaining that, really, except to note that this was the pervasive music of the first half of the 1970s, and somehow it never went away. ~ William Ruhlmann, All Music Guide

Who Killed The Zutons - The Zutons

The Zutons — 2009-11-22T08:21:38-05:00

Since the Zutons share a label (Deltasonic), producer (Ian Broudie), hometown (Liverpool), and pool of influences with the Coral, you'd think it's probably a safe bet that they sound an awful lot like the Coral. Well, you'd be right -- in fact, the bands sound so eerily similar, from their Love/Animals-influenced ruckus down to their Scouse accents that, were it not for the Zutons' solid reputation as a live act, there'd be serious questions as to whether this was just the Coral under a secret moniker, À la XTC's the Dukes of Stratosphear. Still, Who Killed. . . the Zutons was nominated for a Mercury Prize for Album of the Year, so they must have something, and they do. From rave-ups like "You Will You Won't" and "Pressure Point" down to the album's many, gentle folk moments, they cover quite a bit of ground. It's all very steeped in '60s garage rock, very much "dad rock" if you will, though it's injected with just enough fun that it doesn't sound like an entirely retro exercise. The best moments come when the band expands their sonic palette -- the bouncy, horn-spiked "Remember Me" is the very definition of classic merseybeat, and one of the reasons to revisit Who Killed. . . the Zutons again and again. Still, this sounds like a lost Coral album down to every last detail, which means that it seems silly to venture here unless you've at least bought one Coral album already. ~ Jason Damas, All Music Guide

Ritual - Gabrielle Roth & the Mirrors

Gabrielle Roth & the Mirrors — 2009-11-22T08:21:30-05:00

Gabrielle Roth and the Mirrors go with the "flowing" on Ritual, laid-back and gentle, yet deeply sensuous. Resonant primal drums offer warm rhythms for heart and hips, rattles and plucked strings call fingertips to stroke, an English horn mystically entices like a cobra's song, a woman's voice chants to hidden desires. Ritual is perfect for trancedancing, meditation, massage, lovemaking, stretching, or soaking in the hot tub. Key musicians include percussionists Gordy Ryan, Robert Ansell, and Sanga of the Valley, with Matt Balitsaris on guitars and Michael Mandel on synthesizer. ~ Carol Wright, All Music Guide

City on a Hill The Gathering - Various Artists

Various Artists — 2009-11-22T08:16:03-05:00

The Gathering serves as the third and final album in the City on a Hill series. Released by Essential Records on September 23, 2003, the album remains true to the collection's theme of community. However, it does depart from the series' focus on the church's love for God. Instead, co-producer Steve Hindalong says it communicates that "the way we love each other is the way we show our love for God." True to the musical legacy of City on a Hill: Songs of Worship and Praise and City on a Hill: Sing Alleluia, The Gathering includes a strong collection of artists such as Ginny Owens, Jars of Clay, Sara Groves, Bebo Norman, and Sixpence None the Richer. Musically, it is a combination of pop, folk, and ethereal sounds. Definite highlights are Andrew Peterson's "Holy Is the Lord" and Owens and GlassByrd's "We Will Trust You." Piano-carried, "Holy Is the Lord" is a lyrically moving description of Abraham's obedience to God in offering Isaac as a sacrifice. Songwriters Peterson and Ben Shive paint an intimate picture of Abraham's love and obedience to God at any cost, while tenderly describing Abraham's relationship with Isaac. "We Will Trust You" serves to reinforce the lyrics of "Holy Is the Lord," while offering a beautiful blend of voices in the shared vocals of Owens and GlassByrd. There isn't too much that distinguishes The Gathering from the other two albums in the series. So for listeners who are looking for consistency in sound, The Gathering does not disappoint. ~ Ashleigh Kittle Slater, All Music Guide

Bridges to Babylon - The Rolling Stones

The Rolling Stones — 2009-11-22T08:10:28-05:00

Voodoo Lounge confirmed that the Stones could age gracefully, but it never sounded modern; it sounded classicist. With its successor, Bridges to Babylon, Mick Jagger was determined to bring the Rolling Stones into the '90s, albeit tentatively, and hired hip collaborators like the Dust Brothers (Beck, Beastie Boys) and Danny Saber (Black Grape) to give the veteran group an edge on their explorations of drum loops and samples. Of course, the Stones are the Stones, and no production is going to erase that, but the group is smart enough -- or Keith Richards is stubborn enough -- to work within its limitations and to have producer Don Was act as executive producer. As a result, Bridges to Babylon sounds like the Stones without sounding tired. The band is tight and energetic, and there's just enough flair to the sultry "Anybody Seen My Baby?," the menacing "Gunface," and the low-key, sleazy "Might as Well Get Juiced" to make them sound contemporary. But the real key to the success of Bridges to Babylon is the solid, craftsmanlike songwriting. While there aren't any stunners on the album, nothing is bad, with rockers like "Flip the Switch" and "Low Down" sounding as convincing as ballads like "Already Over Me." And, as always, Keith contributes three winners -- including the reggae workout "You Don't Have to Mean It" and the slow-burning "How Can I Stop" -- that cap off another fine latter-day Stones record. ~ Stephen Thomas Erlewine, All Music Guide

This Fire - Paula Cole

Paula Cole — 2009-11-22T08:10:00-05:00

Paula Cole's songwriting and musical skills sharpened considerably on her second album, This Fire. Occasionally, she flirts a little too closely with Sarah McLachlan territory, but Cole has developed her own, subtly mature style, equally informed by textured electronics, light worldbeat influences, and soul-baring lyrics. "Where Have All the Cowboys Gone" may epitomize the sound of the album, but it only scratches the surface of what This Fire has to offer. ~ Stephen Thomas Erlewine, All Music Guide

Brahms Beethoven Mozart Trios for Piano Clarinet Cello -

2009-11-22T08:09:27-05:00

MTV Unplugged EP - Mariah Carey

Mariah Carey — 2009-11-22T08:09:08-05:00

This live performance is the perfect peek into the life of rising pop/soul vocal sensation Mariah Carey at a youthful and innocent age in an intimate, acoustic setting. Throughout this performance, recorded live for MTV's Unplugged, Carey is quite electric and charismatic within her vocal presence and succeeds in enlightening the already engaged audience from the get-go. The audience certainly feels the warmth and sincerity of Carey's lyrical messages of longing, loss, friendships, and love. Carey's supporting cast of gifted group musicians back her up with soulful melodiousness, spontaneity, and enriching percussion. Gradually, the power and esteem of these tales lift to new heights and remain at a peak with the breathtaking, moment-making performance of "I'll Be There," a charming song first cut by the Jackson 5. All and all, this is an inspiring event, though still simple enough for the listener to catch those musical places that need to be polished. "Can't Let Go," Carey's radio single for the album, makes it as the seventh and final track, though the cameras are shut off for the Unplugged episode. Certainly, this is a record of hope, virtue, and the possibilities of newfound love. ~ Shawn M. Haney, All Music Guide

Brahms The 3 Violin Sonatas - Itzhak Perlman

Itzhak Perlman — 2009-11-22T08:08:55-05:00

Flag - James Taylor

James Taylor — 2009-11-22T08:07:30-05:00

James Taylor followed his double-platinum Columbia Records label debut, JT, with this hodgepodge of a record. There are covers of the Beatles' "Day Tripper" and the Drifters' "Up on the Roof," a remake of Taylor's own "Rainy Day Man," songs written for the Broadway musical Working, and a few new Taylor compositions. The usual brain trust (producer Peter Asher), and the usual backup team (Danny "Kootch" Kortchmar, Dan Grolnick, Leland Sklar, Russ Kunkel) were on board. ~ William Ruhlmann, All Music Guide

Bette of Roses - Bette Midler

Bette Midler — 2009-11-22T08:05:11-05:00

After a streaming flow of records for two decades, Bette Midler took a five-year hiatus. "Studio recording vacation" would make a better term, because the energetic entertainer never stays too still. She performed as Gypsy Rose Lee for a Gypsy television musical and performed the bulk of the soundtrack For the Boys, for which she also won a best actress Academy Award nod. If it seemed like Midler was straying in vast directions, she brought a very focused album together in 1995 with Bette of Roses. Said to have personally chosen the track listing from hundreds and hundreds of songs, Midler brings a very poignant and inspiring set this time round; with less emphasis on laughs, it almost works as an extension of 1990's Some People's Lives. It appears Midler is an admirer of singer/songwriter Maria McKee, who provides the demanding and grasping "To Deserve You" which spawned a club version hit remix, as well as "The Last Time" with charming vocal lifts which are as elastic as Midler herself. Andy Hill, who gave Celine Dion the spiritual gospel ballad "Call the Man," works a similar stylish ballad called "As Dreams Go By," which ranks among Midler's greatest. Bette Midler is the kind of woman who has the voice and charisma to carry herself through any song; so as long as her material is worth its weight, the album will succeed. There is a certain degree of sentimentality on Bette of Roses, but it never turns drippy. One of the best examples is "I Know This Town," which takes on a subject as heartaching as a childhood town (and especially the childhood memories) destroyed because of urban civilization. Playing mid-tempo, it works because of its core truth and doesn't manipulate with teary additions. Bette of Roses, like so many of the Divine Miss M's offerings, is cause for celebration. ~ Peter Fawthrop, All Music Guide

Outlaws and Angels - Willie Nelson & Friends

Willie Nelson & Friends — 2009-11-22T08:04:03-05:00

Outlaws and Angels is the audio counterpart to the Willie Nelson Special that aired on cable television in the summer of 2004. Here, Nelson is surrounded by friends who also happen to be fans. Among them are Keith Richards, Lucinda Williams, Merle Haggard, Carole King, Al Green, the Holmes Brothers, Toby Keith, Kid Rock, Shelby Lynne, Jerry Lee Lewis, Los Lonely Boys, Toots Hibbert, Joe Walsh, Ben Harper, Rickie Lee Jones, and Lee Ann Womack. Interestingly, Bob Dylan, who was part of the broadcast, is absent here, though he has top billing on the advert for the DVD that comes in the package. That said, this set is for the hardcore only: the first irritating thing is that the announcer for the evening introduces each guest -- sometimes in the middle of a song! While this could have been easily edited, the fact that it was left in for the audio CD is inexcusable. Secondly, the material, while compelling, is rarely executed in such a way. The ease that Haggard and Nelson display with one another is rarely achieved elsewhere. Williams' duet with Nelson on "Overtime" is truly beautiful, and the pair share an affinity for delivering ballads without overstatement. Likewise, Keith Richards' appearance with Nelson on "We Had It All carries with it real authority, and Nelson's own delivery on the tune is stellar and deeply and oddly, Richards' own vocal, despite his limited range, complements Willie's well in a roughshod way. But these are the clear highlights. The rest, with Haggard, Lewis, Kid Rock, and Richards, is just plain embarrassing. This is a mixed bag to be sure, but it's not without some charm. If only the presentation were better. ~ Thom Jurek, All Music Guide

Heres Patsy Cline - Patsy Cline

Patsy Cline — 2009-11-22T07:44:01-05:00