David O's Reviews

This is a rap genre cd. For a preview, go here:
http://www.allmusic.com/album/alabama-chopped-and-screwed-r804719
Review Date: 4/3/2011

If you like Tom Petty, The Rolling Stones or Pete Droge, your will probably enjoy this group. The genre is southern rock, alternative, country-rock, indie-rock. To listen to a sample of the CD, go here:
http://www.allmusic.com/album/always-almost-there-r647213
Review Date: 4/3/2011

This is a rare CD released on Neptune records, the genre is pop rock, contemporary, heavy metal. You can sample an earlier CD of the artist's work here (a different CD):
http://www.allmusic.com/album/all-things-disturbingly-sassy-r656312
Review Date: 4/3/2011

Blisters is a powerful and evocative neo-Gothic work. It makes me want to head to my local club and see the young, black-clad vamps working out to it on the dance floor. This release features multi-instrumentalist and drum programmer William Tucker (Chris Connelly, Pigface, Foetus) for a denser and more intricate arrangements than earlier recordings. Sam Rosenthal (Black Tape For A Blue Girl) contributes the instruments and programming on "Neighbor of the Beast & Rot." This piece of whispered vocals explores the vanity of ephemeral edifices. Thomas-Carlyle Ayres (Arcanta) contributes quasi-Gregorian backing vocals to the creepy dance track "A World With Tigers." - by Tom Schulte
Review Date: 3/27/2011

This is a rap genre cd. To listen to samples, go here:
http://www.allmusic.com/album/clarity-r754361
Review Date: 4/3/2011

This is a Vancouver, Canada rock band that mixes it up with a Celtic influence. The veteran band Spirit of the West (this is their sixth release) goes for more of a rock edge with Faithlift. It's an evolution not unlike fellow Canadians Blue Rodeo. The act still injects a healthy does of Celtic influences, though, on songs like the sprightly "Sadness Grows" or the lazy "Sincerely Yours." Lead singer John Mann's lyrics are amusing, insightful and, yet, down to earth. He's adept at writing dark moody pieces like "Bone of Contention" or "Mum's the Word." The latter is a somewhat jarring track, featuring the clever, heartbreaking lyrical twist on the song's title and a tortured guitar solo from Hugh McMillan. Mann also shines on lighter fare like the sweetly romantic "And If Venice Is Sinking" with the music building to a joyous, horn-tinged stomp and a lovely singalong on the final chorus. Literate and melodic, Faithlift is worth a listen for listeners who appreciate a healthy dose of substance but want some pop-sense style, as well. by Tom Demalon To listen to a sample, go here:
http://www.allmusic.com/album/faithlift-r212455
Review Date: 4/3/2011

This is a country CD. King Country was assembled in 2000 by lead singer/songwriter Frank Sullivan. Sullivan's North Carolina upbringing found him fronting or playing lead guitar for several funk and new wave bands who played the club and college circuit around his native Jacksonville. In 2002, the seven members of King Country recorded Five Star Dive Bar, a 12-song traditional country collection. The album's self-titled cut became the first single in early 2003. Bio By by Rick Cohoon
Review Date: 4/3/2011

The second release in the Jerky Boys line up. Johnny B. and Kamal are caustic phone-pranksters whose debut effort was the best-selling comedy album of 1993. Their second album, Jerky Boys 2, was released in 1994. The Jerky Boys Movie arrived in theaters the following year; it received poor reviews and low ticket sales. Nevertheless, the duo kept cranking out material, breaking the string of eponymous numbered releases in 1999 with their fifth album, Stop Staring at Me. This is spoken word comedy with prank calls, and blue humor. They're irreverent, street-smart, confrontational, outrageous, cynical, sarcastic and down right funny. Bio by John Bush Want to hear some samples? Sure you do. Go here:
http://www.allmusic.com/album/jerky-boys-2-r203082
Review Date: 4/3/2011

This is sure to please a sophisticated eclectic experimental music fan. Samm Bennett writes unusual (to put it mildly) lyrics, sings in an even more unorthodox manner and plays intriguing guitar and percussion. This isn't strictly rock, pop, or jazz, although it contains elements of each, with the lyrics ranging from humorous to weird to cynical. Bennett's songs seldom flow, his solos are often disjointed, and his vocals won't electrify or amaze anyone. Yet, there are attractive bits and pieces, and the instrumental contributions of Chunk add to the air of unpredictability, chaos and experimentation. It's certainly not for every or even most tastes, but those willing to take a chance may find some worthwhile things. By by Ron Wynn. To hear samples, go here:
http://www.allmusic.com/album/life-of-crime-r71052
Review Date: 4/3/2011

This is pop, rock, classical. To hear a sample of the artist's work on an earlier cd, go here:
http://www.allmusic.com/album/strange-points-of-view-r944791
Review Date: 4/3/2011

The proceeds of this cd were for charitable causes to benefit the Ty Seldes Foundation, UMDF and Mitochondrial Disease research. The genre is pop rock. To listen to the artist's work (a later CD in 2008 called Skippin Stones) go here:
http://www.allmusic.com/album/skippin-stones-r1390739
Review Date: 4/3/2011

Information on the artist, Rapper Johnathan "Dred" Scott was born to two actors/dancers who met while touring with productions; his mother was the first African-American female dancer to appear on the Ed Sullivan Show. Scott received some training in jazz as a child, but was excited enough by the hip-hop innovations of Run-D.M.C. to pursue that direction instead. His music blends jazz, funk, and hip-hop, along with social consciousness and a sense of humor. His debut album, Breakin' Combs, was released in 1994. The album achieved moderate success thanks to the underground singles "Check the Vibe" and "Back in the Day," the former featuring R&B singer and future wife Adriana Evans. A year later, he released Small Clubs Are Dead. In 1995, Evans and Scott wrote and recorded her pioneering self-titled debut, officially released in 1997. The album featured Scott's hip-hop-centric production backing Evans' jazz-influenced vocals; combined with live instrumentation, it was a significant departure from the R&B of the day. The two have since collaborated on subsequent Evans' albums El Camino, Nomadic, and Kismet. by Vincent Thomas
Review Date: 4/3/2011

To listen to samples of Sulaco's 2006 CD Tearing through the roots released in 2006, go here:
http://www.allmusic.com/album/tearing-through-the-roots-r852695

Rochester, NY-based avant-death metal band Sulaco features former Lethargy singer/guitarist Erik Burke flanked by bassist Lon Hackett and drummer Chris Golding. After signing with the Relapse label, the group issued their eponymous debut EP in 2003. by Eduardo Rivadavia The group serves up heaping portions of heavy death metal.
Review Date: 4/3/2011

Just short of a decade into their incredibly successful and influential career, Korn went into Take a Look in the Mirror publicly stating their hopes to record a fresh-sounding album, a seemingly simple task that they somewhat ended up accomplishing. They needed a fresh album -- one that differed from their past couple, the similar-sounding Issues (1999) and Untouchables (2001), yet at the same time wouldn't alienate their notoriously fickle nu-metal fan base. Issues and Untouchables had been fine albums, but Korn definitely needed a change -- if they wanted to remain relevant, that is. There's a lot of turnover in the metal world because there's always the next big thing (whether it's thrash, grindcore, alt-metal, rap-metal, or whatever), and the rare bands that do last (like, say, Tool) do so because they keep changing and therefore retain the curiousity of their perpetually aging (and thus perpetually dwindling) fan base while at the same time drawing in new generations of listeners. It's a tricky business, really -- you need to keep changing yet still maintain your essence. And Korn does that very well on Take a Look in the Mirror, where they deftly consolidate their past strengths and self-produce a succinct album that sounds like trademark Korn -- yet purposefully doesn't sound like any Korn album to date. It's a little paradoxical, but that's precisely what makes Take a Look in the Mirror so interesting, especially for longtime fans. Particular songs draw from past Korn albums -- whether it's the ultramelodic Issues/Untouchables style of "Alive," the overt rap-metal Follow the Leader style of "Play Me," the covert rap-metal Life Is Peachy style of "Y'all Want a Single," or the seeing-red berserk Korn style of "Break Some Off" -- while a few highlights ("Right Now," "Counting on Me," "Did My Time") break into exciting new territory. And perhaps most importantly, Korn keeps Take a Look in the Mirror brief: a baker's dozen in 45 minutes if you don't count the hidden bonus track (their ADD-paced live version of "One" from MTV's Metallica comeback special). Because of the emphasis on brevity and variety (and especially quality), the album's over before you know it and you're left feeling hungry for more Korn. by Jason Birchmeier
Review Date: 3/27/2011

This is a speed metal heavy metal cd which is not easy to find. It was released on The Pen label. The words aggressive, hostile (duh), menacing, angst-ridden, malevolent,
visceral, volatile, brash, crunchy, fiery, harsh, intense, raucous, rebellious and suffocating have been used to describe this artist's work. To listen to samples, go here:
http://www.allmusic.com/album/uncompromised-r856446

Review Date: 4/3/2011

Tenderhooks are a power pop group from Knoxville, TN, formed by two high-school friends, lead singer and rhythm guitarist Jake Winstrom and lead guitarist Ben Oyler, in 2003; bass player Emily Robinson joined in 2004, followed by drummer Robert Koons. The band built up a regional following and released its first EP, Tenderhooks, in 2006 on the Local imprint of The New Beat Records, a label run by Koons. They replaced Koons with Travis W. Schappel, and then came a contract with Rock Snob Records, which released their debut album, Vidalia, on June 26, 2007, shortly after their appearance at the Bonnaroo Festival. After the album was completed, but before it was released, Schappel left the band; he was replaced by Matt Honkonen. Knoxville, TN-based Tenderhooks comes from a long tradition of accessible power pop groups playing tuneful, guitar-based songs. Big Star, Dwight Twilley, and the early R.E.M. all come to mind, and there are plenty of other similar bands. Lead guitarist Ben Oyler comes up with fresh parts to distinguish the songs, however, and he provides harmony vocals along with bassist Emily Robinson to support lead singer Jake Winstrom, who sings in a high adenoidal tenor occasionally reminiscent of Loudon Wainwright III (though not as whiny) or even Edie Brickell. Winstrom and Oyler's songs are full of personal observations that never get too bitter and can be witty ("I try to write an anthem, it comes off like a tantrum"), and Winstrom remains appealingly earnest as a vocalist. This is the sort of music that seemed to have popped out of a '60s time capsule even when Big Star was making it, and yet it is timelessly enjoyable. Tenderhooks does vary the formula by rocking a little harder now and then, giving them more of a jam band sound on occasion, and they also break out the acoustic guitars for more of a country-rock sound. But for the most part, the beats bop along, the guitars chime, and the hooks abound, and there's nothing wrong with that. Bio and review by William Ruhlmann To listen to a sample of the CD, go here:
http://www.allmusic.com/album/vidalia-r1074537/review
Review Date: 3/27/2011

The genre is R&B neo-soul, adult contemporary R&B, contemporary R&B, The so-called "EP" that will make many Erykah Badu skeptics wonder what's going on is actually 15 minutes longer than What's Going On. Why would any musician want to call a recording of such length -- 50 minutes, to be precise -- an EP? The fact that Worldwide Underground is being referred to as an EP makes it apparent that it isn't intended to be considered the true follow-up to Mama's Gun. You also find out throughout the course of the disc that the loose, spare arrangements aren't likely to generate a stream of tidy, four-minute Top Ten hits. As easy as the disc is to slide into, it's far and away the least commercial R&B release of the year. Written, produced, and performed by Freakquency -- a seemingly ad hoc group consisting of Badu, James Poyser, Rashad "Ringo" Smith, and R.C. Williams -- along with a revolving door of guests, the whole thing goes down more like a weekend jam session than an endlessly labored-over, polished project. For the most part, this is a good thing. Both "Bump It" and "I Want You" are over eight minutes in length, leaving plenty of space to establish relaxed atmospheres that are built on uncomplicated rhythms, twinkling keyboards, and vaporous textures. "Back in the Day (Puff)" and "Danger" are the two most single-oriented tracks; the former's essentially a more filled-out version of one of the extended pieces in miniature form, while the latter is the toughest sounding of the whole batch, with punchy, synthetic horn jabs and Badu's most animated vocal. A new version of "Love of My Life" caps off the disc in fine, fun style, with Badu paying tribute to the all-female, old-school trio Sequence, with the help of Angie Stone, Bahamadia, and Queen Latifah. If Worldwide Underground isn't to be taken as seriously as Baduizm and Mama's Gun, so be it; but it only goes to show how apprehensive the powers that be are in allowing their platinum artists to deviate from what's expected. by Andy Kellman

Review Date: 4/3/2011

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