Blur: Think Tank

Having shot down the latest from the Gorillaz, I thought I might see what one of those monkeys did outside of the animated group. Thus, Blur.

Think Tank rolled out on my birthday, 2003 (May 6, for those who don't pay attention). Its more of that "electronica" and studio production, but, I'll be honest, I really enjoyed it.

There's nothing that really stands out on this album, but that's what I was looking for this morning. It was enough to play background music, but not enough to draw my attention from my reading. It flows well, I think it was produced just right, and if I actually listened closer to the lyrics, I think I'd enjoy them. Just a feeling I get.

The two songs that really jumped out to me are the second track, Out of Time and the last track, Battery in Your Leg. Something about the lyrics in the second tune really hit me for some reason, and the whole sound of the last track was just right to close the album out.

In the end: This is great background music, maybe even music to let run while you sleep. Its well done, but its more subtle, and may not have that hook to draw you in, if you need such a thing.

Various Artists: Batman Forever (Soundtrack)

Now this one has been out for nearly a decade, I know, but I just ripped through it for the umpteenth time, and I feel it may be the best thing to come out of the Batman franchise since Adam West (I have yet to see Batman Begins). But, this is not a review of the films, this is the album.

This album jumps all over the place with Rock (U2, Offspring), Hiphop (Method Man), Eletronica (Massive Attack), R&B (Brandy), Romantic Soft Pop/Rock (Seal, Mazzy Starr), and even some indie-ish tunes (Nick Cave, Sunny Day Real Estate).

Despite its many music genres, the album flows almost as good as the Guinness at an Irish bar. From the moment I heard the U2 track (Hold Me, Thrill Me, Kiss Me, Kill Me), I'd wanted this album, but after I got it, I was surprised to admit I really enjoyed the whole cross-section (this being the time in my life where if things weren't classic rock, they were crap).

This album really brought me to a place where I deeply enjoy Mazzy Starr and PJ Harvey (who I even got to see open for U2).

Its not a very "deep" album, but with the plot of the movie it was meant to go with, what do you expect?

In the End: For a nice listen across the radio dial or just looking to zone out, this album is definitely worth it. This offers something for just about everyone and can help you to enjoy other genres.

Gorillaz: Demon Days

I'll be frank with you: I did not like this album on first listen. On a second listen? I dislike it less.

When the self-titled "Gorillaz" album dropped in June 2001, I think we, as a collective conciousness, were quite enthralled with "Clint Eastwood." It was an almost thoroughly enjoyable track, but something was off about it (at least for me), which kept me from loving it. I heard the rest of the album, and later accept that track as a solid part of the whole.

On this album, the first single out was "Feel Good, Inc." which reminds me a bit of the first album. But that's it. The rest of it seems more hip-hop-ish / experimental / electronica, and at points, quite extreme. I appreciate the skill and creativity that went into the album, and I definitely think this is a well produced album, but the content feels like its lacking.

Its also entirely possible that I liked the first one so much that I just don't want to accept that they can go in ay other direction.

Highlights on the album, however, are Dirty Harry (something about it reminds me of early 80s rap) and Feel Good, Inc.

In the end: I'm not impressed with this album. There are some amazingly creative and talented people involved with it, and maybe my expectations were set too high. If you enjoyed the first album, you may or may not enjoy this one.

Boyd Tinsley: True Reflections

This was originally posted on LJ on 2003-07-02.

This is Adam's Capsule review of Boyd Tinsley's True Reflections album:

(For those of you who don't know who Boyd Tinsley is, he's the violinist/backing-vocalist for the Dave Matthews Band. 6-foot+ Black guy who sometimes where's zebra striped pants.)

Now, I'm a fan of Dave, and I'll give anything associated with him a try. I bought Tim Reynold's Stream album, and while I was left a little wanting because the songs seemed to lack structure, I was still impressed with Timmy's guitar abilities.

Boyd always impressed me with his stage presence and amazing ability to make that violin work for him like it was his bitch. Seriously, a 6-foot+ black man in some of the most fashion-illegal clothes on Earth playing a violin. If he wasn't so goddamn good at what he does, This would be the perfect set up for a joke.

I've seen DMB a handful of times live, and his vocal and instrumental abilities always impressed me. But now I know why. He was live and anytime you heard hiim, he was belting out the tunes. We're not as lucky on his album, True Reflections.

The album is a well produced, but ill-used vehicle to bring Boyd out from the light of Dave Matthews and his band. His voice is meant for power, and he's singing sweet, overly-cutesy tunes. The best (and maybe worst) moment of the album is when he covers Neil Young's "Cinnamon Girl." Its done well, in my opinion, but Boyd's voice just isnt up to the task of covering Neil.

Dave does make a very quick visit to Boyd's album, in the form of backing vocals on a new version the Title song. I'm left wanting a lot, I have to admit. I'll just bust out some live shows where Boyd really shines.

The long and short of it is this: If you're a Dave fan, this is a must because you're obssessed. Elsewise, I'd say this musical investment just ain't for you.

Fiction Plane: Everything Will Never Be Ok

Another of my old reviews I'd posted on LJ. I want to organize everything here. Originally posted 2003-07-07

Adam's capsule review of Fiction Plane's Everything Will Never Be Ok album:

First off, buy this album.

The band is made up of Dan Brown (drums), Seton Daunt (guitar), and Joe Sumner (guitar, vocals). Sumner, you say? Any relationship to another musical Sumner? Yes. good ol' Gordo (Sting) is Joe's daddy.

That alone could be enough to sell the band to a lot of people. Hell, it worked with Julian Lennon. But this isn't quite as creepy for two reasons:

1) Sting's not dead.
2) Joe sounds just enough like his dad to make you go.."Wha? Is that... No, almost, but not quite Sting."

And, No. 2 is just enough for you to turn your head, listen, and realize this band is really fucking good. All by themselves.

The first track, "Listen to My Babe," will hook you a) because, dammit, that sounds like early-Police Sting and/or b) because the guitar is just so catchy. After that you're both curious about the guy who sounds familiar and about what this band can do.

As you reach the end of the album, the notion of "Sting's Son" fades quite a bit and the singer becomes his own man, Joe Sumner, who also happens to be Sting's kid. This isn't some aging rocker's kid's pet project. This is a promising rock band with a bright future. Buy the album. Listen. Enjoy. Repeat as necessary.

Zyrah's Orange: Body

Note: this was a review I did a few years ago. I've learned a lot since then, but I like to giggle. Plus, it was posted on our site.

One bit of advice to someone listening to the latest from Zyrah's Orange: play it again. More modern rock and groove than trip/jazz, Body is one of those albums that you may not realize you're falling in love with until it's too late. Featuring uncommon but hip vocals, some fantastic guitar solos, and a jovial attitude, this is one snappy album. From the opening track -- an upbeat, danceable tune appropriately named "Best Day" -- to the second-to-last track -- a slightly more serious, Hendrix-guitar-from-"Little wing" sounding song titled "Taken" -- Zyrah's Orange keeps you, the listener, interested. The last track, "More Best Day," features Z.O. doing an improvised take on the album's opening song. Another nugget of advice to the new Z.O. listener: Buy Body if you're looking for something new, hip, and fun.

The Streets: A Grand Don't Come For Free

This past Christmas, as I was doing a favour for my friends in the Cnotent Dept., I was ripping and encoding some audio clips for the Boston Globe's year-in-review round up of music. One of the albums was this disc by The Streets called "A Grand Don't Come For Free."

I picked it up, ripped down the proper tracks, and then gave them a listen so i could find a good 30 second clip that didn't have offensive language. What I'd found was an amazing combination of British hip-hoppers, story telling, and some damn great production values.

This album is in the same vein as The Who's "Tommy" and "Quadrophenia," and to a lesser degree U2's "Achtung, Baby" and Styx's "The Grand Illusion," in that they are meant to tell some sort of story.

On this album, its a little less artsy or interpretive, but not any less enjoyable.

The gist of it is following the lead character through a week where his money goes missing, girl troubles, doing drugs, and life lessons.

This album opened my eyes a bit. It showed me exactly how great music can come from such random places. Inever expected this to be a good one, but I've listened to it 100+ times so far.

In the end: This is a great album for anyone who wants to take a small leap and listen to something new-ish. Its over a year old, but still a phenomenal album.

Angel: Live Fast, Die Never (Score)

The album "Angel: Live Fast, Die Never" is a compilation of scored bits and soundtrack songs that have appeared across the 5 seasons of the hit Joss Whedon show "Angel," the sibling to "Buffy the Vampire Slayer." Being an avid Joss Whedon Fan ("Serenity" does come out in September, after all), I was all over this like stink on shit.

The scoring by Robert Kral was always well done during the series, and it defnitely feels like they pulled the right clips to give you a feel of the show and of Kral's skills.

If you've been any sort of fan of the show, titles of pieces such as "Darla's Sacrifice" or "Birth of Angelus" begin to create an image in your mind, an image which is only further clarified by the music.

But, by season 2, Angel wasn't all-instrumental soundtracking. Andy Hallett joined (first as a guest star and then as a cast member) and brought his beautiful singing voice to liven things up. His renditions of "Lady Marmalade" and "It's Not Easy Being Green" definitely take me back to when the show aired and make me nostalgic for the never-coming 6th season.

Another fan favourite was Christian Kane's (Linsdey on "Angel") performance of "LA Song." After seeing what a bad guy his character was, to here him belt out this tune made him more human, less of a lawyer. It is quite beautiful.

Finally, the album starts off with something many fans have attempted to cobble together over the last few years: an extending mix of Darling Violetta's Theme to Angel, weighing in at 3:23.

In the end: This is only for Joss-Whedon Enthusiats, Robert Kral fans, or if you happen to fall in love with Christian Kane's voice after 2x18 titled "Dead End."

Welcome to the future

I barely use this thing, and I think I've finally decided what to do with this thing: My music reviews.

As I get more and more music (Thanks to all my friends) I've really explored some new and interesting genres. So, I think I'll use this to post my reviews.

Next update:
The Streets: A Grand Don't Come for Free
Angel: Live Fast, Die Never (TV score/soundtrack)