Cee-Lo: Cee-Lo Green ... Is the Soul Machine

This guy can do now wrong, remember that.

Cee-Lo is betterknown as one half of the super star that is Gnarls Barkley, who's singles have ignited music and radio this past summer. But, did you know Cee-Lo started out with Goodie Mob before heading solo? I didn't.

Soul Machine, his second album, helps to showcase his vocal talents and skills. He's not world-class singer, but his music is tailored to compliment his voice, just right. The hip-hop, rap, and R&B comparisons are a given, but there's this fun pop attitude that seems to permeate the album. You, the listener, get the feeling that he had a lot of fun making this and it helps to bring you into the albums sound.

Soul Machine, the lead off musical track, has a beat meant to drive his point home: Cee-Lo is the Soul Machine; I'll Be Around was a radio hit a few years back, and listening to it, you can hear why: it crosses genres, has not offense lyrics, and hell, it's just a great tune; My Kind of People slows things down, showcasing the piano and the brass section, which all help to lend a certain latin feel to the tune; Evening News takes the album to a more adult arena, singing in the same way as a certain old time cartoon song.

In the End: While I'm told this is not as good as the "His Perfect Imperfections" album, I think it's a great disc. Some of the language gets a little rough, but it's to be expected from the genre. If you enjoyed St. Elsewhere, check out this one.

On the Web: Hype Machine? Audience. Audience? Hype Machine.

Technorati Tagged: Cee-Lo Green | Gnarls Barkley | Goodie Mob | 2004

Justin Timberlake: Futuresex/Lovesounds

I suffer so you, my adoring audience, does not have to.

Justin "I tear at Janet's wardrobe" Timberlake's latest effort, Futuresex/Lovesounds is the kind of thing that ranks above Madonna's last album -- BARELY.

While I don't like Justin Timberlake the musician, I can't help but enjoy him as an entertainer. He does have a certain charm, I accept, but charm only goes so far, J.Tim. And it just wasn't enough to make this a good album, or, hell, even a tolerable one.

Sexy Back, the radio single, actually has a great beat, but I am just not impressed with the vocals. At all; I feel like he's too white too properly pull off [Another Song] All Over Again; And Pose has the same thing going on as Sexy Back - great tune, vocals don't impress me. The addition of the Dogg-Father is the only saving grace on this tune.

In the end: No. Someone(s) will enjoy this one, but not me. This guy says two thumbs down. You don't have to put it in the microwave, but don't listen to it either.

Technorati Tagged: Justin Timberlake | Pop Music | 2006

Sia: Healing is Difficult

After absorbing the beauty and splendor of Sia's Colour the Small One, I had every intention of blowing through all of Zero 7 as well as this disc. I won't lie: I failed miserably.

Thankfully, a co-worker had me put a mix together for her sister, and Fear off of this very album was on it. 8 months later, I finally got through the album. 7 times. And, while I feel Healing ebbs and flows, it is a solid album.

Before trying to make it in the Americas with Colour, Sia followed up her work with Zero 7 with a solo album, this very disc. While this disc would never have made it mainstream, and thus give Sia the attention she deserves, it is a great piece of musical and artistic work.

Somewhere between the heavy samples, some great bass lines, and studio instrumentation, she finds a home to nurture her voice and blow her listeners away. Hidden behind all of that are influences of blues, jazz, hip-hop, 90s R&B, lounge sound, and some good ol' rock. Sia's ranged voice allows the collision of these different elements to be both fun and amazing.

Lyrically, Fear is my hands-down favourite on the disc (and comes in second or third musically); Following it is Drink to Get Drunk which wins for title alone, but also for a solid beat and more great lyrics; I'm not Important to You has a 90s/ambient feel to it, and mixed with Sia's airy vocals on the chorus, make this a must-listen; and Sober and Unkissed is a depressing title, sure, but the jumps between acoustic and electronic in the tune keep you interested.

In the End: This is a great album. Far less mainstream America than Colour the Small Ones, Healing is Difficult really shows Sia's range and talents and should be immediately digested by anyone who knows this gal's work.

On the Web: Besides The Hype Machines usual entries, I've also go her KCRW sessions for download, via gigasize.

Technorati Tagged: Sia | Zero 7 | 2002

Kasey Chambers: Carnival

You know, I'm starting to think I start off too many of these the same way, but...

Sean's been speaking of Kasey Chambers for a few years, but I've had so many things I've wanted to listen to, I seem to keep forgetting about her. Enter Large Hearted Boy. Each week he digs out the highlights of CD and DVD releases, and I noticed Kasey in the list. So, of course, I jumped and downloaded it, and I have to say that I am glad I did. It's no Top10 album, mind you, but it's enjoyable and has solid replay value.

The album (I know nothing of the rest of Kasey's catalog) straddles that pop-country line that I may have mentioned I don't enjoy. I'd like to amend that statement to "I don't enjoy unimaginative pop-country."

As most albums seem to these days, Carnival comes in just over 45 minutes with a total of 12 tracks. Chambers, at least on this disc, seems to channels a country-ish, more soulful version of another beloved songstress, Lisa Loeb. And, believe it or not, that's a pretty good thing.

The lead of track, Colour of a Carnival, I bounce between enjoying and being turned off by the chorus lyric that just goes "Around and Around and Around and Around;" I get the need for the lyric in the song, but it just takes me out of the song. The Rain is a pretty average tune, but whips out the slide guitar in the background. That alone gives it a thumbs up from me. Railroad has a certain sinister sound to it that drew me right in and has been put on repeat on the ol' ipod. You Make Me Sing has a sultry undertone, with vocals just one or two steps away from Jazzy/Smokey vocals.

In the end: It's a solid album, definitely one of the better ones of Ought Six. Being unfamiliar with the rest of her catalog, I can only say that Carnival has a little something from everyone and is worth at least one listen.

On the Web: These reviews, and this whole part, would be useless without The Hype Machine.

Technorati Tagged: Kasey Chambers | Country | 2006

Bob Dylan: Modern Times

Something happened in 2001 to Bob Dylan. It's called Love and Theft.

Bobby's fans all cried, and many, like myself, thought "Hmmm, this could be it for Mr. Dylan," and then went back to looping Blonde on Blonde and Highway 61 Revisited so we could remember Bob in a good way.

This year, however, we were surprised. A blog post somewhere had audio from this disc (specifically, Thunder on the Mountain) and I took a listen. Bob has died. Bob has risen. Bob is come again.

Rising from the ashes of Love and Theft, Modern Times is the Dylan-Phoenix. 10 tracks, coming in just over an hour, Times has already cracked into my unorganized Top 10 of the year.

The moment you hear Thunder on the Mountain, the lead off track, you know Bob "Visions of Johanna" Dylan is back; Spirit on the Water is musically and lyrically beautiful; Rollin' and Tumblin' just screams half of the tracks of Highway 61 Revisited, which may make it his least original track on Times, but it's so damn good; the last track, Ain't Talkin' ends the album on a down note, but it's still an amazing track.

In the end: Dylan's back, folks. He may have lost his touch live, but hot damn, he's proven a) why you show respect to Dylan and b) why you can't keep good musician down. Do yourself a favour and get this album.

On the Web: The Hype Machine has so much Dylan, it hurts.

Technorati Tagged: Bob Dylan | Top 10 | Folk Rock | 2006

The Wreckers: Stand Still, Look Pretty

I love Michelle Branch. Her music, her varied and random TV appearances (including a favourite, Buffy, The Vampire Slayer), and how beautiful she is. So, it's not a huge leap for me to follow her to this pop-country side project, even if the whole "pop-country" genre hurts my soul.

Michelle Branch, joined by Jessica Harp, combine to form the Wreckers. Two beautiful woman, who are clearly very talented. And yet, the combination brings a very average album. Don't get me wrong, this isn't bad, despite it's pop-country feel. But, really, the Wreckers are like the Battle of the Network Stars: Individually, talented; Together, bland.

The disc, Stand Still, Look Pretty, barely fills have a CD, sliding in just under 45 minutes, spread across 12 tracks. The ladies' voices play well together, but I can't help but think they would do better somewhere without that country twang.

Leave the Pieces, the lead off track, does feature a violin (in that country feel) which I enjoy, and it does a good job of starting the album off; Stand Still, Look Pretty, ye olde title track, may actually be the best on the disc, with a very simplistic construction; I listen to Rain, and i feel there's this amazing jazzy/bluesy song hidden just beneath the surface; and Crazy People, while not particularly memorable, was the only track left and I needed one more to mention.

In the end: Michelle Branch completists, New Country fans, and anyone willing to take a leap will enjoy this. I'm not saying avoid it, but there are better albums that came out this summer. Give them a chance.

On the web: I'm at a loss to find anything on the mighty interwebs to offer for this band. Perhaps that's a sign?

Technorati Tagged: Michelle Branch | The Wreckers | Country | 2006