It’s been awhile since Sade has released an album of new material. Lover’s Rock was in 2000, and it was eight years before that that Love Deluxe was issued. In fact it almost seems like she doesn’t exist if she doesn’t have a record to promote. She’s never in the public eye, isn’t seen stumbling out of nightclubs and hasn’t adopted a child. It’s like she’s a ghost.When she makes an appearance, it’s a big deal – her latest Soldier of Love (Epic) is indeed a big deal. I find it amazing that she’s able to maintain her popularity with never adjusting her musical stylings. It’s been pretty much the same stuff since 1984’s “Smooth Operator.”
I’m not busting on her; it’s to her credit that she’s found a genre and has stayed with it. I’ve never found anything wrong with a good jazz singer vocalizing her way around a song. Sade does that – pretty much better than anyone else.
Where her last album started incorporating drum loops and other gimmicks, producer Mike Pila has pretty much gone back to the more traditional approach that has graced her earlier albums.
She’s still backed by the same musicians she’s been with since 1982, and as long as they’re on the same page, that’s a big positive.
Standouts include first single title track “Soldier of Love,” “Long Hard Road,” “Skin” and “Be That Easy.”
Never been much of a fan to teeny-bopper groups ever since New Kids on the Block devastated me by breaking up. So when I heard that Nick Jonas was putting together a solo album, I figured it would be another one of those generic records geared toward their pimply-faced, retainer-wearing female fans.
I was wrong. Nick Jonas and the Administration Who I Am (Hollywood) is a surprising effort by a kid who truly means well. He hits on some pretty interesting stuff for a 17 year old whose peers are probably spending too much time alone in the bathroom.
The Administration is anchored by keyboardist Tommy Barbarella and drummer Michael Bland, both veterans of Prince’s New Generation. Included is guitarist David Ryan Harris (Santana) and bassist John Fields (Pink) who also produced the record.
With the likes of these guys backing you, you can expect a certain sheen on any record. My problem is taking the kid seriously. Listening to this is like watching your younger brother trying to inhale from a cigarette for the first time. He acts like he’s done it before, but when he goes through with it, he just about barfs on his shoes.
That being said, I think it’s great that he’s taking a stab as a guitar-yielding singer/songwriter. Look at the album cover; it looks like he ditched the babysitter to pose on his roof for a Bruce Springsteen look alike contest.
One listen, though, and you’ll see that he should have tried looking like John Mayer, because that’s what this is patterned after. Especially on the first single “Rose Garden” (is that his voice cracking?), “Conspiracy Theory,” “Tonight” and “Who I Am.”
At 17, I guess he could be doing worse things, like being late with my Chinese delivery.
After constant delays as its release date has been constantly changed, and Amazon accidentally releasing 500 copies a month early and was then uploaded to various file-sharing sites, Lil Wayne’s Rebirth (Universal/Motown) has an uphill climb ahead of itself.
Sure enough, early reports find it not up to the standards of his usual fare. I think it’s a fantastic, daring, energetic album. For a guy to step so far outside his musical comfort zone amazes me.
On Rebirth he has foregone his usual energetic rap persona to release an album that rocks heavy on both his guitar playing and “auto-tune”-enhanced vocals. I love the fact he’s showing that he’s more than just a one-trick pony.
Right or wrong, give the guy props for trying to change it up.
I agree that some stuff like “Paradise” is a little too much, otherwise most of the album has Lil Wayne finding his range in a genre that is new to him. Standouts include “Get a Life,” “American Star,” “Da, Da, Da.” and “Drop the World,” which features an Eminem guest appearance.
Sometimes I just don’t get it. How does a band as talented as Vampire Weekend drop the ball on their sophomore effort? Here’s a band that had the stars line up for them, a great first album, success from years of touring and a public just waiting for the next record.
Instead they offer Contra (XL). Wow. They play hard, they’re great musicians, but the material is simply miserable, uninspired vocals with too much reverb on them and I could go on and on about the negatives here.
This is why there are so many groups that come shooting out of the gate with interesting records and then we never hear of them again. It’s a drag that very few bands like Vampire Weekend can maintain their success.
(Bob Hanson)
