Death Magnetic (Warner Bros.) is Metallica’s first full-length release of new material since 2003’s St. Anger. A lot has happened since that time, including the replacement of bassist Jason Newsted with former Ozzy Osbourne member Robert Trujillo, as well as enlisting Rick Rubin as producer. Rubin, who cut his teeth on Beastie Boys, Run DMC and Public Enemy records, was at first a questionable choice as producer. But Rubin, having veteran outfits like Johnny Cash, Tom Petty, Aerosmith and Neil Diamond find their second wind, is dead nuts here.
Reminiscent of the “black album,” which spawned “Sandman,” the ten tracks here are outstanding – something to give radio and retail a good kick in the pants. James Hetfield’s vocals are motivated, as is Kirk Hammett’s guitar as bassist Trujillo fits right alongside with Lars Ulrich’s storming drums.
Metallica has always separated itself from the pack by being more than a metal band. When right, they can incorporate everything from complicated jazz-like structures to candy-coated pop commercialism and make it work. They do that here.
Standouts include “The Day That Never Comes,” “Cyanide,” “The End of the Line,” “That Was Just Your Life” and “My Apocalypse.”
Young Jeezy is one of the few MCs who can both speak his mind on social issues as he sees it, as well as sell as many records as a pop star. The Recession (Def Jam) is his third full album release, though through his mix tapes it seems like he’s been around for much longer.
Starting out as the head of Corporate Thugs Entertainment in Atlanta he promoted Cash Money records, so he got a first-hand understanding of what it takes for a successful record. He’s taken it to heart and has carved out a decent niche for himself.
Unlike others, he’s very particular on who his special guests are. Here, just Nas, Lil Boosie and Kanye West appear, and they are used sparingly at that.
Standouts include the J.U.S.T.I.C.E. League-produced “Word Play,” “Mr. President,” “Put On” and “Circulate.”
Why is it that artists have a creative resurgence toward the end of their careers? Much like Ray Charles’ Genius Loves Company and while it sounds like he’s far from going anywhere, B. B. King has kindly given us one of his best ever, One Kind Favor (Geffen).
Producer T Bone Burnette’s intent was to recapture that sound King made on his earlier recordings, easy on the arrangements and heavy on his vocals and guitar.
So Burnette recreated a ’50s-like recording studio, brought in the likes of Dr. John on piano, Nathan East on stand-up acoustic bass with Jim Keltner on drums and had the band play live without any overdubs.
The result is the best album the 82-year-old King has made, in my lifetime at least. It has a fat, warm, tubed amplifier sound, mastered like it was meant to be played on a turntable in a smoky room with a light burning low and your drink needing a refill.
One Kind Favor plays to King’s strengths. His aged vocals are now closer to Howlin’ Wolf’s than to Muddy Waters’. Burnette’s added just a touch of distortion to give them an even grittier sound.
His guitar work? Without a doubt, he’s stepped it up big time. In the past, he’s slept through his records, including his much ballyhooed collaboration with Eric Clapton. Here his solos are crisp and sharp.
While Buddy Guy, Clapton, Stevie Ray Vaughan and new guys like John Mayer always play Fender guitars, King always played a Gibson. Burnette makes it a focal point, making King’s beloved Lucille sound as dynamic as ever.
Everything here is great (iTunes’ version has four extra tracks). Standouts include “Midnight Blues,” “Waiting for Your Call,” “Get These Blues Off of Me” and “See That My Grave Is Kept Clean” on one of the best albums of the year.
Ever since his album Girlfriend was released with “Divine Intervention” and the title track as hit singles in 1992, Matthew Sweet has never looked back. His latest is Sunshine Lies (Shout).
Sweet is a triple threat. He’s a great musician who can play any instrument, a diverse songwriter who can write power pop to guitar grunge and a very good vocalist.
Since Girlfriend’s success, Sweet has made everything from ruff and tumble records (100% Fun) to covering ’60s pop (Under the Covers) as well as working with Shawn Mullins and Pete Droge in the supergroup of sorts, The Thorns.
Sunshine Lies has a bit of everything. While “Room to Rock” is close to satisfying the grunge fans of Girlfriend, songs like “Byrdgirl” shows Sweet’s ever-evident Association, Roger McGuinn, Beatles and Neil Young influences.
Self-produced in his home, standouts include “Feel Free,” “Room to Rock,” “Sunrise Eyes,” “Time Machine” and “Pleasure Is Mine.”
Certain to get lost in the corporate shuffle of radio and retail, Matthew Sweet has once again in Sunshine Lies made a very good record that deserves to be heard.
