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| Cash, Johnny- THE MAN COMES AROUND *** 1/2 out of ***** possible This album is the fourth in Cash's American Recordings series, which contain (mostly) covers and new versions of older Cash songs. While not of the quality of the first in the series, there are many excellent tracks on this album. First and foremost, I must give credit to the absolutely outstanding cover of Nine Inch Nails' "Hurt." It is probably my favorite NIN song, and for me to actually have to debate which is the better version is amazing. Other treats here include the Eagle's "Desperado" (with Don Henley on backing vocals), Cash's take on Hank Williams' quintessential country song, "I'm So Lonesome I Could Cry," and the album's final track, the standard "We'll Meet Again." There are certainly low points on this album, I don't deny it, but I'd have to give it at least 3 stars for "Hurt" alone. I recommend this, even if you think you don't like country. Chevelle- POINT #1 **** out of ***** Occasionally, an indy album truly does stand out. Chevelle is such a case. Their breed of hard rock, at times resembling Tool, at others, Godsmack, and yet never really sounding totally like either. POINT #1 is clearly a testament to the band's live show, as made obvious by the drive and feel of the minimalistically-produced sound. And although there was clearly not much overdubbing, this album is HEAVY. The title track is a prime example of this, with it's driving introduction and dark chorus. Other standouts include the band at its most Tool-like, "Mia," and the beautiful epic, "Dos." Singer Pete Loeffler shows some strange attempts at metaphor with lines like "I'm made of peanuts, not of shells" ("Mia"). And while being totally unique, Chevelle shows great promise of fitting into the modern rock scene in years to come. Any hard rock fan looking for a new sound should check out this album. It's worth the money. [ P.S.- Don't let the backwards case design confuse you. ;) ] Cold- 13 WAYS TO BLEED ON STAGE **** out of ***** One would expect this to be a hardcore album. One would be very, very wrong. Most people probably got into this disc through the video "Just Got Wicked," which sounds like a slightly jammy hardcore song. Granted, the album has its hardcore moments ("Just Got Wicked", "Anti-Love Song"), but cuts like the 80's tinged "It's All Good" and the piano-sandwiched "She Said", as well as "Send in the Clowns" feat. Aaron Lewis of Staind prove that there is something more to the album. Oh, yes, and let's not forget the closing cut "Bleed," which is a beautiful acoustic ballad also featuring Lewis. One complaint I have with this album is singer Scooter Ward's constant use of the word "fuck," which grows irritating when it gets used out of context in songs like "It's All Good" and "Bleed." Pictures on the inside of the album give me a really creepy feeling as to what their concerts must be like, but thats another matter. All in all, this is a good buy if you're looking for something heavy and interesting. Coldplay- PARACHUTES **** out of ***** This is a beautifully crafted piece of Britpop. Most people, I would imagine, are probably familiar with the first single, "Yellow," which has been fairly inescapable for the past few months. Fortunately, this album is far deeper and more interesting than that. The opening cut, "Don't Panic," while fairly short, is certainly a beautiful song by anyone's standards.The slightly rock-ier "Shiver" and "Yellow" are the only real exceptions to the generally mellow feel this album eminates. "Spies" is a fairly depressing albeit beautiful piece of work. The same could be said of "Trouble" or "We Never Change," which push this album out of typical modern rock fair, and into four star, beats the shit out of most of the radio today material. I have a few complaints about the album, however. Firstly, at ten radio-length songs, it is rather short. Secondly, a few of the songs, such as "Sparks" and the title track, "Parachutes," simply fail to make the grade. However, that said, this album is well worth your money and time. Superb. Counting Crows- AUGUST AND EVERYTHING AFTER ***** out of ***** This is one of the greatest albums I own. There is something about the Counting Crows which is completely unique. Maybe it's Adam Duritz's completely unique vocal style. Maybe it's the band's ability to fuse folk with rock and pinches of country in such a way that it sounds close to perfection. Who knows? But, regardless of how it happened, this album is one of my favorites EVER. Good tracks are: the everfamous "Mr. Jones," my personal fave, "Round Here," the somehow-never-a-single "Anna Begins," an extremely (and beautifully) sparse "Raining in Baltimore," the creepy "Ghost Train," and the did-you-know-it-was-the-Crows hit "A Murder of One." Of course, the whole album is only average at its low point, the Hooters-ish "Omaha." This album is worth anyone's time. Counting Crows- RECOVERING THE SATELLITES *** 1/2 out of ***** It's good, but its no masterpiece. I am probably the only "critic" you will hear give that comment. So many music reviewers detest this album, and I don't see why. Personally I think that while it isn't of the timeless quality that AUGUST AND EVERYTHING AFTER was, this is a damn sight better than half of the albums I own. Some really weak points damage this album where it hurts (namely, "Have You Seen Me Lately?" and "Monkey"), but some stellar tracks shine through. Tracks such as the mainstream hit "A Long December," the oh-so-sad "Another Horsedreamer's Blues," the ballad-ish "Miller's Angels," and my father's favorite Counting Crows song "Angels of the Silences" all make this album worth checking out. But, bear in mind, it isn't AUGUST anymore. Creed- MY OWN PRISON ***** out of ***** What a band! Yes indeed. This is well worth anyone's time and/or money. It rocks, as in ROCKS!!! Everything has an alternative sound with an edge reminiscent of the high times of Ozzy and Sabbath. Consider these tracks: the should-be hit "Torn," the riffy "Ode," the album-defining "My Own Prison," some music with a message in "Pity for a Dime," the depressing "What's this Life For?" and the lyrical Lennonism of "One." The guitarist, Mark Tremonti, obviously has an incredible amount of talent, which is also true of the lyrics of singer Scott Stapp, who evokes many emotions despite his not-quite-Vedder voice. All in all, a sound buy for any rock fan. Footnote: since this review was written, I have grown to hate Creed. It is unfortunate what popularity does to a band. Crosby, Stills, Nash, and Young- 4 WAY STREET ***** out of ***** possible Two bias warnings: 1) I hate Graham Nash, so he won't be mentioned from here on out, and 2) This is one of my favorite albums ever. That having been said, this is a great album. Divided into two discs, the acoustic and electric sets, it is a good demonstration of what made CSNY the giants they were. The opening cut of "Suite: Judy Blue Eyes" is mysteriously cut to 33 seconds. From there on out, the songs are pretty evenly divided between the four members. Notable tracks include all those by Young, Crosby's "The Lee Shore" and "Laughing," and Stills's exceptional "Black Queen" and "Find the Cost of Freedom." The electric disc seems almost overridden by rediculously long jams on "Southern Man" and "Carry On." However, despite these minor flaws (and Steven Stills hating this album), I still consider it the ultimate CSNY album and a must-have for anyone interested in the group. |
 zeromus06@netscape.net |
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