For all of his many attributes, one thing Frank Zappa most certainly was not is commercial. Presumably, the title of this collection is ironic. Strictly Commercial: The Best of Frank Zappa is a compilation not of the composer’s hits — he only broke the Top 40 on one occasion, with "Valley Girl" — but rather, a collection of his best-known material, from "Don’t Eat the Yellow Snow" to "Sexual Harassment in the Workplace." Zappa’s albums often function as individual works, but this disc offers an intelligent selection of songs, serving as an introduction to the maverick musician. Review by Stephen Thomas Erlewine @ allmusic.com (more…)

DiFranco spruces up her sparse folk arrangements with the odd brass band, accordion, and even an electric guitar or two, but the meat of these songs is still her distinctively funky acoustic guitar style (she borrowed her rhythmic plucking technique from R&B, but unplugged, it bears no resemblance to its genre of origin). Meanwhile, DiFranco’s spunky activist lyrics are tempered here by a bigger dose of vulnerability than in previous albums, which allows for a unique mix of anger, humor, and poignancy. The best songs this time around are not bitter, but quietly reflective ("You Had Time," "Buildings and Bridges," "If He Tries Anything"). (more…)

Staying true to eclectic ambience through dramatic electronic music, Hooverphonic raise the pressure from their debut single "2Wicky" for a more passionate effort on their second album, Blue Wonder Power Milk. New vocalist Geike Arnaert captures an innocence that was practically blindsided on the first album by former lead singer Liesje Sadonius. Blue Wonder Power Milk is intricately woven with string arrangements and pulsating dance club beats for a drowsy feel. Most songs featured on Blue Wonder Power Milk are guided by light strings, allowing Hooverphonic to gently fall into genres of indie pop, dream pop, and trip-hop, however each song does take on a life of its own — slowly. Album opener "Battersea" arrives with (more…)

A cursory listen to Arular makes one wonder how it could generate so much heated, in-depth talk, as it did well before its official release. This is very direct and physical party music, with lots of slang-filled phrasings that might not have any more meaning than "The roof is on fire!" or "Dizzouble dizzutch!" to Americans. It’s music that is conducive to dancing or doing other carefree things in the sunshine, rather than what you should hear most often through feeble computer speakers in dimly lit rooms. So why bother discussing it at all? Well, below the surface is a lot more than anyone’s basic idea of a good time. The blend of styles — a dense, often chaotic collage of garage from the U.K., dancehall from Jamaica, (more…)

Definitely Maybe manages to encapsulate much of the best of British rock & roll — from the Beatles to the Stone Roses — in the space of 11 songs. Oasis’ sound is louder and more guitar-oriented than any British band since the Sex Pistols, and the band is blessed with the excellent songwriting of Noel Gallagher. Gallagher writes perfect pop songs, offering a platform for his brother Liam’s brash, snarling vocals. Not only does the band have melodies, but they have the capability to work a groove with more dexterity than most post-punk groups. But what makes Definitely Maybe so intoxicating is that it already resembles a greatest-hits album. From the swirling rush of "Rock ‘n’ Roll Star," through the sinewy "Shakermaker," to the heartbreaking "Live Forever," each song sounds like an instant classic. (more…)