My Music Online

Review by Justin Mabee
Dead Poetic came on the scene in 2002 with their debut Four Wall Blackmail, and followed the screamo style up with more of the same on their second release New Medicines. Now, with two new members and a new view on their music, they are ready to release their third record, Vices. The band promises that this will be their best album to date, but does the record prove that?

Dead Poetic has been best known for their sometimes cryptic lyricism and screaming vocals, the first of which is still evident on Vices. The title of the album describes the problems we go through, and how we need to trust God to help us through those problems. However, the screaming vocals that filled their two previous records is virtually gone on this release, and it works to their advantage. Vocalist Brandon Rike has cleaned up his vocals and this album showcases his true talent. Vices is also their longest album, with 14 tracks as compared to their last records which had 10-11 songs per disc.

Highlights come throughout, such as the rock-driven lead single “Narcotic,” the riff filled track “Long Forgotten,” the chorus/melody driven “The Victim,” and the soft melody of “In Coma.” The first two thirds of Vices is filled with rock riffs and heavy guitars, but the band slows it down more towards the end of the disc, with softer tracks such as “Copy of a Copy” and the title track. Some of the melodies don’t mix well with Rike’s vocals, however, such as on “Animals,” but they work for the most part on the rest of the tracks.

Overall, Dead Poetic has proved that this is their best work to date. There are places that can use improvements, but for the most part, hard rock fans will find a lot to love from Vices, and even those anticipating more screamo from Dead Poetic may still enjoy what the band has to offer now. Read the rest of this entry »

Amazon.com
Ludacris–2, Bill O’Reilly–1. The dis is mightier than the sword, and Ludacris wastes no time berating Fox News pundit Bill O’Reilly (O’Reilly enticed Pepsi to cut Ludacris off their payroll citing his lyrical irresponsibility). On “Blow It Out,” he taunts his conservative right-winged adversary with lines like, “…I’ma start my own beverage/it will calm your nerves/Pepsi, The New Generation/Blow it out ya ass.” Likewise, on “Hoes In My Room,” a slick souled-out collabo with Snoop, he wonders aloud who could have possibly let all of these revolting groupies into his room, post-concert. O’Reilly, who else? To Ludacris’ credit, his third album is more sonically fluid and versatile than Word of Mouf. From the hypnotic first single “Stand Up” to the classy “Diamond in the Back” (yeah, we’ll forgive him this time for utilizing that vastly overused William Devaughn sample) large chunks of the album are highly listenable…subject matter notwithstanding. By the second half of the album he goes full-on debauchery, flipping bushels of potty-mouthed rhymes in poor taste; “Teamwork” is his audio rendition of what a ménage a trois might feel and sound like, while on “Hip Hop Quotables” he spits about 64 bars with no hooks, once explaining why he can’t find the right lady (”…a lot of y’all are more stuck up than tampons”). Yep, as with any Ludacris record, this one comes with a big phat caveat. If you’re not down with the hoes and Heineken (please refer to one-half of album title), you might wanna cop this album and the new Jeru the Damaja for some balance. –Dalton Higgins. Read the rest of this entry »

Review @ backstagepass.seatwaveblogs.com
I’m going to push aside the speculation about Radiohead spontaneously announcing that their album would be out in a matter of days after the message was posted on a Radiohead forum that simply read:

Hello everyone.

Well, the new album is finished, and it’s coming out in 10 days;

We’ve called it In Rainbows.

Love from us all.

I would also like to sweep past the fact that it could be downloaded for free. This is obviously going to have an effect on the record industry in the future, but all I am concerned with is the music.

The album title In Rainbows could tempt Radiohead fans into thinking that maybe this album will be light and colourful – maybe Thom Yorke has entered a poppy phase and his voice will sprawl itself over a sparkling array of chirpy lyrics and upbeat drums. Thankfully, it didn’t. Radiohead record’s better always be riddled with that glorious low, melancholic tone, cut by Thom York’s angelic voice - or I don’t want to know. Read the rest of this entry »

Biography @ www.starpulse.com
Donny Osmond has had many musical lives. As a very young child, he and his brothers started out as kid singers on The Andy Williams Show. In the late ’60s and early ’70s, fueled by the success of The Jackson Five, the Osmonds became close teenybopper competitors, with their own slew of hits. Donny was the centerpiece, and he competed with Michael Jackson for the hearts (and dollars) of pre-teens everywhere. Later, he forged a very successful solo career, and still later teamed with sister Marie for a hit TV show. Nonetheless, it took him until 1989 to release his first adult solo record, and tunes like “Soldier of Love” and “I’m in It for Love” with their George Michael-ish feel brought the former teen idol to the public eye once again. Work on the theatrical stage followed, and although Osmond’s recording career again slowed after 1990’s Eyes Don’t Lie he remained active throughout the decade, most notably enjoying a five-year run as the lead in Joseph and the Amazing Technicolor Dreamcoat. He next made a splash in 1998 with a new daytime talk show co-hosted by sister Marie; that same year, he also released a solo holiday album, Christmas at Home. In 2001 he capitalized on his theatrical career with his release, This is the Moment which featured a contemporary collection of songs from Broadway. Larry Lapka, All Music Guide. Read the rest of this entry »

Amazon.com
For a band with such an overarching legacy, the official record of Led Zeppelin’s legendary–and unpredictable–live act has heretofore been poorly represented by the disappointing, scattershot soundtrack to The Song Remains the Same. But this triple-disc live set (culled from 1972 Long Beach/LA shows in advance of Houses of the Holy) addresses history with a vengeance, if a few decades late. These shows have rightfully assumed cult status in the bootleg market, showcasing a band at the peak of its creative and performing powers. Zep faithful will welcome the belated release as evidence for enduring loyalty, but younger fans may find its diversity and dynamics even more enlightening–indeed, whole careers have since been built on the musical ideas Jimmy Page and company toss off here as decorative filler. Crucially rooted in the amped-and-hammered American blues of the guitarist’s former band, the Yardbirds, the marathon workouts of “Dazed and Confused” and “Whole Lotta Love” (which consume nearly an hour all by themselves) somehow encompass Ricky Nelson, Morocco, James Brown, Holst, Elvis Presley, and Muddy Waters amidst their trademark sturm und drang, while the acoustic set that closes out disc one showcases the band’s–and particularly Robert Plant’s–good-natured, crypto-Celtic folk appeal with energetic aplomb. Bigger and brasher than just about any rock act that followed in its historic wake, yet ever fan-loyal to its myriad influences, Led Zeppelin’s live juggernaut finally gets the monument it deserves. –Jerry McCulley. Read the rest of this entry »

Amazon.com
By far Jane’s Addiction’s best album, Ritual De Lo Habitual is chock full of songs that are both catchy and experimental. The singles “Stop” and “Been Caught Stealing” are good examples; “No One’s Leaving” has a nice funk edge with some busy guitar work, and “Ain’t No Right” and “Obvious” are strong as well. Unfortunately, “Three Days” and “Then She Did . . .” are overlong and get bogged down well short of halfway through, but the album finishes strongly with “Of Course” and “Classic Girl”. Jane’s Addiction’s funk-punk-rock mix is appealing, and never more so than on this album. –Genevieve Williams.

Full Album Tracks Listing
[M4A Direct Download]
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1. Stop
2. No One’s Leaving
3. Ain’t No Right
4. Obvious
5. Been Caught Stealing
6. Three Days
7. Then She Did…
8. Of Course
9. Classic Girl

Product Description
MORRISON HOTEL, released in 1970 in the wake of Morrison’s infamous indecency bust, hit #4 and introduced “Waiting For The Sun,” “Roadhouse Blues,” and “Ship Of Fools.” Insightful liner notes from David Fricke. Ten bonus tracks include eight previously unissued takes of “Roadhouse Blues, a run-through of Chuck Berry’s “Carol,” a jazz version of “Queen Of The Highway,” and the previously unreleased “Money Beats Soul.”

Full Album Tracks Listing
[MP3 Direct Download]
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1. Roadhouse Blues
2. Waiting For The Sun
3. You Make Me Real
4. Peace Frog
5. Blue Sunday
6. Ship Of Fools
7. Land Ho!
8. The Spy
9. Queen Of The Highway
10. Indian Summer
11. Maggie M’gill