MADONNA
- Music
The Queen of Pop has never been one to be left behind by the
times. Complete with DJ glorification, modern trend sound and production, Mama
Madonna knows where it’s at. Many tracks have a minimalist approach while others
border on huge. She might be posing in cheezy cowgirl garb (another resurgent
fashion touch) but this album is all modern pop - except for the dreadful cover
version of Don McLean’s classic American Pie. Highly unnecessary,
but loved the world over. The only other annoyance is that grating little vocal
effect on Nobody’s Perfect, made famous by Cher and that twit who
did the I’m Blue song. Deprogram these two when you listen to this disc
and it’ll be just fine.
- PB
3 / B MANCHESTER
UNITED BEYOND THE PROMISED LAND
Never having been much of a footie fan, the
thought to peruse this soundtrack to the Manchester United documentary would not
have crossed my mind. But, this disc houses a number of fine tunes. The dominant
factor and "soundtrackers" for the album is Bias with about half a dozen
of the 17 tracks. They also provide a New Order remix and the cringe-worthy
(or exhilarating) Chant Song with Tom Jones (depending from which
angle you look at it). The mighty Massive Attack & Tracey Thorn (of Everything
But The Girl fame) joins in with a remixed Protection, while some extra
spice is added by The Buzzcocks (with their original punked-up tune Ever
Fallen In Love, later covered by Fine Young Cannibals), as well as
the darker tones of Nine Inch Nails. Other English favourites include The
Stone Roses, Happy Mondays and Curve while electronic retro-funk is
supplied by Basement Jaxx. A well rounded soundtrack that doubles adequately
as a diverse compilation.
- PB
3 / A MARCY
PLAYGROUND - Shapeshifter (EMI)
Since they Smelled Sex & Candy,
this relatively new rock band made the public sit up and listen with their interesting
approach. Here they kick in with a thumping Saturday, only to move on to
an acoustic bit (somehow it’s exactly what I expected). Their lyrics are at most
never predictable or uninteresting and at times the vocals sound like a young
Neil Young with more stability. Shapeshifter is a listenable new
rock album that doesn’t rely on stale pop formulas to bring its energy across.
The alien cowboy cover is rather cute.
- PB
3 / B MARILYN
MANSON - Holy Wood (Universal)
The high priest of commercial evil
returns. Vicars and grannies again run for cover while there are in fact real
dangers out there to which they turn a blind eye. This album seems to hark back
to the more Anti-Christ Superstar days, the pale, alien, androgynous coma
exploration making way for the more drab toned horror imagery and pseudo religious
(rotting good, saintly evil) themes and explorations woven into this concept album.
The Tarot card inspired artwork and photography is amazing. But for the most part,
it is good hard alternative rock, the pace picking up quite a bit on Burning
Flag while Disposable Teens is very-very Beautiful People. Many
of these songs will stick in your head and fill you with feelings of rich satisfaction,
while to others the mere musical cunning (of good hooks & catchy chouruses ) will
seem like possession. Get a life, it’s all just music. Like it or lump it.
- PB
4 / A MAXIM
- Hell’s Kitchen (Sheer)
The unique Prodigy sound is an irresistible
one that has indeed been imitated, but not as much as I would have expected. Then,
when it gets replicated by a key figure within the well-constructed Prodigy
family (in this case Mr Maxim: dancer and occasional vocal contributor - see Breathe),
it doesn’t seem much like blasphemy. Like Music For The Jilted Generation
or Fat Of The Land, this one could grab you without really letting go.
The ultra hypnotic, unforgettable beauties like Voodoo People, Poison,
Firestarter or Smack My Bitch Up are not exactly present here. The
collaboration with Skin from Skunk Anansi is however amazing while most
of the booming beats and rhythms grab you good & tight. Wonder when Keith is doing
his solo debut?
- PB
4 / A MAXI
PRIEST - CombiNation
Well produced, well performed, but just a little
too “non” for my taste. I mean, do you remember Maxi Priest’s first big
hits? It feels like yesterday. And these don’t sound all that much different to
those. I was always surprised when you see Maxi Priest filed under Reggae…dreadlocks
do not a rastaman make…do they file Bad Brains under reggae as well? Sure,
it has those UB40-type reggae beats at times or a guest artist rapping
rasta-style in the chourus, but overall it just sounds too much like safe pop
to me. CombiNation includes quite a few guest artists, mainly in the vocal category.
For instance, there is Elisha La’Verne, Ryan Elliott of Ultimate Chaos,
Beenie Man, General Degree, Glamma Kid and Red Rat. Some tracks border
on a Drum & Bass / Jungle feeling while strings and brass get pumped in on some
tracks. There’s a Stevie Wonder song and some with heavy borrowing from the likes
of Kool & The Gang, George Michael, even the blues classic Bad to the
Bone. God Watches Over Us is a soppy spiritual closer before a re-mix
of the track Mary’s Got A Baby makes a turn and might even be better than
the original version a few songs earlier. This is a feel-good album that’ll end
up being a gift for those of who’s music taste you’re unfamiliar. Ten to one,
they’ll like it. Pleasant, mellow and quite listenable.
- PB
3 / C McMASTER
& JAMES
Some groups just seem to have that ability to play up to all of pop’s
pleasantries. Combining the right instrumental programming and harmonious vocal
blend is only half of it. The other half is having a manager with an even more
hungry and ambitious drive to make an impact amoung the ludicrous amount of rising
popstars & poptarts across the board. The fact that McMaster & James come
from Canada or that they’ve opened up for the likes of N*Sync, Christina Aguilera
or Monica, will not be enough. Their product will have to speak for itself.
It does, in a way, their voices acceptable and their sensitive- understanding-guy
image no doubt qualities many people thrive on. Smooth, calm and safe to the extent
that it seems they must take this rhythmic love song thing quite seriously, yet
without putting real balls into it. I’m by no means expecting them to scream their
heads off or anything as drastic as that. It’s just that in this heavily marketed
pop world, with such a drab CD cover and middle of the road crooning tunes lacking
any real distinguishable signature track to make them stand out, world domination
will hardly be theirs.
- PB
3 / C MR.
BIG - Get Over It
The main attraction of Mr.Big is usually
bass guitar virtuoso, Billy Sheehan (who's played with everyone from David
Lee Roth to Steve Vai [I think?]). To a certain extent his talents get
wasted on what can only be described as good-times rock 'n roll. He does however
throw in little fiddly-bits here and there, his signature all over it, but the
songs just glide into the typical. To call it cheeserock or cockrock doesn't do
this kind of music justice as it isn't glammy or showy. It's basic, straight forward
rock with wide appeal - but I think I fall out of the equation when these guys
spread 'em. I do like contortionists, so maybe one day... Sure, their album covers
are usually cool, but the music on it need to move me more than the picture. It's
just a little too Yankee-LA-San Francisco identity-less rock for me - then, if
that's your bag, hey, it'll probably blow you away.
- PB
3 / C MEGADETH
- Capitol Punishment: The Megadeth Years
This very first Megadeth
“best of” packs in most of their more accomplished songs while at the same token
not ignoring their harder roots. The album backtracks from two brand new numbers
all the way through 8 albums to their Peace Sells, But Who’s Buying? land
mark. That particular release is in fact their second effort, their first album
either deleted or perhaps too rough and infantile to remember (by the band, that
is), or, as the album title refers, it was probably an independent release, not
on their long standing relationship with Capitol Records. Front man Dave Mustaine
used to be a guitarist for Metallica, before being replaced by Kirk Hammet.
Through his tumultuous existence he ended up dedicating himself to his personal
calling, coming up with quite a number of great songs along the way: In My
Darkest Hour, Peace Sells, A Tout Le Monde and Crush ‘Em to name a
few. Kill The King (one of the new ones) opens the album with meticulous
force, reminding those who think they’ve gone the Metallica route, that
they can still thump out some top class metal.
- PB
4 / A
MEGADETH - Kill The King (single)
This single which opens up the
first ever Megadeth “best of” album (Capitol Punishment-The Megadeth
Years) is a kicking, thumping, groovy track that disputes anyone who feels
these veterans might have gone soft around the edges.
- PB
4 / A MEGADETH
- Risk (EMI)
Megadeth’s career always seemed to have followed
the same lines as that of Metallica and always seemed to be living in their
shadow. With frontman Dave Mustaine a former Metallica member, this is
more understandable. But, they do have their own style and touch when it comes
to hard rock/metal. Also having toned down considerably like the daddies of Thrash
mentioned above, Megadeth embrace more adventurous avenues on this album.
Electronic and programmed touches glide in & out. They do still hit hard but have
come to grips with subtlety. In this case they have definitely not gone the Metallica
route where the hard crunching tunes of old disappeared into the fog. So, without
wimping out completely or remaining totally juvenile, Megadeth manage to
maintain that balance, at the same token pelting out some really catchy tunes.
This CD is also Enhanced with video and interview footage to be viewed on your
PC, making it a fuller experience than just the music.
- PB
3 / A MELANIE
B - Hot
The “Scary Spice” label never worked for me. Unless the reference
is to her fellatio-assisted tongue piercing or Britslag speaking voice. Nope,
not cowering yet. Sure she has a bosom that deserves serious consideration and
is not shy to exhibit on her cover (all wet under a shower), so, any “I’m not
a sex object” statements will be laughed out the door. External appearances aside,
the music is an all out R&B pop trip with very little new touches added to the
mix of all the necessary included ingredients. Ambiguously “I Want You Back” (with
Missy Elliot) is followed by “Pack Your Shit”…Huh? Don’t confuse the poor
little kids buying the albums, things are bad enough as it is. But, back to the
external, at least most of Mel B’s assets seem to look less artificial
than most of the tracks on the disc.
- PB
2 / C MELANIE
C - Northern Star
It is now irrelevant who your favourite Spice
Girl is. It may however turn into which of the slappers have a more lucrative
solo career. In Mel C (my brother’s favourite SG) we have the more unusual
and interesting voice of the bunch. Her co-writing of the songs does reflect an
energy and determination with enough current trends in mind to make it a success.
I must admit, Never Be The Same Again is a pretty catchy tune and is by
far the album’s outstanding point (besides Mel’s modest braless attributes in
the breezy pose on the back cover, of course). There’s also a radio mix of that
track and a Hex Hector mix of I Turn To You. If it comes down to a vote
between Gerry and Ms C, I’ll cast mine to the latter, crap tattoos & gold tooth
or not.
- PB
3 / B METAL
ORIZON
Well, what do you know? A metal band from Botswana! Excellent! This
pleasant surprise can teach some SA bands a thing or two, believe me. While leaning
more towards the hard rock side of things, these guys can rock and be melodious
at the same time. The opening track sounded like some kind of Juluka effort but
eventually kicked in with some power - an interesting blend. I was tempted not
to say this, but will - this is REAL black metal, not the type where the Scandanavian
boys run around the woods in make-up, growling like grannies. I'm looking forward
to see Metal Orizon do their thing within our borders.
- PB
3 / B KYLIE
MINOGUE
Dear old Kylie. She's come a long way. The shite Aussie sitcom Neighbours
are is a thing of the past (though it still runs and is still successful), Stock
Aitkin & Waterman and the Locomotion cover version seems like a distant
memory and Jason Donovan is MIA. So it is no wonder that Kylie (or perhaps the
producers) are trying to re-invent our little Shiela. Having listened to this
CD with my wide open mind and all, I couldn't really get into this CD. Her stint
with fellow countryman Nick Cave for Where The Wild Roses Grow was
a fine effort and hope was on the horizon - if only that feeling could've spilled
over onto her new release. No doubt it will sell like hot cakes though. It's just
a little too substanceless for me. A few tracks aimed at radio and some for a
few M-TV videos will cover costs. The rest just kind of drifts off with the effort
to be a little bit alternative dissolving quickly. Perhaps Kylie's acting career
could take off again, but with a CV sporting Neighbours and the Van Damme
pooper flick, Street Fighter, I don't know.
- PB
3 / B KYLIE
MINOGUE - Light Years
Our favourite Aussie gal is back and she just
seems to look better each time (whether Photoshop is to be thanked or not).
It seems as if Kylie is maturing like a good wine (in stead of cheese), as she
constantly bounces back to surprise everyone. The pure pop brilliance on an album
like this can be taken two ways. Get the right producers and songwriters and you
simply cannot miss - no matter who sings and struts in the music video (and have
you seen her hotpants in the video?). Then there is the physical factor where
someone would pick up an album and go “wow, I’d like to get to know HER a little
better” - the music not really a factor. No two ways about it, though, Kylie does
look stunning, and many of the songs are infectiously memorable - although as
a whole it just seems to spit at you: “product”. Spinning Around strikes
as much as any hit does, while the rest of the album utilizes all the formulas,
from retro disco reminiscence to the stale, over done Spanish touch. Not exactly
light years ahead of itself, but like a soufflé that didn’t flop - fluffy, light,
fun and quite summery.
- PB
3 / C MIRWAIS
- Production
Better known as “the guy who produced Madonna’s album”,
Mirwais Ahmadzai releases this personal effort of mostly instrumental electronic
tracks (being beats, loops and sequenced soundFX). A very cool rendition of a
Serge Gainsbourg track is one of the highlights, while the pop queen herself
makes a guest appearance on Paradise (Is Not For Me). As a whole
the album can be seen as a singular mood - no thread or detectable concept, though,
just a constant feeling that seems like it’s one of those dance driven albums
that should be listened to at home in stead of a club.
- PB
4 / B MOBY
- Songs (1993-1998)
Multi-instrumentalist, techno-wiz and spiritual
guy Moby brings us some of his favourite tracks spread over a five-year
period in his career. He’s always managed to keep a fine balance between cheap
electronica and warm organic instrumentation. The use of female vocals also skims
past the rave wailings many have come to relish or despise. His combination of
moods and atmospheric space lends many of his songs a cinematic feel. Incidentally,
his track Go contains elements from Angelo Badalamenti & David Lynch’s
Laura Palmer theme from Twin Peaks. Songs serves as a great introduction
to Moby or if you like him but don’t own any of his recordings. Those who
held their breath for the inclusion of his take on the Bond theme…sorry.
- PB
5 / A MOOD
PHASE 5IVE - Steady On (African Dope Records)
Mood Phase 5ive
must be one of the smoothest SA bands to emerge in recent times. Their closing
of the OppiKoppi Trek 2000 in Worcester was a high, even though the audience
was patchy and shagged out. With fine female as well as male vocals, this adds
to the dynamics of the cool, funky (and sometimes meditative) music. They’ve got
the groove firmly by the tail and it’s good to see that some of the members of
the dissolved Honeymoon Suites are still active in producing fine grade tunes.
- PB
4 / B DEBELAH
MORGAN - Dance With Me
Great eyes, luscious lips and a superb voice
- but Debelah is still R&B-by-numbers. Saturated with the preoccupation
of only two things (namely “love” and “dancing” - the latter many a time foreplay
for the former), the rules are followed well, but does not always succeed in hooking
the listener with that hidden gem of timeless musical genius. The opening title
track, (the highly original, well thought through) Dance With Me, utilizes
the tune of Fernando’s Hide-Away (Ole’!) and is the most catchy of the
bunch. The meandering through all too recognizable beats and very competent vocal
exhibition from the get-go, this can far too easily just become another sound
wedged in between the rest on Channel O, becoming a blur.
- PB
3 / C |
