Track 1: The sound of a tape machine rewinding and a slow, plodding number with a bored, disaffected vocal that sounds like it's phoned in (literally). Drums sound like cardboard boxes. Indie guitar ballad. Ho Hum…This is the future of rock & roll? Is this it?

Track 2: Wait a minute - it's an old XTC record….no, maybe they're trying to be the Velvet Underground, or even Wire. Cool guitar solo. The singer sounds like he's beginning to get worked up about something. Oh, it's over.

Track 3: This is very '70s-sounding, but in a good way. These guys have studied their Television albums. The singer is still on the phone from Brooklyn, however. Short & sweet.

Track 4: These guys are from the Lower East Side and "Barely Legal" sounds like it. I see cars careening down Avenue A and now I have a hankering for an egg cream from Gems Spa.

Track 5: Pure Motown-retro a la The Jam, albeit with less polish. "You Can't Hurry Love" indeed. I like this band. Songs are short and to the point. Lyrics are direct, but you have to listen closely, as they're buried in the mix.

Track 6: "Alone Together" More Television. Is Tom Verlaine listening to this? I hope he's proud. This song rocks - the drummer pushes things along with a sense of urgency and the guitar solo is simple but effective. The singer actually sounds like he gives a shit now. Ooops - it's over too soon.

Track 7: "Last Nite" is more of the Motown thing and it's cool. The concept is more apparent now: Record all the instruments and remove the bottom end and most of the definition, so everything sounds lo-fi and slightly obtuse. Everything old is new again.

Track 8: This is catchy! I think I'll carry around an intercom and talk to everyone through it. Oooh - false ending! I was pogo-ing around the room and they caught me in mid-air. I'm heading to the closet to find those skinny black ties I've been saving….

Track 9: Dude is getting all worked up about NY City girls, a bedroom, a letter and something else. Now he wants to leave town. Wimp. The song kicks though.

Track 10: I found their lyrics online: Lets see what's for sale / He's trying not to give his job a chance / It's never going to be / It's sad but I agree / The signals don't seem right / It lasts for just one night, and then / I'm sorry that I said that we were just good friends WHAT???

Track 11: "Take It Or Leave It" This smacks of really early Joy Division. YES - THIS IS IT! The singer guy really cares! Don't let that other guy mess with your mind! My heart is an open sore! I promise to leave the intercom at home from now on! Screw the Hives! Damn those Vines! We're the future of rock & roll and it only took 36:24 to prove it! Nyaaaah! -- David Bassin - Rock poseur

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A brunette on vocals and a blonde on guitar; how much more can you ask from these sisters; actually a good band. Not only do the Wilson sisters have the ability to write their own music, they can sing and can play guitar well. My personal favorite is "Barracuda," I don't know what it is about that guitar riff, but I love it. It is a TWO-CD Limited Edition, with great liner notes and some pictures. What I love most about their music, is how harmonic and sonic it is, and the fact that their songs are more than two syllables long. There are a couple of live tracks which are amazingly clearly recorded, one of which is a cover of "Unchained Melody" that is so movingly sang I think cried when I first heard it, and that is only the first CD, hey I said there were TWO. The second CD is their later material which includes "What About Love," "All I Wanna Do is Make Love To You" and "Black on Black II." The only disappointment is the lack of lyrics included in the booklet, but that is just me and a $20 dollar bet on a Heart lyric. -- Clara Flores, international department

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On Scarlet's Walk, Tori Amos does a misty mountain hop across a mythical America, blurring the line between the sacred and the erotic, Cherokee prayers and porn-star lap dances, New Age and Led Zeppelin. It's the latest transmission from Planet Tori, full of wordplay that is by turns inscrutable, outrageously purple or righteously outraged. -- GREG KOT / Rolling Stone.

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This is wonderfully beautiful album. Just about everything Elton has ever done has been good or excellent, and Madman falls into the excellent category. With songs like "Tiny Dancer" (which everyone should remember recently from the movie Almost Famous) and with the great character sketch song "Levon", Madman Across the Water is driven by the sweeping string arrangements that give the songs a richly dark and haunting edge. Not something you would normally expect from our old pal Elton (mostly because Elton never wrote an album like this again) which makes this disc even more special. Most of the songs clock in at about five minutes or longer, as Elton stretched away from the mere 3-minute pop song format. In a way this album marked a cross roads for our good friend Elton: most of the albums that followed this one were lighter and more pop-oriented. I feel that Madman solidified Elton as a main-stay star in rock. Not only did he have a small handful of albums underneath his belt now, it showed that he was a consistant hit-maker. These are all great songs though and should not be over looked. -- Richard Ellstrom, rock department

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Are you tired of all the angry, mean people rock music? How about all the rap? If so, then John Mayer is for you. "I am invincible/ As long as I'm alive" he sings on the opening track of Room For Squares. Well, I don't know about his invincibility, but I do know the boy is C.U.T.E. and I'm glad he's alive. The pattern is set up early and carried out perfectly: the drums are interesting but quiet and the acoustic guitar is jazzy and subtle. "Subtle", that seems to be the theme of this CD. So many different instruments lightly added to his songs makes all the difference. Is that a toy xylophone I hear at the end of "Your Body Is A Wonderland"? I love that idea! I didn't really notice the strings in "City Love" until I had heard the songs three or four times…it's the lightly pulsating organs that made it my favorite song on the CD. Everything seems to be done in a mellow way.

Lately, my friend Coleen and I like to call each other's cells and leave messages of our favorite lyrics, and that's all! Then we just hang up! Yesterday I called her and recited:

Here I stand 6 feet small
And smiling cause I'm scared as hell
Kind of like my life is a sequel to a movie
Where the actors names have changed
Oh well

What a cutie pie! That's exactly how I was feeling at the time. Those words are from "83" a song where he wants to go back to a time when everything was easier, when he was younger…when we were younger and all of life's problems weren't getting in the way of us having fun. John Mayer knows how to have fun. I know this because there is no track #13! After song number twelve ends, my CD player skips right over thirteen and right to Fourteen! How could you not like a CD that avoids unlucky number 13! I love that idea! The best part is that he obviously respects women, which can't be said for a lot of those hard rock or rap groups out there today. "Suppose I said/ You're my saving grace." Now that's a gentleman, ladies! How many of us like to be treated like a real woman? John Mayer does it just with his gentle music…imagine what he's like in real life?

I just got off the phone with Coleen and she wanted me to add that his guitar playing is really good, too. She thinks that his next CD should be just him and a guitar. But I'M writing this review! I think he should make another CD just like this one. Why not keep going with a formula that works for you? Why change things up and mess around? Room For Squares is perfect. And, John, if your reading this, I'll be your lucky thirteen! --Trish Robinson

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Mudvayne's new one is every bit as solid and heavy as L.D.50 but it's better. This time the riffs are heavier, Spuug's double kick drum sound is harder, and Ru-D's bass is even better. The thing about this album that sets Mudvayne apart from the rest of the alternative metal acts that are out right now is that there lead singer Kud can actually sing when he wants to. There isn't always the loud screeching howls, which is a nice change from the "norm". The first single "Not Falling" along with "(Per)Version of a Truth" and "World So Cold" combine a new attention to melody and disciplined musicianship with Mudvayne's trademark dark lyrical vision. This is an all around solid rock album with fast hard guitar playing on all tracks, hard hitting drums, great bass line, and a better than average lead singer. -- Richard Ellstrom, rock department

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Every time I see another chillout album in the store (or in my mailbox), I'm filled with an overwhelming sense of dread. Will I have to listen to yet another remix of "Chocolate Elvis," or suffer through another overplayed Kruder & Dorfmeister track? Even bands I really like, such as Zero 7, Jazzanova and most recently Norway's Röyksopp are beginning to wear thin from overexposure. It was a relief then, to see that the lineup for the third edition of the popular Ultra.Chilled series had something worthwhile to offer not only the average fan in search of a personal soundtrack, but also to ear-worn DJs such as myself.

Kicking off the first side of the double-disc set is a stunning rendition of Roxy Music's "More Than This," taken from Charlie Hunter's recent Songs From The Analog Playground album and featuring Norah Jones on vocals. You might be tired of hearing Coldplay's "Yellow," but substituting the Alpha remix version was a nice touch and a smart decision. Fellow Brits, The Doves follow, then it's on to "Daybreaker," the title track from the recent Beth Orton album. Neo-tango from The Gotan Project is always a treat and a Bebel Gilberto remix continues the international theme, additionally adding a little hip-hop flava, thanks to Rae & Christian. "No Use" from Jazzanova is next and will hopefully turn a few ears onto their In Between CD - one of the best albums of the year (in this reviewer's opinion). Some shimmering pop from Saint Etienne keeps the groove going and after hearing Supreme Beings Of Leisure's "Ghetto," I realize that their latest album wasn't as bad as I originally thought. The disc closes out with Elisa (new to me), Sweden's mighty Koop and a cut from Sondre Lerche that inspires me to go home and check out the whole album.

Disc two opens with a sweet instrumental from Nightmares On Wax and floats effortlessly into another monster from 2002: "All That You Give" from The Cinematic Orchestra. The segue is so good, I make a note to "borrow" it for my radio show. You've heard New Order's "Blue Monday" a bazillion times, but Flunk (another Norwegian export) transform it into a mellow, folk-hop affair, very reminiscent of Traffic's "John Barleycorn." Layo & Bushwacka's "Love Story" gets the re-rub from Blue States and you gotta love the Nina Simone and Devo samples ("Mongoloid"!) that weave their way in and out of the song. More Norwegian bizness from Ralph Myerz & The Jack Herren Band keeps the flow fresh, then a dub-funk workout from the Chin Chillaz has me reaching for the Rizzla. Freddy & Herman offer a soulful Scientist-meets-Kraftwerk floor-filler and Evolution gives us an unreleased mix of "Walking On Fire" that was the subject of a recent 12" on Nettwerk. Another new act (to me), 16B rock the house with a mid-tempo number rife with vintage synth sounds and a semi-ambient vibe (except of course, for the drum machine), then, nothing much happens when France's Bertrand Burgalat tries to get wonky with an old-skool electronic soundclash. To wind down, Schiller goes the "Distance" with a mellow mélange of beats and female vox and Sasha ends the party with "Mr. Tiddles" from his debut album of original material, Airdrawndagger.

109 minutes later and I'm not pissed off! I enjoyed the journey, I was introduced to several new acts and (as with all albums in the Ultra.series) the babe on the cover provided some enjoyable visual stimulus. I raise my spliff to Ultra.Chilled 03 - a fine example of how to properly construct a chillout compilation without taking the easy way out. -- David Bassin, internet manager

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The latest release from Primal Scream takes us back into their world of electronic mayhem, where anything is possible. Manipulating the guitar heavily on this album, the sound come off as following the recent trend of garage rock enthusiasm. But, Primal Scream is capable of doing more than just blindly conform to the latest fad, and their version of rock and roll is much more digital and distorted than anything else that has come out. The vocals (he sounds like a digitized version of Lou Reed) and basic guitar lines sound like those of a garage rock group, but the feedback and mixer that are used on the album allow for a much more computerized and modernized version of the sixties sound. Evil Heat allows Primal Scream to toy with the recent developments in rock music while still maintaining their electronic roots and their love for experimentation.

This is an album that would please most any Primal Scream fans from the past, and open their eyes to a new version of the band. Their willingness to explore all types of music and sound pay off with this release, that portrays the amazing talent behind the group. Tracks are fast paced and always interesting to listen to, the album almost flies by too quickly. Primal Scream once again shows us that not all electronic music is trite and boring, there is still some out there that knows how to keep its audience interested. With the release of Evil Heat, people are reminded how good technology can be when placed in the hands of good. -- Cory Abshear, manager

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The wait is finally over, and the new album is a big one. During their first jams after getting back together, Phish was so inspired that they spit out this album, and you can feel the energy oozing from its every pore. The beauty of Round Room is that it seems so rooted in the Phish improvisatory spirit. There's not a trace of stiffness because they're in the studio, and the whole thing is guided by Bryce Goggin, who produced Farmhouse. It just goes to show that a nice vacation can do a world of good. -- Will Seeley, music buyer

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Norah Jones is something of an anomaly in the world of 20-something pop singers that have dominated the charts during the past couple of years. When Come Away With Me was released last February, no one expected the overwhelming response to an album comprised primarily of original ballads, peppered with covers of songs by Hank Williams and Hoagy Carmichael.

The 22-year-old Jones began her career in her teens, playing in supper clubs and coffeehouses in and around Dallas, performing the music that she had heard from her mother's album collection - artists such as Etta James, Billie Holiday, Aretha and others. She won the Down Beat Student Music Award while in high school (twice!) and began to hone her writing skills and eventually majored in jazz piano while attending the University of North Texas. After moving to New York City in 1999, she assembled the core group of musicians that appear on Come Away With Me and recorded several demos for Blue Note. She didn't want the pressure of being having to sell millions of records on a traditional pop label, but worried that the Blue Note audience would not accept her for not releasing a pure jazz album. In the end, a happy medium was reached - she had the freedom to make the kind of album she had envisioned (produced by the legendary Arif Mardin) and the label extended their reach to markets that might have been difficult to break in the past. With a voice that belies her age, Jones seems comfortable singing just about anything. Jazz, soul, country and pop are all given remarkable warmth and intimacy, resulting in an album that's perfect for dinner parties, long drives in the country, or just gettin' down with your honey in between the sheets. What I find particularly attractive is the fact that despite the obvious youthfulness in her tone, you can discern that with a little more experience, Jones has the potential to become a formidable vocalist in years to come.

It's to her credit that Jones surrounded herself with musicians that are not only solid players, but decent songwriters as well. While not particularly deep, the lyrics convey universal themes of love and longing that work well with the low-key instrumentation and delivery. This seems to have struck a chord with audiences of all kinds, as her album has received airplay on Adult Alternative, Adult Contemporary and Top 40 radio stations (KFOG, K101, Alice, KKSF, KPFA and KUSF have all been supporters), has sold over five million albums worldwide (double platinum in the U.S.) and is the top selling record on the Internet for 2002. Her video has been seen over 800 times on MTV, VH1 and MTV2 and she won the award for best new young female singer at the VH1 Big In 2002 Awards (airing 12/15). Did I mention that it was the biggest selling rock album at Rasputin's this year?

I've introduced Come Away With Me to a number of friends this year and all of them have flipped over its understated beauty, especially after repeated listenings. If you haven't yet experienced the magic of Norah Jones, you owe it to yourself to check her out and prepare to fall in love with this very talented young lady. You can hear samples of her music in our online store (www.rasputinmusic.com), or at the official Website (www.norahjones.com). -- David Bassin, internet manager

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Here are eleven songs that are so damn good it's almost ridiculous that this band still floats around the edges of obscurity. This is basic Rock & Roll, the type mom and dad used to groove to. One of the first bands to push their attitude and swagger right out of the speakers and into yer face. Don't believe me? Fine.

What makes this record great is that it's bookended by two unstoppable tracks. The opener, "Personality Crisis" is a Rolling Stones song that never was. Dolls' singer David Johansen brazenly out-Jaggers Mick Jagger with one simple lyric: "Personality crisis, you got it while it was hot." It's the way Johansen delivers the word "hot" that makes the song…he's in total control. Even if the cover of this record didn't show the band done up in their usual gutter-drag clothes of high-heeled platform shoes, women's sweaters, big hair sprouting out of their heads and trampy/clown-ish make-up and -ahem-- TIGHT pants …even if Johansen wasn't checking for himself how GOOD he looks with a compact mirror…(the GALL of these boys to come on like that in the rather sedate 1973)…even if you didn't know all this about the Dolls, you can hear it in their music. This band is one sloppy, glorious mess…all brash-dirty-non-stop abrasive Rock & Roll music… "Personality crisis, you got it while it was HOT."

The album closer is even better. It's almost too good to be true, if you think about it. "Jet Boy" is THE rock song on the album. You say, "How could that be, Andrew? You've already told us this record is top notch Rock & Roll, and now yer comin' on with that statement." No, listen. The difference between "Jet Boy" and anything else on the album is that with this one they catch everything they've been chasing through the other ten songs. It's a thumping little number that does Not. Give. Up. With the hand claps, the soaring Johnny Thunders guitar runs, are Jerry Nolan's drums made of foil?, the back-up vocals of "Ooo-ooooooo-ooooooo" and Johansen ripping out his vocal chords just trying to deliver the message with a wink-wink and a an ambiguous nudge that goes something like: "Jet boy flies/ Jet Boy's gone/ Jet Boy stole my bay-be/ flying around New York City so high/ like he was my bay-baaaaaaaaay..." No voice has been this raw since Iggy Pop blew his out sometime around the Stooges Fun Hose record, three years earlier.

Then… everything stops and Johansen yells, screams real rough-like because his voice is in shreds: "My bay-bay" again like he's been doing for the past two minutes --hell, the past ten songs-drenched with attitude andthebandripsoffintotheSTATOSPHERE and backtheycome bringing it home with those hand claps and the Oooo-ooo-oooo's that fit the song so well. They've done it, kids. They've gone out and captured the spirit of TRUE, PURE Rock & Roll. The song ends, heck, the RECORD ends with the New York Dolls causing a ruckus with the ghosts of the dead and, heck, even the NOT dead: Gene Vincent, Eddie Cochran, Wanda Jackson, Little Richard, Janis Martin, Chuck Berry, they're all there, down in the lipstick gutter with the Dolls and every body loves it. Johansen loves it so much he's run plumb outta things to say about Jet Boy: "Like he wuz my bay-bay,like he wuz my bay-bayLikehewuzmybay-bayLikehewuzmybay-bay…" On and on it goes which is perfect because you don't want any of this to end.

So why does this band still float around the edges of obscurity? --Andrew Lau, returns technician

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I can’t believe it’s been 16 years since this album has dropped it’s message on me (damn, I’m old). At the time the album came out many critics had questioned if Rap Music would even last the next few years (along with many other Def Jam albums). This album was one of the few albums that not only kept the ball rolling on the wave of Rap Music in the States but also kept the critics at bay long enough to release the next title. The next few years would prove Def Jam to be one of the dominating forces in the Rap Game. When Licensed to Ill dropped itself into the urban scene many kids didn’t know how to take the album. Here were three white kids from N.Y. coming into their turf and doing a great job at it. Rumours surfaced that the kids were actually black and many of my friends actually believed it. The fact that RUN DMC vouched for them (and toured with them) only proved that Hip-Hop was about individuality and creativity.

The Beastie Boys brought a legion of fans not only from the suburbs but also from the urban streets. Throughout the years I’ve seen the Beasties perform 3 times and every single time they get down to perform songs from “Licensed to Ill” the crowd erupts as if it were 1986 all over again. Nostalgia, It’s what keeps the Stones fed and what makes me appreciate the carefree time in my life. It’s so easy to say that this has been one the most essential hip-hop albums that needs to be in ones’ play stack, Period. -- Omar Barrera, Latin Buyer

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The man is a legend. The Jimi Hendrix Experience Smash Hits album will show you why. This album has all the classic Hendrix tracks. It's about time it was back in print, with crystal clear sound. His music is raw and aggressive while being delicate and beautiful all at the same time. You know all of the songs on this compilation, but they never get old, and the remaster makes it easy to listen with fresh ears. All you have to do is put this album in sit back and Jimi will take care of the rest. The music that Jimi has made is so amazing and free it is like he is taking you on a journey that you hope will never end. This is by far one of the best rock collections ever assembled. It's straight forward and to the point. -- Richard Ellstrom, rock department

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Nirvana’s last studio album In Utero is one of the best rock albums to come out in the 90's, or ever, for that matter. Kurt Cobain gave this album such a sense of urgency and pure raw emotion, making it nearly impossible not to like. With tracks like "Scentless Apprentice" (which has one of my favorite lines ever with Kurt screaming “you can’t fire me cause I quit”) and the saddening "All Apologies", Kurt Cobain shows us that he can write and play songs that can make you pissed off at the whole world then bring you back around and make you feel sorry about everything that you ever did. This is one of those rare albums where you can put it on if you're angry, happy, or sad and this album will fit your mood. Track highlights on this album are "Scentless Apprentice," "Rape Me," "Very Ape," and "All Apologies." There is not one bad track on this disc. One of a kind. -- Richard Ellstrom, rock department

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System of a Down are a metal band with some sophistication. There not just like any other metal band out there today. It is obvious when you listen to them that they know exactly what they are doing and they do it very well. Like every other metal band they're all about bringing the "system down" hence their name. This album is fun to listen to and very catchy. Their lyrics are clever. The first track on the album "chic 'n' stu" is the best example of this with the lyrics being about pizza. After that the bands gets more serious with tracks like "Innervision" which is probably in my opinion the best track on this album and the track "Mr. Jack" which sounds like something Metallica would have put out back in the day. Its albums like this that let me know that rock music is not dead yet and that is still just as loud and pissed off as ever. So if you're out their looking for a new metal or hard rock album you should give this album a listen. You might find yourself pleasantly surprised. -- Richard Ellstrom, rock department

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Greatest hits albums serve several purposes: a retrospective of an artist’s career, a way to make some extra money during the holiday season, or even a tool to fulfill the requirements for a recording contract. For Björk, it was a case of clearing the decks to make way for the future. “After I finished Vespertine,” she says, “I felt as if I had completed something. I felt I almost caught up with myself and had done something I really wanted to do since I was a child. Now I feel I have got a clean slate, a new beginning to start all over again. I feel like I am at a crossroads, so it felt like the right time to put out a selection, or more of a retrospect, of the story so far. ”

By 1974, Bob Dylan had ended his six-year association the The Band and recorded one of the landmark albums of his career – Blood On The Tracks. During the summer of ’75, he began frequenting some of his old hangouts in New York City where he hooked up with former clinical-psychologist Jacques Levy (who had written lyrics for Roger McGuinn) and embarked upon an inspired collaboration that grew into the compositions that were to become Desire. At the end of July, Dylan assembled nearly 25 musicians (including Eric Clapton, Yvonne Elliman and Emmylou Harris) at a recording studio and attempted to fit his new material into the context of a large group – an experiment that didn’t click. On the third night, the group was paired down to a half-dozen and by 6am, the album had been more or less completed in a series of single takes. The next step was to take the show on the road and the result was the Rolling Thunder Revue. Based on old-time road shows and guerilla theatre, the band members piled into buses and campers and traveled throughout the Northeast with less than a week’s notice to promote the gigs. In addition to the musicians who performed on the Desire sessions, Bob added Joan Baez, T-Bone Burnett, Mick Ronson, David Mansfield, Ronee Blakley and Roger McGuinn.

The Velvet Underground is one of the most influential rock bands of all time, and their album The Velvet Underground & Nico is arguably one of the best rock records ever made. All the songs are brilliant on this record, taking on so many different tones from sunny pop to a stripped down raw garage sound and yet somehow they all mesh together beautifully. I can honestly say that I have never heard an album that was so intelligent and intriguing like this. It's pure genius! When you put the record on for the first time you can't help but be blown away. Right away you know you are in for a treat when you hear the very start of "sunday morning". There's something about the whole album that just hits a nerve and it makes you realize that there is more to music than verse chorus verse. It's a shame that there aren't more albums like this in the world. -- Richard Ellstrom, rock department

This is a new and expanded version of Crazy Town. Three years on the road and the sudden notoriety of having a hit single ("Butterfly" from their debut The Gift of Game) has taken these heavy rockers and given them a new focus and group mentality. There's less rapping this time out, and more singing, as co-front men Shifty and Epic bounce off each other, and a total absence of samples. That's not to say that the hip-hop influence is gone and Shifty still comes with the rhymes, but more rock sounds are coming to the fore, reminiscent of bands like Fugazi or even Cheap Trick. Epic (nee Brett Mazur) steps up as a major rock vocalist. The dual lead singer trick, stolen from rap groups and spiritually descended from the Beastie Boys, keeps Crazy Town distinctive. And of course, the guitars are still heavy as hell. -- Will Seeley, music buyer

For the legion on fans who couldn't (or wouldn't) shell out 150 bucks per ticket to see Paul McCartney's DRIVING USA Tour, there's a much less expensive option: pick up the excellent double CD BACK IN THE U.S. LIVE 2002 for under 20 bucks.

You get nearly forty songs and two hours of great Beatles, Wings and solo McCartney music. And, for a few more bucks, you can own the DVD, featuring stage show footage and behind-the-scenes shenanigans.As always, the music is impressive; the new band tight and supercharged. Lesser known Beatles hits, some never before performed live, intermingle with Wings nuggets and brand new solo compositions. Defying expectations and advertising, this ain't just a walk down memory lane wrapped in Old Glory. In recent years, Sir Paul has reclaimed his Beatleness -- a legacy once lost in the rancor of break ups and legal wrangling amongst former band mates. With the murder of John Lennon and recent passings of Linda and George Harrison, the music has acquired a new poignancy. McCartney today performs with the spirit and passion of a survivor. No longer merely the "cute" Beatle or the prolific soloist, he's entered a new phase. By fully embracing his past, he is suddenly free of it. McCartney has managed to escape the artistic death sentence of Living Legends. Like Sinatra, Macca has matured; the voice is deeper, richer with more timbre: the voice not of a youthful moptop but of a man. BACK IN THE U.S. introduces this new persona and for maybe the first time we can hear old, familiar sounds in ways that are fundamentally different but perhaps even more gratifying.

Too many of us believed everything has been too easy for them, our four loveable moptops. These Liverpool scruffs had shot to instant fame and fortune, idolized by millions and their talent seemed effortless, almost magical. Sure they sang about love and loss and later, things philosophical and deep. But what, we asked ourselves, could they honestly know about real life, these pampered pop superstars? McCartney was saddled with a post-Beatles reputation as a lightweight; his solo output labeled self-indulgent, inconsistent, sentimental and saccharine. But Macca has outlasted his critics, as he has outlived his bandmates, except Ringo Starr. His singing today is more mature; still confident and energetic. The 60 year old pipes are remarkably agile. But there's now a tinge of sadness. Instead of the relentlessly upbeat showman, Macca reveals an aspect of his character many have never seen, despite forty years in the spotlight.

Now even the silly love songs and youthful Beatle classics take on added depth and complexity. In concert, the spare arrangements feature Paul's voice prominently on Beatles favorites, as if to spotlight absent friends. This double disk live concert set reveals Paul McCartney as an artist of depth and complexity; one of the few able to successfully straddle both old and new; past and future. Perhaps when all is said and sung, Paul McCartney's most remarkable achievement will be in never letting Beatlehood hinder his musical curiosity and enthusiasm. -- Martin Gorda, manager

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Does This Look Infected? = one hell of a good time. Sum 41 have adopted the twin lead guitar attack of the 80s metal band, and when they hook it up with their irreverent punk attitude (many songs feature the words "you make me sick") it just plain rocks. How else can you describe it? The riffs just come creeping out of the woodwork, and they thread throughout. There's even old Metallica-style riffing, speed metal style. All thrashing under tuneful pop-punk singing.

Need further proof? Look at the song "No Brains". The guitar parts come straight out of Judas Priest and, yes, Metallica, and yet the song is true 90s pop-punk in the Blink 182, Sum 41, Green Day kind of tradition. Ditto "Mr. Amsterdam". Frankly, it's pretty refreshing. A lot of times when I hear bands like this, I think, OK, but where's the spark? And this particular Sum 41 album is really good, with its high energy, gonzo guitar playing and tight song structures. And the in-your-face "fuck you" of the lyrics makes for perfect rebellion music, as they vacillate between politically conscious fury and bored rage of the kind that makes up old-school punk rock. "All I know is I've heard this all before, reality's a bore." So there. -- Will Seeley, music buyer

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Sigur Ros follow-up their critically acclaimed sophomore album Ágætis Byrjún with the enigmatically-titled ( ) - a work of stark, emotional beauty that is as cinematic and evocative as its predecessors. Recorded earlier this year at Alfoss, (a former swimming pool recently converted to a studio) the eight song set features Amina, the string section the band employed on their recent and current tours of Europe and the U.S. Once again, vocalist and guitarist Jón Pór Birgisson sings in “Hopelandic,” a made-up language loosely based on his native Icelandic tongue. Comparisons have been made to the Cocteau Twins’ use of “nonsense” words, yet the ultimate result is a more interpretive experience for the listener. With ( ), this particular philosophy extends to the CD packaging as well. None of the songs have titles and the artwork is a study in minimalism. The booklet is made of tracing paper, so that the listener is free to write or illustrate their feelings regarding the lyrics, or simply the emotions conveyed by the music. The band went so far as to ask fans to contribute their linguistic impressions to the Web site, where a computer program recognizes the submissions and the most frequent entries “become” the lyrics.

Listening to both Ágætis Byrjún and ( ), it’s not difficult to understand why Thom Yorke claimed that Sigur Ros’ music became the inspiration for Kid A and later invited them to be the opening act on their European tour. At their sold-out appearance at the Fillmore last year, the band astonished the audience with their wall of sound. Bowed guitars, the aforementioned strings and Birgisson’s other-worldly vocals were drenched in echo and special effects, creating an hypnotic effect that lasted for well over two hours. For 70 minutes, ( ) achieves much of the same feeling, but one that can be experienced over and over again. -- David Bassin

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Hmm…let’s see…U2’s last hits compilation (The Best Of 1980-1990), featured some of the best material from the band’s first eight albums and arguably, the most fertile period of their career. This new set pulls together twelve tracks from the last four discs, two orphans (“Miss Sarajevo” from the Passengers project and Batman Forever’s “Hold Me, Thrill Me, Kiss Me, Kill Me”) and two new songs: “Electrical Storm” and “The Hands That Built America” from the soundtrack to Martin Scorcese’s forthcoming Gangs Of New York. As further enticement for the holiday season, a special edition with a second disc of B-sides and a DVD is also available.

The new mixes are nothing special, save for “Discotheque,” which is chunkier and heavier on the guitars than the original “techno” version. “Staring At The Sun,” “Numb” and “Gone” benefit little from their re-workings and beg the question of what was wrong with the originals, or better yet, why not include several other, stronger songs? I would have included “New York,” “Who’s Gonna Ride Your Wild Horses,” “Lemon,” or the theme from “Mission Impossible.” The two new tracks are better than most of the material on All That You Can’t Leave Behind which may bode well for the future. “Electrical Storm” is a moody piece accented by xylophone that builds in intensity with a militant drum shuffle and some fine keyboard work by producer William Orbit. “The Hands That Built America” benefits from what appears to be a real marimba, a solid string arrangement and more production wizardry from the talented Mr. O.

Despite the previous comments, the album actually hangs together fairly well and is a pleasant, if not revelatory listening experience. My review copy did not include the second disc or DVD, so I imagine there are additional treats in store for those who spring for the larger package. The hardcore fans will have most of the music included here already, but for those who aren’t, The Best Of 1990-2000 will make an excellent stocking stuffer for young and old alike.
-- David Bassin

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3 Doors Down continues their assault on your musical sensibilities. Definitely one of the best rock records of the year. Away from the Sun is worth it just for the first single, "When I'm Gone". Not for the weak of heart.

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To many, Tony Bennett and k.d. lang would seem strange bedfellows -- a veteran crooner, whose first hit came in 1951, and a young Canadian farmer's daughter with a torch & twang pedigree. One, gravel-voiced, the other, smooth and sweet; together would seem poor candidates for an album of jazz duets. But What a Wonderful World, released in both artist's names, is cool, crowd-pleasing and a logical extension of themes common to each singer's separate careers. Concept albums of cover songs and genre-bending duets have been integral to both artists. Bennett's flagging career revived in the 1990's with albums covering songs of Frank Sinatra and Billie Holiday. Lang launched herself a few years before with quirky interpretations of Pasty Cline song classics. During his 50 years in show biz Bennett has crooned with anyone and everyone of note. Some who have shared a mic with Tony include such radically divergent stylists as Stevie Wonder, Sheryl Crow, Bonnie Raitt, Kay Starr, B.B. King and Kermit the frog. Likewise, lang's first major chart success was her achingly beautiful duet with Roy Orbison on the 1987 remake of his classic hit, "Cryin'." That same year, lang gained widespread fame, backed by her country combo the Reclines, on her major label debut, ANGEL WITH A LARIAT. Anthony Benedetto was discovered half a century ago by Bob Hope, who Anglicized his name and watched young Tony Bennett top the hit parade. After a decade-long slump, Tony's first comeback came in 1962 with a song originally written in 1954, "I Left My Heart In San Francisco." (for which he won his 1st Grammy).
After 30 years and numerous albums with greats like Bill Evans, Count Basie and Ray Charles, Bennett enjoyed his second revival and Grammy win for his Sinatra tribute, PERFECTLY FRANK released in 1992. Three years later, the saloon singer was "discovered" by Gen X (and won a 3rd Grammy) for his MTV UNPLUGGED album, which featured Elvis Costello and a duet with k.d. lang on "Moonglow." The pair next sang together for Bennett's 2001 duet album, Playin' With Our Friends. Now their paths cross again on What a Wonderful World, and shared passions converge for a set of songs honoring the music of Louis Armstrong. Produced by T Bone Burnett, the album contrasts Bennett's raspy and expressive pipes with lang's honey-sweet vocal tone. Ably backed by a jazz combo of studio musicians on piano, guitar, bass and drums, Tony and k.d. run through familiar chestnuts like "What a Wonderful World" and "Dream a Little Dream" like a couple of old pros. But it's on hidden gems that the special chemistry between these two really starts to bubble and fizz. On tunes like "I Wonder" and "You Can't Lose a Broken Heart" we discover the real magic that comes from pairing seasoned veteran and dulcet ingenue. Pops would have loved it. -- Martin Gorda, manager

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Riot Act starts of with a New Orleans second line beat (think "Iko Iko"), then slinkily builds with an acoustic guitar and Eddie Vedder's initially subdued singing, and suddenly we're into the new, expanded world of Pearl Jam. At times, some of Stone Gossard and Mike McCready's guitar work even recalls the Edge or Andy Summers, and it's not until the second track, "Save You" that we get into anything remotely as heavy as younger Pearl Jam. To these ears, Vedder is still one of the most distinctive vocalists in rock, and I have to admire the band for being themselves despite the fickle, trendy nature of the music business. Riot Act taken as a whole feels to me to be very stream of consciousness, with both violent epiphanies and mysterious quiet moments. Many of the melodies incorporate very middle eastern or Indian sounding scales, and the song forms can be very convoluted, which at times recalls 70s prog rock, funnily enough. -- Will Seeley, music buyer

This disc is an album that is nothing if not an ode to radio hits and arena rock of the late 70's and early 80's. No other post-grunge outfit has so wholeheartedly embraced the arena-rock and pop balladry that characterized the era that bred them, but Rob Thomas' songwriting gift makes many things possible. For some reason, I look at him differently now, after experiencing his songwriting-for-hire for Santana and Willie Nelson. He seems more sophisticated, more in a league with someone like Sting or even Willie Nelson as a Songwriter with a capital S. And that's where More Than You Think You Are comes in. It's rock music, it has big guitars and huge production values, but there are actual songs and actual singing, just like there used to be in the good old days.

Did you know that Lou Reed turned sixty this past March? That was news to me considering the guy’s been acting like a sixty year-old since 1965. HA! HA! That’s funny.

It’s always sad reviewing a posthumous album from an artist that seems to have been taken before their “time,” especially when that person is someone who has had a major impact on your life. Even though George Harrison’s songwriting contributions to the Beatles” catalog was only a fraction of the Lennon-McCartney juggernaut, the one song that made it onto each of their albums was always a gem and a breath of fresh air. When the band members went their separate ways and Harrison teamed up with Phil Spector to produce the magnificent All Things Must Pass, you could practically feel the joy he must have experienced of finally having the freedom to express himself on such a large scale.

No one else is really exploring the meeting ground between hip hop and reggae/dancehall, and that makes Beenie Man a true visionary. Guest artists like Lil Kim don't hurt matters, and everyone knows by now that Janet Jackson makes an appearance. But you may not realize that the Neptunes are behind the beats on three tracks, Irv Gotti helps out the production on a track and Sly and Robbie pilot yet another. That's like a guarantee, this album cannot be bad, and it can give you a bit of dancehall summer vibe even though it's now the winter time. - Andy Rust, music buyer

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Mister, mister Scarface. Back in the m----f---- house once again. While sometimes his individual solo albums have had a lot of filler tracks, this disc is indispensible from the start. The big collaborations are here, 2Pac on “Smile” and Too Short on “F*** Faces”, Master P on “Homies & Thugs”, Jay-Z and Beanie Sigel on “Guess Who’s Back.” What you learn from listening to Scarface’s history here is that he never caved to use big hot one-shot producers. He always did it himself or with Mike Dean, and that means he’s got a sound to the beats that you don’t hear anywhere else. Scarface is the Dirty South before it was the Dirty South, and he’s still the top of the game.
-- Andy Rust

Last year this time Nas came out with the long album Stillmatic which had the classic Jay-z diss song "Ether". After winning that battle and facing some personal tragedies of his own Nas brings us God's Son. This album is filled with more rich poetry. Nas constantly goes against the grain to be innovator.

"GET DOWN" is filled with the type of visual rhymes that we know Nas for. I luv this song, he uses the old school James Brown sample and freaks it! CLASSIC Nas story sh*t!!!

"MADE YOU LOOK" classic B-boy rap break with dope lyrics and a Dr. Drew-like bass line. KILLER TRACK! This was his first single for "God's Son". This had me hyped for his album. Nas rhymes: "King of the town yeah I been that/ you know I click clack where u and ya mens at/ do the smurf do the wop baseball bat/ roof top like we bringin 88 back" WOWWW!!!!

"LAST REAL N***A ALIVE" Nas tells his rap history on this one. When he started on the NY blocks, his beef wit B.I.G., Jay-z, and how rapped changed in his 10 years in the game. Nas Flows over a melodic 80's Scarface movie backdrop beat which allows you to pay complete attention to his perfectly sculptured words.

SUMMARY: God's Son is a good album but not as good as Stillmatic. Nas is still very creative and he remains the best writer in the rap game!!! Go cop God's Son and listen to a true poet! -- S-Dot, rap buyer

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Tupac is the greatest rapper of all time HANDS DOWN; no other MC has had a bigger influence. He was an actor/rapper before it was the norm. He talked about life & death before it was the norm. He however was not the norm. Seven years after his death millions of fans, including me, are eager to hear Tupac's unreleased music. Why? Because he rapped with so much passion. You could here the pain, struggle, and success in every word he screamed.

This is Tupac's 4th posthumous album; this one is the best one so far! This material was recorded during the Makevelli album period. The scary thing is that Tupac sounds jus as good as any of the top mc's in the game. Is this good or bad. Good= Tupac created music that transcends time. Bad= has raps topics not grown since Tupacs death. Well I think both are true, not too much has changed in rap music. Same topics just different faces.

Some of my favorite songs are:

"Fame" : this song Tupac talked a lot about before he died that never got released. He rhymes: "One thing we all adore/ something worth dying for/ nuthing but pain/ stuck in this game/ searchin for fortune and fame". Classic Tupac.

"Still Ballin (Remix)": this is my favorite song on the album. Classic PAC. Nothin but RAW emotion and a tight up-tempo beat. Miami's biggest Thug Trick Daddy steps in on the 2nd verse to put it down. This will have your car KNOCKIN! HEAT!

"Ride on Enemies": this is another tight song Tupac that he talked about in interviews before his passing. "Ride on Enemies" is True BATTLE Sh*t! Tupac goes at the Fuggees, LL cool J, Da Brat, and Mobb Deep. Tupac rhymes: "here's a word to those that robbed me/ I murder you then I run a train on Mobb Deep/ don't F*k wit me" Gotta Luv it! This song is going to be controversial.

Summary: This is definitely a must have for any rap fan. Don't let the fact that its seven-year-old material allow you miss out on one of this years best releases. Tupac is still the best rapper in the game! -- S-Dot, rap buyer

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A feast from the Dirty South that strikes a simmering balance between cool laid back jams filled with powerful lyrics, crunk club joints and grimy, street-oriented joints. This little piggy is goin' whee, whee, whee all the way to the top of the hip-hop charts.

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Since his debut with the Odd Squad in 1994, Devin the Dude has been slowly building a loyal following via the hip-hop underground. Over the past eight years his resume has included work with Scarface's Facemob, a guest appearance on Dr. Dre's 2001, and a cameo on the lead off track to De La Soul's AOI:BIONX. Although few and far between, his random manifestations have helped in making Devin one of the most unique voices in modern hip-hop.

On Just Tryin' Ta Live, the follow up to his 1998 debut, the Houston native emerges from a thick cloud of pot smoke with a mic in one hand and a lit blunt in the other. The album begins with "Zeldar," a Kool-Keith style rambling about a pot-smoking alien that shops at Wal-Mart. From there, "Just Tryin' Ta Live" only gets weirder. On the Dr. Dre produced, "It's a Shame," Devin reflects on sorrowful tales of getting laid and smoking weed.

The inebriated madness flows through, "R&B," (which stands for Reefer & Beer), a slow jam that features a drunken redneck intent on trying his hand at rap. This comical homage to Devin's favorite intoxicants is oddly touching in its assertion that no cultural divide is too wide to not be bridged by a stoned, drunken sing-a-long.

Just Tryin' Ta Live remarkably showcases Devin the Dude's ability to transcend many of the stereotypes commonly associated with new-school rap. Rather than bragging about the freshness of his dope ride, Devin loyally stands by his broken down lemon on "Lacville '79." Although the album features guest appearances by Xzibit, Nas, Dr. Dre and DJ Premier, it is undoubtedly Devin's warped sense of humor and unrelenting devotion to wine, weed and women that puts him at the top of the game. -D.B., phone center

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The Most Animated, Wild, Crazy rapper in the game returns with a new batch of creative Sh*T! If there's one word to describe Busta, it's CREATIVE. He has always been one to push Hip Hop music, never copping. The production duties on this one are orchestrated by: Jay Dee, Rick Rock, Neptoons, Mario Winans, Megahertz, and Swizz Beats. Busta takes “It Ain’t Safe” SOLO, there are no big rap features on this one, only his click Flipmode Squad. The only big name feature is a surprise hook sung by next year's “come back queen” Mariah Carey. She absolutely destroys the hook on Rick Rocks mellow masterpiece called “I Know what U want”. This song is addictive as hell. I listened to it about 5 times in a row!!! Songs like “Call the Ambulance” and “We Goin To do it to ya” are so different you gotta hear it a few times to even get it, but after a few listen U will nod Ur head till Ur neck is sore. “Turn Me up Some” finds Busta spittin' multiple layered flows over a melodic soulful hiphop soundscape that reminds me of classic Tribe Called Quest. Str-8 HEAT!!! Busta even takes his flow to the middle east wit' a sample of a singer cuttin' in & out of the beat wit perfect timin’. TRUST ME!!!! BUSTA BUSS IS BACK! Favorite Songs: “I Know What u Want”, “Make it Clap”, “Turn me Up some” -- Saeed Crumpler, Rap buyer

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If you mention any rapper from the Bay Area, Yukmouth (from the Luniz) would be included. He and Numskull brought you many classics on past Luniz albums, and their last disc, Black & Silver, was a huge success. One of the hottest songs of the summer was on that album, "I'm a Raider." But, like Yukmouth always does, he hits you with a solo project. This is his third album on Rap-a-lot, and the best one yet. Yuk has a lot of guest appearances such as Richie Rich, Outlaws, C-Bo, Jazzy Pha, Mac Dre, Regime and many others. United Ghettos of America is one of those must-have records, if you're a fan of West Coast music.

Even though you have a major label backing you, sometimes you don't get that major push that some artists need. Yukmouth doesn't really have a legitimate radio song. He might pull it off in the South, but in the bay Area, where it's hard to get radio play, it might not be that easy. One of my favorites on the album could also be single material, a song called "Welcome 2 Da Bay", featuring Messy Marv, Mac Dre and Numskull. The track is produced by up-and-comer Lucky. It has a crazy-like Neptunes sound. One of those beats that when you hear it, it automatically catches your ear. Another possible radio song is "I'm So Cool" featuring Richie Rich, Dru Down and Lil' Ron. This track has a real laid back beat which goes perfect with Rich's flow. It's about the only song that has video material to it.

Yukmouth hasn't forgotten where all his fan base started from. He still has those strictly for the streets hits such as "Top Thugg" (which is his only solo joint on the album), "F*** Friends" and one of the hardest tracks on the album, "No Way" feat. his potna from the Luniz, Numskull. "No Way" is a song for all those ol' skool cars and trucks who like to get down! The track "Da Hot" features a couple of artists that are on Yuk's Smoke-a-Lot records. These newcomers are known as Nyce, a very attractive female with flows as no woman has invented, and Monsta Ganjah. With 18 tracks, he gives you the comical "Yuk" as well as the street Yuk. I enjoy this album. Holla back. -- Tjader da Raider, rap and soul department.

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Those of us that are old enough to remember the days when hip-hop was first emerging in the mainstream can still recall how dope and fresh those early tracks sounded. Over the years that sound has continued to slowly de-evolve into a bland imitation of what those early pioneers produced. Mediocrity reigns supreme in the new school so a fresh breathe of originality is always welcome.

This is part two of a trilogy. It starts with Yo! Bum Rush The Show (1986) and ends with Fear Of A Black Planet (1990); this is the bridge between the two. Some argue that It Takes A Nation Of Millions To Hold Us Back is their greatest achievement. Some argue -and I would have to agree-that Black Planet is the pinnacle of all that Public Enemy was striving for within these three releases. Either way, by the time It Takes A Nation… was released in 1988, Public Enemy's place in history was sealed.

The beats and some of the samples sound a bit dated; and why not, this thing is fourteen years old and the world of Hip-Hop and Rap have been gaining momentum ever since. The issues, however, have not dated…but then, how could they? People have been fighting for justice and equality since day one and this thing is only fourteen years old. It Takes A Nation… contains some of P.E's best known work: "Bring The Noise" (the version WITHOUT Anthrax's metal contribution); "She Watch Channel Zero"; "Black Steel In The Hour Of Chaos"; "Party For Your Right To Fight" it's all here along with that patented thick sampling techniques of the Hank Shocklee/Eric Sadler production team. Images and names of past leaders in the Black Community swirl around; situations common to minority races are delved into; and, most importantly, new ideas of defiance, power and self-esteem are put forth. All but one issue has remained as fresh as the day they recorded it. The single issue that hasn't stood the test of time is this: Louis Farrakhan -who get's namechecked in more than one song here-- is NO Malcolm X. Not even close.

The certain lack of talk about Money and Status and the sexual proclivities of the MC on this record is not a trick; it's a choice. There is more to life than strutting around and playing the neighborhood bully. Certain people in the Hip-Hop community -P.E.'s Chuck D. noteably-- have gained an immense amount of popularity and power since 1988. So much so that they've gained the respect from certain politicians. These politicians know that that if the kids see them with the likes of Chuck D., then the kids will respect the politician. Hip-Hop has come a long way. On the flip side, there are branches of our rather conservative government don't like this and are willing to treat Hip-Hop today like they treated The Black Panther Part and the American Indian Movement yesterday. (This is not as far fetched as it seems. Use the internet to read up on the CO-INTEL Programs of the late 1960's and early 1970's).

Chuck D. knows what he's talking about and delivers it like no one before or since; that's why It Takes A Nation…holds the same power it did fourteen years ago. Although some of the beats sound vintage, it doesn't mean the issues are dead and the lessons are over. There is plenty of time. -- Andrew Lau, returns technician

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It isn't often when I hear an album that transcends the stereotypical genres of gangsta rap or vacuous R&B, so it was a pleasant surprise to discover the solo debut of Cee-Lo Green - a key member of the Goodie Mob and Atlanta's Dungeon Family. …Perfect Imperfections is a rich, smoky soul stew, filled with steaming chunks of gospel, funk, rock and conscious rhymes that are both positive and thought-provoking.

'Lo's lyrics are smart and passionate and speak of love, not only in the carnal sense of the word, but also of religion and faith. Born the son of ministers and raised by a large family of devout Christians, he was deeply influenced by the teachings of the church and the music of James Cleveland, The Clark Sisters, The Winans and other gospel greats of the day. Here's a sample of "Spend The Night In Your Mind":

I wanna make love but it's not quite time
I'd rather spend the night in your mind
I won't be hard to find
I'll be right there in your mind
Let me caress your consciousness

Sung over a slow, funky track, 'Lo's sweet, gritty vocals and could have just as easily emanated from the pulpit as from the recording studio. The song builds like a good long screw and one can practically smell the sweat and sex dripping off each line. "Getting' Grown" is a light, autobiographical ditty dealing with the reality of jugging parenthood and the business that we call "show."

Little boy you're not allowed to stay
You have to evolve inevitably
And I've sure come a long way
The road up ahead is so unclear
Back slidin' down the bottom of beer
Nobody knew if I would make it here
Sweet music set me free

Production throughout is superb, thanks in part to fresh beats, creative samples and crack musicianship. There are dozens of delightful moments, such as the Miles-inspired trumpet solos in "Bass Head Jazz," or the "hick-hop" banjo and harmonica accompaniment (John Popper!) to "Country Love." Echoes of Sly Stone, George Clinton, Al Green and Sam Cooke abound in each of the sixteen tracks and it's almost as if 'Lo channels their essence, while at the same time, keeping his flow tight and original. The album ends with "Young Man" - a gentle suggestion to keep focused on the future and what's really important in life:

Hey there young man it seems like your sight's been blinded
Oh how I wish you could see
The very life that you're lived been tailored by many and mixed in ability
Oh I wish you'd do more than just keepin' it real
Why don't you try being true?
One song could save the life of the young ones dependin' on you
Hey there young man why degrade your only sister
And call them bitches and whores?

This is truly one of my favorite albums of 2002 and along with new releases from The Roots and Common, breaks new ground for rappers everywhere. -- David Bassin - Internet Minister

Clipse reign supreme in the Virginia rap scene right now, and why not. They hold it down when it comes to letting the rest of the world know what Virginia Beach, and VA are all about. The duo only gets hotter because they are backed by the powerhouse production of the Neptunes. So with them as their support, it's obviously clear why this album is blazing. Malice and Pusha T are not shy to bag up this lyrical dope and serve it off to any fiending ear out there. The 15 tracks on this album take you on a ride in the lives of the Clipse, exploring their worlds through the vivid depictions that they create with their vocal arsenal. The album starts off with an intro that immediately has your head nodding and your mind scrambling. As soon as it was over I had to rewind to hear a second time the warm feelings that Pusha T feels remembering Miami Vice, that's were it all started. That was one of his introductions into that world, instead now he is serving CDs. Second to let you know who he is and what he's about is Malice. I like this cat's voice, and his delivery, crafty with his word play. At the end of his verse he lets you know "I'm the reason your favorite mc is no longer your favorite." It's that confidence that shows by the time the album is over he will have converted many listeners. The intro has no need for chorus or any extras, it's just bare bone, letting you experience just the beginning of the trip.

The production that Malice and Pusha T receive only further helped the two in their moves to conquer the rap game. Pharrell Williams and Chad Hugo ( The Neptunes) create some amazing beats for Clipse to rhyme over. They either bless them with the minimalist Grindin', which only consists of a few musical components, or they provide Clipse with the menacing guitar funk and dirty drum kit "Comedy Central" which Fabolous blesses with his personal flavor. The Neptunes have a rich ear for making beats, and Pusha T and Malice have the verses to make themselves and the Neptunes even richer.

Even thought the cd has now been out for a few months , it keeps spinning like the chrome on "When the last time." It will only get more interesting as the Clipse continue to grow and create as artist. Their topic matter is spread evenly through the verses that touch upon childhood, relationships, and of course the struggle, and the hustle that these two create to overcome the struggle. The album finishes with two remixes for "Grindin" that will leave even the harshest critic, a bit appreciative. What better then a rap remix, then to accompany it with a wicked dancehall microphone mashdown. I hope y'all cop it. If not you might have to keep a look out for Malice and Pusha T, setting up shop near you. -- Big Al, receiving department

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You may have heard him guesting with the Digital Underground on their comeback trail, and now you can hear the D.U. guesting on Esinchill's platter. He's got bumpin' tracks, slow jams, party joints and a new kind of sound for the Bay Area: it's laid back and aggressive at the same time. "Y'all want to party with me, just name the time and the place," E-chill says, and it sounds to me like he means it. But he's got some things to say, it's not all party and G-music, just check "Throw Da Twos Up". And even better he comes out reprazentin' Oakland. -- Andy Rust, music buyer

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LL Cool J's tenth album is just as powerful as anything he's ever recorded, showing that he's a rapper with endurance. Not only is he still in the game, he's still on top of the game. He's got tender songs (on a rap album? But it works), he's got fun songs and he's got hard songs. Breadth, another thing you don't find that often. He's good in the movies, but that don't mean he's over as a musician. - Andy Rust, music buyer.

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If you need further proof that DJ Quik is one of the best West Coast gangsta rappers and producers, here it is. One new joint, everything personally chosen and produced by Quik, and all the hits. Proof.

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Over the past several years Missy Elliot has established herself as one of the most prominent female voices in hip-hop. On top of her credits as a successful writer, artist, and producer, she is also the CEO of her own record label, The Goldmind Inc. Propelled to the ranks of super-stardom by her clever wit and scathing social observations, Elliot has relied more on her talent than on her looks, which is admirable in the image dominated world of commercial rap.

On her most recent release, Under Construction, Elliot continues to strengthen her reputation as one of hip-hop’s most creative voices. While the album boasts a number of notable guest appearances by artists such as Jay-Z, Method Man, Ludacris, and Ms. Jade, Elliot’s rhymes are what really holds Under Construction together. The first single, “Work It,” drips with an empowering raunchiness that will leave every guy in the room mimicking Pavlov’s dog. Its bumpin’ groove is reminiscent of the early 90s west coast sound, which is by no means accidental. On “Back in the Day,” Elliot professes her love for the old school by giving props to Run DMC, Slick Rick, Public Enemy, MC Lyte, and Heavy D, and recounts the days of “British Knights and Gold Chains.”

23 year old singer-songwriter Vivian Green articulates on a wide range of emotions in her debut CD A Love Story on Columbia Records. Green, the newest edition to the Philly Soul Movement, led by artists like Musiq Soulchild and Jill Scott, paves her own way to her musical destination. Straying from the traditional modern soul sound, Green brings her own jazzy flavor to the table as in “No Sittin by the Phone,” where her vocals are backed by a loungy Sunday-afternoon-brunch sounding piano arrangement.

With an album title such as A Love Story its no wonder that the former Jill Scott backup singer’s entire debut album rotates around the central theme of, what else, but, love; almost to a point of redundancy. Appropriately themed song titles such as “What is Love?,” “Emotional Rollercoaster,” and “Aint Nothin but Love” give a foreshadowing glimpse to Green’s up and down world of love contained within the disk. “The album actually is a love story…I wear my heart on my sleeve.” Green writes on her website explaining the thematics of her album.

Though love is not an uncommon theme in the music world, the method in which Green relates and articulates her own experiences with the listener is. Her storytelling abilities are unsurpassed by any other new soul artist her age. This is demonstrated in “Final Hour” where a heartbroken Green must choose to walk away, no matter how much pain she feels in the process.

Overall this album has it all: Great lyrics coupled with the same old love jargon, stellar tracks with Greens exceptionally mature voice right next to songs that are little more than decent, (see “Superwoman”), straight forward neo-soul juxtaposed with soulful jazz and jazzy soul. Vivian Green is a newcomer that we all should definitely keep our eyes on in the years to come. -- Joshua Andriano, soul buyer

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“No commercial potential.” This was Berry Gordy’s reaction after hearing Marvin Gaye’s concept album dealing with the inhumanities of war, poverty, religion and the ecology. At the time, Gaye was Motown’s best-selling artist and (along with Stevie Wonder) was given unprecedented creative control over his work. Motown initially refused to release the album, so Gaye responded by refusing to record any more music for the label. In the end, Gaye’s vision prevailed. What’s Going On was not only self-produced, but marked the first time that the Funk Brothers – the ‘faceless’ musicians responsible for virtually all of the label’s hits, were give credit for their performances. It was also the first time Motown used a gatefold cover for a single album and the first time that lyrics were included.

When “Inner City Blues” hit the airwaves in 1971, it was a major turning point for soul music. At the time, Motown acts were still a staple of America’s Top 40, but the songs were nearly all hit-driven dance workouts, or slow love jams. Rock bands had been cranking out anthems dealing with a variety of social issues (particularly the Vietnam war) for awhile, but Marvin came along and raised the bar for black artists. When the opening chords of “Inner City Blues” came on the radio (AM and FM rock radio) everyone paused to listen – nothing else sounded like it. The vibe was ominous….the congas laid down the beat and heads began to bob. Then there was Marvin’s trademark falsetto…smooth as silk:

Heather Headley’s debut album, This is who I am, may be her first endeavor into the realm of recorded music, but she is by no means a rookie to the industry. In fact, ever since Headley was two years old, she has been focused on refining her musical capabilities and expanding her musical career.

Simply Deep has the feel of a crossover album, an album that reminds me of someone writing in a diary. This might be the break that Kelly has been waiting for. The time where she can be herself and express some feelings that she couldn't in Destiny's Child. It's a disc that can relate to people of any age, gender or race. I see a single in every song off the album. Most of her songs are ballads, but she does have some fast tracks for the club. Each song has it's own tale, but the whole album tells a story. -- TJ Hamilton, Rap and Soul department

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“The Voice/Intro” kicks off the third album from Syleena Johnson with a sample from Marvin Gaye’s “What’s Goin’ On,” establishing a link between the classic soul sounds of the ‘60s and modern pop that weaves its way throughout the album’s 16 tracks.

Even after last year's smash debut and a 2001 Grammy nomination, British soul singer Craig David still craves respect. His new CD, SLICKER THAN YOUR AVERAGE, offers up smooth pop and catchy R&B tunes sure to please mainstream listeners. But David's real musical mission is winning street cred and props from the critics. "There's some real jealous people out there right," he sings on the title cut. "trying to say how you're wack and your music's soft."

Each song on the new Craig David CD wants to prove 'em wrong -- all of 'em.

If you're looking for a mix of pop & soul styles all in one package, SLICKER THAN YOUR AVERAGE is the perfect choice. David's years as a London club DJ are evident in the blend of catchy, upbeat and danceable tunes on this CD. So is the influence of nearly every major pop and R&B icon of the past twenty years, from early Michael Jackson and Herbie Hancock funk to the smooth soul stylin' of R. Kelly, Boys II Men and NSYNC. Most of all, Craig David sounds like an updated version of Terence Trent D'arby. D'arby, you may recall, was another British R&B wannabe whose brief moment came way back in the 1980's. D'arby proclaimed he would be "bigger than the Beatles," before disappearing into obscurity.

Luckily, Craig David has avoided such boasts, content so far to serve up what one reviewer termed, "a fusion of R&B elegance and all-ages pop sugar." Maybe he's found a formula for more lasting success.

He's already learned the secret of the guest musician. SLICKER features Sting, another British pop star with a big debt to American soul. Sting duets with David on their co-written ditty "Rise and Fall." It is, as advertised, "slicker than your average." So, the question isn't whether this is good music, or even original music. The real question we must ask ourselves is simply this: Do I like Craig David's music? Given the sweet vocal tone and smooth delivery of this talented, self-assured British soul singer, it's a good bet you will. -- Martin Gorda, manager

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Do you remember O-Town? Well you should. They won the record deal on the show Making the Band. On their sophomore release, O2, O-Town brings you the radio friendly pop that you crave. Much like a young version of the Backstreet Boys or N*SYNC, this band shows a lot of promise. They have a nice pop soul sound, with good harmonies. You can tell that the band is growing and getting better from when we first saw them on the show. The track highlights on this album are “I only dance with you” and trademark pop band song “I showed her” which I am sure is something you would hear on any pop-oriented soul radio station. When you need something pop that is easy-going and fun, this is the album for you. -- Richard Ellstrom, rock department

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As far as B2K is concerned this is a pretty sassy album. It is fueled with pseudo-sexual innuendo, but not enough to earn a Tipper Sticker. The beats are smooth and bumpin’, and the boys are definitely jamming. While the songs talk about loving how a girl’s body goes “Bump, Bump, Bump”, it is not raunchy by any means, it is as charming as a sophomore crush. There is also a constant tempo, so by no means does this album feel rushed together. The album’s highlights are the songs “One Kiss,” the beats of “My Girl,” and the lyrics of “Everything.” And then at the very end of the CD, we are rewarded with TWO—count them TWO hidden tracks—this is a super-duper album— Clara Flores, international department

DAMN! This man has so much soul. The title track is so long, this is a LIVE album mind you, and it sounds so much better than the studio album. What really sucks is that I have recently gone to the movies and this song is used in a CAR commercial (yes, they are taking over the movie theaters) so I keep wanting to buy a car every time I hear this song. If music is religion (which to many of us it is) James Brown would be the preacher and soul would be (is) God. He preaches his music in his show. My personal favorites are “I Don’t Want Nobody To Give Me Nothing,” “Spinning Wheel,” and “It’s A Man’s Man’s Man’s World.” James Brown—self-explanatory, and on top of everything Live in Atlanta Georgia- so you KNOW the audience was feeling it. -- Clara Flores, international department

It's entirely possible that I've been momentarily bewitched by the haunting melodies of Lacuna Coil vocalist Christina Scabbia, but Comalies strikes me as being utterly refreshing and profoundly feminine and, if nothing else, a beacon of hope in the vast quagmire of trite and laughable Goth-rock that is currently permeating the extreme music/art rock scene. Heavily produced, atmospheric and melancholy, Comalies sees Lacuna Coil recalling Draconian Times-era Paradise Lost or even the most mainstream efforts of Amorphis, and places the Italian sextet leagues above their fishnet-clad peers. From the first track, "Swamped" to the closing title track, Comalies requires little or no effort on the listener's part to enjoy this album in it's entirety - occasionally venturing into experimental realms, Lacuna Coil sacrifice none of their pop sensibilities; the orchestration is simple and understated yet somehow possesses the urgency and authority of acts like Opeth and Samael. And while Comalies certainly gives a nod to it's predecessors (1999's In A Reverie and last year's Unleashed Memories), it makes leaps and bounds inproduction and arrangement and presents the band as a much more cohesive unit. Not a small feat, considering the notoriously challenging task of melding metal guitar with Casio keyboards and a pop singer who rivals (andhonestly upstages) the likes of Celine Dion and Christina Aguilera. Much of what is presented here commands the listener's attention, but it is Scabbia who steals the show. And this reviewer is very happily smitten. -- Penfold

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I've described Opeth on any number of occasions as the aural essence of neuroticism. Opeth is an overwhelming barrage of melancholy and rage and razor-sharp wit; Paranoia, devotion and indifference, carefully entangled and presented with such profound grace and authority as to be found nowhere else, in any realm of art or beauty. Opeth purposefully confound, envelop and seduce the listener with little more than the same guitar, bass and drums employed by virtually every other musical group of the last century. But it is the way in which Opeth wield these instruments, as interpreters of some ethereal and prevailing psychosis, that makes their work so astounding and emotive. And in spite of their vast, ominous majesty, Opeth are not without their quirks. Overt nods to progressive acts of the 70's ground the otherwise enthralling and baleful compositions. On Deliverance especially, Opeth are unveiling several facets previously unseen, alluding to the breadth of their musical ability and adaptability, and further challenging the listener to be utterly consumed. Or delivered, whichever.

“By The Pain I See In Others” closes the album, and rightfully so. It is Opeth’s most evocative and inexplicable offering yet. The initial riff sees Opeth channeling their Swedish brethren Katatonia (a previous incarnation of which featured Akerfeldt on vocals). The growling is compressed to a haunting, chiseled whisper, and there are several other peculiar and captivating recording techniques put to very effective use in this mesmerizing song, which at one point breaks down into a waltz(!) that precedes the most classic Opeth interlude on the album. It's a brilliant, poignant and affecting reminder of just what it is you're listening to and why. It really is such a breathtaking moment; no description will ever do it justice. And in truth, no description of any aspect of Opeth will do them justice. Opeth are so singular and monumentally significant that there is practically no frame of reference for them. Opeth capture the air of madness, the state of being perpetually pained by the unending conflict between sense and emotion, and the lack of medium for which to convey the latter. Ultimately, though, Opeth become the medium, but on the album opener “Wreath” Akerfeldt screams with alarming insistence and certainty “THERE IS NO ABSOLUTION”, and I concur. If nothing else, Deliverance is an album definitely worth getting all weepy over. And when was the last time you could say that about anything? -- Marianne Schmidt, metal buyer

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Etta James is one of the best soul/blues singers of all time. Her disc At Last is a perfect example of how great she is. What makes At Last a great album is not only the solid hits it contains, but also the strong variety of material throughout. James handles jazz standards like "Stormy Weather" and "A Sunday Kind of Love," as well as 'Willie Dixon's blues classic "I Just Want to Make Love to You." and makes them into her own. By far though, I think the stand out track on this album is "Spoonful". It has to be one of the best songs I have ever heard. There is so much soul and raw emotion in her voice you can't help but like it. If you didn't all ready know Etta James is the bad girl of blues, a sassy, no-holds-barred performer. She will show you what a real blues singer should sound like. The thing I like about her the most is that she sings from her gut. Not many people can do that, especially the way she does. -- Richard Ellstrom, rock department

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The man came around to some strange choices of cover tunes is what he did. We expect Johnny Cash to send us packing on a big black runaway train of murder, pain, and regret thundering straight from god’s sweet salvation to the burning hellfire with a wry twist of the lip. It’s that playfully cynical sense of irony and deep affection for sorrowfully uplifting gospel that has recently compelled Cash to render his own mark on some initially questionable material. How he came to it all is a bit of mystery. I’m in love with the image of old man Cash kickin’ it on the couch diggin’ on some Nine Inch Nails and Depeche Mode. However some of the other covers on this album were so damn overplayed and beaten into the ground before he even got to them, that like a greasy soiled stain in the road that once was a squirrel, they’ve become comical and trite. Any Beatles song fits this description, but "In My Life" is a particular example of something that desperately needs to be put to rest. Johnny’s attempting to resurrect the greatness of the pop lyric here, his grit-sown voice cutting a swath through the cheese with a knife of gleaming sincerity. But do we really need to ever hear "Desperado" again? Not even Johnny Cash can keep me from cringing over that one.

There are some remarkable choices of backing players as well. It’s not very shocking to hear Johnny working with Randy Scruggs. Even John Frusciante and Nick Cave seem plausible, but Fionna Apple and Don Henley? Well, I’ve already told you how I feel about Henley and anything he does, but the duet of "Bridge Over Troubled Water" with Fionna Apple is actually quite lovely. Cash also brings up to par sap you might have hated before like "First Time Ever I Saw Your Face". Best heard through an open mind, this album germinates new ways of hearing. It’s a complex treat, as he says in the liner notes, the “fifteen songs that follow in this album take fifteen different directions”. All the important themes touched on, man’s relationship to God, cruel twists of fate and injustice, remorse, growth, love, and hate. All things felt hard and sweet.

The liner notes also reveal a fragile and pensive man confronting his creator and reflecting on his life and muse. It’s a hard stone to swallow, yet he handles it with characteristic humor and grace. Few artists are of the courage or talent to have had such an illustrious career as Cash or continue to create provoking work of quality. The album close on a joyful chorus of the standard "We’ll Meet Again". I hope that this is not the fond farewell to a lifetime of music. But the reality is that we are near the end of our time here with the man in black, and whether or not we meet him somewhere else again, he is determined that he leaves our hearts as proudly and as controversially as he strode in.
-- Amrah Johnson

Kim Richey’s 4th album, her debut on Lost Highway, is a collection of 13 songs which take her introspective song-style and match it to unique melodies and clever arrangements, all of which mesh perfectly with her warmest and most immediate vocal ever.

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The Bay Area’s own internationally famous men’s chorus tackles 4 centuries of music written in the U.S. of A. on this charming disc. There’s lots of traditional folk songs like “I Am a Poor Wayfaring Stranger” and “Guide Me, O Thou Great Jehovah”, and these are augmented by songs from Stephen Foster and even George Gershwin. Chanticleer’s trademark crystal clear tones are in ample evidence, and they seem utterly at home in this repertoire: you can almost see the twinkle in their eyes. – Will Seeley, music buyer

Like volume 1, Unwrapped volume 2 puts a jazz spin on hip-hop classics and indelible hits. This time around songs such as Nelly’s "Hot In Here," Ja Rule & Ashante’s "Always On Time," Mystikal’s "Bouncin’ Back," Jay-Z’s "Girls, Girls, Girls," Marvin Gaye & Erick Sermon’s "Music," Big Punisher & Joe’s "Still Not A Playa," Ludacris’ "Roll Out," Stevie Wonder/Coolio’s "Pastime/Gangsta Paradise" and more are deconstructed, then rebuilt into an entirely new dimension. The beats remain, but the experience is fresh and the players are even better than on Volume 1 (featuring, among others, Jeff Lorber and Patrice Rushen). -- Andy Rust, music buyer

First off I would like to clarify how biased I am: I love Frida Kahlo, not only as a painter but also as a strong tone, tempo, and era. No modern music, no Americanized music either, it is as Mexican as a molcajéte and chilés. In other words, there are no annoying reminders woman with a tragic life. I have been waiting for this movie for a million years. I love Lila Downs, who sings five or six songs on the soundtrack and has an amazing soulful voice. The musical pieces chosen for the soundtrack are not only authentic but blend into one another from track to track therefore capturing the surrealistic blending of the movie, where Frida’s paintings blend onto her life; which is what her paintings consisted of: her life. Frida Khalo painted her physical, emotional, and psychological pain onto her paintings; this artistic idealism is evident on the soundtrack as well. The authenticity extends to the point where Chavela Vargas, a Costa Rican woman with an AMAZING voice is brought in to do a cameo in the movie; eerily she was also Frida Kahlo’s lover in real life. Chavela sings such pain and heartache that it makes one want to contemplate suicide. The beauty of the soundtrack is the fact that the pieces are kept within a certain that it is the year 2002 and it keeps the movie going on like a fantastic dream pulling the listener (viewer if you happen to be in the theater) away from reality into the world of one of the most famous and controversial female painters of the 20th century. A+ -- Clara Flores, international department

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The "golden voice of Guinea" hits American shores with his third album, a sophisticated contemporary African pop affair full of African instruments like the marimba and n'goni as well as guitars, flutes, violins and a supremely grooving rhythm section. Sinikan, was #1 on Europe's World Music Charts for July and August 2002, and was produced by Ibrahima Sylla, who has an innate feel for how to make this kind of music both appealing and true. Born into the Griot caste, Sekouba's vocal style resembles the work of the legendary Kouyaté Sory Kandia, a classic tenor voice with a majestically colorful tone. Yet another West African album and artist that sees the way into the future without forgetting the past. -- Will Seeley, music buyer

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The troupe returns for their sophomore release with blends of Cumbia ,Bachata and just a hint of wonderful Cuban Son. Music and poetry beautifully mixed together to give the listener a quick escape from what ails them. With the opening track “ Mi Primer Millon” the members of Bacilos make me feel as if they really want to enjoy what they’re doing not just on their term but also as the listener. The song speaks about the band wondering what they’ll do with their first million they receive in the business. Jokingly they describe who they’ll meet and what they would buy with all that dough. Using this track as the opening for the album was the only real place the track should /could be placed. As the first track “Mi Primer Millon” tends to lend the album with the just the right carefree environment for the album.