Underground Music

Leonard Cohen – Old Ideas Review

2012-02-02T09:05:00.000-08:00

This is a truly great Leonard Cohen album in my view - something I've not been able to say for too many years. The music often sounds delicate but has a laid back robustness about it, too, with his trademark simple melodies and a very welcome varied sound and style, with elements of country, blues, gospel and rock. There are also the beautiful and familiar female backing vocals, and some simply magnificent work from a varied band - the trumpet on "Amen," for example, is unexpected and absolutely spellbinding.

Cohen's voice these days has passed through the Whisky & Cigarettes stage and is well on the way to a Chronic Bronchitis sound, but he still has that fabulous depth and resonance beneath the weariness and the creaks. He hovers between singing and speaking for much of this album even more than previously, but as a friend once said to me, "No one can sing a Leonard Cohen song the way Cohen himself can't." How true. He is miked very close so, particularly when listening on headphones, it really feels as though he is present and whispering into your ear.

All this is perfect for the songs here, whose lyrics are Cohen at his best: thoughtful, allusive, melancholy, witty and sometimes provoking. The religious imagery he has always used so brilliantly is well in evidence, and it is striking how much of it is now specifically Christian. Broken relationships, suffering and death have always been in the corner of Cohen's eye whatever he is writing about. They are often in plain sight here and are treated with insight, resignation, compassion and beauty. The old witty twinkle and his self-deprecatory streak are still there, though, and shine through what is often a very elegiac atmosphere. He still has that fantastic ability somehow to get to the heart of things both when he's speaking straightforwardly and even when direct meaning is elusive. These are songs to take into your heart, nurture and allow to grow there.

I think that several of these songs, including Amen, Show Me The Place and Different Sides are likely to become Cohen classics, but there is nothing to be sanitized and exploited by talent-show winners here and if you don't like Leonard Cohen this album certainly won't convert you. However, those legions of us who know that he was born like this, he had no choice, he was born with the gift of a golden voice will be delighted and deeply satisfied that that voice, both in what he writes and how he performs it, has lost none of its magnificent lustre.

I recommend his album wholeheartedly. I suspect that it may be a masterpiece 10/10

Drake - Take Care Review

2012-01-21T06:52:00.000-08:00

So first of all, Drake is Drake. This is his 2nd major release and he has quite a few lesser known releases from a few years ago. Anyone who claims to be a hip hop head and then gets mad that this cd isn't as hip hop as they expected, then what can i tell you? Well, i could tell you that you're simply not a hip hop head. Anyone who knows anything about hip hop can tell you off the bat that yes, Drake can spit, but that isn't his only talent and he isn't interested in making a rap album. Most of his songs feature him singing whether on auto tune or with some other kind of voice enhancement. I've seen him in concert and can tell you that he's not a very good singer without the digital help. But lucky for us, he (like most of today's r&b acts) is smart enough to use these enhancements on the cd. He isn't a thug, he isn't from the streets, and he isn't a battle rapper or a free styler. However, too many people are interested in comparing him based on those attributes instead of just laying back and listening to this cd.

You know who you are so i'll stop there.

As far as this cd goes, it's real addicting, mainly because of the hooks and the beats. The beats are top notch. Production is so solid and goes perfect with Drake. The guest spots for the most part are solid too, except for the last few bars from nicki minaj.

I really like this cd but i'm gonna compare it to his previous works, simply because while Drake has definitely matured in his last couple of cd's, he has a certain sound that sticks with him throughout. And it's easier to compare this cd with his previous cd's instead of comparing him to wu-tang, biggie, or some ridiculous sh* like that.

As far as the full cd comparison/rating goes, gotta say that the beats on this one completely murder his previous cd's. And the way he strings the songs along as far as sounding unstructured but not unfocused, it's all perfect. Best beats are Crew Love, Cameras, The Real Her.

Lyrically, this cd is probably his worst. (not bad at all, but not as good as his last two) He sounds a lot more bitter and sad on this one than his previous two, and definitely not as creative. So Far Gone you could tell he was optimistic. Thank Me Later he was about living it up with his fame. Now on Take Care, he's about addressing the haters. And don't get me wrong, i love revenge and he does it well (especially on Take a Shot For Me = masterpiece). But what happened to the party songs where you just hear that track and you think wow i want to feel that good about my life too? Drake isn't even talking good about women anymore. "Shut it Down" from Thank Me Later was such a great song for the women. "Fancy" showed his appreciation for women who get it themselves while still beign a bangin track. This cd has none of that. All the songs about women are really like breakup songs and revenge songs, or telling a girl hey you gotta deal with my problem so either deal with it or don't. And all of the party songs have some touch of rubbing it in to the people hating on the sidelines. I agree with many reviewers here who think that the young money crew is bringing Drake down. The track HYFR was unnecessary. It's real sloppy and sounds more like a mix tape track. Real weak hook that has nothing to do with the verses, which may be common for many rappers but definitely not Drake. With Drake, I expect the hook, bridge, verses, all to tell the same story. HYFR is just all over the place, doesn't make sense to me. The Rick Ross guest spot wasn't bad but I don't think it added anything to that song. Seemed just like a spot to advertise for Rick Ross. Same with Nicki Minaj's last few lines on her song. Weak.

I disagree with a lot of reviewers on here when it come to the song "Practice". I love this song, think it's a good way to remix a classic. I like the message on here, it's really the only positive song he has on here towards women, well it is in comparison to the rest of this cd.

The happiest song on this cd is probably the most emo track, which is the one with his mom on it, which is trendy right now for rappers to do, but he pulls it off well.

Right now i'm jamming to this cd mainly for the beats and the mood. When I want more lyrical drizzy, i'll throw Thank Me Later or So Far Gone in the deck. I don't see this cd being a classic like a lot of you do, sorry. I just know how old I am and throughout time, you get to realize that most artists only have one or two classic cd's and the rest you can appreciate but you will skip over when you're in the mood to hear that artist. In 20 years, we won't be reaching for this cd, we'll be reaching for So Far Gone probably. There are definitely exceptions to that rule, but this cd is not one of them. Good, even Great cd here. But no classic. 8/10.

Guided by Voices - Let's Go Eat the Factory Review

2012-01-21T06:45:00.000-08:00

A very, very good Guided by Voices record. If not a classic, it's very close. Fans won't be disappointed. I've listened to it like 15 times and I have to say it gets better with every listen. It's Guided by Voices to the core with the Sprout songs giving it that extra ass kick. Welcome back boys, you've been sorely missed. I'm looking forward to next album in a few months! The Club is Re-Opened and I'll be taking my usually spot right up front. Cheers. 9/10

Kathleen Edwards - Voyageur Review

2012-01-21T06:37:00.000-08:00

Atmospherics aside, the strength of any Kathleen Edwards album is the songwriting ... and it's as good here as ever. Heartbreak and renewal are universal themes, but Edwards makes them personal without overstating the case. This is a break-up album with subtle beauty not angry payback. "A Soft Place To Land" , "Pink Champagne" and "For the Record" are filled with compassion and gravitas. Edwards is processing what went wrong, instead of assessing blame. That's what also makes the movin' on charm of "Change The Sheets" and "Sidecar" such a kick. Props to Bon Iver's Justin Vernon for adding the sonic flourishes without overdoing it. This is a great album, with all the makings of a beautiful relationship musical and otherwise. Glad to be along for the voyage. 9/10

Gary Numan - Dead Son Rising Review

2012-01-09T07:45:00.000-08:00

What was meant as a stop-gap between "Jagged" and "Splinter" almost became nothing at all as Numan grew weary of the project. After putting the whole thing on the shelf for a while, Numan and Ade Fenton returned to work on the project with new enthusiasm and it became much more than just a collection of old songs.

"Dead Son Rising" is a complete album, one of the most complete albums I've heard in a long while. More than just a collection of singles, this album has things like PACE and FLOW from track to track, start to finish. As it ends, it compels the listener to play it again. "Resurrection" draws the listener in as it builds, setting the stage for "Big Noise Transmission", which flat out rocks more than any Numan track since "Crazier". "Dead Sun Rising", the almost-title-track, may be the best of many unabashedly-melodic industrial moments on the album. The lyrics dip once again into one of Numan's sci-fi personas, and the bells in the instrumental break are absolutely gorgeous. "When The Sky Bleeds, He Will Come" works through a slow crawl and then satisfyingly breaks into a rocking-chorus, then does it a couple more times for good measure.

This leads into "For The Rest of My Life" and "Not The Love We Dream Of", a couple of songs about relationships gone wrong which marks a welcome variation in Numan's lyrics. It feels as though he's brought the synths back from Pleasure Principle to compliment industrial noise and a great acoustic guitar riff. Then suddenly, bare piano chords begin "Not The Love We Dream Of" and the track builds with a mournful electronic backbone. We haven't had piano accompaniment to this much raw emotion from Numan since... Telekon?

So much quality already and we haven't even reached the centerpiece of the album, "The Fall", a song Numan premiered live years ago. Fans have been anticipating the studio version ever since, and it doesn't disappoint -- here we have the best version of "The Fall" yet. It's got spine-tingling sounds even before the lyrics kick in, and one of the best, most massive choruses in Industrial Rock. To recover, we're given the atmospheric crawl, "We Are The Lost", which sounds an awful lot like it could have come from Nine Inch Nails' "With Teeth" album, but for a few vocal lines from Numan. This begins the album's shift from Industrial Rock into atmospheric instrumental territory.

It feels like a natural shift as "We Are Lost" builds to a satisfying climax and segues into a reprise of "For The Rest Of My Life". Playing this melody on piano only accentuates how achingly beautiful this track really is. The reprise version simply oozes atmosphere as it builds to the chorus. Finally, the album gives us another brilliant instrumental, the perhaps poorly named "Into Battle". The name is the only thing I can fault this one on -- anyone who enjoyed the best of Nine Inch Nails' "Ghosts" project will enjoy this as well. It finishes with a piano-only rendition of "Not The Love We Dream Of". It feels as this point as though we have been given the modern equivalent of Numan's "Telekon" remastered CD, complete with piano-laden extra tracks. These tracks complete the experience here, just as those made the great "Telekon" a better, more-complete listening experience.

I have no hesitation in declaring "Dead Son Rising" the best of Numan's newer albums. As great as "Jagged", "Pure", and "Exile" are, none of them match the sheer variety and quality of this new album. I'd be remiss not to mention the growing musical partnership of Numan and Fenton. Without Ade Fenton, this project may never have happened -- he and Numan have developed into a true musical partnership. Long may it continue.

Though nothing will ever replace "Telekon" as the greatest Numan album for me, this combines the best of his Industrial sound with a great chunk of Telekon wrenched into the future. I'd call it his best and most complete album since 1981's "Dance", and the best album of the year to boot. Not bad for 'a collection of leftovers'. 10/10

Johnny Foreigner - Johnny Foreigner Vs Everything

2012-01-09T07:42:00.000-08:00

Truly Amazing! if you like obscure indie bands from the UK this album is totally for you! ive been a huge fan for a while and ive been waiting and waiting for this album! blew my mind and i was expecting it too!

Bill Ryder-Jones - If... Review

2012-01-08T07:04:00.000-08:00

Those Liverpool mystics "The Coral" were always a smart bunch of musicians with tunes to spare and PhD's in clever pop songs. They could incorporate all styles in their music from Cossack rhythms to Howlin Wolf blues. Amongst there number was a young guitarist by the name of Bill Ryder Jones who left the band in 2008 and has since collaborated with such luminaries as Alex Turner from the Arctic Monkeys and Blur's Graham Coxon. This is Ryder Jones first solo album and it is at this point that a concept album alert is issued since it is a musical adaptation of Italo Calvino's 1979 postmodernist novel "If on a Winters Night a Traveller" an intriguing tome about the hunt for a mysterious book. This is a title that was also purloined for another album this time by the Tantric Geordie minstrel Sting, which if truth be told can't hold a candle to this astonishing debut.

In the form of "If" Ryder Jones has produced a cinematic beauty full of elegant soundscapes, half whispered lyrics and icy chill. Its almost nearly all instrumental, but not quite, and strangely prefigures the forthcoming winter wonders promised by Kate Bush in what sounds like her best album in years "50 words for snow" The title track of "If" kicks off the show with considerable aplomb. With its combination of sad Debussy ivories and then vast orchestral sweep it amounts to an immediate knock out blow. This mix of classical melodies combined with huge emotions continues on the next track "The Reader (Malbrock)" which conjures up that wonderful melancholy that Shearwater tapped into on their outrageously lovely "The Golden Archipelago" especially "Hidden Lakes". The mood shifts with the entry of the strikingly powerful "By The Church Of Appolonia's" with its almost funereal drumming and dramatic weight of its middle crescendo. Then suddenly everything is tripped right back to Ryder Jones, an acoustic guitar and "Le Grand Desordre" which Elliot Smith fans will swoon over throughout its four minutes of austere drama. Other songs like the standout "Enlace" alternatively start with that dark German quality that Radiohead have so successfully moulded on albums like "Amnesiac" but grow into a far more luscious and warm affair. It is rumoured that Ryder Jones does much soundtrack work and from listening to this track, which finally mutates into a Dave Gilmour sounding guitar work out, you can understand why. Seek out in addition "Intersect" with a sweeping cello that would warm the heart of Yo Yo Ma and is music of such depth that it deserves a huge audience to sit in rapt wonder. The presence of the Liverpool Philharmonic Orchestra throughout anchors the album with an inspirational set of musicians. On "Give me a name" all these factors come together perfectly with Ryder Jones understated vocal, huge strings that tug at your heart and a slow piano backdrop which sounds like snow falling. Truly splendid stuff and demanding repeated listens

This album is full of ambition, elegance, depth and intimate composition. Indeed in one sense "If" represents a scale of departure so radical that it can only be compared to the type of musical epiphany experienced by composers like Mark Hollis when he produced Talk Talk's masterpiece "Spirit of Eden". Quite how such promising musicians who have never really threatened such evocative grandeur reach a time and place when music of this quality is possible is a just remarkable and a cause of true celebration. Bill Ryder Jones has pulled off a minor miracle here and those of you who love beautiful music are about to be richly rewarded. 10/10

The Roots - Undun

2012-01-05T09:24:00.000-08:00

I've thought back before to mistakes I've made, decisions I've made and how it influenced my life and how it impacted my ending up in the very room I sit right now writing this review. If I had done things differently, would I be here right now? Would I have ended up in another state? Perhaps gone to college, got a helluva job? Met someone, settled down, had kids, and the stereotypical American Dream? Or was I always destined to end up where I'm at now?

I thought about that as I listened to Undun, because it made me wonder whether Redford was doomed from the beginning. Whether his ending was predetermined from jump street and that he realized that and simply embraced what he felt was his destiny. It's definitely an interesting conversation piece, I think. And that, ultimately, is what separates The Roots from your average hip hop artists out there. The Roots stay coming correct with their intelligent and introspective works, while many others tend to focus on more materialistic gains. Unfortunately too many people would rather Watch The Throne, rather than get their heads into some real solid intelligent hip hop music. And that's sad, but unfortunately a part of life. As the album ends, it has it's final piece, a cover of singer Sufjan Stevens' song Redford, split into four "movements", and tell the "beginning" of Stephen's life.

The first part is Sufjan himself on the piano, followed by a string quartet interpreting the song. After that you have Roots' drummer Questlove and pianist D.D. Jackson going to work, and then the final movement, which actually represents the beginning of Redford Stephen's life. As I'm listening right now to the final four tracks that form this sort of orchestral movement it's absolutely stunningly beautiful! I mean I've read online where there were some who heard the album and didn't like the final four tracks and felt that it would have been better ending on the 10th track. I think those who feel this way are missing the whole idea of a concept album, and how every piece fits. Every piece tells a part of the story.

Every piece serves a purpose. And personally, I actually thought I'd be moved to tears by the 12th track "Possibility". It was amazing in a way that words can't express. To sum up, this is yet again, another potentially classic album by a group that we've come to expect excellence from. However just because we have grown to expect this type of brilliance, doesn't negate or diminish the quality of this album. Some of the usual suspects show up for appearances including Dice Raw, Phonte, P.O.R.N. and Truck North, as well as Big K.R.I.T. who has a great future ahead of him in hip hop. I also liked some of the vocalists on here including Bilal, Livingston and even Mercedes Martinez & Tracy Moore, of Jazzyfatnastees fame, who contributed the vocals to "I Remember" which is outstanding! All in all, if you like good hip hop music, if you like good MUSIC period, you need to do yourself a favor and pick this up! 10/10

Tom Waits - Bad as Me Review

2011-12-28T08:30:00.000-08:00

Really wonderful album. As so many albums this year, it's a grower (although it's a pretty impressive shower, too!) Don't let the fact that it is sonically similar to Waits' past albums dismay you. These songs are very deep, and reward looking underneath the satisfying surface. My favorites are "Hell Broke Luce" and "Pay Me", as good of a Bastard and Bawler as Waits has ever written. 10/10

Genre(s): Pop/Rock, Alternative/Indie Rock, Contemporary Singer/Songwriter, Alternative Singer/Songwriter Year: 2011

Common - The Dreamer/The Believer Review

2011-12-28T08:23:00.000-08:00

I like Common, and I have for a long time, that's why this cd was just "ok" for me. I like his flow, the beats are fine, but there's something missing for me. I think my expectations for his are so high, a conventional album just won't cut it from him anymore. It's very similar to Finding Forever for me. I did not like Universal Mind Control, but liked the idea of stepping outside of his box and trying something new. 5/10

Genre(s): Rap, Pop/Rock, Alternative Rap, Midwest Rap Year: 2011

Anthony Hamilton - Back to Love 2011 Review

2011-12-28T08:19:00.000-08:00

I got into Anthony Hamilton with "Ain't Nobody Worryin'," which has made it difficult for follow ups, plus "Comin' From Where I'm From" to live up, but this is an excellent new set. Stronger than "The Point of It All" this record is loaded with medium to strong hooks draped in beautiful harmonies and textures with heartfelt lyrics delivered sincerely and soulfully. Lovin' it. I recommend the Deluxe version; the four additional tracks are as strong as the strongest material on the normal version. 8/10

Genre(s): Rap, R&B, Adult Contemporary R&B

Atlas Sound - Parallax Review

2011-12-20T07:11:00.000-08:00

The new album of the Deerhunter front-man, Bradford Cox, known as Atlas Sound, differs from the music of his Rock band. As he describes it, this album is more lonely (you can especially see this in the track "Terra Incognita"), no load guitars are with him or drums setting the rhythm (but you will find a delicate percussion). However this is not a sad album: tracks such as "Mona Lisa" and "Te Amo" (which means "I love you" in Spanish) cheer up the atmosphere of this brilliant record. His voice is in most of the song the prominent sound, and really nice arrangements join him. "Parallax" turns out to be a record to relax and take your mind away for some minutes. 9/10

Genre(s): Pop/Rock, Alternative/Indie Rock, Alternative Pop/Rock

Apparat - The Devil's Walk Review

2011-12-20T07:04:00.000-08:00

A really sad and emotional affair. Moments of engrossing instrumentation, but not quite enough to displace the droning and uninteresting sounds when it's off. 7/10

Genre(s): Electronic, Pop/Rock, Club/Dance

The Best Dressed Celebrities Of 2011

2011-12-20T06:42:00.001-08:00

This year, we’ve encountered too many trendsetters and style icons to choose a favorite, so we’ve compiled a list of who we think are the best dressed celebrities of 2011:

Rihanna: The Wild Flower – Rihanna has been known to make the most extreme changes in her appearance, from her cropped bob to her long ruby red hair, and she has pulled it off gracefully. She helped set amazing trends like color blocking and showing off her petite waist. She has taught a lot of women to be daring, sexy and have fun with dressing yourself.

To read our list of the 'Best Dressed Celebrities of 2011', visit www.CherryOnTop.com.

The Black Keys - El Camino Review

2011-12-15T05:26:00.000-08:00

Gone are any and all killer guitar riffs which have always been the backbone of their music. instead we get an overproduced pop album of songs that with the changing of a few lyrics could pass for a katy perry record.

Five Finger Death Punch - American Capitalist Review

2011-12-15T05:14:00.000-08:00

Five Finger Death Punch had a big mountain to climb after their last album. How do you improve on such a record? Easy. Heavier music, deeper lyrics, and ruthless aggression. This album is their best work yet. The title track, "American Capitalist" has the energy of a freight train going 900 miles an hour. The first single is the second track, "Under and Over It." is that head smashing jam that really has some meaning in it.

"The Pride" is the next track, and it is something new for FFDP. This is a list song. This really gives the album that "capitalist" feeling, because it list some of the most American things we have. "Coming Down" is one of those medium songs that FFDP has used before (See "The Bleeding"). "Menace" has that "White Knuckles" vibe to it, and still is very unique. "Generation Dead" kicks off with a bass line that will blow you away, as simple as it is, and will get you in a fighting mood. "Back For More" is a tune that just gets you up on your feet and pumps you up. I can see this song being played in NFL stadiums everywhere. "Remember Everything" is that slow song in the vein of "Far From Home." The lyrics are so deep and personal, you wonder what Ivan went through to write this. This is actually one of the stand-out songs, and looks to be a hit single for the band.

"Wicked Ways" is that "Meet The Monster" song that singles out celebrities for their...well, wicked ways. "If I Fall" is a song that just plain will whack you upside your head and give you that "going down swinging" mentality. The last song on the album is the one that will knock you on your ass and beat you senseless. "100 Ways To Hate" is their heaviest song on the album. It may be even heavier than "Ashes" and "War Is The Answer." There is so much anger and hate behind this song, and you will feel it. This is their best album yet, and you need to listen to it, even if you hate FFDP.

A Very She & Him Christmas - She & Him

2011-12-15T05:11:00.000-08:00

"A Very She and Him Christmas" contains a timeless collection of Christmas classics that may add a bit of holiday cheer to one's listening pleasure. Indeed, the set of songs are perennial favorites that have been played and sung for decades by a countless number of performers. However, this is She and Him and any cover or rendition that they perform has a quality of their own but with subtle influences that are heard throughout their music that blend an uncanny resemblance to legendary artists of the past five decades, Elvis Presley, The Beatles, The Beach Boys, and everything in between before that. With Zooey Deschanel and M. Ward as the creative duo that comprises She and Him, these holiday classics come to life once again.

All of the songs on the record are memorable and resonate a nostalgic flare. One never grows tired of hearing "Have Yourself a Merry Little Christmas" or "Rocking' Around the Christmas Tree." And with the mention of the Beach Boys, listeners will find "Christmas Day" and "Little Saint Nick" a delight to hear.

It is always a pleasure to see a new generation of musical artists continuing to perform these holiday melodies especially during this day and age. And with the convenience of digital recordings that are released, it is always nice to know that vinyl and CD formats are still available. With the release of "A Very She and Him Christmas" one of the treats of having this CD is that it comes with a few extras that usually does not come with a digital download, brief liner notes that come in the form of a red envelope that looks like a Christmas card.

Rihanna - Talk That Talk Reviews

2011-11-25T09:26:00.000-08:00

Based on 6 critics - Overal Score: 63/ 100

Enough with the chains and whips already. Ever since 2009's Rated R, the relentlessly dark, blood-on-your-hands record she released after being assaulted by her then boyfriend Chris Brown, Rihanna, 23, has equated falling for someone with feeling tortured. On last year's LOUD, she even tried to make pain seem empowering with the hard-pounding single ''S&M.'' But between ''Love the Way You Lie,'' a domestic-violence saga played out with Eminem, and ''Man Down,'' a ragga-tinged murder ballad, she just sounded like she needed a hug. 80/100 Read Full Review ew.com/ew/article/0,,20545856,00.html

Despite sounding rushed to capitalize on fourth quarter sales, 2010’s Loud proved that Rihanna’s reign indeed would not let up. 70/100 Read Full Review allmusic.com/album/talk-that-talk-r2318208

Thanks in part to No 1 "We Found Love", in which Riri goes raving with Calvin Harris, the Bajan artist's sixth album sees her reborn as a nihilist romantic and lover of adult themes. 60/100 Read Full Review guardian.co.uk/music/2011/nov/20/rihanna-talk-that-talk-review

"We found love in a hopeless place." Over a frantic, Calvin Harris-produced, Guetta-meets-"Sandstorm" beat on her sixth record's lead-off single, Rihanna repeats these words almost 20 times. "We Found Love" ranks among Ri's best singles because it recognizes that there's not much more that needs to be said: 60/100 Read Full Review pitchfork.com/reviews/albums/16072-rihanna-talk-that-talk/

Back in the early Sixties, the American singer James Brown used to call himself the hardest working man in showbusiness.
If the late Godfather of Soul were still around to appoint a modern, female equivalent, then Caribbean R&B queen Rihanna would be a strong contender. 60/100
Read Full Review dailymail.co.uk/tvshowbiz/reviews/article-2063019/Rihanna-Talk-That-Talk-music-review-RnB-queen-says-loud.html

For all the innuendo and introspection, Talk That Talk contains little sweat, slobber or fluids and a lot of plasticized, inflatable insinuation 50/100 Read Full Review latimesblogs.latimes.com/music_blog/2011/11/album-review-rihanna-s-talk-that-talk.html

Chris Cornell - Songbook Reviews

2011-11-25T09:11:00.000-08:00

Based on 2 critics - Overal Score: 80/ 100

The fact that there is no cover of Michael Jackson's 'Billie Jean' is a surprise as this was always covered at Audioslave shows by a solo Cornell, but the collection here is more than enough to show Chris' amazing vocal talent stripped bare. A must for anyone who has or even hasn't heard of him. 90/100
Read Full Review leedsmusicscene.net/article/15732/

After spending over a decade avoiding his past, Chris Cornell reconnected with it in a big way during 2010. First, he reunited with Soundgarden, their tour so successful it spilled over into a studio collaboration interrupted by Cornell launching an acoustic tour where he revisited his catalog, quite definitively tying his solo career and time with Audioslave to Soundgarden. 70/100
Read Full Review www.allmusic.com/album/songbook-r2316244

Mac Miller - Blue Slide Park Reviews

2011-11-20T03:07:00.000-08:00

Based on 5 critics - Overal Score: 57/ 100

It was cool when Miller was wearing snap-backs and sampling Nas, or shouting out Wu-Tang, or rapping over Lord Finesse beats – it sounded good. But Blue Slide Park seems to ditch this approach, while still wearing a snap-back. So now, by some, Mac Miller will likely be labeled by some as a young hipster who is doing Hip-Hop culture wrong. Actually, he’s a real fan of Hip-Hop with under-developed rhymes and mainstream-production problems. Bummer. 65/100 Read Full Review http://allhiphop.com/2011/11/08/album-review-mac-millers-blue-slide-park/

The 411: Mac Miller released his debut album, which was mostly a disappointment. Surprisingly the album is not all about teenage partying, and tries to be more serious. The album would have been much better had Miller stuck to what he does best, and that is create party tracks and having fun with his music.The end result is somewhat of a mess of an album that has decent production but is limited by Millers lyrical ability. 60/10 Read Full Review http://www.411mania.com/music/album_reviews/209497

In the end this album doesn’t live up to the hype that’s being laid out for Mac, and it leaves plenty of room for growth. However if it’s one thing that can be taken from this debut, it’s that he genuinely comes off as an artist who loves his craft. He treats his dream job as just that, a dream job. He doesn’t stray outside his lane, and his fans will definitely appreciate this body of work. While it doesn’t elevate him to the elite class of hip hop that some of his peers have graduated to, it’s a solid debut regardless. It’s the type of music that he has been putting out since he started gaining attention from the masses. Blue Slide Park is an intriguing experience that will have you rushing back the moment you think you’re ready to leave. What more could you ask for? 60/100 Read Full review http://thewellversed.com/2011/11/15/review-mac-miller-blue-slide-park/

Mac Miller dropped an impressive debut album. He has the benefit of appealing to a wide variety of people and it’s that appeal that will make this album a success. People are quick to compare him to Eminem, but they shouldn’t do that at all. Mac is standing out in his own lane making music for his fans. Not bad at all for someone doing all this while remaining independent. Besides the few tracks on the album that I felt like could have been better, I think this is an above average album. He proved to the people that he is worthy for all the buzz he has been receiving over the past year and a half. If Mac continues on this path look for him to be a force to be reckoned with in the years to come. 60/100 Read Full Review http://www.nappyafro.com/2011/11/11/mac-miller-blue-slide-park-review/

However, I’d have a hard time recommending this one to anyone but the biggest Mac fans. Chances are if you’re in that category at this point, he could probably release 45 minutes of silence and you’d buy it anyway though. 40/100 Read Full Review http://thisbeatgoes.com/album-reviews/mac-miller-blue-slide-park-album-review/

The Puppini Sisters - Hollywood Reviews

2011-11-16T03:48:00.000-08:00

Based on 1 critics - Overal Score: 70/ 100

Described as "the Andrews Sisters on acid," Anglo-Italian vocal trio the Puppini Sisters' sound and style are so steeped in the golden era of the silver screen that it's surprising it's taken this long for the concept of their fourth album, Hollywood, to materialize. 70/100
Read Full Review http://www.allmusic.com/album/hollywood-r2318998/review

Next On Top: Kayla Dane

2011-11-08T04:27:00.000-08:00

Up-and-comer Kayla Dane, formerly of the female R&B group ‘Bella’, has worked with the likes of Rick Ross, T.I., Yo Gotti, Rodney Jerkins, Raphael Saadiq, Polow Da Don, Andre Harrell and Pharrell Williams. Currently preparing her presently untitled debut album for a 2012 release, Kayla is poised to leave her mark in the industry with her distinctive voice and uptempo tracks like her latest single, the DJ Don Cannon produced, “Fun In the World.” CherryOnTop recently sat down with the singer/songwriter for an exclusive interview on her image, style and musical influences.

To check out our interview with Kayla Dane, visit www.CherryOnTop.com.

Selena Gomez Standing By Justin Bieber Amidst Paternity Accusations

2011-11-08T04:23:00.000-08:00

Despite rumors of a breakup, Justin Bieber and Selena Gomez are still holding strong in the wake of a paternity suit filed by a California woman against the “Baby” singer. Along with a denial that the couple had split from Selena’s rep, the two arrived together at the MTV Voices Dinner in Belfast on Saturday holding hands and looking very much in love.

Visit CherryOnTop.com to read the rest.

All Access: Goapele (Video)

2011-11-01T13:47:00.001-07:00

Goapele, whose name means “to move forward” in the South African language of Setswana, has done just that since her 2001 self-released debut album, Closer. In the last 3 to 4 years, the Oakland, California native has become a mother, cut off her signature dreads and truly come into her own as a woman. Currently promoting her latest effort, Break of Dawn, CherryOnTop got a chance to sit down with Goapele during her recent stop in NYC for a show at the legendary B.B. King’s to talk about showing off her sexy side, the pressure to get scantily clad and overly sexual like some of her contemporaries, Rihanna and her possible role in the upcoming Sparkle remake.

To check out our exclusive interview with Goapele, visit www.CherryOnTop.com

Class Actress - Rapprocher Reviews

2011-11-01T09:29:00.000-07:00

Based on 7 critics - Overal Score: 71/ 100

Critic	Rating
AllMusic The most impressive thing on Class Actress' debut full-length album Rapprocher is the voice of Elizabeth Harper. Her rich, powerful, not to mention thoroughly enchanting vocals give the retro-synth pop sound a strength and impact that eludes most bands who chart a similar musical course. Read Full Review	90/100
Sputnikmusic Whatever the balance, it most definitely works. The track-list is consistent, the melodies catchy and layered, and the vocals lush and textured. Harper’s voice is silky and poised, adding a wash of warmth to the chilling robo-beats with her memorable and anthemic lines. Read Full Review	90/100
PasteMagazine In other words, Class Actress totally pulls it off. Even with the inclusion of a couple of duds on here like “Missed” (where Harper endlessly repeats “You’re gonna miss me” to the point of irritation), for the most part, Rapprocher is a tight little album full of melodramatic pop tunes dripping in ’80s loving. Read Full Review	82/100
Pitchfork She fares much better on the album's closing track, "Let Me In", an electro-bliss freefall that takes Rapprocher out on a slo-mo rocket of beauty. Otherwise, she still sounds like she's struggling to find what fits her best-- she's come this far, though, so be patient. Read Full Review	71/100
Spin Chillwave never had much of a female presence, but Brooklyn's Class Actress aim to change that. Read Full Review	70/100
Slant Since then, Elizabeth Harper, the flesh and blood behind Class Actress's carefully crafted Bohemian persona, has eschewed her previously bashful demeanor for a slinky, smokey-eyed pose. While Rapprocher breaks no thematic new ground beyond the boilerplate stormy-romance-and-heartbreak tales found on Journal of Ardency, Harper infuses a newfound allure into her synth-pop princess act, and for the most part, the glossy presenation and solid execution make up for the lack of innovation. Read Full Review	60/100
UnderTheRadar Perhaps then-given the album's wild shortcomings-its title Rapprocher (French for "to come close to") is more than appropriate. Read Full Review	40/100