AALIYAH - AGE AIN'T NOTHING BUT A NUMBER

At this point in her career I'm sure many people would be asking themselves...  Why would an adult gay dude buy this little girl's record?  And the answer is simple...  With the singles from this disc getting so much airplay back in the 90's, it was impossible for Aaliyah not to be part of my years living in Las Vegas.  She was everywhere.  I picked this disc up at a used record store along with another one of hers for a couple bucks.  Partly because I was really into her current album and I wanted to see what this one would be like and second because I knew the singles off the disc and I loved them.  What better reasoning is there?

To be 100% honest with you, I'm not partial to R. Kelly's take on the ballad.  And this record is chalk full of them.  I enjoy the faster tracks.  The beats are great and the vibe is white hot, but the ballads just kinda drag along and ultimately, left you wanting.

There's is one track I absolutely love on this record and that's 'Back & Forth'.  It's a brilliant groove that makes me think of cruising around Vegas on a Friday night with my friends.  It seems this was one of those records always playing no matter where you were going.  I'm not sure where this album ended up in the charts or how successful it actually was, but I can tell you this, in Vegas, it blew up the radio.

As previously mentioned, I like a lot of the faster tracks and I like the title track, 'Age Ain't Nothing But A Number'.  I find myself singing that tune under my breath all the time and I'll be honest, it's also been the reason I've dated certain people I probably shouldn't have.  It's a nice jam and one I can really get into.  But it's not on the same level as 'Back & Forth'.

My copy of this disc includes a bonus track...  It's a mix of 'Back & Forth'.  I think this mix is a huge mistake.  They overload the track with heavy drum sounds that were popular at the time, but it dates the song and makes it sound old.  The original is much more smooth and enjoyable.

Aaliyah is one of those artists I sorta struggle with.  When I love her music, I love it.  Although she's got lots of songs I like bouncing to, the rest of her catalog is music I wouldn't cross the street for.  It's throwaway material.  I think she was beautiful, had a lovely voice and I think it's tragic she's no longer around.  I always hoped to hear more material from her and I honestly think she was building up to a huge superstar album.  All of these earlier works would've eventually created an absolute atom bomb of a record.  But she never lived to achieve her full potential.

In the end, I like the disc enough to pull it out and listen to it on occasion.  It makes me happy.  It brings back good memories.  But it's not one of my favorite and it's not one I keep in heavy rotation.  My final words:  AN INTERESTING BUDDING DEBUT FROM AN ARTIST WE'LL NEVER TRULY SEE BLOOM.

AALIYAH - AGE AIN'T NOTHING BUT A NUMBER
01. Intro
02. Throw Your Hands Up
03. Back & Forth
04. Age Ain't Nothing But A Number
05. Down With The Clique
06. At Your Best (You Are Love)
07. No One Knows How To Love Me Quite Like You Do
08. I'm So Into You
09. Street Thing
10. Young Nation
11. Old School
12. I'm Down
13. Back & Forth (Mr. Lee & R. Kelly's Remix)

JUDITH HILL - BACK IN TIME

Some of you may know who Judith Hill is and others won't.  I don't know a lot about her other than she was working with Michael Jackson when he died.  She's the latest aspiring addition to Prince's NPG label and for the record, you can hear Prince all over this disc.  He produces, arranges, plays instruments, provides vocals and does just about everything you'd expect Prince to do except...  write???  

That's right, folks, you heard it here first!  Prince doesn't contribute a single track to this record.  Not a one.  But it does have a strong vibe to it.

So...  That being the case, how does Judith Hill come off as a songwriter and vocalist?

As many of you know, Prince recruits and works with two types of people...  Those he finds interesting for whatever reason.  These are the people he usually writes everything for and uses their albums as a vehicle for his own material.  It's a way to get his fams more jams.  These are the singers and musicians who don't go on to have careers outside of his influence.  They never break out on their own and their one Prince infused output tends to be their only output.  

Then there are the talented people who could easily have it all without him.  Real musicians and singers with oodles of ability.  And Judith Hill falls into this category.  She's a voice, a brilliant songwriter and I'm hoping to see her live eventually.

The first time I heard this disc was when Prince posted it for free online.  I downloaded it like everyone else and listened to it.  At that point, the songwriting credits hadn't been released so no one really knew who had contributed what exactly.  I remember thinking that if Prince had written any of these songs they were collaborations with Hill because they are all a genuine departure from his usual fare.

Hill writes a Jazzy blues type of song full of soul and spark.  You can hear the Prince embellishments, but even without his unique ear for sound, the music would hold up on its own.  Partly because of Hill's strong vocal delivery.  I have a few favorite tracks on the album.  I usually put it in and let it play but when I'm driving, my favorite song to jam is 'Love Trip'.

My other favorite tracks include 'Angel In The Dark', 'Beautiful Life', 'My People' and 'Back In Time'.  This really is a great album and you won't go wrong adding it to your collection.  You just won't.  My final words:  JUST IN TIME FOR SUMMER DRIVING!

JUDITH HILL - BACK IN TIME
01. As Trains Go By
02. Turn Up
03. Angel In The Dark
04. Beautiful Life
05. Cure
06. Love Trip
07. My People
08. Wild Tonight
09. Cry, Cry, Cry
10. Jammin In The Basement
11. Back In Time

ERASURE - COWBOY

I'm gonna try something different this time...  I've made a habit of trying to break the albums down into individual songs, but I think that gets tiring after awhile.  There are so many mediocre songs I have to try to find ways to describe.  So from now on I'm going to limit my comments to things that stand out and attract my attention.

This is the perfect album to start with.  "Cowboy" was released in 1997 on Madonna's Maverick label.  I'm not sure if this was Erasure's first release on that label, but I think it was the only one.  I might be wrong.

On the heels of the self-titled "Erasure" album, "Cowboy" saw Vince Clarke and Andy Bell returning to their traditional pop roots with catchy 3 to 4 minute songs instead of the experimental soundscapes they'd produced on "Erasure".  The more radio friendly atmosphere of "Cowboy" allowed the band some chart success in the UK and Europe.  Some of the band's singles were having impact in the US as well.

I first heard about this record not by following the charts or seeing it in the record store...  I heard the single, 'In My Arms' during the ad loop playing in a movie theater.  In the US, prior to the trailers, some theaters back in the 90's started experimenting with a looped audio track playing ads, trivia and short entertainment pieces in order to keep movie-goers from growing impatient as they waited for the film to start.  One of these clips was 'In My Arms' from Erasure.  The first time I heard it, I loved it and immediately went out and bought the album.

My impression was relief they'd moved away from the long songs of the previous album.  Now years later this disc has become what I consider the standard for Erasure releases.  I quite like Vince Clarke.  I think as a musician, he's amazingly talented and vastly unappreciated.  Because his focus is on electronic music and he works heavily with electronic instruments, he's written off by most folks.  He's not considered a genuine musician.  In reality, he's not only gifted, but able to write dramatically different and unique music pieces. 

Where Vince truly shines is sound engineering.  He creates so many different sounds unique to Erasure songs.  It's impossible for other groups to copy them.

On "Cowboy" Vince is in full form.  He generates catchy simple pop melodies, one after the other.  As usual, Andy Bell contributes the lyrics and vocals.  Their partnership seems to work well and their enjoyment in each other is forever present in their music.

Now back to what I consider a standard Erasure release...  "Cowboy" fits that description.  I can honestly say I like the entire album.  There's not a single song on here I think is horrible, but I'm not in love with it.  There are certain songs that stand out for me and if I'm creating a playlist there are tunes I'll take from this album.

'Worlds On Fire' is one of these, however my absolute favorite song on the disc is easily 'In My Arms'.  Perfect choice for a single and in my opinion, the perfect song on the album.  I love the sentiment.  I find it romantic and sweet.  'Treasure' is another song I quite enjoy.  I find it a bit of a musical mishmash, and the lyrics are a jumbled mess.  But all of that seems to come together during the chorus when Andy get down and really belts it out.

As a prelude of sorts to the cover album they did later on, the US version of "Cowboy" contains two covers.  One is 'Rapture' by Blondie, but my copy doesn't have this track.  I do have the second cover, 'Magic Moments' by Burt Bacharach and David Hall.  I've heard both and I love them both.  It's a shame my copy only has the one.  I wonder why.  Might have to upgrade it.

I'm an Erasure fan, but I'm not die hard.  I don't buy everything they put out.  Sometimes I mean to.  I think about it and I'll pick up a strange or rare bit here and there, but I've never committed to collecting them.  Maybe one day I will.  In the meantime, I'll enjoy individual discs as they come.  My final words: A RETURN TO FORM AND A SATISFYING ADDITION TO ERASURE'S GROWING CATALOG.  WORTH OWNING!

ERASURE - COWBOY

01. Rain

02. Worlds On Fire

03. Reach Out

04. In My Arms

05. Don't Say Your Love Is Killing Me

06. Precious

07. Treasure

08. Boy

09. How Can I Say

10. Save Me Darling

11. Love Affair

12. Magic Moments

CAUSE & EFFECT - TRIP

"Trip" is the second album from Cause & Effect after the death of one of the founding members, Sean Rowley.  I first discovered this group in the mid 90's when I was buying up old 80's CDs from my youth.  I'd troll through used record stores and pick up discs from bands I'd loved in High School.  Although Cause & Effect weren't a part of the 80's experience, they wrote and released music heavily inspired by 80's New Wave sounds.  In the 90's, the only bands doing this kind of music were the 80's groups who survived and continued to release music to their dedicated fans.  Most of the new artists were moving in other directions.  Very few celebrated their 80's roots.

When I heard about them, I was excited to pick up their album.  At first, I wasn't sure of what to make of them.  I liked what I was hearing, but my tastes were evolving.  I didn't realize it at the time.  I was opening up to new sounds and styles.  I actually thought their first effort was somewhat boring.  However, I changed my mind over time when I gave it a chance to grow on me.  I had no idea the band had lost a member when this disc came out.  I remember seeing it in the used CD bin at a record store in Vegas and I picked it up.  I hadn't followed the group so I didn't know any of their singles or videos.  

I remember loving the disc more than the first one.  That is about half way through.  And then it lost me.  As I listen to it now, I think my current reaction is the same.  The disc has a dramatic opening with 'It's Over Now'.  The Indian/Oriental intro abruptly transforming into a wailing siren heralds the start of the track.  Once it starts, it doesn't stop.  The verses are laid back and easy to get into, but the chorus is where the real punch is thrown.  It's ramped up, energetic and dynamic all rolled into one.  I would always imagine this song as the concert opener and I wouldn't be surprised if it was the track they preferred to open with.

It eventually devolves and segues into the second track, 'Inside Out'.  This is another strong tune with a great build.  The chorus doesn't gut punch you the same way, but the impact is no less effective.  It's a more subdued track.  Back to back, these two songs are amazing together.  The third track is 'Alone' and this one sorta pulls the chair out from under you.  It's slower and somewhat out of place.  Still, the chorus is redeeming and you get some satisfaction out of it.  

'In Shakespeare's Garden' is up next and this is another one like the first two that seems to come from someplace else.  The beat is uplifting and gets you moving.  The chorus is infectious and absolutely perfect.  This is probably my favorite track on the record.  'You Are The One' keeps the pace going and is a strong song, though compared to the rest of the disc, it's probably my least favorite.  Funny how my favorite and least favorite are so close to each other.  

This is where I start to lose interest in the disc.  The rest of the songs are ok, but they're not exceptional.  I sorta tune them out when listening to the record and just get through.  'Soul Search' is the first and even now, I couldn't tell you what the song is actually about.   It's followed by another similar number, 'Stone Girl'.  'She Said' is next and it's a slow track.  Hard to sit through.

Next up is 'Sinking'.  Once again, we're subjected to another slow song.  The final track is 'Crash'.  The disc ends on a high note with this song.  If you swapped this number for 'She Said' you'd have one perfect side to this record.

I really am 50/50 on this record.  The songs I like, I absolutely love and the rest, I don't care for at all.  They sound generic, basic to me.  There's nothing interesting to it at all.  I'm still interested in this group and I'd like to hear more.  But we'll see what happens.  For now I'll end it by saying my final words:  ONE AMAZING HALF OF A POTENTIALLY INCREDIBLE RECORD.

CAUSE & EFFECT - CRASH
01. It's Over Now
02. Inside Out
03. Alone
04. In Shakespeare's Garden
05. You Are The One
06. Soul Search
07. Stone Girl
08. She Said
09. Sinking
10. Crash                                                                                         

ROBERT PLANT / ALISON KRAUSS - RAISING SAND

I know, I know...  You're tired of hearing it...  I don't usually follow singers, I follow musicians.  Alison Krauss being one of the few exceptions to the rule.  That being said, I'm a bit of a purest when it comes to her.  I don't like listening to her in a duet unless she takes the lead position.  Therefore, you shouldn't be surprised to know when I heard about this record coming out, I wasn't happy.  

Not one tiny bit.

Don't get me wrong, I don't have anything against Robert Plant.  I've enjoyed a lot of his music over the years.  I simply feel his style and sound aren't compatible with hers.  And frankly, when I'm listening to her, I want to hear her.

Imagine my surprise when I actually heard the record for the first time.  The perfect marriage of sounds that not only compliments them both, but blends so perfectly I almost want to hear her like this all the time.  These two artists have voices that enhance qualities in each other.  There's a depth of soul in this disc that is unreal.  You might consider Plant the heavy 70's rock god, but in his heart, the man is a blues singer.  His vocal range allowed him to bring a new type of performance to the emerging metal genre, but if you listen to the words of his songs, he's a blues man.  Through and through.

One of the first things I did when I bought this record was pull it up on wikipedia.  I was curious about the songs and where they came from.  I know Krauss usually performs covers although her band mates in Union Station will often contribute songs.  Plant, on the other hand, is an adept songwriter.  So I wanted to explore where the songs came from.  To my surprise, 'Please Read The Letter' is the only track he wrote on the entire disc.  The rest is covers.  Also interesting is the choice of T-Bone Burnett as producer.  He choose the songs for the duo to record and all I can say is, "Wow!".  He obviously has an ear for sound.  What he helped create here is simple breathtaking.

The first track is 'Rich Woman'.  Dating all the way back to 1955, this is one amazing song.  With Plant and Krauss singing together the arrangement is radically different from the Li'l Millet And His Creoles original version.  The original includes horns throughout and is a rockabilly/rhythm & blues/swing tune while Plant & Krauss' rendition is haunting, floating and otherworldly.  It's like looking at the story taking place through a cloud of smoke and a head full of whiskey.  No matter how you see it, you can't help but sway along with the music as it infects you and draws you in.  Very powerful.

'Killing The Blues' is a song written and recorded by Chris Isaak band member, Rowland Salley.  While his released version has a more defined country flavor, this cover is subdued and maintains the quiet mystical flavor of the first track.  The way they sing these songs makes them all sound familiar even when they're songs you've never heard before.  'Sister Rosetta Goes Before Us' is the first track showcasing Krauss by herself.  Written by Sam Phillips for this album it's a delicate and strange number.  Exactly the kind of tune Krauss shines on.  She makes even the most bizarre sound heavenly.

Plant takes the lead on Dillard & Clark's 1969 track, 'Polly Come Home'.  Once again, the country twang of the original version is toned down in favor of a mellow, ethereal vibe.  Having heard the original, the most startling difference is the emphasis on certain words.  The Plant/Krauss cover seems to take on a completely different meaning.  'Gone Gone Gone (Done Moved On)' is the first track that really seems to rock and pick up the pace of the disc.  It's got a rockabilly beat and Plant gets to cut loose on this track a little.  For her part, Krauss builds his performance up in a way that's almost perfection.  Originally recorded in 1964 by the Everly Brothers, this exciting track is a lot of fun.  I haven't heard the original, but I will probably look it up online now.

'Through The Morning, Through The Night' is the second Dillard & Clark track on the disc.  It's from the same record as 'Polly Come Home'.  What makes this version so unusual is the choice of Krauss as the lead vocalist.  The original recording is similar in many ways.  It leans more towards the sorrowful than the country even though the twang is present in both versions.  It's the subject matter that makes the selection somewhat odd.  Krauss sings the song in it's original form without changing pronouns.  This is obviously a song written for a man to sing.  Still, she doesn't pull her punches and it's darn close to the best track on the disc.  Very satisfying.

'Please Read The Letter' is the Plant written number and it's absolutely tragic and wonderful at the same time.  As the kinda guy who expresses himself in writing, many's the time I wrote a lover a letter to express my feelings, my hopes and fears.  The build in this song is magical and it's one of my favorite tracks on the disc.  It's sheer and unadulterated beauty.  'Trampled Rose' is a Tom Waits track and I have to admit, I'm not a fan of his voice, but I think he's a talented songwriter.  On his album, this track sounds like an empty liquor bottle rolling out of a dingy hotel room into a hot, dry street gutter in the middle of the day.  With Krauss on lead vocals, the song becomes something else entirely.  It becomes a sense of longing, forgetting and pain.  This track is evocative.

'Fortune Teller' is a track from 1962 by Benny Spellman.  I listened to it on Youtube and it's a band with a strong Louisiana sound.  Plant's version is more traditional rock n' roll.  I actually like both versions of this track!  They both have qualities that makes them interesting.  'Stick With Me Baby' is the second Everly Brothers track on the disc.  The original is an upbeat rock number.  On this version, Krauss and Plant sing together and harmonize on a more delicate and soft version of the tune.  It actually makes the song sound more sincere and authentic.  There's a tenderness delivered here you just can't escape.  It's beautiful.

'Nothin'' was originally recorded by Townes Van Zandt.  It appears on his 1971 album "Delta Momma Blues".  He performs it as an acoustic number and it's creepy.  Plant and Krauss perform is as some sorta weird rock opera.  The guitars are sliding and electric.  Krauss plays the violin.  And Plant...  Well, he half sings, half confidingly whispers the lyrics.  If there were songs written about country suicides, this would be the framework.  'Let Your Loss Be Your Lesson' is a track from Little Milton back in 1975.  It's a fun track and with Krauss on lead vocals, it's quite dynamic.  The horns are replaced with guitars.  I love both versions of this song.  What an amazing track.  Masterful.

'Your Long Journey' is a 1963 track by Doc Watson.  It's a true bluegrass classic and Krauss/Plant treat it with the respect it deserves.  I haven't heard the original version, but I'm guessing Krauss does what she usually does with these old forgotten tunes.  She makes them sound more round and full rather than sparse and thin.

No matter what kind of music you like, if your heart has found comfort in the sweet soul of blues or other forms of American traditional music, you will find something on this record to touch your heart.  It is the work of musicians who are truly masters of the craft and talented beyond belief.  It reaches new heights.  My final words:  EVERYONE SHOULD OWN THIS AMAZING RECORD.  UTTER PERFECTION.

ROBERT PLANT / ALISON KRAUSS - RAISING SAND
01. Rich Woman
02. Killing The Blues
03. Sister Rosetta Goes Before Us
04. Polly Come Home
05. Gone Gone Gone (Done Moved On)
06. Through The Morning, Through The Night
07. Please Read The Letter
08. Trampled Rose
09. Fortune Teller
10. Stick With Me Baby
11. Nothin'
12. Let Your Loss Be Your Lesson
13. Your Long Journey

LITTLE DRAGON - LITTLE DRAGON

I think I've talked about where I heard of this band before, but if I haven't, here's the origin story...  Wendy Melvoin of Wendy & Lisa, Prince And The Revolution fame mentioned this was a band she'd discovered and was really enjoying.  When I heard that, I decided to check them out and see if they were any good.  The very first song I heard from them is on this album and I loved it.  I loved it instantly.  The second song I previewed was also from this record and I loved it just as much.  From that point forward, I was hooked.  

As they've released subsequent records, I've been delightfully amazed at the ideas and music they've produced.  I look forward to more in the future.  This is a group I'm very excited about.

The album starts off with the small sounding 'Twice'.  Although it's a quiet and rather unexciting beginning, the lyrics of this song are quite powerful and amazing.  "Twice I turned my back on you.  I fell flat on my face but didn't lose."  The imagery of turning away from someone who is obviously important to you...  Seeing the negative fallout from the loss of that relationship and yet knowing inside, you ultimately made the right decision.  I have people in my life this song utterly describes and for that reason alone, I adore it.  It's a piano driven slice of perfection right at the start of this amazing record.

'Turn Left' is the second track and it's just as interesting.  The lead singer of the band is half Japanese, half Swedish and she has a style that is oddly cultural and jazzy at the same time.  As a vocalist, no one would classify her in a category with Patti LaBelle or Celine Dion, but she's got a style that is evocative and soothing.  On this track, she seems to push an idea forward about identity and trying to find connection with others.  In the faces of those around her.

'No Love' is another song with powerful and compelling lyrics.  Just hearing someone say the things she says in this song would be emotionally devastating.  The minimalist arrangements throughout are very dramatic and although they are listed and classified as an electronic band, they're more like a jazz quartet.  The music is free and seems to flow in an unrestricted fashion.  quite different from the structured and finely timed sound of electronica.

'Recommendation' is a more upbeat track and it's another one fans will be drawn to.  It has more interesting lyrics and will make you fall in love with what the band is trying to create.  It's followed by the first track I ever heard from them, 'Constant Surprises'.  This one has a beat like you wouldn't believe.  It's subtle and sturdy.  Comes in quickly and establishes a momentum the tune doesn't deviate from.  The lyrics are built around an almost metaphysical experience with the physical world and how the singer views these happenings with wonder and amazement.  She draws you in with her vocals and you feel like you're falling into her life.

Once again, the soft thud of bass drums fills the speakers until the main body of 'Forever' kicks in.  When she finally comes in, Yukimi (the lead singer) delivers her most interesting and diverse vocal arrangement thus far.  This is an intensely driven song and there's a Japanese quality to it.  An almost Asian sound in certain notes used to punctuate specific ideas.

'After The Rain' is up next and it's another track that more upbeat and faster paced.  Like many of the tracks we've heard so far, it relies heavily on acoustic instruments with the electronic sounds backing up and helping strengthen the material.  It all works in a fine collaboration.

'Place To Belong' is a more melancholy number and it's built around a rising and falling scale played over a slow beat.  Once again, the emphasis is on the vocals, lyrics and the effect of them combined together.  It's followed by 'Stormy Weather'.  This is one is played on a keyboard, but it almost sounds like Yukimi singing along with a stand up bass being played softly beside her.  There's a whimsical sadness to this number.  It's like seeing something written on paper so thin you can see the light through it.  You can see past the sound of her vocals and feel the emotions she's expressing.

'Test' is probably one of the better fast numbers on this disc.  It's got a great beat and you can really get caught up in the song.  Once again, the vocals and lyrics are right on target.  'Wink' is probably my favorite track on the disc itself.  This one features a funky deep beat and a more complicated vocal arrangement that really shows off Yukimi's vocal talents.  Once again, there's an unmistakable Asian sound in the music.  But it's driving and quite powerful.

'Scribbled Paper' closes out the album and it's another acoustically dominate track.  Like most of the material on this disc, Little Dragon have created a minimalist sound and packed it with meaning, great melodies and arrangements that make each track powerful on their own.  What they've achieved here is nothing short of dynamic and worth listening to.  It s a hybrid combination of electronic art and jazz/soul.  If there is a band pushing boundaries in musical forms, this is it.  You just can't go wrong listening to this record.

My final words are gushing and all over the place:  THE BEST FRESHMAN DEBUT EVER!  CAN'T BE TOPPED AND AMAZINGLY UNIQUE!  A NEW SOUND FOR A NEW WORLD!

LITTLE DRAGON - LITTLE DRAGON
01. Twice
02. Turn Left
03. No Love
04. Recommendation
05. Constant Surprises
06. Forever
07. After The Rain
08. Place To Belong
09. Stormy Weather
10. Test
11. Wink
12. Scribbled Paper

JUNO REACTOR - GUARDIAN ANGEL

This import single is for Juno Reactor's 'Guardian Angel'.  It's a UK single and at the time, I was buying anything I could find from JR.  Of course this single doesn't include much.  It's a two track disc and if I'm not mistaken, both tracks are the album versions from "Beyond The Infinite".

The first track is 'Guardian Angel' and it's a strong, solid choice for a single release.  I love this song and it's nice to see it as a single.  It would've been cool to hear some remixes but I was happy to have the new artwork and I loved the disc.  The second track is 'Razorback' which is another stunning example of why "Beyond The Infinite" is arguably the best of all Juno Reactor records.  

Although there's absolutely no value in owning this disc other than it fits into a collection and it features some original artwork, I'm still happy to have it.  My final words on this release:  AN ABSOLUTELY UNNECESSARY INDULGENCE.  

JUNO REACTOR - GUARDIAN ANGEL
01. Guardian Angel
02. Razorback