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Number Ones by Michael Jackson (CD - 11/18/2003)
 

Number Ones by Michael Jackson (CD - 11/...

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Number Ones by Michael Jackson (CD - 11/18/2003)
"Number Ones" (11/18/2003) R&B Jackson, Michael, Epic (USA)Personnel: Michael Jackson (vocals, background vocals); Siedah Garrett (vocals); Donnie Lyle (guitar). Audio Mixer: Serban Ghenea. Photographers: Stephen Harvey; Dick Zimmerman; Sam Emerson. The 1990s may not have been kind to Michael Jackson on a commercial level, due to fickle music tastes and assorted personal controversies, but NUMBER ONES reinforces Jackson's place in pop culture history. Unlike its preceding compilation, HIStory, this anthology trims the fat, although occasionally going overboard in leaving off certified chart-toppers like the Paul McCartney duet "Say Say Say" in lieu of lesser-known, latter-day fare like "Earth Song." That said, casual fans of the Gloved One will still feast on plenty, ranging from dance classics like "Don't Stop 'Til You Get Enough" and "Rock with You" from 1979's stellar OFF THE WALL to the singles that powered the industry-shifting THRILLER and BAD. Among the hits featured here are "Beat It," (with its tour de force Eddie Van Halen solo), the scathing "Dirty Diana" (with Steve Stevens substituting for Van Halen), and catchy title cuts from the aforementioned albums. Meanwhile, Alien Ant Farm fans get to reacquaint themselves with the original "Smooth Criminal," and R. Kelly fans get to experience Jacko croon "One More Chance," the single new song that was penned and produced by Kelly.

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Dance Party Mix [Box] by Countdown Singers (CD - 07/07/2000)
 

Dance Party Mix [Box] by Countdown Singe...

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Dance Party Mix [Box] by Countdown Singers (CD - 07/07/2000)
"Dance Party Mix [Box]" (07/07/2000) R&B Countdown Singers, Madacy Distribution

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Measure Of A Man
 

Measure Of A Man

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Measure Of A Man
"Measure of a Man" (10/14/2003) Rock & Pop Aiken, Clay, RCA Records (USA)Personnel includes: Clay Aiken (vocals); Clif Magness (acoustic & electric guitars, piano, keyboards, bass, programming, background vocals); Marcus Englof (acoustic guitar, keyboards, programming); Esbjern Ehrwall (acoustic guitar); Andreas Carlsson (guitar, background vocals); Dan Warner, Eric Bazilian (guitar); Doug Emery (piano); Samuel Waermo (keyboards, percussion, programming); Thomas Blindberg (bass); Lee Levin, Tim Klassen, Vinnie Colaiuta (drums); Chris Willis, Chris Braide (background vocals). Producers include: Clif Magness, Desmond Child, Rick Knowles, Steve Morales. Personnel: Clay Aiken (background vocals); Dan Warner (guitar, acoustic guitar, electric guitar); Andreas Carlsson (guitar, background vocals); Eric Bazilian, Borge Petersen-Overlier, Fridrik Karlsson, Tim Pierce, Eivind Aarset (guitar); Clif Magness (acoustic guitar, electric guitar, piano, keyboards, programming, background vocals); Rick Nowels (acoustic guitar, bouzouki, keyboards); Marcus Englof (acoustic guitar, keyboards, programming); Esbjern Ehrwall (acoustic guitar); Chris Glansdorp (cello); Doug Emery (piano, keyboards, programming); Samuel Waermo (keyboards, percussion, programming); David Siegel, Martin Sjolie, Greg Kurstin, Steve Mac, Dave Arch, Charles Judge (keyboards); Wayne Rodrigues (drums, programming); Tim Klaussen, Josh Freese, Lee Levin, Vinnie Colaiuta (drums); Frank Ricotti, Rune Arnesen (percussion); David Eriksen (keyboard programming, drum programming); Chris Braide, Danielle Brisebois, Mark Nelson, Heath Burgett, H?kon Iversen, Marian Lisland, Maria Vidal, Chris Willis (background vocals). Audio Mixers: Manny Marroquin; Niklas Flyckt; Andy Zulla; Serban Ghenea; Bob Clearmountain. Recording information: Blue Iron Gate Studio, Santa Monica, CA; Icon Sound Studios, Miami, FL; Master Mix, Minneapolis, MN; Metropolis Studio, London, England; NRG Recording Services; Red Door Recording Studios, St. David's, PA; Rokstone Studios, London, England; Stereo Studio 1, Oslo, Norway; Storm Studios, Stockholm, Sweden; The Chill Building, Santa Monica, CA; The Gallery, Miami, FL; The Gentlemen's Club, Miami Beach, FL; Westlake Audio, Hollywood, CA. Editor: Cameron Webb. Photographer: Kevin Scott Hees. Arrangers: Clif Magness; David Eriksen; Rick Nowels; Steve Morales. A genuine pop culture phenomenon who unexpectedly transcended the instant fame granted by his second-place finish in the AMERICAN IDOL competition, Clay Aiken made a decidedly un-hip media figure, often looking and sounding more like George Bush's nerdy, Andrew Lloyd Weber-loving nephew than a sexy or dangerous rocker. Perhaps not surprisingly, Aiken (with the help of uber-producer/record-company mogul Clive Davis), has crafted what sounds like the first-ever secular contemporary Christian album. With an utter lack of pretense and genuine feel-good vibe worthy of the best work of Newsong or Steven Curtis Chapman, MEASURE OF A MAN is a pristinely produced, relaxed-sounding showcase for Aiken's gorgeously clear and unaffected vocal style. On solid pop songs like "Shine" and the McCartney-esque "Perfect Day," the retiring Southern singer communicates his songs in a pure, direct fashion that, by virtue of its appealing simplicity, manages in short order to project more soul than a CD rack full of gut-busting Michael Bolton histrionics. A defining moment in the mainstream pop genre, MEASURE OF A MAN bridges the generation gap between teens and their parents with comforting consistency and a refreshing lack of flash.

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Wide Awake Bored
 

Wide Awake Bored

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Wide Awake Bored
"Wide Awake Bored" (10/18/2000) Rock & Pop Trebel Charger, BMG (distributor)Treble Charger includes: Bill Priddle (vocals, guitar, keyboards); Greig Nori (vocals, guitar); Rosie Martin (bass, background vocals); Trevor MacGregor (drums, percussion). Additional personnel includes: Rami Jaffee (keyboards); Don Heffington (percussion). Recorded at Sound City, Van Nuys, California; Grandmaster, Hollywood, California; King Sound & Pictures Studios, Los Angeles, California. Canada's Treble Charger returns to form on their fourth album, Wide Awake Bored, bridging traditional guitar rock with spunky lyrics. It's typical jaunty modern rock with a intellect all its own. It's not complex nor is it overloaded with radio-friendly tracks, but it is enjoyable with its rock & roll simplicity. "American Psycho" rants with heavy guitar licks similar to the mid-'90s surge of post-grunge bands tailored for the mainstream -- Tripping Daisy, Veruca Salt, Foo Fighters. "Cheat Away" relies on more lyrical sentimentality, but Treble Charger's most appealing material arises from what's made them popular from the start: basic guitars. The spiraling "Favorite Worst Enemy" and "Wear Me Down" cite college rock indie stylings, and Greig Nori's little-boy punk rock vocals are enticing. New millennium modern rock, however, continues to be a manufactured rock package led by bands such as American Hi-Fi and Vertical Horizon. Treble Charger attempt to stay above the rest and Wide Awake Bored barely gets the job done. ~ MacKenzie Wilson

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Dance of the Rainbow Serpent [Box] by Santana (CD - 10/15/1997)
 

Dance of the Rainbow Serpent [Box] by Sa...

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Dance of the Rainbow Serpent [Box] by Santana (CD - 10/15/1997)
"Dance of the Rainbow Serpent [Box]" (10/15/1997) Rock & Pop Santana, Legacy RecordingsThe 1997 release of DANCE OF THE RAINBOW SERPENT is packaged in a bin-fitting slipcase. Santana includes: Carlos Santana (guitar); Gregg Rolie (vocals, keyboards); Tom Coster, Chester Thompson (keyboards); Michael Shrieve, Graham Lear (drums); Jose Areas, Armando Peraza (percussion). Additional personnel includes: John Lee Hooker, Larry Graham, The Waters Family (vocals); Vernon Reid, Neal Schon, John McLaughlin, Jimmie Vaughan (guitar); Kim Wilson (harmonica); Wayne Shorter (saxophone); Tower Of Power Horn Section (horns); Booker T. Jones, Joe Zawinul (keyboards); Alphonso Johnson, Victor Bailey (bass); Peter Erskine (drums); Pete Escovedo, Airto Moreira, Babatunde Olatunji, Mino Cinelu (percussion). Includes liner notes by Carlos Santana. "Every Now And Then" was nominated for a 1996 Grammy Award for Best Rock Instrumental Performance. Guitarist Carlos Santana continues to record music, but when contemplating his body of work, it's difficult not to telescope to the "vintage" 1969-1975 period, from first albums Santana and Abraxas through to Lotus. Dance of the Rainbow Serpent offers a well-rounded, three-disc overview of his career, but its the sultry Latin rhythms and stinging guitar of the early years -- captured on disc one, subtitled Heart -- that prove most invigorating. The obvious hits like "Evil Ways" and "Black Magic Woman" are all included of course, although these are scorched by the speedy pyrotechnics of the likes of "Toussaint Overture" from Lotus. The second disc, mistitled Soul, covers material that is, to be kind, bland and overproduced. Without the Latin edge, there's nothing to distinguish the contents from a hundred other MOR performers. Third disc Spirit is more diverse and satisfying; delving into the funkier examples of his later work, plus sessions with John Lee Hooker (including hit "The Healer") and previously unreleased material (including a workout with Living Color's Vernon Reid). In all, plenty here to chew on for fans of Santana's fluid, spiritual style -- with one of three discs left to gather. ~ Roch Parisien

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Artist Collection: Luther Vandross by Luther Vandross (CD - 09/14/2004)
 

Artist Collection: Luther Vandross by Lu...

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Artist Collection: Luther Vandross by Luther Vandross (CD - 09/14/2004)
"Artist Collection: Luther Vandross" (09/14/2004) R&B Vandross, Luther, BMG (distributor)The Luther Vandross entry in BMG International's Artist Collection series of compilations has three regular Vandross albums to call upon for its selections: Luther Vandross (2001), Dance with My Father (2003), and Live Radio City Music Hall 2003 (2003). "Take You Out" and "I'd Rather," Vandross' chart entries from Luther Vandross, are included (the former in its original version and in a "remixed" version). ~ William Ruhlmann The Luther Vandross entry in BMG International's Artist Collection series of compilations has only three regular Vandross albums to call upon for its selections: Luther Vandross (2001), Dance with My Father (2003), and Live Radio City Music Hall 2003 (2003), and yet it is botched. "Take You Out" and "I'd Rather," Vandross' chart entries from Luther Vandross, are included (the former in its original version and in a "remixed" version). But the choices from Dance with My Father eschew most of that album's best-known songs, notably the Grammy-winning title track. "Dance with My Father" is undoubtedly the crown jewel in Vandross' limited catalog for J Records, the BMG label he joined after a long tenure with Epic and a short one with Virgin. Its omission here makes the album seem like a random collection. But then, that's the impression one gets simply by looking at the CD. Hanoch Piven's singularly ugly cover illustration would be more of an insult to Vandross if it bore the slightest resemblance to him, which it does not. ~ William Ruhlmann

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New Beginning by SWV (CD - 04/23/1996)
 

New Beginning by SWV (CD - 04/23/1996)

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New Beginning by SWV (CD - 04/23/1996)
"New Beginning" (04/23/1996) R&B SWV, RCA Records (USA)SWV: Cheryl "Coko" Gamble, Tamara "Taj" Johnson, LeAnne "Lelee" Lyons (vocals). Additional personnel includes: Erick Sermon, Ishmael "Ish Butter/Fly" Butler (rap vocals); Herb Middleton, Chucky Thompson (various instruments); Bernard Grobeman, Angelo Quaglia, James T. Smith (guitar); Anthony "Reezmo" Burroughs, Joel Campbell (keyboards, Fender Rhodes); Allen "Allstar" Gordon, Jr. (keyboards, bass); Brian Alexander Morgan (keyboards, drums, percussion); Daryl Simmons, Genard "Getn Payd" Parker (keyboards, drum programming); Ralph Stacy (synthesizer); Glen Ellis, Dwight Watkins (bass). Producers include: Herb Middleton, Allen "Allstar" Gordon, Jr., Erick Sermon, Brian Alexander Morgan, Daryl Simmons. Engineers include: Mark Partis, Angelo Qualgia, Andrew Blakelock. Personnel: Leanne Lyons, Cheryl Gamble (vocals, background vocals); Erick Sermon, Ishmael Butler (rap vocals); Bernard Grobman (guitar); Anthony Burroughs, Joel Campbell (Fender Rhodes piano, keyboards); Brian Alexander Morgan (keyboards, drums); Genard Parker (keyboards, drum programming); Ralph Stacy (synthesizer); Daryl Simmons (keyboard programming, drum programming); Tamara Johnson (background vocals). Audio Mixers: Dave Way; Sean Devereaux; Grant Austin; Mark Partis; Andy Blakelock; Ken Schubert; Lane Craven; Larry Funk; Tony Maserati; Brian Alexander Morgan. Recording information: Battery Recording Studios, NY; B-Section, Laguna Beach, CA; Capitol Records, Hollywood, CA; Cue Studios, Fall Church, VA; D.A.R.P. Studios, Atlanta, GA; Daddy's House Recordings, New York, NY; Head Up Recording Studios, NJ; Hit City Studio, New York, NY; Quad Recording Studio, New York, NY; Sound On Sound Recording Studios, NY; Soundtrack Studios, New York, NY; Unique Recording Studios, New York, NY. Editors: Angelo Quaglia; Matthias Heilbronn. Photographer: Michael Lavine. This follow-up to the platinum-selling debut IT'S ABOUT TIME doesn't stray too far from SWV's R&B-meets-pop appeal, but experience and maturity add depth to a second album that a lot of people thought would never come out. This really does sound like a NEW BEGINNING. From start to finish, the focus is on love, as the titles make quite clear: "Where Is The Love," "Love Is So Amazin'," "You Are My Love," "I'm So In Love"). But the production is diverse, drawing fine lines from one song to the next. And while Coko's lead vocals dominated the debut album, here she takes a backseat to bandmates Taj and Lelee on "New Beginning (Interlude)," "It's All About U" and "Don't Waste Your Time," giving the trio a richer, fuller sound this time around.

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VH1 Behind the Music: The John Denver Collection by John Denver (CD - 09/12/2000)
 

VH1 Behind the Music: The John Denver Co...

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VH1 Behind the Music: The John Denver Collection by John Denver (CD - 09/12/2000)
"VH1 Behind the Music: The John Denver Collection" (09/12/2000) Rock & Pop Denver, John, RCA Records (USA)Producers: Milton Okun, John Denver, Barney Wyckoff. Compilation producer: Paul Williams. Recorded between 1971 & 1981. Includes liner notes by Michael Hill. Digitally remastered by Mike Harty & Bill Lacey. Liner Note Author: Michael Hill. Recording information: 1971-1981. Arrangers: Dick Kniss; John Denver; Lee Holdridge; Mike Taylor ; Milton Okun. As part of the soundtrack to VH1's Behind the Music series, this John Denver collection contains 18 of his top hits. Obvious material like "Take Me Home, Country Roads," "Rocky Mountain High," and "Sunshine on My Shoulders," are included with lesser heard (although chart making) songs "My Sweet Lady," "How Can I Leave You Again," "I Want to Live," and "Shanghai Breezes." A more thorough picture of Denver's later music would not have omitted early '80s hits like "Dreamland Express" or "Some Days Are Diamonds (Some Days Are Stone)." ~ Al Campbell

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The Essential Simon & Garfunkel by Simon & Garfunkel (CD - 10/14/2003)
 

The Essential Simon & Garfunkel by S...

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The Essential Simon & Garfunkel by Simon & Garfunkel (CD - 10/14/2003)
"The Essential Simon & Garfunkel" (10/14/2003) Rock & Pop Simon & Garfunkel, Columbia/LegacySimon & Garfunkel: Paul Simon (vocals, guitar); Art Garfunkel (vocals). Producers: Simon & Garfunkel, Tom Wilson, Bob Johnston, Roy Halee, John Simon, Phil Ramone. Compilation producer: Bob Irwin. Recorded between 1964 & 1969. Recording information: Lincoln Center, New York, NY (03/10/1964-05/??/1975); Memorial Auditorium, Burlington, VT (03/10/1964-05/??/1975). Photographers: Guy Webster; Don Hunstein; Murray Neitlich; David Redfern. The first disc of this two-CD collection focuses on songs originally recorded by Paul Simon and Art Garfunkel between 1964-1967, a time when Simon was incorporating elements of British folk into his songwriting. Hits and high points from these fruitful years include their breakthrough hit "The Sound of Silence," the anthemic "I Am a Rock," the class-divided "Richard Cory," the pastoral "Scarborough Fair/Canticle," and the acoustic rock of "A Hazy Shade of Winter," all of which feature those inimitable, Everly-inspired harmonies. Disc two covers the '67-'69 era, in which Simon & Garfunkel had reached a stride both creatively and commercially, with timeless tracks such as the jaunty "Mrs. Robinson" (from THE GRADUATE), the lamenting "El Condor Pasa (If I Could)," and the revered ballad "Bridge Over Troubled Water." Interspersed throughout both discs are live recordings of "Leaves That Are Green," "Overs" and others, along with the 1975 reunion single, "My Little Town." Although some outstanding songs (such as "April Come She Will" and "Patterns") inevitably fall through the cracks, THE ESSENTIAL SIMON & GARFUNKEL proves to be an excellent offering for those looking for the middle ground between the five-disc box set and one of many single-disc collections.

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Ladies of the 80's, Vol. 1 by Various Artists (CD - 1999)
 

Ladies of the 80's, Vol. 1 by Various Ar...

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Ladies of the 80's, Vol. 1 by Various Artists (CD - 1999)
"Ladies of the 80's, Vol. 1" (1999) R&B Various Artists, Madacy DistributionIncludes liner notes by Dave Roy Liner Note Author: Dave Roy. Illustrator: Brad Hamann. This budget-line series is a guilty pleasure that ranges from soft rock (Juice Newton's "Angel of the Morning," Brenda Russell's "Piano in the Dark") to dance-club lite fare (Taylor Dayne's "Tell It to My Heart," Melissa Manchester's "You Should Hear How She Talks About You") to teen-idol hits (Tiffany's "All this Time," Debbie Gibson's "Shake Your Love"). Other notables include Tracy Ullman's "They Don't Know," Dionne Warwick's "Heartbreaker" and Carly Simon's "Coming Around Again." Like the rest of this series, the disc has nonexistent liner notes and banal cover art that has nothing to do with the music on the CD. ~ Gina Boldman

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A Girl Can Mack by 3LW (CD - 10/22/2002)
 

A Girl Can Mack by 3LW (CD - 10/22/2002)

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A Girl Can Mack by 3LW (CD - 10/22/2002)
"A Girl Can Mack" (10/22/2002) Rock & Pop 3LW, Epic (USA)3LW: Adrienne, Kiely, Naturi (vocals). Additional personnel includes: Lil' Wayne, Lil' Kim, Loon. Producers include: Mario Winans, Anthony President, Lil Steve, Rob Fusari, Beau Dozier. Personnel: 3LW (background vocals); Kiely Williams (vocals, rap vocals); Lil' Steve (vocals, background vocals); Naturi Naughton, Shelene Thomas, Adrienne Bailon (vocals); Lil Wayne, Treach (rap vocals); Eric D. Jackson, Grecco Buratto (guitar); Johnny Nice (oud); Presidential Campaign, John "Jade" Daniels (programming); Makeba Riddick, Montell Jordan (background vocals). Audio Mixers: Ian Boxill; Jan Fairchild; Supa Engineer; Full Force; Jean Marie Horvath; Rob Paustian; Tony Prendatt; Josh Wilbur. Recording information: Battery Studios, New York, NY; Cash Money Studios, New Orleans, LA; Daddy's House Recordings, New York, NY; Majestic Studios, North Hollywood, CA; Stange Motel Studios; The Playground, West Hills, CA; Tracken Place, Los Angeles, CA; Xperimental Studios, Los Angeles, CA. Editors: Ian Boxill; John Robinson ; Michael Woodrum. Photographers: Indrani; Markus Klinko. Despite the soap-opera-type controversy surrounding 3LW's sophomore release (a food fight, tears, a member forced out of the band) that makes it uncertain whether they're currently 3 or 2LW (the moniker originally stood for Three Little Women), A GIRL CAN MACK proves that these girls can also sing. Production, courtesy of P. Diddy, the Full Force crew, and Mario Winans, among others, is witty and imaginative, particularly on the Force-produced, Eastern-inflected "I Need That (I Want That)" featuring Lil' Kim, a cut that's unique enough to stand out from the usual R&B fare. The Diddy-produced "I Do" is stripped-down dance music, its spare rhythms enhanced by a skipping synth figure and a chorus as catchy as winter flu. A GIRL CAN MACK is divided between such club fare and slinky, sexy cuts such as "This Goes Out" and the deep after-hours soul of "Good Good Girl," and the LW prove here they're adept at covering both bases.

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XXX [3/21] *
 

XXX [3/21] *

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XXX [3/21] *
"Chicago XXX" (03/21/2006) Rock & Pop Chicago, Rhino Records (USA)Chicago: Bill Champlin (guitar, keyboards); Keith Howland (guitar, background vocals); Walter Parazaider (woodwinds); Robert Lamm (keyboards); Jason Scheff (electric bass); James Pankow, Lee Loughnane, Tris Imboden. Personnel: Jay DeMarcus (vocals, guitar, piano, keyboards, programming); Bill Champlin (vocals, piano, Fender Rhodes piano); Robert Lamm (vocals, piano, Wurlitzer organ); Gary LeVox, Joe Don Rooney, Jason Scheff, Shelly Fairchild (vocals); Dan Huff, Dean DeLeo, Yankton Mingua, Keith Howland (guitar); Tom Bukovac (acoustic guitar, electric guitar); Walter Parazaider (flute, saxophone); Lee Loughnane (trumpet, piccolo trumpet, flugelhorn); Lee Thornberg (trumpet); James Pankow (trombone); James Matchack (keyboards); John Brockman, Tris Imboden, Steve Brewster (drums); Joseph "Gospel Joe" Williams, Bobby Kimball (background vocals). Additional personnel: Gary LeVox, Joe Don Rooney, Jay DeMarcus. Audio Mixers: James Matchack; Jeff Balding. Recording information: Cartee Day Studios, Nashville, TN; Emerald ENtertainment, Nashville, TN; Glenwood Place Studios, Burbank, CA; Secret Sound, Nashville, TN; Sound Stage Studios, Nashville, TN; Studio J, Nashville, TN; Westlake Audio, Hollywood, CA. Photographers: Hugh Brown; Jimmy Katz. Arrangers: Jay DeMarcus; James Matchack. Though often disparaged by music critics, Chicago maintained a consistent output--and sold millions of records in the process--from their first album in 1969 right into the early 2000s. They dabbled variously in rock, jazz, and R&B before settling into smooth, adult-contemporary fare in the 1980s, becoming staples of MOR radio. 2006's XXX is a return to that MOR sound, with sweet memorable melodies that recall the band's Peter Cetera-led heyday. "King of Might Have Been" is a fine example, finding a place alongside the best of Chicago's mainstream power ballads. "Feel (Hot Single Mix)" traffics a bit in the textures of electronica, but beneath that the sound is, unmistakably, Chicago. The production from Rascal Flatts' member Jay Demarcus is sharp and crisp and brightens the overall sound while showcasing the band's classic elements. XXX is perhaps Chicago's most consistent pop release since 1991's TWENTY 1.

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