Pearl Jam - discography
Pulp Fiction (Collector's Edition) - Soundtrack
For those who didnt hear or read Tarantinos explanation the first time around, MCAs "Collectors Edition" soundtrack (issued to accompany the films DVD reissue) adds a 16-minute "interview" (actually, a non-stop monolog), as well as four tracks left off the original CD. The extra songs are terrific, but expanding to two discs solely to accommodate the 1994 interview (disc one contains the music, disc two the interview) positions this more for Tarantino groupies than anyone else.
White Stripes - Aluminium
Beatles - Abbey Road
Kaiser Chiefs - Employment
"Employment" is one of the greatest albums of 2005. The opening three songs are brilliant. The song, 'Modern Way" which is not as popular as the first two: "Every Day i Love you Less and less" and "I Predict a Riot", however it is my favourite on the album. The Kaiser Chiefs are not unique, but they stand out against similar acts such as Maximo Park, The Futureheads, and bloc party.
Mary J Blige - Reflections
Retrospective’ is the ultimate collection of her
greatest hits and previously unreleased tracks.
Showing the journey from her rein as the Queen of
Hip Hop and Soul and taking us into her evolution as
a legend.
01. Reflections (I Remember) 04:08
02. We Ride (I See The Future) 03:57
03. You Know 03:34
04. King And Queen (Duet With John Legend) 03:46
05. No More Drama 04:27
06. Family Affair 04:26
07. Real Love 04:31
08. No One Will Do 04:46
09. Be Without You 04:09
10. I’m Going Down 03:42
11. 911 (Duet With Wyclef) 04:20
12. Not Gon’ Cry 04:53
13. My Life ‘06 05:08
14. Be Happy 05:39
15. I’ll Be There For You , You’re All I Need To Get By Feat Method Man (Razor Sharp Mix) 03:42
16. As (George Michael And Mary J Blige) 04:42
17. One (Mary J Blige And U2) 04:21
18. Mjb Da Mvp Featuring 50 Cent 04:11
Rufus Wainwright - Poses
Donald Fagen - Morph the Cat
That’s not to say that Fagen’s new album, Morph the Cat, is filled with anything resembling joyous optimism. Fagen addresses topics like homeland security (“Security Joan”), the current administration (“Morph the Cat”) and cults (“Mary Shut the Garden Door”), as well as personal issues like impending mortality (“Brite Nightgown”). The ghost of Ray Charles even shows up on the reharmonized minor blues of “What I Do.” Nor has Fagen lost his sardonic way with words. Who else could come up with a phrase like “Rabelaisian puff of smoke”?
But Fagen grooves just a little deeper on his own than he does with Becker, giving the darker subject matter a veneer that has you bopping your head along, even as he talks of alien invasion and death—a quality that has always made both his and Steely Dan’s albums so intriguingly paradoxical. Ignore the lyrics and the polished grooves are so infectious and the playing so tasty that Fagen’s sharp wit and rich jazz harmonies become obscured by the music’s sheer visceral nature.
Johnny Cash, American III: Solitary Man
Even the best good ideas can get pushed too far, and for Johnny Cash, American III: Solitary Man is one Rick Rubin-built cover album over the line. The point with the Cash-Rubin series, which started in 1994 with American Recordings and continued with 1996's Unchained, isn't really transformation, as Willie Nelson has done with his recent cover treatments of reggae and blues. The point is that Cash's baritone (still able, despite the onset of a neurological disorder) is elemental, the marrow of sadness; simply to bestow that dark voice on moody songs by a range of songwriters is statement enough.
Killers - Hot Fuss
Henry Rollins - Big Ugly Mouth
Lenny Kravitz - Circus
In the title track of Lenny Kravitz's new album, the singer struggles with the dictates of reality that come to bear on fantasy. "Welcome to the real world," he sings to himself. But in the real world according to Kravitz, rock stars still flash diamond rings and coke spoons, and bumper-sticker platitudes like god is love still soften the blows of the real real world. In all its kaleidoscopic glory, Kravitz's world looks more like a B movie about an early-'70s rocker trying to find his identity among the gods: Hendrix, Zeppelin, Sly, Funkadelic.
Nickelback - All The Right Reasons
Nickelback's fifth disc consists of eleven giant-chorused songs about prisons of the mind, wanting to be a rock star and how it's hard to up and leave when she's going down on you. The band's wordy hooks and big riffs are as meticulously arranged as a thousand-dollar Nativity scene, but -- with the exception of the sleekly rocking "Animals" and some hope-and-faith platitudes -- All the Right Reasons is so depressing, you're almost glad Kurt's not around to hear it.
Joe Cocker - Ultimate Collection
Eels - Souljacker
The band was thus forced to take a step back, and most "indie" fans didn’t really care that they had once been an MTV pop group. Despite this, the Eels struggled to gain any leverage in the community. They became part of a cluster of bands that was only quietly respected among music critics and Pitchfork-type fans such as yourself. Even as they released Electro-Shock Blues and Daisies of the Galaxies, two phenomenal records that showed them moving light years ahead of the straight ahead alt-rock that had turned listeners off of Beautiful Freak, the Eels were consistently shrugged off as insignificant, boring, and standard. People liked them, sure, but, you know, they were part of that whole "grunge" thing, weren’t they?
Elvis Costello - Trust
It's not going too far to say that Elvis Costello's career depends upon our misunderstanding him. Impatient and agonized, his image flickers: good guy, then bad guy, then good guy. It's impossible to get a fix on him, easy to be confused by what he says and does. The distance he maintains from his fans, his deadpan demeanor, the clever opacity of his lyrics, the jittery but artful leaps of musical style–all of these combine to form the persona of a man you can't trust.
John lennon - Ddouble fantasy
But it would have been a rock & roll event regardless. After a self-indulgent, eighteen-month "lost weekend," a separation from Ono and a few disappointing albums, Lennon had retreated into a life of domesticity in late 1975, devoting himself to being a househusband and a father to his son Sean.
In the spring of 1980, Lennon and Sean sailed to Bermuda for a brief vacation; there Lennon became intrigued by New Wave musicians like the Pretenders, Lene Lovich and Madness. And when he heard the B-52's song "Rock Lobster," he was spurred to action. "It sounds just like Ono's music," he told ROLLING STONE, "so I said to meself, 'It's time to get out the old axe and wake the wife up!'"