The Gossip close Music for Men with a song called "Spare Me from the Mold," but Beth Ditto, Nathan Paine, and Hannah Billie could never be accused of conforming. They were still a relatively underground group when Standing in the Way of Control's passionate mix of punk, soul, and disco became their breakthrough – and they sounded so confident on it, it felt like the mainstream was coming to them rather than vice versa. They've got their own piece of the pop (and pop culture) mainstream now, and Music for Men feels aboveground in the best possible way. Befitting its major-label debut, this is the band's most polished music yet, a balance of Control's ferocity and the sleek remixes of the album's singles, but it's still not slick. Most of Music for Men finds The Gossip sticking to their roots and using their success to get their messages out to as many people as possible. These songs are just as empowering as their earlier work, though they're more subtly defiant.
Those who liked the moodier, more atmospheric material on the last Mark Lanegan Band offering, 2004's Bubblegum, will find much to enjoy on Blues Funeral – an album that has little to do with blues as a musical form. Lanegan has been a busy man since Bubblegum. In the nearly eight ensuing years, he's issued three records with Isobel Campbell, joined Greg Dulli in the Gutter Twins, guested on albums by the Twilight Singers and UNKLE, and was the lead vocalist on most of the last two Soulsavers offerings. Produced by Eleven guitarist Alain Johannes (who also fulfills that role here as well as playing bass, keyboards, and percussion), Blues Funeral finds Lanegan in a musically ambitious place. His voice is deeper, smokier, but more restrained, even on the few straight-up rockers. The grain in his voice is more pronounced, offering a sense of coiled menace on each track, one that is ready at all points to explode the musical confines these songs erect, and to overwhelm them all. To his credit, he never does. While the album is sequenced seamlessly, with varying textures and dynamics, there are standouts.
This is a fantastic album, overflowing with 80's influences! If you are a fan of 80's bands Whitesnake, Iron Maiden et al, you'll love this! The vocals, guitar and lyrics will have you fondly remembering skintight jeans, long permed hair and head-banging at the local youth club!
Although the music of Norah Jones continues to blend pop, soul, folk, and country with a seasoning of jazz, her third album for Blue Note is the first where she's written (or collaborated on) all the material. Beneath the smooth surface lie darker strains on the album-opening "Wish I Could" (about a boyfriend lost to war), intimations of mortality in "The Sun Doesn't Like You," and the post-election horrors of "My Dear Country." The last seems to channel the inspiration of Brecht/Weill, while the equally bleak "Sinkin' Soon" is set to a jaunty Dixieland rag. Throughout, Jones's vocal intimacy and melodic warmth remain as disarmingly understated as ever. The soulful "Thinking of You," the countryish "Wake Me Up," and the syncopated "Be My Somebody" reflect the captivating style of her previous work. Although too much in the same midtempo mode becomes a dreamy lull, cut by cut, Jones's voice is irresistible.
Every Country's Sun is the ninth studio album by Scottish post-rock band Mogwai. It was released on 1 September 2017 by Rock Action Records in the United Kingdom and Europe, Temporary Residence Limited in the United States, and Spunk Records in Australia.
Several years after the original art rock supergroup Colosseum disbanded, drummer Jon Hiseman formed Colosseum II, a more jazz fusion-oriented outfit featuring guitarist Gary Moore (Thin Lizzy) and keyboardist Don Airey. Their eclectic debut, Strange New Flesh, shows some impressive chops from all involved, with an emphasis on Moore's soulful guitar leads. Vocalist Mike Starr, while not an immensely engaging singer, does a nice job keeping up with Hiseman and bass player Neil Murray. Highlights include the technically showy but blissfully irreverent ode to Pink Floyd, "Dark Side of the Moog," a nice version of Joni Mitchell's "Down to You," and the funky "Gemini and Leo."
When the legendary US band announced their reunion in 2007, all hell broke loose: a myriad of offers for festivals and tours immediately arrived on their desk and their dedicated fans as well as the press sang their praises. An obvious reaction for anybody versed in the history of Progressive Death Metal. When guitarist Paul Masvidal and drummer Sean Reinert founded Cynic in 1987, they had more in mind than just another brutal sound. Extreme Metal riffing was fused with Jazz and Progressive Rock gaining the Americans recognition far beyond the "scene". Their debut and until now only album "Focus" (1993) soon became a sought after cult classic. Now Cynic come back stronger than ever: "Traced in Air" witnesses the band ascending to an even higher spiritual level of musicianship…
Wild Frontier is the sixth solo studio album by Irish guitarist Gary Moore, released in 1987. His first studio effort after a trip back to his native Belfast, Northern Ireland in 1985, the album contains several songs about Ireland and even the music itself is steeped in Celtic roots. The album is dedicated to the memory of Moore's close friend and former Thin Lizzy bandmate Phil Lynott, who died on 4 January 1986, with the words "For Philip" on the rear cover. All drums on Wild Frontier are sequenced with a drum machine, although the programming is uncredited in the liner notes of the album. Former Black Sabbath drummer Eric Singer would join Moore's backing band on the Wild Frontier Tour, before leaving shortly afterwards to form Badlands.