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Tuesday February 09, 2010

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Tinted Windows:
Tinted Windows

Tinted Windows
Allmusic.com Biography by Andrew Leahey... Comprised of several generations of pop-minded hitmakers, Tinted Windows combine a supergroup pedigree with an appreciation for sugary, unapologetic power pop. Singer Taylor Hanson and bassist Adam Schlesinger initially crossed paths in the mid-'90s, during Hanson's heyday as a teen heartthrob and Schlesinger's early development with Fountains of Wayne. Although the two expressed interest in a collaborative project, each had more pressing responsibilities to attend to, including Schlesinger's management of his own label (Scratchie Records, co-owned with longtime friend James Iha). As the years progressed, Iha left the Smashing Pumpkins' lineup but continued to work alongside Schlesinger, even lending his guitar skills to Fountains of Wayne's 2003 effort, Welcome Interstate Managers. Several years later, Schlesinger and Hanson decided to finally launch their long-gestating collaboration, and Iha happily climbed abroad as the band's guitarist. The trio then sought out a drummer, hoping to find someone who played in the vein of Cheap Trick's Bun E. Carlos. They eventually extended the invitation to Carlos himself, who enjoyed the band's demo material and decamped to New York to work alongside the band. Tinted Windows signed with S Curve Records, Fountains of Wayne's former label, and readied their debut album for release in spring 2009. More...

Jason Aldean:
Wide Open

Wide Open
Allmusic.com Review by Stephen Thomas Erlewine... Jason Aldean quietly turned into a genuine country star in the back half of the 2000s — not the kind who has pop hits, but the kind who steadily reaches the country Top Ten, primed for a crossover hit. Wide Open, his third album, might take him there, since he manages to hit every contemporary cliché in the book without seeming too systematic about it. That light touch takes Aldean a long way, as it never appears that he's pandering even though he kind of is, making sure that he has songs about small-town girls with big-city dreams, paeans to Nashville, mournful laments about his rowdy ways, a tune about his big green tractor, and love songs to the country and girls from the country. Aldean puts a lot of rock in his country, particularly on the stuttering AC/DC riff that powers "She's Country," which is a bit of compensation for the plainness of his voice, but his simple, affectless singing does disguise just how shopworn his songs are. He doesn't necessarily turn the familiar into something fresh, but his keen, plainspoken voice does ground Wide Open, making ballads feel intimate and party anthems not too rowdy. It's nothing too risky, nothing too soft, just a straight shot down the middle of the road — a road that runs through a subdivision that only becomes memorable through repetition. More...

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Colbie Caillat:
Breakthrough (Deluxe Ed.)

Breakthrough
Allmusic.com Review by Stephen Thomas Erlewine... Colbie Caillat's breakthrough arrived before Breakthrough, when her debut Coco turned into a breezy surprise hit. Breakthrough isn't meant to catapult Caillat into a mainstream that already knows her, but to consolidate her success, so it's not entirely a surprise that the album bears evidence of her showbiz kid roots, a record that relies just a bit more on the studio than the song. It's a creation that's slicker and sleeker than the debut, but fortunately, it's not quite at the expense of Caillat's simple charms. The high-buff sheen on Breakthrough can mean that the songs glide down a little too smoothly, sliding down like a velvety Piña Colada which is perhaps a bit too sophisticated after the everyday charms of Coco, and perhaps a little bit too polished for Colbie in general. Underneath all that gloss, Caillat remains a simple girl singing songs of love as light and crisp as a sugar cookie. Too many of these in a row can cause a toothache, but having a handful at a time is a sweet ordinary treat. More...

Common:
Universal Mind Control

Universal Mind Control
Allmusic.com Review by Andy Kellman... The eighth Common album was originally titled "Invincible Summer," but delays slid its release back to December. Though Mortal Winter might've been more apt, Universal Mind Control does correctly point toward a lighter, less cerebral set relative to the MC's discography from The Resurrection onward. The glinting "Change" is a track filled with hope and optimism about younger generations and the rise of Obama, and "Inhale," another standout, carries a surplus of uplift and urgency. Otherwise, Common's here to have a good time, no strings attached, with uneven results. Occasionally adopting a casual old-school flow, best heard on the neo-Bambaataa electro throwback title track, he spends most of his time boasting about his prowess, whether he's referring to being on the mike or in the bedroom. At the album's lowest, he sounds uncomfortably out of character, as on "Announcement"; its stern beat, one of the seven provided by the Neptunes, resembles a Clipse cast-off, pushing Common into ill-suited thuggishness. The sluggish, mindless "Punch Drunk Love" ("My ungh is in your body/My ungh is in your mind") and "Sex 4 Suga" ("Girl, ooh, you look ungh") are nearly as dire, likewise sacrificing cleverness for bluntness. The album's last two tracks, production-wise, depart from hip-hop and will hopefully send some listeners back to the flawed greatness of Electric Circus. "What a World" features some of Common's most enjoyable, if simplistic, old-school rhymes, but the song is impaired by its dance-rock/Rapture-knockoff backdrop; and even with some of Common's most energized lines appearing as late as midway through the much more effective "Everywhere," the Dungeon Family's Mr. DJ (who produced two other tracks) drops some low-slung sci-fi synth-funk for Martina Topley-Bird's spaced vocal feature. More...

The Lonely Island :
Incredibad

Incredibad
Allmusic.com Review by David Jeffries... For a comedy group that was born and raised in visual mediums -- web videos and the Saturday Night Live television show -- the Lonely Island are still way ahead of the curve when it comes to the comedy album format. Of course, music was at least half the reason links to their series of SNL Digital Shorts would dominate in-boxes every following Monday. The smart mimicry of teen pop ("Dick in a Box"), Euro-disco ("Jizz in My Pants"), or old-school rap ("Lazy Sunday") is half the attraction, and when you add the "aw shucks" look of on-camera Islander Andy Samberg, you can get away with a lot of shocking material. So many mentions of naughty bits would be tedious if Samberg and SNL writers Akiva Schaffer and Jorma Taccone didn't have the brains to pull it off, and dealing with the differences between races seems much less dangerous when the trio show they're well-versed in the works of their hip-hop guests, E-40 and T-Pain. Their hiring of eccentric underground rap producer J-Zone shows their in tune with what's next and when white rasta wannabe "Ras Trent" complains of his "bomboclat parents" and declares he can make a chalice out of a Sprite can, the snarky commentary is made all the sweeter by a lyric that drops two deep reggae references: "Me night nurse never want to plant de corn." The track has also been updated so that a visual joke from the original SNL version is removed, and with all the interludes and new material, plus fake alternative album covers throughout the booklet, this isn't an afterthought but a fully committed comedy album. On top of that, it's a hilarious comedy album that's just as hip, inventive, and inappropriate as their digital shorts. More...

Jadakiss:
The Last Kiss

The Last Kiss
Allmusic.com Review by David Jeffries... In a genre where albums frequently miss their street date, Jadakiss' The Last Kiss is an especially late hip-hop release, having been pushed back, retitled, and retooled numerous times. This problematic arrival shows too in the final product, but the problem may not be the much maligned rapper's ability or inspiration but the constant mishandling of his material. So many prime street cuts have been given away to comps, mixtapes, and soundtracks in the five years since Kiss of Death was released that only the slick, polished numbers remain, save the misleading kickoff "Pain & Torture." Two tracks later he's singing the silly "If you're real and you know it/Clap your hands" over an unsurprising Swizz Beats production, but it's "Grind Hard" that really disappoints, with the Mary J. Blige support coming off as standard. That's a first, but "What If" isn't a first at all, using the exact same structure as Kiss of Death's Nas collaboration "Why." One of the more interesting cuts, the heartfelt "Letter to B.I.G.," already appeared on the Notorious soundtrack, and the album's title is nonsense, as Jada had already declared his intention to keep going. Despite what the haters say, this is another missed opportunity for Jadakiss, a man whose best work never lands on the high-profile releases. More...

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