Queens Of The Stone Age-Go With The Flow(down 5 positions)
Queens Of The Stone Age's Songs For The Deaf is a good, ambitious hard rocking record that works best when the guys loosen up a little. Go With The Flow, the followup to longtime top 50 resident No One Knows, gets a fun, frantic energy from Dave Grohl's hard, distinctively whacking and Nick Oliveri's sturdy, fast bass line. Simple, steady piano and Josh Homme's cutting guitar interjections also help hurtle the song forward. In the midst of Go With The Flow's ebullient chaos, Homme's controlled, unshowy vocal provides some balance. Homme's singing is a welcome contrast to the emotive narcissism that dominates rock music these days. Go With The Flow is apparently about being willing to go along with a breakup but not being happy about.
Thalia-I Want You(up 7 positions)
Thalia(born Ariadna Thalia Sodi Miranda) is a Mexican music and tv star and the wife of Sony music chairman(and Mariah Carey's ex-husband) Tommy Mottola. I've read that Thalia has a good voice but it's hard to tell from I Want You, the first single from Thalia, her first mostly English language record. Thalia gets the Jennifer Lopez treatment on I Want You, which was produced and cowritten by regular Lopez collaborator Cory Rooney. The blueprint generally guarantees a professional, pleasant, innocuous sound and that's the case on I Want You. I Want You has a breezy feel. It's well made and likable with a perky synth riff and crisp beat. I Want You has the obligatory star cameo presumably meant to add cred or familiarity. At least it's not Ja Rule. Fat Joe croaks a good natured, unmemorable rap. Thalia doesn't project the strong, distinctive personality of fellow Latina star Shakira. Thalia's vocal is charming but it sounds like it was flattened then enhanced in the studio. Especially in the context of the fairly dopey lyric, she comes across a bit empty headed. On I Want You, Thalia plays the Ashanti style adoring girlfriend asking herself what she did to deserve such a special man, complimenting his "sexy smile" and body that drives her wild and trying to convince him that "this love affair would be good for you and me." Trying to make Thalia seem less pathetic, Rooney has Fat Joe saying "I feel the same way."
Smile Empty Soul-Bottom Of A Bottle(up 4 positions)
Bottom Of A Bottle is on the self titled CD by the Santa Clarita, CA band. Smile Empty Soul singer/guitarist/songwriter Sean Danielsen has a good grasp of the kind of sleek hard rock that's crossed over to the pop charts. Bottom Of A Bottle has a chorus, with Danielsen ranting over a big guitar sound, that reminds me of Linkin Park's In The End. But Bottom Of A Bottle is pretty unpleasant stuff. It's presumably meant to be a cautionary tale but the "I do it for the drugs" hook is still pretty nasty. The glib, showily harsh quality of Danielsen's singing undercuts any sympathy the song creates for its troubled protaganist. Danielsen sings that in a "scared and lonely" life, drugs and alcohol make him feel alive and loved.
Simple Plan-Addicted(down 2 positions)
Addicted, the second hit from the Montreal band's No Helmets, No Pads ... Just Balls CD, is one of the more annoying of the recent spate of poppy punk influenced hits. It's also one of the more successful one, assumedly because it's simple enough that preteens can easily get it. Addicted's big power chords and leisurely pace make it easy to sway to. Simple Plan's idea of a joke("I'm a dick, I'm addicted to you") probably goes over big with the junior high set. Pierre Bouvier sings with a bratty, childlike voice. Bouvier whines with youthful self pity "do you think I deserve this?" Addicted is about not being able to get over a girl who left even though he tried to make her happy. Addicted is harmless and I suppose it's only meant to be stupid fun but it's mostly just stupid.
Nickel Creek-Smoothie Song(unchanged)
Nickel Creek are a bluegrass group from San Diego. Their modern sensibility has given them supporters beyond the genre's usual fans. Contemporary bluegrass queen Alison Krauss produced Nickel Creek's two CDs. Krauss has succeeded by giving her music a country folk flavor. Like Krauss, Nickel Creek show that they respect bluegrass history and can play traditional instruments and are also aware of other genres. Moves like covering Pavement's Spit On A Stranger show that Nickelback's musical tastes are even broader than Krauss'. Nickel Creek's music is very charming. It's smart and well played and has a sweet modesty. The Smoothie Song, from the This Side CD, is an instrumental written by Nickel Creek mandolin/banjo player Chris Thile which features the interplay of the group's principal players: Thile, fiddler Sara Watkins and guitar player Sean Watkins.
Metallica-St. Anger(down 8 positions)
St. Anger is Metallica's first record of all new material since the Load and Reload records of '96 and '97. St. Anger's title track is a bit of a mixed bag. Metallica distinguish themselves with a confident, free flowing sound that puts to shame the cautious, imitative rockers Metallica have influenced. I like St. Anger's fast parts. Lars Ulrich's ridiculously fast drums, aided by Kirk Hammett and James Hetfield's big, stomping guitars, whip up a great frenzy of energy. I often find James Hetfield's incredibly intense wail overwrought and a little silly. In my mind, the problem is compounded on St. Anger by Hetfield's account of inner pain. Hetfield sings about having anger "round my neck", wanting "my anger to be healthy" and wanting to "set my anger free." Hetfield's turmoil is undeniably real but, since so many lesser bands have exploited their struggle to control their rage, the self centered lyrics make Metallica less interesting than they've been in the past. The rapped interjections of "it's rushing out" help maintain St. Anger's striking momentum but they also invite comparisons to the rap metal bands who borrowed from Metallica in creating cynically commercial music. Still, St. Anger is one of the best rock songs of recent times. St. Anger gets great rock force from guys singing and playing hard and fast. St. Anger is also admirably ambitious. Its distinct, everchanging segments stir up a fun, anarchic spirit.
Guster-Amsterdam(up 1 position)
Guster is a Boston band that developed a large following playing lots of gigs with two acoustic guitars and bongos. The guys have since gone electric but they've maintained a simple upbeat sound. Amsterdam, from the Keep It Together CD, is a strong candidate for feel good song of the summer. It's lightweight but very charming. On Amsterdam, Guster remind me of the jangly, perky guitar bands that sprung up in the mid 80s after REM had their initial success. It rides forward easily with a variety of vigorous but smooth strums, a bit of jangling and a crisp, clicking beat. Amsterdam has a pleasant, shiny sound. Ryan Miller's voice isn't amazing but it is warm and good natured. Amsterdam lacks edge and it's kind of saccharine. It does have a likable, clean cut sound with a nice, positive energy. While Amsterdam has a jaunty sound its lyric, written by drummer Brian Rosenworcel, is quite nasty. Amsterdam's giddiness apparently reflects the joy of a spurned lover at the prospect of finding revenge in a nasty letter.
Nelly-Shake Ya Tailfeather(up 13 positions)
P. Diddy assembled tracks from an all star lineup for the Bad Boys II soundtrack. I'm guessing that Nelly didn't sweat too much over his contribution. Shake Ya Tailfeather has the same sprawling, steady, easy but tight form of many of Nelly's singles from Country Grammar to Air Force Ones. Shake Ya Tailfeather is nothing new and it doesn't have much distinctive personality but it is well constructed and it shows Nelly's skills. As on many of Nelly's songs, annoying elements are side by side with likable ones. Shake Ya Tailfeather features the tomahawk chop chant that's irritated fans of teams playing the Braves for years. You'd figure that Nelly, who's always championing his St.Louis hometown, would be loathe to coopt the theme of the Cards' rival. Especially on the first verse, Shake Ya Tailfeather showcases Nelly's considerable rapping talents. He's fast with a light touch, and a lot of presence. With handclaps, synth interjections and a steady flow, Shake Ya Tailfeather's backing track has energy to match Nelly's vocal. The music and Nelly's interjections maintain an appealing feel even when lesser rappers take over. P. Diddy, who does the second verse, isn't as drab and flat as he can be. He keeps the song moving but his confident rap isn't very exciting. It would be nothing without its accompaniment. Murphy Lee from St. Lunatics, who's contributed to Nelly's CDs, does the third verse as comic relief, sharing his love of big booties and grass. It's nothing special but fine. Shake Ya Tailfeather's familiarity made it a big hit but it also is a good example of how Nelly's rapping and music can be irresistable. Even for a Nelly song, Shake Ya Tailfeather's lyric, mostly about wanting to see the ladies dance, is pretty slight. Nelly comes on to a girl then disses her. The rappers say each others names a lot. Nelly says he likes girls of all ethnicities then asks one to "take it off" and "take that ass to the floor."
Coldplay-The Scientist(up 3 positions)
In My Place and Clocks, the first two chart hits from Coldplays A Rush Of Blood To The Head CD, were intricate and breathtakingly beautiful. The Scientist isnt as remarkable but its good. Once again, in a world of big guitars and drum machines, its refreshing to hear a song on the radio thats thoughtful and musically low key. On The Scientists first verse, only Chris Martins piano accompanies his voice. The uncluttered sound accentuates Martins sweetness as he tells a woman how lovely you are, reflects on the shame of breaking up and wishes they could go back to the start. Strings, Jon Bucklands strumming and Will Champions drums come in but the sound remains simple and unshowy. The result is likable and poignant. Martin has played the sensitive, heartbroken but ever hopeful spurned lover too many times but he is charming on The Scientist. Martins vocal is natural. The fact that he doesnt overplay the songs emotion helps make his sadness appealing.
Eve 6-Think Twice(up 9 positions)
The sure touch that brought Eve 6 hits on their first two records(Inside Out on Eve 6 and Here's To The Night on Horrorscope) has apparently eluded them on the new It's All In Your Head CD. Max Collins does some annoying, cliched self dramatizing rock singing. He starts by slowly and meaningfully intoning every syllable in a style Weezer mocked on their sweater song. The songs shifts to an anonymous chorus with slamming power chords. Then it speeds up a bit with Jon Siebels playing a decent scratchy guitar sound. Think Twice starts to sound a liitle like Inside Out but without that song's intensity. Generally Think Twice lacks Inside Out's energy and excitement. In an inevitable climax, Collins ends up screaming but Inside Out never gets interesting. I find it so boring that it's a struggle to listen all the way through. Think Twice has a pretty unpleasant lyric. Collins partly tries to convince his lady that his love is better than a rival's. But Think Twice is mostly a thuggish warning to the rival that if he touches her "I'll let you feel the burn."
Justin Timberlake-Rock Your Body(down 1 position)
Rock Your Body, the third hit from the Justified CD, is a mindless but fun dance song. It's Justin Timberlake's best single so far. Timberlake and writer/producers The Neptunes(Pharrell Williams and Chad Hugo) have worked out a partnership sure to produce hits. The teen idol provides the hunkiness and Williams and Hugo bring the great grooves. Following Like I Love You, where Timberlake was encouraged to do a slavish Michael Jackson imitation, Rock Your Body seems to comfirm that Williams and Hugo had Jackson in mind when they wrote and arranged songs that made Justified. Rock Your Body particularly brings to mind the great dance beats and chunky groove of Jackson's Off The Wall. Rock Your Body's big bass and scratchy guitar also resembles the sound, made by Bernard Edwards and Nile Rodgers on songs like Good Times, that was borrowed in tons of dance songs(even Queen's Another One Bites The Dust). Timberlake's voice is just one of the parts that Williams and Hugo used to construct Rock Your Body. Timberlake's vocal is largely unremarkable and nearly unnoticable. It's often hard to know where his singing ends and the very effective backing vocals begin but, at least, Timberlake, doesn't get in the way of the groove. Credit for Rock Your Body and its easy, likable flow should go to its producers. Rock Your Body's lyric is basically Timberlake's request to a girl to not walk away and instead give him a chance to seduce her on the dance floor.
Ziggy Marley-True To Myself(down 1 position)
Dragonfly is Ziggy Marley's first record without The Melody Makers, the band he had with his sisters and brother(though sister Sharon does backing vocals). Ziggy made Dragonfly with a LA bunch of studio pros. He produced Dragonfly with Ross Hogarth, who's enginereed dozens of records, and REM producer Scott Litt. True To Myself's sound is smooth and professional but it does have a vibe that undeniably connects with Bob Marley's work. Ziggy, now 34, has a relaxed singing style that, like his father's, also conveys substance and confidence. True To Myself has the simple, positive, universal message and immediate familiarity and catchiness of Bob Marley's hits. True To Myself easily rolls forward as horns create a joyful mood and David Lindley and James Harrah strum and trade guitar lines. The downside is that True To Myself isn't particularly distinctive. True To Myself has the basic, concise form of Bob Marley's reggae classics but it doesn't have much appeal beyond its classic form. True to Myself is so laid back and reminiscent of other songs that it doesn't really grab your attention. True To Myself's lyrics are pleasant but a bit insipid. He shares pearls including "I can't make you happy unless I am" and "the truth it never changes."
Velvet Revolver-Set Me Free(down 10 positions)
Velvet Revolver is a new band featuring Scott Weiland and Slash, Duff McKagan and Matt Sorum from Guns N Roses. Weiland says he's going to keep working with Stone Temple Pilots but will also make a full length CD later this year with Velvet Revolver. Set Me Free is on The Hulk soundtrack, which otherwise consists of pieces of Danny Elfman's score for the movie. Set Me Free is a decent rocker that's somewhat reminiscent of Guns n Roses' catchy but hard rocking music. Set Me Free's lyric has Weiland's typical spacy vibe. Weiland sings about a woman who operates and motivates "on synthetic fuel" and asks her to "set me free 'cause I think you need my soul."
Going Under doesn't have the mediocre raps that helped made Bring Me To Life sound like an odd Linkin Park tribute. Otherwise, Going Under is a lot like the hugely successful first single from the Arkansas band's Fallen CD. Once again, the band is wildly over the top. Shooting for a cold, futuristic sound, Evanescence throw together crunching guitar chords, atmospheric keyboard effects and Amy Lee's overdramatic art rock vocals as well as strings and layers of backup singing. Lee again sounds like a self important, hysterical version of Sarah McLachlan or Tori Amos. Brian Moody's sledge hammer guitar playing is pretty uninteresting and his short solo pretty awful. Hopefully the novelty value of Evanescence's theatrical music is fast ebbing and they're not a harbinger of a wave of female led melodramatic neo grunge bands. Going Under's lyric is slightly surprising. Lee sings about all the pain her lover has caused but also vows that she'll "save myself" and "won't be broken again."
Good Charlotte-Girls And Boys(up 9 positions)
Good Charlotte's previous singles were fast punky pop. Girls And Boys, the third hit from the Young and the Hopeless CD, shows that Good Charlotte can make fun, kind of dopey music in different styles. Girls and Boys uses sounds from the shiny pop of the early 70s and late 80s. Girls and Boys is ridiculously catchy. The band keeps a string of hooks coming. Girls and Boys has a primitive sounding keyboard line reminiscent of Gary Numan's Cars. The climactic guitar break is like the one on Rick Springfield's Jessie's Girl. The chorus, with its crunching power chords, has the simple exuberance of a good emo song(e.g. Jimmy Eat World's Lucky Denver Mint). Singer Joel Madden doesn't have much range. His vocal isn't versatile enough to match Girls and Boys' transitions but his basic yelling matches the song's simple, upbeat feel. The lyric is fairly harsh for a perky pop song. Joel sings that girls atttracted to wealthy guys are "losing their souls in a material world." But the cynical lyric hardly detracts from Girls and Boys' lightweight charm.
Red Hot Chili Peppers-Dosed(down 1 position)
I try to stay away from bad critic cliches but the fourth chart hit from the Chili Peppers' By The Way CD really invites me to write things like every time I listened to Dosed, I dozed or it sounds like Anthony Kiedis got a bad dose of something. The bottom line is Dosed is a bore. Dosed has a lot of nice and pretty things but it's really lightweight and Kiedis' vocal is quite awful. Kiedis uses a vague, odd, wimpy falsetto that makes him sound like he feels sick to his stomach. The good parts of Dosed are John Frusciante's smooth, sweet guitar playing and a nice uplifting chorus with good harmonies. Dosed has a kind spirit but the verses are lame and the whole song is very tame. With every song fit for easy listening radio, it becomes more unclear how the Chili Peppers have maintained their image as raucous rockers and why modern rock radio and their older fans haven't abandoned them. Dosed's lyric partly explains the song's melancholy mood. Dosed apparently is about a woman who died after working her magic on Kiedis.
I'm guessing that even some of the millions who stuck with Radiohead for their atmospheric sonic experiments on Kid A and Amnesiac found it trying to find the brilliance among the pretension and obscure experimentation. Hail To The Thief isn't a group of catchy pop songs bit it does have a bit more song form than its predecessors. It's a little closer to Radiohead's first three records, which communicated alienation in challenging but somewhat accessible rock songs. There There is one of the band's most focused recent efforts. It's a fascinating mix of evocative textures that creates a haunting effect. There There starts with Phil Selway's muffled tom toms and clicking beat. Jonny Greenwood comes in with a tense, circular riff then he's joined by Colin Greenwood's solid bass line. Distorted or muted backing vocals pop in and out. One of the worst things about Kid A and Amnesiac was the tendency to deemphasize guitars. Jonny Greenwood and Ed O'Brien's guitars give substance and form to Thom Yorke's meanderings. There There slowly works its way towards a cathartic, chiming guitar riff which clashes with a harder guitar line. Yorke's vocal, of course, is the vehicle that carries There There and most of Radiohead's music. Depending on my mood and its context, I can find Yorke's needy, sensitive tuneful whine beautful or very irritating. Regardless, Yorke's ability to immerse himself in a song is fascinating. There There is apparently a love song of sorts. Yorke sings about "walking in your landscape" and tripping on broken branches. He says "heaven sent you to me" but also warns of sirens "singing you to shipwreck." There There ends with a familiarly gloomy line("we are accidents waiting to happen") but also has a startlingly creepy reference to phantom limbs("just because you feel it doesn't mean it's there") that, coupled with the dislocation in Yorke's voice, is a reminder of Radiohead's gift for original, striking images.
Pete Yorn-Crystal Villagebuy it!
Crystal Village is the second chart hit from Pete Yorn's second CD Day I Forgot. Crystal Village is the best song on the not bad but not great CD. Jeff Buckley is clearly a role model for Yorn. Yorn has often tried to emulate Buckley's intensity and the thrills Buckley was able to produce with dramatic songs that swooped back and forth between quiet and charged. On Crystal Village, Yorn achieves that kind of excitement. Like most of Yorn's best songs, Yorn creates a rich sound playing multiple instruments along with R. Walt Vincent. Crystal Village's music is theatrical but not overdone. Crystal Village builds and adds compelling emotion. It starts out with only a finger picked guitar then adds Yorn's drums, Vincent's string effects and, finally, slashing electric guitar, to epic effect. Yorn's deep, heavy voice can be too much when he doesn't have an interesting song. But on a great song like Crystal Village, Yorn's singing completes a powerful, sweeping sound. Crystal Village is apparently about Yorn trying to resuscitate a relationship that "was good in the beginning" by taking his partner's hand and showing her bright "lights arranging twilight sages."
Justin Timberlake-Senoritabuy it!
Justin Timberlake has impressively moved on from being a member of a very successful singing group to being even more successful as a solo artist. Even more impressive is that Timberlake has escaped N Sync's squeaky clean, lightweight pop image and built some cred as an r&b singer. A lot of credit for Timberlake's makeover has to go to The Neptunes(Pharrell Williams and Chad Hugo), who wrote and produced seven songs on the Justified CD including Like I Love You, Rock Your Body and Senorita. Senorita, Justified's fourth hit, is insubstantial and not that impressive but it(along with Timberlake's nice contribution to Black Eyed Peas' Where Is The Love) helps solidify the idea of Timberlake as a respectable artist. Unlike some of Timberlake's previous singles, Senorita doesn't show a need to overwhelm us with overdone instrumentation or breathless Michael Jackson imitations. Senorita is a smooth ride with relaxed confidence. The Neptunes again show their skill at putting together an appealing song. Senorita's chief asset is a very likable, easy keyboard riff. Senorita is also helped by a minimal percussive beat and touches of horns. Timberlake is once again aided by good, well placed backing vocals. Timberlake's singing seems fine. He's pretty charming, though I could do without the cocky guys/ladies finale. Senorita has a typical lyric. Timberlake tries to convince a woman that the guy who upsets her "doesn't love ya" and offers his "real love" in exchange.
R. Kelly-Ignition(down 2 positions)
Apparently, accusations of having sex with a minor and possessing child porn won't kill your career if you know how to put together good pop hooks. The Ignition remix, from Kelly's Chocolate Factory CD, is a great testament to Kelly's skills. Kelly's vocal quickly darts around the lyric and mixes up speeds to create different moods while staying very cool. The music has the smooth confidence of a soul classic with easy, fluid keyboards and a relaxed handclap beat. Kelly smartly uses backing singers, creating a moment of excitement with their toot toots and beep beeps. Kelly's lyric is pretty awful. The title comes from a charming sexual metaphor promising "to take my key and stick it in the ignition." Kelly's comeons have the usual brags about an opulent lifestyle and compare a girl to his Lexus and a football coach("the way you got me playin' the field"). Luckily, Ignition sounds so good that you don't focus on its silly words.
Coldplay-Clocks(down 5 positions)
Coldplay's singles from the A Rush Of Blood To The Head CD sound great in any context but they're especially striking on modern rock radio. Amid angry, testosterone fueled songs, the beauty of Coldplay's music is particularly welcome. Clocks has a wonderful dreamy feel. Strings and a synth provide an airy cushion while Chris Martin plays a simple but insinuating piano line. On some parts of Rush Of Blood, Martin is pretentious or annoyingly meandering but on Clocks, even as the song moves at a leisurely pace that accentuates its hypnotic appeal, Martin's vocal stays focused. Martin's typical sense of yearning works well on Clocks. Martin is apparently singing, as he does on many Coldplay songs, about a woman to whom "nothing else compares" who doesn't want to be with him and about being willing to wait for her to change her mind. He sings "you've put me down upon my knees", leaving him to "beg and plead" and "curse missed opportunities" but seems to retain a bit of hope.
Linkin Park-Somewhere I Belong(down 33 positions)
Linkin Park's new Meteora CD comes two and a half years after the release of Linkin Park's 8 million selling Hybrid Theory CD. Somewhere I Belong indicates that the band didn't use the time to develop new dimensions to their music and instead have done safe retreads of their hugely successful work. Somewhere I Belong showcases the vocal styles that established Linkin Park's identity but doesn't do much with them. Mike Shinoda's rap is particularly drab, stiff and uninteresting. Chester Bennington has more presence, working his trademark shriek but while he's intense, he's stuck in the same tone, never really going nuts like he has before. His lack of modulation makes his rage seem like meaningless griping. Somewhere I Belong doesn't grab your attention like Linkin Park's previous hits did. Shinoda is almost amateurishly wan while Bennington's parts are repetitive and don't go anywhere. The band again worked with producer Don Gilmore. The chorus is catchy with Brad Delson's guitar crunching into a hard but sleek wall of sound. But Somewhere I Belong lacks personality. The insistent blend of hard rock interjections and glossy pop brings to mind Nickelback's terrible hit How You Remind Me. The good news about Somewhere I Belong is that instead of just griping about emotional pain, the lyrics take responsibity and refer to wanting to heal. But maybe that calmer attitude explains Somewhere I Belong's lack of intensity.
Annie Lennox-Pavement Cracks(unchanged)
With Eurythmics, Annie Lennox was a playful figure with a good sense of a groove and an ability to work with many different types of music. Since she's gone solo, she's become old and boring, making various kinds of background music. Diva, her solo debut, sold a bunch of records but Medusa, Lennox's cover record, and her new Bare record don't have much of a point commercially or artistically. Pavement Cracks is a mess. It's got someone's idea of a hip, urban sound but it's quite lame. Pavement Cracks starts with overdone atmosperic instrumentation. After a sprinkling of piano, a generic disco beat comes in. There's showy guitar and Lennox does an awful "uh-huh" filled vocal that's supposed to sound streetwise. Pavement Cracks has a core of a sweetness when the music and Lennox's singing soften but, far too soon, Pavement Cracks reverts to mechanical backing and Lennox's vocal again grows cold. The lyric is overly poetic but it does have real sadness. Lennox sings about a world where "love don't show", "my water colors fade to black", "I'm going nowhere" and "my dreams have fallen flat."
Fleetwood Mac-Say You Willbuy it!
Say You Will is Fleetwood Mac's first record featuring Lindsay Buckingham and Stevie Nicks doing all new material in 16 years. It hasn't inspired too much interest but it has given us two good singles. Peacekeeper was distinctively the catchy/interesting/slightly weird work of Lindsay Buckingham. Say You Will's title track is a Stevie Nicks song with a likable feel that reminds me of her Gypsy. Say You Will is one of Nicks' best songs in a while. It has a familiar sound that's right for a beloved band that's been around for a while. Nicks' voice started out with a little rough huskiness. It's even craggier now but in a way that's comfortable and endearing. Say You Will is always pleasant. It rolls forward effortlessly on Mick Fleetwood's easy, rolling beat. But Say You Will's real charm is in an upbeat, infectious chorus that practically begs you to sing along. The chorus has harmonies between Nicks and Buckingham that work and feel real and definitely not too pretty. Throughout Say You Will, Buckingham throws out a series of compact guitar riffs that are smart, sometimes showy but always appropriate to the song. He helps create the chorus' joyful, soaring feel with a slowly climbing guitar part. Nicks' lyric is sweet if somewhat slight. She salutes the guy who "brought out something that I've never been since." She asks for another chance, confident that she can change his mind "if I can get you to dance."
Vendetta Red-Shatterdaybuy it!
Shatterday is from Between the Never and Now, the major label debut from Seattle's Vendetta Red. The intense sound of emo or screamo has already lost some of its freshness and largely become predictable. Still, the new popularity of bands making catchy, passionate music can't be a bad thing. Shatterday is an OK example of screamo. The way Shatterday is both vibrant and overwrought is reminiscent of some of The Used's music. Scatterday's chief attraction is singer Zach Harrison, who makes his personal investment in the song clear as alternates between tortured singing, yelling and shrieking. Scatterday's music is less interesting. It swings back and forth from quiet verses with a meaningful strum and a slightly bombastic chorus and bridge with guitars and drums crashing in. Even so, the music is more fun than a lot of the showy, assembly line hard rock around these days. Shatterday's lyric is, not surprisingly, both smart and overdone. The lyric tries too hard for significance with lines like "days are numbered 666" and "when you bit the bullet, I held the smoking gun" but I like some parts including the reference to Shatterday as a "loose lipped lullaby."