Nivea-Don't Mess With My Man(down 1 position)
Don't Mess With My Man is from Nivea Hamilton's Nivea CD. Don't Mess With My Man is quite lightweight but it's also quite likable. Don't Mess With My Man features Jagged Edge's Brian and Brandon Casey. It's got the easy feel of Jagged Edge's Where The Party At and I find Don't Mess even more enjoyable. With a catchy doodle of a synth riff and a steady beat, Don't Mess With My Man goes by easily. Nivea's voice is pleaant but doesn't show much personality. The Caseys add a little flair with their amiably macho contribution. The lyrics don't go much beyond the title's threat except that the Caseys repeat them and change genders.
Stone Sour-Bother(down 6 positions)
Stone Sour is a side project for Corey Taylor and James Root, Slipknot's singer and guitar player. Slipknot's intense thrash rock and theatrical presentation have gained them large record sales and live audiences but radio has largely ignored them. Bother, from the Stone Sour CD, is considerably more radio friendly than Slipknot's music. I'm usually amused and disgusted when hard rockers suddenly become mellow and sensitive. Bother has many of the trappings of the music that annoys me: strings and a very serious vocal and subject matter. While Bother kind of bores me, it doesn't have the excess of much rock balladeering. I'm not really interested in introspective, subdued rock songs about self hatred but I understand the appeal of Bother's restrained guitar and Taylor's genuine sounding sadness. Taylor sings about a pain that makes him wish he was too dead to cry. He chastises another for not bothering with him and himself for "my deceit." Bother has suicidal imagery but Taylor sings that, while he keeps "slipping farther", he "won't let go 'til it bleeds."
All-American Rejects-Swing Swing(up 9 positions)
The All-American Rejects are a young band from Stillwater, Oklahoma who fit somewhere within the emo genre. They share a love of a big, basic, upbeat, enthusiastic sound with Jimmy Eat World and other emo practitioners. Swing Swings mix of crunching guitars and shaggy goofiness brings to mind emo predecessors and godfathers Weezer. The way it adds cheesy keyboards to glossy guitar rock recalls an earlier generation of bands like Cheap Trick and Split Enz. Swing Swing is a good time, easily shifting musical focus from a jagged guitar riff to the keyboards to a good bass line. Tyson Ritter is appealingly earnest as he intensely yells. On Swing Swing, Ritter admits being devastated by a breakup but puts on a brave face, promising to find someone new.
Eminem-Superman(up 5 positions)
Superman is the third hit from The Eminem Show CD. In 2002 Eminem had his two biggest pop hits so far, Without Me and Lose Yourself, songs where the raps were so fluid and the music had so much momentum that it almost seemed irrelevant whether Mr. Mathers is a screwed up, misogynist jerk. Superman isn't as appealing. It gives a listener a chance to remember what's annoying about Eminem. On Superman, Eminem offers glimpses of his fast, smooth rapping skills but it's largely bad jokes and a fairly uninteresting, unvaried backing track. Superman is mostly stupid and pointless. It's basically about how "I'll never let another girl bring me down" and how he's basically resigned to a life of one night stands with "tricks" he'll more likely than not dis once they're done. In a mock sensitive voice, Eminem goofs on the idea of a caring guy "here to save you girl" and grow together with her. In case you don't get the joke, he follows that with "bitch, you make me hurl." He also says "don't put out, I'll put you." Dina Rae plays the role of the object of Eminem's affection and hostility. As often is the case with Eminem, you have to choose between whether to like him as a gifted artist or despise him as a hateful person. Superman, unlike most of Eminem's music, isn't musically likable enough to let you overlook his deficiencies. I don't really understand why Superman was released as a single(and why the mediocre rock rap of Sing for The Moment is the next single) when The Eminem Show has so many good songs(I would vote for one of the Hailie songs). And why isn't the fun, loose title track from 8 Mile a single? The main appeal of Superman is the insight it gives into a messed up brain. If you believe the lyrics, Eminem's experiences have made him so fearful and paranoid that he's doomed to shallow, unsatisfying relationships.
Sum 41-Still Waiting(down 1 position)
Sum 41's new CD is called Does This Look Infected? Sum 41 broke through with the youthful, poppy, punky hits from All Killer, No Filler CD. Still Waiting shows signs that the band is making the huge mistake of wanting to grow up and be taken seriously. Still Waiting's video reveals jealousy at the critical respect The Strokes receive. On Fat Lip, the band just demanded the chance to have a good, stupid time. Now they want us to believe that they're looking for "hope to believe" in a world full of hating. It seems clear that Sum 41 is best suited to make dopey, fun music and that's what people want from them. Still Waiting, with its attempt at lyrical significance and Derick Whibley's meaningful ranting, has an uncomfortable resemblance to the lesser work of The Offspring, whose music seems to get stupider the more they try to seem smart. Still Waiting does show benefits of Sum 41's new intensity. I don't love the darkness of the singing and Whibley and Dave Baksh's guitar but I do like that Still Waiting is fast, energetic and focused, without the foolishness that has made some of their music more cutesy than fun.
50 Cent-In Da Clubbuy it!
Curtis "50 Cent" Jackson's Get Rich Or Die Tryin' CD was preceded by all kinds of buzz. Eminem "discovered" 50 Cent, who had previously been signed and dumped by Columbia, got him signed to his label, trumpeted 50 Cent's talents and put his Wanksta on the 8 Mile soundtrack. Before the CD came out, 50 Cent's music was all over the place on mix tapes. 50 Cent had an image and street cred from a history of selling drugs, being shot numerous times and getting arrested. The good news is that 50 Cent's music lives up to the hype. In Da Club is an early candidate for single of the year. Where Eminem is wired and always trying to prove himself, 50 Cent's delivery is confidently low key. Still, there's a similarity in their ability to easily slide around the beat and establish a magnetic presence. 50 Cent comes on as laid back but he's sneaky quick with a rap that has staccato emphasis and a smooth, easy flow. Dr. Dre's deserves some credit for In Da Club's success. His production is great, putting together a great groove. Repeating a catchy synth riff, mixing up the way he presents it and putting a tight, ticking bass sound under it, Dre shows his ability to create a dramatic, exciting sound without letting things get cluttered or showy. With its steady, hand clap beat, In Da Club is also a great dance track. The lyrics are fairly standard gangsta rap, celebrating fancy cars and bottles of "bub" and Benz. In Da Club doesn't go beyond the standard objectification of women. 50 is "into havin' sex" and "ain't into makin' love." But In Da Club is mostly about enjoying his new success. 50 sounds like he's having a good time but he's not arrogant, saying he's "still on the grind", trying to get them "to love me like they love 'Pac." In Da Club is the sound of someone who's confident, at ease but still trying to prove himself.
Dixie Chicks-Landslide(up 10 positions)
I'm opposed to our military being led into a war, with very little international support, against a country that hardly seems to pose an imminent threat, where the result was bound to be some American military deaths, a huge number of Iraqi civilian deaths and a heightened anti-U.S.A. sentiment and terrorism risk. So after years of indifference, I guess I've become some sort of Dixie Chicks fan after seeing the beating the group took after Natalie Maines said, on the eve of war, that the Chicks were ashamed that the President is from Texas. It's not exactly surprising that a large portion of The Dixie Chicks' audience didn't take kindly to a remark that was strongly anti-war and anti-American. Before Maines' comment, the group was at a high point in their career. Home was another multimillion selling CD and Landslide was Dixie Chicks' first big pop hit. While Landslide is Dixie Chicks' first real crossover, their pop success is hardly a shock. Like many successful country artists, their music is often like easy listening pop. It's no secret that a lot of the top country artists of the last two decades are big fans of 70s easy California rockers like The Eagles and Fleetwood Mac. Stevie Nicks originally sang her composition on Fleetwood Mac's 1976 self titled CD. While Dixie Chicks' version has country instruments, the arrangement is nearly identical to the one from The Dance CD that Fleetwood Mac had a hit with five year ago. With a heavy helping of strings and innocuous acoustic guitar, Dixie Chicks' version is smooth but pretty bland. The main attraction is The Chicks' good harmonies. The steel guitar and Maines' slightly idiosyncratic lead(which is appropriate for Nicks' hippie poetry asking "can the child within my heart rise above") aren't bad either.
The Wallflowers-How Good It Can Get(up 10 positions)
I enjoyed When You're On Top, the first chart hit from the Red Letter Days CD, and its icy, synth dominated atmosphere and self loathing lyrics. How Good It Can Get is more standard Wallflowers fare. It's got a smooth, pleasant sound but it's nothing new. The lyrics are a nice message to a friend that things will get better. But How Good It Can Get is pretty insubstantial.
The Donnas-Take It Off(up 6 positions)
Take It Off is from The Donnas' Spend The Night CD. The four women in the Donnas met in school in Palo Alto. They had a rock band called The Electrocutes. The Donnas started as a side project and a bit of a goof. Inspired by Joan Jett's early band The Runaways, they presented themselves as hard rocking jailbait. The Ramones are another obvious influence for women who all call themselves Donna and play fast, hard music with as few chords as possible. Because their songs are so basic, musically and lyrically, there's a limit to The Donnas' appeal. Still, they kick the asses of the boys on both of their flanks. They rock harder and are much more fun than the self pitying whiners predictably recycling 1992 grunge and they're more substantial and grown up than the silly kids scoring lightweight punky pop hits. Take It Off is refreshingly direct. Donna A(born Brett Anderson) tells a guy to "stop starin' at my D cup" and "just feel me up." The boys should take note of The Donnas' ability to be confident without putting down their object of desire. Donna R(Allison Robertson) gives Take It Off its catchiness and heft by laying down a steady flow of time tested AC/DC or ZZ Top style guitar riffs.
Foo Fighters-All My Life(down 3 positions)
All My Life is from the One By One CD. It's long been clear that Dave Grohl won't approach the brilliance and significance with Foo Fighters former bandmate Kurt Cobain did with Nirvana. But Grohl has already achieved a longevity that Cobain sadly could never have and amassed a solid body of work. Foo Fighters have continued to make decent music and retain a fan base, even as the rock audience's taste has changed. Grohl's music has remained fairly uncomplicated and ungimmicky and he still has a good knack for a hook. While not obviously following trends, Grohl has also kept an eye on the competititon, most recently playing drums for good hard rockers Queens Of The Stone Age. Like a lot of Foo Fighters music, All My Life is not great but good. While it doesn't have their personality, All My Life is very reminiscent of the Foos' best intense rockers like This Is A Call, Monkey Wrench and Everlong. It's fast, fun and lean. Grohl keeps the crunching guitar coming. Grohl isn't the best singer but he's aware of his limitations and, as usual, it's a hoot when he whips himself into such a frenzy that he can't help but scream. On All My Life sings and rants about how he's always been "searching for something", presumably love, but the "something never comes." Haunted by a ghost of someone from the past, Grohl simultaneously rues and exalts in the fact that with women it's "done, done then one to the next one."
Dave Matthews Band-Grey Street(unchanged)
Grey Street is the third chart hit from the Busted Stuff CD. With Matthews pleasant, empathetic vocal, Grey Street has the comfortable, familiar, well played feel of a lot of Dave Matthews Band music. Leroi Moores sax and Boyd Tinsleys violin give Grey Street the lurching, stop and start flow of a song like Ants Marching. Grey Street is about a woman trapped in her home by depression. Matthews shows his knowledge of dynamics, letting the music rise as the character is offered an opportunity to experience the world. But just as the woman chooses to stay inside, Matthews mostly chooses to stay within his familiar, comfortable musical form.
Chevelle-Send The Pain Belowbuy it!
Send The Pain Below is the second chart hit from the Wonder What's Next CD by the band comprised of three born again Christian brothers from Chicago. The Red was a bit monotonous but it had a good, insinuating guitar riff and had a long run on rock radio. Send The Pain Below is less distinctive. It has the Creed feeling of being a pastiche of Pearl Jam and other grunge bands. At least singer Pete Loeffler doesn't come across pretentiously like Creed's Scott Stapp. He's thoughtful in an unshowy way as he sings about his ability to suppress his emotional pain. His low key guitar playing is appropriate to the lyrics' stark emotion. At times, the match of restrained but intense singing and basic, booming sustained chords remind me of Radiohead's Creep. But generally, Send The Pain Below doesn't have Creep's depth. It's so downbeat that it's hard to distinguish from the other songs where young men share their hurt. The similarity to other songs is accentuated towards the end when Loeffler goes into a Korn/Trust Company style rant("I can't feel my chest,drop down"). Send The Pain Below's message is oddly common in similar songs: you hurt me when you manipulated when we were together and I miss you. Send The Pain Below has an intensity that can be compelling but it's ultimately too indistinctive and humorless to keep my interest.
Beck showed that hes not just a studio genius obsessed with beat and samples on Mutations, a record of serious country rock, but he still surprised people with the mellowness of his Sea Change CD. Theres a difference of opinion out there about whether the subdued Sea Change is a subtly beautiful tour de force or kind of a bore. Still, its hard for me to imagine much criticism of Lost Cause, Sea Changes strikingly delicate single. With acoustic guitar and quiet, dreamy synths and chimes, Beck simply creates a moving mood. Becks downbeat vocal communicates Lost Causes mix of sadness and frustration with a screwed up friend hes tired of fighting for but also finds hard to leave alone. Lost Cause also suggests a touch of hope in slightly optimistic chord changes. Lost Cause is a fragile, thoughtful masterpiece.
Good Charlotte-The Anthem(up 7 positions)
The second hit from the Young and the Hopeless CD solidifies Good Charlotte's position as the most successful of the current large group of bands with punk attitude and a pop sound. Lifestyles Of The Rich And Famous was really stupid but Good Charlotte are generally among the most appealing members of their peer group. Good Charlotte's leaders, twin brothers Benji and Joel Madden, have a self deprecating charm and don't seem as dopey as some of the competition. The Anthem is smart enough to have it both ways, employing perky, simple music and mocking its simplicity. Similarly, The Anthem admits the banality of its message. Still, the lyrics about bring bored and misunderstood in high school and wanting to be different undoubtedly connect with the kids. Most importantly, with its fast pace and upbeat feel, has a fun sound. Benji's guitar lines are very familiar but good. The power chords flow around the song, supplying a bit of variation as their speed and intensity rise and fall. Joel's yelling is unpretentious and not too obnoxious. The Anthem is fairly dopey but its self effacing style and high energy lift it above similar songs.
JC Chasez-Blowin' Me Up (With Her Love)(up 1 position)
The fun, frenetic Blowin' Me Up With Her Love ensures that Justin Timberlake isn't the only N Sync-er finding solo success. While it doesn't indicate that Chasez will replace Timberlake as pop music's top hunk, I actually prefer Blowin' Me Up, with its sense of mischief, to Justin's carefully crafted hits. Blowin' Me Up is on the soundtrack to Drumline, a movie about competitions between school drumming groups that often infuse their synchronized performances with a hip hop sensibility. With its energy and big beat, Blowin' Me Up is a strong companion to the film. Deploying different riffs in different sections but maintaining a strong, stirring beat, Producer Dallas Austin(TLC, Boys II Men, Pink) creates an anything can happen feel and has more to do with Blowin' Me Up's success than its fairly innocuous singer. I don't love the way Blowin' Me Up starts with Chasez trying to sound cool but coming across a little lame. But the song improves as backup singers and beeping effects juice things up. Blowin' Me Up catches fire about two thirds of the way through with horns and drumline style percussion cueing Chasez to show a little more life as he proclaims "now it's on tonight." Blowin' Me Up is a fairly standard come on to a sexy girl in a club but the sleek sound emphasizes the lyric's sensuality.
Counting Crows-Big Yellow Taxi(up 4 positions)
Counting Crows' version of Joni Mitchell's Big Yellow Taxi was originally on the Two Weeks Notice soundtrack and wasn't on early pressings of the Hard Candy CD but it's now Counting Crows' biggest pop hit since Long December. There's something ridiculous about Counting Crows doing Mitchell's delightfully buoyant hit. Mitchell's vocal was light and playful and helped Mitchell's complaint about crass money grubbing ruining natural beauty go down easily. Adam Duritz can't help but sing in a mannered, self satisfied way. He's more relaxed than usual on Big Yellow Taxi but he's hardly as charming as Mitchell. The original's slightly subversive vivacity is replaced by smooth professionalism. Duritz shifts the focus from paving paradise to the lover's departure that led Mitchell to whimsically muse about how "you don't know what you've got 'til it's gone." The new version has a spare, pleasant sound and a crisp beat. Vanessa Carlton's brief ooh bop bop bops go a long way in softening the stiff feel Duritz creates. And you can't go too wrong with a song with that still has that great line about putting trees in a tree museum. But I really don't see the need for a smooth, string filled muzaky version of a classic.
Tori Amos-A Sorta Fairytale(down 3 positions)
Tori Amos had some mainstream radio success with songs like God, Silent All These Years and Crucify from her early solo CDs Under The Pink and Little Earthquakes. Recently, Amos' career has taken a slightly more obscure path, concluding with 2001's Strange Little Girls, her collection of songs originally done by guys. A Sorta Fairytale, supported by a bizarre video with an oddly poignant conclusion, is Amos' first hit in the four years we've been doing the All-Reviews top 50. A Sorta Fairytale, from Amos' Scarlet's Walk CD, is a nice reminder of Amos' gift for mixing melody, classicism and eccentricity. A Sorta Fairytale shows Amos' ability to subtly grab our attention. A Sorta Fairytale starts quietly with Amos' delicate piano playing and an effective, fairly inobtrusive drum machine beat. It builds a little on the chorus which has David Torn's good, simple guitar riff. A Sorta Fairytale also varies its subdued sound with a slightly brighter bridge. Amos sings slowly. Her vocal is restrained but her thoughtful, interesting personality still shines through. A Sorta Fairytale's sound matches its lyrics. Amos sadly relates how an apparent "life long thing" relationship was lost.
Jay-Z featuring Beyonce-03 Bonnie & Clyde(down 12 positions)
03 Bonnie & Clyde, from The Blueprint 2: The Gift and The Curse, is Jay-Zs biggest pop hit so far(yeah Im pretty sure its even bigger than that Hard Knock Life song). Not being the most knowledgable hip hop fan, I thought of Coolios Gangstas Paradise when I first heard 03 Bonnie & Clyde. Of course, the most direct influence on 03 B & C is Tupac Shakurs Me and My Girlfriend. Jay-Z reminds me of his fellow ultra successful entrepreneur P. Diddy. They both arent so skilled as rappers but get by with their spoken voice style on confidence and a forceful personality. Especially on 03 B & C, my votes with Jay-Z. His rap is fairly uninflected but it has an appealing directness and doesnt have the silliness and ego that can plague Diddy. With a good, steady beat and acoustic guitar riffs, Jay-Zs unstoppable vocal and the soft, sexy contributions of Jay-Zs real life girlfriend Beyonce Knowles, 03 B & C has an appealingly smooth, relaxed flow. The lyric paints a sweet picture of domestic bliss. Depicting he and B as the new Bobby and Whitney(an unusual choice of romantic role models), Jay-Z describes a relationship of free communication(except when Bs watching Sex and The City) where each would do anything necessary for the other and disses dudes that treat the one that you lovin with the same respect as the one that you humpin.
Good Charlotte-Lifestyles Of The Rich And Famous(down 9 positions)
I like twin brothers Joel and Benji, Good Charlotte's singer and guitar player, as hosts of MTV's All Things Rock. They're pleasant, self deprecating and not too stupid. I certainly prefer them to the blond bimbo who seems to have replaced them. But Good Charlotte's good nature isn't enough to make me like the single from their The Young and The Hopeless CD. Lifestyles Of The Rich And Famous feels a little stale. Wasn't the tv show the song's named after on more than 20 years ago? And the choices of famous people to exemplify famous person misbehavior, O.J. Simpson and Marion Barry, aren't exactly fresh. Lifestyles also suffers musically from similarity to other poppy punksters. If anything distinguishes Lifestyles from recent hits by New Found Glory, Sum 41, I'm missing it. With big, upbeat drums, high energy vocals and a catchy chorus, Lifestyles is pleasant and easy to listen to, like a perky cover band's version of Iggy's Lust For Life but it's so unimaginative and unoriginal that it barely gets my attention. Lifestyles Of The Rich And Famous has the punky/Robin Hood premise that since the rich and famous are self pitying, they deserve to be taught a lesson by having their mansions burglarized or being forced to live on the street. It doesn't address how a modicum of fame and riches will effect Good Charlotte though, in their defense, I don't think they'll be "always complaining." Good Charlotte seem like nice guys. Too bad their single's music and lyrics aren't more interesting.
Taproot-Poem(down 28 positions)
Poem is from the Michigan band's Welcome CD. Poem, made with Korn/Alice In Chains/Sevendust producer Toby Wright, has a state of the art sound. It's also like a lot of today's hard rock. Poem's driving, threatening guitar sound and touches of staccato and grunted vocal are reminiscent of Disturbed's angry, aggravating music. In general, Poem is familiar, edgy contemporary rock. Michael DeWolf's big, slashing guitar is, like the song, competent and hard rocking, but not particularly interesting. The only thing about Poem that gets my attention at all is Stephen Richards' vocal on the chorus which, especially when underlined by harmonies, has the rock theatricality of a singer like Alice In Chains' Layne Staley. Like so many rockers these days, Richards sings about his pain, telling us about an "overbearing panic attack" and a feeling that he's drowning. Poem apparently is about a bad breakup. Its good news is that the song "helps me to live."
Nirvana-You Know You're Right(down 18 positions)
Courtney Love's resolution of her legal issues with Nirvana and Geffen records has allowed the long delayed release of You Know You're Right, which is included on a greatest hits record called Nirvana. Kurt Cobain, Dave Grohl and Krist Novoselic recorded You Know You're Right, apparently the last song they did together, in late January, 1994, less than two months before Cobain killed himself. Like Nirvana's MTV Unplugged concert, You Know You're Right gets added resonance from being made so close to Cobain's death. Cobain's mix of resignation, flippancy and rage on You Know You're Right seems to foreshadow his end the way his sad weariness did on Unplugged. You Know You're Right feeds the fascination with Kurt's death. It reads like a suicide note. After singing "I have never failed to fail", Cobain repeatedly cries out the word pain. Cobain promises "I will never bother you" and "I will crawl away for good." You Know You're Right also seems like a kiss off to Courtney. The second verse, which Kurt sings with a choked up catch in his voice, includes the line "nothing really bothers her, she just wants to love herself." You Know You're Right makes me sad that Kurt was so troubled and sad that we don't get more of his music. You Know You're Right is a great reminder of the power of Cobain's music. His howl's edgy but focused force makes today's troubled rockers seem like whiners. Cobain's guitar is subtly brilliant, changing styles as the song's emotion ebbs and flows. On the chorus, Dave Grohl shows the fast, hard hitting drumming that helped Nirvana reach its artistic peak when he joined the band before they made Nevermind. You Know You're Right doesn't show that Kurt Cobain was moving in a radically different musical direction before he died but it shows he was still making vital music.
Matchbox 20-Unwellbuy it!
Unwell is the second single from the More Than You Think You Are CD. It's an improvement over Disease, a lame attempt at a rocker and pale imitation of Smooth, Rob Thomas' Santana collaboration. Unwell has the soothing, easy, well crafted sound that helped make the band big. The chorus is catchy and hard to resist. But generally, Unwell is bland. It's so tastefully innocuous that it barely registers. A banjo in the beginning and end adds a little flavor but Unwell could use a lot more. It doesn't help that Unwell, like Disease, is another tale of how screwed up Thomas is. Especially now that Matchbox 20 is an established, very successful band, Thomas' repeated tales of woe are increasingly tiresome. Unwell is more optimistic than some of them. Thomas thinks "I'm headed for a breakdown and I don't know why" but he also feels like he'll soon get things together.
Paul Simon-Father and Daughter(unchanged)
Paul Simon's projects of the last 10 years(The Capeman and You're The One) got relatively little mainstream attention but he's made our Top 50 for the first time and gotten an Oscar nomination for his song from the Wild Thornberrys Movie soundtrack. I'm a little creeped out by the fact that 60 year old Simon has a 7 year old daughter(with wife Edie Brickell) but I appreciate that she's inspired one of Simon's best songs in years. Simon has a history of overthinking things but on Father And Daughter he smartly keeps things simple. Though he Simon uses a full band, Father And Daughter feels like a low budget homemade labor of love. With a basic, chugging drum machine beat(credited to longtime Simon sideman Steve Gadd), Father And Daughter has an uncomplicated arrangement that lets Simon's sweet message connect. Father And Daughter's one adornment is a beautiful, shimmering guitar. Despite the presence of Vincent Ngiuni, Simon's guitar player since Rhythm Of The Saints, Simon apparently played the exotic sounding riff. As the father of the cutest girl in the world, I'm particularly susceptible to Father And Daughter's charms but Simon's heartfelt message of love should touch even the coldest heart. Simon's promises that he'll protect his daughter seem both personal and universal. And the chorus, featuring harmonies by Simon's 10 year old son Adrian, with its "there could never be a father who loved his daughter more than I love you" hook perfectly distills the song's direct, unembarrassed sentiment.
Simple Plan-I'd Do Anything(unchanged)
Blink 182's progeny keep coming with good spirited, stupid punky pop. I'd Do Anything, from the Montreal based band's No Helmets, No Pads ... Just Balls CD, is notable since, unlike the genre's recent batch of hits which crossed over from the modern rock charts to the pop charts, it first found success at pop radio. Kid friendly, fast, dumbed down punk has become a significant part of today's standard top 40 playlist. Simple Plan share with Blink, Sum 41 and so many others a youthful image, unimaginative lyrics and a good sense of a hook. I'd Do Anything supplies a simple version of an already very basic style. Singer Pierre Bouvier are particularly bratty and unskilled. The guitar lines predictably crunch, wail and gallop where you'll expect them to. I'd Do Anything copies the form of a Blink 182 rocker right down to the break that precedes the chorus' last round. The upside of I'd Do Anything is its sunny, high energy feel. I'd Do Anything also avoids the showy goofiness that can infect the music of bands like fellow Canadians Sum 41. In its lyrics and delivery, I'd Do Anything is unpretentious and good natured. Bouvier offers to do anything to get back a former love.
Alone is on the Boston bred singer/guitarists second record: Wait For Me. On Alone, Susan Tedeschi sounds a lot like Bonnie Raitt. I dont know if Tedeschi has Raitts vocal talent but she has her relaxed confidence. Like Raitt, Tedeschi has a love of the blues that helps her seem comfortable rather than showy in trying to emulate the style of her heroes. Alone is quite a bit like Raitts 2002 single I Cant Help You Now. Unlike in that song, where Raitt told a guy who dumped her then asked for a second chance that he was too late, Tedeschi admits her loneliness, takes the blame for their problems and asks him to come back. The lyrics make Tedeschi seem like a doormat but her self assured vocal keeps her sounding strong. Alone was written by Tommy Sims, who cowrote Eric Claptons Change The World. Alone resembles Change The World. Alone isnt particularly original and theres a sense that, with its smooth sound, tasteful horns and minimal keyboards, its designed to be an easy listening hit like Change The World. But while Alone isnt exciting, Tedeschis singing and unshowy guitar playing keep things cool and likable.