Tantric-Mourning(down 1 position)
Mourning is the third chart hit from the debut CD by the musicians who have recaptured success after getting kicked out of Days Of The New while Travis Meeks' second version of Days Of The New has sunk without a trace. It's a shame that Tantric's tale of resurrection isn't accompanied by better music. Tantric seem like decent musicians but they're making very standard angry rock. Hugo Ferreira, the singer the ex-Days picked, is just another intense, deep sub-Vedder voice. The lyric starts by claiming he's learned about himself and can deal with another woman hurting him but soon accuses her for "all the lies" and how she "conned me into thinking that all I had was you."
Tool-Lateralus(down 1 position)
After seven months, Schism has finally ended its chart run, only to be replaced by the title track from Tool's Lateralus CD. Lateralus is a similarly angry, sprawling work. I don't find Lateralus as striking as Schism. Lateralus is typical of Tool's work as it combines art rock and heavy metal. Lateralus methodically moves forward, starting with percussive atmosphere and building into a harder sound with crunching power chords. Maynard James Keenan's howls with a great sense of meaning. But Lateralus does have good intensity and texture and Lateralus' lyrics are actually kind of hopeful. Keenan castigates himself for missing opportunities by ignoring his intuition and overthinking and overanalyzing. He urges himself to "cross the line" and look to life's "infinite possibilities."
Craig David-7 Days(up 13 positions)
I'm somewhat surprised that Craig David has been able to replicate his British success in the U.S. With Fill Me In's reference to an answer phone and 7 Days' lyric about a six digit phone number, David is awfully English and the appeal of his music is quite modest. I guess David's easy confidence and his smooth, mild music is irresistable to ladies on both sides of the Atlantic. 7 Days, the second hit from David's Born To Do It CD, uses the somewhat hackneyed formula of reciting the days of the week to describe a fast moving relationship. After cockily bragging about how quickly he got her into bed, David spends the rest of 7 Days trying to convince her that this isn't just a one night stand. 7 Days' backing of acoustic guitar and a mellow beat is tasteful and a touch boring. David's vocal has a relaxed charm but I find his lady killer act a little smarmy.
Incubus-Nice To Know You(up 6 positions)
The Morning View CD's second chart hit reminds me of its first, I Wish You Were Here. Both songs, like most Incubus tunes, have some hard rock trappings and a bit of hip hop but are otherwise pleasant pop. Nice To Know You alternates between rougher patches with a driving beat and record scratching, choruses with a big rock guitar sound and bridges with an upbeat folk rock feel. Incubus aren't particularly important or as tough and edgy as they think they are but their music is pleasant, inoffensive and flavorful and it does a decent job of bridging the gap between different musical styles. Nice To Know You's music and Brandon's Boyd's lyrics, about beginning to experience and enjoy life again, have the same vaguely spacy, positive sense as much of Incubus' work.
Jimmy Eat World-The Middle(up 1 position)
The title track from the Arizona based band's latest CD was close to the top 50 when September 11 came and radio stations and Jimmy Eat World's record company decided people didn't want to hear a hard driving rocker called Bleed American. The second single from Bleed American is much lighter poppy punkish fare. Jimmy Eat World's sound has been called "emo-core". If that means they're sincere and energetic and make fast, clean rockers, I guess it's an accurate label.With a tight, stuttering guitar, a steady bass line and Jimmy Adkins' sunny vocals, The Middle has a likable exuberance. The Middle's lyrics advise a girl to ignore the feeling that others are looking down on her, promising that "everything will be all right". The music carries a similarly optimistic spirit.
Alicia Keys-A Women's Worth(up 5 positions)
Inevitably, the novelty of Fallin's clean, retro sound faded after dozens of listens. And I've seen enough of Alicia Keys' blissfully confident face. Still, Keys' singles are oases of thoughtful, real sounding music in the fake, overproduced world of top 40 radio. A Women's Worth, like Fallin', has a smart sound that, with touches of atmospheric keyboards, percussion and psychedelic guitar, obviously alludes to classic mellow late 60s and early 70s soul but also shows Keys' smart, cool personality. Keys has a good voice but she again cleverly fills out a minimal sound with good backing vocals. Keys' lyrics advise men that the best way to win her and women in general is to treat them with respect. They naturally fit the song's easy but self assured sound.
Ja Rule-Livin' It Up(unchanged)
Livin' It Up, the second hit from the former Jeff Atkins' Pain Is Love CD, is an easy, slight, enjoyable song. The best thing about Livin' It Up is the melody line taken from Stevie Wonder's Do I Do but everything about Livin' It Up gives it a likable flow and a positive feel. Irv Gotti's production, with a simple, steady beat and keyboards repeating the Do I Do hook, keeps things moving enjoyably. As on the second version of Jennifer Lopez' I'm Real, Ja Rule's edgy, throaty voice is nicely contrasted with a sweeter, less dynamic singer as he alternates lines with Case on the chorus. Ja Rule's rap has a typically rough edge but it fits well within pop confines and gives the song a good momentum. On Livin' It Up, Ja Rule notes his suspicion that "ladies just wanna hold the name Ms. Atkins" but tells his woman "I'mma love"and that their relationship "ain't your typical, everyday, one night thing." He also salutes "all my thugs that be living it up."
System Of A Down-Chop Suey(down 4 positions)
Finally, after so many serious, self pitying, soundalike bands have dominated rock radio, a hard rock band has a hit that sounds different and shows a sense of humor. With tough guitars and hardcore fast drums, Chop Suey, from the Toxicity CD, has the chops necessary to keep the headbangers happy but it's also refreshingly weird. Serj Tankian's over the top vocal takes Chop Suey all over the map, starting as a punk rant, slowing down for a meaningful croon that may be mocking his self important contemporaries("I don't think you trust in my self righteous suicide") and eventually shifting to a spacy, gothic conclusion.
Alanis Morissette-Hands Cleanbuy it!
Morissette made her name in her very early 20's with You Oughta Know, an angry note to a guy who dumped her for another. Now in her late 20's, she introduces us to her new Under Rug Swept CD with a less emotional (no memories of oral sex in a theatre in this one) but still angry look back at a now finished personal and professional relationship. Hands Clean seems to be about Glen Ballard, who produced and cowrote most of the songs on Morissette's last two records but is conspicuously absent from Under Rug Swept. Hands Clean remembers a condescending("if it weren't for me you would never have amounted to very much") older producer who seduced her then dumped her. Clearly, Alanis wants to show she can make it alone. She wrote and produced Under Rug Swept on her own and played most of the instruments. She did a good job on Hands Clean, making it sound familiar and fresh, smoothly shifting from verses with rapid torrents of confession to smooth, harder rocking choruses. Hands Clean is fairly disposable and similar to, if slightly tougher than, previous Alanis songs like All I Really Want and Head Over Feet but the sound is full, catchy and always moving forward.
Enrique Iglesias-Hero(down 11 positions)
Hero, from Iglesias' Escape CD, is another song that's found a September 11 connection. Some TV stations used it with footage of World Trade Center rescuers and Iglesias sang it at one of the benefit shows. Hero is actually a sappy love song with Iglesias selflessly offering to be a romantic savior. Iglesias slowly and seriously intones the lyrics, sounding a little like he's pronouncing them phonetically. The music starts fairly minimally but builds to an unsubtle conclusion with big, sweeping strings. That said, Hero isn't as cheesy and synthetic sounding as much of Iglesias' English language work. It does what it's supposed to with emotional romance novel imagery of an exotic Latin lover that's bound to appeal to millions of women.
Jennifer Lopez-Ain't It Funny(up 4 positions)
Ain't It Funny, the fourth single from the J. Lo CD, is pleasant, innocuous dance pop. With a touch of Latin flair, Ain't It Funny is similar to Madonna's La Isla Bonita but its rigid beat and repetitive, schematic shape mean it's less interesting. It seemed like a joke that Jennifer Lopez' last single was called I'm Real. Lopez' music has generally wrapped her voice in electronics, hiding her real voice in thick production. But Ain't It Funny and the Ja Rule version of I'm Real have given us a closer look at Lopez' voice. Lopez' vocal on Ain't It Funny sounds like her speaking voice. It's a little thin and whiny but at least it's fairly real, at least until the studio vocal pros take over on the slick, familiar chorus. Ain't It Funny is about trying to overcome differences and memories of romantic failure to make a relationship with a seemingly perfect guy work.
The Strokes-Last Nite(unchanged)
Quite a bit of hype, largely created by the British music press, surrounded the Strokes before they even had a record out. The hype is mostly justified by Is This It, one of the best CDs of 2001. Fans of late 70s/early 80s new wave are especially likely to enjoy Is This It's deft constructions. Julian Casablancas is appealingly confident as he channels cool alternative crooners like Lou Reed, Ian McCulloch and The Fall's Mark E. Smith while Nick Valersi lays down tight, jagged guitar lines reminiscent of Gang Of Four and, especially, Television's Richard Lloyd. Last Nite is kind of like Iggy Pop singing over Tom Petty's American Girl. With its steady, jaunty strumming and sturdy bass line, Last Nite is a good example of the Strokes' fun, basic sound. Last Nite is about having enough and walking away from a girlfriend who feels "so down" because no one understands her.
Toya-I Do(down 5 positions)
I Do, from the St. Louis singer's debut Toya CD, is fairly standard dance pop with a familiar story of a woman trying to entice "a six foot stallion with the story of a thug" that she sees on the dance floor. I Do isn't ground breaking but it does have a pretty interesting, steady sound with chiming effects and a minimal, percussive beat.
Alien Ant Farm-Movies(unchanged)
Movies was actually the first single from the Anthology CD. It spent a couple weeks on the chart last spring. After the success of Alien Ant Farm's nasty but ingenious rocking cover of Smooth Criminal, Movies is getting another chance. Movies again shows the band's skill at making music that's rocking but catchy. As on Smooth Criminal, a lot of the credit should go to Terry Corso, whose alternately stuttering and booming guitar playing gives Movies a big, energetic sound. Movies doesn't quite have Smooth Criminal's momentum and I find Dryden Mitchell's vocals somewhat obnoxious. Still Movies, about suggesting a graceful end to a relationship that's gone wrong, is an appealingly buoyant rocker.
John Mellancamp-Peaceful World(down 6 positions)
More than two decades into his career, John Mellancamp mostly works in adult contemporary mode but he still has an uncanny knack of making appealing singles. As on his good cover of Wild Night, Mellancamp works with a distinctive African American singer and produces a very likable result. Mellancamp is sometimes stupidly self righteous, pretentiously speaking lines decrying hypocrites and saying he's "sick and tired of being politically correct" but India.Arie's vocals provide a nice balance. They're serious but warm and unaffected and right for the song's utopian message. The music on Peaceful World, from Mellancamp's Cuttin Heads CD is also good, with a loose, edgy beat.
Ja Rule-Always On Timebuy it!
Jeff Atkins is ubiquitous these days. While Livin' It Up was still on the chart, Always On Time, the third chart hit from his Pain Is Love, crossed over from the R&B charts to the pop charts. Like Livin' It Up, Always On Time is lightweight and enjoyable. Ja Rule's rough vocal is again matched with a much more melodic voice. The music is easy and enjoyable with a relaxed beat, a good guitar riff and sweet vocals from Ashanti and background singers. Always On Time is pretty stupid, bragging about Ja Rule's talent as a lover("I got two hoes" "and I keep 'em drugged up off that ecstasy") while he apologizes for behavior that led to restraining orders and asks for another chance. Ja Rule's rapping skills are little more than competent but he and producer Irv Gotti have hit upon a successful formula. His voice adds edge but doesn't overpower his smooth, tuneful music.
Nelly Furtado-Turn Off The Light(down 4 positions)
On her second single from the Whoa, Nelly CD, the Portugese-Canadian singer is again a cool, refreshing presence on pop radio. Turn Off The Light has an even looser feel than I'm Like A Bird. Furtado's vocal is easy and appealing. Turn Off The Light has a trippy feel with ringing synths and record scratching but it also has good, tight beats. On Turn Off The Light, Furtado says she acting tough after a breakup but when she's on her own at night she's troubled and lonely.
With its provocative justification of prostitution as a way to support a family and its smart, sleek sound, What Would You Do was a striking debut from City High's self titled CD. Their second chart hit Caramel is O.K. but less interesting lyrically and musically. While similar to other recent music, Caramel's music isn't bad. It's smooth, mellow hip hop with Claudette Ortiz' appealing vocal, a good, uncluttered sound and a crisp, restrained beat. The lyrics are pretty dopey. It starts with Ortiz' self satisfied description of herself. We learn that she likes "going out, taking walks and stuff", has everything she wants and(exactly like Mya on her 2000 hit Free) is happy being "5'5" with brown eyes." Then comes an even stupider section where one of City High's male singers invites a girl to "spend the night popping" champagne in the hot tub. On the remixed single, guest rapper Eve lifts the song from its complacency with a good, feisty rap, telling us she's not about "gift chasin'" and not impressed with champagne poppin'.
Without resorting to too much novelty or commercial pandering, Nelly is already one of the most successful rappers, in terms of pop hits, of all time. Nelly's appeal has partly been in his use of familiar gangsta rap tough guy imagery but the most obvious reason he's done so well is that he's a good rapper. On #1, from the soundtrack to the movie Training Day, Nelly is again fast and fluid with a good edge and personality. #1 wisely keep things fairly simple with a steady beat and a good synth riff. Having established his cred and sold millions of copies of Country Grammar, Nelly doesn't feel the need to show his love for bullets and blunts like he did on his earlier hits. But Nelly is still more appealing for his skills than for the personality his lyrics reveal. #1 is about making sure he's treated with the proper respect, boasting about how rappers want to be like him and dissing critics and less successful competitors.
John Mayer-No Such Thing(up 1 position)
With its very mild sense of rebellion and Mayer's pleasant, modest vocals No Such Thing, from the Room For Squares CD, is perfectly designed for adult contemporary radio. No Such Thing reminds me of previous well made, easy rock hits by aging young white guys like Marc Cohn, Sister Hazel and Mayer's current competitor, Five For Fighting. No Such Thing's whimsical lyrics gently protest a world that tells you "stay inside the lines" and proclaim that "the real world" is "just a lie you've got to rise above." The first hit from the Atlanta based singer/songwriter is smoothly genial but very familiar and mild.
Eddie Vedder-You've Got To Hide Your Love Awaybuy it!
The I Am Sam soundtrack is all covers of Beatles songs. Most of the music, like Rufus Wainwright and Aimee Mann & Michael Penn's contributions, is nice and well made but extremely predictable. I wish more of the artists were a little less respectful and took some more chances. Eddie Vedder's You've Got To Hide Your Love is quite good but also basically what you would expect. As usual, Eddie is serious and deep voiced though not as serious and deep voiced as he can be. It's just him, his acoustic and a little of his harmonica on a pleasant throwaway version of John Lennon's brilliantly simple evocation of the pain of getting dumped(and feeling like the world is laughing you) after you've trusted love and made yourself vulnerable.
Ginuwine-Differences(down 2 positions)
There have long been smooth R&B lover men willing to show vulnerability to convince a woman they'll be a sensitive, caring partner. But on Differences, from his Life CD, Ginuwine(born Elgin Lumpkin) kind of strikes me as a wimp, especially in the context of the creepy video showing Ginuwine serenading and worshipping his dream girl in a glowing Heaven-like setting. Differences is nice but boring, stating over and over that "my whole life has changed" and "you are so sweet." Ginuwine's vocal is good, starting smoothly and ending intensely but Differences' music is ultra mellow. The soothing backing vocals and synths are a big yawn.
Chris Isaak-Let Me Down Easybuy it!
While Chris Isaak seems like a mellow guy, he obviously has savvy businessmen behind him. In January, Isaak achieved big time synergy as, nearly simultaneously with the release of Isaak's new Always Got Tonight CD, Showtime began the second season of Isaak's genial, slight rock sitcom and VH1 played a marathon of the show's first season. In 1985, Isaak came on the scene with his spare, haunted, Roy Orbison influenced Silvertone record. Since then, Isaak has mostly omitted the raw, stark feel but, especially since Wicked Game gave him his one big hit, otherwise continued to make the same kind of moody, adult, country flavored records. Isaak's songs often involve Isaak getting his heart broken and/or being haunted by the memory of the ideal woman who left. While Isaak's music is predictable and a little too smooth, it's still good. His songs are well played and have good atmosphere. Isaak's vocals are cool and self confident with a self deprecating charm that also suits him well(despite minimal acting skills) on his sitcom. Let Me Down Easy is similar to Somebody's Crying and other mellow midtempo Isaak songs but it's likable. Let Me Down Easy has a mechanical beat but it has a good ringing guitar riff. On Let Me Down Easy, Isaak again broods about falling hard for a woman who doesn't reciprocate his feelings.
Travis still haven't really had their U.S. commercial breakthrough and the UK sales of their Invisible Band CD haven't reached those of their massive The Man Who but their music, if anything, is improving. As with The Man Who, I find much of the latest CD too blandly mellow but I enjoy The Invisible Band's U.S. singles: Sing and Side. It makes sense that Side took months to make the top 50. It's subtle and not flashy but holds up to repeat listens. Side has a good, textured sound with layered, chiming guitars and light, airy keyboards. Fran Healy's vocals are typically modest and unspectacular. The lyrics are OK; they advise us not to get hung up on envy and foolish goals and to realize "there is no wrong, there is no right."
Neil Young-Let's Rollbuy it!
You probably know that the song from Young's upcoming Are You Passionate? CD refers to perhaps the most amazing story of September 11th: the actions of UA flight 93 passengers who prevented the loss of more lives by overpowering their hijackers. They were directed into action by Todd Beamer who called out Let's Roll. The phrase has been since used, I say somewhat exploitatively, by President Bush to rally support for the war effort. Others have also seemed to use the 9/11 tragedy for their own purposes. I'm sick of seeing Paul McCartney sing his simplistic, bizarrely jingoistic(has he forgotten he's English?) Freedom, which coincidentally came out as he was promoting his new record. It's been noted that Neil Young has become considerably more conservative since he sang in Ohio about Kent State students getting gunned down but it's clear that Let's Roll is an uncalculated visceral reaction rather than some sort of political statement. Last fall, Young went into the studio with Crazy Horse guitarist Frank Sampedro and Booker T and some of his MGs. Let's Roll has an approriate emotional, edgy feel. The music suggests an impromptu, personal response, ranging from a big, crunching guitar sound to quiet patches where Young's thin, pained voice is even rawer than usual. Let's Roll is a little macho for my liking with lines about having to "do what we gotta do", rolling "for freedom" and "goin' after Satan on the wings of a dove" but I still appreciate it as a poignant, real take on unimaginable events.