Corrine Bailey Rae resurfaces back on to the music scene with “The Sea”, whose calming waves bring to the surface Rae’s emotion driven album that showcases a growth in both her songwriting and vocal prowess after turbulent times.  Bailey Rae who co-produced the album has brought together a new batch of musicians that create a brighter and more expressive sound for the soul instrument that is Bailey Rae’s voice. Her expression and dynamic storytelling give “The Sea” a moving tribute to the matters of the heart and the process of love and loss giving it depth and consistency. Although loss and grief are recurring themes, Bailey Rae balances the shadows with light with beauty and wonder.  The second release from the song stress was worth the wait.

Corrine showcases her range altering from deep, breathy vocals with a sultry femininity to a childlike whisper, which can be heard on the album’s first track “ Are You Here”.

“ Are You Here”, reveals that childlike, babyish side to her vocals. A relaxed mix of R&B and Jazz, you can just envision yourself in the Deep South sitting on the sun porch with a glass of sweet tea. The only drawback to the song is that her voice is not present enough in its dynamics and sound at times Rae’s voice still sounds muted. Overall however, it shows growth for Rae as a singer and songwriter. The refreshingly simple arrangements combined with complex jazz inspired chord progressions give the album with it’s largely organic, acoustic feel style and grace.  Songs like “ The Blackest Lily” and “ Love’s On It’s Way” show a darker side of the song stress, and the sense of loss or control we sometimes feel over ourselves, others and life in general.

“ The Blackest Lily” has a sexy rock vibe with a disco feel that exudes soul, style and substance making it one of the strongest and most distinctive tracks on the album.

“ Love’s On It’s Way” is similar to “ The Blackest Lily” in that they share a dark undertone but differ greatly in their arrangement and composition.

With “ Love’s On It’s Way” Rae takes a bare bones approach using piano and minor chords, which produce a dark, melancholy and beautifully haunting portrayal of what it feels like to lose it all. Full of emotion and sadness, it encompasses what the message and emotion of what the albums about.

Bailey Rae proves herself with this her follow up to her debut and will have critics and fans alike praising her efforts while enjoying them.

Transference, the redirection of feelings and desires, which is both the title and focus of Spoon’s seventh album and latest release. Spoon is more of a hands on band creating the record without the help of an outside producer, but it seems like Spoon has had a do-it-yourself attitude since their inception.

Formed in late 1993, by lead singer Britt Daniel and Drummer Jim Eno. Eno describes Spoon’s music as “rock and roll” and rightfully so.  However, Spoon manages to keep their appeal and versatility by mixing punk and pop creating music with an alternative edge.  Now with this latest album, Spoon has seemed to hone in on the sound and the music they want to make, music that has progressed with in both its maturity and melody using “soft effects” to creating minimalist approach to their music. But that’s not saying much considering their back catalogue.  Spoon is making the music that makes them happy, and has deviated from a sound that defined them in the past that might be a surprise to both newcomers and longtime fans of the band. Overall the band’s do-it-yourself attitude is their downfall here. Sloppy production, raspy and sometimes inaudible vocals make this album sound more like a demo than an album.  There are not many songs on the album that save it but a few that deserve honorable mentions including, “ Goodnight Laura” “ Got Nuffin”, “ Nobody gets me but you”.

“ Goodnight Laura” has to be the biggest surprise on the album in that is very different than the record’s rock vibe. A ballad, this song is well thought out and arranged. It’s Daniels being raw, honest and wearing his heart on his sleeve devoid of the cynicism and sarcasm Daniels has displayed in the past. Here Daniels is baring his soul for all to see and will surely become a fan favorite.  On the other end of the spectrum, spoon brings the rock back with “Got Nuffin”.

“ Got Nuffin” is the first single off the album and a good choice considering the rest of the songs on the album. However, from the first beat of the drum there is an obvious lack of polish to the song. It’s dark and edgy but lacks structure and tone.  Spoon closes the album with “Nobody Gets Me But You’ which gets its influence and sound from rock past.  With a strong seventies flavor and tone, the drums and bass make the song tolerable but it’s constant dissonance  and overall disposition of the album make it instrumentally tense, angst-ridden  and confused.  Spoon might have made themselves happy but will most likely disappoint many of it’s listeners. Before purchasing the album, I suggest listening to it as well as their previous work online.

Like their first album, Vampire Weekend’s latest release is the realization of a unique musical vision that sees the band stretching out and adding new textures, instrumentation and rhymes into their sound.  The album which was primarily recorded in New York but also included a stay in Mexico where they found inspiration and added a little Spanish flair to the mix with the first track off the album “ Horchata”.

“ Horchata is a Spanish inspired drink that is primarily made with rice, vanilla and cinnamon, like the drink it’s the flavor and tone of horchata is fresh, summery and like nothing else. A great opener that sets the tone for yet another poppy release from the band. The use of marimba fits the song perfectly.   This album seems to have Vampire Weekend looking on the sunnier side of life because another must listen to tune that follows a similar theme is “ Holiday”.

“ Holiday” is a straightforward pop song with complete with childlike, sugary sweetness, its sounds like the latest ad for a toy commercial. I can just see the kids jumping up and down listening to it and maybe some adults too. The song is instantly catchy you won’t be able to get it out of your head.

Overall, Contra is a progression for the band, with their debut they laid down there roots and let us in on their style this album expands on the band’s pop/rock sensibilities and experiments with some new techniques and styles to create and fresh and diversified album, The band has added more drums, more up tempo guitar driven songs and elements of Caribbean, ska and reggae sounds that make this album confident, creative and a cut above the rest.

Ok Go, channel the past on their latest album Of the Blue Colour of the Sky, using Prince as their muse.  In trying to be super creative Ok Go seem to have muddled the artistic vision they were trying to display instead of looking to themselves they look to outside influences. The majority of their tracks on Blue Colour of the Sky are full of Prince-like rhythms, guitar riffs and falsetto vocals.  It seems like each song on the album is the same as the next with slight variations and devoid of memorable songs. There are a lot of acoustic ballads, echoes of Pink Floyd era Psychedelic rock and overproduced synth-pop.  The only tracks that should get an honorable mention are “ I want you so bad I can’t Breathe” and “ Last Leaf”.

“ I Want You So Bad I Can’t Breathe”, is an up-tempo, sexy track that just makes you want to dance. It’s one of the songs that have the most potential on the album.  “ Last Leaf” is on the other end of the spectrum being it’s complete opposite.

“ Last Leaf” is a reflective and contemplative ballad some of the best songs are those where vocals are clear, crisp and highlighted. It is here that Ok go succeeds, with simplicity in the form of acoustic guitars and solo voice.  However when all is said and done OK Go doesn’t live up to the hype it created for themselves but this album is just a hurriedly produced album that is a throwback to the past.

Ke$ha is one of the newest upcoming artists on the music scene today, or at least she would like to think she is. Ke$ha’s debut album Animal is fitting, because like many animals it is wild and lacks any sense of control or real substance. Ke$ha walks a thin line trying to define herself as a pop and rap artist but ultimately, the genre of dance and electronica is the style her music exudes. The album’s only saving grace is it’s title track but all in all it’s an album that is plagued with problems.

The majority of her problems have stem from its roots or lack thereof, first in its sound and production and then in it’s lyrical content.

In regards to her sound Ke$ha is unoriginal many of the songs on the album echo the sounds of 80’s era synthesizers and 90’s club thumping beats.  From the first track off the album “ Your Love Is My Drug” in which the melody too closely resembles Katy Perry’s “ Waking Up In Vegas” and “Take it Off” which sounds like Flo Rida’s “ In the Ayer” which makes some sense since she did work with him on the past with his single “ Right Round”.  However, it’s not just her song choice and melody that sound unoriginal but her vocals as well. She is basically just mimicking artists we’ve heard before such as Lady Gaga and Katy Perry and it’s not done well. Making the comparison all too real and proving they do it better.  Her appearance and the persona she presents on the cd seem conflicting with who she seems to be.

She exudes this tough “can’t touch me” exterior that she can go up against the boys but she looks like Madonna in the ‘80’s and vocally sounds like she could be the next pop princess.  And with lyrics that degrading and sexually explicit it’s hard to see who see wants her fan base to be. It seems that with this album Ke$ha is more concerned about her physical appearance and persona than she is on content and how people will portray her music.

The war seems to continue over creating music that matters and the next money-making machine that the labels crave which almost always means choosing style over substance at least in this case and Ke$ha is no exception.

Ke$ha’s debut like her persona is disingenuous, very few of her songs stand out. After this album, Ke$ha should take a step back and figure out who she really is because instead of defining and sticking to her own style she tries to mimic artists who have the whole package and have made their mark instead of regurgitating cheap knock-offs of sounds we’ve heard before.

It’s been three years since Katharine Mcphee released self-titled debut with RCA records, since then Mcphee has matured as a woman and an artist and has come into her own.  This time Mcphee is making music she truly believes in.   In both an artistic and professional move to Verve Records her sophomore effort “Unbroken” releases the constraints and ties she had under RCA, which dominated decisions from her appearance to music style.  Gone is the edgy. Rocker chick persona she portrayed in the past but a softer, feminine and more vulnerable side that suits her.  This album also enabled Katherine to take a risk and explore her options with new sounds and collaborations.

Katherine collaborated with songwriters from all genres from pop to country and soul including Paula Cole, Rachel Yamagata, Richard Marx and Ingrid Michaelson. However, Mcphee hasn’t abandoned her American Idol roots she worked with current American Idol judge and songwriter Kara Dioguardi on the album’s first single “ Had it all” which Dioguardi co-wrote.  Mcphee gives her fans a little taste of everything on this album pop; jazz, R&B and soul combine to create a versatile album with something for everyone. Poignant, lyrics swell over full, lush melodies and her supple clear voice resonates with emotion and confidence. Some of what are sure to be the album’s most popular tracks include “Had It All”, “It’s Not Right and “ Last Letter”.

The first single “Had It All”, well has it all. It has that combination of country and pop with a catchy hook and rousing chorus this song is sure to become a favorite of any Katharine fan.  Mcphee has made this song her own, and it’s what fans wanted to see from her coming off of idol.  The tune’s upbeat melodies contrast with it’s underlying melancholy undertones of someone who’s lost it all. It’s that bittersweet moment of someone who appears to have lost it all, who then suddenly realizes they have it all, all that matters anyway.  “ It’s Not Right and “ Last Letter” display more of Katherine’s vocal range and versatility.

“ It’s Not Right”, makes Mcphee’s voice a pleasure to hear from her sophisticated phrasing, excellent diction and breath control enhance everything she sings. I addition uses her voice and inflection to convey a naturalness, and certain vulnerability to which so many people can identify with.  The song itself is a strong and sultry mix of R&B and soul, the bass and drums pair nicely while still hearing Mcphee’s signature soprano voice. Finally, there is “Last Letter” which is an exciting addition to the album because it’s done so well.

“ Last Letter” is a ballad that is done with the minimal accompaniment. Mcphee’s voice is the instrument, while an acoustic guitar accompanies her.  It is beautifully done, singing virtually a capella she sings it both passionately and flawlessly. 

With this album, Mcphee’s has defined the kind of artist she wants to be and “Unbroken” is a creative piece of work that moves away from the overproduced and constrictive pop music that the label’s deem modern in today’s industry.

Where does a band with over a 25 year career and has sold more than 120 million records go to for motivation and inspiration, it seems like back to the beginning for Bon Jovi. “ The Circle” is the band’s latest release, and provides proof that the band has staying power and a few tricks up their sleeve.  “ The Circle” brings back the Jersey boys we grew up with that we know and love. The boys of “Slippery When Wet”, Bon Jovi goes back to their roots and do what they do best high energy power ballads and arena rock, Good Old fashioned, rock and roll with the volume turned up.  From their new single, “ We Weren’t Born to Follow” to the “ When We Were Beautiful”, and “Work for the Working Man” the songs are as uplifting and inspiring as much as any of Bon Jovi’s past efforts because they are honest and deal with real situations that are relatable in life whether it be politics, love or money Bon Jovi’s got it covered and their doing it their way.  The first single “ When We Were Beautiful” has a number of meanings and interpretations, but most a song about remember who or what we were, who we can still be and where we’re going.  The song is haunting in that it continues to resonate with you long after you hearing and just gets you thinking.  Bon Jovi expresses their views on politics and the times we are living in with the songs “ We Weren’t Born To Follow” “Work For the Working Man” and “ Broken Promiseland”.

“ We Weren’t Born to Follow” is powerful and inspiring and conveys a message of hope and possibility. It’s a song about making your own decisions, taking a stand, fighting for what you believe in. Bon Jovi’s down to earth Jersey roots and laid back attitude give them massive appeal in every country and in every state but there is nothing closer to the band’s heart then the consumer, the working man.

“ Work for the Working Man”, refers to the economy, the people and their reactions to it this was a song written for the people. Bon Jovi who has a knack for writing killer chorus don’t disappoint and you being singing the song over and over again making it one go-to tracks on the album. With so many songs, that will have you singing along and cranking up the radio “ Brokenpromiseland” slows things down a bit.

“ Brokenpromiseland”, has everything you want in a song a beautiful melody and instrumentation and a strong chorus with lyrics and structure that the whole better than the sum of its parts.

The album has an underlying positive them that is apparent through all of the songs a glimmer of hope even in some of the darker moments.  Bon Jovi’s at it’s best with their latest offering there not on a “Lost Highway” they found exactly where there meant to even if it meant going back to the beginning to get there.

Carrie Underwood is one of the most successful females in country music and one of the most notable American Idol’s behind Kelly Clarkson and has topped both the pop and country charts. With this her third album, not much seems to have changed vocally for Underwood. Carrie aims to crossover over from Country sweetheart to pop-rock princess but fails in her attempts. Some artists have mastered and performed crossover attempts successfully in a variety of genres including Shania Twain, Lee Ann Rimes, the Dixie Chicks and Taylor Swift to name a few. Others however, have not made the transition so well most notably Jessica Simpson and now Carrie Underwood.

Carrie is pushing the boundaries and taking chances creatively with this record. She takes on the title of songwriter co-writing seven of the 13 tracks on the album, as well as working with different producers to infuse elements of R&B, rock and pop into the mix while still keeping the country sensibilities she’s known for.  Underwood’s vocal prowess is not to be disputed, her voice is a natural palette that is just waiting to be developed but she doesn’t always harness it to her potential. On this album, Carrie’s vocals leave much to be desired she has lost the naturalness and beauty of her voice in favor of over-produced vocals seen in mainstream pop.  Not the voice we’re used to hearing that from Carrie, the power to belt out the lyrics with such force yet do it naturally and effortlessly. It seems like all the songs in this album stay in the same tempo and vocal range, which make it boring and bland.

The album opens with the first single “ Cowboy Casanova” the song is fun and a good way to start the album and pull the listener in to see what she has to offer. Similar to her previous hit “Before He Cheats” it’s an anthem for the girls but it’s luster is overshadowed by overproduction.  Some of the standout song’s on the album include “Mama’s Song”, “Change” and “Look at Me”. These three standout because they are subtle and showcase the beauty of Carrie’s vocal tone and range and the ballad’s suit her.

“Mama’s Song”, is a ballad that is truthful and emotional with elements of bluegrass and acoustic guitar it’s the closest that Underwood comes to whom the fans identified with when they crowned her the American Idol. However, change is not a bad thing when done right and “ Change” is the best of both worlds.

Carrie sticks to the ballads once again with “Change”, it’s a darker ballad that is mature and a progression for Underwood. With the right promotion, this song could be a hit featured on one of the latest WB dramas. Finally, there’s “Look At Me”.

“ Look At Me” is a love song plain and simple Underwood’s voice was made for this song. Her vocals are soft yet strong and she seems to just let go and sing. It’s one of the best tracks on the album.

American Idol made Carrie a superstar but has lost who she is as an artist with a crossover so far out of her realm, goodbye country, hello Hollywood.  For those who prefer the Carrie of American Idol days, your money would be better spent on her previous efforts.

Creed’s’ latest effort doesn’t make it full circle, Creed is back trying to make a comeback with their fourth album entitled ‘Full Circle’ this comes after the band broke up and spent time apart pursuing other projects and the results show in the music.

During their time apart, lead singer Scott Stapp pursued a solo career but personal problems and sloppy production led to minimal recognition or success. Stapp’s band mates on the other hand had better luck. Guitarist Mark Tremonti, drummer Scott Phillips and bassist Brian Marshall got together to form Alter Bridge. A heavy metal grunge band reminiscent of Metallica’s early beginnings, the band quickly received recognition by the music world and fans alike but quickly fizzled out and lacked sustainability. With their record company pushing for a Creed reunion and Stapp now on the straight and narrow Creed was set to reunite and release their 4^th album as a band.

Now that all the members are back together, they seem hungry and focused ready to reemerge themselves back on to the music scene. However, judging by their past and this album, it may be too little too late.

The band has decided to reinvent their sound and image but it doesn’t work it’s too contrived and forced.  As far as the music is concerned Tremonti, Phillips and Marshall’s skills are up to par and their experimentation as Alter Bridge has strengthened and increased their musical repertoire and technique but does little to save the album. What made Creed so definable and recognizable was lead singer Scott Stapp’s distinctive voice, which is need in of some vocal coaching. The album opens with “Overcome” the first single off the album. “Overcome” fans of the band won’t be. It’s opens with a bang, due to Tremonti’s heavy, crunchy guitar and gives a memorable solo but Stapp’s voice leaves much to be desired. There’s an inconsistency in his voice and the vocals sound a bit exaggerated.  “ Bread of Shame” is just that a disaster, if Korn and Metallica wrote a song together this would be the one. With maximum distortion a sound that’s overly produced it’s another episode of the “loudness wars” and contains much of the problems that concerned Metallica’s “Death Magnetic”.  However, the album does have some honorable mentions, which include “ A Thousand Faces” and “Time”.

“ A Thousand Faces” is possibly the best song on the album and the one that sounds the most like the Creed we knew and loved.  The song has a great melody is pleasing to the ears and a memorable riff. Stapp does better with the ballads “With Arms Wide Open” need I say more.  “ Time” is another must listen to tune on the album.

“Time” is a darker more introspective and reflective piece for the band. It’s a ballad that includes stunning lyrics and guitar riffs. Long and bluesy it’s definitely worth a listen for Tremonti’s solo alone.

This is the weakest Creed album to date, and if anything saves it, it is the skill of Stapp’s band mates who probably would have been better off releasing another album as Alter Bridge on their own because nothing on this album comes “Full Circle”.

Vertical Horizon is back and better than ever with “Burning the Days” their sixth album and latest release after a six-year hiatus. The band has come a long way since their debut in 1992 with “ There and Back Again” which focused on the band’s founding members Keith Kane and Matt Scannell each showcasing their signature voices and harmony-laced guitars for a folk-rock feel. Since than, the band’s sound has evolved with founding member Matt Scannell taking the lead as front man and principle songwriter for the band’s last two albums. One thing hasn’t changed however, and that is the passion, perseverance and powerful lyrics that have been the foundation behind the band since it’s inception. Vertical Horizon is a band that not only believes in the music they have created but and each other as well. This is no more evident then in the fact that the band has released the album on their own label Outfall Records.

Lead singer and songwriter Matt Scannell wrote and produced all the songs on the album in his home studio, but not without a little help from his friends. Scannell collaborates with some star power in the form of Grammy award winning songwriter Richard Marx and Rush’s Neil Peart.

Marx lends his talents on piano and producing Scannell’s vocals on “Save Me from Myself” and “Back to You” but not to be outshined is Rush’s Neil Peart whose drumming equals perfection making “Save Me from Myself”, “Welcome to the bottom”, and “ Even Now” which Peart also co-wrote the rounding out the album making it polished and well-produced. You can hear the influences from both men on the album in its lyrical structure, style and production.

With this album Vertical Horizon pushes the boundaries and exceeds expectations. Lyrically, “Burning the days” is stronger then the band’s previous efforts it encompasses more cohesiveness then the band previous work. Scannell combines relatable lyrics that resonate with listeners due to his ability to descriptively tell a story with emotion and depth.

As a songwriter, Scannell is skilled at writing catchy riffs and memorable hooks that will soon find the listener singing along to many of the album’s tracks. “ Burning the Days” explores the band’s new musical direction with tracks that are more complex in texture and dynamics. In addition, Scannell also explores happiness with a sense of vulnerability and cautiousness that makes it all the more endearing then the darker side of love and loss the band’s embraced in the past. The band also switches directions with this newest record as the majority of the tracks incorporate more of the acoustic sound the band originally began with in the early 90’s. Some of the standout tracks on the album “ All is Said and Done” “ The Lucky One” “ Middle Ground” and “ Here”.

“ I want you to hear me, I need you to feel this”, “All is Said and Done” the first track on the album hooks you from the start from the synth loop to Scannell’s deep raspy vocals this song leaves you wanting more and the band does not disappoint.

“ All is said and done”, is followed by “The Lucky one” the second track on the album and perhaps one of the most surprising. It’s a light-hearted, love song, the piano intro is a welcome surprise and Scannell who has a knack for writing inspiring and invigorating choruses doesn’t disappoint accompanying a great chorus with soaring guitars.

“ Middle Ground” delves more to the dark side of dealing with a relationship that you just can’t let go of but there is a need for change, resolution. It is the strongest track on the album an all out rocker melodically pleasing and similar to the band’s 2003 single “ I’m Still Here” encompassing that mix of defiance, rebellion and perseverance.

Finally, “ Here” is a so subtle but beautiful love song. “Here” is the closest to the band’s duo days and reminiscent of their first cd “There and Back Again” its nice to hear that familiar sound of Scannell’s voice with minimal accompaniment until the chorus where he rocks out once again. “ Here” is that love song that you want to be serenaded by and one of the best examples of what happily ever after could be.

If there is one drawback to the album it’s the absence of co-founder, guitarist/vocalist Keith Kane whose unique voice and memorable harmonies are absent or inaudible on the album, disappointing the band’s longtime fans.

However, when “ All Is Said And Done”, “ Burning the Days” is just as strong from beginning to end, making it the best and most complex album to date. Scannell’s lyrics resonate with fans because he is not only in tune with himself but with them and depicts that honestly in his songs.