Beenie Man
Back to Basics
(Virgin)
“I see myself as doing for dancehall reggae what Marley did for roots reggae,” Beenie Man once said. The King of Dancehall goes way back on the reggae scene-he was only five when he first gripped the mic! Despite the recent surge of mainstream reggae with artists like Sean Paul and Elephant Man, Beenie is reminding fans who really wears the crown with his latest album-the only thing he’s bringing to the airwaves is original dancehall. It’s that authentic bass-pounding, make-you-wind-your-hips feel to these tracks that will give them longevity and keep fans jumping. Jamaica’s top digital artists produced most of the tracks, including the first and second singles, “Dude” and “King of the Dancehall.” Even one Timbaland-produced song, “All Girls Party,” sounds more like Timba dipping his feet in riddims rather than Beenie going commercial. Beenie Man fans have come to expect the raw sexual lyrics, and most tracks will be sampled all over the clubs because they make you move. The man says it on track six: he likes to “get on bad,” and on Back to Basics, he’s damn good at it.-JAYANI PERERA
Eastside I-20
Self-Explanatory
(Capitol)
Was Self-Explanatory worth tha wait? Gaining recognition from his verse in Ludacris’ hit “Move Bitch,” the muscular-voiced, tight-flowing rapper Eastside I-20 might have some ‘splainin to do. As an Atlanta native who’s part of Ludacris’ Disturbing Tha Peace hip-hop crew, there is certainly some finger-lickin’ Southern flava hype to live up to. A number of well-known hip-hop producers such as Salaam Remi (Nas) and Heatmakerz (Cam’ron) and a wide array of star-studded guests including Ludacris, Juvenile and Chingy, were brought in with the hopes that they might widen the album’s commercial appeal, but Eastside I-20 ultimately fails to show much versatility as an artist. Even though he claims to represent the “‘disturbed’ in Disturbing Tha Peace” and boasts serious rhymes about life and death on the streets, his lyrics are delivered devoid of any emotion. While his rhymes are definitely more serious than Ludacris’ eccentric party style, this album just doesn’t have that extra oomph. Maybe it is “self-explanatory” after all.-JAYANI PERERA
Branford Marsalis Quartet
Eternal
(Rounder)
Living saxophone legend Branford Marsalis’ latest recording features an interesting mix of traditional and new jazz ballads. Each track on the album allows Marsalis to shimmer as the strikingly smooth saxophonist he is, with the rest of the talented quartet delivering a conveniently subdued performance. Most notable is the aptly named title track, “Eternal,” a song written by Marsalis that clocks in at 17 minutes. Though epic in length even by jazz ballad standards, “Eternal” demonstrates not only Marsalis’ gift for eloquent writing, but also his unrivalled agility on the sax. The album’s simple strength is a testament to Marsalis’ two decades spent in recording studios, and results in an album that won’t shake the world, but instead calmly slows it down, if only for a moment.-SHAWN MITCHELL
Guerilla Black
Guerilla City
(Virgin)
In the wake of the untimely death of the Notorious B.I.G., there has yet to emerge a legitimate and worthy heir to fill those enormous shoes he left behind. However, as anyone who listens to hip-hop can attest, that doesn’t imply a lack of trying. So now we get Guerilla Black, a fresh-faced rapper coming straight outta Compton, brandishing mad amounts of hype on DJ mix-tapes and BET, and desperately trying to fill Biggie’s void. What makes him compelling is that he not only sounds, looks, and rhymes like Biggie, he unabashedly tries to be Biggie. So, where does he fail? Extraordinary resemblances notwithstanding, Black’s album is nothing exceptional. Everything is disappointingly standard: a few bouncy, well-produced songs, superfluous skits, and the requisite songs about the street, the struggle, crack dealing, and shotguns. Sadly, he never opts to drop his Biggie-lite persona and expand on any of the potential he occasionally hints at. Instead we’re left with diet-Biggie Smalls: an available quick fix (who is conveniently alive) who has noticeably less substance and leaves us dissatisfied, still wanting the real thing.-MICHAEL BACAL
Projektor
Young Hearts Fail
(Endearing)
Projektor, a four-man outfit from Winnipeg, is back with a follow-up to their debut, Red Wolf Glass. A departure from the atmospheric sound of their last album, their latest offering will appeal primarily to fans of post-grunge rock. The ten tracks and one instrumental interlude quickly become a bland rock project where it’s very hard to distinguish one song from another. The only anomaly is the track “Vena Cava,” a beautiful, (and sadly too short!) instrumental, which sounds like the first-draft of a Broken Social Scene number or one of Sonic Youth’s more experimental tunes. The album’s lyrics invoke some mysterious and poetic imagery, like this bit from “Young Blood”: “I’m going to nurse the distance to sleep/afraid of death the silence makes/little scissors cut your hair.” Despite the strong production values, this is a mediocre album.-INDIRA BALKISOON
Manic Street Preachers
Lifeblood
(Sony)
In 1985, the members of Manic Street Preachers were just four kids living in Wales who didn’t even own instruments. Ten years later, about to become one of the biggest bands in the UK, their success was made bittersweet by the still unsolved disappearance of lyricist/guitarist Richey James. Nearly another full decade later, the Manics have released what is perhaps the greatest album of their career, Lifeblood. One criticism that has always plagued the band is their tendency to go well over the top, both dramatically and politically. This time, the Preachers have managed to step back some from the pulpit but still remain powerful and moving from tremendous start (“1985”) to beautiful finish (“Cardiff Afterlife”). As uniquely outspoken as ever-made clear by first single “The Love Of Richard Nixon”-they’re never as heavy-handed here as, say, “Freedom Of Speech Won’t Feed My Children” from 2001’s underrated Know Your Enemy. Seven albums since claiming they would split up after releasing their debut, we’ve never been more thankful to know that preachers are liars.-CHRIS CLARK
The Thrills
Let’s Bottle Bohemia
(Virgin)
The follow-up to The Thrills’ widely celebrated debut, Let’s Bottle Bohemia thankfully avoids the sophomore slump. Whereas the Irish band had previously professed their love for California in an unabashed way, they now take a more introspective approach to analysing the So-Cal life. The tunes, with their catchy choruses, can still make your heart dance, but this time the sunny melodies are shaded with much more depth, thanks to bittersweet lyrics and a decidedly grown-up tone. If the last album felt like a day of fun in the sun on the beach, then this new set of songs is where the boys rub their eyes and take a harder look beneath the gilded surfaces of the City of Angels.-BRIDGET MAK
The Nein
s/t
(Sonic Unyon)
This self-titled EP is but a taste of bigger things to come for the North Carolina trio known as The Nein. Finn Cohen, Casey Burns, Robert Biggers (and sometimes fourth member Dale Flattum) plan to release a full-length CD in 2005. Picked up by veteran Hamilton- based indie label Sonic Unyon, they describe themselves as a band of “grown-ups playing music for other grown-ups” (now there’s a refreshing concept). With the U.S. Presidential election already come and gone, the song “War is on the Stereo” (a left-field rock anthem dealing with the situation in Iraq) hoped to get the attention of the voting audience (but it will most likely appeal to disaffected middle-class suburban teens). The Nein creates an interesting blend of sound, experimenting with bizarre loops and hooks in what plays almost like a grainy basement recording. Full of melancholic angst, this band is uncompromising and will continue to do their thing despite the fact that their music is decidedly not for everyone. But as an introduction, this disc certainly shows promise.-LAUREN GILLETT
Royal Wood
Tall Tales
(Independent)
It’s no surprise that Royal Wood spent his childhood exploring every musical instrument he could get his hands on. His consequent comprehension of musicality and instrumentation is stunningly demonstrated in his first full-length album, Tall Tales. Royal’s complete artistic control (he wrote, performed, and produced the entire album) results in a sublime collection of songs that, while eclectic, effortlessly flows from start to finish without even a hint of pretentiousness or contrived emotion. From idyllic ballads to honky-tonk tuners, Tall Tales combines lyrical genius with transcendent melodies often reminiscent of contemporary folk, yet unquestionably unique. Ultimately, the brilliance of this album comes through in its ability to capture the complexity of life’s fickle nature. This essence is best captured in “Balloon,” a song that starts off as a melancholic ode, then transitions into a euphoric middle section, and finally ends with a despondent final verse. Royal Wood serves as a gifted translator of life’s intricacies, and Tall Tales serves as his benevolent manifesto that should be embraced by the masses.-SHAWN MITCHELL
