Showing posts with label pop. Show all posts
Showing posts with label pop. Show all posts

Thursday, 1 July 2010

Glee: The Music, Journey To Regionals




Product Details


User Review:


The smash-hit musical TV series "Glee" releases its fifth musical compilation, "Journey to Regionals", which is the second of the five albums to focus solely on the music of a single episode (the previous being volume three, all from "The Power of Madonna"). And indeed, if any single episode of the series were to deserve that honour, I don't think any would merit it more than the first season finale, "Journey", which sends the Glee cast to their Regional championship and features a set of six excellent numbers.

New Directions delivers a full set of three new numbers here, all by the classic rock band Journey (hence, the episode title; they're subtle, these writers). The collection opens with a rendition of "Faithfully" (originally from the 1983 album "Frontiers"), with series stars Lea Michele (Rachel) and Cory Monteith (Finn) singing the duet (everybody else on backing, which really isn't the sort of thing you'd sing in a show choir competition, but whatever, that's not important here). Michele is the powerhouse of the series; Monteith started out rather weak, but he's grown by leaps and bounds over the last year, and he acquits himself well. The two just have chemistry, and it comes through in their song (if you're invested in Finn and Rachel as a couple, that helps too).

Next up, a mash-up of "Any Way You Want It" (1980's album "Departure") and "Lovin', Touchin', Squeezin'" (1979's "Evolution") performed by the whole group, again with Finn and Rachel singing the lead. "Glee" has always done group mash-ups well (the gold standard being "Halo"/"Walking On Sunshine", in my opinion), and this one continues that trend. It's the most purely fun number in the collection, and one of the best the show has done on that score as well.

New Directions closes out its bid for the title with a new version of "Don't Stop Believin'" (1981's "Escape"). This is a bit of a risky move for the series in some ways; they covered it already in the pilot, and it's probably the show's defining song. Here, instead of Michele and Monteith dueting again, the producers mix in several other singers from the group (only Jenna Ushkowitz (Tina) and Dianna Agron (Quinn) are omitted). The results are frankly terrific. I don't know which version of the song I like more as yet, but they're both great; especially great is Naya Rivera (Santana), who has rapidly become one of my favourite voices on the show.

Then there is the big showstopper by New Directions' main competition, Vocal Adrenaline, who deliver an excellent cover of Queen's classic "Bohemian Rhapsody" (1975's "A Night at the Opera"). Now, this will never be anything other than a Queen song, with talent like Freddie Mercury involved, but Broadway star Jonathan Groff gives it his best go, and it's a very admirable one at that. The non-competition numbers that follow are quieter: a rendition of "To Sir, With Love" (from the 1967 film of the same name, and most famously recorded by Lulu) featuring most of the group's female vocalists and Chris Colfer (Kurt) (again omitting Agron) is nicely handled. Then Matthew Morrison (Mr. Schuester) and Mark Salling (Puck) deliver a charming rendition of "Somewhere Over The Rainbow" (based on the 1993 ukulele version by Hawaiian artist Israel Kamakawiwo'ole, not the 1939 Judy Garland one) to send us off until next season.

All in all, it's a very strong collection of songs, and if you're a fan of "Glee"'s music, this is the album to buy.








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Wednesday, 30 June 2010

Scissor Sisters - Night Work







An amazing new album reaches 5th in top sales !






Product Details


Four years after their mediocre sophomore effort, Scissor Sisters is back. Between albums they lost a band member and scrapped an album that was 18-months in the making. Upset, Jake Shears flew to Berlin to escape for a while. He found more than solace there and became inspired by the nightlife in the busy city which in turn became the launching pad of what is arguably the best of their three albums.

What's inside is perfectly described by the Robert Mapplethorpe cover: sexy, dirty, playful. It's an album showcasing a band rediscovering the fun of their hungry years. Night Work could easily be considered a concept album, but feels more like a raunchy history of pop music lesson. The band, with the help of producer Stuart Price (Madonna, Kylie Minogue), have encapsulated 1977 - 1982 in nearly perfect chronological order as homage to the occupation of hitting the clubs. In other words, the night work.

The opening track is an overture to a suite of music easily made into an underground Broadway show. "Night Work" tells us why we're here while the next track -- "Whole New Way" -- chronicles Jake's trip to Berlin. When he sings, "I found a whole new way to love you...it's going to blow your mind but, if not, this time we're through," he's not singing of a human relationship, but the one with his music-making abilities.

"Side 1 continues to take us through the 70 s with songs that would make Disco Tex, Foxy and early B-52 s proud. It also features background vocal turns by 80 s icon Helen Terry on "Whole New Way," Kylie Minogue on the excellent "Any Which Way," and Santigold on "Running Out." The second half is full of Kraftwerk, DEVO and Gary Numan in its journey through the early part of the 80 s.

And when we arrive at the last track, "Invisible Light," Del Marquis begins his Pink Floyd guitar and slowly the track builds into an epic disco song Donna Summer and Giorgio Moroder were famous for bringing into existence. It's the swirling decadence of an opium den -- hyper, calming and dangerous all at the same time. Even Sir Ian McKellen shows up for some wickedness.

The only low spots are the bland, made-for-the-masses arrangements of "Fire With Fire" and "Skin Tight." These two songs seem a bit out of place within the confides of an album filled with music that show the band having fun with their sound. Still they're the kind of songs you'd wish were on radio more often.

Night Work is a cocaine-induced night at Studio 54 in its prime. It's writhing pleasure mixed with sweat from physical exertion -- dance related or not. If only all history lessons were this fun.

You Have To Hear: Ana Matronic's hilarious cooing bridge on "Any Which Way."


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Cover of "The Fame Monster"

The Fame Monster (Deluxe)
 






  • Original Release Date: November 23, 2009
  • Release Date: November 23, 2009
  • Label: Streamline/Interscoope/KonLive/Cherrytree
  • Copyright: (C) 2009 Interscope Records
  • Total Length: 1:24:32
  • Genres: Pop/General
Some Reviews:

I'm not going to go into deatil about the music here except to say if you are a Lady GaGa fan and liked The Fame, this is an absolute must have companion. However, after eagerly awaiting this release I was very disappointed to find this album is the censored version! The lyrics in "Bad Romance," "Dance In The Dark," and "Monster" have all been edited to remove the two profane words in GaGa's original lyrics. I am outraged and shocked that a GaGa record would even be released as a censored and edited version. I understand that some people may choose to buy censored music, but I do not as I am an adult and feel that I should have the right to make my own choices about what I listen to. The censoring is really annoying because it sounds as if there is a skipping glitch in the flow of the songs. If I wanted to buy and listen to censored music I would shop at Walmart, which I refuse to do. Censorship is un-American and violates my rights as a free citizen!

The Fame Monster = A+
Censorsed Lyrics = F



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