Edited music cds in Rock & Pop Music

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"Professional Murder Music [Edited]" (05/22/2001) Rock & Pop Professional Murder Music, Geffen Records (USA)Professional Murder Music: Roman Marisak (vocals, guitar, keyboards, programming); Brian Harrah (guitar); Jeff Schartoff (keyboards, bass, programming); Justin Bennett (drums). Additional personnel includes: Aimee Echo (vocals); Troy Van Leeuwen, Josh Abraham (guitar); Knox Chandler (cello); DJ Lethal (keyboards, programming); Todd "FU" Valcic (programming). Engineers: Anthony "FU" Valcic, Roman Marisak, Jeff Schartoff. Recorded at NRG Recording, North Hollywood, California and Westlake Audio, Los Angeles, California. Professional Murder Music: Roman Marisak (vocals, guitar, keyboards, programming); Brian Harrah (guitar); Jeff Schartoff (keyboards, bass, programming); Justin Bennett (drums). Additional personnel includes: Aimee Echo (vocals); Troy Van Leeuwen, Josh Abraham (guitar); Knox Chandler (cello); DJ Lethal (keyboards, programming); Todd "FU" Valcic (programming). Engineers: Anthony "FU" Valcic, Roman Marisak, Jeff Schartoff. Recorded at NRG Recording, North Hollywood, California and Westlake Audio, Los Angeles, California.

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"Collision Course [Edited]" (11/30/2004) Heavy Metal Jay-Z, Warner Bros. Records (Record Label)Package includes bonus DVD. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Jay-Z/Linkin Park: Jay-Z (rap vocals); Mike Shinoda (vocals, piano); Chester Bennington (vocals); Brad Delson (guitars); Phoenix (bass guitar); Robert Bourdon (drums); Joseph Hahn (sampler). In keeping with rap-rock crossovers dating back to Aerosmith and Run-DMC, MTV used its ULTIMATE MASH-UPS show to put Jay-Z and Linking Park on one stage. The result is COLLISION COURSE, a combination DVD/CD package that crystallizes the meeting of New York City's Jay-Z with California rap-rockers Linkin Park. With LP MC/vocalist Mike Shinoda doing double-duty as the EP's producer, the results flow nicely over six tracks. Jay-Z's rapid-fire rhymes in "Jigga What" fit hand-in-glove amid the pounding guitars and howls of Linkin Park's "Faint." And the Jackson 5-sampling "Izzo" ducks and feints in a way that makes it a nearly seamless match with "In the End." Most impressive is how Jay-Z's seminal thumper "99 Problems" boldly wedges itself between the thunderous bookends of Linkin Park's "Points of Authority" and "One Step Closer." The audio portion, of course, is only part of the fun; the DVD features the entire live performance, along with a documentary on the MTV special and behind-the-scenes footage.

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"City of Evil" (n/a) Rock & Pop Avenged Sevenfold, Warner Bros. Records (Record Label)Avenged Sevenfold: M. Shadows (vocals); Synyster Gates, Zacky Vengeance (guitar); Johnny Christ (bass guitar); Reb (drums). Recording information: 2005. Even though Avenged Sevenfold's first two albums clearly got them lumped into the emo camp, the California quintet always hinted at the heavy metal influence of bands like Iron Maiden. With their major-label debut CITY OF EVIL, not only have they fleshed out these tendencies via the intricate riffing of dual guitarists Zacky Vengeance and Synyster Gates, but they've begun to dabble with more intricate, prog-like song structures. And with singer M. Shadows recovering from vocal chord surgery, he employs a considerably more melodic approach. The first half of CITY cleaves to what longtime fans have come to expect: dive-bombing call-and-response riffing and furious double-bass-drum attacks, peppering cuts like the soaring "Burn It Down" and the equally ferocious "Blinded in Chains." Following the power-ballad tendencies of "Seize the Day," with its subtle piano accompaniment and Shadow's full-bodied crooning, things get really interesting. Song lengths start to hover around the seven-to-nine-minute mark, and intriguing nuances come into play, like the boys' choir and 14-piece string section that defines the epic grandeur of "The Wicked End," and the Latin jam complete with flamenco flourishes that close out "Sidewinder."

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"Live Trucker [Edited]" (02/28/2006) R&B Kid Rock, Atlantic (USA)Personnel: Kid Rock (vocals, guitars, keyboards, drums, turntables); Uncle Kracker (vocals, turntables); Joe C (vocals); Jason Krause, Kenny Olson (guitars); R Smith Curry (pedal steel guitar, dobro); Jimmie Bones (harmonica, keyboards, background vocals); Aaron Julison (electric bass, background vocals); Michael Bradford (electric bass); Stefanie Eulinberg (drums, background vocals); Freddie "Paradime" Beaureguard (turntables, background vocals); Karen Newman, Laura Creamer (background vocals). The sticker on Kid Rock's 2006 LIVE TRUCKER CD warns that the disc includes no bonus tracks, exclusive footage, or remixes, so fans of the Kid that are hungry for new and unreleased material might be disappointed. Yet with the help of his Twisted Brown Trucker Band and a wildly enthusiastic crowd, the Kid lays down his particular brand of "hick-hop" with plenty of honky tonk ferocity and b-boy swagger. "Son of Detroit," "American Bad Ass," and "Picture," a duet with Gretchen Wilson, are only some of the highlights of this live set.

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"One Way Ticket to Hell... And Back [Edited]" (11/29/2005) Rock & Pop Darkness (The), Atlantic (USA)The Darkness: Justin Hawkins (vocals); Dale Hawkins (guitar); Richie Edwards (bass guitar); Edward Graham (drums). Recording information: Rockfield Studios, Monmouth, England (2005). On the Darkness's second full-length album, ONE WAY TICKET TO HELL... AND BACK, frontman Justin Hawkins brings back his trademark unitard and Wagnerian falsetto for another delicious pop-metal outing. Although the melodies aren't as immediately appealing as on PERMISSION TO LAND, the disc still boasts its share of air-guitar anthems, particularly the hard-rocking "Is It Just Me?" And while the six-string playing of Hawkins and his brother, Dan, still carries the record, the Darkness unleashes its inner Jethro Tull with a wider instrumental palette that includes sitar, pan flute, bagpipes, and an entire orchestra, making for a considerably fuller sound. Of course, as on PERMISSION, Hawkins's soaring falsetto is the British group's calling card, and it's displayed to great effect on the Slade-like "Hazel Eyes" and "English Country Garden," which recalls Queen at their most stately. Though this album can't quite top its bold, brash predecessor, it reveals the broad range of the Darkness's charms, making it a worthy companion piece to that lauded debut.

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"Teenage Graffiti [Edited]" (08/01/2006) Rock & Pop Pink Spiders (The), Geffen Records (USA)The Pink Spiders: Matt Friction (vocals, guitar); Jon Decious (bass guitar); Bob Ferrari (drums). Additional personnel: Benjamin Kalb, Roger Lent, Dave Davidson. Recording information: 2006. Hurtling out of Nashville like a pink meteor wearing dark shades, the Pink Spiders' major label debut is a perfect pop confection. The trio is made up of guitarist and vocalist Matt Friction, bassist Jon Decious, and Bob Ferrari, the self-proclaimed "World's Greatest Drummer." Produced by the Cars' Ric Ocasek, TEENAGE GRAFFITI melds rock, punk, and pop with perfect pitch, creating a melodic, guitar-driven sound that's infectious and endlessly energizing. "Hollywood Fix" is shimmering power-punk that one can't help smiling at, even if the lyrics are about chain smoking and loving danger. "Little Razorblade" is guitar pop with a melancholy lilt that asks that you, "Don't call it a crush, baby." This is a band that released an EP entitled THE PINK SPIDERS ARE TAKING OVER!, and it looks like they just might, one rock song at a time.

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"Extreme Behavior [Edited]" (09/27/2005) Rock & Pop Hinder, Universal Records (USA)It's unclear precisely which definition of their name Hinder prefer: "to impede progress" or "the outdated midwestern slang term for the buttocks." Both fit, because Hinder is an unapologetic throwback to the post-Guns 'n' Roses era of hard rock, when dudes like Poison and Motley Crue ditched their glam look in favor of a grungier "street" vibe and a tougher-edged sound. Their unapologetically smirking lyrics teeter right on the brink of outright sexism throughout songs like "Get Stoned" and "Homecoming Queen." As with the Darkness, part of the fun of EXTREME BEHAVIOR is that it's impossible to tell how seriously it's supposed to be taken.

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"Foiled" (04/04/2006) Rock & Pop Blue October (Rock), Universal Records (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Blue October (Rock): Justin Furstenfeld (vocals); CB Hudson (guitar); Ryan Delahoussaye (violin); Matt Noveskey (bass guitar); Jeremy Furstenfeld (drums). Texas outfit Blue October have been gaining notoriety since the late 1990s with their brand of eclectic alt rock. 2006's FOILED builds on the band's past accomplishments, and represents one of their most focused and ambitious efforts. "Hate Me," the album's first single, shows that Blue October are no strangers to catchy, radio-ready songcraft, a quality that helps endear the group to many. Yet Blue October are admirably restless, and seldom rely on formula. FOILED also ranges from subtle and introspective numbers ("18th Floor Balcony") to edgy hard rockers ("Drilled a Wire Through My Cheek") to electro-dance ("X Amount of Words"), making for a rock album with dimension, polish, and substance.

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"Stop All The World Now (Special Edition) [Limited] [Slipcase]" (11/16/2004) Rock & Pop Day, Howie, Epic (USA)Personnel: Howie Day (vocals, acoustic guitar, piano); Les Hall (guitar, piano, Wurlitzer piano, harmonium, Mellotron, synthesizer, vibraphone, tambour); J. Clifford (guitar, background vocals); Simon Jones (bass guitar); Laurie Jenkins, Mark Heaney (drums). Recording information: Olympic Studios, London, England. Though his first indie LP was subsequently reissued on Epic, this is Howie Day's first full-length album for a major label. If it's a bit less quirky than his previous MADRIGALS EP, it's also more confident-sounding and not quite as precious. Not that Day has abandoned his gentle, Coldplay-meets-Jeff Buckley folk-rock sound. It's simply that STOP ALL THE WORLD NOW, produced by Killing Joke bassist Youth, evens out Day's style a bit. The soaring, angelic falsetto is frequently accompanied by ascending dynamics and some forthright electric guitar backing. No one's going to mistake songs like the vibraphone-laden lazy-Sunday ballad "I'll Take You On" (from whose lyrics this album's title is drawn) for the Strokes or anything, but fans of the poppier side of Britpop might just take a fancy to this emotive singer-songwriter's modestly rocking mood music.

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"Contraband [Edited]" (06/08/2004) Rock & Pop Velvet Revolver, RCA Records (USA)Velvet Revolver: Scott Weiland (vocals); Slash (guitar, background vocals); Dave Kushner (guitar); Duff (bass guitar, background vocals); Matt Sorum (drums, background vocals). Timing your gigs and recording sessions around an unpredictable (and occasionally incarcerated) new lead singer might not seem the most auspicious start for a band. But when the singer is former Stone Temple Pilot Scott Weiland and the other musicians include Slash, Duff McKagan, and Matt Sorum--all veterans of Guns N' Roses--it's just business as usual. And these circumstances don't seem to have affected the supergroup's performance any, as evidenced by the outfit's raucous debut, CONTRABAND. "Sucker Train Blues" roars out of the starting block, rocking like there's no tomorrow, with Weiland's seething vocals riding the six-string whirlwind generated by guitar supremo Slash and his new sidekick Dave Kushner. "Big Machine," with its doubtlessly autobiographical storyline about the pitfalls of stardom, melds the ring of truth with the voice of experience. The anthemic "Fall to Pieces" has echoes of vintage GNR, and Slash's "Sweet Child o' Mine"-like guitar intro to "Superhuman" similarly rolls back the years to his former band's late-1980s heyday. Far from being '80s-metal retreads in search of a new niche, though, the reenergized members of Velvet Revolver wipe the slate clean and rededicate themselves to take-no-prisoners rock & roll with CONTRABAND.

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"Mezmerize [Edited] [Digipak]" (05/17/2005) Heavy Metal System Of A Down, Columbia (USA)System Of A Down: Daron Malakian (vocals, guitar); Serj Tankian (vocals, keyboards); Shavo Odadjian (bass guitar); John Dolmayan (drums). Many rock bands talk endlessly about their "sound," refining a basic formula until it's either perfect or perfectly boring. System of a Down, however, developed a loyal fanbase with the opposite approach--the group mixes genres so freely that describing what their music sounds like is nearly impossible. Sure, SOAD is, at its core, a metal band, but on MEZMERIZE's first two songs alone, vocalist/guitarist/mastermind Daron Malakian and crew zigzag their way though Beach Boys-like stacked vocal harmonies, Anthrax-esque hardcore thrash, Cameo-style funk, and prog rock of a CARESS OF STEEL-era Rush variety. "Revenga" adds a touch of swooping Freddie Mercury vocal drama to the mix, while "Sad Statue" sports a guitar riff that sounds like a Greek bouzouki. Even sharper, tighter, and more ambitious than System of a Down's previous albums, MEZMERIZE makes for a consistently surprising listen.

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"Permission to Land [Edited]" (11/25/2003) Rock & Pop Darkness (The), Atlantic (USA)The Darkness: Justin Hawkins (vocals, guitar, piano, synthesizer); Dan Hawkins (guitar); Frankie Poullain (bass); Ed Graham (drums). Recorded at Chapel Studios, Lincolnshire, England and Paul Smith Music Studios, London, England. Pouncing onto the British music scene like the hyperactive spawn of the late-1970s hard-rock scene, the Darkness unveiled their 2003 debut, PERMISSION TO LAND, to great success in the UK. Led by unitard-wearing, falsetto-brandishing vocalist/guitarist Justin Hawkins, the group revels in the kind of pop metal once made famous by Def Leppard and Whitesnake, boasting big guitar riffs and driving rock rhythms. The band's not-so-secret weapon is Hawkins himself--an irrepressible, high-kicking frontman who gleefully unleashes lyrics such as "a nimbus of blue light surrounds a crimson paw" in a voice that ranges from a growl to a wail rivaling Queen's Freddie Mercury or Judas Priest's Rob Halford. Although the Darkness may come across as tongue-in-cheek metal revivalists, they're entirely sincere on soaring power ballads such as "Love Is Only a Feeling" and "Holding My Own." And when Hawkins screams out "guitar!" before the guitar solo in "I Believe in a Thing Called Love," there's no mistaking the intention of these energetic British lads--they've come to rock.

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"Professional *" (04/04/2006) Rock & Pop Scotch Greens (The), DRT EntertainmentThe Scotch Greens: Zander Cox.

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"LVL IV [Edited]" (10/05/2004) Rock & Pop Future Leaders Of The World, Epic (USA)Future Leaders Of The World: Phil Tayler (vocals); Jake Stutevoss (guitar); Bill Hershey (bass instrument); Carl Messina (drums). Recording information: Plumper Mountain Sound, Gibson's BC, Canada; The Armoury, Vancouver, Canada. Spearheaded by frontman and creative catalyst Phil Tayler, Future Leaders of the World has its roots in a time of Tayler going homeless in San Francisco after moving to the Bay Area from Buffalo, NY. After getting booted out onto the streets, the New Yorker got involved with non-profit, grassroots organizations, going door-to-door getting petitions signed and writing songs on the side. These experiences spawned LVL IV, a 10-pack of tunes that employs a clever use of dynamics, powered by agitated guitars and Tayler's voice, a howl with a Kurt Cobain-ish nuance to it. Operating with a sound that's more a nod to Nirvana than outright mimicry, Future Leaders uses social activism and anger at government corruption as inspiration. Tayler goes from the barbed rant "Your Gov't Loves You," with mention of corporate waste and the Middle East, to the subtler but no less powerful "Unite," which picks peace over war in regards to the invasion of Iraq. Tayler's ire only seems to subside during the catchy power-ballad "House of Chains," which features sweeping guitar chords and radio-friendly hooks.

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"No Place Like Brooklyn [Edited] [Digipak]" (08/01/2006) Rock & Pop Ortega, Jeannie, Hollywood RecordsPersonnel: Jeannie Ortega (vocals); Kovas, N.O.R.E., Papoose, Big Mato, Gemstar, Quan. On her 2006 debut, NO PLACE LIKE BROOKLYN, New York City-based actress/singer Jeannie Ortega offers up a confident collection of accessible, hip-hop-flecked R&B tunes. Opening with the catchy, beat-driven single "Crowded," featuring rapper Papoose, Ortega comes off as a younger, more earnest Brooklyn version of Bronx native Jennifer Lopez. However, Ortega opts for a slightly more dynamic sound than J. Lo, as evidenced by the reggaeton tune "Let It Go" and the plaintive ballad "Hear Me," ensuring that she is intent on forging her own path.

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"Snoopified - The Best Of [Edited]" (10/04/2005) Rock & Pop Snoop Dogg, Priority Records (USA)It's easy to take Snoop Dogg for granted, especially given the inconsistency of much of his output. It's also easy to forget that he's one of the best MCs in the game, with a delivery so smooth, laid-back, and distinctive that it slides through speaker systems like butter. Although this Capitol collection excludes tracks from Snoop's landmark DOGGYSTYLE album, it still does fans a great service by skimming the cream from his four albums released between 1998 and 2002. There are plenty of highlights, including the smooth Neptunes-produced R&B throwback, "Beautiful," and several tracks from Snoop's brief enlistment in Master P's No Limit army. Even the less stellar material, filled with funk-drenched jams and Snoop's inimitable flow, is hard to resist, making it a good bet for those seeking an overview of Snoop's turn-of-the-millennium albums.

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"Back to Bedlam [Edited]" (10/04/2005) Rock & Pop Blunt, James, Atlantic (USA)Personnel: James Blunt (vocals, various instruments); M. Tarantino (guitar); Mr. Nau (Wurlitzer piano); S. Krivstov (bass instrument); C. Paxton (drums). Recording information: The Embassy, Los Angeles, CA. James Blunt is a former Royal Air Force soldier who saw active combat during the NATO mission in Kosovo, an experience detailed in his debut album's harrowing closer, "No Bravery." Judging from the rest of BACK TO BEDLAM, he's also in the market to become either a one-man Coldplay or a more commercially acceptable version of Elliott Smith. A collection of midtempo ballads based around Blunt's acoustic guitar and piano and his high, reedy voice, BACK TO BEDLAM is tailor made for a generation of sensitive college girls and their frat-boy boyfriends. Blunt shares Smith's knack for pretty mopery and self-destructive tendencies (several songs, most obviously the opening "High," tacitly romanticize drug use), as well as Coldplay's talent for decorating simple melodies with effective production tricks. Tracks like the UK smash "You're Beautiful" and "Goodbye My Lover" are backhanded anti-love songs that suggest Elvis Costello's lyrical wit, and add a little bite to this otherwise radio-ready set of tunes.

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"Minuteman For The Moment [Edited]" (10/04/2005) Rock & Pop Look What I Did, Combat Records

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"Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness [Edited]" (09/20/2005) Rock & Pop Coheed & Cambria, Columbia (USA)Coheed & Cambria: Travis Stever (vocals, guitar, lap steel guitar); Claudio Sanchez (vocals, guitar); Josh Eppard (vocals, keyboards, drums); Michael Todd (vocals, bass guitar). Additional personnel: Janiris Sanchez (spoken vocals); Danny Louis (keyboards); Daniel Sadownick (percussion); Sarah Kathryn Jacobs (background vocals). Recording information: Applehead Studios, Woodstock, New York (2005). Ambition has never been a problem for Coheed & Cambria, but with GOOD APOLLO, I'M BURNING STAR IV..., the upstate New York progressive-metal quartet has succeeded in topping its already-adventurous previous outings. While extending its sonic reach, however, Coheed & Cambria has also hit new heights of accessibility, often sounding like a kinder, gentler Mars Volta, with soaringly melodic moments peeking through billowing, dense clouds of driving guitars and breakneck rhythms. The group eases into GOOD APOLLO with a moody orchestral opening ("Keeping the Blade") and a deceptively benevolent acoustic track ("Always & Never"), before launching into the blisteringly heavy "Welcome Home." As always, frontman Claudio Sanchez carries the dynamic songs, belting out strangely narrative lyrics in his high, clear voice. Although Coheed & Cambria has been loosely categorized as an "emo" band, here the ensemble fully outgrows that tag, joining an elite company of inventive metal acts (like the aforementioned Mars Volta) that are determined to challenge and fascinate listeners.

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"Past, Present & Future [Edited]" (09/23/2003) Rock & Pop Zombie, Rob, Geffen Records (USA)This release includes a bonus DVD. Personnel includes: Rob Zombie, Iggy Pop, Lionel Richie, Trina, Alice Cooper, Howard Stern (vocals); White Zombie. Proudcers include: Andy Wallce, Biyan Carlstrom, Terry Dale, White Zombie, Charlie Clouser. This release includes a bonus DVD. Personnel includes: Rob Zombie, Iggy Pop, Lionel Richie, Trina, Alice Cooper, Howard Stern (vocals); White Zombie. Producers include: Andy Wallce, Biyan Carlstrom, Terry Dale, White Zombie, Charlie Clouser. Rob Zombie has aptly carried the torch lit by the shock-rock pioneers of the 1970s. Sporting a vocal style that bellows (think Chuck Billy of Testament) and razor-cuts (think James Hetfield of Metallica), Zombie possesses a creepy yet futuristic swagger seldom seen in hard rock music. PAST, PRESENT & FUTURE is an education in the legacy of the once-struggling, underground New York City musician (whose interests and projects have since branched into many other forms of entertainment). Unfolding chronologically, the set reviews highlights from his band White Zombie first. Not surprisingly, "Thunder Kiss '65" and "Black Sunshine" have maintained a powerful raw edge; clearly this band was pioneering nu metal before the sub-genre even had a tag. The collection shifts focus to Zombie's solo material, with many notable moments, including "Dragula" (named for the car made famous on THE MUNSTERS), and a fresh interpretation of the Ramones classic "Blitzkrieg Bop." For the completist, PAST, PRESENT & FUTURE is rounded out by two previously unreleased tracks.

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