Artwork by Rebecca Holt

It is rare to find an amazing movie with an equally amazing soundtrack. (500) Days of Summer is one of those movies.

The soundtrack begins with the narrator’s first monologue in the movie, which is rare in soundtracks, to begin with. The next song is by Regina Spektor. If you haven’t heard of her, there’s a good reason why: she’s not mainstream, which is yet another marvel of the soundtrack. Most major movie soundtracks have artists like Paramore and Muse; artists who everybody knows about.

The initial joy after discovering that this was such a rare soundtrack would be hard to top, but the album did it perfectly. There were some better-known indie bands such as The Smiths (There is a Light That Never Goes Out and Please, Please, Please Let Me Get What I Want), Feist (Mushaboom) and The Temper Trap (Sweet Disposition), but what really excited me were the artists I had never heard of such as The Black Lips (Bad Kids), Carla Bruni (Quelqu’un M’a Dit) and Mumm-Ra (She’s Got You High).

The album covers the entire story of the movie, starting with songs that talked about wanting to be with someone, transitioning into songs about being in a relationship, and ending with songs about a relationship dying. The soundtrack ends with a cover of Please, Please, Please Let Me Get What I Want by She & Him (which, in my opinion isn’t nearly as good as the original; the singer’s voice is watery and sounds distant), which shows the hope for new love similar to the tone at the end of the movie.

It seems that the album follows the thoughts of the main character, Tom, and never strays to Summer(the love interest)’s thoughts. This is great, because it really allows the listeners to put themselves into Tom’s frame of mind. The album is reminiscent of a mix CD Tom might have made for Summer, or what he would listen to as each event transpired.

There is only one true way to discern whether or not a soundtrack is truly amazing: the soundtrack has to be able to stand on its own. If the CD is only good because the songs remind you of scenes in the movie, or the songs were good in the movie but not to just listen to (for instance, solely instrumental songs), then it’s not an amazing soundtrack. The (500) Days of Summer soundtrack is the sort of soundtrack that feels like a mix CD made for you by a really good friend.

I would suggest this soundtrack to anyone, not just people who have seen the movie, because of its ability to stand on its own as well as the beautiful, inspiring music which is also pleasing to the ear.

Rating: ★★★★★

Artwork by Rebecca Holt

This past decade was filled with a lot of great new bands and singers coming onto the map. Even some old players in the music world came out with some new songs. There are many songs that came out over the last ten years that I could easily have put on this list that anyone would see the name of the song and say, “Oh, I know that song.” These are my top ten picks of the 2000’s.

2000 brought us singers like Destiny’s Child and Christina Aguilera. Yet *NSync’s Bye Bye Bye is the song for which I can sing every word, and I even know the famous dance moves. This was their first hit single off of the boy band’s No Strings Attached.

In 2001 I will have to go with Fallin’ by Alicia Keys. This song expressed how every woman felt about any man that hurt her, but kept her hanging on. Alicia made every woman’s voice heard through this song. This was a good way to jump start Keys’ career that has gained more recognition with every song she releases. With her amazing singing and piano abilities, to our generation, she was a new type of artist.

Cleanin’ Out My Closet is my pick for 2002. This controversial song came out with a bang. Eminem is not the first rapper to have lyrics that explains his harsh childhood, or a parent “Going through public housing systems, victim of Munchausen’s syndrome. My whole life I was made to believe I was sick when I wasn’t ’til I grew up, now I blew up. It makes you sick to ya stomach.” This song gives a whole new insight into Eminem’s life, and an understanding of why he lives and acts the way he does: it is what his music is about.

In 2003 I really loved The Black Eyed Pea’s song Where is the Love? . This song came a year after the 9/11 attacks, and soon after the invasion of Iraq. With every line it is explained how we act and, “Overseas, yeah, we try to stop terrorism but we still got terrorists here livin’ in the USA, the big CIA,
The Bloods and The Crips and the KKK.” This song was just a wake up call for all of us about the hate that was not just the terrorism towards us, but the hatred we have within, and towards our fellow American.

It’s hard being the younger sister of a pop music icon, but Ashlee Simpson came out with Pieces Of Me in 2004, and it was a home run. It was on the Billboard top 10 charts for 14 weeks straight. I really enjoyed listening to this song because of the vulnerability she portrays in the song.

In 2005 the new hot trend was Chris Brown, with his first self-titled CD that went Double Platinum. Run It was Brown’s Debut song. With his mix of singing and dancing ability Brown became a hit quickly.

Justin Timberlake. Need I say any more? With his return to the music charts, he came back with a bang. The Sexy Back collaboration with Timberland was on the Top 10 Billboard chart for 19 weeks. With a hip new beat and provocative lyrics this song had to be on my favorite of the decade list for 2006.

“I’m holdin’ on your rope, got me ten feet off the ground.” This is the first line to my 2007 song. Apologize, by One Republic, came out on their debut album Dreaming Out Loud. This song was about a break up; a woman who a man once loved, but she wasn’t who he thought she was.

In 2008 Katy Perry came out with I Kissed A Girl. From the lyrics such as, “Us girls are so magical, soft skin, red lips, so kissable,” this song shows us the beauty of women. Katy Perry has been quoted about her feelings about women. “I can appreciate a woman’s beauty.” With a catch beat that can get stuck in your head and a rather provocative theme, this song was a hit all around the world.

My last song of the decade has to be Single Ladies by Beyonce. This song came out and it told women that it is okay to be single, that if a man doesn’t respect you then its okay to leave him. The whole, “I don’t need a man to be happy” mindset was reaffirmed. With other songs on her I Am… Sasha Fierce CD like If I Were A Boy shows the other side of what women can do. This song was everywhere, including on a SNL skit that Justin Timberlake does of him dancing to the song, and on thousands of the videos on Youtube from little girls to old people doing the famous The Single Ladies dance moves.

This is the music that has been so implanted in our minds from this decade. But, as great as this past decade was for music, I am already impressed with the artists coming out this year so far. This decade will be great for the music world.

Artwork by Mia Nogueira

With a total of 14 albums (studio/studio-recorded solo albums, JM Trio album, and 8 live albums), John Mayer has made his mark on this decade’s music industry. It’s his solo albums that have defined him as an artist though, each one revealing some of Mayer’s personal feelings about conflict, life, and now in his latest album Battle Studies, love and heartbreak.

These feelings can be evoked when listening to songs on the new album like Heartbreak Warfare and All We Ever Do Is Say Goodbye, where Mayer seems to pass on feelings from personal experience or heartbreak to his listeners. As is the case in Heartbreak Warfare: “Lightning strikes inside my chest to keep me up at night, dream of ways to make you understand my pain,” or “…good to know it’s all a game, disappointment has a name, it’s heartbreak warfare,” Mayer portrays a loss of hope for relationships and sees it all as just a game.

Being a long-term John Mayer fan, I anticipate great things from him since that is what he has delivered in his previous albums. After receiving numerous awards ever since the start of his career, Mayer’s expectations are always high from his devoted fans. But even as dedicated listeners, it’s hard to put a thumb on what exactly Mayer delivers in his music that keeps us running back.

Before Mayer’s great solo success, he was in a two-man band with college friend Clay Cook, who urged Mayer to move with him to Atlanta to get their band name out to the public. It didn’t take long for an audience to start following the group around, but Mayer’s desire to take more of a “pop” direction in their music ultimately separated the two; thus began Mayer’s major label success as a solo artist.

In his new album, Mayer followed his craving and leaned more towards the “pop” end of the music spectrum, as opposed to his recent “blues-lovin’” sound by combining aggressive lyrics with a fresh rhythm. Mayer has created a unique sound for himself that is hard to compare to any other artist, mainly through his vocals. His fret work is where similarities to other musicians come in. Dave Matthews is known for his “blues” instrumental sound, and Mayer hasn’t strayed far away from it either. Like I said before though, it’s his vocals that really move him away from the blues realm.

This can be heard in the song Assassin; With a hip beat that starts the song, Mayer speaks of his techniques as a theoretical “heart-stealing” assassin and a woman who was his target, but ended up getting his heart stolen instead, by a girl who “…was an assassin too.”

The Battle Studies Tour has recently been posted, with Mayer performing all the way from Copenhagen to Colorado (March 23, 2010 at the Pepsi Center). I encourage everyone to sample some of Mayer’s old music before listening to the new album; I found the new sound refreshing and intriguing, but only because past albums all had a familiar, consistent rhythm. Battle Studies can be found in stores or on iTunes for $10.99 ($13.99 for the Deluxe Version); Previous albums can also be purchased at these locations for similar prices. I guess it’s true what they say- change isn’t always a bad thing.

Artwork by Anna Becker

Not only is Worlds Collide the title of Apocalyptica’s most recent album, but it is the most apt description of their music. Imagine, if you will, classical music. The violin, the viola, the string bass, and especially the cello are the tools of Mozart, Bach, Handel, and other famous composers of the time. Their music is elegant, refined, and dignified (albeit boring to the vast majority of people). Now imagine the genre of metal: the wildly flailing guitar riffs, the chunky bass, the pounding drums of artists like Metallica, Slayer, Dream Theater, Megadeth, and so many more. Their music is distorted, intense, and adrenaline filled (albeit terrifying to the vast majority of parents). The two genres are essentially polar opposites, but one quartet of Finnish cellist dared to think differently and…

It all began in 1993 when four cellists, Eicca Toppinen, Paavo Lötjönen, Max Lilja, and Antero Manninen decided to play Metallica covers at Sibelius Academy in Helsinki. Don’t ask me to pronounce or spell any of their names, but, the group ended up playing in an after-Christmas party at the Teatro Heavy Metal Club, and in the audience was a man who worked for Zen Garden Records. After listening to their set, he signed the band on the spot.

Their first album, Plays Metallica by Four Cellos, consisted solely of Metallica covers, and is, to say the very least, amazing for anyone who has ever listened to the haunting tones of The Unforgiven or the jaw dropping riffs of Master of Puppets. And the amazing part is that while Kirk Hammet can do it on guitar, Apocalyptica can do it on a cello.  Why is this important? A cello has only four strings, usually has to be played sitting down, and requires a coordination of bow movement as well as constantly shifting fingers. Long story short, it’s harder on the cello, and Apocalyptica took on the challenge and succeeded with flying colors.

Their second album, Inquisition Symphony also contained Metallca covers, but reached out towards other bands and contained three original pieces as well.  However, just three years after their second album had been released in 1996, Antero Mannnien left the group. Yet it was not a total loss, as cellist Perttu Kivilaakso replaced him (say that five times fast, I dare you).

Their third record, Cult, had even more original songs. However, after Cult was released in 2000, Cellist Max Lilja left the group to pursue other interests, reducing the quartet to a trio. Nevertheless, they kept going, releasing two more recordings, Reflections in 2003 and Apocalyptica in 2005, while also gaining drummer Mikko Sirén. Why a drummer you ask? Simple: every band, whether it be metal, rock, punk, etc., needs something more than a metronome to keep the beat, even a band of cellists. While Slayer drummer Dave Lombardo might have helped on a couple of songs, and a session drummer helped in the studio, Apocalyptica was forced to go drummer shopping. They hired Mikko Sirén, and after playing nearly two hundred shows with the band, he was finally named an official band member. The band currently consists of cellist Eicca Toppinen, cellist Paavo Lötjönen, cellist Perttu Kivilaakso, and drummer Mikko Sirén.

Their sixth and most recent album, Worlds Collide, became a hit when they recorded I Don’t Care with Adam Gontier of Three Days Grace. That single topped the Billboard rock chart, granting Apocalyptica the honor of being the first Finnish band to ever top the US charts. Worlds Collide also features guest appearances from Corey Tylor of Slipknot, Cristina Scabbia of Lacuna Coil, Matt Tuck of the band Bullet for My Valentine, and Till LIndermann of German metal band Rammstein.

For an Orchestral music geek and self-proclaimed “metalhead” like myself, Apocalyptica is a deity. Metallica has always been my favorite metal band, and my love of string orchestral pieces evolved out of seven years of playing the violin. Never before could I have ever imagined the two combining, but it is without a doubt one of the most amazing things I’ve ever heard. I recently took it upon myself to listen to Plays Metallica by Four Cellos. I was flabbergasted, to say the very least. The familiar sounds of Enter Sandman, Master of Puppets, The Unforgiven, and Welcome Home (Sanitarium) all wafted from instruments I had always heard playing Bach and Beethoven. The first time I heard Apocalyptica’s cover of One by Metallica changed my entire outlook on music. As the band has evolved, they have experimented and perfected their style, using electric cellos to obtain the crunchy, distorted sound of the electric guitar. Unless you are paying close attention, you can easily mistake the cellos for an electric guitar.

These guys have turned into one of my new favorite bands, because they are totally unique in everything they do. Even their covers seem like originals. I once uncovered a video where they played an intense version of In the Hall of the Mountain King, a classic orchestral piece composed by Edvard Grieg, that put the original to shame. I highly suggest you check them out, and you can find a sample of their music at http://www.apocalyptica.com/. You too can see exactly how worlds collide.

Artwork by Mia Nogueira

We all have our music that we turn to when we are sad, mad, happy, exuberant, anxious, etc. For many, one band that is often turned to is the Canadian modern rock band Three Days Grace, who has been making music and helping people through their hard times for six years.

Adam Gontier, the lead singer, brings all of the emotion to the band, with writing his lyrics when he is mad, sad, upset, or just has strong feelings, so the lyrics can be completely raw, personal, and emotional. With two previous CDs released, one in ’03, their debut self titled album, and another in ’06, titled One X they came stampeding back this last September with their third record Life Starts Now.

For many die hard fans of Three Days Grace, September 18 was a day that they would rush to their nearest music store and buy that new album. The two previous discs, Three Days Grace and One X, were outstanding. The way that the music was written, played, and flowed was really capturing was hard to get tired of. Also, every song seems as if it can relate to a vast amount of situations ranging from falling in love to starting a riot, and everything in between, so it can be good therapy to help listeners through anything and know they’re not the only one feeling that way. Many fans knew these albums would be hard to beat, and they expected that. With that thought in many minds, they weren’t really proved wrong, because it did not top the previous two albums. However, myself, as well as I’m sure many others, were pleasantly surprised at how Three Days Grace did it again and pleased the many fans.

In their previous albums, everyone is left feel feeling as if they are not alone in their lives and knowing someone else has been there, because Three Days Grace makes everything feel personal, just between you and the music. Their writing style and instrumentals can be upbeat, melancholy, angry, and emotional, which creates the ability to listen to them at all times. Between their first and second album there is a small difference. However it’s just the maturing of the band and Gontiers voice. With Adam as well as the rest of the band being in their young twenties when Three Days Grace was released, they had gone through a lot between that time and when One X was released, so their music styles did change a bit. Junior Amber Beren, a Three Days Grace diehard, believes that One X is their best album. “The lyrics and the songs are just better on that CD. Plus, that CD has gotten me through so many tough times in life.”

The new works of Three Days Grace has not surprised many, for it is exactly what they expected; musically and instrumentally well done and another good Three Days Grace album, but not as fantastic as the previous two. It is lacking in some areas, such as the range of lyric diversity and how many different things they wrote about. “I feel like they needed more inspiration in this album,” states Beren. “It seemed as if they only wrote about one or two things this time around.” As I very much agree with Beren on this, because it seems as if all they wrote about was loosing a loved one as well as finding a way to be happy in life, I still think it was overall a great CD. The lyrics are still just as raw and emotional, and you still want to learn all of them. There is always a way that the CDs flow, and this one is no exception. It starts off with an upbeat rock song and it has mostly those within the album. Scattered within the album are always the slow, and somewhat depressing songs. Life Starts Now’s songs are strong and make you think about life, which is what Three Days Grace is known for.

Although this album has a few flaws, Three Days Grace has done it yet again and produced an album that is no downfall, and even though it may not be their best record to date, is it sure to please many and upset few.

“I am wrecked, I am overblown,” declares the first song on Motion City Soundtrack’s album Commit This To Memory, establishing the theme of the album: being fed up with feeling unworthy. It’s a topic anyone can relate to, but even if it weren’t, the down-to-earth message and sound of the songs could make a person empathetic about anything.

The band itself has a lovely sound; the mix of Justin Pierre’s standout indie-rock voice with catchy instrumentals (created by two guitars, a synthesizer, a keyboard, a bass guitar, a piano and drums) is to die for. Adding to the flowing sound, the transitions between songs are so seamless, I never noticed the song change. That’s not to say there isn’t variety; just that the change between songs is painless and feels natural.

“I’m trying to find out if my words have any meaning,” the singer muses in Together We’ll Ring in the New Year. All I can say is: they do. Every lyric is intelligent and quotable, and each song tells a story.

Usually, there is a downside to every disc, but with this album I simply cannot find one. Every aspect is picture-perfect and makes for Motion City Soundtrack’s best album yet. Never before have I been able to so deeply connect with an album than this one, and it’s all due to the fantastic execution of a wholly relatable message.

So, whether you’re looking for something to sing along with at the top of your lungs-to get rid of all of that teenage angst-or for catchy alternative rock to jam out to, Commit This to Memory is the album for you. This reporter cannot recommend it enough.

Track List:
1. Attractive Today
2. Everything Is Alright
3. When You’re Around
4. Resolution
5. Feel Like Rain
6. Make Out Kids
7. Time Turned Fragile
8. L.G. Fuad
9. Better Open the Door
10. Together We’ll Ring in the New Year
11. Hangman
12. Hold Me Down

Preferring:
• Everything is Alright
• When You’re Around
• Make Out Kids
• L.G. Fuad
• Better Open the Door
• Hold Me Down

Rating: ★★★★★

In 2005, punk rock band Blink-182 went on an indefinite hiatus, all but abandoning their vast fan base. However, after four years, the band has decided that it is time to get back to work. According to their website, “We’re back. We mean, really back. Picking up where we left off and then some. In the studio writing and recording a new album. Preparing to tour the world yet again.”

Blink’s reunion tour started on the 24th of July, and since then, they have played shows all over America, and even Canada. On September 6th, they played a sold out show in Denver at Fiddler’s Green.

The band has acquired somewhat of a cult following, and it was evident by the crowd. The line for Blink merchandise was almost as long as the line to get into the venue.

At 6:30, opening band Chester French took the stage. The band was what you might call ‘eccentric’, relying on vulgar lyrics, mediocre instrumentals, and even employed an out-of-place tambourine in their songs. The singer’s voice was nothing short of annoying, and the band behind him wasn’t anything worth paying attention to, proven by the preponderance of folks ignoring Chester French. Oh, did I mention that the name of the band was Chester French? Because the singer found it necessary to remind the audience of their name at least five times between every song they played. It was no surprise to see that no one was heartbroken to see them walk off stage.

Next up was Taking Back Sunday, a band much better and more widely known than Chester French. When Taking Back Sunday came out, the majority of the crowd was on its feet, and a number of them were singing along. To me, they seemed better in the studio than on stage, yet their sound was clear and the vocals were decent. They weren’t anything special, but I wasn’t blown away; a typical opening act.

Weezer, however, did not disappoint. They sauntered out onto the stage in matching white track outfits to roaring applause. Their reputation as a peculiar and goofy band preceded them, and it was incredibly entertaining to watch. They played hits such as The Sweater Song, Buddy Holly, Island in the Sun, Beverly Hills, and Pork and Beans, while the crowd sang along. The singer’s antics were crazy, jerky, and hilarious to watch, alternating between jamming out on the rhythm guitar and jumping on a mini trampoline. The crowd was energetic, to say the least, and the band was having a great time up on stage. Weezer received very loud applause as they finally walked off stage, but that was absolutely nothing compared to the deafening bellow that the crowd gave Blink.

The very second the house lights went down for Blink-182’s entrance, the audience erupted in a roar louder than any I’ve ever heard. To say that the spectators were excited to see Blink would be an understatement; to say that they were completely insane with exhilaration would be much more accurate. It was instant pandemonium. The band leaped into their set, playing song after song, including I Miss You, Carousel, Always, What’s My Age Again?, The Rock Show, Reckless Abandon, and so many more, with well over three fourths of the crowd singing along.

The band was compelling, and between every song there was a new ‘your mom’ or other crude joke. They were often hilarious, somewhat vulgar, and, to my surprise, absolutely incredible live. I’ve always been skeptical about Blink and their music, never too impressed, and frankly convinced that they weren’t as good as they were made out to be. However, my opinion changed just as quickly as the crowd exploded. The best part of the experience, in my opinion, was not the music they played, or the epic hip-hop drum solo of Travis Barker on his trademark spinning platform, but the sidesplitting behavior of bassist/vocalist Mark Hoppus and guitarist/vocalist Tom DeLonge. Not only were they joking with each other, they were prancing around like high school pranksters.

But why is this so important? Bands form, fall apart, and get back together all the time. What makes Blink different from the others? The answer is clear: the vast number of fans, and the complicated history between the three friends turned punk idols. Blink began in 1992 when Tom DeLonge, Mark Hoppus, and Scott Raynor got together in high school to make music. They were signed in 1994 and released their debut album, Cheshire Cat, in that same year. After moderate success with their second album, Dude Ranch, drummer Scott Raynor left the band. There is speculation on whether he quit or was kicked out due to drinking problems, but it was not long until Travis Barker took his place. The band stayed together for ten more years, but after growing tensions, a side project leaving Mark behind, and other disagreements, Tom left the band. He went on to start the band Angels and Airwaves, and Mark and Travis remained together in a new band named +44.

But fate desired a Blink reunion and through a series of unfortunate events, the band was pulled back together. The most horrific of these was when Travis Barker’s Learjet lost control on the runway, crashed, and burst into flames, killing four people. Travis barley survived, and the three friends put aside the past and put together a reunion tour.

Despite their spotty past, Blink is back and they made a believer out of me. The concert was great, and I expect their new album to be just as great.

artwork by Anna Becker

After six months of listening to Regina Spektor, I realized that I had never heard her debut album, 11:11. I was sure it would be the best, I mean, she was untainted by the music world, right? Wrong! I was sorely disappointed. The music in 11:11 is so different from the Regina Spektor I know and love, and while “different” can be good, Spektor’s voice doesn’t mesh very well with many of the styles in this album.

The album does, however, have some redeeming qualities. The half-jazz, half- folk style is refreshing after radio stations full of teeny-bop slop. The lyrics are still beautiful and haunting, of course, which is the best part of the album. Spektor’s words rarely focus on herself, which is hard to find in music today, and altogether wonderful. Everything about Spektor’s music is original and uniquely hers, which is fantastic in-and-of itself. Still, the unusual and unpleasant sound of most of the songs negates these positive attributes.

Spektor composed and sang every song on the album, and even produced and sold her own CDs. After her second CD, Songs, she signed a contract with Sire Records and has worked with them ever since, which may or may not have been the cause of her change in musical style.

11:11 is largely jazz, although songs such as Braille hold foreshadowing of Spektor’s current style. In this album, Spektor’s voice is strong and rough which contrasts with her usual display of soft and lilting vocals. Spektor still has the intensity that reminds the listener of her passion for each and every song.

The album opens with Love Affair, the lighthearted story of a man who would be perfect, but for a mother’s disdain, which is ironically set to a creepy tune. While the tune and beat are fantastic, the lyrics fall short in comparison to Spektor’s other work. They don’t tell a particularly deep story, and have no real message. Two songs after that is Buildings, which seems to be the song that holds the entire album together. The beat is repetitive and soothing, while the vocals are lilting yet powerful. It softens one of many transitions in the album and is my favorite song in the album.

The best lyrics on the album belong to Marry Ann. Weird, as per usual, but absorbing, nonetheless. This is the story of a woman who is promiscuous but seemingly innocent, who begins to consider murder because she prefers her meat freshly butchered. The accompaniment and repetition makes the song sound like a fairytale, which vaguely reminds one of Sweeney Todd.

Regarding the track Pavlov’s Daughter, I have but one comment: Regina Spektor should not be allowed to rap. Although her voice is still beautiful, rap is just not Spektor’s strong suit. She plays with using a New York accent and varying low and high notes in a diminished scale, which gives the song an eerie feel. Not even Spektor’s lyrics could make this song bearable.

Later in the album is I Want To Sing, which is completely a capella. In contrast to what one would expect from Spektor, this song is a ballad, and has no scatting or vocal imitations of instruments. The song is pretty and has an almost lullaby quality, but it would be a thousand times better with instrumental music to back it up.

A good thing about Regina Spektor is that she has so many different styles. Spektor once said in an interview that her goal was to never have a definable style. This makes it easy for listeners to like at least one song on any of her albums, even if they hate the rest. I would suggest previewing this album before buying it, especially for a fan of Spektor’s newer music. There are definitely parts worth listening to, but nothing particularly special.

Track List:

1. Love Affair
2. Rejazz
3. Back of a Truck
4. Buildings
5. Marry Ann
6. Flyin’
7. Wasteside
8. Pavlov’s Daughter
9. 2.99 Cent Blues
10. Braille
11. I Want to Sing
12. Sunshine

Preferring:
• Love Affair
• Buildings
• Marry Ann
• Braille

Album rating: ★★★☆☆

During the summer of 2009, America lost a few well-known celebrities including Charlie’s Angels actress, Farrah Fawcett, television infomercial salesman, Billy Mays, and past Tonight Show sidekick, Ed McMahon.  At 2:26 p.m on June 25, the world lost yet another of its legends:  Michael Jackson.

After rehearsing for his upcoming, This Is It Tour in London, Jackson had gone to bed in his rented Holmby Hills estate.  A few hours later, he woke, saying he “felt weak” and was advised to get more rest.  By the next morning (Thursday June 25, 2009), Jackson’s physician, Conrad Murray, discovered Jackson was not breathing and immediately called 911.  For over an hour, UCLA Medical Center physicians tried to revive Jackson, but at 2:26 p.m the whole world was informed of Michael Jackson’s death.

Michael Jackson was not just a legend, he was The King of Pop, and like all great kings, lived a historical life.  From the day of his birth on August 29, 1958, Michael Jackson had a musical talent.  When he was about two, Jackson would dance to the thumping sound of his family’s washing machine.  He was one of 11 people living in a two-bedroom home in Gary, Indiana, where his father, Joe, worked two steel mill shifts per day and frequently played small gigs with his blues group, the Falcons.  Meanwhile, Jackson’s mother, Katherine, would often stay at home and sing with the kids.  By age five, Jackson was already making it big, as lead signer of his brothers’ band.  He also was learning how to dance by watching James Brown, one of his idols, perform on television.  At age six, Jackson and his brothers won a talent contest signing Barefootin and shuffling across the stage.  After the performance more followed, thus giving birth to The Jackson 5.  In 1967, the group performed at Harlem’s Apollo Theater, the most famous African-American music hall in the country, and in August of 1969, they made their first national television appearance on The Hollywood Palace hosted by Diana Ross and The Supremes.  They also appeared on The Ed Sullivan Show, performing many hits such as ABC, I’ll be there, and I Want You Back.

Michael Jackson’s solo career began in 1972.  At age 14, he had already achieved his No. 1 single, Ben, the title song from a horror movie about a boy and his rat – his first No. 1 single!  In 1978, Jackson starred alongside one of his best friends, The Supremes’ Diana Ross, as the Scarecrow in the film, The Wiz (an all-African American cast version of The Wizard of Oz).  By 1979, Jackson and music arranger, Quincy Jones, had produced the album, Off the Wall, with famous songwriters including Paul McCartney and Stevie Wonder.  Also in 1979, Jackson broke his nose during a complex dance routine, leading him to discover rhinoplasty, and throughout his career his facial appearance changed.  Another devastating accident, an explosion during a Pepsi-Cola commercial, set Jackson’s hair on fire (forcing him to wear wigs) and gave him second-degree burns.  However, most people may not know that it was not these accidents that made Jackson’s skin color lighter.  Jackson’s dermatologist and good friend, Dr. Arnold Klein, confirmed that Jackson suffered from vitiligo, a disease that causes depigmentation in patches of skin.  Jackson used a special cream called Benoquin to even out his skin’s coloring.

Every king has a queen, or several in Jackson’s case.  In 1994, Michael Jackson wed 26-year old Lisa Marie Presley, the daughter of Elvis.  Jackson and Presley were in love, often seen as inseparable; but sadly, their relationship unexpectedly ended on January 18, 1996.  Although Jackson had many famous women in his life (actresses Brooke Shields, Tatum O’Neal, and Diana Ross), his next wife, Debbie Rowe, was an unknown face in the celebrity world.  Rowe and Jackson met in the early 1980s at a dermatologist’s office but did not marry until a decade later.  Although Rowe gave Jackson two kids, Prince Michael Jr. (born in 1997), and Paris (born in 1998), their marriage ended in October 1999.  Jackson’s other son, Prince Michael II (a.k.a. “Blanket”), was delivered via surrogate mother.

Michael Jackson may have had a few downfalls in his legacy.  He dangled his infant son “Blanket” over a balcony to show him off to the world.  He went to court, being accused of sexual abuse toward children at his large estate, Neverland Ranch (but was declared innocent).  By 2005, he was up to $400 million in debt and had to sell some of his personal items.  Even the public started to hate one of their favorite idols.  Regardless of whether they loved him or not, most remember Michael Jackson as the iconic, legendary singer and dancer who would moonwalk across the stage, delighting millions of people and living his American dream.

Michael Jackson Discography

Hello World – The Motown Solo Collection – 2009
Thriller (25th Anniversary Edition Cd/Dvd) – 2009
Gold – 2008
Thriller 25 Super Deluxe Edition – 2008
Thriller 25 Deluxe Edition – 2008
Essential Michael Jackson – 2005
Michael Jackson: The Ultimate Collection – 2004
Number Ones – 2003
The Best of Michael Jackson – The Millennium Collection – 2002
Love Songs – 2002
Invincible – 2001
Candle in the Wind – 1999
Blood On The Dance Floor: HIStory – 1997
HIStory: Past, Present and Future, Book 1 – 1995
The Best Of Michael Jackson: Anthology – 1995
Motown Legends: Rockin’ Robin – 1993
Motown Legends – 1993
Jam - 1992
Dangerous – 1991
Anthology – 1990
Bad – 1987
Thriller – 1982
The Best of Michael Jackson [Motown] – 1981
Off The Wall – 1979
Got to Be There – 1972

Formed in 2002, this Grammy-nominated band released their debut album How to Save a Life in 2005. They’re best known for their singles, How to Save a Life and Over My Head, both top ten singles in the United States and Canada. With the same production team as their previous album, they set the stage for more of the same.

The band released a new self-titled album in 2009, which has already hit number one on the Billboard charts with over 179,000 copies sold. A video was filmed in Chicago for their new single, You Found Me. Now, if you’ve turned on the radio lately, you’ve undoubtedly heard this new song of their’s, and I will assure you that the rest of the album matches the single. The Fray’s sound is oddly reminiscent of Coldplay, with their smattering of piano at the start of songs, followed by a burst of genuine rock action, and then lapsing into the soft rock doldrums.

Absolute is briefly interesting sounding, before it abruptly drops into the mellow tempo that appears standard for the Fray. Never Say Never and Ungodly Hour are by far the most interesting songs on the album, both attempting Coldplay-esque piano ballads. Never Say Never is promised by the band to be their next single, and they’ve gone so far as to film a video (of which the airing date hasn’t been announced). The tune of Where the Story ends sounds almost disturbingly like How to Save a Life, and We Build Then We Break strikes out against the normal Fray soft-rock, but amounts to a sloppy sounding nothingness. Say When is an accurate description of what one feels while listening to the album.

The Fray “formula” is good for a few songs, but used for all the songs on an entire LP, it becomes rapidly, incredibly dull. The songs stand all right by themselves, but when lumped together in one sitting, the music swiftly fades into the background and never rears its head again. It reminds me slightly of elevator music; not unpleasant but not noticeable, either. The band is dull and doesn’t offend anyone’s palate, but doesn’t satisfy many, either. Bottom line, if you enjoyed the Fray’s first album, by all means go listen to their new one; it’s very much the same. If you find the Fray dull, avoid this album, as it isn’t anything new or exciting.