Album Review: Jason Derulo - Jason Derulo

Ever heard the old expression “You can’t put lipstick on a pig?” In the modern music industry, apparently you can. Two methods have emerged above all the others for talentless and marginally talented artists alike. The first method is masking the vocals with a slick electronic dance beat to distract the listener. The second is autotune. In his self-titled debut, Jason Derulo makes liberal use of both, and the result is eminently forgettable.

To be fair, he does have two big hits from this record - In My Head and Whatcha Say:



In My Head is formulaic, but catchy. It’s basically a harder, more rock-oriented version of NeYo’s Because of You with guitars.

When it comes to Whatcha Say, let’s be real - it’s all about the sample (go to the 2:50 mark). The producer made a dramatic beat with a singable chorus, then he thought, ‘We need some filler to spread over this bad boy.’ Enter Jason Derulo.

But regardless of talent level or the situation, do you really need that much autotune? Probably not. I guess that’s what a full album is for - to show that over the long haul, you have the talent to carry a track on your own. So the question is, despite over-saturating Whatcha Say with vocal silicone, does Jason Derulo show anything in the rest of his record?

In short, no. The other songs are the musical equivalent of those 100 calorie snack packs they peddle to insecure women - it’s like eating air. His voice is whiny, and it would be way too easy to do a mocking, yet accurate impression of him if you’re singing karaoke.

Anyway, I give Jason Derulo a 2.5 out of 5. Not a bad album to listen to in the background if you’re shopping at Hollister. Otherwise, if you need tracks to populate your iPod with, just buy the singles of the two songs you know and leave the rest on the shelf.

Listen to samples and download the MP3 album:

Album Review: Nightmare - Building Rome

Rome wasn’t built in a day, and the road to glory in the music industry is a long one. That’s especially true today, when alternative rock bands come and go, and the top slots on the Billboard Hot 100 are currently occupied by hipPop artists and dance tracks. Building Rome is a St. Louis-based band looking to expand their brand on a national level, and their new album Nightmare is a positive step toward ultimate conquest.

Their sound has been compared to My Chemical Romance and Green Day, and I can definitely hear the influence. Here’s another band they remind me of - Blink 182, especially because of the lead vocals. And that’s why I feel a little conflicted when I listen to Nightmare. On one hand, it seems like I’ve heard some variation of their music on the radio at some point in the past 5-10 years. On the other hand, it’s well-done, especially to a casual alternative rock listener like me. Building Rome can seamlessly switch from headbangers to traditional radio singles, then flip the script and move into softer ballads without missing a beat.

Simply put, there isn’t a weak track on this album. You can listen the whole way through, and the ride is smooth and enjoyable. Is it a classic? I’m not going there. Taking risks can elevate an album to unprecedented heights if done right, but can also be downright embarrassing if done wrong. Nightmare takes the middle ground and sounds good doing it.

Overall, I give this album a 4 out of 5. Building Rome is a talented, polished and professional band that’s as good as anything you’ll hear in the mainstream and on the charts. The only question is whether they can make themselves stand out more from the competition. In the end, that’ll be up to them and the changing tastes of a fickle music market.

To learn more about Building Rome, visit their website.

Download Nightmare for free (limited time only)

Album Review: Percy Jackson and the Olympians Soundtrack (score by Christophe Beck)

Listening to a soundtrack before you watch the movie is sort of like putting the cart before the horse. In many cases, the reason you buy a soundtrack is that you liked the movie, and the music evokes certain scenes and visuals that you remember. Like when I used to play the music from Legend of Zelda on my computer at my old job, a co-worker who was around my age would walk by and say, “You are so weird - why are you listening to the theme from Zelda?” Yes, I get stuck in the 1990s from time to time, and it’s a video game, not a movie. But the fact that he knew it was Zelda shows the true power of a classic soundtrack.

Anyway, digression aside, you know a soundtrack is good when you can visualize a movie in your head before you’ve even seen the movie. Percy Jackson and the Olympians is a new film coming out in the U.S. this Friday, and after listening to a promo copy of the soundtrack, I have to say that it’s like a mini-movie within the movie.

First off, a feature flick about Greek mythology can take one of two musical approaches - 1) Be hip and get someone like Korn or Linkin Park to rock out with guitar-heavy tracks to back the CGI pyrotechnics you see on-screen, or 2) Be traditional and go with the classical/orchestral approach. Percy Jackson goes with the latter, which is probably the right way to go considering it’s a fantasy movie and the main character’s name is Percy. Also, with the external similarities between Percy Jackson and Harry Potter (i.e. two boys with magical powers who do magical things), it probably doesn’t hurt to see if you can evoke a similar feel to what’s worked in the past.

Overall, it’s well-done. I listened to it while multi-tasking on the computer, and the music is like a roller coaster. One minute you have a relaxing, quiet track punctuated with flutes or gentle strings, then suddenly your head perks up again as the big horns and heavy percussion come out for what you figure will be the action scenes. I like how the soundtrack establishes the main theme music with “Prelude,” then has it pop up from time to time in the later tracks in different variations and instruments. It’s good to have an identity, especially when it comes to marketing the movie, the album, the merchandise, and the DVD.

Overall, I give the Percy Jackson and the Olympians soundtrack a 3.5 out of 5. It’s nice to listen to, but I’m not sure if it’ll resonate enough with the public on its own unless the movie ends up doing well. To see when Percy Jackson opens up in your neck of the woods (2/12/10 in the U.S.), check out the official website.

Listen to samples and download the MP3 album:

Album Review: Soul Live - Seal

Two disclaimers - first off, I am almost 30 years old. Secondly, I’ve been a casual Seal fan ever since he broke onto the scene with Crazy. With that out of the way, Soul Live features covers of well-known songs that came out about 40-50 years ago. Seal performs them almost flawlessly with the help of a solid band, and the end result is a nice album you can unwind to after a long day at the office.

All that said, there’s one major issue I have - most of the songs are so recognizable that they just don’t sound the same when someone else sings them. Even when it’s Seal. For example, It’s a Man’s Man’s Man’s World is a James Brown original, and he wailed it with the raw anguish only the Godfather of Soul could deliver. Seal’s version is good, but it’s too clean and noble. Same problem with Stand By Me, If You Don’t Know Me By Now, and right on down the list.

Again, it’s not like they’re bad - quite the opposite, actually. But it’s all too clean, polished, and neatly packaged. Fortunately, Seal does add versions of Kiss From A Rose (former #1 hit that cleaned up at the 96 Grammys), and the aforementioned Crazy at the back end of the record. Those tracks are unmistakably his, and you can hear the difference.

My theory is this: to really sing great covers of soul songs, sometimes you need to hurt a little. But Seal is married to Heidi Klum. He has a great family and more money than he’ll ever need. Just a guess on my part, but he probably doesn’t have too many inner demons or major issues with his life.

Anyway, I give Soul Live a 3.5 out of 5. And it’s not because there’s anything really wrong with it. It’s just that there’s nothing in here to really remember. This album probably came along about 10-15 years too early for me - give me that time to settle down a little more, and I’ll probably like it even better.

Listen to samples and download the MP3 album:

Album Review: Transference - Spoon

In criminal law, the burden of proof is on the accuser. And in music, the burden of proof is on the artist. I don’t listen to a lot of indie/alternative rock, so pretty much any band I do listen to has some extra work to do to convert me. Transference is a new album from Spoon, and while it doesn’t convert me, it’s certainly worth a download and a listen.

Stereotypes are dangerous, and I admit that I have a few. When I think of the genre, I picture a grungy band in a pub or cozy concert venue with exposed brick all around, playing laid-back guitar and piano-driven tracks about relationships and other everyday abstractions. Most of the songs on this album make me feel like I’m in one of those intimate live music venues, nursing a Newcastle, and thinking, “Hey, these guys are pretty good,” but ultimately knowing I’ll forget about them the next morning.

A couple of songs did get my attention though:



The Mystery Zone offers some extra funk and comes off sounding a little like the Rolling Stones’ Miss You. Out Go the Lights has crossover appeal that would translate well to radio, which is a compliment from an indie novice like me. Finally, the metronome-like percussion and abbreviated guitar notes in Nobody Gets Me But You make it sound like an 80s pop-rock amalgamation.

Anyway, whether you religiously listen to indie and alternative rock or not, Transference is an enjoyable album. I give it a 3.75 out of 5. But if you’re an aspiring indie listener seeking an ideal starting point in the genre, keep looking.

Listen to samples and download the MP3 album:

Album Review: Stronger WithEach Tear - Mary J. Blige

Mary J. Blige - New Music - More Music Videos

Times change, and sometimes even the greatest artists need to reinvent themselves. Mary J. Blige is a prime example. As the queen of hiphop and R&B in the 90s, she presided over a musical landscape where the popular beats featured soul samples and the now-defunct New Jack Swing. Today, the mainstays on the top 40 feature polished dance beats made from computer programs and advanced electronic equipment. That said, you run into trouble when you start mass-producing your beats, and all your songs start sounding way too similar, or just plain dull.

In other words, picking beats to match your characteristics as a singer is like picking the right clothes - it takes time, and you need to try a lot of combinations before you get it right. Stronger WithEach Tear is Mary J. Blige’s latest album, and it’s clear that her fashion sense has gotten better over the past decade.

Two tracks stand out to me in particular:


Tonight has a delayed handclap, a shimmering bass that quietly pounds in your head, and a whooshing undertow that reminds me of the Beastie Boys’ Paul Revere. In addition, Said and Done is melodically rich, like biting into a Hershey bar. Ryan Leslie is an underrated producer, and he paints a mysterious, but compelling soundscape that you can dance to, drive to, or chill to. And as she often does, Mary rides the beat like a pro.

The rest of the album isn’t quite as noteworthy, but it isn’t weak either. Some of it gets a little syrupy sweet and monotonous, but that’s probably more about giving a shoutout to her female fans who nod their heads in understanding at her love ballads and lighter, slower tracks. Not that those songs can’t appeal to everyone, but she just isn’t in mid 90s form anymore.

Overall, I give Stronger WithEach Tear a 3.75 out of 5. It’s not her best, but certainly not her worst, and it shows that she’s one of the few artists who’s successfully bridged the gap from one millennium to the next.

Listen to samples and download the MP3 album:

Album Review: Contra - Vampire Weekend

When it comes to music, sometimes it’s ok to be different, as long as you’re good. At the very least, the name “Vampire Weekend” gets your attention. Their music is pretty unique too. I’ll admit that this is the first album I’ve ever heard from them, and it’s interesting in a good way.

First off, the lead vocalist sounds like Paul Simon with little traces of Sting on certain tracks. The music itself features a mix of influences - African and electronic are the most prominent ones I hear. Two songs stand out to me in particular:


Overall, the music has a happy sound to it, and there really isn’t any track that I couldn’t at least listen to the whole way through. Contra would be a fitting soundtrack for a roadtrip to nowhere in particular, an indie film about nothing in particular, or a kids movie like Where The Wild Things Are. And that’s not intended as a knock - it’s really a compliment to its versatility.

I give the album a 4.25 out of 5. It’s different, it’s enjoyable, and while it lacks a truly transcendent single, it’s consistently good. You can’t ask much more from music these days.

Listen to samples and download the album: