Craig David has come a long way since his days as the darling of the garage music scene (remember that?). Hot Stuff marks a further shift away from that edgier sound to a more pure-pop style which he seems to be growing increasingly comfortable with.
If you think there’s a bit of an 80’s pop vibe to this tune, that’s because it borrows heavily from David Bowie’s Let’s Dance. Not to mention part of the video borrow’s heavily from MC Hammer. But we won’t talk about that.
Despite spawning a number of massive singles, Timbaland’s Shock Value album hasn’t been a critical success. We’ve trawled the web for quality reviews of the album and that many music writers were left cold by the quality of the album.
Should Timbaland stay strictly backstage? Read on and find out.
It’s been a while since we did a review round-up. Today’s round-up looks at one of my favourite albums this year, Amy Winehouse’s Back To Black. In the style of other review roundups, we’ll be looking to blogger’s opinions rather than relying on mainstream reviews. Jump over the picture to get started…
Natalie’s always excelled at a certain brand of polished acoustic pop music, but she’s never managed to achieve quite the same heights of success as another Antipodean ex-soap actress I could mention.
Glorious follows in that tradition, with a major marketing push to remind us that 2007 marks Natalie’s 10th year as a minor league pop star. I read this quotable quote from Imbruglia over on Pop Music Kingdom:
Allow me to introduce Mr Vince Freeman. Vince is one of those aspiring singer/songwriters I came across on MySpace a while back and have been meaning to tell you all about.
Vince is my kind of singer - he’s got a raw, throaty vocal style, but as you’ll hear, there’s a real warmth in his tone as well.
He also gigs extensively, and at the moment he’s in the middle of doing an ‘In Your Lounge’ tour, where he turns up at intimate venues like people’s houses and performs for them.
One of the most hotly anticipated albums this year was Linkin Park’s latest, Minutes To Midnight. Tipped as a new direction for the band, there’s noticably less rapping from Shinoda. So, naturally, Chester Bennington features more prominently on this album.
Rather than doing a straight review, I’ve trawled the web to bring you some of the best reviews of the new album.
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Ah, the beauty of the Internet - looking up your teenage favourite bands and discovering they’re still making music!
I’ve written quite a bit about Extreme in the past - they were one of my favourite bands of the 90’s, and Nuno Bettencourt was my idol as a guitarist. I knew he was still performing, so I discovered his new band Dramagods and managed to get my hands on a copy of their album, Love.
It seems that the focal point of Dramagods is Nuno. But although he’s recognised as a guitar god, Nuno also fronts the group and he’s a surprisingly good vocalist. He carries off a range of material on this album, from hard-edged rock to more sensitive material.
Another surprising aspect of this album is that it isn’t filled with extended guitar solos. Instead, the guitar solos only appear where they’re suitable - they’re not the focus of the songs as I sometimes felt they were in Nuno’s earlier work.
I must seem slightly fixated on Extreme: I’ve already reviewed their second and third albums on this blog. For the sake of completeness, this is my review of Extreme’s self-titled debut, released in 1989.
1989 at was the tail end of some major rock music releases, Def Leppard had released Hysteria, Bon Jovi’s New Jersey, Alice Cooper’s Trash and many other stadium-fillers had filled the rock charts. There was certainly a market for Extreme’s music, but in retrospect it may have got lost among the noise of the larger acts.
Fresh from insulting X Factor’s Leona Lewis, Jamelia’s back on the scene with a new single! Funny how those tabloid-grabbing stories break whenever there’s a release on the horizon, isn’t it?
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