2011 release, the third album from R&B rapper Cameron Jibril Thomaz, more commonly known as Wiz Khalifa. The album includes the first single ‘Black and Yellow’, produced by Grammy winning team Stargate (Rihanna, Beyonc and Katy Perry). The track refers to the colors of the Pittsburgh Steelers – a football team from Wiz Khalifa’s hometown. Wiz Khalifa was recently named MTV U.S’s Hottest Breakthrough MC of 2010, beating acts such as Nicki Minaj and J Cole.
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2011 release, the third album from R&B rapper Cameron Jibril Thomaz, more commonly known as Wiz Khalifa. The album includes the first single ‘Black and Yellow’, produced by Grammy winning team Stargate (Rihanna, Beyonc and Katy Perry). The track refers to the colors of the Pittsburgh Steelers – a football team from Wiz Khalifa’s hometown. Wiz Khalifa was recently named MTV U.S’s Hottest Breakthrough MC of 2010, beating acts such as Nicki Minaj and J Cole.
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Six years in the making, Car Wheels somehow lives up to its lofty expectations because of Williams’s direct songwriting and her wonderfully unaffected vocals. With assistance from cohorts such as Steve Earle, Williams uses the acoustic accents of Dobros, mandolins, slide guitars, and accordions to add color to her grooves, whispers, and rumbles. Her lyrics are undisguised as she presents to us the travelogue of her memory. We can’t wait for 2004! –Marc GreilsamerLucinda Williams makes this whole music thing seem so simple: Write in plain language about the people and places that crowd your memory; add subtle flavors of a mandolin here, a Dobro there, perhaps an accordion or slide guitar; above all, sing as honestly and naturally as you can. Of course, it took her six years to achieve this simplicity, an amazing achievement considering the number of knobs that were turned. Her exquisite voice moans and groans and slips and slides–she delivers a polished tone in a coarse manner. On the superb “Concrete and Barbed Wire,” soft acoustic guitars are punctuated by electric slide, accordion, mandolin, and Steve Earle’s harmony. Williams’s deeply personal stories are matched with bluesy rumbles, raunchy grooves, and plaintive whispers. The entire Deep South is reduced to a sleepy small town filled with ex-lovers, dive bars, and endless gravel roads. –Marc GreilsamerThis 1998 Grammy-winning release–Lucinda Williams’s popular breakthrough–certainly merits the double-disc “deluxe edition” treatment. And it’s hard to find significant fault with anything here: the remastered version of the original album, the second-disc live performance from that year featuring guitarists Kenny Vaughn and Bo Ramsey, and the smattering of outtakes (highlighted by a slower, sadder version of “Out of Touch” than the one Williams ended up releasing). Yet the set misses a glorious opportunity to document one of the more laborious (and notorious) recording projects, one that saw Williams switch cities, studios, and producers three times before she was satisfied with the results. And while the results confirm her judgment, fans would likely find it fascinating to hear a lot more takes from the original Austin sessions (featuring accordion master Flaco Jimenez and keyboardist Ian McLagan) or outtakes from the Nashville sessions with producer Steve Earle, before Williams overhauled the project in Los Angeles with Springsteen keyboardist Roy Bittan. Such a set could have put a revelatory spotlight on the creative process that resulted in an album widely regarded as Williams’s masterpiece; instead, this release is more like souvenir snapshots. –Don McLeese
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- Foo Fighters – Echoes, Silence, Patience & Grace
Having commemorated their tenth anniversary with a year-plus run commencing with In Your Honor (a double album the New York Times called an “unexpected magnum opus”), sold out rock arena shows and a toned down intimate theater trek, and a headlining gig at London’s Hyde Park for a crowd of 85,000, the question looms larger than any in the Foo Fighters’ career to date: What do they do for an encore?!? The answer comes in the form of “The Pretender,” the first single from the band’s sixth studio album Echoes, Silence, Patience & Grace, out on Roswell/RCA. Produced by Gil Norton, who last worked with the band on 1997′s double-platinum The Colour and The Shape (recently reissued in deluxe 10th anniversary form), Dave Grohl, bassist Nate Mendel, drummer Taylor Hawkins and guitarist Chris Shiflett have crafted a 12-track milestone that showcases and reconciles the band’s every strength and sensibility in the most complex and confident Foo Fighters album to date.
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Skin and Bones |
The Colour and the Shape |
In Your Honor |
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There Is Nothing Left to Lose |
One by One |
Foo Fighters |
In 1997, Foo Fighters teamed with alt-rock production cornerstone Gil Norton to make their best album, The Colour and the Shape. Ten years later, they’ve regrouped with Norton for a disc that’s more sophisticated and diverse, if a tad less rockin’. The curveballs include “Stranger Things Have Happened,” a solo soul-searcher where leader Dave Grohl’s accompanied by just his acoustic guitar and a ticking metronome, and “Ballad of the Beaconsfield Miners,” an acoustic guitar duet for Grohl and guest virtuoso Kaki King. Plus “Summers End” tickles the Foos’ classic-rock fetish with a dead-on Crosby, Stills, Nash & Young arrangement. There’s still enough of the intense, snarling power-pop that’s Foo Fighters’ longtime forte. “The Pretender,” “Erase/Replace,” and “Long Road to Ruin” combine sheer thrust, zeal, and melody like no other group currently on the charts. Yet the finale, “Home,” makes its clear that this is a changed band–or, at least, that Grohl’s a changed man. With only his piano for company, Grohl’s pleading voice reveals fragile layers of insecurity and loneliness as he sings “all I want is to be home.” Seems this rock & roll road warrior’s mellowed some, albeit without compromising Foo Fighters’ vitality. –Ted Drozdowski
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Comedian, actor, author, and banjo player Steve Martin releases his first musical recording since 1978′s number 1 hit “King Tut.” This is no novelty record though. It’s some of the best banjo music to come down the pike in a long time. The Crow features able assistance from some of Steve’s pals, including Dolly Parton, Vince Gill, Earl Scruggs, Bela Fleck, Tim O’Brien and Mary Black. Martin wrote or co-wrote all of the songs on this album, creating a new body of work that will stand alongside the classics for years to come.
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