STocking STuffers (of YesTerryear)

I cannot promise that I am writing a review that will Glow, but it will be constructive, for that is my M.O.  Not that I mind his brand of country, but I applaud Eldridge for utilizing the swingin' sound in the days of yore, with plenty of albums recorded before; he certainly has the croon meant for these arrangements. I cannot really pinpoint any favorites because the album is fairly consistent, except the duet with Meghan Trainor, which is one of my favorite winter songs "Baby, It's Cold Outside"             
 As for Straight No Chaser, I'll Have Another...Christmas Album, in spite of Mariah Carey's iconic classic Christmas on the roster; it was tastefully executed, and I like the song, I just feel that it is over done. "Run Run Rudolph" is another repeat offender, yet sounds refreshing during this rendition. "Do You Hear What I Hear?" If you hear more uncommon covers, then yes. From "Up on The Housetop" to "Lully Lullay (Coventry Carol)" and everything in between and surrounding, your bound to discover some tunes you enjoy, even if some of the originals are a little flat.              
 A Bloody Unholy Christmas may be fitting for someone else, but gore never thrilled me, yet the cover did arouse my curiosity. It does fit the criteria for a modern day Christmas album; it features Christmas songs and reinterpretations, yet limits a combination of both to one. I applaud that decision, even if I would not mind hearing their take on some classics, I feel the whole endeavor is overdone. They also cover a chunk of iconic ground, either referring to the artists or the songs themselves, sometimes both, transcending genres and gender (which was never really an issue, and even less so now).   Some of the covers may seem out of place, but most would when the album is in cohoots with Bloodsucking Zombies From Outer Space; Queen, MJ, GnR, and the Beatles to name a few. All of this bookended between two Christmas songs; one is the eponymous original opener, and their cover of Slade's "Merry Xmas Everybody." It was Christmas surprise for certain, and while I enjoyed all of the covers, it was nice to finally see a band cover Thriller from Michael Jackson's iconic album instead of "Beat It," which I understand the riff is a given, but this is a little more...too easy...we'll go with tantalizing. Vincent Price cannot be topped, but they do well with whom they have. They manage to cover Rocky Horror Picture Show which with song choice ties in to the band name and is conceptually suited.

I Had Fun, U2?

As a writer of things, I feel that if you fail to record an event that impacted your life, even if it was for a night, that you may be shortchanging yourself. Let's be honest, even if an event may be one night only it can have a lasting effect. I have yet to determine if this is the latter, but I do feel a duty to comment on an "epic night of rock 'n roll" in Bono's words.
I failed to catch all of Beck's set, but caught enough to pique my interest. I haven't heard all of his music, but respect him as an artist. I questioned why he would be chosen to open for a band this grand, not because he wasn't capable, but there often is an aural resemblance between tourmates. After what I heard, I realized it didn't matter because an opener is meant to entertain and prepare the audience for who a majority came to see, and Bek David Campbell and his band scored several touchdowns with a set dreams are made of. Not bad for a 'Loser,' eh?
With every band there are preferences, and because I am a low caliber fan, all of mine were accommodated.I questioned how U2 would approach their set upon hearing that they would perform The Joshua Tree in full, but upon hearing the iconic drum intro to this anthem I had an inkling. Already I could feel the energy surge through as I quietly sang "Sunday Bloody Sunday" and danced to the beat.
With their next tune, they approached it as one would with a fresh start, where every selection was an opportunity to reinvigorate or persuade the listener to love the song, and that was the case for "New Year's Day."
I could say the same for the next song, which I never considered to be a "Bad" one, but a new dimension of admiration was added, as Bono had  reinforced this as "a night to hold tight, what lifts us up, and learn to let go, what holds us back."
Musical performance and creation is most potent when done so in the name of love, and when pride in a job well done is a priority, and they certainly managed to. As the denouement of the song approached and the audience iterated the triplicate of "ohs," specific words moved to the left and the  screen illuminated to showcase the silhouette of the tree from the landmark album.
While the album is certainly enjoyable and captivating, I considered some of the more popular tunes to be grandiose, yet blasé.
Hearing "Where The Streets Have No Name" live caused me to reconsider that notion. This was the first song to fully utilize the screen with a panoramic view  of a desert road that everyone became a part of, should we call it "life?" I may be over analyzing, but I did see a few wayfarers on the side of the road; could they be people who despise the message that U2 aim to send? The visual segued nicely into the next accompaniment.
This song resonates deeper with me now at this point in my life because "I Still haven't Found What I'm Looking For," but that falls on me. To hear it in a setting where it was meant, as the crowd engaged in selective 'hide and seek' had my heart sing along with Bono and I, a silent duet.
"With or Without You" may be one of their biggest hits, and redundant commentary need not apply, for I prefer "Bullet The Blue Sky."
The former offers a familiarity and serenity in spite of the fact that every one of us has at least one person that makes us feel that way; smothered by their presence. We see what they have to offer, not just physically and, pending we meet the maturity requirements, initiate a ride on the love rollercoaster. Instead of elaborating, I will say that love can be one of the most dangerous and rewarding activities we can take part in as humans.
The latter happens to be one of the black sheep, with a snarling Bono, the brooding bass, the howlin' chorus and this tension that keeps some listeners on edge. The purpose of the visuals were to enhance the experience, and the filter that the shots were filmed added to that electricity.
In retrospect of the event, I thought that this can be example as to why there is a reason why some people are born to listen, because sometimes listening can create more change than talking alone can, or shall we call it "Running To Stand Still."
The Edge previously mentioned, in an interview, that notes are expensive, which gives us insight into his approach to his guitar playing. So in that respect, I will not say anything regarding the next few songs, not because they were not worthwhile, but because I prefer to stitch meaning in these words, I cannot do so if I just type to document every song.
Still present?
While "Tripping Through Your Wires" was even better than the recorded thing, it was when Bono exit the stage, and returned a manic and engaging showman, to where the madness still slipped through the filter, and the shots fired only amplified that; that final expression before the end.
While I have only heard the "Mothers of the Disappeared" a few times, I can no longer hear it without the visual of the twelve(?) women as they stand side by side with a lit candle waiting to blow theirs out in remembrance  for a loved and lost one, or two; a somber ending indeed.
Surely it was not over, and  out of those few minutes of uncertainty, seeing the Joshua Tree surrounded by a rainbow, and the opening notes assuaged that. While it was after eleven, it must be a beautiful day somewhere. I decided to leave early to not be stuck in traffic, but as I made my trek I felt my spirit rise, and yet did not experience a state of vertigo in spite of the former elevation.
My friend told me that there were a few more songs that I missed, but I was just glad to be there; it was one of the best last minute ticket purchases that I ever made.

Not in This Lifetime Tour- Guns 'N' Roses at New Era

The events of last night had me wonder what else is possible in this lifetime. Will we see flying cars, or is that still too far away? Money has been said that it cannot buy happiness, but I am sure it brought some to any concertgoer at New Era Field yesterday. Who wouldn't when a band as big as Gun's N Roses defied the odds and reunited for what may be their final jaunt to include both rock behemoths such as Slash and Axl? 'It's So Easy'  to presume that it was the major force behind this spectacle, but lets focus on this night, specifically, instead of what fueled this night train's resurgence.
My subconscious has appreciated their hits that I have heard on rock radio, yet I cannot say that I was fan. It wouldn't be an incredible live show without those hits I have grown to love, but it wouldn't be the same without the songs I could not recognize, or would it? 'Pain Lies on the Riverside' and 'The Dolphin's Cry' are songs worthy of any band's canon, and strengthened Live's nine song set. They sold the drama, you could feel the energy that resonated through the stadium, it also helped that there was a livewire of a fan bringing smiles and a couple close calls to the temporary denizens of the pit.
I heard several remark about the synchronized percussion of the two drummers, which was commendable, I could see passion resonate as sweat ran down drummer Chad Gracey's chin  and while I did not have a close enough view of the other drummer, I can say I believe he was not devoid of either.
At one point, Kowalczyk remarked "It's a good day when you open up for Guns 'N' Roses" and I am certain many felt the same. I knew some of their songs, and that they could rock hard, but was not certain if they could pull it off opening up for G'N'R and they did. They even played a tribute to the late, great Chris Cornell,  playing the Audioslave song 'I Am The Highway' near the end.

Of course, with Axl's reputation 'Patience' is required when showtime is on the line, and if you waited until the encore you were rewarded. Their pal, Mr. Brownstone, made an earlier entrance to the stage before they ripped through two 'Chinese Democracy' cuts, one I had an inkling was the eponymous, and the following entry I remembered a little 'Better.' Five tracks in, they welcome us to the jungle and no one seemed to mind.
Their first cover, out of several, made it to the roster of their double album for a reason, yet my only gripe was that  I could not hear the iconic riff in the live performance; so 'Live and Let Die' takes on a whole new meaning? Otherwise, the energy was dangerous; a warm up to the aural strut and swagger of 'Rocket Queen.' While 'You Could Be Mine' brought us into the realm of apocalyptic love, or it may be simply its presence on the Terminator 2 Soundtrack, either way we were able to see a glimpse of how terminators would appear as G'N'R impersonators.
I may be 'Estranged' to most of the names of their songs, but I have not listened to their albums in full for years, yet when I heard that opening riff, it was like reuniting with an old friend I haven't heard from in awhile.
While the visual accompaniment to 'Civil War' and 'Coma' were appropriate it was hearing the former live that enriched its value in my eyes, and it feels like a timely addition to the general set, considering how things are nowadays; similar problems, yet need to be solved in different ways. The latter described how I felt at one point in time; I was tired, but it may also had to do with the overexposure to the proficiency that every band member displayed.
I couldn't sense tension, but I could sense a "sibling rivalry" between Axl and Slash. Slash with the technicality that is sometimes overlooked and taken for granted when compared to the larger than life stage presence of Axl; he is talented for sure, and ran across stage like a madman at certain intervals in the show. There was a plus side to Axl's urge to change his wardrobe, it allowed Slash to showcase his talent with Jams and interludes. Duff even capitalized on Axl's absence singing a cover of 'New Rose' by the Damned, so that tendency benefitted everyone.
While we're on the subject of covers, we might as well mention the cover people clamored to hear, their rendition of 'Knockin' on Heaven's Door,' another cover they made their own. Slash and Richard Fortus dazzled with a duet of Floyd's 'Wish You Were Here' which segued quite nicely into their epic 'November Rain.' The last cover, pre-encore, was not the least worthy of note. Mr. Cornell was honored yet again, by one of the biggest bands in rock, not that his career or influence was anything to easily dismiss. 'Black Hole Sun' suited Axl's voice well and was a slow burning tribute, with a brooding, yet patient fury.
If you left on the 'Nighttrain' then you missed its stop to 'Paradise City,' a song which appeared that it was not going to be performed, yet it was saved for last; all it took was patience! As for the Who, 'The Seeker' became the last cover of the night.
It wouldn't be right if I had not mentioned the rest of the crew. I mentioned Duff, but I loved the fact he was sporting a sign of 'the purple one' on his guitar.
It's unfortunate that Dizzy Reed has been with the band nearly as long as Axl, but he doesn't seem to mind. He has played an integral, yet not as celebrated role in the band, and for that I must make an extra nod.
Even though she has been with the band for roughly a year, I see that her fate might be similar, though Melissa Reese's talent, energy, and beauty, were not unnoticed; with those giants, it is easy to miss others not in the forefront. Just because they remain out of the spotlight, does not mean they are without merit.
Richard Fortus, who has seen his place as both rhythm and lead guitarist, and that energy and passion that I saw him express was noteworthy.
Last but not least, was a pillar of the rhythm section, Frank Ferrer; the stamina, energy, and passion that he showcased also gave me another reason to "rock out" as I would have with the usual suspects.

Scott Stapp gone Solo! (Riviera Theatre-May24th2017)

I would be remiss if I had failed to mention the opening performance of Jeremy Willet, it was short yet sweet, uplifting and heartfelt, unexpected and engaging. All four songs were worthy of note, yet "Empty Grace" was the only title that I remembered. Unfortunate, but the praise was not full of empty words and the result was a fuller heart; It was a great way to start of the night.
I have heard of the second band, by name, but not by their aural identity, and finally I heard their brand of modern hard rock. Their sound is perfectly suited for the acoustic avenue, and I will do the "Best I Can" to present them in a positive light, not difficult, without bias, and without saying "Sorry," which unpologetically injected a tribute to Chris Cornell with a few verses from Temple of the Dog's "Hunger Strike," which was one of their finest moments. The setting also brought their harmonies, akin to Alice in Chains, to prominency, on songs such as "Die Trying" and others, which tend to be buried under their studio-electric counterparts. One of my favorites had to be "Tear Down The Wall," one of their more assertive entries, in the acoustic vein.
As much as I love the opener, I was not ready for the loading of the gun in the query, and the "Bullets" that followed. The latter is one of their heaviest songs, sonically, and didn't expect to hear it in this performance. I watched some performance videos before hand to see how this acoustic treatment would work, but it still took me by surprise that it was on the set.
Stapp would introduce most songs with a little known fact or story regarding the next entry whether it was when they reflected on their rise to fame and how the haters are formed out of human clay with "What If" or how the denouement of their debut would have been under a different name; how they questioned if this piece was in alignment with their identity; how it was stressed that they have it on the record, and so they closed the album with one of their most engaging, popular, and complementary entries on this document of life. There were many, but of all performances of the night, this was another "One" to remember.
The majors such as "My Own Prison," "Higher," "Arms Wide Open," "My Sacrifice" and "One Last Breath" were all performed , the last of which was preceded by a universal call to arms in renouncing and eradicating the stigma of mental illness and the isolation that it presents, especially when the one suffering is too afraid to seek assistance because they feel they will not be understood.
The life of a successful rock band present opportunities for each member to improve or belittle themselves, as well as memories. "There were many good times" Stapp reminisced about his six consecutive daily jam sessions with The Doors and Woodstock '99, and how his love for the band, and his budding interest in music of his own design, began; due to the fact that Jim Morrison had indirectly convinced Stapp to enroll in his alma mater.  "Roadhouse Blues" was an uplifting, enthralling, and complementary break from the grittier and darker material that had preceded it.
With their rising fame, a conflict of egos began brewing as they had completed molding their Human Clay tour, and writing sessions for their third album had found a perfect description of the state that the band was in with "Weathered." It was a song I was hoping to hear, and heard it twice!
Scott had remarked how his career came Full Circle. First, going to parties with his pal and colleague of awesome, Mark Tremonti, and playing acoustic for anyone that would listen to find himself with a wider audience willing to listen and sing along.
The human will can surprise more than just the self, but any onlookers, disbelievers, haters, etc. As band's relations disintegrate, they can also regain traction with absence, and so I describe the polar opposite when it came to the need of Creed, individually and as a whole, to "Overcome" their differences, mute their egos and create the album that never was; but promised before they compiled their Greatest Hits. The song itself has a passionate and energetic frontman breathing life into the words and listener, in alignment with air-guitar and head-bang worthy fury of Tremonti, Phillips and Marshall, whispers to the will, and a universal and timeless message. The value was only reinforced with this dynamic rendition of the song; the majority utilized the, due to artistic liberty or ignorance, "Drum Stool" until the aggressive climax where we saw the drum kit at large and every member on point; but that occurrence was not rare, considering Ron Thal was part of the band.
I had my doubts when I had heard that the show would be acoustic, but after checking a few clips, they subsided. I feel that the acoustic was even better than a full electric, devoid of the excessive noise and volume, that dependent on venue, can really drown the vocals. You could hear every member playing their part, literally, in a full sound.

Mary J Blige "The Strength of a Woman"

The Strength of a Woman is not determined by the quality of her music, nor is it determined by the length of her career. Longevity? A classic album does not bolster. I am not an avid fan nor hater, yet I respect and appreciate her.
The beginning not only finds itself as one brassy and serotonin-inducing opener, but is an important step in preparing oneself to love and be loved by others, to improve upon the foundation of one's soul, it also features an appropriate guest, but to truly love others, you must  first "Love Yourself." A feel good introduction to this next chapter in her career, before we find ourselves in the "Thick of It."
The strength will not falter, even amidst deceptive prospects for "The One" ("Set Me Free"), or failed realization of potential ("Glow Up"). In fact, it can prove to be "Indestructible," which  doesn't have her preaching but can serve as a unisexual message to know one's worth and prevent the closing of one's heart.
While some of the lyrical content was written in pain, there is positivity present, and sometimes it shines, like a "Smile" will often lighten our hearts, and once you "Find the Love" you need and seek, you will find strength, but it may come from within, or without. The strength of another may not be revealed all at once, as it has many facets. The album has much to give, as the title track will reveal.

Yellowcard's Second Swan

While the general consensus concerning first impressions ring true, when it comes to music, I find how you end a career more important than a debut. While, the album was a fauxnouement, the Paper Walls that constructed the origami swan were incredibly sturdy, The album was energetic. earnest, and engaging; a testament to their growth, in merely a year. The Lights and Sounds were merely a preparation for something greater.
I could not answer the rhetorical question that their return had set in motion, but I was able to ask "What Happened?" after listening to the sounds of Southern Air. It sounded like a document of a band scratching the studio itch, when interest for a follow-up was virile; recording when they possessed the energy, intent, and motivation, yet not the heart or the patience for the best or most creative ideas, but this is where I find it difficult to critique an artist's work because I am not sure where they were coming from, nor do I know how they truly felt in spite of it written on paper; it was a good album, just not my favorite.
The eponymous album, is another chance to make a statement as to who you are as a collective, or an artist, to where you stand, or at least give an example of how you believe that you should sound. They manage to score in the final period, without even a hint of a yellow card. They manage to show their range, rawkin' riffs or somber keys, sometimes even in the same song. "like Air?"  Yes, but it did not seem as forced as the songs on that album were, and the instrumental accompaniment, fresher; at least in this context. As for favorites, you "Got Yours," and I have mine; such as the aforementioned and "Savior's Robes." I could name every song, yet some are more apparent. The hurt is gone, especially after releasing an album such as this one. You have succeeded, and may you rest in peace.

Belated Dragonforce Review

Dragonforce's songs have always been exhibitions of their technical prowess and a platform for their positive messages. Fear not, for they have continued the tradition, but have reached critical mass, or Maximum Overload to be specific.                                                                                                          While their music is good, there is just an excess of auricle stimulation that it borders on the blasé; which would affirm this truth after consecutive listens in a daily timeframe, or even in a weekly discipline.  Maybe it's a nonchalant declaration of "I'm not a power-metal fan." I wouldn't say that, but from experiencing their music, I would say it rings true for Dragonforce.                                    After the "The Game" the band had constructed for "Tomorrow's Kings," exalted in its execution, they toned it down for "No More."                                                                                                    What struck me first were the "Three Hammers," the solo; pounding percussion in the latter half;  and the band's "Symphony of the Night." While I did not mind the following tracks, "Defenders" sounded too much like "No More," or the chorus at the very least.  I would have to say "Extraction Point" was another standout; others may grimace at its praise, but it injected diversity into the album, and gave us a breather before delving into the "City of Gold." I cannot speak for Cash, but I reveled in the "Ring of Fire" because it re-lit the waning appeal the band possesses; personal preference, not a critical dismissal.  It was a signal that the album (traditional) was coming to a close.

Long Awaited and Lacksadaisacal in Release Time "Logan" review

The movie was many things but a bad production. You would figure that after the third solo film spotlighting the infamous wolverine, that the plot is more anemic than its predecessors, yet it is the opposite. It is a lively swan song, with heart, which the other two seemed to lack. The plot was kept simple, yet in spite of that there is much to be said. Seeing X-24 in action you realize that in spite of Logan's violence, there was always a purpose for it; even if there were more tempered ways to handle things, he didn't exceed the need, too much.
It is an origin "film' in its own right, a minimalistic and focused effort, that applies to his daughter and the next generation mutants; a sub plot, but it was not drawn out like X-Men Origins: Wolverine was. It was a survival story: In their race against the clock, Logan and Professor X must drop Lara off at a haven in South Dakota so all of her composited cohorts can make it to Eden in time.
It also was a film that dealt with bereavement, as the two remaining X-Men had to cope with loss in their own ways; either Xavier subconsciously cast aside his mental baggage into the recesses of his memory, while Logan drank away his misery, or the culprit was old age.
What was spectacular about this film was the humanizing effect the plot had on Logan and Xavier. While their characters may be timeless, it brings us to the realization that their physical counterparts will not last forever, and that they can age just as we. We think of all the power these meta-humans have, but not what happens to it as they age; it nary depreciated, but it was the control that waned. The ever present limp in old man Logan, and the lethargic regeneration that became an inconvenient affliction. We knew his death was approaching, and so did he, he yearned for it, and left his current state well enough alone; to think that which endowed him with the magnificence, would end up as a malfeasance.
Xavier's tremendous mental prowess can be declared a "Weapon of Mass Destruction," especially after being maligned with seizures; the effect it has is paralyzing, and can trigger seizures of other people, among other maladies. It could have been the Alzheimer's that was off duty for that moment of clarity as to how only Logan and he still live and breathe. Yet, Stewart keeps his portrayal far  from pitiful, yet stirs empathy, and proves he has not lost complete control of his powers. His manner is less reserved than previous entries, and expresses a spark that was ever present, yet was often managed by a filter; not that he engages in a massive brainstorm, or monsoon, of obscenities. We see that although age can afford us inconveniences, we can still set a higher level of expectations for ourselves instead of limitations.
It was also an example of cine-pihany. We know that Wolverine can be a devilish derriere, but we see Logan as a meta-human and not just a killing machine. When they resided in their new friends' abode for a night, Xavier tried to stress that this was an aspect of life he was missing; this is what life is with people who love each other, and that was paraphrased. He shrugs it off, easier than it was to rescind his responsibility as a father. He retorts "I never wanted this," at some point, to his daughter as she remains adamant that Eden exists. Whether he had fully realized his feelings before he professed "bad things happen to those I care about," I am not certain, yet "Then I should be fine" left a deeper laceration than their claws ever could.
Another aspect, was how they kept the life that Logan lives, and that which Wolverine lives parallel, even if it was just through the comic vehicle and a wolverine action figure at the end. You didn't even feel that it was a superhero movie, and that was some of the charm. Considering the R-rating and the eponymous character, there was a lot of violence, but it was warranted; call it a post-apocalyptic western with true grit.

Redfoo "Party Rock Mansion"

As I partywalked into the Party Rock Mansion, I could not help but smile. A mansion for one person is often an extravagant waste. While I did enjoy the duo's personality, and a majority of their songs moderately, at most, I do not recall LMFAO, so I brought my own grain of salt and set my expectations to low; so now with only one half, the music might be half as good, but I don't remember their music as well as some say I should, and that is only because it wasn't that memorable to me, and I say this constructively.
In spite of criticisms, from more acclaimed and credible, or at the least well known Redfoo blew open the door with "Keep Shining" and took for another fun ride on the "Party Train." I knew it could not last long, because by the third song I have had "Too Much." "Can you stop placing the song titles in the sentences? It's not clever, it's overdone!" I'm sorry, I overexerted my hopes and decided to just listen to the sounds of the shore instead of commenting on track four. "No, thanks, I'll stay here."
I walked around the massive abode, thinking of all the beach beauties, after the posse went crusin'. I'm not strictly a "Booty Man," but that verse in the song had me laugh in silence, and maybe that hs changed from last this was written.

Maybe I should have went with the crew, I don't mind the solitude. That changed when I heard echoes of the sounds of yesteryear that queried "Do you love me?" "I find it to be an intriguing interpolation of the song, but that does not speak for you." No response. Even though none of the switches turned on in the hallway I could see the next room, and it was"So Lit" with three funky elements on the subtle base; it was not invisible, but just enough to remind you of those perfect September nights.
I was about to leave, but a party crasher started playing the Sax ike it was a "New Thang," and I would have to say it heightened the class of the songs that followed, especially the "Juicy Wiggle," not only a spectacle but, behind, a collaboration between sax and ivory. Did I just see an elephant in the room, or did I yak from dehydration; that would be "dry-heaving" wouldn't it. "I apologize. I don't want to bespoil a house such as this, but I have to disagree with the statement that "Good Things Happen When Ya Drunk." So I'll skip the bar talk, day drinking, spend a minute thinking I focus on the darkness of the human race too much, locked inside the house, I need to venture "Where The Sun Goes." What a Wonder-ful idea that was, I smile because of the song, and groan because of the inanity of the pun, but it was awesome Stevie made it to the party...rock...mansion. I found myself at the grotto, and this beautiful girl handed me a number without an introduction. That is all of the proof you need to know that this is a fictional account, but at last you enjoyed the brief escape from reality. "Maybe" a little bit? "Okay, now you ruined it." This album exceeded expectations, but you may remember where it was set at; regardless, it sounds like sleeping gem.

A delicate incision of change should be administered to avoid a fissure of the fandom, and while the fans are what assists a band's operations, it is not the sole constituent.                                                 Nickelback has never been a guilty pleasure because I have never felt guilty about modestly enjoying some of their music, and some of their music has never been a pleasure. While their mainstream explosion of an album remains a favorite for a steady majority,  I prefer  All the Right Reasons, one of which happened to be the addition of Daniel Adair, who served as a livewire for their recording process.                                                                                                                                                 Dark Horse sought the production talents of Robert John "Mutt" Lange who produced another consistent record, except it seemed to lack the diversity in tone and sound that the aforementioned portrayed; although the opening duo, "Just to Get High," and the closer were standouts. They may have a formula they follow, but there are bound to be moments of inspiration that transcend the banality; the connections forged oft due to personal preference and not always because of subject matter. An example of this is: Amidst all of the slow/love songs, two of my favorites are "Should Have Listened" and "Trying Not to Love You."                                                                                            Here and Now  happened to be my least favorite even with the latter track and their re-interpolation  of "Sunday Bloody Sunday" in the form of "When We Stand Together."                                               So what does their new record have to offer? If you enjoy the beat of "So Cold," its doom and gloom brought to you by Breaking Benjamin, infused with a more positive tone then "What are you Waiting For?"  The second track is their foray into political music, which is a change, yet I prefer the funky "She Keeps Me Up" with the assistance of Ali Tamposi.                                                              Whenever they release a record, consistency is an issue, not the presence of good songs. I would choose "The Hammer's Comin' Down" as my favorite of the second half. Though if you prefer a sickeningly sweet love song, "Miss You" may be worth a listen from you; how things left unsaid can come to haunt us.  The collaboration with Flo-Rida is another favorite/vanguard in their canon. The rest are decent on their own merits, such as the riff in "Make Me Believe Again,"

Melanie Martinez "Cry Baby"

I have never been a fan of spilled milk, or wasted time, yet I refuse to cry over them; simply because neither have occurred. The album is paired with a storybook that chronicles the unfortunate events that are instigated by or befall the eponymous entity "Cry Baby."                                                           It is a cohesive record, partially due to occasional utilization of song samples/choruses (reinterpereted)  often associated with toddlerhood and adolescence and sound effects that follow suit; the most effective would have to be "Pity Party."                                                                         Yet this record also dabbles in duality. It can be mildly endearing and infuriating at the same time; the biggest offense is the self diagnosed proclamations of psychosis, and sometimes the self-pity can be overbearing ( if we use the opening track as evidence: "I have the same faucet in my eyes/ so your tears are mine/ they call me cry baby...") then it self pity it can be.                                                      The protagonist is sweet, sensitive and misunderstood, yet retaliates in a passive aggressive manner, sometimes solely aggressive, but if you were help captive underground by a ravenous, salacious wolf and your only escape was to poison its cookies to save yourself would you do so?  Even the titles reinforce the theme, yet they can be misleading, such as the sound; most of the songs sound fun in spite of their depressing and occasionally unsettling lyrics ( which aren't age appropriate). Martinez manages to toe the line between Child-like and childish, without losing complete balance, so she no longer requires "Training Wheels" as her fear of falling is muted ("fully undressed, no training wheels for you"); a moderately graphic siren song . "Mrs. Potato Head" is about self acceptance, as I perceive it, while criticizing the reliance on plastic surgery rather than finding security in the self.         If I had to name a contemporary, Lana Del Ray, is an equivalent in tone (sound and attitude). Ariana Grande is another one that comes to mind, except she is cleaner even with all of that "Soap."

Carrie Underwood "Storyteller"

Carrie Underwood's latest offering is a testament to the opinion that she is a swell Storyteller that others may or may not agree with. I have always been a moderate fan of Underwood and her consistent career. She has a great voice, and it is pretty adaptable to different tones, and on this album she ventures into the darker side;I like when she delves in the edgier country rock, or the country with rock flair, but that is just me. "Church Bells" anyone? or was it karma calling? They never did find out the true cause of his death, but we did know he would no longer delve in abuse of any kind. As for the bluesy stomp of "Choctaw County Affair," it may have lacked the energy that the aforementioned had, but it inspired the journey we would take when listening to this album.
Dirty?  that is an adjective she had also attached to the song, but then without a washer where would all the "Dirty Laundry" go? The subject matter is easily discernible when she compares lipstick shades, but all of the good songs in the world cannot extract this earworm from your memory. "Heartbeat" is one of her slower songs with a tender tone and bare toes, and while it does not engage in  another session, it serves as a "Smoke Break" before she enlightens us with how a matriarch can serve as a bastion of strength. "The Girl You Think I Am" is her father's own perspective written in her own words, another worthy addition to the canon; as is "What I Never Knew I Always Wanted," which was a song dedicated to her son Isiah Michael Fisher, so her album is not completely without its lighter and more positive additions. If we focused on the appeal of just the instrumental aspect, I would choose "Relapse."