Rhapsody: The Mix: Rhapsody's Album of the Day Archives

Lykke Li, Wounded Rhymes

By Rhapsody Editorial

August 10, 2011 4:00 AM

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Swedish pop often sounds like it comes from an alternate universe where the girl group (wall of) sound never died out, and, thus, Lykke Li sounds sort of like '60s pop refracted back across the space-time continuum. Wounded Rhymes is at once familiar and alienating, sweet and seedy, like the album version of creepy baby doll art or aural deja vu. The watery landscape and flat-voiced siren's call of "I Follow Rivers," crazy/cute/confessional lyrics like "Sadness is my boyfriend," the dark, dirty slink of "Get Some": It's all deliciously uncomfortable. You can't not listen. —Rachel Devitt

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V/A, Dengue Fever Presents Sleepwalking Through the Mekong

By Rhapsody Editorial

August 9, 2011 4:00 AM

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Filmed on the fly and gorgeously shot, Sleepwalking the film captures an extraordinary moment, as Dengue Fever returns to Cambodia to pay homage to '60s music that had been cut off, mid-blossom, by the horrors of the Khmer Rouge. In the process they delve into the country's history, find themselves wowed by Cambodia's traditional musicians (a dying breed), and amuse -- and bemuse -- their hosts to no end. It's a moving film, and the soundtrack is no less moving, compiling live performances with some of the band's best songs and their vintage inspirations on one disc. Essential. —Sarah Bardeen

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Eminem, The Marshall Mathers LP

By Rhapsody Editorial

August 8, 2011 4:00 AM

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Though the template of laying irreverent societal critique over bouncy Dr. Dre beats is left essentially intact, Marshall Mathers is darker and meaner. It mixes homophobia and misogyny with murder fantasies. The epic narrative "Stan" was Eminem's attempt to reconcile his responsibility as an influential public figure with his role as an entertainer and artist. But the distance between art and reality wasn't as clear as the song would lead us to believe, and the violent fantasy "Kim" reportedly led his wife, the song's subject, to attempt suicide. This is volatile, obscene and great art. —Sam Chennault

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Afghan Whigs, Congregation

By Rhapsody Editorial

August 7, 2011 4:00 AM

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Cincinnati's Afghan Whigs are crucial to the birth of '90s alternative rock. The first band signed to Sub Pop Records without roots in the Pacific Northwest, they rocked blustery disenchantment as intensely as any of their Seattle brethren. There's an effortless precision in vocalist Greg Dulli's libidinous groans and howls of slacker frustration; his lyrics are full of stifling dissatisfaction and boozy philosophy ("drink it, smoke it, stick it in"). It's all held together by roughed-up rock heightened by lead guitarist Rick McCollum's slick and sleazy riffage. —Stephanie Benson

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Earth, Wind & Fire, Gratitude

By Rhapsody Editorial

August 6, 2011 4:00 AM

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The three live sides reflect their genuine jazz orientation, flowing along enjoyably and unexcessively and offering more new material than is superstar practice. But orientation ain't chops, and despite my prejudices I'd rather hear Dvorak's New World Symphony than the Whites'. The four songs on the studio side are enjoyable, too -- took them a while to figure out their formula, but now they've really got it down. The news that "the good Lord gonna make a way," however, is gonna come as a surprise to Him, Her, or It. (Grade: B) —Robert Christgau

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Eric Church, Chief

By Rhapsody Editorial

August 5, 2011 4:00 AM

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Track list of the year: Two "Jesus" callouts (including the amazing rapture fantasy "Country Music Jesus"), one tribute each for "Springsteen" and "Jack Daniels," and booze/hangover odes (plus "I'm Gettin' Stoned") filling out much of the rest. He's an I-fear-God-and-everyone-else-should-fear-me righteous hellraiser, this guy, louche and unapologetic and blessed with a third album that, as usual, sounds amazing: deft acoustic guitar wending throughout, rapturous power chords striking at odd angles, pulverizing drums ringing clear and pure as church bells. The piano on "Springsteen" kills. —Rob Harvilla

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Scritti Politti, Cupid & Psyche 85

By Rhapsody Editorial

August 4, 2011 4:00 AM

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Green's Gallic allusion of choice -- the name of his pubbery, in fact -- is "jouissance," but although he's playful and verbal enough to make it his own, he falls short in the climax department. I'd suggest a less gushy conceit: esprit. The high-relief production and birdlike tunes and spry little keyb arrangements and hippety-hoppety beat and archly ethereal falsetto add up to a music of amazing lightness and wit that's saved from any hint of triviality by wordplay whose delight in its own turns is hard to resist. Usually I suspect lyricists who refuse to be clear of never having figured out what they mean, but here the puns are so clever and incessant that they become an end in themselves. I wouldn't be surprised to learn that Green knows what he wants to say. (Grade: A-) —Robert Christgau

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Argus, Boldly Stride the Doomed

By Rhapsody Editorial

August 3, 2011 4:00 AM

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Five burly blue-collar Pennsylvanians recording for an Italian label, Argus split their time between Sabbath despair and Maiden conquest, and rule at both. They open serene, with a minute-long instrumental, but soon they're thundering across mountain ranges with swords drawn, the belting of aptly nicknamed Brian "Butch" Balich leading the charge. "Durendal" is gargantuan glory-metal with a whiff of Thin Lizzy, and 11-minute romantic downer "Pieces of Your Smile" sounds suicidal to a Joy Division degree. But they can speed-race, too; interstitial pianos, bells and horns add emotional weight. —Chuck Eddy

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Feist, The Reminder

By Rhapsody Editorial

August 2, 2011 4:00 AM

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Sounding like a cross between Mazzy Star and Juliana Hatfield, the third gorgeous release from Canada's Leslie Feist is a must for lovers of perfectly balanced, gently poppy torch songs. Newcomers should start with "The Limit to Your Love," a beautifully performed tune showcasing her diaphanous vocals and deft songwriting. Savvy music supervisors will place this alongside scenes of yearning in romantic dramas for years to come. —Nate Baker

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Parliament, Chocolate City

By Rhapsody Editorial

August 1, 2011 4:00 AM

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On Chocolate City, George Clinton's Parliament set the template for the forward-thinking, funky Afro-futurism that would become their trademark. The spoken-word casualness of the title track gives way to the bass-buoyed glory of "Ride On" and "Together." "Don't worry about being right," the singers implore. "Just worry about being real." —Sam Chennault

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Del The Funky Homosapien, No Need for Alarm

By Rhapsody Editorial

July 31, 2011 4:00 AM

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As the cleanup hitter for Oakland's mighty Hieroglyphics collective, Del established himself as a rising star (with help from cousin Ice Cube) on 1991's P-funk sampling I Wish My Brother George Was Here. But with his 1993 follow-up, Del wanted to prove to rivals that he really knew how to spit. He took no prisoners on hard-hitting cuts like "Catch a Bad One" and "Boo Boo Heads," slanging verses and putdowns with a panache worthy of KRS-One. The punchy No Need for Alarm made Del a hero among underground hip-hop fans, but it curtailed his mainstream career. He didn't re-emerge on the pop radar until 2000, when Gorillaz recruited him for "Clint Eastwood." —Mosi Reeves

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Marc Anthony, Libre

By Rhapsody Editorial

July 30, 2011 4:00 AM

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Having conquered both the Spanish and English-language markets, it's little wonder Anthony felt libre ("free") to create one of the best salsa albums of his career. "Viviendo" and "Celos" are wonderful, and the simple beginning of "Hasta Que Vuelvas Conmigo" evolves into a captivating, passionate crescendo that must be heard to be believed. Solid from start to finish. —Sarah Bardeen

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SWV, Platinum and Gold Collection

By Rhapsody Editorial

July 29, 2011 4:00 AM

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Back in the early to mid-1990s, SWV (Sisters With Voices) were one of the most popular and successful groups in music, cranking out numerous chart-topping hits and influencing future superstars (Destiny's Child used to open for them). This compilation features all of their major singles, including "Right Here," "I'm So Into You" and "Anything." —Brolin Winning

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Baroness, Red Album

By Rhapsody Editorial

July 28, 2011 4:00 AM

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This explosive first full-length from acclaimed heavy metal mountain men Baroness is close to perfect. A majestic collection of colossal, meandering riffs, Red Album takes you on a spiritual journey to middle earth with "Aleph" and "Wanderlust," while impending doom roars like thunder through tracks such as "Wailing Wintry Wind" and "Teeth of a Cogwheel." Drawing inspiration from all ends and eras of the rock/metal spectrum, Baroness deliver a moody, introspective debut that's both intelligent and refreshing. —Jen Guyre

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Soundgarden, Down on the Upside

By Rhapsody Editorial

July 27, 2011 4:00 AM

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Soundgarden's 1996 swan song saw them taking production duties upon themselves, rubbing off some of the polish that had been noticeably accumulating on their previous material. Not ones to follow formula, the band integrate a variety of textures (from Moogs to mandolin), ending up with a record that balances heavy rock bombast with subtlety. —Rhapsody

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Nirvana, Unplugged in New York

By Rhapsody Editorial

July 26, 2011 4:00 AM

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Released a few months after Kurt Cobain's death in 1994, this record served as a sort of kick in the teeth to anyone who might have doubted Nirvana's strength as musicians. Stripped-down covers of well-chosen songs are aligned with desolate takes on their own material -- the result is stunning. —Jon Pruett

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Pink Floyd, Animals

By Rhapsody Editorial

July 25, 2011 4:00 AM

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Possibly the coldest music ever committed to tape, Animals is a negative trip with unbelievably cool guitars (four minutes into "Dogs" and all of "Sheep"), brain-shattering synthesizers (animal sounds continually turn into coded messages from the Grim Reaper), and songs longer than should be legally allowed. Still, it's near perfect. —Mike McGuirk

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The Isley Brothers, 3 + 3

By Rhapsody Editorial

July 24, 2011 4:00 AM

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By the release of 3+3 in 1973, the Isley Brothers had supplanted the gritty Motown approach of earlier albums with a harder funk template. With its shrill guitar solos juxtaposed against Ron's velvet voice and the group's soft harmonies, "That Lady" is an obvious standout. Covers of "Summer Breeze" and "Don't Let Me Be Lonely Tonight" are also satisfying. —Sam Chennault

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Outkast, Stankonia

By Rhapsody Editorial

July 23, 2011 4:00 AM

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The fourth record from Atlanta's reigning duo of funkiness is Outkast's most commercially successful project to date. Produced mostly by themselves, they continue to get staggeringly better with each release. Experimenting with more bugged-out sonic combinations, the release features "B.O.B.," "So Fresh, So Clean," "Ms Jackson," and "Red Velvet." Amazing music.

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Napalm Death, Scum

By Rhapsody Editorial

July 22, 2011 4:00 AM

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This revolutionary, face-melting 28-track statement defined a genre (grindcore) and spread the almighty blastbeat like wildfire across the globe. Scum was created for the tape-trading underground, and its rough, muddy production and raw, unbridled aggression features both viscerally structured tunes like "Instinct of Survival" and "Siege of Power," and insane less-than-40-second clips of uber-fast beats like "Point of No Return," "Negative Approach" and, of course, the two-second-long brilliance of "You Suffer." If you want to hear history in the making, turn this record up loud! —Jen Guyre

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Gillian Welch, The Harrow and the Harvest

By Rhapsody Editorial

July 21, 2011 4:00 AM

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When a creative drought followed 2003's brilliantly tossed off Soul Journey, Gillian Welch spent eight years returning to the fundamental strengths on which she built a career: imagistic, carefully detailed songwriting rooted in deceptively plain-spoken Americana. The result is loaded with heavy-hearted ballads that wrestle with self-doubt and fatalistic inclinations. (It's written all over the titles: "The Way It Will Be," "The Way It Goes," "The Way the Whole Thing Ends."). Every note and lyric seem placed with great intention; the resulting record is one of her best. —Nate Cavalieri

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Gnarls Barkley, St. Elsewhere

By Rhapsody Editorial

July 20, 2011 4:00 AM

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As the feature presentation flickers to life, the auditorium lights dim and you're instantly submerged in Gnarls Barkley's world of insanity, shadowy genius, depression and hard-earned revelation. St. Elsewhere is the first collaboration between trailblazing singer CeeLo and experimental producer-to-the-stars Danger Mouse. Songs such as "Crazy" and "Boogie Monster" are steeped in hip-hop, soul and psychedelia, yet the album manages to maintain a distinctly pop flavor and is as addictive as it is inventive. CeeLo soars throughout, and Danger Mouse continues to produce idiosyncratic and cinematic hip-hop. Uncanny and unrelenting, St. Elsewhere is a must-see. —Jaime Dolling

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The Rolling Stones, Between the Buttons

By Rhapsody Editorial

July 19, 2011 6:46 AM

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Highlighted by "Let's Spend the Night Together" and "Ruby Tuesday," Between the Buttons is an often undeservedly overlooked record in the Stones’ catalog. Coming less than a year after Aftermath, it shows the group continuing to evolve from a blues homage band into the machine that would eventually produce Exile on Main St. —Mike McGuirk

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Dilated Peoples, Expansion Team

By Rhapsody Editorial

July 18, 2011 4:00 AM

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Dilated's second album on Capitol, Expansion Team finds the Los Angeles crew enlisting the help of various New York City all-stars. Juju, Premier, and the Beatminerz all contribute quality beats. Babu handles the decks and Rakka and Evidence continue to spew venom on the mic. Standouts include "Panic," "Pay Attention," and the lead single "Worst Comes To Worst." —Brolin Winning

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Funkadelic, Maggot Brain

By Rhapsody Editorial

July 17, 2011 4:00 AM

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Children, this is a funkadelic. The title piece is ten minutes of classic Hendrix-gone-heavy guitar by one Eddie Hazel--time-warped, druggy superschlock that may falter momentarily but never lapses into meaningless showoff runs. After which comes 2:45 of post-classic soul-group harmonizing--two altos against a bass man, all three driven by the funk, a rhythm so pronounced and eccentric it could make Berry Gordy twitch to death. The funk pervades the rest of the album, but not to the detriment of other peculiarities. Additional highlight: "Super Stupid." (Grade: B+) —Robert Christgau

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The Smiths, The Queen is Dead

By Rhapsody Editorial

July 16, 2011 4:00 AM

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This is widely viewed as The Smiths' greatest hour; while this claim may not hold up on a song-by-song basis, the whole album pulses with a special vitality. The Morrissey/Marr team is once again capable of anything but rock cliches -- "Bigmouth Strikes Again" starts like The Stones and ends like a West End comedy, while "I Know It's Over" plays out like the saddest Angry Young Man movie of the 1960s. "There Is a Light That Never Goes Out" is a ringing teen anthem that remains intimate, as past heartache is looked upon with wisdom and humor: It's one of the band's most covered songs. —Nick Dedina

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Scott Weiland, 12 Bar Blues

By Rhapsody Editorial

July 15, 2011 4:00 AM

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Recorded in 1998, 12 Bar Blues continues to sound unlike anything else in Scott Weiland's tangled discography. This includes solo output, as well as his work with Stone Temple Pilots and Velvet Revolver. Most of the tracks are built from drum machines, layered vocals, abstruse wordplay and all manner of delicious studio chicanery. 12 Bar Blues, in other words, is a quirky and insular foray into avant-pop, one that gives off a pungent whiff of The Beatles, Bowie, T. Rex and other classic tunesmiths Weiland grew up worshipping. Definitely file next to your Beck and John Frusciante albums. —Justin Farrar

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Jaco Pastorious, Jaco Pastorius

By Rhapsody Editorial

July 14, 2011 4:00 AM

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Jaco Pastorius tore across the fusion scene the way a tornado tears across a cornfield in Iowa. There existed electric bass in jazz long before the release of his debut album, but Pastorius utterly revolutionized the instrument's role. No matter what track you're listening to, be it the funkified "Come On, Come Over" or the sentimental "Forgotten Love," his fretless-based melodies and dizzying runs are front and center. In other words, Pastorius isn't standing towards the rear of the ensemble merely providing an anchor, rather he's directing traffic and making thing happens at all times. —Justin Farrar

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Tarrus Riley, Contagious

By Rhapsody Editorial

July 13, 2011 4:00 AM

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With his third studio release, Tarrus Riley has escaped the shadow of his father, Jimmy, and established himself as one of roots reggae's most promising artists. With dynamic lyrics, refined vocals, and backing from Dean Frasier and some of reggae's best musicians, Riley demands attention and respect with talent and musicianship that are undeniable. He exhibits a versatility that's rare in reggae, from the lovers' rock track "Soul Mate" to the Black Uhuru-inspired "Stop Watch" to the dancehall anthem "Herbs Promotion" (featuring Demarco) to the remake of Michael Jackson's "Human Nature." —Marley Lovell

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Björk, Post

By Rhapsody Editorial

July 12, 2011 4:00 AM

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Maybe it's just nostalgia for (or, um, flashbacks to) that intoxicating mid-'90s cocktail of electronic dance music and alt-pop, but something about "Hyperballad" brings on gooseflesh, a barely contained sob to the throat, and the desire to spin and spin and spin on a dance floor (or mountaintop). Actually, Björk's entire fourth(ish) album is an incredible combination of weird and poignant and rip-your-guts out gorgeous and... accessible (well, more or less)—the kind of collection she just doesn't put out anymore. And then there's "It's Oh So Quiet," quite possibly the weirdest Björk song ever. —Rachel Devitt

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Voivod, Warriors of Ice

By Rhapsody Editorial

July 11, 2011 4:00 AM

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Recorded late 2009 in Montreal, with fellow Quebec tech-thrasher Dan "Chewy" Mongrain filling in for late guitar genius Piggy, this live set focuses on Voivod's first five albums; all but two songs date from 1991 or earlier. Voivod have as much fun bashing out old Neanderthal nuke 'n' roll as traversing space-metal wormholes. The robot drums beneath African-like chanting of "Tribal Convictions" and alternate-universe pop hooks of "Panorama" are side dishes, as are Snake's between-song French patter and the Pink Floyd sci-fi they encore with. —Chuck Eddy

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Neko Case, Middle Cyclone

By Rhapsody Editorial

July 10, 2011 4:00 AM

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Her rich alto has always delivered a visceral gut shot, but with Middle Cyclone Neko Case continues to emerge as a songwriter who truly knows how to wield the commanding instrument. When she sings "My love has never lived indoors/ I had to drag it home by force," on "Vengeance Is Sleeping," it's a nod to this record's salty themes (Mother Nature, a killer whale, and prison girls cameo). As she stomps through the elaborately produced country-inflected rock, the smattering of threats ("I will punch you in your face") disenfranchised come-ons and desperate rage is intoxicating. —Nate Cavalieri

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Daft Punk, Discovery

By Rhapsody Editorial

July 9, 2011 4:00 AM

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Paris' coolest pair of cybernetics perfects its robot rock on Discovery, morphing Homework's buzzy filter disco into an even suppler strain of electro-funk. Never shy of lite-FM cliches, they turn guilty pleasures into unabashed house anthems with "One More Time" and "Digital Love," and give the vocoder a passionate workout on the infectious "Harder, Better, Faster, Stronger." Throughout, the synths go to 11 and the vocals beam down from cloud nine. Establishing one of the decade's most durable sounds, Discovery paved the way for everyone from Justice to Kanye. —Philip Sherburne

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Justin Timberlake, Future Sex/Love Sounds

By Rhapsody Editorial

July 8, 2011 6:59 AM

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JT is no Al Green (or even D'Angelo), but his vocal performance on Futuresex is panting and seductive. But more than just the usual collection of hyper-sexualized pop songs, this is a gorgeous, unified album, and producer Timbaland deserves much of the credit. His rhythms-on-'roids backdrops are crunchy and addictive, but they're also nuanced enough so that each track has a hidden treasure—a rattling tabla here, a twisting violin quote there, and sudden outbursts of glitch synths throughout. If this indeed is the future of pop, then it's cause for celebration. —Sam Chennault

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Blackalicious, Blazing Arrow

By Rhapsody Editorial

July 7, 2011 4:00 AM

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Sharp hooks and guest spots dominate Blackalicious' second album. Chief Xcel's production is a wonder as he creates a full-on Technicolor world of soulful rhythm; the Gift of Gab keeps the rhymes coming quick, twisting and bending words and phrases. Highlights include the Nilsson-sampling title track and "4000 Miles." —Jon Pruett

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The Mahavishnu Orchestra, The Inner Mounting Flame

By Rhapsody Editorial

July 6, 2011 4:00 AM

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John McLaughlin and co.'s volcanic effect on fusion (and rock) began with their first record, conceived and released right after they got out of the studio with Miles Davis recording Bitches Brew. There's nobody that plays guitar like McLaughlin, except for maybe Mike Tyson (if he ever tried). The rest of the band attempts to keep up. Try "Noonward Race." —Mike McGuirk

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Janet Jackson, Control

By Rhapsody Editorial

July 5, 2011 6:00 AM

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I scoffed at Janet's claims of autonomy--figured Jam & Lewis wrote her in as collaborator for a price she could afford. But she must have had some input--otherwise what would be not to like? Great beats here, their deepest ever. If her voice ever changes, she may even live up to them--and convince the world she's her own woman. Till then she's just playing, which does have its entertainment value. (Grade: B) —Robert Christgau

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Ray Charles, Genius: The Ultimate Ray Charles Collection

By Rhapsody Editorial

July 4, 2011 6:00 AM

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The landscape is littered with best-of collections from Brother Ray, but this is the first in ages to finally reinstate such essential classics as "Georgia on My Mind," "One Mint Julep" and "You Don't Know Me" into the mix. The early hits like "Hit the Road Jack" are here, but "What'd I Say" and "I Got a Woman" come in killer live versions. Other highlights include "Let's Go Get Stoned" and a searing version of "America the Beautiful," which should become our national anthem. Who are we kidding—every cut here is a highlight. —Nick Dedina

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Angelique Kidjo, Oremi

By Rhapsody Editorial

July 3, 2011 6:00 AM

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Oremi is testament to Angelique Kidjo's wide-ranging musical tastes and her absolute fearlessness when it comes to sacred cows like Jimi Hendrix's "Voodoo Child." Benin is the home of voodoo, and Kidjo effortlessly makes the song her own. Her sunny pop sensibility is at its best in "Loloye" and "Yaki Yaki"—and of course in the title track. —Sarah Bardeen

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Moritz Von Oswald, Horizontal Structures

By Rhapsody Editorial

July 2, 2011 6:00 AM

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Berlin's Moritz von Oswald, a minimal techno pioneer best known for his projects Basic Channel and Chain Reaction, returns with a third album of avant-garde ambient improv. Again, he's abetted by Sun Electric's Max Loderbauer on modular synthesizer and Vladislav Delay on percussion, while Dominica's Paul St. Hilaire sits in on guitar. The results range from Fourth World excursions in the spirit of Jon Hassell to flickering experiments in dub at its most ephemeral. —Philip Sherburne

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Eddie Vedder, Ukulele Songs

By Rhapsody Editorial

July 1, 2011 6:00 AM

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Though jokes about grass skirts and leis are a bit rich, one would think a ukulele album to be the perfect opportunity for Grunge Master General to mellow, maybe bust a little tropical chillwave. Not a chance. Ukulele Songs is passionate, moody and unflinchingly intimate. A full-blown rock band could tackle most of these songs with ease: one of the record's highlights is a rousing cover of the country standard "Sleepless Nights." The only track that feels a tad too precious is Vedder's rendition of "Dream a Little Dream"—he sounds like a washed-up show-tune singer too in love with rum. —Justin Farrar

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Missy Elliott, This Is Not a Test

By Rhapsody Editorial

June 30, 2011 6:00 AM

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Arguably the most consistent and creative female artist in hip-hop, Elliott returns with album five, filled to the brim with futuristic production and old-school vibes. This Is Not A Test! keeps the party rocking from start to finish, with cameos from Jay-Z, Nelly, Mary J. Blige, Fabolous, Beenie Man and R. Kelly. —Brolin Winning

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De La Soul, Stakes Is High

By Rhapsody Editorial

June 29, 2011 6:00 AM

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After almost four years, Posdnuos and company emerge from the ether like the long-lost friends they are. Their wordplay assured in its subtle smarts, their delivery unassuming in its quick, unmacho mumble, their cultural awareness never smug about its balance, they bind up an identifiable feeling in an identifiable sound, and just about every one of the 17 tracks comes equipped with a solid beat and a likable hook or chorus. It's a relief to have them back. But it's never a revelation. (Grade: B+) —Robert Christgau

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Danger Mouse, Rome

By Rhapsody Editorial

June 28, 2011 6:00 AM

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The word "prolific" doesn't do Danger Mouse justice. For Rome, the Grammy-winning producer gathered a cast of superstars to capture the mystique of the spaghetti Western: It's a natural progression, as hints of the dusty and desolate sound have popped up in his previous work with Beck, Sparklehorse & David Lynch, and Broken Bells. With help from composer Daniele Luppi, Rome features musicians who played on the original Ennio Morricone scores (how's that for authenticity?), and grants blockbuster starring roles to Jack White (the suave rebel) and Norah Jones (the soulful seductress). —Stephanie Benson

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Blake Shelton, Blake Shelton's Barn and Grill

By Rhapsody Editorial

June 27, 2011 9:00 AM

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The Nashville neo-traditionalist with the soap opera name is back for another winning collection of classic country rave-ups and ballads. Rockers such as "Cotton Pickin' Time" and the Jimmy Buffett-style "Some Beach" offer up honest fun while the looser anthem "I Drink" shows Shelton's way with a narrative. —Nick Dedina

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Isaac Hayes, Black Moses

By Rhapsody Editorial

June 26, 2011 6:00 AM

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Black Moses marked the end of Isaac Hayes' classic early '70s run. His fifth and final Top 10 album depicted the soul icon's arms outstretched, bringing luscious soul to the people. Though the music was appropriately epic, with swelling orchestral strings adorning all 14 songs, Hayes was in a contemplative mood, having reportedly made this while his marriage was dissolving. His introspection led to breathtaking sounds, from the swirling arrangements of "Going in Circles" to the cinematic guitar licks of "Part-Time Love." Black Moses is a masterwork. —Mosi Reeves

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Snoop Doggy Dogg, Doggystyle

By Rhapsody Editorial

June 25, 2011 6:00 AM

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After stealing the show on The Chronic, Snoop Dogg became a major superstar on the strength of this classic 1993 debut. Produced entirely by Dr. Dre, Doggystyle is one of the dopest, most influential, and just plain funkiest hip-hop albums ever made. Packed with hits, it includes "Gin and Juice," "Who Am I" and "Ain't No Fun." —Brolin Winning

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Electric Wizard, Black Masses

By Rhapsody Editorial

June 24, 2011 6:00 AM

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Droning distantly from the bottomless bowl of some moss-green substance, these veteran Brit stoners open thick, blurry, and muddy, then keep digging down into deeper concentric sub-basements of depressive molasses riff. By the second song, they're taking a title ("Venus in Furs") from the Velvet Underground and distorted vocals from the early Butthole Surfers as they honor dominatrix boots and the Zodiac. Countless bad-trip chants and occasional church bells later, "Crypt of Drugula" explodes space-metal into a black hole. Only one track is less than six minutes -- and that one only barely. —Chuck Eddy

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Tedeschi Trucks Band, Revelator

By Rhapsody Editorial

June 23, 2011 6:00 AM

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Blues-rock lovebirds Derek Trucks and Susan Tedeschi have flirted with a large-ensemble sound in the past, but with Revelator, they attempt to make it a full-time occupation. This is one of them big, sprawling albums, one that incorporates numerous facets of deep Southern music. Though both principals know how to really cook, especially in the live setting, they keep the proceedings introspective and muted for the most part; keeping that in mind, Revelator feels like a first meeting, an opportunity for these musicians to establish a foundation upon which they'll build future temples. —Justin Farrar

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Queen, Sheer Heart Attack

By Rhapsody Editorial

June 22, 2011 6:00 AM

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"Killer Queen" was the band's first U.S. hit and remains one of their biggest songs, well summing up the Queen credo: impossibly catchy songwriting and an impeccable recording, with Freddie Mercury's flawless vocals on top and Brian May's celestially harmonized guitars adding punctuation. Sheer Heart Attack marks the emergence of Mercury's thousand-angel-chorus (check "Stone Cold Crazy") and, with the jaw-dropping opener "Brighton Rock" and Roger Taylor's taut Bowie-metal contribution, "Tenement Funster," Queen's third album is required listening for any rock fan. —Mike McGuirk

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