*** The Cure Greatest Hits (Fiction/Elektra Records)
Do "greatest hits" albums have to be great? The Cure's latest release, a greatest hits album, is not. It is a good album that definitely has its moments. But, the songs chosen for this album seem to blend into each other without any real effect on the listener. There are great songs on the album. "Just like Heaven," for example, an easily recognizable song, is always a pleasure to hear. "Love Song" is a simply arranged and effective song. The subtle keyboards, understated guitar riffs and vocals of Robert Smith create the strange mix of an ominous atmosphere within the context of a love song, a juxtaposition that is unique to the Cure and sets them apart from other bands. "Wrong Number," from the singles compilation Galore (1997), is one of the more recent songs on Greatest Hits. It is one of the faster and more energetic songs on the album, and therefore a welcome change from the other tracks. Multiple sound effects accompany the instruments while the song moves from quiet to louder, more intense sections. The opening track, "Boys Don't Cry," is another great, minimalist track on which Smith laments not being able to adequately express his emotions and having to mask his inner feelings to maintain his masculinity. Without a doubt, the best song of the album is the staple "Friday I'm in Love." Here, for a change, Smith approaches love, always a subject of his lyrics, in a simple, direct and completely optimistic fashion. One can't help but feel invigorated and relaxed after listening to it. Unfortunately, besides the few above tracks, the rest of the album disappoints. The songs are indistinguishable from one another. Ultimately, one must keep in mind that the tracks on the album are those that elevated the Cure up the musical charts and sold records. These are not necessarily their best songs, the smart and original material that has been present on many albums. Perhaps it is a testament to the originality of the Cure that a greatest hits album really does not do justice to their talents.
—Kunal Dave
****1/2 Dispatch Gut the Van (Bomber Records)
Live releases often fail to capture the true sound and energy of a great live band. On Gut the Van, Dispatch's fifth release, that stereotype is anything but true. The native New England band shows on this album – a collaboration of songs from the 2001 spring tour – why its popularity is quickly rising on the college scene. Gut the Van serves almost as a "greatest hits" album, barring a few omissions. Although difficult to classify, the music could be described as upbeat pop rock with obvious reggae and funk influences. With selections from each previous album, the band succesfully displays their widespread talents. The high enegry is immediately apparent on the first track, "Open Up," and continues through all 23 tracks. Arguably the fastest and most energetic song, "Cut it Ya Match It," what had formally been concert-only jam, is one of the highlights. The band displays their vocal talents by almost rapping through quick lyrics. The band's tendency to mix studio recordings up on stage is apparent on "Out Loud," an acoustic original with a profound reggae sound on this version. Dispatch displays their sense of humor as well. One of the slower songs, "Carry You," recorded in Philadelphia, includes a tribute to Rocky, with an "Eye of the Tiger" introduction. The album could not be complete without the fan favorites, including "Elias," "Flying Horses," "Two Coins," "Time Served" and, of course, "The General," probably the most recognizable Dispatch song. While Gut the Van is certainly not a substitute for a Dispatch concert, it will certainly spark a wider fanbase for a band that is starting to catch fire for obvious reasons.
—Andrew Maury
****1/2 Green Day International Superhits (Reprise Records)
International Superhits features just about every Green Day song anyone has ever heard and some no one has ever heard before. It includes 19 of the group's hits and two previously unreleased songs. The classic tracks are taken from Dookie, Nimrod, Insomniac, Warning and the Angus soundtrack. Any song any one could think of by Green Day – from "Geek Stink Breath" to "When I Come Around" – is on this great CD. This CD was released with a video and DVD of the band's videos, called International Super Videos. The name lends itself to the fact that they were a mainstream success in other countries. As well as being large in the United States, they hit it big across the world from Europe to Australia. "Brain Stew" and "Basket Case" are two of the highlights of the album, and remind the listener of a time about seven years ago when the band's popularity was at its height. Off of two of Green Day's earlier albums, they represent the best of the band. The two new tracks do not disappoint, and seem to fit right in with the rest of the album. "Poprocks & Coke" is a great song with just enough originality and Green Day flare to make it an instant hit. International Superhits is a tribute to a great American band, proving not only why Green Day had such past success, but also that they still have the goods to be a force on the music scene.
—Eric Scaduto
*** Jewel This Way (WEA/Atlantic)
Jewel hit it big back in 1994 with her first hit song, "Who Will Save Your Souls?" Her folksy voice, along with her simple yet eloquently put messages, gave rise to a new type of song that set her apart from many of her modern-day contemporaries. Her second CD, Spirit, encapsulated those same ideals, but with the songs sounding more like music than story telling. With her new album, This Way, Jewel is ready to take the transition from preaching to song even further. This Way is a strange mix of country, folk and soft rock. Her songs about love, hate, bigotry and modern-day society are still there but, this time, they are told in a more simple and frank manner In This Way, Jewel sticks to short verses to prove her points instead of delving into paragraphs, for which she was originally known. This new trend toward shorter verses is shown in the song, "Jesus Loves You" where she sings, "They say that you're only half alive/till you give extra whitening a try." The short verses may prove disappointing to her fans, but, over time, This Way proves to be just as effective and elegant as with her previous CD's. Equipped with drums and electric guitars this time, Jewel displays her new sound and sings about Disco stores and Randy Newman. In "The New Wild West," Jewel laments the state of modern- day society calling it "a nation of civilized steeples and lonely people," while in another song she claims that the ego has become "the new deity." The song "Love Me, Just Leave Me Alone" is a classic example of rock and roll the way that Jewel conceives it. With such lines shouted as, "I tried to be unlovable, Why couldn't you do the same?," the listener can not help but love Jewel for trying.
—Peter Marino
**** Paul McCartney Driving Rain (Capitol)
Paul McCartney's newest album, Driving Rain, brings back the simplicity of good music which was lost over the years to artificial, synthesized sounds. Simple chord progressions, a few live instruments and one clear message is all that is needed to create substantive music. Add a former Beatle, and the result is music that is undeniably smooth. Using love as a subject of many of his songs, Sir McCartney shows no sign of losing his touch when it comes to ballads. With just his piano playing, a bass and electric guitar, a simple drum kit and his voice, the track "From A Lover To A Friend" deals with remarrying after his wife Linda passed. His ballads and fun melodies prove he is pop as much as he is rock. If there has been any misunderstanding to what rock music really is, all is cleared up with "Rinse The Raindrops." For over 10 minutes, a powerful jam session rocks enough for the album, but he gives and gives on "Your Way" and "About You." As much as he brings back what the world's been missing since the Beatles dissolved, McCartney shows he is a true musician by experimenting and evolving with the times. On "She's Given Up Talking," the droning of a trip-hop beat moves the track. Elements of funk and jazz lace "Tiny Bubbles." McCartney presents another solo album fit for many moods. As good as he was with the Beatles, McCartney provides more evidence that music is universal. Capable of evoking varying emotions, McCartney speaks again.
—Chun-Wei Yic
***1/2 Sevendust Animosity (TVT Records)
Putting out three successful albums in the new-school metal genre is no easy task. Sticking around long enough for two is tough, but to be able to make a third album that actually stands up to its contemporary competition is a testament to Atlanta's Sevendust. The band's newest release, Animosity, is such a testament. With their 1997 self-titled debut, Sevendust can say they were there at the start of the new metal wave. Sharing the stage at Ozzfest '97 with a dream line-up of artists, Sevendust slashed across the country, impressing fans with a churning guitar style and a frontman who could actually sing. Nearly five years later, Lajon Witherspoon and company have withstood the test of time without selling out or softening up to the point of boredom. Animosity is a defiant proclamation of emotion, exasperation and empathy. Mixing in a little more melody than their previous efforts, Sevendust confidently straddles the fine line between musical "maturation" and commercial over-compensation. Sevendust's modus operandi of dense, start-and-stop riffs appear on Animosity. Their trademark choruses pierce through the verses on tracks like "Trust," "Redefine" and the furious "T.O.A.B." Whereas this used to be the rule for Sevendust, it has become more of an exception on this album. Unexpected melodic bridges are littered throughout the album and work surprisingly well on bleeding anguish-anthems like "Xmas Day" and "Damaged." The final track is a studio re-recording of "Angel's Son," the sole radio hit to emerge from the Strait Up collaboration album, dedicated to the deceased singer of Snot, James Lynn Strait. Much like Staind's rendition "Outside" on Break the Cycle, this "Angel's Son" is interesting, but by no means an improvement on the original. At the end of the day, Lajon Witherspoon's vocal aptitude and stage presence is just too good for Sevendust to simply fade away. By sticking out the waves that have washed away other bands in this genre, Sevendust has become a truly enjoyable group, and have shown maturation in the process.
—Brian Rusnica
**** Transmatic Transmatic (Immortal Records)
Transmatic's debut CD is solid from one end to the other. Though it has only ten tracks, they are worth a listen. At times Transmatic sounds like Staind and at times like Lit, but its versatility is dually noted in the upbeat style of some songs and the depressing nature of others. Whichever band it is compared to is acceptable because this band, with their impressive vocals and talented guitars, takes a huge step towards stardom in this, their debut album. The album is filled with deep lyrics, and the two songs that stand out are "Gravitate" and "The Problem." This album has an all-around good sound to it. It is the type of album that one can easily put on and forget that it is on, during which time one slowly begins to calm down. It is filled with energy, and the only thing stopping it from becoming a best-seller is the genre in which it was written.
—Eric Scaduto
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