Sound Bites

Britney Spears “Oops! … I Did it Again”
Jive Records

Halfway through Ms. Spears’ sophomore disc, a sense of
déjà vu is bound to wash over the listener. You
can’t help but say to yourself, “Haven’t I heard
this one already?” And the answer will be an emphatic yes. It
is forgivable for a girl of Spears’ age and experience to
sound like a derivative of other teen pop acts but to cop the same
melodies from one song to another from the same album, well, that
is just contrived. It is a stretch to say that “Oops”
is a second album, let’s call it half an album because the
other half is chock full of the same music used on her debut.
People might find themselves replacing the lyrics for her
ridiculously poppy “Oops! … I Did it Again” single
with lyrics from her equally ridiculously poppy “Baby Hit Me
One More Time.” It’s because they are the essentially
the same song musically. The same thumping bass-lines, the same
yearning vocals, the same ultra-sweet hooks. Spears and her
collaborators really stuck with a recipe that works, turning the
album into formulaic fluff. How recycled is this album? Well, the
opening burst of synthesized pop of “Lucky” is
identical to the opening burst of the synthesized pop of
“Oops.” It wouldn’t be so bad if Spears had a
voice to cover up the generic pop but let’s face it,
Spears’ vocals on the album have seen more doctored than a
video porn star’s face. It is flat, unemotional and sometimes
painful to listen to. Saying this much, her decision to cover the
Rolling Stones’ “Satisfaction” leaves a lot to be
desired. Keith Richards’ guitar work has been replaced by a
dull drum loop while Mick Jagger’s riveting vocals is swapped
with Spears’ wooden voice. How much money did the Stones get
to allow Spears to rape this classic song? Well, whatever it was it
isn’t even close to being enough. This rendition makes the
Stones look bad. In “Stronger” Spears’ declares
her “independence” from the whim of men with lines
like, “I’m not your property as from today” and
“Now it’s nothing by my way.” Too bad her whole
recording career, as well as this album, has been steered mostly by
men. It really doesn’t matter what critics say about
“Oops,” this album is critic proof. But it must be said
that “Oops” is going to be one of the most successful
one-trick albums in Soundscan history. Because this girl knows how
to do it … again, and again, and again. Trinh Bui Rating:
3

 

 

Pearl Jam “Binaural” Epic

What the hell is going on? This can’t be the same
Generation X group that music fanatics considered the king of
alternative rock in the early ’90s. It’s so upsetting
to think that Pearl Jam might actually be petering out of the music
world. At least, that’s what it seems like with their poor
attempt at a new album. “Binaural” is a mesh of
individually lagging songs that drone on and on with no apparent
end. Eddie Vedder is still there with his distinctive quaking
voice, but it’s not enough to compensate for the
album’s poor quality. The album fails to repeat the fame of
its predecessors. First of all, most of the tracks have the same
structure where Vedder’s monotonic singing (which actually
sounds more like talking) is interrupted by frequent, irritating
pauses. Furthermore, most of the lyrics lack any meaning or
coherence. Example: “The little that he sees is nothing. He
concedes its home/One uninvited chromosome, a blanket like the
ozone.” It’s as if quality is sacrificed for rhyme. The
song titles are eerie as well. Most of them seem to insinuate Pearl
Jam’s end. Example: “Evacuation,” “Nothing
As It Seems,” “Insignificance,”
“Grievance,” “Soon Forget,” “Parting
Ways.” Coincidence? Who knows? “Breakerfall,” the
album’s best song, is an honest attempt at good music, but
pales in comparison to such remembered songs like “Last
Kiss” or “Of the Girl.” “Binaural”
just isn’t good. There’s no way to sugarcoat it. If
you’re a diehard Pearl Jam fanatic and you have to get this
album, that’s okay. But if you’re not, try the
band’s other albums. It’s as simple as that. P.S. The
cover is pretty cool.

Nima Abtahi Rating: 3

 

 

Don Henley “Inside Job” Warner Bros.

It’s been 11 years since the last Don Henley album.
Judging from “Inside Job,” Henley has apparently used
that time to reflect on the inequalities in our society and the
oppression of workers. This central theme gives some coherence to
an album that offers little musically and mostly features lyrics
that never really go beyond surface level complaints. The album
starts out on a high note, however. “Nobody Else in the World
But You” is a fast-moving, hard-rocking piece that jolts the
listener out of his or her seat. The lyrics are a fairly one
dimensional condemnation of a self-centered person, but the music
is strong enough to offset that shortcoming. Stevie Wonder is
featured on keyboards and backing vocals for this track and his
presence may help explain how it rises so far above the level of
the rest of the album. The only other real highlight of
“Inside Job” is “Genie,” a cautionary tale
about some vague wrongdoing in someone’s past that once again
rocks hard enough to make up for lyrics that are nothing special.
Among the album’s other 11 tracks, moments of excitement or
even interest are virtually nonexistent. Lead single “Taking
You Home” is as bland a track as you’re likely to hear
anywhere. It seems as if it drags on for far, far longer than its
five and a half minute running time. On the title track, Henley
manages a nice lyrical patch or two. Example: “It was an
inside job/By the well-connected/Your little protest/Summarily
rejected.” But the music fails to ever go anywhere
interesting. “Inside Job” might be sincere at heart,
but the first order of popular music is to entertain, and the music
““ the real product here ““ consistently disappoints.
Gideon Cross Rating: 3

 

 

Jimmie Van Zant “Southern Comfort” J-Bird
Records

“Southern Comfort,” Jimmie Van Zant’s debut
album for J-Bird records, serves up some good old rock and roll
tunes from a man who has learned from the best rockers of all time.
Jimmie Van Zant is the cousin of Ronnie Van Zant (the foundation of
Lynyrd Skynyrd) who was killed in a plane crash in 1977 along with
other members of the band. Jimmie says that his cousin had a huge
influence on him before he died and that he learned a lot from him
in his song writing. “Southern Comfort” creates a
genuine feel to it that comes from the fact that Van Zant himself
wrote or co-wrote every song on the CD. “Ronnie’s
Song,” a great tune that delivers a tribute to his late
cousin, comes from the heart. Although every song feels genuine and
from the heart, many of them seem to lack that extra something that
would give this album the push it needs to become big. After
listening to it a few times, you’ll have no desire to hear it
again. The songs “Southern Comfort” and “Simple
Man”, as does the album cover itself (a big Confederate
flag), appeal to classic rock fans who like the southern rock
sounds of Skynyrd. Sometimes the album just feels old, like you are
listening to an old Skynyrd album that you found sitting in your
basement. Even Lynyrd Skynyrd fans will be left cold and
disinterested. Basically, if you like Lynyrd Skynyrd, you might
enjoy listening to this album. If you don’t like southern
rock, or Confederate flags, do not even think about it.
David Jones Rating: 3