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The Complex
(2003)
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Blue Man Group
After devoting more than 15 years to building their unique fusion of edgy performance and advanced yet home-brewed technologies, the Blue Man Group moves aggressively toward the mainstream with The Complex. "Mainstream" is, of course, a flexible notion, so what passes as commercial for these guys is a lot more adventurous than most of the era's ...
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Super Hits of the '70s: Have a Nice Day, Vol. 2
(1990)
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by
Various Artists
The second volume of Super Hits of the '70s: Have a Nice Day is very heavily weighted toward 1970-vintage hits that originated in locales other than the United States, beginning with a Tony Macaulay-co-authored hit, "Love Grows (Where My Rosemary Goes)," credited to the group Edison Lighthouse and featuring Tony Burrows, an ex-member of the ...
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Amar Es Combatir
(2006)
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by
Maná
Arriving a long four years after Revolución de Amor (2002), which had been the band's most accomplished album to date, and a Grammy winner to boot, Amar Es Combatir confirmed Maná's continuing designation as the world's standard-bearing Spanish-language mainstream rock band. Amar Es Combatir's lead single, "Labios Compartidos," was an overnight ...
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Enter the Wu-Tang (36 Chambers)
(1993)
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Wu-Tang Clan
Along with Dr. Dre's The Chronic, the Wu-Tang Clan's debut, Enter the Wu-Tang (36 Chambers), was one of the most influential rap albums of the '90s. Its spare yet atmospheric production -- courtesy of RZA -- mapped out the sonic blueprint that countless other hardcore rappers would follow for years to come. It laid the groundwork for the rebirth ...
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Schoolhouse Rock! Rocks
(1996)
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by
Various Artists
Sing the phrase "I'm just a Bill, yes I'm only a Bill" to any American between the ages of 25 and 40 and they'll answer "and I'm sittin' here on Capitol Hill" without thinking twice. "I'm Just a Bill" was only one of dozens of School House Rock! animated videos that ran on ABC Saturday morning TV throughout the '70s. Following the lead of Sesame ...
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Sueños Liquidos
(1997)
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by
Maná
A harmonically wise and confident band capable of loosely wound Latin pop/rock, Maná has returned with some of their best songs of their career stuck to a midday high-gloss finish. No twitchy tokenism here -- it would be ridiculous to lump this music along with the patronizing Latin pop stars crossing over into America's gaze -- but the album's ...
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Pure Moods, Vol. 3
(2001)
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by
Various Artists
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Northern Exposure
(1992)
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by
Various Artists
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En Vivo
(1995)
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by
Maná
In terms of live albums, Maná's En Vivo is exemplary. It's filled with hits, offers crystalline sound quality, and boasts remarkable band-audience rapport, highlighted by the numerous moments when the crowd sings along to the better-known songs. Fher Olvera is a captivating frontman, and it's him in particular who engages this lively crowd most. ...
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Super Hits of the '70s: Have a Nice Day, Vol. 6
(1990)
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by
Various Artists
Rhino takes the low road for their sixth volume of '70s radio fare, mostly sidestepping the mega hits in order to bring you a mixed bag of true marginalia from the early years of the decade. Save for Stampeders' river-boat harmony side, "Sweet City Woman," and Five Man Electrical Band's Partridge Family-issue anthem "Signs," the majority here ...
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Daikaiju
(2005)
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Daikaiju
Huntsville, AL, band Daikaiju (which means "giant monster" in Japanese) came along to put their stamp on instrumental surf music 40 years after the style first became popular. The band has been building up a following for several years, but this self-titled effort is its first full-length CD. On it, the sound of Duane Eddy and the Ventures rides ...
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Many Moods of Moses [VP/Slammin' Vinyl]
(1997)
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by
Beenie Man
Having showcased his talents on Maestro, Beenie Man along with executive producer Patrick Roberts no longer felt the need to overwhelm audiences with a smorgasbord of sound, and thus Many Moods of Moses is a more coherent set than its predecessor. Of course, that doesn't mean Roberts doesn't mix up the sound, or that the DJ is reverting to one ...
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MTV Unplugged
(1999)
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by
Maná
The unplugged trend of the 1990s could be quite revealing. If a band used amplification to mask its deficiencies, going acoustic could easily expose them. But when artists who had a lot going for them -- everyone from Aerosmith and Bruce Springsteen to L.L. Cool J -- went unplugged, they had a lot of strong material to rely on and triumphed in an ...
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Pipa from a Distance
(2003)
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by
Wu Man
An album of extraordinarily exploratory pipa music from the main ambassador of the instrument to the West, Wu Man. Here, there is a definite aspect of traditional pipa music present, but that's only the jumping-off point. There's some thorough culture-mixing as a didgeridoo is tossed in here and there. Some heavy updating of the ancient forms ...
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Audio
(1999)
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by
Blue Man Group
Blue Man Group's debut album, Audio, reflects over a decade's worth of musical and theatrical innovation. While its whimsical, visually involving stage performances have been popular since the early '90s, the group waited to make an album until it could find a recording space large enough to house its unique instruments, which include walls of ...
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The Muse Awakens
(2004)
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by
Happy the Man
One of the most unlikely reunions of the early 2000s was Happy the Man, a lesser-known '70s progressive rock outfit that provided only two albums before breaking up in 1979. Back then, Happy the Man wasn't nearly as well known as Yes, Pink Floyd, Genesis, King Crimson, Gentle Giant, Rush, Kansas or Emerson, Lake & Palmer, but they did enjoy a ...
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Cha Cha Slide
(2000)
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by
Mr. C the Slide Man
If you're looking for the infamous "Cha Cha Slide" song, this is where you'll find it. At first a Chicago phenomenon, the Cha-Cha Slide began strictly as a dance until early 2000 when Casper (aka Mr. C the Slide Man) wrote an accompanying song to go along with the dance à la "Macarena." By early 2001, Universal had picked up the album for national ...
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Dr. Demento Presents: Greatest Xmas Novelty CD
(1989)
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by
Various Artists
If you like your Christmas tidings with a dollop of good humor, then this batch of holiday tunes is right up your alley. The lineup ranges from cute and innocuous (the Chipmunks, the Singing Dogs, and Spike Jones) to satirical (Stan Freberg and Allan Sherman) and just plain weird (Elmo and Patsy's "Grandma Got Run Over by a Reindeer" and Tom ...
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Revolución de Amor
(2002)
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by
Maná
Like English-language rock, the rock en español field has its superstars and its more underground artists. Superstars like los Fabulosos Cadillacs and Shakira can easily fill a huge soccer stadium in Mexico City or Buenos Aires, while the more underground artists perform in Latin America's small clubs. Maná falls into the supergroup category; in ...
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Falta Amor
(1992)
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by
Maná
Maná got their illustrious career off to a good start with Falta Amor. It's the Mexican pop/rock band's least noteworthy album by far -- musically, at least -- but it still has its moments and, most importantly, it established them as a promising act during the early '90s, with an exceptionally straightforward pop/rock sound for a Mexican band. In ...
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The W
(2000)
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by
Wu-Tang Clan
After a host of disappointing solo albums and quickly diminishing celebrity (most of the latter devoted to the continuing extra-legal saga of Ol' Dirty Bastard), Wu-Tang Clan returned, very quietly, with 2000's The W. The lack of hype was fitting, for this is a very spartan work, especially compared to its predecessor, the sprawling and overblown ...
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To the Next Level
(1995)
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by
MN8
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Donde Jugaran los Niños?
(1994)
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by
Maná
Maná enjoyed some success with their first album, Falta Amor, but it was their second, Donde Jugaran los Niños?, that made them such an international sensation, establishing them as one of the top Latin pop/rock acts of the '90s. The album is quite solid, maintaining a consistently strong standard of songwriting throughout, and the production is ...
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I'll Be There For You [EP]
(1995)
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by
Method Man/Mary J. Blige
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Out of Season
(2002)
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by
Beth Gibbons & Rustin Man
Out of Season plays to Beth Gibbons' strengths as a vocalist and songwriter more than anything released prior by Portishead. On both Dummy and Portishead, her pained, worn, resilient voice was often made to sound as if it was as much an artifact as the Isaac Hayes and Lalo Schifrin samples. That voice of hers was perfectly suited for the backing ...
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