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All-Reviews.com Top 50 Songs*:
for the 5th week of April, 2002

*based on airplay at alternative, pop and rock radio stations a cross the nation (reviews by LarryG)

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  1. Puddle Of Mudd-Blurry    (unchanged)      buy it!
    On Blurry, the second single from Puddle Of Mudd's Come Clean CD, Wes Scantlin follows Staind's Aaron Lewis, a fellow Fred Durst protégé, in showing his mellow side. Blurry really strikes me as lame; another rocker showing his troubled, sensitive side. Blurry's verses have a fairly interesting atmosperic guitar effect but its melody is surprisingly similar to Duncan Sheik's adult pop hit Barely Breathing. On the chorus the band, of course, has to show they can rock so the guitar sound gets bigger and Scantlin's vocal approaches the fury he showed on Control. The young males can't get enough of songs about how awful a guy feels about being mistreated by his ex. On Blurry, Scantlin seems to want her back, singing about how meaningless things are after she left him. But he also rages at her, complaining about how she could "take it all away" and shove his pain in his face.

  2. Default-Wasting My Time    (unchanged)      buy it!
    It's depressing that, besides offering a watered down version of bands like Pearl Jam, Creed now seem to be inspiring a bunch of new, success hungry bands with their serious, literal minded rock. Wasting My Time, from the Fallout CD, is another overdone rock song. Dallas Smith has the requisite unnaturally deep, intense vocal. The Canadian band try to show that they're sensitive but can rock too. Wasting My Time is remarkably uninteresting, following the very familiar pattern of starting quietly with a meaningful guitar riff before letting the power chords crunch in on the chorus. The verses sound like With Arms Wide Open. The chorus is generic guitar rock. Wasting My Time's lyrics justify a breakup with a girlfriend.

  3. Goo Goo Dolls-Here Is Gone    (unchanged)      buy it!
    Ever since Goo Goo Dolls stumbled onto the path to success with Name, the one ballad among the post punk rockers on 1995's A Boy Named Goo, there's been no stopping them. They still play some rockers(though they're generally not as fast and rough as they used to be) but hits like Iris and Black Balloon, from their Dizzy Up The Girl CD, have made the sensitive rock ballad Goo Goo Dolls' trademark sound. Here Is Gone, the first single from the Gutterflower CD, shows they have the hit making formula down pat and are apparently going to use it for as long as they can. Here Is Gone is like Black Balloon with a touch of Slide's sleek pop rock sound. The music is lush and full with a good layered guitar sound. Here Is Now is well made but far too polished and predictable for my liking. In a heartfelt vocal, Johnny Rzeznik sings about a disappointing relationship that's doomed by his partner's fears and lack of control.

  4. Linkin Park-In The End    (unchanged)      buy it!
    Linkin Park's first two singles from the Hybrid Theory CD   communicated youthful turmoil with raging hard rock and Chester Bennington's loud, nasty yell. In The End is less harsh and confrontational as the band move into Limp Bizkit territory. In The End is effective but very familiar, closely tracking Limp Bizkit's angry but catchy mix of rap, hard rock and vaguely sinister keyboards. Linkin Park have a slight advantage over Limp Bizkit since Mike Shinoda's rap, while fairly simplistic, isn't as stupid as Fred Durst's typical rant. Shinoda and Bennington alternate vocals, looking back bitterly at a failed relationship.

  5. Jimmy Eat World-The Middle    (up 1 position)      buy it!
    The title track from the Arizona based band's latest CD was close to the top 50 when September 11 came and radio stations and Jimmy Eat World's record company decided people didn't want to hear a hard driving rocker called Bleed American. The second single from Bleed American is much lighter poppy punkish fare. Jimmy Eat World's sound has been called "emo-core". If that means they're sincere and energetic and make fast, clean rockers, I guess it's an accurate label.With a tight, stuttering guitar, a steady bass line and Jimmy Adkins' sunny vocals, The Middle has a likable exuberance. The Middle's lyrics advise a girl to ignore the feeling that others are looking down on her, promising that "everything will be all right". The music carries a similarly optimistic spirit.

  6. Nickelback-Too Bad    (up 2 positions)      buy it!
    When How You Remind Me moved to the top of the pop charts, rock and alternative radio began to move on to a second song from the Silver Side Up CD. Too Bad alternates between mellow but dramatic verses and choruses with catchy rock guitar strumming. As on How You Remind Me, Chad Kroeger's vocals are heartfelt and the pain he describes is surely real. While he's not quite as self pitying as his trouble young white male rock contemporaries, Kroeger is very humorless and a little self important. Too Bad is serious, intense and well made but it doesn't have the mastery of Nirvana style rock dynamics that How You Remind Me, with its irresistable "Yeah"s and pounding power chords on the chorus, did. Too Bad is about dealing with feelings about the father who abandoned his family, leaving them "just trying to keep clothing on our backs."

  7. Nickelback-How You Remind Me    (unchanged)      buy it!
    How You Remind Me, from Nickelback's Silver Side Up CD, is practically a Nirvana sampler. You can play name that tune as it resembles Come As You Are, Lithium and countless other songs. Chad Kroeger is ever so serious and humorless as he sings about being "sick inside without a sense of feeling" after a breakup. Still, How You Remind Me works because it makes good use of familiar tools. Like Nirvana, Nickelback use the thrill of rock dynamics, shifting from quiet verses to choruses with sweeping power chords. How You Remind Me has a big, tight sound. The lyrics have the self pity of a lot of recent rock but avoid the nastiness and excess of many of Nickelback's contemporaries.

  8. P.O.D.-Youth Of The Nation    (down 3 positions)      buy it!
    I got more angry feedback about P.O.D.'s hit Alive, which I called self righteous and silly, than about any other song I've ever written about. My beef with Alive is that, while many have adopted it as an uplifting anthem, it's really just about how good Sonny Sandoval feels and how bold he is for proclaiming his religious devotion. I'm not a big fan of the second hit from P.O.D.'s Satellite CD either. On Youth Of The Nation, Sandoval attempts to speak for others, briefly describing a school shooter and a couple of his victims. Sandoval is well intended but his ideas aren't particularly insightful: it can be tough to be a kid these days and the random loss of a child's life is especially tragic. Perhaps the only surprise is the thought that one of the victims would feel for his attacker ("maybe this kid was reaching out for love" "or maybe this kid just wanted to be hugged"). The music, with a beat, guitar, keyboards and backing vocals, has an appropriately ominous mood, but it's pretty generic modern rock. Sandoval's tough guy hip hop vocal and lyrics about "the sound of a gat" and taking "two to the chest" seem inconsistent with the general themes of innocence and sympathy. And the Another Brick In The Wall style kids chorus finale, with the idea that the band is speaking for a generation, seems presumptuous and exploitative.

  9. Staind-For You    (unchanged)      buy it!
    You'd figure that even Staind's biggest fans would have had enough of Aaron Lewis self pitying bleating by now. The fourth chart hit from Break The Cycle has harder guitars and drums than It's Been Awhile and some of the CD's other songs but it's mainly another showcase for Aaron Lewis' anguished vocal about the pain he feels. Lewis tells his parents how "your insults and your curses make me feel like I'm not a person" and demands that they "do something" about the fact that he feels "fucked up." As always, I don't doubt that Lewis hurts or begrudge his right to express his emotions. But since I'm not a troubled 14 year old boy, I'm just not that interested. And I find For You's uneasy combination of bombastic, grinding rock and Lewis' crooning even less musically interesting than most of Staind's work.

  10. Korn-Here To Stay    (unchanged)      buy it!
    In the past, Korn has done some interesting hard rock with an ominous electronic atmosphere. Here To Stay, from the Untouchables CD, feels like a cut and paste rehash of Korn's previous work and that of many similar bands that, with dense music and troubled singers, have proliferated over the last few years. Jonathan Davis' angry bark is very familiar. So are Here To Stay's rumbling guitars and sinister synths. On Here To Stay, Davis sings about a self loathing that makes him "take my face and bash it into a mirror" so "I won't have to see the pain." He also tells us his hurt is turning "into hating". There's enough nastiness to Davis' venting that I find it hard to sympathize about his inner turmoil.

  11. Sheryl Crow-Soak Up The Sun    (up 3 positions)      buy it!
    Soak Up The Sun is the first single from Sheryl Crow's fourth studio record C'mon C'mon. While there were some signs on The Globe Sessions that she might be losing her touch, Crow has been able to put together an impressive string of hits by balancing, in varying degrees, pop simplicity and catchiness with a sense of rock craft and substance. The balance was best seen on substantial but still fun singles like Everyday Is A Winding Road. Soak Up The Sun's emphasis is on simplicity. It's reminiscent of, and even less complicated than, Crow's early good time hit All I Wanna Do. From its principle desire to "tell everyone to lighten up" to its dopey final line("I've got my .45 on so I can rock on"), Soak Up The Sun is proudly mindless. It has a schematic, get back to the chorus feel that will probably soon prove tiresome. But if Crow's playing dumb, at least she's playing it nicely with lines like "it's not having what you want, its wanting what you've got." Soak Up The Sun has a catchy singalong chorus and is likably modest. It's solidly constructed with a sturdy guitar riff. I like Crow's light, seemingly helium enhanced vocal on the "everytime I look around" bridge.

  12. Jack Johnson-Flake    (unchanged)      buy it!
    The Hawaiian native/champion surfer turned LA singer/songwriter's first chart hit is charmingly laid back. Johnson sings on Flake, from the Brushfire Fairytales CD, about likable slackers who lose out or let people down because of "ties" or because "often times we're lazy." Flake has relaxed guitars and drums and Johnson's smooth vocal comfortably matches the song's mood. He doesn't seem to exert himself too much even as he reaches for high notes in the song's "please don't drag me down" conclusion. Ben Harper, whose music has an easy, sensual appeal similar to Johnson's, plays good atmospheric slide guitar on Flake.

  13. Godsmack-I Stand Alone    (up 2 positions)      buy it!
    I Stand Alone is from the soundtrack of the The Rock's film vehicle The Scorpion King. I don't hate I Stand Alone quite as much as some of the Godsmack music I've had to review over the last couple years. That's doesn't say much since their songs have been among my least favorite in the top 50. I Stand Alone is slower and less dense than some of Godsmack's music but, with a grinding guitar and a melody somewhat like Alive's, it's still pretty heavy and dark. I Stand Alone gives us another view of Sully Erna's nasty, paranoid worldview which places him alone among people trying to "take me down." On I Stand Alone, Erna howls a warning that he'll "break" someone who wants to "control me".

  14. Pink-Don't Let Me Get Me    (up 2 positions)      buy it!
    The former Alicia Moore tells us on Don't Let Me Get Me that since school, when she dated teachers and got into fights, she's done things that get her in trouble and make her hate herself. The context of the song is Pink's decision to toss the sleek dance pop sound of her Can't Take Me Home CD for the more rocking arrangements on Missundaztood. Pink seems genuinely conflicted. She knows that slick music and marketing made her a star and sounds genuine as she refers admiringly to Britney("she's so pretty"). Still, she resents the advice of Arista exec LA Reid to change "everything you are" and finds the music that made her successful irritating. Don't Let Me Get Me also avoids the calculated, synthetic sound of her first CD's hits but it isn't as striking a departure as the buoyant, raucous B-52's influenced Get The Party Started. Pink and her Missundaztood collaborator ex 4 Non Blonde Linda Perry have constructed a song with a pleasant, adult sound. Especially towards its end, when a yearning guitar kicks in, Don't Let Me Get Me reminds me of Natalie Imbruglia's Torn. Its crisp if unexciting beat and compact synth riff also brings to mind the kind of restrained synth pop hit that was common in the mid 80s.

  15. Alanis Morissette-Hands Clean    (down 4 positions)      buy it!
    Morissette made her name in her very early 20's with You Oughta Know, an angry note to a guy who dumped her for another. Now in her late 20's, she introduces us to her new Under Rug Swept CD with a less emotional (no memories of oral sex in a theatre in this one) but still angry look back at a now finished personal and professional relationship. Hands Clean seems to be about Glen Ballard, who produced and cowrote most of the songs on Morissette's last two records but is conspicuously absent from Under Rug Swept. Hands Clean remembers a condescending("if it weren't for me you would never have amounted to very much") older producer who seduced her then dumped her. Clearly, Alanis wants to show she can make it alone. She wrote and produced Under Rug Swept on her own and played most of the instruments. She did a good job on Hands Clean, making it sound familiar and fresh, smoothly shifting from verses with rapid torrents of confession to smooth, harder rocking choruses. Hands Clean is fairly disposable and similar to, if slightly tougher than, previous Alanis songs like All I Really Want and Head Over Feet but the sound is full, catchy and always moving forward.

  16. Jennifer Lopez-Ain't It Funny    (down 3 positions)      buy it!
    Ain't It Funny, the fourth single from the J. Lo CD, is pleasant, innocuous dance pop. With a touch of Latin flavor, Ain't It Funny is similar to Madonna's La Isla Bonita but its rigid beat and repetitive shape mean it's less interesting. Lopez' voice is slightly less hidden in electronics than usual. Lopez' vocal on Ain't It Funny sounds like her speaking voice. It's thin and a little whiny but at least it sounds fairly real, at least until the studio vocal pros take over for the slick, familiar chorus. Ain't It Funny is about trying to overcome differences and memories of romantic failure to make a relationship with a seemingly perfect guy work. Like I'm Real, Ain't It Funny has been rereleased in a "remix" featuring Ja Rule which is nearly a totally different song. With a minimal beat and sly, relaxed synths, the new version of Ain't It Funny, available on the new J To Tha L-O remix CD, is significantly better and more interesting than the generic dance pop of the original though it is hampered by a similarity to the I'm Real remix. Lopez is comfortable with a cool, restrained vocal which doesn't show her limitations as much as when she sings all out. Her confident singing matches the new lyrics. Unlike the original where she anxiously hopes that things can work out with her guy, the remix finds her taunting a guy who played around when they were together with the fact that he blew his chance. Lopez has found a dynamite formula: releasing a record with perky, heavily produced dance pop versions of her songs that appeal to mainstream pop stations then releasing sleek, minimal versions that establish her cred with urban R&B audiences. The best part is she gets a lot of people to buy both records.

  17. Unwritten Law-Seein' Red    (unchanged)      buy it!
    Unwritten Law's Elva CD is mostly fast, youthful, good natured, lightweight hip hop informed Sum 41 style hard rock. Seein' Red is not characteristic of the rest of the CD but it's not surprising that it's the song getting the record company push. Seein' Red is a sensitive rocker that fits solidly within the Staind/Nickelback model of what radio wants to play. Seein' Red is painfully predictable, following the standard pattern of meaningful, restrained verses that explode into hard rocking choruses. Over quiet guitar picking, Scott Russo does an earnest vocal. Seein' Red's "follow the leader" chorus is catchy. I like the scratchy little riff between the power chords. But the song keeps coming back to the crappy verse. A boring, cliched guitar solo doesn't help things either. Seein' Red is about Russo's anger at foolish lies he's been told. He alternates between mocking and giving someone a last chance to choose to make a relationship work.

  18. Michelle Branch-All You Wanted    (up 9 positions)      buy it!
    I assume that a large number of Michelle Branch's fans are girls in their early teens who have outgrown or are too cool for Britney or Christina. Branch's songs have the feel of schoolgirl poetry and are probably heavily influenced by Alanis and Jewel's youthful, searching and intense work. All You Wanted doesn't have the rocking energy of Everywhere, the first hit from Branch's Spirit Room CD, but it has a similar sincere charm. Branch isn't a great singer but her voice has an open, innocent appeal. All You Wanted's music, with a steady, perky beat and good sprinklings of rock guitar is simple, modest and likable. All You Wanted is a sweet story of volunteering to "save" someone who seemed to have everything together but needs "someone to show you the way."

  19. System Of A Down-Toxicity    (up 5 positions)      buy it!
    It's probably not the main effect they're shooting for but I like System Of A Down because they're fun. Their powerful music and Serj Tankian's singing can shift in a moment from thoughtful to manic, creating an unpredictability that's nearly absent in contemporary rock. Toxicity's verses, with forboding guitar and Serj's brooding vocal, explode into choruses of Serj's rant and big guitars and drums. As Toxicity, the title track and second hit from the band's latest CD, reaches its conclusion, it becomes even more chaotic, finishing with fast hardcore style thrashing guitar and drums and Serj's bizarre chant: "when I became the sun, I shone life into the man's heart." I like System Of A Down's passion and the fact that their songs are about more than their petty personal problems. I'm not exactly sure what Toxicity is about but I guess it has something to do with capitalism and the fact that even if big business thinks it owns and can ruin the world it can't control the world's natural disorder.

  20. Fat Joe featuring Ashanti-What's Luv?    (up 5 positions)      buy it!
    What's Luv is the first mainstream hit for South Bronx native Joseph Cartagena. Fat Joe, like Ja Rule before him, has made the pop charts by placing his rough voice into a light hip hop setting. What's Luv is laid back and slight like Ja Rule's hits and perhaps even more engaging. What's Luv sounds like Ja Rule's Always On Time and the remixes of J. Lo's I'm Real and Always On Time, which is not surprising, considering that many of the same people were involved in making each record. Fat Joe's voice isn't polished but his parts are wrapped with a relaxed beat in a catchy, bubbly synth riff and surrounded by choruses with Ashanti's ultrasweet singing and Ja Rule's distinctively cocky voice. What's Luv's lyric doesn't say much beyond it's what's love got to do with it(as long as we trust each other) chorus. Fat Joe tells us he doesn't care if you've got a man or whether you're "the office type or like to strip" as long as you have "thick hips" and don't "talk too much." What's Luv is from Fat Joe's Jealous One Still Envy CD(his 1997 CD was called Jealous Ones Envy so he presumably will eventually get around to a CD called something like Jealous Ones Still Envy my Phat Heaviness).

  21. N Sync-Girlfriend    (down 2 positions)      buy it!
    Girlfriend, the third single from N Sync's Celebrity record is my favorite from the record so far. On Girlfriend, the boys worked with very busy producers The Neptunes. Partly because N Sync are better singers, Girlfriend is more enjoyable than Britney Spears' I'm A Slave For You, which was a mess despite a striking, good Neptunes production. With a good borrowed riff and a light, steady beat, Girlfriend has a relaxed, breezy feel. N Sync's harmonies are impressive and fit nicely with the easy mood. N Sync's chief hunk Justin Timberlake, who wrote Girlfriend with The Neptunes, plays a guy trying to convince a girl that while the boy she's likes "doesn't even know you're there", he'll "treat you good." The lyrics are typical boy band fodder but neither they nor some silly whispered interjections negate Girlfriend's charm.

  22. Shakira-Underneath Your Clothes    (up 6 positions)      buy it!
    Before she made the Laundry Service CD, Colombian pop star Shakira Mebarak apparently studied American pop. Especially in its first half, Underneath Your Clothes sounds a lot like The Bangles' Eternal Flame. Like that song, Underneath Your Clothes is corny but gets real poignance from a sincere vocal and solemn backing. With subdued drums and keyboards, Underneath Your Clothes maintains has a serious tone. However Shakira's singing, with her tendency to pinch certain vocal lines and add little yodels to others, can't help but spice things up. The lyrics also find a slightly new and odd way to express a standard love song idea. Instead of beneath the surface or in his heart or soul, she finds her man's "endless story" and the place where she gets credit for "being such a good girl" underneath his clothes. With Penny Lane style horns, Underneath You Clothes achieves a goofy majesty.

  23. Blink 182-First Date    (down 1 position)      buy it!
    It'll be interesting to see who gets tired of Blink 182's simple but fun songs first, the band or alternative radio. First Date, the third single from Blink 182's Take Off Your Pants and Jacket CD, sounds like The Rock Show, What's My Age Again and lots of other Blink songs. It's even more basic than most of their fast, good spirited, bratty vocaled songs. The only even slightly different thing about First Date is its chorus, where the guitar and drums slightly change tempo and emphasis. First Date is a throwaway but, like the other singles from Take Off Your Pants And Jacket, it has a charming sweetness. The band still flaunt a juvenile personality and, while their teen years are long behind them, they still easily carry off the sweet, innocent tale of a boy nervous about making a date work.

  24. Lenny Kravitz-Stillness Of Heart    (up 7 positions)      buy it!
    Dig In, the first single from the Lenny CD, showed a side of Lenny Kravitz that he hadn't shown much before. Dig In was a light, fun rocker that lacked the heavy attitude than often drags down Kravitz' music. Stillness Of Heart doesn't have Dig In's lightness and excitement but it's still a good, if not great, second single. Stillness Of Heart's melody is very similar to that of his second to last hit: Again. Stillness Of Heart achieves a good edge by holding back and going nice and slow. Heavy bass and drums create a good, slow jam on the verses and are joined on the chorus by a solid, steady guitar strum. Unlike Dig In, Stillness Of Heart doesn't really sound like a hit. Nothing really happens. It's got a good atmosphere but doesn't grab you. Kravitz' typically complacent vocal doesn't help. On Stillness Of Heart, Kravitz sings about trying to calm and center himself so that he can move on after a tough romantic experience. I'm not questioning Kravitz' pain but his way of expressing it is hardly great poetry. This is the second verse: "I got more than I can eat, a life that can't be beat/yet still I feel this heat, I'm feeling incomplete/What am I buying, my soul is crying."

  25. Rob Zombie-Never Gonna Stop    (down 7 positions)      buy it!
    White Zombie, Rob Zombie's old band, combined hard rock and a big, flashy theatricality. Zombie's solo work gives greater emphasis to the hard rock part. Never Gonna Stop, from The Sinister Urge CD, is fairly standard hard rock. Zombie's lyrics(largely consisting of "never gonna stop me" and "scream if you want it, 'cause I want more") and howled vocals have tough guy attitude. Never Gonna Stop is quite stupid. At least, with its sprinkling of sweet, teenybopper style backing vocals, it's not as harsh as Feel So Numb, Sinister Urge's first chart hit.

Songs 26-50


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