Dido-Thank You(down 3 positions)
Dido's No Angel CD has become a huge hit nearly two years after its release. First, the atmospheric Here With Me slowly approached near hit status. Then, Eminem's use of a piece of Thank You on Stan brought attention. Now, Stan is out of the top 50 after four weeks on the chart and Thank You has easily topped its peak position. Like David Gray, another slow building success from Britain with an adult audience, Dido's charms are subtle. I find Dido's music less interesting than Gray's but No Angel does have a sleek appeal. The use of percussion and electronica effects is tasteful and minimal but it does give Thank You a good texture that makes it more than just easy listening. Dido's vocals are fluid and smart and add edge to the smooth sound. Thank You's lyrics about how "just to be with you is having the best day of my life" are sappy but Dido's story of a love that "reminds me that it's not so bad" even when everything seems to be going wrong, is sweet.
Cold-No One(down 1 position)
On No One, from Cold's 13 Ways to Bleed On Stage CD, Scooter Ward is another serious singer with Vedder-like intensity. At least, with a fluid sound, loose drumming and bass playing and a subtle guitar, Cold's Pearl Jam/STP imitation has pretty good music. Ward sings about being left alone "with no one sent to get me", feeling "like I'm being erased." He apparently isn't dealing well with a breakup and is "so sick of this terrible instinct."
The second single from the Awake CD is similar to the title track but even harsher and less appealing. Singer Sully Erna is a devout Wiccan and Greed has a bit of a spiritual sound but the song is just nasty, not exotic. The guitars thump and thud as Erna howls, "hey little bitch, be glad you finally walked away or you may have not lived another day." Amid the despicable misogyny we're supposed to empathize with Erna for feeling smothered and in need of help.
Seven Mary Three-Wait(up 7 positions)
On 1995's Cumbersome, Jason Ross was one of the first singers to borrow Eddie Vedder's serious, deep vocals for a successful rock ballad. Wait, from The Economy Of Sound CD, is more of the same, another intense rock ballad. The lyrics, about regrets of missed opportunities and dreams of a world where "the damage is undone", aren't bad but the music has nothing new to offer.
Nelly Furtado-I'm Like A Bird(unchanged)
I'm Like A Bird, from the Canadian singer's Whoa Nelly! CD, sounds like a pop/easy listening hit but it also has a nice, trippy edge. Especially on the verses, the sound is cool and a little jazzy. Furtado's voice is loose and playful. The beat is chunky but the feel is appropriately light. The chorus, cushioned by backing vocals and synths, is more standard pop but Furtado keeps things buoyant and appealing. She sings that, even though she's in love, she's eventually going to have to move on.
Blues Traveler-Girl Inside My Head(unchanged)
John Popper put out a solo record and bass player Bob Sheehan died but Blues Traveler has stayed together. Bridge is Blues Traveler's first CD in four years. Girl Inside My Head was written by Popper and new bassist Tad Kinchla. Popper inevitably plays a little harmonica but the song doesn't have much edge. Maybe it has something to do with Popper losing 180 pounds. The music, with a psychedelic pop guitar line by Chad Kinchla, has an easy groove and amiable feel but it's pretty innocuous. The lyrics are also a little wimpy. Girl Inside My Head is about a guy making himself crazy, thinking about how to present himself to a woman, unsure whether to let her know what he's like or to play the "jungle cat."
Tool-Schism(up 8 positions)
Maynard James Keenan's run on the top 50 continues. Just as The Hollow, one of three chart songs from A Perfect Circle's Mer De Noms, was falling off Schism, from Tool's Lateralus CD, entered the chart. Schism continues the quieting of Keenan's sound he began on Mer De Noms. Schism isn't harsh like a lot of Tool music but it's sad and cold. Keenan keeps the screaming to a minimum and communicates his torment through a serious, downbeat vocal. Schism isn't enjoyable but, despite an intense, meaningful tone and dissonant guitar effect, it generally avoids pretension. Keenan sings of the disintegrating and "fundamental differing" of two lovers. As he mourns the "atrophy" of a "sense of compassion", Keenan obsesses about a time when "the pieces fit."
Weezer-Hash Pipe(up 4 positions)
Weezer's green album is their first since 1996's Pinkerton, a good pop rock CD that sold disappointingly. Hash Pipe rocks harder than anything Weezer's ever done. It's already a bigger hit than anything from Pinkerton. Weezer previously mixed rock guitars, poppy hooks and a sense of humor. On Hash Pipe they mostly just want to rock. Brian Bell and Rivers Cuomo make a big, menacing guitar sound. Cuomo starts with a forceful falsetto, as if he wants to be Robert Plant or Geddy Lee. He generally sings without his earlier tentativeness. Hash Pipe is a little like Buddy Holly. Buddy Holly was concerned with "homies dissing my girl, why do they gotta front." Hash Pipe claims "players come to get me 'cause they like my behind." Both songs have great power chords and good hooks. With its whoa-oohs on the chorus, Hash Pipe sounds great. The band create the exhilaration of good hard rock without too much excess.
The Cult-Risebuy it!
It's been seven years since The Cult's last new record and fifteen years since their commercial peak but the band recapture the weird charge of their best work on Rise, a fun, over the top song from the Beyond Good And Evil CD. Rise closely resembles The Cult's mid 80s alternative rock hits She Sells Sanctuary and Love Removal Machine. Rise is a little harder and less atmospheric than The Cult's earlier work but it's a typical mix of theatricality and Billy Duffy's driving rock guitars. Ian Astbury's vocals are distinctively driven and a little crazy. The lyrics have the band's usual mysticism but Rise is a surprisingly uplifting love song: "you're up against the world and still you rise."
Oleander-Are You There?(down 1 position)
Are You There?, from the California band's Unwind CD, is fairly standard radio rock. It starts with very, big angry guitars then settles into familiar power chords augmented by a weird electronic effect. Thomas Flowers isn't a tough rock and roll singer like some of his peers. His voice is kind of thin. The lyric isn't as obnoxious as in some contemporary rock. Flowers is vulnerable, singing about needing support "when I feel too far away from where I want to be" and wondering if there's anybody there "who doesn't just pretend to care ."
Matchbox 20-Mad Season(up 5 positions)
Mad Season's title track and thrid hit is like its first single Bent. It's a mellow rock song that's a little draggy but also has some edge and atmosphere. Kyle Cook's guitar line is cool and langorous. Like on Bent, Rob Thomas does a self pitying vocal about how screwed up he is("I'm lost and I'm hopeless, bleeding and broken/though I've never spoken I come undone") and asks for a woman to save him("are you gonna help me out, you need to be together now, I need you now").
Shaggy-Angel(down 4 positions)
A song with Shaggy thanking a girl, to the tune of Angel Of The Morning, for giving her love, over a riff copped for Steve Miller's The Joker, is not promising. However, as on the silly, very un-politically correct It Wasn't Me, Shaggy's charm overcomes a lot. Shaggy's cocky even when he's supposed to be humble("I called and you heeded, mission completed") and it's hard to believe him suddenly realizing his girl should be treated like a queen but his confident, deep Jamaican rap and easy charm("she was there through my incarceration, I wanna show the nation my appreciation") explains why women would want to believe him. As on It Wasn't Me, Angel wisely pairs Shaggy with a smoother singer though Rayvon's Angel Of The Morning chorus is sickly sweet. Angel, from the Hotshot CD, has a clear sound with a strong, steady beat and the Joker riff works pretty well.
Stabbing Westward-So Far Away(up 5 positions)
Stabbing Westward established themselves, along with Korn and Tool, by making dense, gothic, nearly industrial music. So Far Away, from the band's self titled fourth CD, isn't exactly light but the sound is fairly clear rather than murky. So Far Away is fairly routine contemporary rock. It's very serious and soaring without the pretension of, say, Creed. The filtered guitar is piercing but Christopher Hall's vocal is straight forward if uninteresting as he sings about wanting to "find a way to smash these walls" that separate him from his love. The chorus("every time I touch you it feels so far away') is almost catchy.
Fuel-Hemorrhage(down 4 positions)
Fuel broke through with Shimmer, from their Sunburn CD. That song had a hard rock sound and was catchy but didn't seem too gimmicky. Hemorrhage, from the new Something Like Human CD, doesn't have Shimmer's light touch. With its dramatic strings and acoustic guitar, Hemorrhage is calculated to be a smash hit rock ballad. Brett Scallions is ever so intense as he sings Carl Bell's bombastic lyrics asking her not to leave love bleeding in my his hands, as if Elton John and many others hadn't thought of the image before.
Crazy Town-Butterfly(down 8 positions)
Butterfly is from the The Gift Of Game CD. Like Red Hot Chili Peppers, Crazy Town are a relaxed L.A. band familiar with hip hop and punk. Butterfly is knowingly stupid dance pop. It has a little of the vibe of Folk Implosion's Natural One and Sublime's What I Got. The song has an easy mood and a rapped string of cliches praising the positive effects of a woman, including "it doesn't get better than this", "I see the sun break through the dark clouds", "you showed me life is precious" and "I was lost, now I'm found."
Joe-Stutter(down 3 positions)
MTV's now playing a remix of Stutter. The second pop hit from the My Name Is Joe CD needed a little more edge. Stutter is inoffensively sleek with bland verses. The chorus is better but repetitive, telling us over and over that he can tell she's lying because when she's replying, she stutters. Joe has a decent, smooth voice but Stutter only really comes alive on Mystikal's angry, attitude filled rap.
Dream-This Is Me(unchanged)
Except in self confidence, the young women of Dream, the latest addition to Sean Combs' show biz empire, are unremarkable in every way. They've become MTV stars despite looks, dancing skills and voices that are, at best, mediocre. Perhaps the youth of America relate to stars who are unthreateningly ordinary. Dream vaguely recall the Spice Girls' glamorized averageness, with less personality. With a big beat and vague, smooth synths This Is Me, from It Was All A Dream, slips by innocuously. Dream are a little like N Sync with an even more lightweight sound and thinner voices. On This Is Me, Dream play the supportive girlfriend trying to convince a guy that she'll love him faithfully and that she's nothing like the girl who stole his heart and then broke it.
Eric Clapton-Superman Inside(down 14 positions)
I'm indifferent to Clapton's new age lyric about "gettin' closer to peace of mind" and finding the Superman inside but his "need to let it out" is matched in the music's buoyant mood. The new Reptile CD has good musicians including Billy Preston and Paul Carrack on keyboards. Superman Inside has the kind of loose, rollicking piano Preston did for the Rolling Stones. Clapton's recent singles have been so mellow and serious that it's good he's doing the kind of fun song he hasn't done much since Forever Man. Superman Inside has a big sound with slide guitar, backing vocals and Clapton confident's lead.
Blink 182-The Rock Showbuy it!
I would have thought that, after the lukewarm reception to 2000's Mark, Travis and Tom Show CD, Blink 182 would try something new and let their sound evolve a little. Still, there's a value to Blink 182's fast, fun, unpretentious punky pop. They're less gimmicky and more likable than current competitors like New Found Glory and Sum 41. The Rock Show, from the Take Off Your Pants and Jacket CD, is a nice, simple reminiscence of a girl and thinking "everything's better when she's around."
Eve 6-Here's To The Night(up 4 positions)
It's a cliche of contemporary rock for an otherwise tough band to include a slow song or two on their CD in an attempt at pop success. Here's To The Night stands out jarringly among the otherwise tough, somewhat unpleasant rock songs on Eve 6's Horrorscope CD. With its strings and pleasant but empty pop sound, Here's To The Night probably fits more comfortably on pop or easy listening radio. It resembles an 80's rock ballad like John Waite's Missing You. Max Collins tries to sounds to like a sensitive male but the lyrics, like many of Horrorscope, are pretty backward about women. Collins tells the woman he lied to, "don't let me let you go."
Samantha Mumba-Baby Come Over(unchanged)
Like Samantha Mumba's first hit, the title track from her Gotta Tell You CD, Baby Come Over is a simple but appealing song that alternates between a rough verse and a catchy, sunny chorus. Baby Come Over is familiar dance pop but it has a breezy charm. Ringing synths and beats create an upbeat feel on the chorus and the verses are sleek and kind of sexy. The lightweight lyrics match the music. Having checked "your records", Mumba succumbs to a guy's request "to be more than just your friend."
Poe-Hey Pretty(down 2 positions)
On her 1995 Hello CD, Poe sometimes seemed more concerned with gimmicky attention grabbing than actually making good music. Hey Pretty, from Poe's second CD Haunted, is also based on a contrivance but it's so striking that it's hard to resist. Hey Pretty is based on a passage from House Of Leaves, a book by Poe's brother Mark Danielewski. On the verses, Mark reads a tale of an encounter with a temptress in a BMW. Poe's attitude filled vocal is well used on the chorus as she plays the woman inviting the guy to take a ride into her world. The atmospheric synths and beat complete the song's cool, seductive mood.
Sum 41-Fat Lipbuy it!
Fat Lip, from the All Killer No Filler CD, is fairly fun but totally derivative punky pop. Fat Lip alternates between an early Beasties style mix of rap and rock guitar and mindless power pop. The rhymes, like "I like songs with distortion, to drink in proportion, the doctor said my mom should have had an abortion", are cocky and dopey. With Deryck Whibley singing about being "sick of always hearing act your age" and of liking to have "fun at other people's expense", the other half of Fat Lip is basically a rehash of Blink 182's What's My Age Again. The song also throws in some lame rebellion("I'll never fall in line, become a victim of conformity") but the song's appeal comes from its fast, high spirited energy.
Black Crowes-Lickin'(up 1 position)
For the first song from the Lions CD, other formats chose the stirring, gospel tinged Soul Singing but rock radio is happy with the silly if fairly fun Lickin'. Lickin' doesn't pretend to be anything but dumb rock boogie. The dopey lyrics warn a "queen of the underage" who's "got me ranting and raving" that "you gonna catch a lickin'" The music pulls a goofy 70's trick by underlining the vocals on the verse with fuzzy guitar and keyboards. The chorus is standard Black Crowes with Rich Robinson's jamming guitar and Chris Robinson's cocky Mick Jagger-as-soul singer vocals.
Lifehouse-Sick Cycle Carouselbuy it!
Like on Hanging By A Moment, the megahit from Lifehouse's No Name Face CD, Jason Wade does a variation on Eddie Vedder and Creed's Scott Stapp without Vedder's substance but also lacking Stapp's pretension, as he sings about wanting to break a sick cycle. Wade is only 20 but he has that deep, serious, prematurely old voice that's been almost mandatory for rock singers of the last decade. He's also too young to be writing defeated lyrics like "if shame had a face, I think it would like mine." Sick Cycle Carousel's lofty, yearning chorus is like that of Pearl Jam or Live songs like Run To The Water or In Hiding without attaining the transcendence those bands can reach. Sick Cycle Carousel is earnest and pleasant sounding but not too interesting.