"Many years from now" must have seemed like an understatement to 16-year-old Paul McCartney, wondering if he'd still be needed or fed at the age of 64. As... read more

"Many years from now" must have seemed like an understatement to 16-year-old Paul McCartney, wondering if he'd still be needed or fed at the age of 64. As it turned out, all doubt as to the latter had ceased by his 22nd birthday (though few could have predicted he'd end up washing down those meals with the liquid pride of Seattle). As to the former? Now that McCartney, as of the date of this album's release, has reached that mythic age, his greatest work is 40 years behind him, his solo peak over 30 years gone. Does the world need a new Paul McCartney album? The answer is yes, at least as much as it needs anything else that passes for music these days. With Memory Almost Full, Macca is back. No, it's not Ram or Band on the Run. It might not even be Flowers in the Dirt--in 1989, he had a full band, the support of Linda, and Elvis Costello as a collaborator. Here, he's on his own. Literally: on the majority of the tracks, everything but the strings is multi-instrumentalist Paul. But the surprise is that it's one of his freest, loosest affairs in years, sonically reminiscent of the Tug of War/Pipes of Peace era with nods to Abbey Road in the album-closing medley, McCartney's gravelly tones on "Gratitude," and 2007's version of "Her Majesty," the palate-cleansing "Nod Your Head." It's a surprise because of the album's inescapable sense of retrospection ("Ever Present Past," "Vintage Clothes," "That Was Me") and even a bit of weariness. The next-to-last song is "The End of the End," after all, in which McCartney tells us about what he'd like to happen "on the day that I die." (He wants "songs that were sung/to be hung out like blankets/that lovers have played on/and laid on while listening to songs that were sung," and will likely get his wish.) But it never gets overwhelming, for McCartney mostly resists his tendency to get plodding and maudlin. In fact, Memory Almost Full must be the most sanguine album made during the dissolution of a marriage since...well, ever. "What went out is coming back," he sings in "Vintage Clothes," and from the sound of things, that may not be just wishful thinking. What's past is prologue; if we're lucky, what to come may be McCartney's late renaissance. --Benjamin Lukoff (hide)

Taking inspiration from little known British band Curve, the formula behind Garbage was simple enough: Industrial strength beats, grungy guitars and ice queen vocals. But in Scottish fireball... read more

Taking inspiration from little known British band Curve, the formula behind Garbage was simple enough: Industrial strength beats, grungy guitars and ice queen vocals. But in Scottish fireball Shirley Manson the three middle-aged studio whizzes from Wisconsin not only found a muse but a front woman whose infinite charisma and wicked sense of humor--as evidenced by the title of this greatest hits set--gave even No Doubt a solid run in the hits race. For a few years, the group ruled the charts with shiny metallic pop gems like "Queer," "Stupid Girl," and "Only Happy When It Rains," hampered only by some remedial lyrics and a penchant for cribbing other bands' melodies (see: The Pretenders aping "Special"). There's a discernible dip in quality midway through this collection, when at the turn of the millennium Garbage seemingly lost its fire, but at least the group's token James Bond theme, "The World Is Not Enough," is more Shirley Bassey than Sheena Easton. Fans who are already up do date with the originals will want to pick up this special edition set that features a bonus disc of remixes by some of the biggest players on the '90s electronic music scene, including Massive Attack, The Crystal Method, and Unkle. --Aidin Vaziri (hide)

Inside the buzzing hive of Smashing Pumpkins' guitars is clearly where bandleader Billy Corgan feels most comfortable. So, after a seven-year hiatus for the short-lived group Zwan and... read more

Inside the buzzing hive of Smashing Pumpkins' guitars is clearly where bandleader Billy Corgan feels most comfortable. So, after a seven-year hiatus for the short-lived group Zwan and his surprisingly sunny 2005 solo album, Corgan has revived the Pumpkins in all the six-string-spattered shades of emotional gray that made them one of the greatest bands of the alt-rock era. Longtime drummer Jimmy Chamberlin, along with famed boardsmiths Roy Thomas Baker and Terry Date as well as Corgan himself coproduced. Chamberlin also supports mountainous layers of guitar with his fiercest playing. This is a version of the band dedicated to early bare-knuckled form, with a few exceptions: Corgan's grown into a more powerful wordsmith and his lengthy guitar solo explorations of yore are replaced with a trim, barbed textural approach that's ultimately more vicious. That is, until the centerpiece "United States" stretches into an epic punk-metal-informed sibling of Jimi Hendrix's "Machine Gun," with Corgan's strings singing like explosions and twisting metal as he warbles about revolution. Much of this album conjures literal and sonic visions of apocalypse, but there's grace, too, in the blithe grind of the hopeful "That's the Way (My Love Is)" and the melodic "Neverlost." Overall, Corgan's captivating effort to mine both the spirit of these turbulent times and the soul of his defining band is a smashing success. --Ted Drozdowski (hide)

This CD contains 20 stand out Ringo Starr tracks including seven Top 10 pop hits released between 1970 and 2005 including 'Photograph', 'It Doesn't Come Easy', 'Back Off... read more

This CD contains 20 stand out Ringo Starr tracks including seven Top 10 pop hits released between 1970 and 2005 including 'Photograph', 'It Doesn't Come Easy', 'Back Off Boogaloo', 'You're Sixteen', 'Oh My My', 'The No No Song' and many more! (hide)

Judging by the themes of anger and betrayal that dominate Kelly Clarkson's third disc, My December, perhaps 'Jagged Little Idol' would have been a more telling title. According... read more

Judging by the themes of anger and betrayal that dominate Kelly Clarkson's third disc, My December, perhaps 'Jagged Little Idol' would have been a more telling title. According to interviews, the massively successful artist wanted more creative control with her music going forward; as a result, unlike her previous CDs, Clarkson contributes as a songwriter on every track. The final product is not nearly as catchy as Breakaway, but is far more introspective and honest. My December's overall sound brings a harder musical style than fans might expect, with acerbic lyrics to match; the disc's first single "Never Again"--a dark rock song slamming her ex-boyfriend--is certainly a tip-off. The compelling chorus of "Hole" finds Clarkson singing "There's a hole/inside of me/it's so damn cold/slowly killing me" over a melody that is far more Tool than top-40. "Haunted" and "Judas" are wrought-over tracks that veer into Evanescence territory, while the wonderfully sparse "Maybe" is a highlight within which Clarkson's pleading voice is perfectly showcased. My December's final listed track, "Irvine" (prior to the hidden bluesy acoustic ballad "Chivas") sounds far more Cat Power-meets-Corinne Bailey Rae than Clarkson, but it is certainly one of the most captivating songs on the disc, and serves as yet another reminder of just how versatile her voice is. Fans of her previous radio-friendly releases may well be divided on her new direction, but it appears to be the path Clarkson is likely to continue to travel. --Denise Sheppard

More from Kelly Clarkson

Breakaway

Thankful

Since U Been Gone

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Kanye West's third in a whimsical trilogy of "scholarly" albums, Graduation wears its predecessors' badges of success on its sleeve. Matriculation has its rewards, apparently, and it's time... read more

Kanye West's third in a whimsical trilogy of "scholarly" albums, Graduation wears its predecessors' badges of success on its sleeve. Matriculation has its rewards, apparently, and it's time to take stock. Lyrically, there's plenty of self-congratulation to attend to, but the real fun comes in the collabs, and West chooses co-conspirators like a kid in a candy store--John Legend ("Good Life"), Coldplay's Chris Martin ("Homecoming"), Mos Def and the Section Quartet (both adorable choices for the foreboding "Drunk and Hot Girls")--and plucks samples with A-list braggadocio: Elton John, Steely Dan, Daft Punk, Can, Michael Jackson, Public Enemy. Nothing here quite captures the superlative symbiosis of West's past best beats (think "Gold Digger"), but the central motif remains: No one ever accused Kanye West of being too cool for school, and Graduation still knows how to party. True, Kanye West will happily whine about the pitfalls at the top of the heap, clear his throat and try to rhyme it with Barry Bonds, or diss fish in a barrel all day, but that can't stop a shameless good time, and Graduation maintains an unshakeable knack for producing it. --Jason Kirk (hide)

One can never accuse the Chemical Brothers of consistency. We Are the Night continues their eclectic electronica approach even though the big-beat groove of the title track remains... read more

One can never accuse the Chemical Brothers of consistency. We Are the Night continues their eclectic electronica approach even though the big-beat groove of the title track remains their digital calling card. Spotted with a minimalist keyboard pattern, vocal non sequiturs, and sampled sound effects, the infectious groove of "We Are the Night" eventually evolves into the monotone-chanted dance chorus of "We are the night skies/We are the bright lies," recalling Brian Eno circa Here Come the Warm Jets. However, for every catchy electro-dance, there's a tune that leaves you scratching your head. What to make of the novelty song "The Salmon Dance" is anybody's guess, though you might find some illumination in a salmon recipe on their Web site. With fractured nursery-rhyme lyrics that are sung like an off-color Sesame Street rap, it will drive you up the wall--or at least toward the skip button. Then there's Midlake singing the trancey ballad "The Pills Won't Help You Now," making the Chemical Brothers sound like a sci-fi version of Coldplay. Retro-analog synthesizers dominate, with the electro-grooves of "Das Spiegel," "Burst Generator," and "Saturate," which builds on a Kraftwerk-forged metal framework coupled with storming sampled drums. The circuits of '70s techno-pop artist the Normal are re-soldered on "Do It Again." With Ali Love singing the title-track chorus, it's built to be a summertime anthem akin to Tag Team's "Whoomp! (There It Is)," albeit robotically chilled. --John Diliberto (hide)

There's nothing terribly complicated about the Fratellis' debut album, Costello Music, but that's by no means a criticism. Rather than inject their songs with complex chords, or steep... read more

There's nothing terribly complicated about the Fratellis' debut album, Costello Music, but that's by no means a criticism. Rather than inject their songs with complex chords, or steep their lyrics with their political and social agendas, this Glasgow trio have instead focussed on writing 13 songs that are pure, unabashed entertainment. And it's a pace--and an attitude--that doesn't let up, from the jumpy opening bars of "Henrietta" to the groupie-reminiscing of "Ole Black'n'Blue Eyes". In many ways, Costello Music sounds like a return to the hedonistic rush of early 1990s Britpop, with its exhilarating guitar riffs and arrogant swagger--"Chelsea Dagger" somehow applies the attitude of early Oasis to the pop catchiness of Great Escape-era Blur. But the Fratellis also know their history: the ska-punk of "Cuntry Boys & City Girls" and "For the Girl" has the Fratellis sounding like the cheeky offspring of the Clash, or a less-irritating Madness. But all this analysis kind of misses the point of Costello Music: this is music for dancing, not for contemplation. It's loud, fast and in-your-face, exactly what you'd expect from three young men with guitars. --Ted Kord (hide)

Minutes to Midnight stands to defend Linkin Park's status as the hardest-rockin' softies in mainstream music. Like its predecessors Hybrid Theory (2000) and Meteroa (2003), Minutes to Midnight... read more

Minutes to Midnight stands to defend Linkin Park's status as the hardest-rockin' softies in mainstream music. Like its predecessors Hybrid Theory (2000) and Meteroa (2003), Minutes to Midnight flexes plenty of decibel-heavy muscle ("Given Up," "Bleed It Out," "No More Sorrow") and made-to-order, melodic radio fare ("Leave Out All the Rest," "Shadow of the Day," "In Pieces"). But for all its volume, Linkin Park likes to paint its heart openly on its sleeve with suspicious sonic drama, as in the palpably saccharine "Valentine's Day." Fortunately, co-producer Rick Rubin brings all these elements to pinnacle effect with the surprise "Hands Held High." On past efforts, the combination of breezy keyboard, arpeggiated guitar, choral vocals, and a military snare-beat would yield another slab of smarm, here MC Mike Shinoda drops the two best verses of his career, blending vocal styles with singer Chester Bennington for a moving piece that's as welcome a repertorial addition as Linkin Park is ever likely to muster. --Jason Kirk (hide)

It's no coincidence that Michael Bublé's new album starts with just his voice and some fingersnaps on "The Best Is Yet to Come," a song made famous by... read more

It's no coincidence that Michael Bublé's new album starts with just his voice and some fingersnaps on "The Best Is Yet to Come," a song made famous by Frank Sinatra. The Canadian smoothie looks longingly towards early-'60s Vegas, an impression quickly reinforced when a boisterous horn section makes its grand entrance, about 20 seconds into the track. That Bublé means business is confirmed by the second cut, a fast-paced take on Henry Mancini's "It Had Better Be Tonight," and of course by the CD's very title, another song identified with Sinatra as his cockiest. There are just a few sidesteps from the retro formula that's served Bublé so well so far: a languid duet with Brazilian star Ivan Lins on the bossa "Wonderful Tonight," a gospel choir on "That's Life." Interestingly, Bublé co-wrote the best of those sidesteps, "Everything," a Norah Jones-esque number that alluringly harks back to sunny '70s pop. It's also the only song on the album produced by Bob Rock (best known for his work with Metallica), sending out a strong signal that Bublé should reach out to unlikely collaborators more often. --Elisabeth Vincentelli

More Music from Michael Bublé

It's Time

Michael Bublé

Caught in the Act

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Should John Stirrat and Pat Sansone contemplate quitting their day jobs as bassist and multi-instrumentalist for Wilco, respectively, they ought to list their third side-project record as Autumn... read more

Should John Stirrat and Pat Sansone contemplate quitting their day jobs as bassist and multi-instrumentalist for Wilco, respectively, they ought to list their third side-project record as Autumn Defense at the top of their résumé. Three years after their charming sophomore effort Circles paid reverence to the '70s AM pop they adore, Stirrat and Sansone revisit the immaculate production of their previous work, but with greater cohesion and broader instrumentation, as the customary layers of acoustic and electric guitars are boosted with Revolver-like strings ("Estate Remains"), Memphis-soulful organ ("Feel You Now"), and woodwinds from the Nick Drake playbook ("Canyon Arrow"). Stirrat (whose underrated backing vocals are a Wilco treasure) carries the duo vocally, his discreet voice never sparring with Sansone's brilliant arrangements. But it's when the pair sing together--best emphasized on the power pop of "Winterlight" and the L.A. folk of "We Would Never Die"--that the Autumn Defense truly shine as a full-fledged band. --Scott Holter (hide)

Given the chart success of their Grammy-winning country single "Who Says You Can't Go Home," it's no surprise Bon Jovi upped the ante by recording an entire album... read more

Given the chart success of their Grammy-winning country single "Who Says You Can't Go Home," it's no surprise Bon Jovi upped the ante by recording an entire album paying homage to Nashville. In some ways, it's amazing they didn't do this sooner, given the way Keith Urban in particular is blurring country-pop lines, much as Garth Brooks and others did in the 1990s. To their credit, you won't find predictably shallow invocations of past country icons or any self-conscious, in-your-face down-home twang added strictly to remind the listener of the musical premise. In fact, Lost Highway isn't "Bon Jovi goes country" so much as a meaningful tribute to the Nashville ethos done on their own terms. They honor the spirit of the town through 12 simple, direct originals. The intimate, smoldering "(You Want To) Make a Memory," the ballad "Seat Next To You," "Lost Highway" and its roaring celebration of freedom, and "Stranger," an effective duet with LeAnn Rimes, all invoke country's spirit, and "I Love This Town," an eloquent nod to Nashville itself, ties it together admirably. --Rich Kienzle (hide)

Because it would be un-Prince-like to release a new studio album without kicking up a little controversy first, the Artist Formerly Known As a Cool-Looking Symbol gave away... read more

Because it would be un-Prince-like to release a new studio album without kicking up a little controversy first, the Artist Formerly Known As a Cool-Looking Symbol gave away copies of Planet Earth with a British news tabloid weeks before its U.S. release. Among the reasons he shouldn't have: nobody who catches wind of the peerless funk-rock-soul he lays out on these 10 tracks--least of all longtime fans--would think twice about shelling out for it. A big chunk of the appeal is that Prince finds his way back to his guitar here. The title track, a politically right-on-time environmental rant, steers him back toward "Purple Rain" territory, as does "Lion of Judah" ("Guitar," oddly, doesn't--it's more of a straight-up, shout-it-out modern rocker). And the flirty numbers are seriously flammable: "Somewhere Here on Earth" seduces with a crackly jazz vibe, while "Mr. Goodnight" gets friendly with a refined slip of rap. Coolest of all are two tracks at cross purposes-- "Chelsea Rodgers" fuses funk with disco until it's so far off the hook it's in a heap on the floor, and "All the Midnights in the World" paints a picture of artistic maturity through piano and lyrics that lean hard on positivity. There's an elegance to it that Prince fans, no strangers to pop music that's truly sublime, won't fail to appreciate. --Tammy La Gorce (hide)