Various Artists - Original Motion Picture Soundtrack
I'm Not There: The Life And Time of Bob Dylan

Columbia/Sony BMG

This is certainly something. Before me is the Original Motion Picture Soundtrack to the new film I'm Not There: The Life And Times of Bob Dylan. Let's start with the movie. Director Todd Haynes took a daring step making a film like this. To begin, movies about rock legends are incredibly hit or miss. Die-hards won't accept anything short of perfect, and the film needs to be interesting enough to keep the teenage crowd's attention.
Few movies have done this well (I'd say that the Johnny Cash film from a few years ago might have been the best I've seen). Most fall very short. Haynes took an interesting approach with this film: instead of doing a straightforward story, he casted some of the biggest names in acting to play an equal amount of different Dylans, each putting a different spin on the story. Some vignettes were historically sound, some are legend, some are a bit of both. The people playing Dylan are Marcus Carl Franklin, Ben Whishaw, Heath Ledger, Christian Bale, Richard Gere (the one I'm looking forward the most to seeing), and Cate Blanchett (a close second!).
The soundtrack is on a similar page. I'm going to first give a disclaimer: I have a rule about covers. If the song was perfect the first time, don't touch it unless you intend on doing a 180. If the song was less than perfect, but legendary, you better make the song damned close to perfect, or else. Bob Dylan's repertoire of recordings includes a good selection of each, meaning many of these artists had luck on their side.
And some failed, some did well. All in all, it ended up on the side of success. Similar to the film, the soundtrack takes a ridiculous amount of big names to perform as Dylan. Everyone from Eddie Vedder to Sonic Youth, Mason Jennings to Yo La Tango, Cat Power to the Hold Steady, and back again. I'm going to refrain from talking about the less than par tributes, which are about half the tracks. The other half are jaw dropping. My personal favorite I think is the Hold Steady's "Can you Please Crawl Out Your Window?", sticking with their contemporary-Springsteen approach and stylistically Dylan performance. This album comes highly recommended for these few gold nuggets in a stream of fool's gold.

Sergio & Odair Assad - Jardim Abandonado

Nonesuch/Warner Music Group

Brazilian prodigies the Assad Brothers release their newest album Jardim Abandonado. They have been working together their entire lives off and on, recording music solo and together since the '70s. With more releases than I can count, Sergio and Odair Assad deserve more publicity than they are getting.
The Assad's bring us a simplistic performance of odd time-signatured guitar work and that's about it for this record. Not for those wanting something to go to the club with. Some latin swing, maybe, but definitely not your normal bar-club tunes. While the mainstream might not be as impressed, they are both jaw-dropping guitar players. They are the kind of thing that I would see and not even know how to react to in real life. Lightning speed, and complete clarity.

Bruce Springsteen - Magic

Columbia/Sony BMG

So, this finally happened. I know it's only been, what, five years since his last release with the E-Street band? It actually seemed like forever, falling in line with other slow-paced superstars the Beastie Boys and Radiohead. An album every five years? Come on kids, get on top of it. More so than the reunion is the returning to the early days style. All I have ever wanted is Born To Run 2, with the edginess and passion that was so alive in those days. Don't get me wrong; Springsteen has done very little subpar. But nothing, and I mean nothing, can top Born to Run. It's like attempting to land on the moon for the second time. It really just isn't possible.
We've established that this will never be Born to Run, that Springsteen hasn't lost his rebellious post-teen angst, and the only band which has meant much to him are reunited. Where does this leave Magic? Well, let's take track 7, entitled "I'll Work for Your Love". From the opening piano line, which would be scientifically impossible to confuse with anyone but Springsteen, the song puts forward the raw emotion and unrelenting bad-ass nature that Springsteen, well, is. So, we have one song rubber stamped as "unstoppable". Next we have track 9, entitled "Last To Die". A mesh of Springsteen styles, with the aura of "over the hill", this is just sub-par. Come on Bruce, keep up the heavy hitting! Where are the raw chord-ring outs and pissed screaming coupled with some of the most heartfelt lyrics that have existed since the incantation of American Blues?
So, to spare the complete dissection of this record track by track, we have a little from each side. Some beyond the stars, and some that should have been buried before it started. But this is still Springsteen, and he's still here. Still mistrusting the same government he cares equally for. Believe me when I say that the gems on this album are quite enough to cancel out the 14 or so dollars for this record. Actually, this album is worth it for Clemons himself, who has never given me anything short of priceless.

Scotty Moore Presents The Mighty Handful - Volume 1

Self-released

Talk about an all-star lineup. Scotty Moore, by some twist of fate, managed to get some of the most classic blues and rock and roll players in one studio at one time. Lets go through credentials, shall we? Orchestrator and mastermind behind the entire project Scotty Moore has a laundry list of accomplishments under his belt already: backing for such names as Elvis Presley, Paul McCartney and Keith Richards.
On to the players: Boots Randolph (Elvis, Chet Atkins and Floyd Cramer), Billy Swan (Kris Kristofferson, Kinky Friedman), Bob Moore (Elvis), Bucky Barrett (Roy Orbison), Buddy Spicher (Crystal Gayle, Mark O' Connor's violin schools), Steve Shepard (Carl Perkins, The Jordanaires, Eric Clapton, Mark Knopfler, Ron Woods, Joe Lewis Walker), and Fred Satterfield (Oak Ridge Boys) are the players in this historic collaboration. So when I say this group have credentials, I'm not messing around.
This bunch of ancient country boys cover some of the most indulging blues songs that are known to man. Everything from "I've Got My Mojo Working," (my personal favorite), to B.B. King's "Rock Me Baby". The songs are comparable to the originals, but with the ante upped with such impressive players. They change the songs slightly, a little more blues than the originals. Really though, with that much talent, how wrong could it be?

Tank - Sex Love & Pain

Blackground/Universal Motown

With the height of the cult success of R. Kelly and his genius R&B-Opera Trapped In the Closet, it makes perfect sense that this style of music is making a comeback from the shelves of the mid '90s. Tank, while starting a few years too late, might have released this album just in time to catch the wave of it all. From his religious roots growing up in Wisconson, Tank has been involved with music since he was a young kid. Starting his professional career as singing back-ups for Genuine and Aaliya, he eventually realized his potential and released his first album in 2001. He continues to produce some big name players (Genuine, Bow Wow, etc.) along with writing his own pained croons.
Tank, as it seems, is a seduction machine. The record reads fairly similar to most mainstream soulful R&B records: stories of the emasculated man, meeting woman of his dreams, falling in love, getting his heart broken...you know the story. He also has his token Òmy-child-makes-me-a-better-manÓ song, and the ever classical Òhow-could-you-cheat-on-me-that-wayÓ hate song. Despite the appearance of mediocrity due to the complete typicality, I still liked this. The hooks get caught, the songs are interesting, and the emotions seem genuine. All this, plus a back-shot of the beefcake himself, which is enough for me to croon a bit.

Deering & Down - Break This Record

Diamond D

The year 2000 was definitely one for the record books. Starting with the Y2K scare, a stolen election fully in affect, and, last but not least, the founding of Deering & Down. Sixteen year old Lahna Deering crossed paths with Rev. Neil Down, a veteran of the rock and roll touring circuit. The rest, as they say, is history. Three records, countless tours, and a strong American following, Deering & Down can't help but captivate anyone who has any taste in music. For their third album, they found the cream of the crop for their backing band: John C. Stubblefield on bass (Lucero), Rick Steff on keyboard (Cat Power, Gin Blossoms), and Kurt Ruleman on drums (of Sam the Sham and the Pharaoh's fame). With such an impressive roster of musicians, it's no surprise how good this record is.
With well defined influence from Fleetwood Mac, and perhaps a bit of Siouxie, Break This Record hits what many modern rock acts try to achieve, but don't come close to. Deering's voice is that of Stevie Nicks after one too many cigarettes, which is more than fine with me. I love the sound of black lung. Down love's his lead lines about as much as Deering does her smokes, adding a consistently rich texture to all of the music. Who can argue with a combo like this?

The Stooges - The Weirdness

Virgin/Capitol/EMI

I don't care what anyone says: The Stooges were the first punk band. "I Wanna Be Your Dog" is a historical piece of the future, way to advanced (or more precisely, too raw) for the people of the time. The Stooges were the harbinger of things to come. They simultaneously formed and demolished the rules and ideas for punk rock. Take Iggy Pop: pissed off drug addicted who partied too much and cared too little. Despite popular belief, the man has aged quite great. He's just as beautiful as he was on their self-titled release way back in 69.
Today, The Stooges really haven't compromised much of themselves as their fame has grown and flourished. The recordings are almost more raw than early ones, with a simplistic approach to production, leaving the songs almost sounding unfinished. It sounds like they literally went in, recorded, and left, releasing something that took a fraction of the time of modern day digitally-constructed pieces of nonsense than reeks up the airwaves. Still pissed, and sticking to the grim reality of existence in the Western Hemisphere, this is still The Stooges.
************LATE BUT GREAT***********

Downchild - Live at the Palais Royale

Linus/Koch/font>

If I thought Canadian jokes were funny, I might make one right now. But they aren't, despite popular belief. Also, I won't bash on this band because I'm stoked to actually get a blues/soul record in my hand. Downchild are unstoppable. They are not only talented, enjoyable to listen to, and really old, this is the band that inspired the Blues Brothers. Aykroyd and Belushi both were big fans in their hayday, and one thing led to another and... Well, you know the story.
Live, this band feels a lot more soul than blues, but you won't see me complaining. Downchild is a perfect blend of everything good: a vocalist who knows how to sing, a guitar player who can play solo like nobodies business, and a horn section that knows that it is possible to over do it. They are as tight here as they are with a genius producer. They bring their hits, their rarities, and a few surprises.

Small Sins - Mood Swings

Astralwerks

The first I heard of this band was a short review in Rolling Stone, describing Small Sins as if ÒJack White had a crush on Kraftwerk.Ó Honestly, that is the most horrifying description I've ever hard. I wouldn't have said that, but I can definitely see where they are coming from. I'd say they are more like if Ian Curtis of Joy Division was born 20 years later and got involved in the hipster post-punk scene and really loved electronics. Mood Swings are Small Sins sophomore release. Their first album started as front-man Thomas D'Arcy's solo project, with all the recording and writing done by himself. Live shows were a different lineup. This release, on the other hand, was a collaborated effort, with D'Arcy still the highlight, but with a band to create a more full dynamic.
Mood Swings combines a full electronic feel that The Faint has coined as their own and the pseudo-depressed and teen angsty-ness of Bright Eyes, or something of the like. I'm not really sure. D'Arcy's vocal melodies, and even his voice, sounds as if he took singing lessons from Ian Curtis, as I alluded to earlier. One of the best parts about electronic-based bands is that it is really easy to make not all the songs sound identical, which they do well. It ranges from the incredibly down-tempo tracks, like ÒMorning FaceÓ, songs you can't help but dance to ala ÒDrunk EmailÓ, and my personal favorite track on the album, ÒI Need A FriendÓ. The latter of the three is a cry for help song, with incredible fake-soul back up vocals. Watch out Hot Hot Heat, you may have met your match.

Various Artists - Chuck Love: Bring Enough to Spill Some

Om

Om brings to face all of the best in trance and house dance music alive today. Chuck Love is no exception to this. Taking the road less traveled by; Love plays all of his own instruments (including birds, of course. Can't forget birds). It gives a much more organic feel to the recording, making the dance tracks more alive, and less painfully processed.
Tracks like "Living All Night" combine some of the best elements of house dance and pop-soul song writing, creating something like Prince on ecstasy. Well, on more ecstasy than usual. Sex-packed dance hits make this great for any club-goer. The second disc shows Love's other face as producer, remixing some of his favorite tracks (including Andy Caldwell's "Warrior"). So bust out the uppers and bad fashion-sense and dance until your feet run raw.

Shiny Toy Guns - We Are Pilots

Universal Motown/UMG

I think I am one of ten people on the planet Earth who doesn't like The Faint. Their first girlfriends they cheated on, those few older folks who haven't gotten the memo that synthesized dance beats and mediocre vocal melodies are in, and I. So when I kept hearing Shiny Toy Guns being thrown around as The Faint reincarnate, I did my judgmental thing and refused to listen to them.
Now that I'm forced to listen to it, I realize that there is a big difference between the two bands: Shiny Toy Guns are actually good. I'm not sure how much I get it, being as that most of their songs sound a bit different, but it is certainly enjoyable. After four attempts at this album and each preceding recording not living up to expectations, Shiny Toy Guns finally got their debut We Are Pilots out on the market. They came out of nowhere, and blew up out of nowhere: playing at Sundance, and numerous other prestigious music events, and a Billboard Heatseeker chart #1 for the single from this release. So they are blowing up. Interesting tidbit: Singer Carah Faye hit the paparazzi fan recently for the internet rumor that she was the actual vocalist for Paris Hilton's debut record. Faye denies it, explaining only doing dummy vocals for a track or two, but I'm not sure everyone is convinced that Hilton did it herself.
So they keep getting called Ògothic nu-waveÓ or Òelectro-glam post-punkÓ. Whatever. Those names are all stupid. We Are Pilots is the auto-wreck of The Faint on their best days and The Gossip on their tightest. A bit heavy on the electronics, and doing everything but minimal production, this record is basically cut out for the dance club. Their first single ÒLe DiscoÓ is the best example on the record of Faye's incredibly strong and kind of sassy voice. With a record so electronically packed and so many vocal melodies that almost come across like U2, it only makes sense for Shiny Toy Guns to be doing what they are doing. While I'm not sure why Faye only sings on half of the songs, this is one of the few dance-pop records of the late that could rival Justinfied.

Various Artists - Latin Jazz

Putumayo

I want to begin this with a big thank you to Putumayo. In a sea of soul-less music and worthless pop albums around every corner, Putumayo only puts out the best releases. They all follow a generally same idea: taking a genre (usually some form of latin-based music, or African-originated style), show the best of the best, and extensively write about each artist and the genre itself. Everything they cover are songs of hope and pain, love and hardship. Basically, songs about living in the situations that the musicians are living in.
Here, we have the best of Latin Jazz. Like all Putumayo releases, this is one of the most beautiful genres on the planet. This is not an opinion: it is a fact. The tracks here are all flawless, soulful, and leave the listener wanting more. Simultaneously danceable, great to only listen to, and as background music, this collection of Latin Jazz is like the birds from heaven singing on their horns from the angels. Names on here include Poncho Sanchez (who has still never written a bad song), Tito Puente, and the Chocolate Armenteros.
On a side note, the editor and I just felt like adding in a point that is not talked about enough: in a white-centric, western dominated culture such as this, quality music of this sort has no chance of surfacing. With any sort of cultural divergence (minus the occasional assimilated Jennifer Lopez) only leading to suppression, American radio needs to wake up, drop their bogus recycled R&B junk, and put on something with real emotions. Like this, for instance.
Editors Note: Sonia Rodriquez was Queen of Spanish Harlem. I found her there one day, on 116th street, between 2nd and 3rd ave. We danced up and down the street until we were married.

Butch Hancock - War and Peace

Two Roads

As a member of the groundbreaking Flatlanderes, singer/songwriter Butch Hancock helped kick-start the progressive country movement of the '70s. As a solo artist, Hancock recorded a series of country-folk albums for his own independent Rainlight label, which showcased his literate wordplay, quirky humor, and dry, Dylan-esque vocal delivery. Going the independent route certainly cost Hancock some name recognition and wider exposure, but he did earn a devoted cult following, especially in his native Texas.
Hancock was born in the West Texas town of Lubbock in 1945 and grew up on a farm, writing his first songs while driving his father's tractor. In high-school, he started playing music with friends Jimmie Dale Gilmore and Joe Ely, fellow long-haired intellectuals who shared a distaste for commercial country. Hancock entered architectural school after graduation, but eventually left to return to his family farm in Lubbock. From here, he continued his career as one of the biggest names in the genre.
This release is dark to Hancocks normal light: an intense political scream at the current government administration of conservatives throughout the nation (and his local Texas town). Every song is a stance against the disgusting system we have in place: talking extensively about the connectedness of government and oil, the nonsense of modern day religion and it's oppressive nature, and multiple declarations against war everywhere, Iraq and otherwise. He continues his persona as the "Texan Dylan", and plays the part well. With the devils in the office and on the television, it's great to hear a voice of light once and a while.

Cinder Road - Superhuman

Caroline/Audionest

Debuting in the indie charts and soon to be on MTV's 15 minutes of music videos a day, Cinder Road comes to us with Superhuman. It's the album with the sort of songs that every 15 year old girl will croon over and the bad hair to match. The band consists of singer/guitar player Mike Ruocco, guitarist Chris Shucosky, guitarist Pat Patrick (yes, that's three guitars), drummer Mac Calvaresi, and bassist Nat Doegen. They all seem to fit into puzzle board of Rockstars, with the innocent one, the heartthrob, and the bad boy all onboard this soon to be next big thing.
Superhuman is not anything original, just a continuation of other songs and albums that have already reached platinum sales. The songs are incredibly straight forward. Every song has the same structure, and completely interchangeable lyrical hooks and melodies. Lots of great harmonizing, and overproduced to hell. 4 Doors Down perhaps?

The Pipettes - We Are The Pipettes

Cherrytree/Interscope/Universal

Reinventing polka-dots and cheesy white soul, We Are The Pipettes is the debut album from England's The Pipettes. With a cult following throughout Europe already, The Pipettes finally release this in the U.S. for us Yanks to try to wrap our heads around. The fun and positive trio (RiotBecki, Rosay and Gwenno) harmonize over the ever classic backing band The Cassette. They are grasping at straws attempting to take a political, or even serious approach to this band. Seriously? You cannot politicize songs with lyrics like "Baby did it hurt when you fell from heaven?". It also impossible to make something completely soul-less mean something. That is, surprisingly, the definition of soul-less.
With that bit of annoyance out of the way, it's time to get to the real meat of this. The Pipettes are England's answer to Maroon 5, seen through the eyes of the Spice Girls. Maybe having them listen to too much early Blondie, and a ceiling to floor collection of 60's pop. Who can argue with this? 16 cheesy love songs in the vein of "My Boyfriends Back" is really what this world is in need of now. Catchy, and fun-loving, you cannot help but smile at this optimistic piece of retro-pop.

Aeon - Rise To Dominate

Metal Blade

Aeon bring blisteringly intense death-core around on their newest Metal Blade release Rise to Dominate. The band have been active since the late 90's, releasing two full lengths and an EP or two. Hailing from the grim north, home to some of the best metal on the planet, Sweden, Aeon started their dark quest with a goal of bending the genre of death metal, relying on tempo changes rather than lightning speed of their metal predecessors.
I believe the amount of guitar squeals on this record is illegal in some countries. I think at least every other riff has some sort of pinch harmonic, and the ones that don't are just too fast for it to even be possible. With a much more driving feel than earlier death metal bands such as Deicide or Origin (my two personal favorites in the genre), Aeon have next to no blast beats (which is sorely disappointing), and let their guitar players do the shredding instead (almost making up for the previous impairment). Pounding drums, and vocal lines that are reminiscent of a less intense mid-era Deicide, this genre of tech-death is surfacing more and more, with bands like the Red Chord and the like. This band also hates God a real lot.

The Charlie Daniels Band - Deuces

Blue Hat/Koch

Charlie Daniels Band ÒDeuces,Ó Blue Hat/Koch With a full heart of American-born country and half-blooded physique of rock and roll, Charlie Daniels Band returns with Daniels newest record, Deuces (which is his 17th release on Blue Hat records). From his humble roots on his parent's North Carolina ranch, to his impressive list of awards and recommendations, Daniels has led quite an impressive career.
His beginnings reads like a legend: small town boy raised on parents Christian hymns and local rhythm and blues, with a dream of stardom. Yeah, it happened. After grade school, he embarked on the road to his legacy: hundreds of tours, countless records, and...presidential backings? Yes, that is right: Ford and Carter both supported his Pioneer Award at the Academy of Country Music in '98.
The bearded countryman newest incantation takes, as stated earlier, a much more rock and roll feel. If you're expecting ÒThe Devil Went Down To GeorgiaÓ, you will be thoroughly disappointed. The songs, as the title so subtly suggests, are all duets. Dolly Parton, Travit Tritt, and Vince Gill are a few of the big names on here. The influence and pressure of doing collaborations on every song must have done something. because instead of being a country act with hints of rock and roll, Deuces are rock ballads with country influences. Now, if only he'd keep his bogus right wing politics to himself, this would be incredibly enjoyable.

Habib Koite & Bamada - Afriki

Cumbancha

I know nothing about Malian music, and very little about contemporary African music in general. I could talk history, about the early African instruments and the reasoning a lot of it felt the way it did, but as for what is happening today? We live in America; there is relatively no hope of any "world" music getting big, with a few various exceptions. That said, this is a real treat. I have nothing to judge this against accept what I hear, and what is being said. Koite has sold 250,000 records to date, and has been seen performing on David Letterman. This is his first recording in over six years.
The songs are definitely not anything I am used to hearing. Koite uses the acoustic guitar in a way I've never heard before. It's like eating curry for the first time all over again. It's similar to other things you've had, but different. Spiced strangely. It goes down not like a soup, but not like an entree. That's what this is. He uses instruments and themes I've heard minimally before. The use of these things, though, are completely mesmerizing. Afriki is incredibly rhythmically based, and relies, minus vocals and acoustic guitar, strongly on bongos and other percussion instruments. His voice is beautiful, simultaneously haunting and uplifting. Which is what this album is about: being positive about the situation you are in. This is amazing.
***So Nice, Gotta Do It Up Twice (Created by the Original NYC DJ, Jocko, 1955)***

Ray Price & Faron Young - Side By Side

Gusto/Varese Saraband/Universal

So this is a piece of history right here. Two of the biggest names in Country Music collaborating together for an album worth of hits. Some originals, some covers, and a whole lot of wallowing, Price and Young continue to win country hearts everywhere. Side By Side was originally released in 1992. This rerelease not only had the songs remastered for a much clearer and solid feel to them, it also includes 4 extra tracks of studio collaborations that are, in and of themselves, worth getting this record for.
Both have lived incredibly rich careers, and start from small town farms. While Young was discovered right out of high school, Price took a few years in the military before deciding on his legacy to leave. Both have also started some of the most notable musicians to date: Willie Nelson, Bill Anderson, and Don Gibbons, just to throw a few names out there. Both have a record of Billboard hits that should be illegal, and have done nothing but release great records throughout their lives
Staying in their signature styles of Country Ballads, Price and Young's tracks on here sound like you would imagine. For those who have never listened, think the rat pack with a twang in their voice and a lap steel, front and center. And don't worry: this is not your honky tonky alternative-country singer. This is real, and the accents aren't fake. I think my personal favorite track on the album is ÒSide By SideÓ, a sort of string-heavy ÒFly Me To The MoonÓ with the heart of Texas and love of cowgirls.

Rob Gee - Self-Titled

ADAM/Rock Ridge/ADA

Right when you thought that rap metal was over and we could all go on with our boring lives, Rob Gee comes back with the newest self-titled album. I'm not entirely sure whether Rob Gee is an individual or a full ensemble, but I'm leaning towards an individual with a backing band. I couldn't see a group of people allowing this to happen. Being labeled as the ÒGabber GuruÓ, the Gee bunch tend to be legendary in the club as well as the nu-metal scene. Touring constantly, and with a plethora of records already in the used bins, Rob Gee is all over the place.
They have shared stages with a whose who list of rap metal, bad hardcore, and great electronic and hip-hop artists, and that basically sums it up. All one needs to do is listen to the first track ÒPretty F***ed upÓ. Opening lyrics: ÒPass that joint over here. I smoked that marijuana, and snorted some special KÓ in a methodical fashion, until the gabber beats at 1000 bpm come in. After that? Bad metal riffing and more screaming about drugs. Wow.

Reba McEntire - Reba Duets

MCA Nashville

With more ability and privilege in her pinky than I could ever dream of having, McEntire releases this long awaited collaboration album, entitled Reba Duets. Here's the normal stuff: more records sold than a normal individual could even conceive of (38 million), more releases than a majority of American's own (31), and a cult following comprised of millions. Oh, and I should also mention the 33 #1 hits, 15 American Music Awards, 12 Academy of Country Music Awards, 7 Country Music Association Awards and 2 Grammy's, an actor in the Broadway performance of Annie Get your Gun, and star of her own sitcom, Reba, lasting 6 seasons. 6 seasons. I just needed to say that again. That is more than almost every good television series that has ever aired. And then, after all of that, she releases a duets album, with the biggest names in the business.
I want to ask how on Earth she managed to get so much talent on one record, but that was all answered in the first paragraph. Everyone whose anyone is here: LeAnn Rimes, Ronnie Dunn, Kelly Clarkson, Rascal Flatts, Trisha Yearwood, Carole King, Kenny Chesney, Vince Gill, Faith Hill, Justin Timerlake, and Don Henley. Originals and covers alike, this album is packed with a bit of everything. A few downtempo-ed ballads, ala Justin Timberlakes "The Only Promise That Remains" are paired with a few glam-country collaborations, such as Rascal Flatts "Faith in Love". If you like Reba McEntire, you will like this. If you don't like McEntire, you still will probably like this.

Why do they always send the poor?
My God is of Bible blood with pointed ears
Victorious, victorious steel
Can your spending kneel?
Marching forward hypocritic
And hypnotic computers
You depend on our protection
Yet you feed us lies from the tablecloth
La la la la la la la la la la
Everybody is going to the party
Have a real good time
Dancing in the desert
Blowing up the sunshine
Kneeling roses
Disappearing into Moses' dry mouth
Breaking into Fort Knox
Stealing our intentions
Every city, gripped in oil
Crying freedom!
Handed to obsoletion
Still you feed us lies from the tablecloth
la la la la la la la la la la
Everybody is going to the party
Have a real good time
Dancing in the desert
Blowing up the sunshine
Everybody is going to the party
Have a real good time
Dancing in the desert
Blowing up the sunshine
Blast off, it's party time
And we all live in a fascist nation
Blast off, it's party time
And where the fuck are you?
Where the fuck are you?
Where the fuck are you?
Why don't presidents fight the war?
Why do they always send the poor?
Why don't presidents fight the war?
Why do they always send the poor?
Why do they always send the poor?
Why do they always send the poor?
Why do they always send the poor?
Kneeling roses
Disappearing into Moses' dry mouth
Breaking into Fort Knox
Stealing our intentions
Every city, gripped in oil
Crying freedom!
Handed to a obsoletion
Still you feed us lies from the tablecloth
la la la la la la la la la la
Everybody is going to the party
Have a real good time
Dancing in the desert
Blowing up the sunshine
Everybody is going to the party
Have a real good time
Dancing in the desert
Blowing up the sun
Where the fuck are you?
Where the fuck are you?
Why don't presidents fight the war?
Why do they always send the poor?
Why don't presidents fight the war?
Why do they always send the poor?
Why do they always send the poor?
Why do they always send the poor?
Why do they always send the poor?
Why do they always send the poor?
Why do they always send the poor?
They always send the poor!
They always send the poor!

Political Article: US Media Bias and Student Violence in Venezuela By: JoJo Farrell Back To Top Why is it that the U.S. media condemns Venezuelan President Hugo Ch‡vez for limiting freedom of press while in the same breath self-censoring their Venezuelan news coverage to such an extent that it completely distorts the story? This has been the case ever since Ch‡vez came to office, but last week, after the incidents at the Central Venezuelan University, the asymmetries once again were violently thrust to the surface. Next month's controversial constitutional reform has again sent Venezuelans into the streets and into headlines around the world. President Hugo Ch‡vez has likened the current political climate to the spring of 2002, which culminated in a short-lived coup d'Žtat ousting Ch‡vez for 2 days. Pro- and anti-government sides have each launched vicious attacks on one another. The polarized Venezuelan media coverage has created a confused and divided environment in which it is common to see stories written with substantial pieces left out. The international media is never far from the sidelines. Last week, in standard fashion, nearly every major US newspaper momentarily forgot their commitment to an independent press, and omitted crucial facts, martyring the Venezuelan opposition student movement, and acting as a de facto mouthpiece for the opposition. Sean McCormick, spokesperson for the US state Department, had this to say on the morning of November 8th: "These people are just expressing themselves in a peaceful manner. They've had a view contrary to the views held by the government, but it was a peaceful protest, as far as I've been able to determine from the news reports." An analysis of 10 major U.S. media outlets shows very consistent reporting of the story. Seven of the 10 reprinted the same AP story. Only the Washington Post, however briefly, brings to light that there are even two different sides. Most media outlets reported that following peaceful protests in downtown Caracas, masked Chavista-gunman attacked anti-government supporters on the campus of the Central University of Venezuela (UCV). Photos of the masked gunman have accompanied most of these articles lending themselves as powerful images of violence against peaceful protestors. The Miami Herald reported photographers for The Associated Press saw at least four gunmen - their faces covered by ski masks or T-shirts - firing handguns at the anti- Ch‡vez crowd at the UCV. Terrified students ran through the campus as ambulances arrived. The New York Times on Nov. 7th led with the following: "Masked gunmen shot into a group of students on Wednesday at this country as most prestigious university. The students were returning from a march here protesting changes to the Constitution proposed by President Hugo Ch‡vez that could allow him to remain in power indefinitely." The following day, the Times printed a quote from one of the student leaders likening their tactics to those of Gandhi. Unfortunately, these reports have left out an important chunk of the story. After last Wednesday's peaceful protest, many students headed back to UCV campus. Here is where things get complicated. According to Ch‡vez supporters, eyewitnesses, and videotape recorded by the community TV station, Catia TV, opposition students, mainly from neighboring privates Universities, chased down a group of pro- Ch‡vez students putting up signs in favor of the reform. The pro-Ch‡vez group found refuge in the faculty of Social Work, which is known to be a Ch‡vez friendly zone, and where it was also reported that another group of pro-Ch‡vez students were meeting. The opposition students surrounded the faculty, armed with weapons, rocks, and gas masks shouting, "We will lynch you all." According to reports, opposition students fired weapons, threw rocks at the students inside the building, and lit fire to the entrance. Ch‡vez supporters present that day affirm that the motorcyclists televised to the world as sinister gunmen, arrived on the scene as part of a rescue mission to help their companions trapped inside the building by the rabid opposition outside. They argue that this was necessary because the Venezuelan army or police force are, by law, not allowed to enter the grounds of the University. To this day, the entire truth is not known about the events at the UCV last Wednesday, but the inability of the international press to report an unbiased account calls into question their journalist integrity. The consequences of this could lead to further violence in Venezuela. Media distortion is nothing new in Venezuela. The media played a critical role during the 2002 Coup d'Žtat which removed Ch‡vez from power temporarily. At the time major outlets ordered a blackout of pro- Ch‡vez street protests. The movement in the street ultimately led to the return of the President, and has encouraged a new generation of community media around the country. It was those small community stations that spread the news that wasn't available on the major outlets. What the private and international mainstream media reported is that pro-government protesters had fired at opposition marchers, killing over a dozen. It was later revealed that video footage was manipulated, as were the reports, and that in fact the deaths were caused by snipers firing from the nearby buildings, and the pro-government protesters were defending themselves from the armored vehicles of the metropolitan police, advancing on the crowds from only a few blocks away. This past summer the Venezuelan government pointed to the role of Radio Caracas Television in the 2002 coup as the impetus for not renewing its broadcast license. This is a fact that was consistently left out of the story reported in the private and international media. The RCTV story read that Ch‡vez was silencing the station due to their opposition to his policies. The same story continues to be perpetuated in the US media today. Unfortunately, this one-sided hypocrisy intentionally leaves out facts leading to one-sided coverage. This type of journalism not only misrepresents the truth, but its impact can have dangerous and lasting effects on Venezuela. We should call on our media to take more care, to ensure that it reports everything that is to be reported, and not just the image it wants to portray.

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