Cake - B-Sides and Rarities

Upbeat

The first track on this is War Pigs. The Black Sabbath song. With a horn section. My day has been saved. To be as shameless to start off an album with a cover is daring. To pick one of the best songs ever written is genius.
So, now for complete, well thought out sentences. Cake, cult-inducing and genre-bending, are a Sacramento band. They started in the mid-90's, releasing six full lengths since, and touring consistently. They are the sort of band that is huge in their own scene, but never much for big radio play. Led primarily by singer and acoustic guitar player John McCrea, Cake's shining point is McCrea's unique vocal presence, and incredibly witty lyrics.
As the title suggests, this isn't a new full-length. About half the songs are covers, a few are hard to find originals, and a number of live tracks at the end. Covers include "War Pigs" by Black Sabbath, "Ruby, Don't Take Your Love to Town" by Johnny Darrell, "Mahna, Mahna" best heard on The Muppets, and "Strangers in the Night," by Sinatra, just to name a few. The instrumentation for the entire album is fairly straightforward Cake, which for those in the know, is not very straightforward.
Let's take my favorite thing in life at the moment: "War Pigs". The first minute and a half or so is just a direct cover, following the original down to a T. After that, a rock organ can be heard in the background, following the lead line. At a little past 2 minutes, when the bridge is supposed to kick in, a wild, and oddly perfect horn line appears, completely out of nowhere, and takes the original and turns it into something new. This is a great example of Cake: oddly similar to a lot of other bands, but taking the norm and turning it upside down.

Gandalf Murphy and the Slambovian Circus of Dreams - Flapjacks From The Sky Double CD

High-Noon/Slambovian

With a name like this, how wrong could it be? Gandalf Murphy and the Slambovian Circus of Dreams play a strange sort of dreamy folk-rock that is rarely seen. Think of Bob Dylan, with a mixed collection of drugs, and a band filled with normal rock instruments, plus an accordion, cello, mandolin, and theramin to back him up. Maybe after a few too many listens of Dark Side of the Moon on top of it. That's what you'll get from Gandalf Murphy and the Slambovian Circus of Dreams.
Murphy and band has been renowned as one of the best live performances, with fanatic fans commuting hundreds of miles to attend concerts. On top of all this, the band throws a Halloween party every year, known as the "Grand Slambovian Hillbilly Pirate Ball". This is one of those sort of bands, which is totally awesome. There are few bands out there who can get away with having such a cult following and not seem ridiculous. The only other band that comes to mind is World Inferno Friendship Society, who are on the opposite spectrum of music, so that's for another time.
The band is composed of Joziah Longo (vocals and guitar), Sharkey McEwen (lead guitar), Tink Lloyd (accordion, cello, flute, theramin, etc.), Tony Zuzulo (percussion), and Chen Longo (Bass Guitar). They've had 11 releases since 1999, which proves this is a hardworking band. With very little commercial success to their name, the band will probably continue with their underground army, which is probably for the best. Usually bands that have diehards or no one are usually the best.

2Pac - The Best of 2Pac Pt. 1: Thug & Pt. 2: Life

Amaru/Interscope/Universal

While 2Pac has never been in serious rotation in my life, his existence has inevitably touched mine and anyone else who has any interest in hip-hop. He is the highest grossing hip-hop artist of all time (75 million records worldwide), racking in over 11 platinum or better records, 8 of which since his death. Obviously, many consider him the best hip-hop artist of all time. He is known best for his lyrical expression of racism, violence, growing up in the ghettos, and oppression from the United States.
His life started out with turmoil: he was born shortly after his mother's acquittal from the Panther 21 case (for anyone who doesn't know much about the case, please look into it). His father spent four years of Tupac's early life on the 10 Most Wanted, for his assistance with the escape of Assata Shakur. He spent his early life in New York, then to Maryland, then to California, which ended up being his home, as expressed in much of his music. He is known best for his use of the phrase T.H.U.G. L.I.F.E. He uses the phrase as an anachronism for "The Hatred U Give Lil Infants Fucks Everybody". THUG LIFE isn't what it sounds like: it's about growing up in a really unfair system, and growing up in a really screwed up time.
The Best Of Collection really does collect his best. The first album starts with "2 of Amerikaz Most Wanted," one of my personal favorites, which really does set the tone for the entire release. 2Pac manages to put into words what so many people experience every day, and manages to express them in ways that are not only incredibly articulate, but also accessible to just about anyone. Every track here is priceless, with all of his best singles ("Changes," "California Love," etc.), along with a new track and new remix on each CD. A portion of all the profits from this release goes to the Tupac Amaru Shakur Foundation, giving training and support to artists who want to enhance their creative talents.

Gang Gang Dance - RAWWAR

Social Registry

RAWWAR sounds more like a drug-induced nightmare than an actual record. There isn't many points on this record that you could just sit back and relax as you would to a Kenny G. record, or maybe even the latest Green Day album. No, Gang Gang Dance are not that sort of music. Being acclaimed as "Neo-Tribal", the band are literally being thrown into the spotlight. They've recently opened for everyone from T.V. On The Radio to Sonic Youth, and are the sort of band that seems to spend as much time on the road as they do at home.
For those unfamiliar with the band, RAWWAR is a really good starting point. While only 3 songs (clocking in at a little over 20 minutes), this EP is a really good portrayal of the dynamics of the band: Opening track "Nicoman" is straight out of Requiem for a Dream, or any college art-film. Actually, any of these songs could be in a film-student production.
"Nicoman" is more for the crowd into fast, panic-attack inducing scenes of grotesque abstract objects, relying heavily on awkward rhythms, strange buildup white noise, and vocals that could be made from a creature of the deep. "Oxygen Demo Riddim" is much more upbeat, and dancey, and to be honest, reminds me of the music to Super Mario Bros. Still scary, still intense, and most importantly, catchy. The last track, "The Earthquake That Frees Prisoners", clocking in at an astounding 11 minutes, opens with hyper-produced vocals, sounding closer to an ocean-dwelling mammal than human. It soon erupts with dance beats, modded-voices, and enough strange samples to induce heart attacks.

Luna Halo - Self-Titled

Americana/Columbia/Sony BMG

Luna Halo play that sort of alternative rock that has potential to be the soundtrack to high schooler's lives. You know exactly what I mean. Don't try to pretend you don't. Song topics about falling in love, breaking up, people coming in and out of your life, etc.
Yes, you know what I mean. Sort of like Blink 182's "Dammit" being played in the background of Can't Hardly Wait, this album captures the essence of growing up, despite the fact that the members are a little old for high school parties with Jennifer Love Hewitt.
After a complete lineup change, departing from their Christian rock beginnings and going for a completely different sound, Luna Halo finally released this record, their full length debut, two years late. There is nothing too musically impressive here, except endless amount of chorus hooks, and a few really catchy guitar lines. The second track, "Untouchable", sticks out to me. It seems to add to the very typical angsty alternative rock feel with elements of dance-commanders Hot Hot Heat, with even a bit of The Muse thrown in there.

Gary Allan - Living Hard

MCA Nashville

Gary Allan is known for his hard-hitting country songs. Basically, I'm here to say Living Hard carries nothing unexpected. Not in the bad way: Allan just plays the music he's best at, and this seems to be it. Opening track "Watching Airplanes," is a layered mess of heavily distorted guitars, odd effects, and a chorus that really ties it all together.
His music most certainly falls under the category of country, but really has something else to it. Living Hard is much more rock and roll than most country albums, keeping structurally rock and roll and vocal inflections and lead lines that are country standards. Allan, for this album, co-wrote a little over half of the tracks, which really does give it a more personal feel than previous releases. The music relies heavily on instrumentation and less on his voice, which makes Allan stick out much more than the rest.

Ozzy Osbourne - Black Rain

Epic/Sony BMG

My heart is torn here. Let me tell you why. First, this is the first record Ozzy Osbourne has released in six years with new material. For someone who listens to as much doom-metal and stoner-rock as I do, there is very little I can do to not have my hand in the air doing metal signs throughout the entire run of Black Rain. The problem is is that I also watched an episode of the Osbournes on MTV. Maybe its my fault for having turned that crap on in the first place, but really? The man is pathetic in the show. Its hard to believe that he functions enough to eat in the morning, not to mention write new material. It comes close to ruining it for me. Close. Too bad this record is too good for me to write off that quickly.
Black Rain opens with "Not Going Away", a prime example of Osbourne not getting soft with age. It's as heavy as Sabbath ever was, and dare I say, possibly heavier. Enough palm-muted riffing to kill a large game animal. For the most part, the album feels the same all the way through, which is a good thing in this instance. Trying to experiment with this type of sound can only lead to failure.
Take for instance, the fourth track on this album, entitled "Lay Your World On Me," Osbourne's attempt at a ballad. While it is most certainly interesting, laying somewhere between Aerosmith's "Don't Wanna Miss A Thing," My Bloody Valentine's early work, and Black Sabbath, it is a little cheesy for my tastes. A sort of culmination of awkward electronics, pretty guitar lines drenched in effects, and Osbourne's attempt at serenading, it misses its mark for me.
Luckily, this is the only track that doesn't do it for me. Every other track just sounds like Ozzy, as heavy as the crushing weight of existence and as innovative as a man addicted to drugs like life support. I'll make you a deal Ozzy: I will only listen to this album for the rest of my life, as long as you never make a non-live television appearance again. This is completely fair.
************LATE BUT GREAT***********

Bow Wow & Omarion - Face Off

Sony BMG

Really? Lil Bow Wow grew up and dropped the 'Lil' from his name, and he expected not to get a little made fun of? Well, it's like most teenage superstars: get big for being young, then grow up, and still remembered for being 14. Remember Home Alone and Macaulay Culkin's long successful career after? Yeah. It seems that both of these young stars careers might go somewhere post preteen success, and this may be the next stepping stone. They both got off the "Scream Tour IV: The Heart Throb Tour," which is part of where this album comes from. They both grew up in the industry, and decided after so long to actually collaborate.
Face Off takes many faces: as documentation of the youth's maturity, as accents to each other's work, and as the title suggest, a sort of battle between the two. You can hear a bit of competition within the CD, but more as a friendly challenge rather than a straightforward feud. Bow Wow thrives much more in the rapping world, with Omarion a much stronger R&B singer, but does not limit each to their separate corners of expertise. Both go back and forth, and mesh really well together. The production on here sounds like it cost millions alone: the beats are unbelievably well developed and catchy. While the song topics are a bit juvenile (girls, girlfriends, designated drivers, and girls), this may be a stepping stone for these two into their adult careers.

Various Artists - Guitar Hero III: Legends of Rock Companion Pack

Interscope/Universal

I never got into this video game. It's probably because I never really sat down with it and tried to get into it, or maybe it's because I really don't care much for video games that done start with "Super" and end with "Mario Bros". Either way, because I live in California, surrounded by people under 30, I get a heavy dose of consistent talk about this game, everyday of my life. It seems to be everywhere you look these days.
The newest game, Legends Of Rock, was released simultaneously with the soundtrack, which is the actual reason of this review. Yes, it is a soundtrack for a video game. Life is getting weird. The CD comes with a code for users to plug into something to get things and do stuff...ending with more content and new songs. Yup. A CD and a bigger video game.
While a good portion of the songs are on the un-expanded game, there are a few expanded tracks: AFI's "Carcinogen Crush," Flyleaf's "Tina," and a remix of most people's least favorite rock and roll hero: Marilyn Manson's "Putting Holes In Happiness". Also on here is one of the best Smashing Pumpkins songs, a Rise Against song, and a great Sonic Youth song. If you are a geek, why not get this?

Mike Ellis - Bahia Band

Alpha Pocket

Bahia Band came about after Mike Ellis, mindbogglingly great soprano saxophonist, spent some time in Salvador, Brazil (which is also known as "Bahia"). Ellis fell in love with music, the culture, and soon tried to further his appreciation by writing and recording an album of Bahia music. Taking musician who grew up in that culture, Bahia Band really is what the title implies.
Bahia's sound exists somewhere in the space between Latin jazz, reggae, and "tribal" music, with a very strong emphasis on percussion. By emphasis, I mean five different percussionists on each track. On top of all of this, we have a fairly rhythmic bass, two electric guitars keeping rhythm with the rest of the band, leaving the lead lines to the horn section. Ellis himself can be heard wailing almost throughout the entire record, not really overdoing it while still keeping it in the forefront. There are some vocals, performed by Ricky Husband, which sound like a little less ridiculous Buju Bataan.

Original Broadway Cast Recordings - Curtains

Broadway Angel/Manhattan/Blue Note/EMI

I have a soft spot for musicals. It's sort of a guilty pleasure for the incredibly cheesy and fun. Curtains is one of the last productions for John Kander and Fred Ebb. These are the people who made Cabaret, and the most well known Chicago. You can hear pieces of each in the score, very obviously from the same people. It uses the same sort of witty-lyrics as Chicago, and the musical production from both. The story of Curtains takes place backstage at the Colonial Theater in 1959, based around the complete flop of a performance "Robbin' Hood". The completely talentless leading lady is murdered, leading to an investigation from lead character Lieutenant Frank Cioffi, who ends up falling in love with the performance and works more for the furthering of the show than to actually solving the murder.
The music to Curtains reminds me more of The Producers than anything else. It might be because of similar content, but there is something about how the songs fit together and the wit that reminds me intensely of both the stage and Mel Brook's films. Every song sounds huge, which I'm sure will be great on stage. I haven't seen Curtains yet, but I fully intend to after this soundtrack. Unfortunately, it means I can't really listen to the 22 tracks intently, because it will no doubt ruin the entire thing for me. My suggestion? See the play, then buy this CD. At least at the end of the day, you'll have a great album, no matter how the play pans out.

Trace Adkins - Greatest Hits, Vol. II: American Man

Capitol/EMI

Trace Adkins is such a country guy it's almost painful. Opening track on this best of collection starts with him saying "This is for all you sophisticated ladies out there," moving into the song "Ladies Love Country Boys". His very presence, while drenched with a lot of rock and roll influence, is strict country attitude. His voice is straightforward, low, and super honky-tonk. His life, similarly, looks like the same thing.
Growing up in Louisiana, he learned guitar at a young age from his father, soon joining a gospel band in high school. After college, he took up a job at an oil rig. Shortly after, he lost his pinky in an accident, and asked for it to be reattached so he could play guitar still. Of course he did. This man is the personification of modern day country, complete with a bought of alcoholism and trouble with the law.
Greatest Hits Vol. II: American Man takes 13 of Adkins best over the years, mostly those not included in the first volume. Every track on here has made the charts, many of which reaching the #1 slot, and are the fan favorites. In addition to "Ladies Love Country Boys," we have hits like "I Came Here to Live", "Swing", "You're Gonna Miss This", and "Hot Mama". Grafting stadium country with elements of Lynard Skynard, Adkins has mastered his trade, and will continue what he's doing for years to come, if the country lifestyle doesn't kill him first.

Belly - Revolution

CP/Universal

In the midst of controversy, Belly is thriving. He was interviewed by Geraldo for his intensely controversial video for "History of Violence". The video was banned in the U.S. For its intense antiwar messages and images. I just finished watching the video for the first time. It's no surprise it got banned: it not only talks about antiwar from a broad political perspective, but also on a personal perspective of what it does, acknowledging the aspect of making victims of war feeling "worthless". The song, in and of itself, is incredibly intense. The video is images of bombs, blood, and Belly. Few hip hop videos move me; "History of Violence" is one of the few.
Belly comes out of Ottawa, growing up in the ghettos of the area, "showcased" in the video. He's released 3 mix tapes, with "Revolution" being his first proper release: a collection of the best from the three previous. He spent his beginnings in Palestine, which he references throughout this release. He talks about the liberation of all oppressed nations (Palestine, Haiti, Ghana, etc.) and is very forthright with what he has to say. Lyrically, he's great. In "Revolution", he talks about the strife of the people of the world while white collared individuals are hardly punished:"Who cares what your religion is/There's people living a world full of hate, hunger, war and missing kids/Where we living we privileged/Believe me, there's no reason anyone should feel limited/They say listen kids, rap's a bad influence/ When we committed less than half the crime politicians did/Now the secrets safe/They knock gangsta music when Cheney's shooting people in the face."
The Revolution is fairly up and down for me. His highs are great, and the lows are not so good. Tracks "So Cold", "History of Violence", "Revolution", and "I Swear" are all incredibly good. The beats are interesting, and lyrically fit spot on. The other tracks use fairly unimpressive "bling" beats, which do nothing for me. About half of these songs ignore his political roots, and talk about the typical topics of money and manhood, which is on par with just turning my mind off. The goods are inspiring. I'm waiting for his next full-length. My guess is that it will be spot-on, through and through.

Primordial - To The Nameless Dead

Metal Blade

I have never heard Primordial before this album, but have heard the name thrown around a bit. I knew they were metal band, and that some people talked about them, but not much more. Here's what I get from it: a death metal band at the heart, listening to way too much black metal and melodic death metal on top of that, with a singer who actually sings instead of screams. It's original, interesting, and epic, which are the things I look for in metal these days.
The songs have an intense driving feel, with a strong repetitious element only found in black metal, and with a guitar tone that screams "Burzum", which is obviously for the best. There are moments of harmonized guitar lines that have inklings of bands such as Vital Remains, or even later era At The Gates, but they make it all their own somehow. All this, and really high end recording, making this too clean to be black metal, and too black metal to be death metal. Oh the labels! The singers voice, on top of all of this is a sort of low howl, which is something I have a weakness for. I grew up on Neurosis, so I can't help but croon over it. Also, we have intensely biblical and tribal lyrics, mostly focusing on "the nameless dead" throughout history. Really impressive metal album.

DJ Rekha - Basement Bhangra

Twisted Group/Koch

Remember my combining genre rule? The rule stating that combining genres will almost always end in failure? I have an amendment to that rule: putting traditional music and any genre of electronic music almost always turns out great. Muslimgauze has always been high on my list, and DJ Rekha will probably end up there soon also.
Born in London, living in Queens and Westbury, Rekha Malhotra, alter ego to DJ Rekha, is beginning to take the world by storm. She takes traditional Bhangra music from South Asia (similar to what people usually associate with "Indian" music) and puts it to hip-hop esq beats, lying close to D&B, but not quite. It creates a sound high in percussion, high in tradition South-Asian singing, and samples of sounds most Americans won't hear throughout their lifetimes. In addition to making mind-blowing music, DJ Rekha is also a large social activist, focusing mostly on bringing Asian musical culture to western culture.

Overkill - Immortalis

Bodog

It's been over two years since Overkill's last album, which seemed like the perfect amount of time. ReliXIV didn't do much for me, and I was almost about to write the band off as going over the hill like Metallica. Luckily, the world has been deceived. Immortalis is a much more refined sound than early Overkill, with spot on production and guitar tone that is, dare I say, perfect. While I wouldn't put this above Slayer's Reign In Blood, this is still up there with the best thrash-metal albums recorded.
With a fifteen album discography dating back to 84, Overkill is the band nipping at the heels of the two biggest bands in the genre: Slayer and Metallica. Luckily, Metallica isn't very good, meaning that Overkill are in the number two slot. Which isn't bad, considering Slayer are untouchable.
So, with that said, lets talk a little more about the record. With a blistering assault of palm muted guitars and wailing solos, Immortalis sticks to their signature sound of background music for the riders of the apocalypse. They don't really branch out, not trying to do what bands tend to do after long careers and try to write something different. I understand why people do it, but really? When you refine a sound to perfection, why change to something sub-par? This album makes me wish that this isn't a dying breed.

Rick Ross - Rise To Power

Suave House

Gangster rap rarely entices me. I don't think that is even the common term for it anymore, but either way, there is rarely an individual outside of the N.W.A. Crew or a few odds and ends that do anything for me. Rick Ross is one of the few doing something interesting. What that thing is I can't put my finger on, but it is still better than most. After being discovered by Tony Draper, a legendary New York DJ, Ross signed to Suave House records, and started his rise from there. Ross has 3 albums under his belt, with Rise to Power being released late last year. Interesting fact: his stage name was taken from the drug trafficker Rick "Freeway" Ross, which might give you an idea of the kind of feel Ross has to his music.
As I said, there is something about this that I like more than the garbage that is consistently being thrown at me being labeled as "rap" or "hip-hop". The topics he covers are less than desirable. The first "Skit" track actually makes me physically uncomfortable, about a man being verbally abusive to his girlfriend, and not in the sarcastic "look at how messed up this is" sort of way.
Lots of his tracks are about killing people, robbing people, and being abusive to women. If you can look over all of that, there is little to complain about here. Ross has an incredible flow, one that is not entirely original in feel but fine-tuned and polished to the point where it sounds incredibly genuine. The beats are also nothing original in feel, but aren't the garbage that you usually hear. They don't sound like they took five minutes for someone with a MIDI pad and Apple's Garageband. There is just something here that makes this sound legitimate, sort of like The Chronic 2000.

Robin & Linda Williams - Radio Songs

Red House

Robin & Linda Williams virtually invented Americana. There first official release was in '75: 20 years before the term "Americana" got widespread appeal. They really live a dream: they met as Linda the schoolteacher and Robin the traveling coffee-shop musician, both of which not really going anywhere. They fell in love, got married, and then became a success.
One of their first appearances was on the legendary A Prairie Home Companion radio show, before the show even took off! From there, they started traveling, releasing, and basically taking the world by storm. They were joined by backing band "Their Fine Group" shortly after, leading to multiple nominations for Gospel Album of the Year. It also took them on the road with Mary Chapin Carpenter, which is really where the Williams' career really exploaded. It's been every musicians dream since then: traveling as they please, living off the music they love, with the people they love. They were featured in the not-so-recent movie A Prairie Home Companion, playing themselves performing on the show.
Radio Songs, as the title suggests, is a collection of the best recordings of themselves on the radio-show that took them to the moon and back. The recording quality is that of radio performance, which is a sound you don't get in normal studio recordings. A clear live sound, but with very little crowd annoyances and really great backing production.
Most of the songs are basic in instrumentation, relying heavily on Robin's guitar playing and Linda's amazing voice, which brightens up the recording ten-fold. Guest appearances on here include Mountain Heart, Mike Seeger, The Hopeful Gospel Quartet, Guy's All-Star Shoe Band, and Peter Ostroushko. For anyone with any interest in country, americana, or anything good. ********Shelton's Second Single Of The Week: Blue Ridge Cabin Home"********
***So Nice, Gotta Do It Up Twice (Created by the Original NYC DJ, Jocko, 1955)***

Hurt - Vol. II

Capitol/EMI

Here we have another genre I have little to no interest in. I don't like Tool, I don't like alternative rock/metal, and I certainly don't care much for serious metal bands who do ballads. It just really isn't my thing. So what positive could I have to say about this album? Well, mostly the production and song writing. And I have to say, it almost saves it for me. I don't like the singers voice at all: it sounds like every one of those things I've already listed. I don't particularly like a good majority of the music, minus a few really good stoner-riffs and some string parts.
So. The song writing. Where most of the bands in this genre make a song with an emphasis on hooks, on impressive instrument playing, or on whatever gimmick they have for that album, Hurt takes a different approach. They basically turn each track into an epic masterpiece, changing instrumentation multiple times per song, and infusing elements not commonly used in this genre. Layered instruments are used to make atmosphere, acoustic guitars are used to add intense dynamics, and we even have a few tracks with strings on them, which only add to a more full and interesting sound. While it isn't the caliber of Queen, they take a similar approach, minus the musical prodigy aspect. So while this isn't for me, I highly recommend this for anyone into alternative metal.

Cross Canadian Ragweed - Mission California

Universal South

Cross Canadian Ragweed remind me of a more country version of Guns and Roses. You know, the acoustic ballads. But instead of trying to be a rock band playing acoustic for a song or two, this is all they do. Acoustic-ish, country-esq ballads, with a bit of rock feel through them. What I mean by "ish" is that, while a majority of songs use electric instruments, they could just as easily been done on acoustic instruments, and it would still sound pretty similar.
It's a very dirty southern rock feel at times ("Deal"), occasionally throwing a rockabilly track in there ("Smoke Another"), and then going back to the acoustic ballads they seem to be best at. The name came from members last names (Cody Canada, for example). While this isn't really my thing, they play their music well, and manage to make it sound unique.

Trisha Yearwood - Heaven, Heartache, & the Power Of Love

Big Machine

Yearwood is a step above and beyond all female pop-country singers. She not only has a voice that is above and beyond almost everyone, she also has soul. Her dynamics are intense enough that you can physically feel her accents, and feel emotions that she's trying to portray. Her first single, "She's In Love With the Boy," got major airplay, moving directly to #1 when it was released in 1991. From there she won award after award, releasing smash-hit album after smash-hit album, and winning three Grammy's. She's toured the world, and has a huge following wherever she goes.
Heaven, Heartache, and the Power Of Love is a really clear example of Yearwood's talent: opening track given to the albums namesake is a fairly rocking country track, with Yearwood doing everything from a soft crooning to a full voice explosion of energy. On the polar opposite of this dancey-country tune, the second track, "This Is Me You're Talking To," is an acoustic ballad, following the same Yearwood style of soft and loud dynamics in the same song, all sewed together with her bright and shining voice. 13 tracks of some of the best pop-country songs Yearwood has written to date.

I dreamed I saw Joe Hill last night,
Alive as you or me
Says I, "But Joe, you're ten years dead,"
"I never died," says he
"I never died," says he

"In Salt Lake, Joe," says I to him,
Him standing by my bed,
"They framed you on a murder charge,"
Says Joe, "But I ain't dead,"
Says Joe, "But I ain't dead."

"The copper bosses killed you, Joe,
They shot you, Joe," says I.
"Takes more than guns to kill a man,"
Says Joe, "I didn't die,"
Says Joe, "I didn't die."

And standing there as big as life
And smiling with his eyes
Joe says, "What they forgot to kill
Went on to organize,
Went on to organize."

"Joe Hill ain't dead," he says to me,
"Joe Hill ain't never died.
Where working men are out on strike
Joe Hill is at their side,
Joe Hill is at their side."

"From San Diego up to Maine,
In every mine and mill,
Where workers strike and organize,"
Says he, "You'll find Joe Hill,"
Says he, "You'll find Joe Hill."

I dreamed I saw Joe Hill last night,
Alive as you or me
Says I, "But Joe, you're ten years dead,"
"I never died," says he
"I never died," says he

Editors Note:
This song is dedicated to the National Writers Guild who are striking the massive corporations that own the television networks...for example CBS is owned by the multinational corporate giant Viacom, NBC is owned by General Electric, ABC is owned by DIsney, CNN is owned by Time Warner, Fox is owned by Newscorp, etc.
Most of the other unionized workers are honoring the strike by the National Writers Guild, especially the Screen Actors Guild, which is not crossing the NWG picket lines. The writers want fair cut of the profit that the corporations are making through the sale of their programs to the computer companies, while the writers are not getting any compensation whatsoever. This is what the strike is all about. If you are a worker, you hopefully will understand. Corporations are out to keep all the profits and give the workers none, unless the workers are unionized and demand their fair share. Never cross a picket line.

Political Article: When a 'Rescue' Is Not: Bank of America Buys Countrywide When Will 'Rescue Me' Become A New National Anthem? By:Danny Schechter from Common Dreams Back To Top Who doesn't love the idea of a dramatic rescue-like saving a child who fell in a well, bringing miners out of danger from a hazardous hellhole, or the courage of that hero who jumped on the subway tracks to safeguard a passenger in the way of a speeding train? We appreciate rescue helicopters, rescue squads in fire departments-New York has a big fully equipped van called "Rescue One,"- or the daily bravery of the Coast Guard plucking unskilled seafarers from turbulent waters. The more risky the rescue, the more we like it. But now even a self-interested maneuver by America's biggest consumer bank (net work $175 Billion) is being cast in a heroic light as in the "rescue" of America's biggest mortgage company, Countrywide Financial, by the Bank of America. (NY Times headline: "Bank is Seen as Rescuing Giant Lender.") When the four billion dollar deal was leaked to the media, the markets were ecstatic and the share price went up. The acquisition crazed BOA which, thanks to new bank-friendly laws and deregulation, went from being a Western institution to a national one, was said to be acting to prevent the collapse of a company vital to saving the national economy. "My hero?" Actually, the Bank had invested two billion in Countrywide last August which was then seen as a great deal. They had paid only $18 dollars a share for 16% of the company. But the value of that investment fell by nearly half in just a few months. As the housing market went into free fall, Countrywide did as well with 7.2 percent of the loans they were servicing in serious arrears. Foreclosures on their properties had doubled. Their $11.5 billion dollar credit line was just about gone. Wall Street turned off the money pump. The company had $15.5 billion in debt maturing this year. The vultures were overhead. Lawsuits were flying and investigators were at the front door with subpoenas charging predatory and discriminatory practices. They were already laying off thousands of their 51,000 people. This was forcing the Bank of America to do the same. What should BOA do? Write it off, or throw "good money after bad"? They had a better idea-prey on their weakness, and take over their business. They knew that when one of BOA's large investments got into deep trouble, BOA could also get into trouble. So, if Countrywide went down, as many feared and some predicted, that could dent the Bank's other ambitious and often avaricious strategies. BOA smelled a firesale. Countrywide was going down. The LA Times reported: "the market in the first three days of this week marked down the value of the business by an average of 15% a day. The stock reached an 11-year low of $4.43 at one point on Wednesday." "You can't have too many 15% down days before a company's market value nears zero. That message had to be coming over loud and clear at Countrywide's Calabasas headquarters." BOA played the calvary over the hill, swooping in to make an all-stock deal, offering less than $10 a share. And just for making the offer, their own stock price went up 56 cents a share, thank you very much. The deal will close after the Federal Reserve Bank's next rounds of expected rate cuts so money will be even cheaper then. Brilliant. The bank also knew from one of its own studies that the housing slump will persist well into 2010. But when it ends, they will emerge as king of the housing hill. In fact, the SEIU union has opposed the deal arguing it leads to more economic concentration, which is bad for consumers. And it could lead to more mergers, says Jim O'Shaughnessy of O'Shaughnessy Asset Management: "I would not be at all surprised to see another half-a-dozen (similar transactions), I would not be at all surprised to see more (subprime) write-down." Nevertheless, according to our laudatory press, Countrywide had been "rescued." CEO Anglelo R. Mozilo kept his job for the rest of the year and will walk away with more than half a billion bucks when you factor in his generous compensation, options, and $72 million "exit package." Mozilo who has been called snake and snake oil salesman, was branded a "rogue" lender by the Center for Responsible Lending, an advocacy organization. Unfortunately, most of the news reports did not report on the dismal experience of many of his customers See this website for some: http://www.countrywidehomeloansucks.com/ A week ago, I was on a panel on subprime lending with New York Senator Chuck Schumer who said he wanted to see Mozilo "boiled in oil-figuratively." He added, "if he doesn't like it, 'TFB'." Translation for those not from Brooklyn: "Too F*cking Bad." Them is fighting words. But Mozilo is likely to be boiling instead on some beach in the Caribbean. Unlike millions of families facing foreclosure nationwide, he has been "rescued." For the rest of us, rescue is not in sight. A day later when it was clear that this one transaction could not turn around a failing economy in recession, the stock market dropped by over 200 points. The housing crunch, the credit crunch, and the debt burden are still with us as legitimate worries about the economy become the top concern for voters. Last week, the Wall Street Journal reported that consumer borrowing and credit card balances are at record highs. Consumer spending now represents two thirds of all economic activity. Driving this is all the debt we are shackling ourselves with. In the days before its bubble burst, Countrywide was a paragon of optimism projecting ever rising housing prices. As long as everyone was making money, few questions were raised. Now everyone is asking questions that have so far have produced few answers. Last week, at his annual Wall Street Project, Jesse Jackson was demanding the formation of new government financing mechanisms like the ones that helped end the depression and bail out the S & Ls. He wants lenders to "restructure loans, not foreclose on homes." In this election cycle, and with Bush still in office, it seems unlikely that a rescue plan for America is in the offing unless people push for one. Remember: the finance industry, along with real estate interests are the two leading financiers of politicians. It is the banks that are getting the bailouts, not victimized homeowners. They now even want relief from consumer-protection regulations they consider too costly or cumbersome to enforce. More billion-dollar write-downs are in the offing as joblessness rises along with the cost of home eating oil and just about everything else. When media outlets were hyping the holiday shopping season with upbeat coverage to help advertisers, consumers were staying home. Commented macroeconomist Ellen Zentner on the final sales report: "It shows that the US economy absolutely tanked in December." So much for believing what you read in the press! BOA branches and ATM machines have spread like acne across the country with one storefront opening in my neighborhood two weeks ago. In the last two years, eight banks have opened for business in an eight block shopping avenue as the financialization of our society continues unchecked. New Year's prediction: you will see more protests against financial predators in the year ahead. Does anyone remember the Santa Barbara insurrection against the Bank of America back in 1970. A poster celebrating those times cames in the form of a colorful BOA check. Only this one had the news photo of the local branch burning. That symbolic act did not change bank practices. In those days, the slogan was "Don't Bank on Amerikkka." In a metaphorical sense, it is the country's economy that is burning now. Don't bank on easy fix. It's time for musicians to do a new anthem a la "We Are The World." Only this time, it should be aimed at Americans. How about a remake of that old Fontella Bass tune, "Rescue Me?"

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