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Posted : 2008-03-18 19:16
Updated : 2008-03-18 19:16

Album Reviews

Delta Goodrem
`Delta'
SonyBMG


Delta Goodrem's third album, ``Delta'' is more mature than her previous albums. She creates cohesive and haunting sounds from beginning to end through unique songs with her stunning songwriting and musical talent.

In this album, she seems to take chances with her musical style except for her traditional ballads.

Opening with the stunningly beautiful ``Believe Again,'' the track list follows the first single, ``In This Life'' to adventurous musical artistry. She also attempts to incorporate R&B, hip-hop and reggae influences on the song ``You Will Only Break My Heart.'' ``Woman'' is almost country-like, while ``Possessionless'' is a catchy pop track.

- Chung Ah-young


Pride Tiger
`The Lucky Ones'
Caroline


It doesn't seem like there's much left to mine in the Thin Lizzy lode ― what do you do after twin-guitar rockers like ``The Boys Are Back in Town'' or ``Jailbreak?''

Pride Tiger has the answer on ``The Lucky Ones'': Ditch the irony; write awesome riffs; and crank the volume, just like Thin Lizzy did. That sums up the Canadian band's full-length debut. It's an earnest homage to lean guitar rock with bluesy underpinnings.

The blues influence is most obvious in the raucous slide guitar of ``A New Jones'' and the searing harmonica break on the hard-driving and leathery ``The White Witch Woman Blues.''

The best songs on the album, though, are the quintessential summertime get-psyched rockers. ``Fill Me In'' breezes along like the wind through the T-top of your '72 Camaro, with dual-guitar harmony fills and a big melodic chorus.

- Eric R. Danton

Distributed by the Los Angeles Times-Washington Post News Service


Snoop Dogg
`Ego Trippin''
Geffen


In the quest for career longevity, rappers face two foes: the public and themselves. Even if artists manage to hold the ears of hip-hop's notoriously fickle fans, success will take them off the streets and into gated communities, where they run the risk of losing touch.

Snoop Dogg long ago figured out he could win the first battle by making the second irrelevant. A willing caricature, he captured Middle America by becoming a teddy-bear gangsta ― someone with more to gain from a reality series than a weapons charge.

On his ninth album, Snoop plays it safe, focusing on vocoder-driven lover-man jams and odes to his sexual prowess. While it would be disingenuous for him to revisit the gritty gangland lyrics of his youth ― he's a multi-millionaire, after all ― his pimp-by-numbers approach feels uninspired.

Tracks such as ``Press Play'' feature booming-enough backings, but even in the record's funkiest moments, like the left-field Prince homage ``Cool,'' Snoop holds back. His easy-does-it delivery was once sneeringly defiant; here, it's flat and familiar. It's especially noticeable when the beats grow sparse and Snoop trades his usual '70s grooves for modern minimalism.

- Kenneth Partridge

Distributed by the Los Angeles Times-Washington Post News Service
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