Christina Aguilera's latest release, "Back to Basics" includes old-school jazz, gospel and R&B. USA Today and Gannett News Service
"Back to Basics" By Christina Aguilera: Of all the Whitney Houston and Mariah Carey wannabes cluttering the music charts over the past decade, Aguilera has scored the most combined points for tone, agility and rhythmic intuition.
But singers can't, or shouldn't, be evaluated like gymnasts. The elegant, eclectic arrangements on "Basics" may rein in Aguilera's tendency to oversing; and if the old-school jazz, gospel and R&B nuances can seem mannered, it's hard to imagine a contemporary pop star who could croon an achy ballad such as "F.U.S.S." or "Hurt" with more dexterity.
Still, for all its textural and emotional ambition, this double CD is a triumph of production and technique over songcraft and personal expression.
— Elysa Gardner
"Waterloo to Anywhere" by Dirty Pretty Things: Many assumed the success of The Libertines mostly hinged on self-destructive celeb junkie Pete Doherty. But his recent addled outing as Babyshambles and this bright Pete-free return by former bandmate Carl Barat prove otherwise.
DPT's explosive, concise punk-rock tunes echo The Clash and The Ramones with frayed edges and a punch-drunk lurch that suits the London night-crawler ambience. Though Barat defiantly makes a fresh start here in confrontational rockers about abusive spouses and the venal sex trade, he also rehashes the Doherty drama in "Bang Bang You're Dead" and "Doctors & Dealers." A highlight is "The Enemy," dark disco-driven paranoia with a slamming chorus.
— Edna Gundersen
"Livin' it Up" by Sammy and the Wabos: While living on the beach in Cabo San Lucas might be good for Sammy Hagar's outlook, it's not so good for his music. The former Van Halen frontman and one-time "red rocker" offers up only two real rock songs on his latest, "Mexico" and "The Way We Live," neither of which impresses.
After the bluesy, promising opener, "Sam I Am," the rest of the record is a blend of pop country and wannabe Jimmy Buffett. More than a quarter of the record is devoted to covers, including Toby Keith's "I Love this Bar," the Kenny Chesney-penned "One Sip" and a rewritten version of the Staples Sisters' "I'll Take You There."
The biggest transgression, however, is his mauling of Bob Dylan's "Rainy Day Women No. 12 and 35." Fans may wonder if Sammy's getting just a little too much sun.
— Fred Phillips
"Second Round's on Me" by Obie Trice: The Eminem protege's viewpoint takes a darker turn on the follow-up to 2003's "Cheers." Trice, who was shot in the head New Year's Eve, paints a bleaker picture of his native Detroit, packing harder lyrical punches than the often-humorous jabs that laced his debut.
The city's daily violence is a recurring theme on tracks such as "Cry Now," "Kill Me a Mutha," "Lay Down" and "There They Go." Trice gets notable help from the likes of 50 Cent, Nate Dogg and Trey Songz, but "Snitch," with Akon, is the one that's most worthy of toasting.
— Steve Jones
"Christ Illusion" by Slayer: Fans know exactly what they're going to get from Slayer every time, and this record, the band's first since 2001 and first with original drummer Dave Lombardo since 1990, is no exception. Start with a base of full-blast, highly technical thrash ("Flesh Storm," "Consfearacy"), mix in some religion-themed lyrical controversy ("Cult," "Jihad"), and you've pretty much got the recipe that's made Slayer the pre-eminent extreme metal band for nearly a quarter of a century.
One particularly strong moment is the haunting "Eyes of the Insane," which offers a look through the eyes of a soldier dealing with the aftermath of his war experience. There's nothing adventurous here, no experimentation, just Slayer doing what they do best. While it doesn't rise to the lofty heights of the band's 1986 classic "Reign in Blood," "Christ Illusion" is easily their best effort since 1994's "Divine Intervention."
— Fred Phillips
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