| | Soul Ballads Vol. 2 CD - Import Various Artists :
Soul Ballads, Vol. 2 is a shoddily compiled, very brief disc made up of soul songs from a variety of styles and eras, seemingly thrown together with no thought given to the end result. There are many wonderful songs here, like Mary Wells' "My Guy," Harold Melvin & the Blue Notes' wrenching "If You Don't Know Me By Now," and the Drifters' "Save the Last Dance for Me." The order in which they appear makes for a jarring listening experience. All of the songs found here are available on other, better compilations. ~ Tim Sendra
Soul Ballads, Vol. 2 is a shoddily compiled, very brief disc made up of soul songs from a variety of styles and eras seemingly thrown together with no thought given to the end result. There are many wonderful songs here like Mary Wells' My Guy, Harold Melvin & the blue Notes' wrenching If You Don't Know Me by Now and the Drifters' Save the Last Dance for Me. The order in which they appear makes for a jarring listening experience. The presence of Paul Young's stiff cover of the Miracles' classic tracks of My Tears doesn't help matters any either. All of the songs found here are available on other, better compilations. ~ Tim Sendra Soul Ballads Vol. 2 Music Soul Ballads Vol. 2 Songs Soul Ballads Vol. 2 Review
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Purchase Soul Ballads Vol. 2 CD To buy, Click on price to add to cart | Whitney Houston I Look To You CD (2009)
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Despite her star having lost some of its luster in the 2000s, Whitney Houston is still regarded as a benchmark for modern singers of all stripes (from soulful divas ...
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Despite its codification into our collective pop culture consciousness, Isaac Hayes' "Theme From Shaft" is a highly original composition. It's been remade by Hayes himself for the remade Shaft film, and appropriately kicks off this collection of tunes from the movie by some of R&B's New Jacks.
A diverse selection of artists encompass the collection, from lascivious soul stirrer R. Kelly to the rugged Latin hip-hop of Fulanito, along with many other noteworthy diversions that represent the many flavors of contemporary urban soul. Most of the material focuses on John Shaft's street smarts and bravado, or the film's pimps, hoes, and gangsta imagery. As expected, Southern hip-hop is well represented, with Outkast, Mystikal, and Big Gipp from Goodie Mob contributing. The tracks offer typically gritty observations on street life, over bleak, minor chords and busy percussion. T.I.P. featuring Beanie Sigel offers "2 Glock 9's," one of the soundtrack's most rugged grooves, a minimal, stripped-down drum break that stutters and skids backwards and forwards over a Notorious BIG vocal sample and is easily the eeriest track on the album. The only light relief is provided by Too $hort's "Pimp Sh*t," a humorous foray into playa politics.
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Don't let the title fool you; after listening to The Only Doo-Wop Collection You'll Ever Need, you'll definitely want more. This is a good starting point for the curious, since all the basics are here in the original hit versions: "The Great Pretender," "Earth Angel," ...
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Functioning as something of a replacement for the 2001 collection Their Greatest Hits: The Record, The Ultimate Bee Gees covers much of the same ground as that double-disc set, albeit in not quite so linear a fashion. The Record marched through its 40 tracks chronologically, opening with the stately baroque Beatlesque pop of the '60s and then winding through the '70s, whereas this opens with the bright, fabulous blast of "You Should Be Dancing" and remains in their late-'70s heyday for a while before fast-forwarding to such latter-day adult contemporary hits as "One." We don't get to "I've Gotta Get a Message to You" and "I Started a Joke" until halfway through the second disc, and this jumbled, almost haphazard sequencing is a little disconcerting ...
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Unfortunately, Atlantic's A Donny Hathaway Collection, one of the few career retrospectives available (and basically the only one in print), isn't quite definitive; it presents a version of Hathaway's career inordinately focused on his commercially successful duets with Roberta Flack, and his slowest, most dirge-like solo recordings. A few of his best up-tempo tracks are represented ("The Ghetto," his live cover of "What's Going On"), but not before haunted material like "I Love You More Than You'll Ever Know," and "Giving Up." Admittedly, his duets with Flack are among the best ...
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