| | Boyz II Men Love CD Boyz II Men Discography of CDs
The title of Boyz II Men's third consecutive covers album is only partially indicative. The love songs covered on this disc span several decades and styles, unlike Throwback (`70s and early-`80s funk and soul) and Motown: A Journey Through Hitsville USA (self-explanatory), both of which were more focused thematically. What ties these songs together is that they are love songs, and nothing else. That early-`60s R&B (Sam Cooke's "Cupid"), late-`90s country (Lonestar's "Amazed"), and early-`80s rock (Journey's "Open Arms," a choice likely influenced by producer Randy Jackson) are all part of the mix only hints at the randomness of the selections. Despite the range of the sources, Boyz II Men tie it all together. ~ Andy Kellman
The title of Boyz II Men's third consecutive covers album is only partially indicative. The love songs covered on this disc span several decades and styles, unlike Throwback (`70s and early-`80s funk and soul) and Motown: A Journey Through Hitsville USA (self-explanatory), both of which were more focused thematically. What ties these songs together is that they are love songs, and nothing else. That early-`60s R&B (Sam Cooke's "Cupid"), late-`90s country (Lonestar's "Amazed"), and early-`80s rock (Journey's "Open Arms," a choice likely influenced by producer Randy Jackson) are all part of the mix only hints at the randomness of the selections. Despite the range of the sources, Boyz II Men tie it all together, nearly to a fault. The group makes the occasional modification to the originals, like the ticking-clock vocal effect on Cyndi Lauper's "Time After Time"; otherwise, if you know the originals, and you know Boyz II Men, you can play these versions in your head without having heard them. ~ Andy Kellman
Deluxe Edition Love Review
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Purchase Love CD To buy, Click on price to add to cart | Boyz II Men Legacy: The Greatest Hits (Deluxe) CDs (2001) Deluxe Edition; Digipak
Love album
 $20.89   
Recorded between 1991 & 2000. Includes liner notes by Steven Ivory and Traci Jordan.
Boyz II Men ruled the charts in the early 1990s with their smooth, doo-wop vocal harmonies and a production that was inspired equally by new jack swing, urban contemporary, and `60s and `70s soul. LEGACY: THE GREATEST HITS collects the quartet's biggest hits, beginning with their dynamic first single, "Motownphilly," which, although sleek and commercial, sounds positively funky compared to the lush balladry that followed. Naturally, the group's monster smashes take center stage, and anyone who was within earshot of a radio in the `90s will recognize "End of the Road," "I'll Make Love to You," and "On Bended Knee." Those hits alone are enough to sell this set, but cuts like "Hey Lover," featuring LL Cool J, and their cover of the Five Satins' "In the Still of the Night" are an added incentive.
This ...
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When a group of Predacons are pursued vigorously by a band of Maximal pursuers, they land on a basic netherworld of primitive means. The collective newcomers proceed to transform themselves into robots in order to combat the tough conditions, and resume fighting. Naturally some of the planet's inhabitants are none too happy about this situation, and proceed to cause some mayhem of their own. It all adds up to some exciting animated adventures in the BEAST WARS TRANSFORMERS series, ...
| | Gucci Mane State vs. Radric Davis CD (2009)
Love music CDs
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Just half a year from the release of the mysteriously unauthorized catalog clearinghouse/label kiss off Murder Was the Case, Gucci Mane returns with The State vs. Radric Davis, his latest on Warner Bros.' Asylum imprint. True to form, the bling-loving rapper brings the club-ready Dirty South rap, complete with trunk-rattling bass and trademark synths. Featuring production by Drumma Boy, Mannie Fresh, Shawty Redd, and Scott Storch, amongst others, it's no surprise that the album is able to perfectly capture the low and slow Southern sound. Some of the best beats come by way of Bangladesh (producer on the Lil Wayne single "A Milli"), who drops some seriously roll slowing Atlanta heat on "Stupid Wild" and "Lemonade." The all-star roster doesn't just stop on the production side. Soulja Boy Tell `Em, Rick Ross, Lil Wayne, and Bun B (as well as countless others) drop in with guest verses, culminating in an album that's so jam-packed with Dirty South royalty that it almost feels a little light on Gucci Mane. While the galaxy of guest stars has become commonplace in the rap world, it's Gucci's solo songs that paint a picture of what the rapper is really like, peeling back the veneer of excess to reveal an artist who has been affected by his past. On "Worst Enemy," a song that touches on the rapper's 2005 legal troubles, Gucci looks to stay focused on his future as he closes out the hook with "I don't turn around no mo', I look at what's in front of me/I'm focused on the future ...
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Digitally remastered by Bernie Grundman (Bernie Grundman Mastering, Los Angeles, California).
Jackson's domination of the world record market continued following Thriller, although by comparison it was an almighty flop with only 12 million sales. As Pink Floyd and Dire Straits have proved, one album can go completely sales haywire without necessarily being any better. The title track and the gorgeous "Man In The Mirror" were substantial hits, but quality material such as "Dirty Diana" and "Liberian Girl" bolster a strong album. Jackson also seemed to have found the romance he seeks in "I Just Can't Stop Loving You" and "The Way You Make Me Feel." Regardless of his press, history clearly shows that he has made a lot of people very, very happy.
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The first six songs on MAGICAL MYSTERY TOUR were the soundtrack to the Beatles' TV movie of the same name. The film was an experimental mess, but the experimental pop of the album included some of their most memorable productions. The soundtrack side was dominated by Paul McCartney pop tunes, including the bittersweet piano ballad "Fool On The Hill" and "Your Mother Should Know," an impossibly catchy bit of Vaudevillian pop. But it also featured George Harrison's mystical "Blue Jay Way" (about his house in Hollywood) and John Lennon's "I Am The Walrus," which wedded a stream-of-consciousness lyric to a fierce drum beat, layers of strings, odd voices and some dialogue from Shakespeare's "King Lear."
McCartney's "Hello Goodbye," which led off the assorted singles, featured some neatly arranged contrapuntal vocals, and may well have been about the dissolving partnerships (songwriting and otherwise) between McCartney and Lennon. Lennon's strangely arranged "Strawberry Fields Forever," whose two halves blend different takes of the same song, one slowed down to match the pitch of the other, was a trippy reverie; its bridges, orchestrated with horns, cellos, and backward cymbals, are sheer brilliance. "Penny Lane," a wistful fantasy featuring a beautiful trumpet solo, was McCartney at his melodic best, the AM foil to Lennon's FM headiness.
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