| | September CD September Discography of CDs
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Swedish dance-pop singer September (aka Petra Marklund) scored a U.S. dance hit in 2007 with "Cry for You," a sleek, tuneful bit of prime Euro-disco that borrowed its central riff from Bronski Beat's "Smalltown Boy." Robbins Entertainment followed up that success by releasing this debut album, which is actually a compilation of material from September's second and third Swedish albums, cherry-picking half of the tracks from 2005's In Orbit and all but three from 2007's Dancing Shoes. Taking a no-nonsense approach, it kicks off with her three biggest singles to date; both "Satellites" and the markedly bubblegummy "Can't Get Over" are decently catchy, but "Cry" is the obvious standout, managing to conjure both sophistication and a surprising degree of emotion from its fairly pedestrian frothy electro-pop arrangement and polished but powerful vocal turn. Save for one so-so ballad ("Flowers on the Grave"), the remainder of the selections follow the same basic approach in arrangement, tempo, and tone, to fine but generally diminishing results. At its worst, the material is slightly cringe-inducing (the dopey lyrics of "My Neighbourhood"; the shameless "Bette Davis Eyes" sample on "Midnight Heartache"); at its best it's well-executed but unremarkable. The main problem with September's music is that, unlike her Scandinavian counterparts such as Robyn and Annie, she doesn't project much personality -- her voice is decent, and even warm at times, but the lyrics are empty and she comes off as a complete cipher. Still, "Cry for You" is a strong enough track (though fairly faceless too, in its way) that even an album's worth of half-hearted imitations holds some interest for fans of the genre. ~ K. Ross Hoffman
September (Sweden): Niclas Von Der Burg (guitar, keyboards); Petra Marklund, Anoo Bhagavan, Jonas Von Der Burg.
Personnel: Petra Marklund (vocals); Niclas Vonderburg (guitar, keyboards); Jonas Von Der Burg (keyboards, programming); Anoo Bhagavan, Jeanette Von Der Burg (background vocals).
Audio Mixer: Jonas Von Der Burg. September Songs | 1. | Cry for You  | $0.99 | |
| 2. | Satellites | |
| 3. | Can't Get Over | |
| 4. | Flowers on the Grave | |
| 5. | My Neighbourhood | |
| 6. | Sad Song | |
| 7. | Until I Die | |
| 8. | Because I Love You | |
| 9. | Candy Love | |
| 10. | Taboo | |
| 11. | Looking for Love | |
| 12. | Midnight Heartache | |
| 13. | Freaking Out | |
| 14. | R.I.P. | |
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Purchase September CD To buy, Click on price to add to cart | Secret Life Of The Veronicas CD (2006)
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| | Rihanna Good Girl Gone Bad CD (2007)
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The music of Barbados-born singer Rihanna--a breezy blend of hip-hop, commercial pop, and Caribbean flavors--made her a bona fide superstar before the age of 20. Given her immediate success, one had to wonder if Rihanna would be a flash in the pan, but her third album, 2007's GOOD GIRL GONE BAD, is a winner. Interestingly, Rihanna avoids the Caribbean tinge that made her breakthrough single "Pon the Replay" a massive hit, sticking instead to more straightforward dance-pop designed for the club and the singles charts. More interesting still, she pulls it off with assurance and skill.
It doesn't hurt that heavyweight producers such as Timbaland (who contributes several tracks to GOOD GIRL) are on board, or that Rihanna is backed by the Def Jam empire. In fact, Def Jam president Jay-Z appears on the album's lead single, "Umbrella," an irresistible, stomping dance anthem that does exactly what a single should. Another highlight is "Shut Up and Drive," which works a powerful groove based around a sample of New Order's "Blue Monday." There are notably fewer ballads here than on Rihanna's sophomore effort, which is a welcome change, and makes the ...
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The cover of Danity Kane's sophomore release features the group members draped in negligees and bedsheets, and WELCOME TO THE DOLLHOUSE makes good on the breezy, sexy allure of the image. With ...
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| | Barb Jungr Every Grain Of Sand CD
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This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Every Grain of Sand is a breathtaking revelation on several fronts. First, Barb Jungr treats Bob Dylan as one of the great tunesmiths of the American popular tradition. Not merely as rock & roll's preeminent songwriter, the direction from which virtually all others have approached his canon, but as a sophisticated composer the equal of the Gershwins, Irving Berlin, Jerome Kern, or Cole Porter. Jungr dramatically re-reads that canon and she fearlessly reshapes it in the process. To cite the most radical instances, she turns "Things Have Changed" into an Eastern European jig and "Tangled up in Blue" into a jaunty, jazzy western, while "Born in Time" is a marvel full of Baroque voicings. One may quibble -- and Dylan fanatics, known to be provincial on occasion, certainly will, perhaps vociferously -- with an arrangement here or a lyrical interpretation or subtle shading there without -- and here is the magic of the album -- in the least invalidating the singer's choices. Indeed, part of the sublime beauty of Every Grain of Sand is that it inspires, even challenges, one to make personal revisions and reinterpretations. Ultimately, Jungr is one of the few artists who has managed to not only come out on the other side of this songbook unscathed, but to actually come out having enhanced its gravity, significance, and unvarnished beauty as well as her own. She is not merely singing, but telling stories. She opens up a window of vulnerability and sensuality that had previously sat stoic beneath the surface of these songs and suffuses them with such a delicate, gauzy luminosity that they seem to glow from the inside out. Her singing is soulful and emotionally naked, and the ...
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Another exquisite, at times astonishing, album from Miss Jungr. Unlike Bob Dylan, whose songbook the singer had so expressively reimagined on Every Grain of Sand, Elvis Presley was never himself a composer, depending instead entirely on professional publishers for his material, much of it originally chosen for its commercial prospects; however, even at its worst -- the soundtracks to the crap cookie-cutter movies the King made in the '60s usually come to mind here -- his recorded output had a certain consistency to it. On reflection that is primarily because, even at their qualitative best, his songs were as much about the sensual, muscular, bel canto performances and tied to the superstar singer's outsize, magnetic personality as they were about the merits of the tunes themselves. In other words, you are listening to Elvis sing those songs more than you are listening to the songs he is singing. In a way, that makes Jungr's Love Me Tender all the more remarkable: you do not hear the King at all here except in faint echoes and traces, like barely remembered fairy tales you were told as a child as you were drifting off to sleep. This isn't an exercise in dress-up, as it very easily might have been. Instead you are treated to a phenomenally responsive singer finding her way into and breathing the oxygen of forgotten stories, while, in the process, refitting them to say something real and useful, something personal about your world and about the one long past. In a sense, you are hearing these songs -- many of them now considered classics (pop/rock standards, if such things exist) -- for the first time. Worlds of passion and pain, discovery and dislocation exist in these songs. They are so entirely reinvented by Jungr, her brilliant arrangers Adrian York and Jonathan Cooper, and producer Calum Malcolm that the prevailing mood of the album is transformed into ...
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$21.99 | | Act Of Congress Declaration CD (2009)
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One listen to Act of Congress’s hook-laden melodies and burnin instrumentals will leave you remembering why you love music in the first place. Bringing a fresh identity, Act of Congress is acoustic music you need to hear! Please check out our LIVE video http://www.youtube.com/watch?v=hiWyjuqibO0"Superstar Potential"-Portico Magazine With hook laden melodies, compelling songwriting, and burning instrumentals, after one listen to Act Of Congress debut album "Declaration", you'll remember why you first loved music in the first place. Combining the best elements of rock, folk and bluegrass to produce an acoustic palette that's turning heads both locally and nationally, the music of Act of Congress is, in a word, contagious. Using classic acoustic instrumentation, Act of Congress pays homage to groups like Nickel Creek, yet their music is strikingly original. Chris Griffin (guitar/dobro) and Adam Wright (mandolin/guitar), became friends in college. Wright, a pianist turned guitar player turned mandolin player, says " After being exposed to progressive bluegrass music, Chris and I both became very interested in modulating our singer songwriter/rock knowledge to acoustic instruments. That style evolved from a casual jam to one that requires an extraordinary high level of musicianship," Says Wright, "The playing is very demanding. This is not a style of music where you can not play for a month then get up and do a show again. We work really hard on keeping the songs up to par. Vocally, it's equally demanding as well. But in the end, there's nothing else we'd rather be doing." In late "2006, Tim Carroll (upright bass) was hired ...
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