Sound Bites

 

Aerosmith “Just Push Play” Columbia
Records

Since the early ’90s, in particular, Aerosmith has been
one of those bands consistently experimenting with diverse sounds
and beats. It has been reinventing the rock genre and keeping it up
to date.  Its latest album, “Just Push Play,”
synthesizes classic Aerosmith style with unconventional musical
tangents. Rock scales often meet break-beats or punk and metal
riffs. As the group tests new styles, it stays true to its roots
with ample guitar solos that give Steven Tyler’s wonderfully
raspy voice a rest. If this album sounds distinctly different to
listeners, it’s because “Just Push Play” is the
band’s first self-produced album in its nearly four-decade
career. The first track, “Beyond Beautiful,” revisits
the sweet hypnotic sitars of the band’s last album,
“Nine Lives,” before transitioning into distortion
guitar that keeps the group grounded in rock’s essence.
Musical experimentation continues with the title song “Just
Push Play,” this time with a hip-hop beat and a brief
visitation to a bass line reminiscent of the Beastie Boys’
“Paul Revere.” Crafty verses fill the album, especially
in “Outta Your Head,” where the chorus sounds like a
schizophrenic’s inner monologue. “Just Push Play”
is eclectic, original, emotional and most importantly, head-bobbing
fun. The album’s official last track is “Avant
Garden,” sealing the album’s diverse sentiments on life
and romance. However, the album doesn’t really end here.
“Just Push Play’s” most important musical
statement comes through in its secret track. The untitled medley,
lasting no more then 30 seconds, provokes listeners with Tyler
looping his voice and screaming, “Do it!” A quick
transition into a cappella leads into a symphonic climax
(reminiscent of the Beatles’ “A Day in the Life”)
before settling into guitar distortion. The product is an homage to
music history that victoriously reaffirms good ol’ rock
‘n’ roll in the end. If this album doesn’t clear
up the confusion of Aerosmith’s supposed “sell
out” efforts (the Super Bowl performance with Nelly, Britney
and *NSYNC), then fans are not opening themselves to the evolution
of rock music. Aerosmith is the embodiment of this evolution,
proving that the fittest has survived and it still has a thing or
two to show the youngsters who are just coming up.

Ruvin Spivak Rating: 8

Innosense “So Together” RCA
Records

The latest pop-infused girl group, Innosense, is a Lou Pearlman
concoction, combined with the influences of Lynn Harless (mother of
*NSYNC heartthrob Justin Timberlake). Hoping to follow in the
footsteps of fellow Pearlman alums the Backstreet Boys and *NSYNC,
the group has recently released its debut. Five is the magic number
once again as Mandy, Danay, Nikki, Veronica and Jenny set out to
prove that there is room in the market for a girl group and that it
can conquer the pop world. The girls spent the summer and fall
of 2000 touring with *NSYNC and Britney Spears ““ an original
member of Innosense before going solo ““ giving the group the
opportunity to appeal to its targeted fan base. Like the
aforementioned boy bands, Innosense first set out to conquer Europe
and is now ready for the fame and fortune at home with its domestic
release. The group has enlisted the help of Diane Warren, arguably
one of the most successful songwriters of all time, to pen and
produce two of the album’s standout tracks “A Hundred
Oceans” and “You Didn’t Have to Hurt Me.”
“Say No More,” the first single, is a catchy, upbeat
and danceable song that is a definite hit with the junior high set.
The girls do paint an interesting picture of fun. For instance, in
the boisterous dance track “Ride,” they suggest doing
what you want. “I’m gonna rock this place like outer
space/Give ya somethin’ that ya never had/I’m gonna
paint my nails/dye my hair/Then take me a champagne bubble
bath.” Is this a possible “Millennium”-esque
Spice Girl resurgence? At any rate, it sounds like a pretty good
time. Along with the Puff Daddy-produced Dream, Innosense is paving
the way for the inevitable girl group phenomena. With a fun and
upbeat release from start to finish, the record is still not up to
*NSYNC caliber ““ but any 10-year-old will appreciate the
group.

Dria Fearn Rating: 5

Semisonic “All About Chemistry” MCA
Records

Probably no hoopla will surround Semisonic’s third album.
Well, not the kind that surrounds groups like The Dave Matthews
Band or Matchbox Twenty, at least, who constantly find their
singles in heavy rotation on top-40 radio along with heavily touted
concerts. In Semisonic’s case, there’s little
mainstream reception for a seeming one-hit wonder. That’s a
shame, however, because Semisonic is not a one-hit wonder kind of
band. “Closing Time” was wonderful pop candy off its
second album. “Feeling Strangely Fine” and its
following single “Singing in My Sleep” bizarrely never
caught on, though they were a better effort than Matchbox
Twenty’s second single “3 a.m.,” which helped
catapult Rob Thomas and Co. to pop stardom. So, on
Semisonic’s new album, the band has moved away from cutesy
pop candy. There is an urgency on “All About Chemistry”
regarding relationships that struggle to find middle ground. On
“Bed,” singer Dan Wilson emotes, “If you feel
like I’m asking far too much, we can keep in touch and
I’ll find someone else to bed.” Admittedly, the songs
here aren’t comprised of the basic pop hooks and catchy
choruses from the band’s last album; sometimes there
isn’t even much of a discernible melody. But there is an
emotional buildup that seems to reach its climax in songs like
“Act Naturally,” about the facades lovers put on to
save dissolving relationships. As a result, the songs fit the words
and mood as they ramble musically like a lover who’s lost in
thought. But Wilson also knows how to craft a tight pop song, as
heard on the first track “Chemistry,” and the wonderful
song “Follow,” which shows how romance doesn’t
have to be a cheesy sentiment with lyrics like “Love me the
best as you know and everything else will follow.” Also,
“One True Love,” co-written by Carole King, is another
gorgeous, understated love song. Wilson’s subtlety and
delivery may pose a problem to the casual listener because the calm
piano harmonies and Wilson’s low-key performance won’t
capture the sensibility that appreciates an addictive beat. But
this album takes chances by stripping the extraneous sentiments of
love, and presents them unadorned, but, nevertheless,
beautiful.

Sandy Yang Rating: 8