Rapper Eurazmus Forh, a.k.a. Illecism, never really knew his father until he moved into his south Sacramento home at age 15. Up to that time, Illecism had lived in Maryland with his aunt, who’d recently kicked him out. Before that, his grandma and mom had given him the boot. More
Coldplay have mastered their anthemic craft so precisely that with every peak of Chris Martin's falsetto you can hear the faintest cha-ching of dollar signs. So, for them to usher in Brian Eno to help dip their toes into new terrain is a move that deserves some props. Eno gives them room to build their grandiose crescendos, while adding in oblique bars of airy soundscapes ("Life in Technicolor"), Eastern strings ("Yes"), Renaissance strut ("Strawberry Swing") and even some Phil Collins swagger ("Violet Hill"). It's a good progression, but not as innovative as they might have been hoping for. Editor: Stephanie Benson
On the conclusion to Wayne's Carter trilogy, clouds of incoherence give way to the occasional beams of lucidity. For the latter, nonsense transforms into catharsis, and Wayne sounds like a modern-day, word-drunk Screamin' Jay Hawkins, angry and defiant as he stares in the mirror. Other times, Wayne simply sounds drunk, sputtering limp jokes and railing against imaginary haters. The album's highs ("Mr. Carter," "Dr. Carter") are stunning, but they sink beneath generic pop-hop ("Ms. Officer") and mixtape material ("You Ain't Got Nottin'"). It's singular, but that's not always a compliment. Editor: Sam Chennault
For her third disc, "Lil Miss Sunshine" stakes a claim as the queen of R&B by turning to the '80s. On "Shut Up and Drive," she samples New Order's "Blue Monday," while lead single "Umbrella" -- with Rihanna's understated, nasal vocals wrapping around dramatic strings -- would fit nicely in a John Hughes flick. The spunky "Breakin' Dishes" is more fun than bitter, and "Rehab" overcomes its rather mawkish sentiments to be an effective break-up ballad. There's hardly a throwaway track, and Rihanna continues to evolve. This edition includes three unreleased tracks, including hit "Take a Bow." Editor: Sam Chennault
We have to admit: We have a hard time taking romantic ballads and lovelorn slow jams seriously when they come from teenagers. Which is kind of illogical, considering teenagers spend a lot of time obsessing about their broken hearts. But thankfully, Vanessa Hudgens doesn't devote too much of her second album to puppy love, although "Don't Ask Why" is pretty sweet and the Dr. Luke-produced broken-heart-with-a-beat jam "First Bad Habit" is compelling. Ms. High School Musical's best tracks -- like the Fergie-fied "Hook It Up" -- are all about going out, having fun and flirting. Editor: Rachel Devitt
After 50 Cent's artistically and commercially disappointing last album, Curtis, no one wanted an unfocused album bloated with appearances from affiliates like Mobb Deep, Hot Rod and M.O.P. Apparently 50 agreed, limiting mic time to original members Tony Yayo, Lloyd Banks and (recently ousted) Young Buck. The result is a cohesive blend of belligerence and lyrical mayhem that resembles stellar material from the group's acclaimed mixtapes. Songs like "Straight Outta Southside," "Piano Man" and "You So Tough" won't get much airplay, but they'll go a long way in restoring the G-Unit brand. Editor: Toshitaka Kondo
Chicks dig Mayer. If all the sexy girlfriends didn't convince you of that, Where the Light Is will. Ain't no alpha males squealing between crowd pleasers like "Waiting on the World to Change" and "Daughters" -- it's ladies' night al the way. But hey, you gotta give it up for him. In an age when concerts aren't the communal extravaganzas they once were, Mayer plays his skinny butt clear off for, like, hours. There's three whole sets here: solo acoustic, John Mayer Trio and the full band from Continuum. Yowza. Editor: Justin Farrar
On this tantalizing 2008 release, Cassandra Wilson returns to standards and strips down to a working band. Yet Wilson keeps the atmospheric Americana guitar sound of her recent recordings throughout, which lends a laidback air to the proceedings. Don't confuse "laidback" with "lazy" -- Wilson and her band are locked in and working at the top of their craft. The set features Jason Moran on piano and a guest appearance by trumpeter Nicholas Payton. Anyone who wants to study the jazz art of singing behind the beat should listen to Loverly repeatedly. OK, so should everyone else. Editor: Nick Dedina
Live at the Monterey Festival's cover photograph wasn't actually taken at the seminal 1967 concert. But no worries: the eight-track set inside is all Monterey, and it smokes. Although the Airplane had yet to morph into the acid-rock behemoth of 1968, the band's early performances were always visceral affairs full of bluesy folk-rock. Leads vocalists Grace Slick and Marty Balin soar, especially on "High Flyin' Bird." Jorma Kaukonen, meanwhile, invents psychedelic guitar with every searing lick. Editor: Justin Farrar
Veteran flamenco guitarist Amigo landed his first Latin Grammy in 2001 with this album -- and a 2002 Ondas award. Amigo's skills are undeniable, and his jazz-influenced take on flamenco, while it might take time to get used to (for trad flamenco fans), rarely loses sight of the basics. His thoughtful playing is usually underpinned by the insistent palmas that rescue it from sentimentality. Standouts include the meditative solea "Cordoba" and the title track, whose name is taken from a classic Greek poem. Cheb Khaled and Diego el Cigala guest, as does a who's who of Spanish percussionists. Editor: Sarah Bardeen
