Red Hot Chili Peppers: By the Way
WEA 48140

Musical Performance
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Overall Enjoyment

Previous Chili Peppers albums have usually had a few memorable songs amidst others that make me thankful for a CD player’s "track skip." They have seemingly prided themselves on diversity -- making them difficult to categorize -- but to these ears they have often lacked musicality. By the Way has reversed that and is largely listenable throughout. Kiedis’ voice, which has been uneven on past efforts, sounds more mature and controlled here, and they’ve recorded it well. In fact, the whole band sounds grown-up and they slide through musical styles with more ease and better success. They’ve actually gotten better with age. The two opening tracks, "By the Way" and "Universally Speaking," are rousing and set the stage for the mixture of moods that follow. Knockouts include the brooding "Don’t Forget Me" immediately followed by the free-spirited "The Zephr Song." There are a lot of catchy hooks on this disc and plenty of surprises like the innovative, Latin-flavored "Cabron." After almost 20 years, By the Way has finally made me a Chili Peppers fan.

Craig Armstrong: As If to Nothing
EMI 811907

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Overall Enjoyment

I’ve heard this CD described as desperate and sad. And indeed, Craig Armstrong’s second solo effort has elements that could classify it as such. Steeped in string arrangements that made Armstrong so popular with Massive Attack and Madonna, the majority of As If to Nothing fails to be consistently moving or musically interesting. There are a few cuts that work well. "Ruthless" does build brilliantly, while "Wake up in New York" never ceases to pull at the heartstrings. But no matter how many times I listened, I was never completely lost in the album. The recording itself is good, though one could argue that it edges toward being overly produced. Still, if you like film-like string arrangements that have a Brian Eno-like ambience, you may find Armstrong’s brand of downbeat orchestrations to your liking.

Moby: 18
V2 27127

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Overall Enjoyment

Before 18, I never once gave Moby a listen. I’m not sure why. I guess I just never got a chance to sample his brand of electronica. Now I find myself looking forward to experiencing all the songs this obvious talent has written over the last decade. Though it’s clear that Moby has the chops of a serious synthesist, it’s his infusion of roots and blues in these compositions that truly sets his creations apart from other electronic pop. Though Moby does wrap his songs in shorter, more pop music-like packages, his music is reminiscent of ex-Depeche Mode keyboardist Alan Wilder’s band Recoil. 18 has that typical shimmering clarity of many newer electronic pop recordings. And though the recording wouldn’t be considered warm, all of the songs have an organic quality in their chorus and bridge that tempers the electronic edge.

Soundtrack: Minority Report
DreamWorks 450385

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Despite its tendency to lean on a well-worn formula, Steven Spielberg’s Minority Report represents exciting filmmaking. Not surprisingly, the same observation can be applied to John Willams’ film score. There is nothing new here. One could easily argue that the prolific composer is ripping himself, and others, off. For instance "Pre-Crime to the Rescue" gives a nod to John Ottoman’s score from The Usual Suspects, while offering a minor revision to Williams’ own horn-driven chase motif from Jurassic Park. Sharp ears will also find some similarities to Steven Spielberg’s Always. Still, like Spielberg’s handling of his camera, there’s no denying Williams’ command of his baton. This well-recorded soundtrack may not win an Oscar, but it will elicit a definite emotional response. Williams may be revisiting old material, but he shows no signs of failing to give his fans an immensely satisfying and colorful performance.

David Bowie: Heathen
Columbia 86630

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Overall Enjoyment

Anyone following the career of David Bowie knows he’s had his share of duds. Remember Tin Machine? Fortunately Heathen represents a return to classic Bowie -- a time where he created some of the most memorable rock‘n’roll songs in the history of music. It’s no surprise that it is producer and engineer Tony Visconti (Scary Monsters, Young Americans) who stands behind one of Bowie’s best albums in years. Diehard Bowie fans will hear elements of old and new in this extremely well-recorded 12-track set. Synthesizer treatments reminiscent of the eclectic musician’s "experimental" efforts, like Outside and Earthling, play amongst the guitar-driven sound that made him a star in the first place. Do yourself a favor, though, and get the regular version. The limited edition’s bonus disc is not worth the extra money.