WK40 - Two Door Cinema Club - Tourist History (9)

Released - 4/13/10

Label - Glassnote

BLURB - This time next year I'm pretty sure everyone will know who Two Door Cinema Club is. Hailing from Ireland, the band has just begun to surface in the states, and look to be here for a while. Two Door Cinema Club blend a unique sound all their own, fusing indie rock against bright europop dance beats, with the end result almost always being amazing. This sound, coupled with the band's natural knack for delivering hooks and melodies, create the perfect formula for pop music. Good luck not liking this record.

Rating - 9 out of 10

FULL STORY - I saw one of Two Door Cinema Club's first shows in New York City a few months back and it only reiterated the notion that this band should, and will, get big. The crowd was electric, with nearly everyone shouting the lyrics along with singer Alex Trimble. It's worth saying, I was probably one of the older people there (I'm 25) and the demographic looks to be somewhere between 16-21. That being said, this only proves how likable and great they are, as I was unashamed to be right there singing along with the 18 year olds.

The album opens up in proper fashion with 'Cigarettes in the Theatre.' After a brief sampled drum introduction the track kicks off with some simple, yet great guitar riffs over a disco beat. Right away you can feel the energy of the song shining through. The production and precision of the band is very impressive as each instrument comes off extremely polished and crisp. The guitars and distortion get cranked up during the chorus, providing a powerful lift in texture while not being overwhelming.

'Undercover Martyn' is another frenetic song that does a tremendous job in varying it's pace and tempo. The verses, for the most part, are very low key and relaxed but are always continuously building up to the chorus. Throughout the album, Two Door Cinema Club show that they have a serious knack for delivering powerful and dynamic choruses. 'Undercover Martyn' is no exception, and in this case the chorus is beautifully outlined by several catchy guitar riffs.

The album slows down a bit for 'Do You Want It All' and 'This is the Life.' This gives Two Door Cinema Club the opportunity to showcase their versatility and musical dexterity. While these tracks are noticeably down-tempo, they never drag on or become too slow, and they do both speed up in the outros. But this slower pace allows the band to create a great sense of mood and atmosphere as they subtlety filter in some synth and carefully crafted electronic effects. The feel of their songs are also always uplifting and positive as reflected in the lyrics to 'This is the Life:'

"Feel something right and feel some good. Because if one thing works, you might know it's true. Because if this is the life, this is the life. Then who'd argue?"

'Something Good Can Work' is likely my favorite track on the album and is filled with positive energy and enthusiasm. The song has a slew of great pop melodies and a danceable groove that will appeal to fans of everyone from Phoenix to Passion Pit. The clean guitars and disco drum beats mesh perfectly with one of the better bass lines that appears on the record. The natural dance influences to this song have helped spread 'Something Good Can Work' around the world as numerous DJ's and artists have released remixes to this song including Crookers and The Twelves.

The main theme that comes out of "Tourist History" is just how fun good music can be. When delivered with the passion and talent that Two Door Cinema Club clearly have, it's almost impossible not to take notice. Their sound alone is impressive - the way in which they create these hits while not being too 'rock' or too 'dance,' is so creative and unique that it always leaves you wanting more. This unique blend will likely transform the band into a household name thanks in part to it's immense marketability. Two Door Cinema Club are still relatively new, yet they already have had their music placed on several television shows both in Europe and the United States. If there's one thing thats certain, it's that 2011 will be a big year for Two Door Cinema Club.

Tracks

1.) Cigarettes in the Theatre

2.) Come Back Home

3.) Undercover Martyn

4.) Do You Want It All?

5.) This is the Life

6.) Something Good Can Work

7.) I Can Talk

8.) What You Know

9.) Eat That Up, It's Good For You

10.) You're Not Stubborn

WK39 - M.I.A. - Maya (3)

Released - 7/7/10

Label - XL Recordings

BLURB - After more than a three year hiatus, M.I.A. returns with the release of her highly anticipated third record, "Maya." M.I.A. is more or less known for her unique and worldly interpretation of hip-hop and dub-style house beats. 2007 saw the singer break out with the release of "Kala," as she landed several awards and guest spots with everyone from Jay-Z to Timbaland. "Maya" attempts to further explore her creativity and zest for making diverse tracks that are both musically interesting and explore her second life as a human rights activist. But unfortunately M.I.A. gets a bit carried away on "Maya" and the music suffers, as the record is inundated with useless and distracting effects that make the album extremely difficult to get through.

Rating - 3 out of 10

FULL STORY - Prior to the release of "Maya," M.I.A. released a controversial video for her single 'Born Free.' The video was nine minutes long and was based around a fictitious genocide in which everyone with red hair was captured and executed. Needless to say, due to the explicit violence and themes of the video, it was subsequently banned by many media outlets and had much of the public up in arms. The truth, however, is that in many third world countries discrimination and genocide are status quo. What M.I.A did with this video is not only spread the word on these terrible situations, but also stir up interest in "Maya." I'll be honest, once I saw the video for 'Born Free' I immediately googled the release date for the album.

And so when "Maya" dropped I picked it up, hoping for it to be some political masterpiece that fused her activism and musicality. Unfortunately, the record is anything but.

After an introduction in 'The Message,' listeners are hit with a barrage of drill gun and chainsaw effects that, for whatever reason, are used as the basis for the beat. The effects are incredibly annoying and make the song near impossible to listen to. M.I.A did something similar to this with 'Paper Planes' back on "Kala," but it sounded good and worked with the actual music. 'Steppin Up' is just a train wreck and all over the place.

'XXXO' is the second single, and I think what everyone was expecting the record to sound like. The beat is incredible diverse, yet not chaotic and is filled with some great vocals from M.I.A. The track has a mass appeal that will resonate with new listeners, while remaining credible for fans that have been with her from the start. The bass and synthesizers are a force to be reckoned with, giving the song layers of depth and versatility. One can easily envision hearing this song at a club, or even becoming an anthem for one of M.I.A's human rights campaigns.

Tragically, after 'XXXO' the album completely falls of the table. 'Teqkilla' is one of the most annoying songs I've ever heard. Granted the drums and the overall beat sound great, but there are waves of effects that completely negate how great the track could be. There is this beeping siren sound that circulates through the entire song, making it unbearable to listen to. If she would just take that sound out of the song, it would instantly become ten times better.

'Meds and Feds' may be the only other track that I actually like, but this isn't really saying much as the track largely samples 'Treats' from indie noise rockers, Sleigh Bells (one of my favorite bands). The song pretty much sounds like 'Treats' but with enhanced percussion and a sped up beat. As the case with Sleigh Bells, 'Meds and Feds' has a noise and loudness that really shouldn't sound appealing, but does. The distortion and dangerously high levels give the track a nice edge and an angry persona.

As for the rest of "Maya," it is mired in chaos and confusion with way too much going on. It's just difficult to get through. I think we were all hoping to have an album filled with songs like 'Paper Planes' or 'XXXO' but this is simply not the case. As the songs are flooding your brain with hundreds of effects and noises to process, they always become overly repetitive and never go anywhere. The record as a whole is incredibly stagnant and never really accomplishes anything in particular.

Tracks

1.) The Message

2.) Steppin Up

3.) XXXO

4.) Teqkilla

5.) Lovalot

6.) Story to Be Told

7.) It Takes Muscle

8.) It Iz What It Iz

9.) Born Free

10.) Meds and Feds

11.) Tell Me Why

12.) Space

WK38 - Miami Horror - Illumination (10)

Released - 8/20/10

Label - EMI Music Australia

BLURB - Australia's Miami Horror became an obsession at our office this year after I brought their record in. You were constantly hearing it being played in other people's cubicles. Everyone suddenly started researching bands that sounded like Miami Horror, myself included, in an attempt to find more records like "Illumination." Describing the band's sound can be a bit cumbersome, but I'd have to say it is something along the lines of retro indie-disco, with a futuristic twist. But genre labeling aside, this album is filled with unbelievably bright tones and atmospheric dance beats that will have you pressing the repeat button all day long.

Rating - 10 out of 10

FULL STORY - "Illuminations" starts off rather unassuming as 'Infinite Canyons' paints a mellow soundscape of textures and tones. The song title is very apt, as listening to the track literally makes you feel like you just jumped off a cliff and are falling in slow motion. Keyboards and arpeggiators slowly filter their way in and out of the speakers as the song slowly morphs into 'I Look to You.' After a few seconds of silence, a drum & bass dance beat and sampled horn section spring out of nowhere. Despite the overall dance feel, the track remains very calm and reserved, almost readying the listener for the rest of the record.

From the first chord of 'Holidays,' you know it's one of those songs that you won't be able to stop listening to. Here we have another dance beat, but this time it is accompanied by a great piano progression and loads of synthesized bass. As the verse hits, the bass suddenly drops and a disco-laden guitar riff emerges as the lone accompaniment. The energy and pace of the track is bursting with energy and enthusiasm everywhere. As the chorus hits, the full instrumentation comes back with even more force and an added fervor. During the final chorus the bass lines go absolutely nuts and transforms into one of the greatest musical bridges I've ever heard. Just take a listen from 2:30 to 3:30 and try not to bob your head. It's impossible. Only making the track better are the vocals, which are all too addicting and melodic.

'Sometimes' might be the best song I've ever heard, even after listening to 'Holidays.' The track begins with a fuzz of ambient keyboards and then draws in waves of synthesizers, bass and guitar as the track begins to build up momentum. It's not until :38 in that the drums kick and the track takes flight. The verse is a stark contrast to the introduction and features restrained wet synth riffs that perfectly bounce off of the snare and kick drums. As with, 'Holidays,' this song has another strong chorus with mass appeal that will strike a chord with any listener. The production itself has a very dreamy feel, thanks in part the myriad of bright tones and atmospheric effects that subtlety lay the groundwork for the song. Even the lyrics have a dreamy feel to them:

"With eyes wide shut we lay stagnant awake, safe for now in this wondrous state. Lost at a crossroad that's missing a sign - how do we know if they made it alive? There's something lurking in the distance ahead, fragments of light shine away from the dead. They fantasize fury, no time left to stop. It's darkness approaching now, we're at a loss."

'Imagination (I Want You to Know)' sounds like a corny dance song you might have heard at a dance in 1984, but it's amazing. Bending guitar notes and electric piano chords form the main components of the song, while the feel is a cross between prom and listening to Hall & Oates. Miami Horror even brings in a group of children to help belt out yet another infectious chorus. The track is somewhat relaxed, but musically tight as they modulate to a new key for the last portion of the song, a great way to enhance an already bright composition.

'Ultraviolet' may be the most electronic song on the album, and rightfully so as Alan Palomo (aka Neon Indian) is featured. With a darker palette of tones, the track has a certain edge to it that can't be found on the rest of the album. Arpeggiators and clouds of haze roam freely throughout the track and unknowingly compliment the surprisingly rock nature of this song with great ease.

"Illumination" is perhaps one of the most complete albums, from start to finish, that I've heard this year. I didn't even get to the brilliance of 'Summersun' or 'Moon Theory.' The record is a great modern interpretation of 80's dance and electronic music. Most, if not all, of the album sounds like it could have been lifted straight from Girogio Moroder's soundtrack to Scarface...maybe that's why they're called Miami Horror? The last main point that really needs to be emphasized is that Miami Horror is a legitimate band and has the live chops to back up the record - it's not just a couple people on their laptops. All this does is make me like Miami Horror that much more. If and when they ever come state-side, I'll be the first one in line for tickets.

Tracks

1.) Infinite Canyons

2.) I Look to You (feat. Kimbra)

3.) Holidays (feat. Alan Palomo)

4.) Summersun

5.) Sometimes

6.) Moon Theory

7.) Echolex (feat. Mai)

8.) Imagination (I Want You to Know)

9.) Grand Illusion

10.) Soft Light (feat. Alan Palomo)

11.) Illuminated

12.) Ultraviolet (feat. Alan Palomo)

WK37 - The Dream - Love King (8)

Released - 6/29/10

Label - Island Def Jam Music Group

BLURB - The Dream kind of came out of nowhere this year, and it really shouldn't be that big of a shock. He already released two solo albums in the previous two years, and though they were under the radar, they were strong and showed enormous potential. The Dream brings a level of smoothness and cool to every track he's on. His vocal style is a crooning mix of singing and rapping (see also Drake & Chris Brown) that matches perfectly with the laid back R&B beats that shape his records, of which he produces most. "Love King" may just be the album that officially introduces this multitalented singer to the masses.

Rating - 8 out of 10

FULL STORY - When you do a little research, you find out just how talented The Dream is. Not only is he an artist, but in most circumstances he writes and produces all of his material. No small feat. As his knack for songwriting and producing evolved he was eventually signed to a publishing deal a few years back. Working in the publishing business, I can appreciate and respect this level of talent. Often times, the public has no idea that their favorite artists are merely just singing songs that have been meticulously crafted by professional songwriters. What really makes a good song good, is the songwriting. The Dream became a force after co-producing Rihanna's "Umbrella" and Beyonce's "Single Ladies," two of the most popular songs of the decade.

'Love King' is the title track of the record and opens up the album. If you ask me, it's the obligatory hit single that record labels demand, but damn it's good. Musically, the song is very basic and mainly consists of piano chords and strings, but the underlying groove is very addictive and smooth. Vocally, there are hooks and melodies everywhere screaming radio airplay. There's also a level of confident cockiness on it, as if to say to the label - hey I took your cheesy song and still made it sound amazing.

T.I. guests on the second track 'Make Up Bag,' which is yet another radio ready hit that has been blasting through the speaker system at my gym for the last two months. The song itself is somewhat unoriginal, but once again The Dream makes it entertaining by delivering some crisp verses over a laid back club beat. The chorus, somehow, always gets lodged in my head and I would never drop five stacks on that make up bag.

"If you ever make your girlfriend mad, don't let your good girl go bad. Drop five stacks on that make up bag..."

My favorite track on the record is "F.I.L.A.," and it is for no other than reason than it sounds cool. That being said, the song is also perhaps the most accessible on the album and showcases The Dream's emotional side, as he sings about trying to make an old girlfriend fall in love again. The verses are tight orchestrations of digital horn sections and piano that slowly build up to each upcoming chorus, filtering in more instrumentation. By the time the chorus hits, there is a level of passion that deceptively sneaks up on the listener and gives the song added meaning and credibility.

'Panties to the Side' is a song I'd advise my parents against listening to, as it opens with the line, "Let me fuck you baby." The track is very industrial and much harder than the rest of the album, yet the pace remains laid back. I actually hate the pre-chorus on this song, it just sounds out of place, but all is forgiven when the chorus drops. Sounding like something off of a vintage 112 album, the vocals are so precise and melodic that you instantly feel like dropping everything and singing. Unfortunately, the chorus is so well done you may just find yourself waiting around all song to hear it.

If you're into hip hop or R&B and you haven't heard of The Dream, you should probably go grab a copy of "Love King." It's filled with quality beats, smooth hooks and is a great record to sit back and chill out to. Some of the tracks can become a bit redundant ('Sex Intelligent'), but there are also several pleasant surprises ('Turnt Out') that come out of nowhere and turn into some guilty pleasures. Go listen for yourself.

Tracks

1.) Love King

2.) Make Up Bag

3.) F.I.L.A

4.) Sex Intelligent

5.) Sex Intelligent Remix

6.) Yamaha

7.) Nikki, Pt. 2

8.) Abyss

9.) Panties to the Side

10.) Turnt Out

11.) February Love

12.) Florida University

WK36 - Chromeo - Business Casual (7)

Released - 9/14/10

Label - Atlantic Recording Corporation

BLURB - I always assumed Chromeo sucked. Cheesy name. Are they a band, are they DJ's? What kind of music is this? So over the summer and on a whim, I ended up checking them out @ the Williamsburg Waterfront with RoboPop in the pouring rain and I was blown away. It was easily one of the top five concerts I've seen this year. Maybe it was thanks in part to the torrential downpours, but the crowd was electric and lively - and seemed to fuel Chromeo's set, creating even more energy. What became clear was that Chromeo was not only talented, but fun. Their fusion of guitar riffs and pop synth lines meshed perfectly into a tight display of new school dance-rock. But what does this sound like on an album?

Rating - 7 out of 10

FULL STORY - As is the trend with most of the popular indie synth dance bands right now (Neon Indian, Com Truise, Dam-Funk), they tend to focus on recreating the sounds of the 80's, delivering their own interpretation. Which really isn't a crime, the 70's and 80's became the bedrock and model for electronic pop music. Chromeo, on the other hand, really focuses on creating precise dance melodies that seem to adequately represent where music is at in 2010. Rather than utilizing lo-fi and hazy effects and processors, Chromeo approaches their genre with a decidedly crisp and modern delivery. Whereas some would say that this makes them too pop and unoriginal, I would argue that it actually makes them more authentic.

The album begins with one of the more upbeat tracks in 'Hot Mess.' The song is based heavily on a singular synth bass riff that is evident throughout all portions of the track. While waves of bright keyboards and mini-solos casually, yet appropriately, filter through the bass lines, the track maintains a steady groove. Eventually, what sounds like an improvised synthesizer solo emerges and really captivates the listener. The solo is creative enough to sound improvised, yet the precision in which it is pulled off sounds as if it had been properly notated and studied for weeks. It also sounds like a futuristic laser beam.

'Don't Stop' breaks out the classic Daft Punk robot voice, and it's spot on. While the chorus is a little bland and out of place, the momentum and excitement of the song allows us to look past it. Once again, the majority of the song is based on very few bass lines - which, in my opinion, is a good thing as the listener always has a grasp of the song's feel and tempo.

The breakout track of the album is easily 'Night By Night.' Here the main focal instrument is an electric guitar that is spitting out hooks left and right. The song has an energy that is naturally addictive, which yields an effortless enthusiasm that will make any music listener an instant fan of the song. Above everything else, the chorus of the track is well delivered and doubles as a bridge later on in the song. By doing this, all of lyrics get submerged into the back of your brain and you'll find yourself muttering the lines to yourself in the middle of a crowded subway many times. At least that has been my experience.

'When the Night Falls' features some exquisite guest vocals from Solange Knowles. I think I'd actually prefer if just Solange sang on the track as her voice sounds so absolutely perfect for the song. Every time I hear the Chromeo singer, I noticed I find myself getting bored and just waiting for the chorus to get here.

The award for the song that sounds most like a theme from an 80's sitcom goes to 'The Right Type.' Everything from the vibe, to the stringed instrumentation just screams 80's television. Don't believe me...give it a listen.

Regrettably, the majority of the record sounds more like 'The Right Type' than 'Night By Night.' Much of the album has this 'safe' quality to it, and really doesn't push Chromeo's music to it's potential. It's not like the songs are unbearable or anything like that - they are all entirely listenable, but many of them really lack character and seem far too static for my liking. I listen to this album quite a bit, but it's almost always just for the first four tracks, after that my feelings become indifferent.

Another thing that I've come to realize is that the singer's voice is not good. In fact, it might be bad. It's more or less just spoken word in a low register, which I guess doesn't really hurt the band that much, as their focus more musical than vocal. But it the end it does tend to detract from the music. But all this being said, for my first real introduction to Chromeo, I can't say I'm disappointed.

Tracks

1.) Hot Mess

2.) I'm Not Contagious

3.) Night By Night

4.) Don't Turn the Lights On

5.) You Make it Rough

6.) When the Night Falls

7.) Don't Walk Away

8.) J'ai claque la porte

9.) The Right Type

10.) Grow Up

WK35 - Drake - Thank Me Later (5.5)

Released - 6/15/10

Label - Young Money Entertainment

BLURB - Well, it finally came. The much anticipated full length debut from the supposed savior of hip hop...Drake. After guesting on a slew of tracks with everyone from Timbaland to Kanye West, releasing a couple EP's and an almost full album ("So Far Gone"), the public has finally gotten what it's asked for in "Thank Me Later," Drake's first full length record. But have we prematurely anointed Drake as the king of hip hop? The short answer to that question is yes, but damn he can make some killer tracks.

Rating - 5.5 out of 10

FULL STORY - I heard a great analogy the other day that made absolute perfect sense. So much sense that I wouldn't be surprised if I saw it on a SAT test next year.

Drake is to LeBron James as Kanye West is to Kobe Bryant.

Drake is supposed to be the new superstar. He's the guy everyone is betting on. He's the guy that is supposed to change the game. He's supposed to be the champion. Unfortunately, there are a lot of 'supposed-to's' in there. Drake's dropped some insane verses with Eminem and L'il Wayne. He's got a flow and style that oozes with charisma and arrogance. But at this point in his young career he's still yet to reach his potential and there are some whispers that he's never going to completely get there.

Take LeBron james, the NBA's heir-apparent to Michael Jordan. He was supposed to be the greatest and the new face of a generation. But to this day, LeBron still hasn't delivered on his potential and has yet to win a title. Sure he has had some crazy windmill dunks, and once a month he'll take over a game and score 50...but he's yet to reach the promised land. Why is this? In my opinion, LeBron lacks the competitive nature and DNA to be the best. He moved to the Miami Heat to hang out with his friends, when he had the chance to resurrect the Cavs. Hell, he took them to the NBA finals and was surrounded by terrible players! But LeBron became too busy trying to address questions, predictions and expectations and trying to be likable, rather than just playing. And I think that's gotten the best of him. Sound familiar Drake?

Now take Kobe Bryant. He is the NBA's best player. He's won five NBA titles, yet nearly everyone hates him. He's the Kanye West of basketball. Both are concerned with nothing besides themselves, their legacy and being the best. They will both go down in history as the greatest of their times. They don't do what they do because they want to make people happy...they do it because they want to be the best. This is what separates the Kanyes from the Drakes.

Sure, Drake has hit potential. Just listen to 'Find Your Love.' To this day that song continues to grow on me. When the beat first drops it sounds like a reggae-ton track, but then the instrumentation and vocals come in and you realize what a superb half-ballad, half hip-hop track it is. This is the windmill dunk.

And who can forget 'Over?' That was the song of the summer (in my opinion). The music itself was amazing - I mean...the strings, the crazy percussive variations, and let's not forget, Drake just sounds incredible on this song. The swagger and confidence are actually backed up by a credible display of versatile vocals and memorable hooks. This is the 50 point game.

'Miss Me' is filled with fun and excitement There is a true, laid-back party atmosphere on here that is nothing short of captivating. The verses are creative, yet not cheesy. The beats are simple, but not boring. In short, the song is something everyone can enjoy. This is the first time LeBron took Cleveland to the playoffs.

But after these three tracks, the album is lacking on all fronts. Much of the music is stagnant and bland. The vocals are often tired and uninspired. Numerous collaborations that you think would work brilliantly, fall on their face (Alicia Keys, Swizz Beatz, The-Dream). I find myself skipping all over this record always thinking I'm going to find something great, but more times than not, I'm disappointed. The album is good, but I'm sorry to say it, and Drake, were supposed to be great. And they're not.

Tracks

1.) Fireworks

2.) Karaoke

3.) The Resistance

4.) Over

5.) Show Me a Good Time

6.) Up All Night

7.) Fancy

8.) Shut It Down

9.) Unforgettable

10.) Light Up

11.) Miss Me

12.) Cece's Interlude

13.) Find Your Love

14.) Thank Me Now

WK34 - Sharon Jones & The Dap Kings - I Learned the Hard Way (8)

Released - 4/6/10

Label - Daptone Records

BLURB - If you asked me at the beginning of the year if I had a thing for 50 year black women, I would have gave you the stink eye. But after listening to Sharon Jones' latest release, I'm inclined to give some sort of sly wink and look of approval. Sharon Jones and her 'Dap Kings' finally break through to mainstream America with their fourth album, 'I Learned the Hard Way.' Comprised of namely soul, pop and R&B tunes, the album is far too easy to get hooked on and incredibly listenable. The tones are bright, the hooks are catchy and the melodies are plentiful. What's also great is that there is a bit of indie charm to this record, as it is not over-produced and sounds like something straight out of the sixties.

Rating - 8 out of 10

FULL STORY - Admittedly, I'm a huge Amy Winehouse fan. However, being the train wreck that she is, she rarely...if ever, releases new material. What this has done over the past two years is opened up a window for someone to step into the whole retro-soul throwback genre. And after decades of trying to break through, it seems as if Sharon Jones has finally done just that.

The album opens up with the moderately-paced, 'The Game Gets Old.' Detailing the struggles of the 'game' of love, the song proves that there can never be too many songs about heartbreak. The lyrics are simple enough and never get overly emotional or complex, allowing the track to be not only accessible, but enjoyable. The music is filled with string arrangements, horns, which outline Jones' phrasing nicely.

The title track, 'I Learned the Hard Way,' brings with it a little bit of sass and humility. Jones' breaks down a troubled relationship, but comes off more like a powerful story telling as opposed to a diary entry. There's also an air of arrogance and swagger that gives the track a distinct personality and feel.

'Ill Still Be True' swings with a bevy of horns and muted guitar riffs. Jabs of organs and keyboards interject sporadically creating points of emphasis that help to keep the listener on their toes. The track also, both musically and lyrically, is filled with passion and energy that sometime become a bit chaotic. But this is good, as the song comes off very raw and channels Jones' inner Janis Joplin.

Perhaps the most Winehouse-esque track would be 'Without a Heart.' The track bounces around with a motown flair and a hint of blues. The background vocals provide great accentuation to the innately pop nature of the song, and help create some solid vocal hooks.

Perhaps the only drawback to this record is that it seems a bit restrained. Granted the album as a whole is a great listen, but there was a lack of those 'get out of your seat and groove' moments. The middle of the album seemed a bit lackluster as each song tended to flow and blend in the with the following one. That being said, the album is still great and something that hasn't left my rotation in the months since I first purchased the record. Sharon Jones and the Dap Kings have finally broke through, but the big question here is, now what?

Tracks

1.) The Game Gets Old

2.) I Learned the Hard Way

3.) Better Things

4.) Give It Back

5.) Money

6.) The Reason

7.) Window Shopping

8.) She Ain't a Child No More

9.) I'll Still Be True

10.) Without a Heart

11.) If You Call

12.) Mama Don't Like My Man