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Such is the case with Michelle Shocked’s 13th album, which navigates deftly between those opposing emotions. On the “love” side, Shocked is celebrating her partner, artist David Willardson, with such cuts as the acoustic confessional “True Story” and the twangy, Bonnie Raitt-like “Love’s Song.” For the angry part of the equation, anthemic roots-rocker “Ballad of the Battle of the Ballot and the Bullet Part 1: Ugly Americans” delivers an uncompromising indictment of the past eight years. There’s also “Other People,” deceptively easygoing and lyrically deceptive, too: It’s a breakup song detailing a citizen re-examining her relationship with her country. “Soul of My Soul” rarely settles for a middle ground, and there’s an urgency to the arrangements that serves the urgency in Shocked’s voice.ĪLBUM: WHITE LIES FOR DARK TIMES (Virgin Records)īen Harper is that rare talent able not only to vacation in the worlds of gospel, soul, folk and even reggae, but to meld them together gracefully on both album and stage. But sometimes you just want him to rock, like he did on 1995’s “Ground on Down.” He’s assembled a new band that seems dedicated to just that, and it’s a beautiful thing.
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The bare-knuckled “Lay There and Hate Me” is a head-on collision between soul and rock, a grittier, angrier “Gimme Shelter.” “Keep It Together” is a worthy tribute to Led Zeppelin, proudly bearing the influence of Harper’s 2007 Bonnaroo jam with John Paul Jones. The eyes-closed, fist-shaking, prayer-through-song side of Harper comes through, most effectively on “It’s Up to You,” a slow-building tsunami of sound. The band quiets later in the disc, which might have been a buzz kill if the songs weren’t so damn good. ARTIST: EMINEMĪLBUM: RELAPSE (Shady/Aftermath/Interscope Records) It’s no surprise that Eminem’s first new disc in five years would stick to the outline he and Dr. Eminem dutifully hits all his marks here: “3 a.m.” for bloody torture-porn, “My Mom” for profane family laundry-airing, “Beautiful” for carpe diem slogans and “We Made You” for name-dropping celeb-blogging, marketed ostensibly to shock rap fans keeping up with the Jennifer Aniston/John Mayer relationship. But it’s hard not to be as dulled to this stuff as Em repeatedly claims the drugs have made him. “Bagpipes for Baghdad” threatens by its title to be a dark detour like “Mosh” but ends up being mostly about Mariah Carey and Nick Cannon, and the “Paul” skit has a Christopher Reeve joke, again. There are flashes of inspiration, like the brutal, brittle “Deja Vu.” It’s good to hear Dr. Dre practicing his medicine again (no producer can better match Em’s circus-tent horror) the disc is packed with satisfying hooks and Eminem’s ridiculously fabulous flow. That a rapper of this much verbal gymnastic ability is still making Perez Hilton cracks is too bad, but the bigger problem is that Eminem’s recipe of gore and gay jokes sounds like the past.