Home / New Album Releases, 8-15-2006 – Christina Aguilera, Trace Adkins

New Album Releases, 8-15-2006 – Christina Aguilera, Trace Adkins

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The dog days of summer continue with the weak release schedule. Passing for the top release this week is Christina Aguilera's Back to Basics. It's a two-disc new album, because Miss Christina apparently has a lot to say. Among other things, I've seen the comparison that in parts of this she's trying to make like Fiona Apple. Be afraid. Be very afraid.

Trace Adkins Dangerous Man is out. I know he's a big name country singer, but I don't remember any of his songs, so I forget which one he is. I think he's the one that wears the big cowboy hat.

Other than that, there are several re-releases of Ritchie Valens. There's also the newest updated expanded two dozenth or so release of the same Monkees albums on Rhino. I dig the Monkees and all, but seriously…

Here's the complete list of this week's major new releases, courtesy AMG:

Christina Aguilera Back to Basics RCA
Pop/Rock, Adult Contemporary, Urban, Dance-Pop

Cherish Unappreciated Capitol

Joanna This Crazy Life Geffen
Teen Pop, Adult Alternative Pop/Rock, Adult Contemporary

The Panic Channel (One) Capitol Records
Post-Grunge, Alternative Pop/Rock

Trace Adkins Dangerous Man Capitol
New Traditionalist, Contemporary Country

Patricia Barber Mythologies Blue Note
Adult Alternative Pop/Rock, Contemporary Jazz, Ballads, Modern Creative

David Benoit Standards Kind Of Blue
Crossover Jazz, Contemporary Jazz

Rory Block The Lady and Mr. Johnson Rykodisc
Slide Guitar Blues, Contemporary Blues, Delta Blues, Modern Acoustic Blues

Willie Bobo Lost and Found Concord
Latin Jazz, Soul-Jazz

Wolfgang Bozic Lehar: Eva CPO
Post-Romantic Operetta

Christine Brewer Strauss: Four Last Songs; Death and Transfiguration; Wagner: Prelude and Liebestod from Tristan und Isolde Harmonia Mundi
Post-Romantic Vocal and Orchestral Music

Brownsville Station Air Special [Bonus Track] Wounded Bird
Detroit Rock, Boogie Rock, Hard Rock, Rock & Roll, Pop/Rock

Paul Burch East to West Bloodshot
Americana, Alternative Country-Rock, Country-Folk, Roots Rock, Singer/Songwriter

Cham Ghetto Story Atlantic/Mad House

Damnation of Adam Blessing The Damnation of Adam Blessing…Plus Akarma
Psychedelic, Hard Rock

Pete Droge Under the Waves Puzzle Tree
Adult Alternative Pop/Rock

François-Rene Duchable Poulenc: Concerto for 2 Pianos; Piano Concerto; Aubade Warner
Modern Piano & Orchestral Music

Grand Funk Railroad Greatest Hits [CD/DVD] Capitol
Detroit Rock, Boogie Rock, Arena Rock, Hard Rock, Album Rock

Guitar Shorty We the People Alligator
Electric Blues, Modern Electric Blues, Texas Blues, Soul-Blues

Hot Snakes Thunder Down Under Swami
Punk Revival, Garage Punk

Lyfe Jennings The Phoenix Sony Urban Music/Columbia
Contemporary R&B, Neo-Soul, Urban

Josefus Dead Man [Dead Man….Plus] Akarma
Hard Rock, Blues-Rock

Dave Loggins Apprentice (In a Musical Workshop) Wounded Bird
AM Pop, Soft Rock, Pop, Singer/Songwriter

John Martyn On Air Tradition & Moderne
Progressive Folk, Contemporary Folk, British Folk, Singer/Songwriter

Mobius Villa-Lobos: Chamber Music Naxos
Modern Chamber Music

Hank Mobley Another Workout [RVG Edition] Blue Note
Hard Bop

The Monkees Monkees [Deluxe Edition] Rhino
Sunshine Pop, Pop/Rock, Pop

The Monkees More of the Monkees [Deluxe Edition] Rhino
Sunshine Pop, Pop/Rock, Pop

Keith Moon Two Sides of the Moon [Expanded] Castle
Rock & Roll

Lee Morgan The Cooker [RVG Edition] Blue Note
Hard Bop

Maria Muldaur Heart of Mine: Love Songs of Bob Dylan Telarc
Adult Alternative Pop/Rock, Adult Contemporary

Leigh Nash Blue on Blue One Son/Nettwerk
Alternative CCM, Adult Alternative Pop/Rock

Roderick Williams Finzi: Earth and Air and Rain; By Footpath and Stile; To a Poet Naxos
Modern Vocal and Chamber Music

Original Soundtrack Snakes on a Plane: The Album New Line
Soundtracks, Emo, Punk-Pop, Indie Rock, Alternative Rap

Benjamin Orr The Lace Wounded Bird

Bonnie Raitt Decades Rock Live: Bonnie Raitt and Friends [DVD/CD] Capitol
Slide Guitar Blues, Album Rock, Pop/Rock, Adult Contemporary, Singer/Songwriter, Blues-Rock

Shiva's Headband Take Me to the Mountains…Plus Akarma
Country-Rock, Folk-Rock, Hard Rock, Psychedelic

Mike Stern Who Let the Cats Out Heads Up International
Fusion, Post-Bop, Contemporary Jazz

Sublime Sublime [Deluxe Edition] Geffen
Ska-Punk, Third Wave Ska Revival, Punk Revival, Alternative Pop/Rock

Obie Trice Second Round's on Me Shady/Interscope
Midwest Rap, Hardcore Rap

Ike Turner 1951-1954 Classics R&B
R&B, Jump Blues, Electric Blues

Ritchie Valens In Concert at Pacoima Jr. High Wounded Bird
Rock & Roll

Ritchie Valens Ritchie Wounded Bird
Rock & Roll

Ritchie Valens Ritchie Valens Wounded Bird
Rock & Roll

Various Artists Live 8 at Eden: Africa Calling Real World

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  • Gordon Hauptfleisch

    I never thought I’d see Fiona Apple’s name and Alguilera’s in the same sentence. America’s sullen sweetheart and America’s sloven sourpuss. Thanks, Al.

  • I hope Christina isn’t becoming like Fiona Apple as the fruity one is more boring than rain only way less interesting and Christina is hugely talented.

  • But of course you would say something like that, wouldn’t you Christopher? Apparently your lack of knowledge or interest in actual music leaves you as a perfect fan of Aguilera’s mostly mundane and shallow corporate formula. The more experimental and artistic nature of Fiona Apple of course goes right by you. Figures.

    Plus, I often find rain to be fascinating.

  • Al, Al, Al, I just don’t know what to say to you. Not only cheap insults in response but lazy and arrogant presumption too.

    I know you can’t possibly think that Fiona Apple is the first to try to do something different in music and, guess what, there’s approximately a million or more artists that have done it before, better and more deeply than this little pip.

    That you don’t enjoy Christina just makes it all the more odd that Prince is one of your favourite artists. The fact that you think the hugely derivative and uninspired White Stripes are great art just confirms my view that your cultural tastes are as wacky, though fortunately not as lethal, as your political views.

    Finally, I didn’t say rain couldn’t be interesting, although I doubt I’d go so far as fascinating, just that it was boring. It’s wet, it falls out of the sky, that’s about it. Kinda cute running down the window once in a while and there’s actually not enough of it down south here but that’s about it. Water now, that’s a whole different story, fascinating stuff.

  • Jose

    yo for real there is a songe that sounds like the girl only with more power in the voice.

  • Christopher: Correct me if I’m wrong–and I’m sure you will–but I seem to remember you being a fan or having nice things to say about the mediocre Madonna. Figures.

  • Christopher, as with Fiona and the White Stripes, there’s a lot more to rain than you seem to get in your utterly arbitrary and totally unsubstantiated proclamations. There’s light sprinkles and rainstorms, long quiet soaking rain vs booming thunderstorms with all kinds of atmospheric differences. Then there’s the world of sounds from all the different things the rain is hitting, the houses and the trees.

    You seem to like to canonize the most mundane pop artifacts, stuff to which I’m sure you feel superior, while actively attacking anything of artistic substance. It’s like you’ve got your own little Ellsworth Toohey thing going on.

  • Gordon: I am indeed a fan of the mighty Maddy, most of the time. Do you have a problem with that?

    Al: I really don’t know why you’ve got such a bee in your pretty little bonnet, but let me try and calm you down. My views on music are simply that and no more. To characterise them the way you do is simply childishly immature.

    How you get from me saying I like Christina Aguilera more than Fiona Apple to I “canonize the most mundane pop artifacts” is something only you can possibly understand. Furthermore, saying that is absolutely NOT “attacking anything of artistic substance”; that’s simply more bullshit you made up cos you’re peeved.

    I thought you were the kind of guy who found out about a subject rather than spastically shooting from the hip. Apologies for the misperception. Now, if you really want to spend some time picking my musical taste apart, you can find a list of around a thousand (and growing tracks) I love on my Pandora favourites page. Read and enjoy, oh acerbic one.

  • Christopher: No, no problem–it just seems kind of, oh… “juvenile,” for some reason, comes to mind. And I was just plumbing the depths of your musical discredibility–after your Aguilera-over- Apple blather, I didn’t think it could sink any lower. Wrong again.

  • Gordon, what makes you think you’re qualified to judge my musical credibility or lack of it? Or that you know what my taste is? Judging on the basis of one remark makes you think you know me? All I see is some cheap arrogance on your part. Have you met my bud Al? You’re so alike in your empty snobbery you’ll get along real well…

  • Christopher, both Gordon and I have somewhat more knowledge of your taste at this point than one remark in this comments thread. It’s not like it’s the first time we’ve ever heard of you.

    But in all your time here at the BC, I’ve never seen you make anything that looked like a serious attempt at really reviewing a record, giving an accounting for what you see. You rarely get much past a purely arbitrary assertion that Christina is good or that the White Stripes suck- as if that would mean anything to anyone else.

    That being the case, why do you even bother? You’re not particularly sharing any information or insight, other than your little whim. Idiot teenagers on the Pretty Ricky threads come up with better arguments.

    How about you write up a review of a Christina Aguilera album where you explain to us some of what we’re obviously missing? Or for that matter, how about an actual essay on why the White Stripes are supposedly so lame?

    Per your comment 10, I will cop to “snobbery,” but it is absolutely not empty. You call it snobbery, I call it elitism. Either way, it’s all about having standards and a critical ear. But that just means that I like stuff that’s actually good, and I’ll denounce crappy corporate junk or overrated critics pets in the blessed name of Elvis.

  • Al, I didn’t think it appropriate to go into a lengthy diatribe in response to Gordon’s original comment, something about proportional response, a concept you’re either not familiar with or don’t agree with, held me back.

    I haven’t yet heard the new Christina double CD but if it’s only half as good as “Stripped”, which is a truly great album, it will be twice as good as the entire works of the White Stripes.

    The reasons I don’t rate TWS that highly have been made explicit to you on more than one occasion:- they’re musically derivative, lyrically lazy and really fail to amount to little more than one of those little cult groups which faux intellectuals deploy as evidence of how fucking cool they think they are. Personally, I’ve always hated that kind of pretentious attitude. There’s not really anything more to be said than that so why would I try and pad that out into a full blown essay?

    How somebody’s opinion can be described as an “arbitrary assertion” I fail to fathom but I’m content to leave that to the polished workings of your heavily nuanced mindset.

    Hmm, snobbery is “A snob, guilty of snobbery or snobbism, is a person who imitates the manners, adopts the world-view and apes the lifestyle of a social class of people to which that person does not by right belong. That “right” is not necessarily a birth-right: a pseudo-intellectual is a type of snob”, according to Wikipedia.

    From the same source we learn that elitism is “a belief or attitude that an elite— a selected group of persons whose personal abilities, specialized training or other attributes place them at the top of any field (see below)— are the people whose views on a matter are to be taken most seriously, or who are alone fit to govern. Thus elitism sees an elite as occupying a special position of authority or privilege in a group, set apart from the majority of people who do not match up with their abilities or attributes”. I think they both fucking suck big time so I don’t care which one you pick.

    Appreciating music isn’t about having “standards and a critical ear”, it’s about loving noise, sound that is crafted in a pleasing, delightful or exciting way to convey emotions and/or ideas. I don’t care whether the source is a former Disney brat or a kid from a run down inner city environment, it’s what they do with their noise that’s important.

    Let me remind you that Elvis (I assume you mean Presley not Costello) did achieve that level of genius sometimes but he also produced some of the worst corporate crap in the history of music. Maybe it’s time for you to revisit your own ideas of “overrated critics pets”, as you seem to have so many of them.

    Now why don’t you trot on over to my Pandora list then come back and apologise for your gratuitous namecalling and we’ll make nice again, like in the good old days before you got so downright surly…

  • Vern Halen

    Hmmm…. I think we’re talking about two separate standards here – the subjective critical standard (do you likek the artist?) and the objective standard (is the artist good in whatever sense of the word?).

    In some respects, no one can argue with your bersonal tastes – if you like Motorhead, Grand Funk, the Archies, Ray Charles, the Grateful Dead, or Mariah Carey – well. good for you – no one can argue with you over your personal tastes. You’re a fan, and that’s all there is to it.

    But on an objective level, are any of these artists any GOOD? That’s where you have to set some critical standards, and try to measure the artist against them. Thats’ difficult for two reasons – 1) it’s hard to agree on standards; andm 2) people keep bringing in their personal subjective tastes to the discussion table.

    Christina? Madonna? Fiona? I don’t listen to them at all really (though I bought and love M’s Ray of Light) so I couldn’t begin to tell you ifi they’re good at all. I consider them very much pop music (which I don’t listen to a lot). But I would say I have enough experience & knowledge to make comments about Grand Funk, the Dead, or Motorhead. Of these three, I would suggest that the Grateful Dead were a “good” band, Motorhead less so, and Grand Funk the worst of all from a critical perspective. But in reality, I put on the Grand Funk albums more often than the Dead & the ‘Head put together, ’cause I like the boize from Detroyet better. Why? Dunno – I just like ’em better.