DREEZY No Hard Feelings
( Interscope )
Chicago ’ s own Dreezy blends fierce punchlines with emotive lyrics on her debut album , No Hard Feelings . The rapper / R & B songstress ' s balance of soft hooks and hard punches to the super-ego of her haters and doubters effortlessly unfold across 19 tracks , making the young artist seem like a seasoned vet . But the greatest feat on No Hard Feelings is just that – there are no hard feelings . Reflecting on her journey to this moment with clarity , speaking honestly about forgiving but not forgetting , and remaining unapologetically confident when it comes to her future plans , Dreezy shows she ’ s all in . The album has a cinematic quality to it , complete with skits foreshadowing the narratives of upcoming numbers , but doesn ’ t distract from the music or leave room for any lulls between tracks . Each song is a path that has its own sound in Dreezy ’ s mind . “ We Gon ’ Ride ” featuring Gucci Mane is one of the album ’ s hardest , most memorable moments , along with the anthemic , trap beat-soaked “ Bad Bitch .” “ Afford My Love ” featuring Wale and “ Body ” featuring South Side-native , Jeremih pour out of the speakers as a sticky-sweet club bangers , with enough edge vs . pop sensibilities to bridge the gap between underground and the mainstream . Many of the beats on the album fly under the radar , with a revved-up tempo only used to punctuate Dreezy ’ s rhymes , which pick-up speed themselves as they flow . Instead of the usual bass drops , the heavy is traded for soulful blends of jazz and dancehall – infusing a flavor that the current state of hip-hop is putting at the forefront . The album ’ s grand finale , “ Invincible ” is an ode to her hustle . Rapid-fire beats during the slickrhyme verses are layered over a smooth , saxophone-driven underlay with an
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undeniable , pop hook of “ Just so you know , I ’ m so invincible ” rounding out the chorus . For her first LP , Dreezy ’ s lyrical pool is deep , her delivery is bold , and her talent is established . A young , female MC on the rise , putting herself first , putting herself above the games , and ready to take on the world ? There are no hard feelings .
– Jessi Roti
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PAUL SIMON Stranger To Stranger
( Concord )
Paul Simon ’ s 13th album continues his famous fusion of Afropop rhythms and American pop music . He may not have a hook as indelible as Graceland ’ s “ You Can Call Me Al ” here , but Stranger to Stranger is undeniably catchy as a whole . It ’ s clear that Simon was feeling adventurous , with his studio acumen and creativity fully engaged . Lead single “ Wristband ” spends most of its running time stripped of everything but rump-shaking percussion and Carlos Henriquez ’ acoustic bass . The lyric describes a musician who is locked out of his own concert without the required identification . Could it be based upon a personal experience , or is it an anti-elitist fable ? Both ? “ The Werewolf ” is a stream-of-consciousness ramble that weaves comical and paranoid anecdotes about fear and social injustice into another multi-cultural rhythm track led by the springy twang on an Indian gopichand . The free-flowing , wry verses demonstrate why Simon is respected among the great lyricists including Bob Dylan . The werewolf , however , isn ’ t the scariest monster to appear on the album . A supple but guttural guitar hook , hand claps and soulful Gospel background vocals color the mournful “ The Riverbank ,” with its grim and questioning lyric inspired partially by the Sandy Hook Elementary School shootings in 2012 . Characters on the album duck out of songs like “ Street Angel ” and reappear in others like “ In a Parade .” The latter song clanks and jumps like a New Orleans street party DJ ’ d by Brian Eno and David Byrne . “ My head ’ s a lollipop , and everyone wants to lick it ,” says the song ’ s stressed-out protagonist . “ I can ’ t talk now , I ’ m in a parade .” Optimism and comfort appear in “ Proof of Love .” “ Don ’ t be afraid , your days won ’ t end with night ,” sings Simon . “ Love on earth is everywhere .”
– Jeff Elbel
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DIO ADecade Of Dio
( Rhino )
Dio ' s CD / vinyl box set culls RJD ' s first six studio albums – each newly remastered with robust sound . The set includes : Holy Diver ( 1983 ), The Last In Line ( 1984 ), Sacred Heart ( 1985 ), Dream Evil ( 1987 ), Lock Up The Wolves ( 1990 ) and Strange Highways ( 1993 ). Both versions come housed in boxes featuring new artwork by Marc Sasso , who was responsible for many of the band ’ s iconic covers . At $ 34.98 list price , the cost of the CD set isn ’ t bad at all , but I would lay my money down for the vinyl incarnation , ( out on 10 / 4 / 16 ) which lists at $ 99.98 . With this set , you ’ re treated to a 1983 version of “ Evil Eyes ,” which was originally released as the b-side on the “ Holy Diver ” single . In addition , this version is different from the one featured on the 1984 album The Last In Line . Plus , the flip side features “ Time To Burn ,” which was the only studio track featured on the otherwise live release , Intermission ( 1986 ). Of course Dio ’ s debut solo album Holy Diver will always be revered as a heavy metal masterpiece . Follow-up album , The Last In Line , became the band ’ s second platinum seller , while subsequent releases also fared well . Maybe some of Dio ’ s ’ 90s efforts were a little overlooked , but at least now with this boxed set , fans can rediscover them . Dio ’ s soaring voice and unmatched legacy live on with A Decade Of Dio : 1983-1993 .
– Kelley Simms
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THE MONKEES Good Times !
( Rhino )
The Monkees ’ first album in 20 years is a surprisingly satisfying set of summertime pop . The passing of Davy Jones brings Mike Nesmith once again to the fold , following his return to action on 1996 ’ s Justus . Thanks to visits into the vaults for a few unfinished tracks , Good Times ! is the second album since 1968 ’ s Head to include all four Monkees . The spirit of the band ’ s ' 60s favorites rings throughout the Harry Nilsson-penned title cut . Built from a demo by the late , golden-voiced singer , the track features a rowdy new duet vocal by Micky
Dolenz . Each of the album ’ s tracks were written especially for the Monkees by a who ' s who of alt and classic rock artists , and the songwriter ’ s presence often shines through . The chiming , hand-clapping “ You Bring the Summer ” is perfectly suited for Dolenz ’ breezy delivery , but it ’ s also easy to hear the pop craftsmanship that Andy Partridge built into XTC favorites like “ The Ballad of Peter Pumpkinhead .” Weezer frontman Rivers Cuomo ’ s writing for lead single “ She Makes Me Laugh ” is somewhat ham-fisted , but Nesmith ’ s 12-string jangle is a winning combination with Peter Tork ’ s banjo and Dolenz ’ cheerful vocal . Nesmith and Dolenz sing together on the lilting country-pop of “ Me & Magdalena ” by Ben Gibbard of Death Cab for Cutie and the psychedelic pop of “ Birth of an Accidental Hipster ” by Oasis ’ Noel Gallagher and Paul Weller of the Jam . Tork ’ s vintage keyboard sounds bounce through “ Our Own World ,” with a swing that recalls The Lovin ’ Spoonful ’ s “ Do You Believe in Magic ,” The Beatles “ Getting Better ,” and Jellyfish ’ s “ Calling Sarah .” Adam Schlesinger of Fountains of Wayne , cowrote with Dolenz for the fractured sentimentality of “ I Was There ( And I ’ m Told I Had a Good Time ).” Tork wrote the shuffling waltz “ Little Girl ” with Jones ’ voice in mind , but sings the song himself in place of his late bandmate .
– Jeff Elbel
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FAITH NO MORE We Care A Lot Deluxe Band Edition
( Koolarrow )
The reissue of Faith No More ’ s debut album is a nice package ( 10 original tracks and nine other demo , live or 2016 mixes ) that shows the genesis of one of the most influential bands in alternative music , and a band that had already developed its thudding bass and crunchy guitar riffs on its way to alternative punk-metal stardom later with singer Mike Patton . “ We Care A Lot ” was the standout track from the 1985 debut , and the 2016 mix tightens up the composition , getting right to the chorus after the first verse , unlike the original edit that lets the tribal bass / drum interplay lead the way for a moment . All the 2016 mixes tamper a little with the originals , so devout fans might have fun pointing out the subtle tweaks . Singer Chuck Mosley ’ s vocals work best fully throated , as on “ As The Worm Turns ,” another track that gets a 2016 mix , and on the original demo version of “ Greed ” with a Jim Morrison-like wail to end it . Live versions of “ The Jungle ” and “ New Beginnings ” from a 1986 show in San Francisco are included , but the mix here favors the drums / cymbals and keyboard , at the expense of guitar and vocals .
– Jason Scales
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