Quick Reviews

Cee-Lo a so-so machine

Cee-Lo’s new album Cee-Lo Green… Is the Soul Machine displays the former Goodie Mob member’s evolution for better and for worse.

Enlisting the help of heavy-hitting producers – including the Neptunes, Timbaland and DJ Premier – the record brings his music to a more widely accepted level.

Cee-Lo and Timbaland offer “I’ll Be Around,” the lead single that is a horn-heavy tour through the Dirty South. “Childz Play” features Cee-Lo and Ludacris spitting double time over a rollicking track that brags “And I’m the best / So is my guest / Man, I’m impressed.”

The low points are a bit surprising. The so-so cover of Al Green’s “Let’s Stay Together,” featuring the Neptunes’ Pharrell Williams, falls short. And while some cameos are solid – T.I., Ludacris, Jazze Pha – the necessary ones are missing, like OutKast, Goodie Mob or even Youngbloodz.

In general, Cee-Lo just fails to maintain some of the dirty characteristics that put him on the map.

Cee-Lo Green… Is the Soul Machine is Cee-Lo minus the grit and grime, but with more of the bling and mainstream shine. Before buying this album, learn Cee-Lo’s history by picking up the Goodie Mob classics Soul Food and Still Standing.

Grade: B

-Scott Hazleton

Brit rockers Muse lack originality, depth

On their third album, Absolution, the pessimistic Brit rockers Muse continue whining. The band whines about stereotypical artsy 20-something philosophical bellyaches: the fleetingness of time, the existence of God and life after death.

But as they do it, the contemplative trio lacks the originality needed to drag them out of their cynical oblivion.

On “Apocalypse Please,” frontman Matthew Bellamy sings, “It’s time we saw a miracle / Come on it’s time for something biblical,” prompting the rare impulse to tap a toe while listening to this album. However, the track also induces a post-toe-tap cringe once the cheesy lyrics melt away.

Muse emulates circa-1997 Radiohead beyond the degree of acceptable idolization, and each time they begin to do their own thing, they simply slump back into monotonous imitation that gives way to kitschy, eye-roll-worthy insincerity.

Within Absolution’s puddle of failed attempts, the band at least seems to believe what it is creating is deep, even if no one else will.

Grade: C+

-Rachel Baker

Tamia’s More gives less

While Tamia’s third effort, More, displays the singer’s vocal talent, the album lacks a personalized sound.

Most tracks focus on Tamia’s sensual, soft voice, supported with basic bass backup, and like on her first album Nu Day, she fails to bring listeners anything new.

Five of the 14 tracks feature low-profile R’B artists who upstage Tamia. The album opener “On My Way” features Red Café, who practically demotes Tamia to back-up singer by leaving her with only the chorus to sing.

Tamia joins Fabulous on the track “Into You,” for the album’s best accompaniment. Yet, Tamia sounds more like a Janet Jackson singing less than creative lyrics: “I really like what you’ve done to me / I can’t really explain it/ I am so into you.”

Tamia fails to create a standout song capable of radio airtime or a possible release as a single. More’s best two tracks are “I’m Yours Lately,” with its pseudo-reggae background, and “Still,” because it’s the closest Tamia gets to escaping the sound of other artists.

Grade C-

-Caleb Hawk

Tired lyrics sink LettersThe liner notes of Rasmus’ Dead Letters say a dead letter exists when neither the recipient nor the sender can be traced.

Perhaps the Finnish band has created a realized concept album about death through love, but more likely it had nothing much else to write about. Nevertheless, Rasmus’ first American release possesses a unique blend of gothic moods and guitar-pop sensibilities.

Throughout Dead Letters, singer Lauri Ylonen sings about torturous love, as in the typical lyrics of Linkin Park. However, Yloenen’s Scandinavian range sounds more promising than any industrial rocker’s.

On “First Day of My Life,” the band sounds more like Savage Garden than Soundgarden. It’s a fresh change.

But lyrical repetition makes many of the songs sound tired. One exception is “Back in the Picture,” sure to perk listeners’ ears.

Dead Letters shows Rasmus has promise. But this Finnish quartet must expand their lyrical output and fully develop their sound before they can be found.

Grade: B-

-Timothy Malcolm