Avenged Sevenfold
"city of evil" ***
Lina Lecaro
Associated Press Writer
With its foreboding atmosphere, maniacal guitar progressions and downright scalding vocal assaults, Southern California's Avenged Sevenfold was not a band to be ignored for long.
Signed to a major after releasing two well-received, hard-core-flecked small-label efforts, the band has been touted as metal's great black-clad hope for a couple of years now. The band's Warner Bros. debut suggests that it might have felt some pressure to make that a reality. One of Avenged's strengths has always been powerful singer M. Shadows' dramatic, gut-wrenching screams. "City" has no screams whatever and very little punk clamor. Shadows croons all the way through, going from raspy to rapturously smooth. Almost everything on the album is a mid-tempo anthem. Still, even the more melodic-minded ballads retain metallic muscle.
The record has a progressive feel that brings to mind early Iron Maiden and latter-day Metallica. Though it may catch Avenged's noise-hungry fans off-guard, it shows a marked growth and maturity for the band.
Babyface
"Grown & Sexy" **
Natalie Nichols
Associated Press Writer
The veteran R&B singer-songwriter and producer's first collection in four years focuses on the joys and travails of established relationships.
Babyface's smooth tenor is still up to the task, but the bland sentiments, occasionally wince-inducing lyrical cliches and nearly unrelenting mid-tempo pace make for a mighty monotonous 52 minutes.
"Tonight It's Goin' Down" sets a candlelit mood with its soulful, hip-hop-flavored anticipation of romance, while the syrupy ballad "Mad, Sexy, Cool" celebrates a perfect (in mind, body, and soul) partner, and "Can't Stop Now" captures the heat of the make-out moment.
But this mature eroticism is undone by overwrought production, eventually drowning every track in layers of instrumentation, vocals and other sonic drama.
At least there's humor in "Goin' Outta Business," which pulls the plug on a mooching girlfriend (no more designer duds or cable TV for her). But even that lacks convincing swagger.
Faith Hill
"fireflies" ** 1/2
Robert Hilburn
Associated Press Writer
Forget "Fireflies." Hill should have titled her new album "My Apology."
Almost everything about the CD feels like a reaction to the widespread complaints that her last collection, 2002's "Cry," sacrificed country character in pursuit of pop crossover sales.
As this album (due in stores Tuesday) shows, Hill did some serious soul-searching. She listened to hundreds of songs, and that paid off in at least six cases, including "Mississippi Girl," a get-back-to-my-roots exercise co-written by John Rich (of the hot duo Big & Rich) and Adam Schoenfeld.
And the move has apparently worked. Country radio has embraced "Mississippi Girl" with the enthusiasm they showed for many of Hill's pre-"Cry" recordings.
But too much of the 14-track album is sabotaged by corny or cliched rhymes and images. The title tune, by Lori McKenna, is awash with mentions of "a fairy princess" and "frogs" called "Prince" and Peter Pan and miracles. "We've Got Nothing but Love to Prove" aims at being a sort of country "Imagine," but songwriter Darrell Scott is clearly no Merle Haggard, much less John Lennon.
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