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Einemem Encore
Son Ambulance Key
"Just Lose It," the first single off Eminem's fourth album, *Encore*, is one of the worst songs I've ever heard. It's tirelessly redundant. The beats are entirely unoriginal. The lyrics are utterly annoying. Yet, I think that Eminem
knows this, and the fact that this horrible song has already topped the pop charts shows that Eminem has already proven his point — that he's the one in control.
already proven in practice. As one of the most controversial and innovative rappers of all time, everyone always has high expectations for Eminem. Yet on *Encore*, the follow-up and "companion piece" to 2002's *The Eminem Show* (much like
Joe Knapp, the multi instrumentalist singer/songwriter/head honcho of the Omaha-based Son Ambulance, faced a big challenge when he and his band were in the studio recording their sophomore album, Key. He had to overcome the challenge of not sounding like every other band on Saddle Creek Records. Before, this had proved to be difficult. The band fits the "SaddleCreek sound" perfectly on its first full-length album, Euphemystic. First off, Knapp's vocals often sounded like a mix between Bright Eye's Conor Oberst and the Good Life's Tim Kasher. In addition the melodies were always distant and never over the top, while the instrumentation remained very organic. Critics easily lumped Son Ambulance in with the rest of the Saddle Creek emerging stars, and, inevitably, the band just blended in. That is, until now. On Key, Joe Knapp and
company have overcome the challenge of sounding different than every other Saddle Creek band delivering a solid release of majestic pop songs.
Grade:B
In the subgenre that is indie-pop, it is hard not to blend in with the crowd, but Son Ambulance did make a giant step in the right direction by creating dramatic epics and often experimental pop songs that are consistently both interesting and compelling. When the band is at its best, like on the richly textured "Pleasure Now," there is no one better. However, at its worst, like on "House Guest," Son Ambulance is unoriginal and boring. The stronger tracks do make up for any dullness that occasionally does occuron this album. Of course, the Saddle Creek fans will adore this release. Then again, so will most indie-pop fans.
Matt Beat
The Marshall Mathers LP was to The Slim Shady LP), it seems like he just doesn't care, and more power to him. More artists should aspire to be like him, indeed. However, the more comfortable Eminem gets manipulating and making fun of the rest of pop culture, the less appealing his music becomes. His more personal lyrics (aka.- lyrics pertaining to his mother, his wife Kim, or his daughter Hailie) were the one thing that made the first three albums great, especially The Marshall Mathers LP. But now, hearing him rap about Kim is beginning to get old. On top of that, most of the beats and rhymes are just stale, and there's very little that is musically interesting on this album. For what's lacking musically, Eminem has to make up for with his talent, which he luckily does do well.
fuckily does so well.
We do see a different side to Eminem on Encore—at least slightly. On songs like "Toy Soldiers," which is definitely one of the stronger tracks on the album, he regrets getting involved in the Ja Rule-bashing fiasco last year. In "Mockingbird," his ode to Hailie, he
expresses a more objective view of Kim that sharply contrasts his descriptions of her on his previous albums. More so than ever, we hear a more serious and sane side of the rapper. On "Mosh," he attacks President Bush. On tracks like "Evil Deeds," his self-reflection of his life is somewhat of a confession.
Grade : Ction of his life is somewhat of a concern. Lyrically, Eminem has always been on top of his game. But while he manages to still add freshness to old topics, musically he has reached a low on Encore. And with this new glimpse of sanity and maturity from Eminem, it's easy to see him eventually sounding like many of his contemporaries, but hopefully not. Hopefully this is just a bump in the road for him. Then again, reviews like this are probably what he expected — and maybe even wanted.
— Matt Beat
The SpongeBob SquarePants Movie Music from the Movie and More
For as long as he's been around, SpongeBob SquarePants has been relied upon to do two things: Infect each and every child in America with ADD and increase whatever interest the populace has in mind-altering chemicals. These are things that need to be done and SpongeBob has done them well. As busy as this keeps him, SpongeBob somehow found the time to star in a major motion picture and compile its surprisingly righteous musical companion. Throughout The SpongeBob SquarePants Movie soundtrack, exclusive tracks from indie rock luminaries like Wilco and The Shins are interwoven
with songs from the film in a kind of underwater cocktail party. The Flaming Lips' aptly titled "SpongeBob & Patrick Confront the Psychic Wall of Energy" slurps and chirps with glee; that 20-second gurgling sound at the end? (Suspiciously)"Is it drugs? Do you think it's drugs? I think it may be drugs. No, it couldn't be."
In one of pop culture's more bizarre moments, Motorhead appears near the soundtrack's end with the heavier than heavy "You Better Swim." This becomes even stranger when Lemmy growls "C'mon Spongey" just before someone, possibly SpongeBob himself, wrenches out an unholly solo that probably set the guitar on fire.
"The Best Day Eve," SpongeBob's only solo track, is probably the best song on the album, if only because it's one of
the best songs ever by a cartoon sponge. It's a song of hope and new beginnings. I haven't seen the movie, but I suspect it's sung after SpongeBob finally kicks his much publicized addiction to triple goober-berry sundaes. And God bless him for that.
Grade: B+ (It's actually really good)
— Dave Ruigh
12.9.04 Jayplay
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