► Overall: 8/10

With Random Access Memories, Thomas Bangalter and Guy-Manuel de Homem-Christo of Daft Punk take us on a liberating journey. The album forcefully reminds the listener of the classic sounds and techniques of the 70s and how special those were. Regarding the message and musicality factors below, I briefly touch on only a few items of note. I implore you to listen to the album in full, read an in-depth professional review and then listen to the whole thing again. There is so much to take in!

► Message: 9.5/10

As the title suggests, the album focuses like a laser on nostalgia and reflection. There are a more than a couple tracks that encapsulate this motif from some very unique perspectives. Make sure you listen intently.

► Musicality: 9/10

Well, what can you say? Daft Punk’s sound is pop culture; I so appreciate the continued poetic use of the synthesizer and how extremely detailed the production is. That being said, I really do dig the funkadelic direction here though. Not every instrument is electronic. It’s Funky House/Disco meets Pink Floyd, but there is a prevalent and enduring homage to the EDM craze the duo helped create throughout the entire record.

► Marketability: 7.5/10

Beat Heads (like myself) are salivating right now, but many casual listeners are also aware of this release too. There’s been quite a bit of organic word of mouth going on around the album (and also about the first single; the primary tool used to promote the album) but not so many “traditional” promotional tools are being used. So does that mean that the label simply lucked out with a hit like this? Was Random Access Memories actually marketed to its fullest potential? Some “smaller” scale releases surely have bigger marketing budgets than this one and don’t sell as well. However, I believe this could have made an even greater splash than it already has (more so than other “larger” scale releases) if there was more funding behind it. Missed opportunity? Maybe. A truly efficient marketing budget could only help to maximize profit and hedge the risk of loss. I understand the argument that money shouldn’t be spent if it’s promoting itself, but there are methods to aggressively supplement what’s already happening naturally and boost your sales higher. Here’s an interesting note: The album is licensed to Columbia, which is NOT standard practice. There must be some heavy expectation of ROI here on the label’s part. Why not go all in to help it succeed as much as it possibly can?

► “Get Lucky”

This Jamiroquai-ish track has a great groove and is also the most radio friendly song on the record. (Surprise… it’s the lead single!) It’s a good summary of the album’s production style which is why it’s a standout for me, but again, the whole album should be listened to for sure.

Released: May 21, 2013
℗ 2013 Daft Life Limited under exclusive license to Columbia Records, a Division of Sony Music Entertainment

► Overall: 8/10

Will’s 4th solo release, #willpower, is creative, but hardly next level.

► Message: 5.5/10

Aside from a couple of socially conscious mentions, there’s no real impactful message other than “hope you’re having a good time dancing and drinking in the club”.

► Musicality: 7/10

Very enjoyable, but I have to say I expected more. Instead of his production being ahead of the curve, Will finds himself flirting with the “now” far too often. Nothing on the record has really elevated the sounds on the radio right now. F for innovation, but A for effort. Also on the track “Ghetto Ghetto” there are kids singing and I DESPISE children on pop records. It usually never fits, and though this time it actually works with the message, it’s extremely disruptive. Hate it. Billboard has also reported he “stole” a song (really meaning that music wasn’t properly cleared for use) which hurt his credibility (maybe).

► Marketability: 9/10

The artist makes multiple pop culture plays to gain exposure. In addition to featuring everyone under the sun, the most strategic would have to be the hashtag used in the album’s  title. It leaves no doubt in any fan’s mind how to categorize their tweets. #Smart …I also like the way the cover art for each single (official or promotional) has been a variation of the “#willpower” insignia. #AlsoSmart

► “Scream & Shout”

Will has finally made a big splash outside of his group (Black Eyed Peas) on “Scream & Shout” with Britney Spears. This is, without a doubt in my mind, one of the all-around best Top 40 tracks to hit radio in the past 10 years.

► “#thatPower”

A very prevalent Daft Punk thing going on here. Embrace it, Will, Biebs! The label must get the vision (hopefully) because I think this is a great follow up single.

Released: Apr 22, 2013
℗ 2013 Interscope Records

► Overall: 8/10

Is Kid Cudi’s third solo effort his own version of Dre’s “2001″? He likes to think so. He’s certainly got some things to learn behind the board, but that doesn’t mean that there’s nothing to appreciate.

► Message: 8/10

IN·DI·CUD: [ĭn-dĭ-kŭd] n. 1. A portmanteau of the word “independent” and the stage name of musician Scott Ramon Seguro Mescudi reflecting his individualistic personal nature and unconstrained, fearless sound. 2. An album that Kid Cudi wrote and produced on his own. It is to be judged on its own merits.

► Musicality: 10/10

What do you say about an artist like Kid Cudi who is truly creatively immersed in his craft? Maybe he’s not the musical pioneer that some revere him to be, but I dig his style. Aurally, the spacey-progressive production is full of texture and makes the album chill, yet exciting to hear. Vibe out, folks.

► Marketability: 7/10

This is really a toss up to me. I’m sure it will find some commercial success, but Kid Cudi’s brand still remains more autonomous than other similar acts out there (especially when compared to those on Republic). Even though “Indicud” could appeal to the mass market, I don’t know with what force.

► “Afterwards (Bring Yo Friends)”

Even more random than a feature with female indie rock trio Haim, “Afterwards” boasts a successful collab with none other than Michael Bolton. Simple riffs and a minimalistic approach (maybe moreso than the rest of the album) make this a great listen.

Released: Apr 16, 2013
℗ 2013 Universal Republic Records, a division of UMG Recordings, Inc.

► Overall: 7.5/10

It makes me happy to turn people on to raw, legit music. If you haven’t heard of Beth Hart and your soul craves that special melancholy that only the blues can provide, let me be the first to introduce you…

► Message: 9.5/10

From questioning love and feeling despaired to finding redemption, Hart examines the basic canon of blues music with a little less “vagabond” than is standard and instead with a little more declarative sass.

► Musicality: 8/10

At times, you’d swear Tracy Chapman was singing on this record. Hart’s superfluous vibrato and deep rasp give her artistry a distinct quality. The production enhances the blue-eyed blues thing she has going on and though there’s not a single surprise musically, it’s a nice change of pace.

► Marketability: 2/10

Beth Hart is a niche act, so only her fans will take note when a new album hits the marketplace. As far as increasing the awareness of the release however, it seems her team has been doing a piss poor job at getting the word out. For instance, on the morning of  the release, her Facebook page mentioned NOTHING about the record NOW being available. Shoddy to say the least.

► “Baddest Blues”

Beginning with a bang (okay, pun intended there), this classic 3/4 time groove sets the tone for the entire album. “Love in all its splendor / Surrender its every blow / Where is the blues that I know?” I’m a sucker for albums that start well.

Released: Apr 02, 2013
℗ 2013 Mascot Records

► Overall: 9.5/10

Expecting “FutureSex/LoveSounds” Part II? Think again. If Prince (my favorite musician!), Al Green and Tangerine Dream produced a record together with percussive finesse, this would be the result. It’s chill, creative, unlike anything else out now and is a damn near perfect nighttime cruising record. After a seven year hiatus, you have to make a statement now don’t you?

► Message: 7/10

 Justin’s a great entertainer. Timbaland works magic in the studio. Neither one of them are superior lyricists. I’m being a little picky, but I hold Justin’s music to a high standard. The album boasts some great riffs and blazing hooks, so don’t get me wrong, they definitely write well together. However, there are more than a few lyrical missteps and each song has its own individual (and at times, misplaced) analogies and motifs. The overarching theme isn’t necessarily about “seeing” or “vision” like one would think, although there are more than a few tracks that allude to it. “Vision”, in my opinion, is a subject the entire album should echo, but does not. (“Pusher Love Girl” = Drugs / “Spaceship Coupe” = Astronomy. etc.) While some concepts may fit in places, (“Tunnel Vision” = Pursuing one singular woman / “Mirrors” = Realizing a significant other is a reflection of oneself) some of them are awkward and in abundance. That doesn’t necessarily mean that the songs that don’t touch on matter are bad, (quite the contrary, actually) they just seem like the pieces to a different puzzle. And then there’s “Strawberry Bubblegum” ….um….yeah…about that…different category altogether. From pies to popping bubble gum, let’s just say the song sounds like a sticky and sugary mess. It doesn’t bring the album down, but it’s entirely unnecessary.

► Musicality: 10/10

Ambient and smooth with some great grooves, Timbaland’s production is familiar, yet different. There’s the distinct Tim-esque percussion and the unmistakable tweeter-like beatbox sounds, yes, but what an incredible job Justin, Tim and all those who worked on the record do making 50s soul and 70s R&B contemporary and relevant (doo-wop BGVs and the whole nine). Breaking the mold again, Justin surely wants this to be an experience as most songs hover around seven minutes. It’s not for the impatient or feint of heart, but the payoff is grand. The Eastern influence of “Don’t Hold The Wall” is not something you’d expect to hear on the same album with such an orchestral and “movie score” sounding introductory track such as “Pusher Love Girl”. Genius.

► Marketability: 10/10

So Justin doesn’t pass this kind of thing off and let someone else do the leg work; he’s fully invested creatively. The promotional efforts of the release can be summed up as quality over quantity. From the GRAMMYs to an unprecedented full week run on “Late Night with Jimmy Fallon”, the looks were big, not many. That’s to say it didn’t seem like he ran the risk of oversaturating himself.

► “Tunnel Vision”

Seemingly inspired by his acting career, the confident and precocious “Tunnel Vision” is one extensive pick up line with mysterious and intricate production to match. There’s some major ear candy here, so enjoy it! It’s my favorite track by far (and it’s actually the least “Prince”).

► “That Girl”

Like a steak that’s perfectly cooked, the track is neither underwhelming nor overdone. The organ and brass accompanying Timberlake add to album’s atmosphere so well, I don’t think the album could do without this throwback. Smother that butter all over your dinner plate!

► “Mirrors”

The strongest overall record in my opinion and is a solid choice for a follow up single. It melds the best of “new” Justin with “old” Justin.

Released: Mar 19, 2013
℗ 2013 RCA Records, a division of Sony Music Entertainment

► Overall: 7/10

So, you may have noticed I haven’t blogged in a minute. Well, I don’t want this to become a chore; I’ll write when I feel like I have something to say about a new and notable album release. And Mindless Behavior’s “All Around The World” is definitely a record I want to comment on. It’s a satisfactory pop record and though it won’t have a lasting impact on the charts or in popular culture, fans of the group will revere it as the holy grail. There’s nothing more dangerous than a pack of rabid teenage females! Major points added for knowing the target market.

► Message: 3/10

The content is slightly less juvenile than MB’s previous effort, (makes sense when you think about the fact that the music is made for an aging pre-teen-ish/teen fanbase), but let’s be real, there’s nothing too deep here.

► Musicality:  6/10

The boys have come into their respective post-pubescent voices nicely. For the most part though, production is simple, (maybe a little too simple) and sounds quite dated at times. Some of the horns remind me of T.I. circa 2006. (Don’t get me wrong, there are some songs that speed in the opposite direction too). This is the standard equivalent of “radio rock” for the urban pop genre.

► Marketability:  10/10

This machine pursues its prey through the expanse of the promotional jungle like a deft wildcat effortlessly captures a wildebeest. There’s a team here that works to cohesively utilize all tools (digital and traditional) at their disposal. Why is this so amazing? It’s mostly all grassroots! Relative to their teenaged contemporaries of course, they are one of the few 800-lb gorillas at that level. Billboard.com praised these efforts when Mindless Behavior made their first appearance on the fairly new Social 50 chart. Also, there’s nothing like a feature film of the same name to reenforce your album release (and vice-versa for that matter). Look for them both this week.

► “All Around The World”

There’s a reason it’s the movie title, album title and 1st track on the record. Strongest song on the disc by far. The break is sick.

► “Video”

Finally some mature-ish production! A track that sounds like it belongs on a 30-something rapper’s record  instead of with a teenybopper urban pop vocal group.

Released: Mar 12, 2013
℗ 2013 Streamline/Interscope

► Overall: 8/10

Complete with lingering remnants of former DC members, “Love Songs” is an aptly titled compilation spanning the past decade or so and showcases the group’s best Contemporary R&B jams and ballads.

► Message: 9.5/10

This album should say to you: “Play me if you’re in that kind of mood”. The songs featured are expressive and do fit the bill.

► Musicality: 9/10

Jams and ballads, (especially R&B jams and ballads), can be very libidinous. Simple and sexy production, lush vocal arrangements and a seductive hook are some key elements to a great jam. Again, “Love Songs” delivers.

► Marketability: 5/10

Does anyone really care about a Destiny’s Child reunion at this point? Beyoncé is doing just fine on her own and I would surmise the compilation is nothing more than another exercised option that brings the group closer to the end of the contracting term. Hmmm. With that in mind, Bey has been extremely visible lately (2013 Presidential Inauguration performance, Super Bowl Halftime Show) and is gearing up for an alleged solo release of her own relatively soon. “Love Songs” is just another cog in the “awareness” machine.

► “If You Leave”

This was probably a “filler” track on 1999′s “The Writing’s On the Wall”, but in my opinion, it is the smoothest jam that the group has ever released. Sometimes you just need that quiet storm sound.

► “Nuclear”

Nice groove. The song overall though is just very anticlimactic.

Released: Jan 25, 2013
℗ 1998, 1999, 2001, 2002, 2004, 2013 Columbia Records, a division of Sony Music Entertainment

► Overall: 10/10

The annual compilation of GRAMMY nominated songs and artists again showcases the essential cornerstones of commercial music throughout the past year. If you enjoy what you hear on the radio, no doubt you’ll put this on repeat.

► Message: 10/10

You may view all these songs as just shoddy conventional tunes, but you’d be in the minority. Some records aren’t really that deep and in my mind are just awful (such as “Call Me Maybe”). However, others featured are very expressive records (such as “Lonely Boy”). Bottom line: This compilation is an accurate reflection of society’s preferences in popular music.

► Musicality: 6/10

In the previous two categories, you may have noticed I’ve given the compilation a 10/10. Thinking of it as a yardstick to measure the previous year’s music, you should understand why. I can tear this thing up when it comes to musicality though. Let’s be real… some of the music on here is really crappy.

► Marketability: 9/10

Know that the nominated music on the compilation (along with many other pieces of music) are put through a stringent nomination process and voted on by music industry executives and tastemakers. The final nominees in each category are the most influential, successful and/or brilliant records of the year. That being said, there are many songs that could be featured on the GRAMMY Nominees release, but the ones selected (assuming they can be licensed) are the ones that will sell and help promote the award show best. Remember, most of these compilations have been certified Gold, and even a couple have gone Platinum. It’s all about the Benjamins.

Released: Jan 18, 2013
℗ 2013 The Recording Academy. All rights reserved. Unauthorized reproduction is a violation of applicable laws. Manufactured by Capitol Records, LLC, 1750 North Vine Street, Hollywood, CA 90028.

► Overall: 7/10

Now I wouldn’t dare listen to this in my free time, but I do respect Razor & Tie’s kid-friendly compilations of Top 40 Songs. Why? They make money!

► Message: 1/10

Obviously the appeal of the Kidz Bop is that children instantly recognize the re-recorded music on the compilation. Though the lyrical content is changed so it’s not suggestive, some of the artists who made the songs popular embody the most sexually explicit and vulgar celebrity brands in Hollywood. (*cough* *cough* Rihanna) This is the textbook definition of a mixed message if you think about it.

► Musicality: 8/10

Please give the performers paid to sing on these tracks some credit where credit is due. If anything, they deliver very articulate vocals. For the most part, the production isn’t as opulent (dare I say it’s karaoke-ish haha) as a Top 40 counterpart may be, but they are emulated very well.

► Marketability: 10/10

Kidz Bop is extremely well received by its target demographic. In its 23rd incarnation, profits obviously continue to outweigh licensing, marketing and distribution costs. So if it’s not broke, don’t fix it. On another note, this very visible platform has also helped launch the careers of some of the aspiring artists/vocalists who perform on it. Example: Justin Bieber.

► “We Are Never Ever Getting Back Together”

Even though this song makes me want to pull a Vincent van Gogh on my ears so I don’t have to listen to it, it stays true to Taylor Swift’s performance style.

Released: Jan 15, 2013
℗ 2013 Kidz Bop

► Overall: 8/10

 The Bad Boys from Boston are back! (No, not Aerosmith — the other ones) Dropkick Murphys! (Well, they are actually from Quincy, Mass., but you get the idea) …The band’s latest release showcases the sound you love them for!

► Message: 7/10

Assertive musical manifestations encouraging you to let your hair down, Paddy. That pretty much sums it up.

► Musicality: 9/10

I think I’ve said this before, but there’s something great about being able to know just what to expect from an album. Sometimes you know what you want to hear and no doubt, you can expect consistency from Dropkick Murphys. Their famous Celtic/Alternative Rock sound is ubiquitous …loud gang vocals, bagpipes, mandolins and the whole nine.

► Marketability: 9/10

I don’t normally quote other reviews or biographies from other sources about artists I review, but here’s one from Amazon.com that sums up the Dropkick Murphys movement pretty succinctly. It’s describes precisely what makes the band retailing champs.

“Dropkick Murphys are now one of the best-known rock bands in the world, thanks in part to their ability to tap into the working-class and sports fan culture that permeates Boston and the New England area but even more so due to their reputation for phenomenal live shows.”

► “Rose Tattoo”

Less boisterous than other tracks on “Signed and Sealed in Blood”, I enjoyed the mellow moment this song created.

► “End of the Night”

A perfect end to an alternative album such as this; lyrically about closing time at bar. It’s longest song on the record and a standout because of its time signature. Someone please hoist a mug of beer for me!

Released: Jan 08, 2013
℗ 2013 Born & Bred Records