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Albums Directory on Weblo Music

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Record 1 - 10 of 108 [Total 11 Pages]
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In 1990, the duo of Steve Waddington and Jon Marsh released its debut album Happiness under the name the Beloved, and found modest success by combining light, Erasure-style dance-pop with Marsh's breathy vocals and atmospheric arrangements. Following the release of a remix album Blissed Out (also from 1990), Waddington left the band, and was replaced by Jon Marsh's wife Helena Marsh just in time for the recording of the group's follow-up, the lifeless Conscience. The 1993 release largely aban...
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The seventh album from Australia's INXS basically sticks to the formula set up on Kick, mixing solid remixable dancefloor beats with slightly quirky production tricks, Michael Hutchence's rough-edged, bluesy vocals, and some good solid song hooks. The most immediate numbers are, of course, the two singles, "Suicide Blonde" and "Disappear," but other tracks stand out as potential hit material as well, including the anthemic "The Stairs." The biggest problems with the album are a tendency to pl...
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Each track on X or "Ten" (since it's Schulze's tenth release ) is titled after famous German personalities, but it's the provocative electronic music within the names that makes this one of his best albums. On this two-CD set, Schulze's sequencer is joined by electric guitar and drums, that pleasingly brings an earthy, simplistic feel into his pastiches. Still captivating and alluring with his multi- keyboard entourage, the tracks each exhibit a personality all their own. "Friedrich Nietzsche...
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X is the Roman numeral for ten, and this late-2000 release is titled X because it marks Cedric "K-Ci" Hailey and Joel "JoJo" Hailey's tenth anniversary in the recording business -- first as two-thirds of the trio Jodeci, then as the duo K-Ci & JoJo. X, the duo's third album, isn't a radical departure from its two previous albums; like 1997's Love Always and 1999's double-platinum It's Real, this CD emphasizes romantic material and combines a high-tech urban contemporary production style with ...
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No matter how hard Def Leppard pushed 1999's Euphoria, it just didn't take off. No matter how many times they were on VH1 in the years separating that album and its successor, 2002's X, the group failed to stay in popular consciousness as an active band -- after all, a much-repeated Behind the Music and a made-for-TV biopic aren't the best way to signal that a band is still vital. X isn't likely to change that reputation, either, since much of it sounds like the band is desperate for a hit ag...
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Some cynical pundits would argue that Sons of Otis' albums have long served little purpose other than to pay the bills between live performances, where, with the help of spinning lights and billowing dry ice smoke, the trio's sludgy space/stoner/psych/doom metal always comes across significantly more powerful than has ever been heard on plastic. But, having said that, one must admit that 2005's Billy Anderson-produced X (so named for commemorating the band's first decade of activity) and its ...
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Smooth-jazz journeymen Fourplay reunite for X and deliver more solid, lite-instrumental sounds. Centered around the talents of keyboardist Bob James, guitarist Larry Carlton, bassist Nathan East and drummer Harvey Mason, Fourplay also feature here blue-eyed-soul icon Michael Mcdonald who takes an inspired vocal turn on the Steve Winwood tune "My Love's Leavin'. It's a great track that nicely exploits the aesthetic connection and '70s heritage of both smooth jazz and soft-rock. Similarly appea...
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