Close your eyes and think of the words "Canadian music." Suddenly, images of Bryan Adams singing that Robin Hood: Prince of Thieves song and Celine Dion running down the hall of a castle to the tune of "It's All Coming Back To Me Now" appear, right?
Unfortunately for the average music fan, the words "Canadian music" are forever linked with the year 1995.
Live at Jittery Joe's
In 1998, Neutral Milk Hotel released, in my opinion, the defining album of the '90s, In the Aeroplane Over the Sea. The band's only release our lonely ears have heard since is Jittery Joe's, recorded live by their enigmatic leader, Jeff Mangum, in 1997, and released in 2001.
Tyrannosaurus Hives is misleading after an inital spin. Compared to the garage band's second album, 2000's Veni Vidi Vicious, this album is cold and slick, very different from the raw Vicious, which had a basic live sound.
The Roots know they're on the cusp of entering the upper echelon of rap popularity. Forever championed by critics and underground hip-hop fans, the group has scored hits on their past two albums: "You Got Me" from 1999's Things Fall Apart and "The Seed (2.0)" from 2002's Phrenology. The Tipping Point means many things to the band, including that this album may very well decide if this band is accepted by the general hip-hop populace, or left to be appreciated by those who look hard enough for good hip-hop.
Thus, it's rather ballsy that The Tipping Point's first single is "Don't Say Nuthin'," a track in which lead emcee Black Thought rips the bland hip-hop community that isn't saying anything.
The titles on Together We're Heavy, the second album from The Polyphonic Spree, are numbered from 11 to 20, continuing from the first ten sections of the band's debut, The Beginning Stages of... Despite the titling, however, things couldn't be more different on this sophomore effort.
The Spree's debut was originally recorded as a demo, and didn't feature many of the current 21 group members.
Matt Sharp has been in the music business for over a decade, but with the release of his self-titled solo debut, he finds himself back where he started, when he was Weezer's falsetto-singing bassist.
"There were no expectations for that Weezer record," Sharp explains.