This is definitely one of Adams's more rock and roll albums, well, since lloR N kcoR, released back in 2003. It features a lot of the same musical touchstones, being the "college rock" staples Adams grew up on, like the Replacements, the Smiths, R.E.M. & Joy Division, with even a little Neil Young and Tom Petty thrown in for good measure. It does suffer a bit from the occasional bout of "damaged junkie self-pitying," and an overly long running time (it spans two 10+ track discs), and it's arguable that it could have been split into two releases. Unfortunately, the criticism there would likely be that it's "too much of the same" spread across two different discs, and the fact of the matter is, Adams is a talented songwriter a majority of the time. The rest of the time, he's just keeping himself busy.
This record is nothing if not necessarily necessary. It's full of decent, late '80s crossover metal, in the vein of Testament, Megadeth, Corrosion of Conformity, and Anthrax, but definitely the softest of their tunes. And, go figure, the band features not one but TWO Anthrax members in Scott Ian and Rob Caggiano. The band is also comprised of Fall Out Boy members Joe Trohman and Andy Hurley (i.e., two of the dudes who aren't pete wentz), and lead singer Keith Buckley from Every Time I Die. I think what's most disappointing about this album is that it doesn't feel nearly as dangerous as ETID does, and lacks the swagger, angularity, dirt, and biting, literate humor and wordplay that make Every Time I Die so great and interesting. I know it's unfair to compare the two bands, but it's hard not to, when all in all, this isn't too far a stretch from what ETID would sound like were they a little more mainstream -- if they, say, went all Eighteen Visions on us.
As suggested by the cover art, this is apparently R. Kelly's love letter to the '50s and '60s sounds of R&B. As blatantly laid out by his speak-sung mission statement kick-off track, this is more a love letter to his fans. Well, that and Michael Jackson. Because really, amongst the direct reference to "Thriller," the secret bonus cover of "You Are Not Alone," and several MJ-styled "YEAH" outbursts, this could easily be mistaken for a lot of the late-period, synthesized-Motown Jackson ballads. The sound doesn't really stray far beyond the smooth jazz and lite R&B that's pretty inoffensive to everyone. But it's entirely possible that's what he's going for -- after all, much like Jackson, Kelly's had his share of controversial (and incredibly illegal) sexual escapades that probably make him pretty hesitant to step on anyone's toes. But speaking of...
The first of what I'm sure will be many, many more posthumous releases from the late "King of Pop," Michael suffers from being overly sappy, and in a lot of cases, nearly indistinguishable from the aforementioned R. Kelly album -- especially on the opening track "Hold My Hand." Well, that is, save for the near complete lack of libidinous come-ons. Instead, this record is full of "meaningful" songs, along the lines of "Man in the Mirror," but, you know, not good. "Hollywood Tonight" and his track with 50 Cent, "Monster" (about paparazzi, because, you know, they're monsters...) have a lot of the rough-edged funk reminiscent of Dangerous, but especially in light of 2008's Thriller reissue, this is pretty sub-par. On a couple of tracks, you can even (cover your eyes if you're squeamish) hear Jackson's missing nose. And something about "Best of Joy"'s refrain of "I am forever" is profoundly shrill & creepy. This is just evidence that while some songs may be forever, the artist is definitely not.
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