Waldorf University Eminem The Marshall Mathers LP Album Review Paper Album Review 2 1500 words Choose one of the albums listed below and write an album r

Waldorf University Eminem The Marshall Mathers LP Album Review Paper Album Review 2

1500 words

Choose one of the albums listed below and write an album review. The review consists of three parts:

Part 1: Do research into the Album. Who is the artist? What is the name of the album? What year was the album recorded? What record label? Who was the producer? Who are the musicians i.e. personnel? Provide a track listing of the songs. Mention any chart position information [#1 Billboard etc.], you can restrict this information to the USA, UK and Canada where applicable. Having completed Assignment 1 & 2, this info should be easy to find. You can cite your source in the bibliography, not in-text. This part should be submitted in point form:

Artist: Tim Crofts

Album: The Lost Years

Year: 1981

Label: Panda Records

Producer: Phil Spector

Musicians: Tim Crofts [synth, vocals]

Joey George [drums]

Track Listing: 1. Do Your Homework

2. Read the Instructions

3. No Seriously

4. I Mean It

Chart Positions: #1 in the UK

Part 2: Do some research. Write a short passage outlining the importance of this album in the career of the artist/band, and its success commercially and/or influence on future artists. Also note anything characteristic about the albums sound or production method. This should be SINGLE SPACED. Part 1 and Part 2 should take up one page SINGLE SPACED.

Part 3: LISTEN TO THE ENTIRE ALBUM. Write a reflection on the album based on the research you have done. Did the album meet your expectations? Why or why not? Why is this music appealing? Consider what we have discussed in class. Did one or more tracks make a stronger impression? Which ones and why? This is an informed opinion. I’m not just interested in whether you like something. We have discussed many musical elements in class, use what you have learned. Think about groove, instrumentation, timbre, production etc. Part 3 should be one page SINGLE SPACED. In total, the album review assignment should be at least two pages, 1000 words.

ANY AND ALL CITATION SHOULD BE INCLUDED IN THE BIBLIOGRAPHY. 3 SOURCES. NO DIRECT QUOTATION. NO IN-TEXT CITATION.

Albums: Find them yourselves using Spotify, Youtube, or Apple Music.

Eminem- The Marshall Mathers LP

Radiohead- OK Computer

Destiny’s Child- The Writing’s on the Wall

Tool- AEnima

Lil’ Kim- The Notorious K.I.M.

Björk- Debut

Lauren Hill- The Miseducation of Lauren Hill

Pearl Jam- Ten

Tribe Called Quest- Beats, Rhymes and Life

Smashing Pumpkins- Mellon Collie and the Infinite Sadness

Shania Twain- Come On Over MUSC 2019 Assignment 3: Album Review: Hounds of Love
Artist: Kate Bush
Album: Hounds of Love
Year: 1985
Label: EMI America Records
Producer: Kate
Musicians:
•
Prog Rock Band
Track Listing:
1. Running Up That Hill (A Deal with God)
2. Hounds of Love
3. The Big Sky
4. Mother Stands for Comfort
5. Cloudbusting
6. And Dream of Sheep
7. Under Ice
8. Waking the Witch
9. Watching You Without Me
10. Jig of Life
11. Hello Earth
12. The Morning Fog
Chart Positions:
•
•
•
#7 Canada
#1 UK
#33 USA
“Hounds of Love” is the 5th studio album by an English musician and singer-songwriter
Kate Bush, which was released by the EMI America Record by 16th September 1985. Generally,
the album was economically successful and marked the return to the limelight after moderately
bad sales from Kate’s last album, “The Dreaming” of 1982. “Hounds of Love” obtained crucial
commendation on its release and in the retroactive reviews. The album, in general, is regarded by
most music critics and fans to be the best album of Kate Bush and has often been voted as one of
the best albums always. September 2016 is the year that marks the thirty-first anniversary for the
release of Bush’s album “Hounds of Love.”
Most artists and musical publications have cited this album as the influential and
trailblazing work, which had reverberated across most creations of artists through the previous
thirty-one years. Most of them have attempted to duplicate the album in themes and sound, but not
even one of them has exceeded the glorious work of Bush’s brilliance. Generally, “Hounds of
Love” is of great significance to Kate Bush’s career on account that it helped deliver the
masterpiece for its artist and also helped ensure artistic independence for her present long career.
This idiosyncratic and exquisite album paved the way for a considerable lot of female artists to
ensue.
“Hounds of Love” was produced in the form of two suites- the first side being “Hounds of
Love” and the second side being The Ninth Wave, which is the concept piece of the second track.
Typically, Kate depicts it as being about an individual that is unaccompanied in water for the night.
She also describes it as being about their future, their present, and even their past that comes to
make them stay awake to prevent them from drowning and also keep them from falling asleep until
dawn.
Kate Bush was inspired by the gated drum sound records, which were pioneered at the
Townhouse Studios. Consequently, she has been besotted with Fairlight CMI, a synthesizer that
helped the musicians sample the sounds and later have them play back either by programming the
notes’ sequence or directly from the keyboard. Therefore, in January 1984, Bush started recording
Hounds of Love demos. Instead of the re-recorded music, Bush took those demos and progressed
them throughout the sessions of recording. After a few five months, she started mixing and overdubbing the album in a procedure that took more than one year. These sessions of recording
comprised of the utilization of a Fairlight CMI synthesizer, layered vocals, conventional Georgian
Song, and the piano. The chorale found in “Hello Earth” is the segment from “Tsintskaro,” a
conventional Georgian song that was performed by the singers of Richard Hickox.
Kate Bush’s album “Hounds of Love” does meet expectations. Why? This is on account
that Kate Bush’s album is a superbly-acted dark drama, which eschews both the onscreen torture
extremes and the typical genre thrills, it is intense, especially throughout its suspensive third act
(regardless of whether it borrows the paramount stunt from a noteworthy Hollywood thriller), yet
it discovers the actual strength in the expeditions of the two principal female characters within the
album.
Young wisely centers our sympathies with the real victim of the album, however, Vicki
permits time to be also spent with the couple to help sightsee their relationship. John’s brief
glimpses outside home uncover a man without power. They could easily be positioned in his place
by other people. The demeaning triggers his power trip within the house, which causes him to
manipulate Evie both emotionally and physically. Both John and Evie are the villains in the album,
with John being the principal aggressor. However, the villainy of Evie is known to be a multilayered matter. There is a risk that a few viewers might perceive Evie as much of a victim than
what she is, though, the film does not once veer anyplace near pardoning her conduct. We are
provided with complexity in Vick’s mother as another lady paired with a domineering man and
also the one that had the resilience to leave him.
The performance of Booth painfully and beautifully captures the torment of a woman- we
are given hints if what she has lost in the previous years. Still, Booth’s depiction of the lost woman
is stressed by what her heart wants and what her head is cognizant of, forcing the spectators to
perceive the person behind a monster. Agony, affection, rage, and sorrow wash throughout her
face in interminable waves with every new tidal change wiping off much of her resolutions. The
album, however, does not show the viewers any rough matters. This is on account that violations
are allowed or implied to occur offscreen- yet the devastating performance of Booth is itself hard
to watch sometimes.
As intense and heavy as the issue at hand is though, Young manages to keep the viewers
entranced with this attractive film. Suburbia’s slow-motion shots, along with the kids at play,
contradict the dark that develops in the modest streets and even proposes the subliminal desire of
holding onto such innocence moments for as long as possible.
Hounds of Love is appealing since it a stylish and robust debut for Young, and while the
contrasts with the interminably oppressive Snowtown Murders are inescapably better and more
impacting the film. Besides, Hounds of Love walks a fine line amid the psychological drama and
the entertaining thriller, yet it succeeds in combining the two into a darkly memorable feature. This
could also be a reason why the Hounds of Love met its expectations.
More than one track made a stronger impression on the album. These tracks include “The
Big Sky” and “Cloud Bursting.” The strong impression that “The Big Sky” gives is of the artist
giving a backward glance, and to some point deliberately draws upon the present superseded
manner of cooperating with the comprehension of “I used to do such songs, but I no longer do
them.” The uncommon nature of such an exercise only emboldens its impact. “Cloud Bursting” is
another example of a track of numerous inadequacies that are made to manifest at an artist’s career.
The strong impression it fives is that the artist is creatively and most suitably fraught by more
esoteric issues. The overpoweringly literal feel, along with the accompaniment of instruments,
makes the track a very disappointing and forgettable one.
Conclusively, Hounds of Love conveyed Kate Bush’s masterpiece and would ensure artistic
individuality for her present long career. This album, known to be exquisite and idiosyncratic, will
pave the way for a considerable lot of artists also to follow. Generally, Kate Bush would solitarily
make a personage of an enchanting songstress, which Florence, Natasha Khan, Catherine Davies,
Bjork, just to name a few, would vie with. Kate Bush deservingly won the Brit Awards of 1986 as
the best producer, best single for the track “Running Up that Hill” and as the best female artist.
Her determination, together with her incredible musical capacities, makes her the living legend
until today. Generally, Hounds of Love is known to be a masterpiece on account that it’s still fresh
and appealing as the way it was first released. “Hounds of Love” has an unfathomable emotional
influence on the listeners with breathtaking beauty. It’s a great example of a listing experience and
an essential album.
Works Cited
Bush, Kate, et al. Hounds of love. EMI, 1985.
Colton, Lisa. “Kate Bush and Hounds of Love. By Ron Moy. Ashgate, 2007. 148 pp. ISBN 9780-7546-5798-9 (pb).” Popular Music 27.2 (2008): 329-331.
Moy, Ron. Kate Bush and Hounds of love. Ashgate Publishing, Ltd., 2007.
Mark Lindores, ‘Classic Albums: Hounds Of Love.’ Classic Pop (UK), September/October 2013.

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