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Les Boys

Rock - Released July 26, 2021 | Les Boys

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I Told Them...

Burna Boy

Afrobeat - Released August 25, 2023 | Spaceship - Bad Habit - Atlantic Records

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Among the crop of Nigerian stars succeeding on a global scale, few burn as bright as Burna Boy. After breaking into the mainstream with 2019's African Giant, the singer cemented his international status with the success of 2022's Love, Damini, which hit number 14 on the U.S. pop chart and nearly topped the U.K.'s top position. After a tour playing to packed houses in North America and Europe, Burna sold out London Stadium, becoming the first African artist to headline a U.K. stadium tour. Released in August 2023, his seventh album is something of a victory lap. He addresses that concert in particular on the title track, singing "I told them I'm a genius, had to show them what the meaning is" alongside a guest spot from Wu-Tang legend GZA, the latest in a series of high-profile guests who have joined him in the studio. RZA gets in the game, too, offering up a spoken affirmation on the brief "12 Jewels." Other guests include J. Cole, 21 Savage, and Seyi Vibez, but of course they are only guests; this is Burna's party and he is operating at the top of his game. Despite the cockiness of its title, his songs remain pleasingly mellow and eclectic, working through a range of styles (highlife, dancehall, Afro-Cuban) and delivering memorable hooks and melodies with the confidence of his status.© Timothy Monger /TiVo

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Boys Like Girls

Pop/Rock - Released January 3, 2006 | Columbia

Oh, Boys Like Girls. With their eponymous debut for Red Ink, the Boston quartet marks its entry into the effervescent world of sugary, emo-blasted pop/rock. They've got the gleaming guitars, urgent vocals, and driving rhythms propelling three-minute ditties about their hearts, their girls, and those girls who just like to toy with their poor hearts. But unlike similarly styled bands, Boys Like Girls are largely lacking much of anything that could either separate them from the pack or, at the very least, give them more substance to appeal to more than just the teenaged girls who will be singing along enthusiastically at shows while secretly pining for the shaggy-haired, boyish clan. Boys Like Girls are simply without the overwhelming catchiness of the All-American Rejects or the unbridled enthusiasm of the City Drive. Instead, listeners are left with an offering that is almost catchy and enthusiastic. Even the few standouts -- like the summer drive of "The Great Escape" and "Heels Over Head" -- will be pretty hard to recall by the lukewarm album's end. Regardless, those looking for a quick fix will surely eat up the likes of Boys Like Girls.© Corey Apar /TiVo

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The Great Escape

Blur

Rock - Released September 11, 1995 | Parlophone UK

Distinctions The Qobuz Ideal Discography

In the simplest terms, The Great Escape is the flip side of Parklife. Where Blur's breakthrough album was a celebration of the working class, drawing on British pop from the '60s and reaching through the '80s, The Great Escape concentrates on the suburbs, featuring a cast of characters all trying to cope with the numbing pressures of modern life. Consequently, it's darker than Parklife, even if the melancholia is hidden underneath the crisp production and catchy melodies. Even the bright, infectious numbers on The Great Escape have gloomy subtexts, whether it's the disillusioned millionaire of "Country House" and the sycophant of "Charmless Man" or the bleak loneliness of "Globe Alone" and "Entertain Me." Naturally, the slower numbers are even more despairing, with the acoustic "Best Days," the lush, sweeping strings of "The Universal," and the stark, moving electronic ballad "Yuko & Hiro" ranking as the most affecting work Blur has ever recorded. However, none of this makes The Great Escape a burden or a difficult album. The music bristles with invention throughout, as Blur delves deeper into experimentation with synthesizers, horns, and strings; guitarist Graham Coxon twists out unusual chords and lead lines, and Damon Albarn spits out unexpected lyrical couplets filled with wit and venomous intelligence in each song. But Blur's most remarkable accomplishment is that it can reference the past -- the Scott Walker homage of "The Universal," the Terry Hall/Fun Boy Three cop on "Top Man," the skittish, XTC-flavored pop of "It Could Be You," and Albarn's devotion to Ray Davies -- while still moving forward, creating a vibrant, invigorating record.© Stephen Thomas Erlewine /TiVo

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Burna Boy

Afrobeat - Released August 25, 2023 | Spaceship - Bad Habit - Atlantic Records

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Among the crop of Nigerian stars succeeding on a global scale, few burn as bright as Burna Boy. After breaking into the mainstream with 2019's African Giant, the singer cemented his international status with the success of 2022's Love, Damini, which hit number 14 on the U.S. pop chart and nearly topped the U.K.'s top position. After a tour playing to packed houses in North America and Europe, Burna sold out London Stadium, becoming the first African artist to headline a U.K. stadium tour. Released in August 2023, his seventh album is something of a victory lap. He addresses that concert in particular on the title track, singing "I told them I'm a genius, had to show them what the meaning is" alongside a guest spot from Wu-Tang legend GZA, the latest in a series of high-profile guests who have joined him in the studio. RZA gets in the game, too, offering up a spoken affirmation on the brief "12 Jewels." Other guests include J. Cole, 21 Savage, and Seyi Vibez, but of course they are only guests; this is Burna's party and he is operating at the top of his game. Despite the cockiness of its title, his songs remain pleasingly mellow and eclectic, working through a range of styles (highlife, dancehall, Afro-Cuban) and delivering memorable hooks and melodies with the confidence of his status.© Timothy Monger /TiVo

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Zazen Boys

Rock - Released July 16, 2005 | Matsuri Studio

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Le film : Le commencement

Zuukou Mayzie

Pop - Released July 22, 2022 | 667 x Jeune à jamais

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Lil Boat 3

Lil Yachty

Hip-Hop/Rap - Released May 29, 2020 | Quality Control Music - Motown Records

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Lil Yachty was still in his late teens when he began his ascent to commercial rap stardom, growing up in public as he consistently churned out new music. Five years after his arrival, fourth studio album Lil Boat 3 is the third and final installment of his Lil Boat series, over the course of which both his lyrical personality and musicality have evolved. The misty trap production, Auto-Tune-saturated vocals, and juvenile bragging of younger days is still part of Yachty's style to some degree on Lil Boat 3, but rather than hiding behind these elements, the rapper puts himself at the forefront of the project. Yachty goes it alone for all but six of the album's 19 tracks, shining on solo songs like "Split/Whole Time" and "Black Jesus" with bouncy flows and lyrics that are equally inspired and strange. The approach swings widely over the course of Lil Boat 3, ranging from the pop greatness of standout track "Oprah's Bank Account" (a fully loaded melodic hookfest complete with a silky verse from Drake and a characteristically vigorous contribution from DaBaby) to doomy trap blasts like "Pardon Me." Tyler, The Creator, A$AP Rocky, and Tierra Whack show up for the frenzied group track "T.D.," pushing each other to take their turn on the mike somewhere weirder or more intense. It's one of the more exhilarating moments on the album, one where you can hear the shared excitement between the artists. Yachty's progress mostly shows up in his drive to push his music to new places, but he takes steps backwards by overpadding Lil Boat 3 with too many similar, unnecessary tracks. Songs like "Lemon Head" and "Up There Music" start out strong but don't go anywhere. Even when Yachty explores different singing styles and production choices on these tracks, their inclusion on the album is questionable. Overall, the album is a step up, with some of Lil Yachty's most infectious songs and a deeper dimension slowly starting to show around the corners of his monotone style. © Fred Thomas /TiVo