[.ca] Songs Of Mass Destruction

From Amazon.com:
Menacing as they sound, the songs of mass destruction gathered on Annie Lennox's fifth solo disc don't manage to so much as nick the gorgeous instrument she's built her career on. Weaving artfully as ever around the contours of songs that suggest the worst--Lennox is world-wise and therefore maybe inevitably world-weary--she imparts gravity and grace in a voice as cloudless and surface-smooth as just-brewed mint tea; from the tentative beginnings of the mournful "Dark Road" to the gospel-bottomed gorgeousness of "Ghosts in My Machine," she's in full command of her considerable vocal powers. And it's possible she's never used them to such moving effect on a single record. Earlier Lennox or Eurythmics albums might have succumbed here and there to slight-seeming experiments in style, but Songs of Mass Destruction doesn't dilly-dally. All swerves, even playful ones (see "Love Is Blind" and "Coloured Bedspread," a synth-y song that wouldn't seem so out of place on a recent Madonna record), are on-message: "Womankind" busts wide open not only because it needs to (a voice this big can't be contained, it reminds us), but to demo empowerment, and the hopeful "Sing" signs off with a seconds-long African guest vocal. There's an upside to the destruction of cultural wellness that led Lennox to write this record, and it's artistic creation. Songs of Mass Destruction is a sterling, rock-solid, expert example. --Tammy La Gorce

Ripoff:
How the heck can this album be $14.96 on Amazon.ca and $9.99 on Amazon.com, when the U.S. and Cdn dollar are at par? That's a 50 per cent increase!! They could ship these disks to Mars and back for a premium like that.

The iconic diva returns with a mixed bag.:
Annie has come up with a real cracker, a collection of songs which, while steeped in the bleak lyrical outlook of their creator, a woman who seems destined to yearn, weep and howl at the moon, is nevertheless beautiful and rich and stirring. There's a whole lifetime of experience crammed into this thing, and Lennox's voice has never sounded better - in the lower registers it's like seasoned teak, then it soars into an icy stratosphere. "For her fourth solo outing, Annie Lennox has ditched her usual producer, Stephen Lipson, in favour of Glen Ballard, the American best known for inflicting Alanis Morissette upon the world. While there's no denying the power and command of Lennox's vocals throughout, it's not a particularly fruitful alliance, Ballard's bland sound denuding the songs of impact. Alarm bells really start ringing two-thirds of the way through, when one realises that "Coloured Bedspread" is just about the most enjoyable thing here, precisely because its understated Eighties electro-funk so closely resembles her work in Eurythmics. The rest of the album vacillates between sludgy power ballads, such as "Smithereens" and "Lost", and Elton-esque MOR rockers, such as "Love is Blind". The Aids-benefit anthem "Sing" struggles to make much impression despite a choir comprised of virtually every popular female singer in the Western world, and a few from beyond. Lennox's greatest failing throughout "Songs of Mass Destruction" is her too-eager recourse to lyrical cliché, a parade of banalities every bit as clunky as that title".Andy Gill. She, it's easy to forget, is one of the greatest singers that Britain has ever produced. She can purr softly, reach high notes that only the uber-divas of the nineties (Celine Dion, Regina Belle, Whitney Houston, Mariah Carey) normally attempt. "Dark Road", the first single from "Songs of Mass Destruction" - only her third album of original material in a decade and a half - is a timely reminder of the Scottish songstress' awesome vocal chops. Over portentous, melancholy piano chords, Lennox croons world-weary, slightly ambiguous lyrics - "Maybe I'm still searchin' but I don't know what it means, all the fires of destruction are still burnin' in my dreams" - with tenderness and restraint. Its melody grows in stature with every spin, while its tumultuous, strutting middle eight feels like the smashing vase that ends the bitter sulk of a domestic dispute. The album is Lennox at her haunting best, with the sort of velvet vocals your average female singer would mud-wrestle her granny for. Lennox demonstrates yet again, if proof was still needed, she's one of the most iconic divas of our time, someone to be treasured and revered. No matter what new path she treads in her career, she turns it into her own and proceeds to dazzle even the most hardened of critics. Highlights : "Coloured Bedspread", "Dark Road",and "Smithereenes".

Very Powerful Material:
SOMD (Annie's 4th Solo Recording) is a very powerful album and definitely worth the wait. I've been a fan of Annie's singing since way back in the early 80s'. As all AL's songs have, SOMD strikes right where a song should, track-wise. Track 8 (Coloured Bedspreads) really stands out and caught my attention...and I truly believe it could/should be Annie's next single. The arrangements in this particular song are dramatic and edgy, which remind me very much of "How Long" from the Eurythmics CD "We too are one". "Sing" is a beautiful, moving song with lots of layered vocals and a strong, meaningful story behind it. You can hear Madonna's voice in verse #2, which I thought was kinda neat. "Fingernail Moon" touched me and kind of cooled off the whole trip I'd been on while listening to the album for the first time. The lyrics to this song are sad yet beautiful, and I'm almost moved to the point of standing at my window to look out at the moon tonight. The songs I haven't mentioned all have a place in my heart and I don't regret buying the CD because Annie's music provides a safeness I don't normally feel when listening to other artists' music. Over the years, Annie's styles have evolved and I simply adore all 4 solo albums. With Bare and SOMD, Annie uses more of her upper range, which is jsut as powerful, clear and edgy. Her voice still sends chills when I listen to SOMD, and her lyrics are chilling and clever. That's why the woman is a living legend. She makes being an music industry icon look so easy. SOMD has an edge which her previous albums lacked, and the album as a whole, continues where Bare left off. Obviously having Glen Ballard as an inspiring producer has helped. Package-wise, here's what you'll find: The cd comes in a jewel case with a 12-page booklet. The inside (traycard) has no artwork, so the cd is resting on a dark brown, almost black background. The booklet is fully illustrated, featuring full lyrics & song credits. The recent photos we've seen of Annie on the net are NOT in the booklet. But the 3 photos you'll find in the booklet are all based upon the artwork/style of the front cover. I think these photos are beautiful and showcase Annie as she's rarely been seen before. Dressed in a large tulle gown with gold lamé halter top, she's looking splendid and fierce. Annie is unlike any other artist in the current music industry, to the point where you can't tell her age. Only Annie can play around with such clever imagry and such. Photography: Mike Owen Design: Allan Martin Emotionally charged, song after song, SOMD pumps out nothing but pure brilliance. Filled with pain and the power to overcome it all, Annie knows how to use her singing/songwriting gift to its fullest potential. Since 2003, she's only proven to us that she's gotten better with time. None of the material on SOMD is transparent or commercial. Everything hits home right where it should. Each song tells its story and has a strong purpose and place on the album. SOMD goes to all four corners of the music spectrum and back, allowing us a fair taste of Annie's fierceness and softer, velvet-smooth side. Fierce is the exact word to describe Annie at this point in her career. Just by looking at the photo of her in the middle of the booklet, you'll see what I mean. Spread the word and buy this album for your family and friends. It's not a forgettable album and is certainly one of those gems which will quickly grow on you. SOMD definitely deserves more than 5 stars.

A triumph of style AND substance:
Nearly thirty years after releasing her first albums as a member of The Tourists, more than two decades after changing the face of pop music as half of the Eurythmics, and fifteen years after her debut solo album, Annie Lennox has managed to remain as relevant and creatively viable as ever - no small feat, considering her considerable accomplishments in the musical field. "Songs of mass destruction", her fourth studio solo album, is a triumph of style AND substance and is definitely one of her strongest. Annie Lennox has been looking inside and out of herself, has taken a good look at how things have been going in her own life and in the world around her, and has come up with eleven songs that form a perfect chain of songs that are both reactive and introspective. From the opening chords of "Dark road" (the brilliant first single) right to the end of the beautiful closer ("Fingernail moon"), Annie delivers heartfelt songs of love, betrayal, feminism and injustice; and if the title hints at a decidedly political tone, leave it to Annie to deal with world concerns in a way that is defiant, yet subtle and emotional at once. Musically, the album is a logical continuation of what Annie has done ever since becoming a solo artist - but ironically, comparisons to Eurythmics' brilliant 1999 reunion album "Peace" would also be well-earned. The music is centered around keyboards, a lush production and THAT gorgeous voice (although a few of the songs feature more stripped-down arrangements). The melodies are instant and powerful, the music is a well-balanced mix of vintage pop and contemporary 00's soul, and Annie's voice has rarely sounded better, whether she's soaring with rage or soothing like a breeze. Highlights include the moving first single "Dark road", the infectious "Ghosts in my machine" and "Womankind", the achingly beautiful ballads "Lost" and "Smithereens", the smouldering "Big sky" and the hypnotic "Coloured bedspread" - but really, every song is a keeper here. It is also important to point out "Sing", a collaborative between Annie and a cast of 23 female pop stars (Madonna, Celine Dion, Faith Hill, Melissa Etheridge and so on) whose profits will go to funding AIDS relief for African women; not only is it a great gesture, it's also a rousing celebration of female empowerment.

Songs of Incredible Quality:
I am in love. Last night, as I typed away at my memoir, I listened to the long awaited new album by Annie Lennox. I have been a long time fan of her work. My first introduction to her was the Eurhythmics but I fell in lust with her when she started her solo career and I have been in love with her ever since. Contrary to most people, I loved her last album Bare. I felt it was a gorgeous piece of musical art and it touched me, moved me and made me feel. What more could you ask for from music? And then, silence. For four years there has been nothing from this Diva of music. Therefore, I was caught off guard when I was in HMV the other day and saw a new album by her: Songs of Mass Destruction. I was floored! I couldn't be that out of touch with the music scene could I? How could I not know that she had a new album out? When did this happen? Why was I the last to know? I had to get it. I couldn't afford it, but I got it anyway. I am so very glad I did. It is a beautiful, moving album. Much lighter than the very introspective and private Bare, Songs of Mass Destruction is an incredibly medley of sound, emotion and feeling. As I typed away at my memoir, I found myself stopping, fingers still on the keyboard, the lyrics washing over me. I have several favorites on the album: Dark Road, Fingernail Moon, Ghosts in My Machine, Sing. Really, I love the entire album. As always, though, there is one song that sticks out for me. One song that becomes an anthem for me of sorts. That song is Smithereens. I'm going through a particularly difficult time with a family member and this song, these words, just spoke to me. How is it she seems to know exactly what to say? How is it she can see into my life? This is the true power of music, I think. The power to make you feel, the power to make you remember, the power to connect to something within you and within your life. I know that I'll be listening to this album all weekend. Why not do the same? Do yourself a favor and pick up the album. And just let yourself listen...

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