Daily Staff Writer

‘Return of Saturn’

No Doubt

Music fans have occasionally overlooked poor frontmen in order to appreciate the greater musicianship of the entire band.

Take Van Halen, for example. Listeners suffered through David Lee Roth and Sammy Hagar’s sex clich‚-riddled lyrics to be wowed by Eddie Van Halen’s blistering solo work.

This, however, is a rare occurrence. Most bands flounder without a strong frontman.

Talk Show is another example. This poor excuse for a band featured all the members of Stone Temple Pilots, minus Scott Weiland.

The no-name singer Weiland’s backing band picked up proved to be the band’s death sentence, lacking the charisma only the drug-addled Weiland could provide.

No Doubt is a little bit Van Halen and a little bit Talk Show.

For now, the musical prowess of Tom Dumont, Tony Kanal and Adrian Young outweighs the questionable ability of lead singer Gwen Stefani.

Solid musicianship characterized No Doubt’s multi-platinum “Tragic Kingdom,” and the band has not lost anything on “Return of Saturn.”

Nor has it really gained much of anything.

The Southern California quartet continues to play music that combines the Police with Cheap Trick and a touch of Orange County ska/punk thrown in.

This would have been fine if No Doubt had a more dynamic lead singer.

What has become apparent, however, is Stefani’s apparent lack of lyrical (and sometimes vocal) talent.

The lyrics to “Tragic Kingdom’s” breakthrough hit “Just a Girl” are forgivable. Many of the lyrics on “Return” are not.

Stefani may have intended the album to reveal how she has grown and matured, but as songs like “Bathwater” and “Staring Problem” reveal, she may still be just a girl.

During the musically-interesting “Bathwater,” Stefani sings “Why do we choose the boys that are naughty?” and “Why do the good girls always want the bad boys?”

Not only does the pink-haired lead singer rehash this tired idea, she seems to be pondering it as though it were a deep philosophical question.

“Staring Problem” is simply grating. Stefani’s song of jealously among girls actually includes the line “This peek-a-boo’s become a problem.”

And when she sings “S-T-A-R-I-N-G” during the chorus, listeners are more likely to hear “A-N-N-O-Y-I-N-G” in their own heads.

These are the lyrics of a woman who turned 30 years old at the time the band began working on the album.

Of course, not every song sucks. “New,” also featured on the “Go” motion picture soundtrack, is a beautiful song that captures the frantic pace of the movie, complete with likable lyrics.

Stefani contemplates who she is in the song “Magic’s in the Makeup,” a slower tune about self-discovery.

A synthesizer part echoes the music from the classic Nintendo video game “Kid Icarus,” floating in the background behind Stefani’s voice.

Most if not all of the tracks would be great if not for Stefani’s whiny, I’ve-just-been-dumped-by-my-boyfriend-will-you-have-sex-with-me vocals.

Perhaps what failed for Talk Show will work for No Doubt, and Stefani will develop a drug problem that forces the rest of the band to find a new lead singer.

2 1/2 Stars

—Jon Dahlager

‘Happy to be Here’

Todd Snider

Catchy melodies and down-to-earth lyrics mark the latest release by singer/songwriter Todd Snider. “Happy to be Here” is in no way a departure for Snider, but the songs are still refreshing and vibrant.

Snider sings from the perspective of a social observer, but not so much a social activist. Songs like “Betty was Black (and Willie was White),” and “Keep Off the Grass” hold a mirror up to some of our less proud moments, but Snider’s music could never really be seen as a call to arms.

The album kicks off with “Happy to be Here,” a lively folk anthem calling to mind Snider’s classic “Talkin’ Grunge Rock Blues.” Even as he casually observes that he’s “just happy to be here at all,” there is a vitality in Snider’s voice that makes him very compelling.

The catchy jangle-pop of “Long Year” recounts the narrator’s trouble fighting alcoholism, and calls to mind the most passionate fables of the Counting Crows’ Adam Duritz.

The album’s sequencing is impeccable; a mellow lament like “Lonely Girl” is followed by the country swing of “Keep Off the Grass.”

The real heart of the record comes at the end with a series of songs that finds Snider completely unguarded. “All of my Life” is a simple, beautiful declaration of love. “Missing You” feels like part two of the same story, sweet and touching.

“Happy to be Here” is a pleasant reintroduction to the perceptive, introspective nature of Todd Snider.

4 Stars

—Ben Godar

‘Radford’

Radford

Nearly three years after joining forces in Los Angeles, the foursome known as Radford has released its first self-titled debut, proving, if anything, that this band knows how to bring the use of personal pronouns to a sickening new level.

To be honest, the music isn’t that bad as a whole. Bassist Bobby Stefano and drummer Kane McGee seem to have a deep inner connection that accentuates their instrumental compatibility as they provide a strong foundation for guitarist Chris Hower.

The problem arises when Jonny Mead begins to sing. “You’ve Got Friends” makes light of this vocal blemish. While the song has a simple, catchy riff, Mead’s annoying English accent gets in the way of whatever the hell the message is. He can’t even pronounce the word “friends” right in his own cheesy lyrics.

There is nothing here that hasn’t been done before. There’s nothing new, nothing provocative. This is the kind of music that would be found on a movie soundtrack.

The song “Don’t Stop” doesn’t help the cause either. Its sing-along choruses and catchy rhythm are the stuff found on young-adult radio.

The first single, “Closer to Myself,” even lacks substance. While a neat bass line in the intro is inviting to listen to, it eventually settles into the same boring routine as the rest of the album.

Lyrically speaking, it’s easy to get lost in the simplistic verbiage of this album. Songs like the powerless power ballad “Fly,” or “Ash In My Life” confirm this idea. Even “Overflow” takes point of view to an annoying new level. The lyrics quickly become a confusing, inarticulate mess.

It’s unfortunate that Mead compares his band to R.E.M. or Radiohead because if anything, this album is a lesson in the mundane.

1 1/2 Stars

—Kevin Hosbond

‘Romeo Must Die’

Various artists

Soundtracks are a good source for various artists if one is interested in the thematic similarities of each song. They are like pre-packaged mix tapes when done well.

“Romeo Must Die” is done well. This album has tracks from Aaliyah, DMX, Destiny’s Child, Blade and Joe to name a few. Of course, the theme here comes from a movie that wasn’t that good to begin with, but the theme of love in the midst of conflict translates well into song, especially hip-hop.

Even if you haven’t seen “Romeo Must Die,” the soundtrack is a good who’s who of rap and hip-hop with cool grooves. It’s a bit light on the hardcore side, but it more than makes up for it with smoky, funky bass lines and sweet rhymes busted with more than a fair amount of street credibility, y’all.

Mack 10 featuring the Comrades keep it real with “Thugz,” and Aaliyah is so sweet on “Try Again,” “Come Back in One Piece” and “I Don’t Wanna” that you could eat her with cornbread. Yum. If this doesn’t get your groove on, check yourself into the emergency room and get an emergency dose of Viagra because nothing else will help.

One drawback with soundtracks is they can be a bit too contrived. The artists are required to do songs that fit into a film’s moments so well they often need to be crowbarred in there.

You get a little bit of that here on “Romeo Must Die,” but not enough to be off-putting. However, shave a few points off the score for rhyming about Shaq taking freethrows, Lil’ Mo. It’s been done before.

Playa kicks it old school on “Woozy” even if they are kickin’ it all sleepy and slow. But there is nothing that says rap you can nap to can’t be good, too.

Chante Moore’s “This Is a Test” is so sexy, pictures of it should be in Playboy riding a horse.

Could DMX be any badder? The answer: No. That guy is so tough, he should be marinated in vinaigrette before they let him do a duet with Aaliyah.

Solid tracks and engaging themes make this album a must for your stocking.

4 Stars

—Greg Jerrett

‘Passenger’

Tara MacLean

Just what this world needs is one more Canadian songstress. Celine Dion, Sarah McLachlan and the legions of other singers invading us from up north just aren’t enough anymore.

Canadian born Tara MacLean has the vocal styling of McLachlan and a rags to riches childhood story that could rival Jewel’s done to death “I lived in a van” story. MacLean was raised by her mother in a log cabin until the age of four. The story of how she was discovered is already becoming one of radio legend — she was singing on top of a ferryboat with friends and, boom! … record deal.

After releasing one little-heard album, “Silence,” MacLean has her major label debut in “Passenger.” The singer-songwriter has the sound of a Lilith Fair groupie-turned artist, which is fitting. She’s toured with the now defunct Lilith Fair, Paula Cole and the Barenaked Ladies.

And it’s no wonder why Lilith founder McLachlan snagged MacLean for the tour. They sound almost identical, the only difference being more maturity in the experienced voice of McLachlan. But the talent of songwriting belongs just as much to MacLean as it does her peer.

The lyrics of MacLean’s works range from youth violence in “Dry Land” to the trappings of drug addiction in “Jericho.” And of course there’s the mainstay of love and heartache. In the simplest and most beautiful track, “Settling,” MacLean ponders the reasons behind a love lost. She sings, “The leaves they fall/ They go so far sometimes/ Do I blame the wind/ Or the tree that let them go?”

MacLean once again struggles with the burdens of love in the album’s first radio release, “If I Fall.” The quiet hostility of “Reach,” an ode to un-returned love, is a guilt trip set to music. MacLean nearly whispers, “Why did you look the other way/ When I told you I had something to say?”

“Passenger” is truly poetic in every sense of the word, and songwriting is MacLean’s true talent. It’s unfortunate that though she is a relatively good singer and a superb songwriter, MacLean has nothing unique to bring to the world of music. Just an echo of what we already know.

3 Stars

—Kelsey Foutch