White Prose

Although written by Mathaias spoken, were the words in the Book of Thomas the Contender?

BQ: What is the correct translation of the narrator Appellation please?

This is probably just a shot in the dark, but it is Judas Thomas?

Michael Callahan & Thomas Coleman – Audeo: ‘Speak Your Mind’, sEMG-driven Interface 2005-07

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Speak $11.14 Lindsay Lohan played a rock & roller in the 2003 remake of the classic Disney identity-change flick Freaky Friday, so perhaps it wasn’t a huge stretch for her to leap from acting to singing for the teen idol, yet her 2004 debut, Speak, still feels like a byproduct of an overdriven, overamplified celebrity culture. After all, with just two hit films under her belt, Lindsay wasn’t exactly a huge star — particularly one with a proven track record, one who could regularly open movies or had a fan base ready to follow her to pop music. Nevertheless, it was impossible to read gossip columns, entertainment press, and blogs without reading about Ms. Lohan, whether it was details of her feud with Hilary Duff, debates over the authenticity of her breasts, praise for her role in Tina Fey’s Mean Girls, reports of her breakup from That 70s Show actor Wilmer Valderrama, and tales of her partying. This relentless flow of stories made Lindsay Lohan a star even to people who never saw her films, the way that the constant coverage of Paris Hilton turned the heiress into a star. And like that creation of celeb culture, Lohan decided it was time to turn her into a multimedia, cross-platform star, instead of simply an actress, and so Speak was recorded quickly and rushed into the stores at the end of the year. It should come as no surprise that the record sounds like a record that was created in the moment and for the moment, to be the soundtrack to Lohan’s wild year. So, there are songs that allude to her partying ways — most explicitly on the lead single, “Rumors,” where Lindsay bats her eyes for the camera as she pleads to be left alone — and the music is a blend of old-fashioned, Britney-styled dance-pop and the anthemic, arena rock sound pioneered by fellow tween stars Hilary Duff and Ashlee Simpson. Lohan stands apart from the pack with her party-ready attitude and her husky voice, which may be mannered but is fuller than Britney’s, and it’s perfectly suited for the glitzy music on Speak. ~ Stephen Thomas Erlewine, Rovi Performers: Anna Nordell – Vocals (Background); Darrin McCann – Viola; Denyse Buffam – Viola; Kara DioGuardi – Vocals (Background); Larry Corbett – Cello; Lindsay Lohan – Vocals (Background); Shelly Peiken – Vocals (Background); Suzie Katayama – Cello;

[CD] Speak Spanish By Thomas, Michel $29.54 Author: Thomas, Michel Series Title: Michel Thomas Get Started (Cd) Subtitle: Get Started Kit Publication Date: 2009/04/29 Binding Type: CD/Spoken Word Language: Spanish Depth: 1.00 Width: 5.25 Height: 7.50

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Speak Now $15.98 When Kanye West bum-rushed Taylor Swift’s acceptance speech at the 2009 VMAs, the world rallied around Swift not because Kanye was a “jackass,” as President Obama so succinctly summarized, but because the singer/songwriter conveyed the fragility of adolescence on her 2008 breakthrough, Fearless, so successfully that she inspired instinctive protectiveness even among those who never spent much time with the record. Not timid or a tart, Swift seemed like a genuine girl on Fearless, perhaps treating her songs a little too much like diaries, but that only made them more affecting. If anything, Swift ramps up the confessions on her 2010 sequel, Speak Now, but circumstances have changed: few listeners, if any, would have a clue about the identity of the boy who belongs with Taylor, but now that she’s a superstar, anybody with a passing familiarity with pop culture can discern which songs are about Kanye, Taylor Lautner (her ex), or Camilla Belle (the actress girl who stole Joe Jonas out from under our heroine). Not that Swift takes great pains to disguise who she’s writing about — not when she’s writing “Dear John,” an elegant evisceration of lecherous lothario John Mayer. Such gossip mongering is titillating but fleeting, suggesting that the charms of Speak Now are insubstantial, but Swift’s gift is that she sets the troubled mind of an awkward age in stone. She writes from the perspective of the moment yet has the skill of a songwriter beyond her years, articulating contradictions and confessions with keen detail and strong melody. Tellingly, underneath all her girlishness — and Taylor makes no apologies for being girly as she baits mean girls, dreamily thinks of stolen kisses on a sidewalk, or fantasizes about stealing away her ex-lover at the altar — there’s a steely strength. She walks away proudly from breakups and never dwells on mistakes; she moves forward. The same could be said about the sound of Speak Now itself, which is no great progression from Fearless but rather a subtle shift toward pure pop with the country accents, such as the Dixie Chicks foundation of “Mean,” used as flavoring. But that blend of pop and country, while certainly radio-friendly, is nearly as distinctive to Taylor Swift as her songwriting voice. She may be not a girl, and not yet a woman, but on Speak Now she captures that transition with a personal grace and skill that few singer/songwriters have. ~ Stephen Thomas Erlewine, Rovi

Soul Speak $11.14 What’s left for Michael McDonald after two albums of Motown covers? Plenty of soul standards that weren’t recorded for Motown, plus several other songs that are “soulful” but not strictly soul, and that’s just what he offers on Soul Speak, his 2008 sequel to his Motown sequel, 2004′s Motown Two. Soul Speak shares the same basic sound and feel as the two Motown records — it’s all sleek, glassy grooves powered by pros — and if it lacks the hint of looseness that made Two a superior record to its big brother, that’s because Soul Speak isn’t designed to be a party record like the Motown albums. As the covers of Leonard Cohen’s “Hallelujah” and Bob Marley’s “Redemption Song” suggest, Soul Speak is a bit moodier and more contemplative than either of its Motown cousins, but that’s a relative term: there are still plenty of sprightly, classy pop-soul grooves here, nice versions of “I Knew You Were Waiting (For Me)” and Stevie Wonder’s “Living for the City” and “For Once In My Life” that keep Soul Speak moving. But where these brightly elegant grooves dominated on the Motown albums, they’re used for coloring here, shading the covers of Cohen, Marley, and Van Morrison (“Into the Mystic”) and three solid new originals from McDonald (“Only God Can Help Me Now,” “Enemy Within,” “Still Not Over You (Getting Over Me)”). Despite the soul in the title, this album recalls the warm soft rock that was his specialty in the early ’80s as much as it does his recent soul, particularly because it does rely a little bit more on soft ballads (such as the excellent closer of the standard “You Don’t Know Me”), and that is not a bad thing at all. Indeed, it could be argued that of his albums of the new millennium, Soul Speak comes the closest to capturing the sound and feel of Michael McDonald at his peak, all without ever sounding like a conscious re-creation of that time. ~ Stephen Thomas Erlewine, Rovi Performers: Audrey Martells – Vocals (Background); Calvin Nowell – Vocals (Background); Debbie Selby – Vocals (Background); Denise “Nissi” Allen – Vocals (Background); Drea Rhenee – Vocals (Background); Out For Souls Choir – Vocals (Background); Rachel Oteh – Vocals (Background); Sharon White – Vocals (Background);

Speak of the Dead $14.39 Challenging all those who long ago dismissed them as second-rate and painfully cheesy Teutonic power-thrashers, Rage inaugurate their 18th studio album, Speak of the Dead, with an ambitious, 25-minute song suite subtitled “Lingua Mortis.” OK. Get ready for this, though: it’s actually very entertaining! Part symphonic orchestration, part Spanish guitar austerity, part organ-driven progressive rock in the style of ’70s legends Kansas and, obviously, part heavy metal at its most over-the-top dramatic (and, sure, just a little cheesy, in true Rage tradition), the magnum opus’ multiple compositional dimensions are, at the very least, unexpected, and at most, a whole new avenue of expression for the group — who knew? Unfortunately (or fortunately, for the many fans of Rage’s traditional melodic thrash fare) the album’s remaining eight tracks revert to business as usual; commingling rather forgettable, standard issue numbers like “No Fear” and “Be with Me or Be Gone,” with occasionally inspired slabs of anthemic heavy metal such as “Soul Survivor” (great chorus) and “Kill Your Gods” (excellent machine-gun riffing). And, in Rage’s defense, although these second-half offerings are nowhere near as daring or exciting as Speak of the Dead’s unpredictable first half salvo, they still showcase more challenging songwriting and technically gifted performances from guitarist Victor Smolski, drummer Mike Terrana, and bassist/vocalist/mastermind Peter “Peavy” Wagner than one can usually expect from terminally repetitive commercial power metal. After all, who else but Rage would have the sheer cojones to pen an entire heavy metal song — “La Luna Reine” — in Spanish? As much as anything else, not being afraid to do whatever they want is reason enough to justify the band’s lengthy career. ~ Eduardo Rivadavia, Rovi Performers: Thomas Hackmann – Vocals (Background); Victor Smolski – Cello, Keyboards, Percussion, Guitar (Acoustic), Guitar (Electric); Mike Terrana – Drums, Percussion

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