During the past 21 years, the Red Hot Organization (which raises money for HIV/AIDS awareness and prevention) has released some 16 themed benefit compilations featuring hundreds of vital artists from genres across the board.
Given the waning fortunes of nü-metal and rap-rock, as well as the group’s internal dramas, it’s easy to forget that people—a lot of them, actually—were once fans of Limp Bizkit. Gold Cobra, the quintet’s newest album in five years and first by the original lineup (with guitarist Wes Borland back onboard) since 2000, reminds us why.
Lil Wayne’s latest album, “I Am Not a Human Being,” is not as experimental as the rapper’s previous rock-tinged “Rebirth” set that arrived earlier this year, and most fans will likely appreciate this.
Make no mistake: Brooklyn duo Sleigh Bells is loud, raucous and unapologetic.
Rounding out the deceptively powerful trilogy that’s already given us 2007′s “Love/Hate” and last year’s “Love vs Money,” the-Dream sticks to his signature future-soul sound on “Love King,” which the singer/songwriter/producer has called the final album he’ll release as a solo artist.
On his second album, “Rokstarr,” British pop-soul artist Taio Cruz croons about the highs and lows of love over a wide variety of electronic-influenced beats.
The Stone Temple Pilots’ new self-titled album—its sixth studio release and first since “Shangri-La Dee Da” in 2001—perfectly showcases the veteran rock act’s bold musicianship and songwriting know-how.
Born Ruffians reintroduced the forgotten concept of straightforward, no-fuss indie rock with its 2008 debut, “Red, Yellow & Blue.”
Following the 2007 death of Hawthorne Heights guitarist/ vocalist Casey Calvert, the post-hardcore act took a more mainstream direction, applying poppier melodies and scream-free vocals to its 2008 album, “Fragile Future.”
The latest album from chronically laid-back surf-rocker Jach Johnson, “To The Sea,” is so down-to-earth that it could only be recorded using 100% solar power.
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