When you purchase a CD, one of the first things you instinctively do is check out the extras. You can read the back cover for a lot of the enhanced featurettes (a trend I dislike), read the liner notes for any special websites or offers and even see if anything new physically came with the CD. Normally, its just papers about new downloads, a tour or some typical form of self-promotion. However, there's a few times where you're pleasantly surprised at what you see when you slice off all that unnecessary wrapping.

Orlando girl group MPress delivered their debut record in October 2001, around the same time as fellow unknown girl group 3rd Faze. They had a nice package that made up for the obvious lack of interest (if they had come out two years earlier, they would have been enormous) but one thing made it complete: the now-expired phone card inside. Yes, you did read that right. Phone card.

Tracklisting:
Maybe (**** 1/2)
Not Because of You (*** 1/2)
Something More (****)
Ain't The One (*** 1/2)
Suddenly (****)
Something 'Bout The Way (***)
Over Me (****)
Every Angel (*** 1/2)
Just Tell Me (*** 1/2)
For You (**** 1/2)
Time Out (***)
Going Down (*** 1/2)
What You Do To Me (*** 1/2)
Will You Love Me Tomorrow (****)
Don't You Go (****)

The oh-so-fabulous first single Maybe kicks off the record and immediately reaches highlight status, thanks to the eternally repeatable hookline, windy production and vocal harmonis that I'll delve into a bit later. Over chunky electrics, paranoid effects, emphatic strings and shimmying bassline, we fer a reflective account of a fledgling relationship that's enhanced by the vocals. First off, they all three have strong individual talent, lush vibrato and real depth to their singing. But the harmonies are the key; arranged by producer Robin Thicke, they're layered in a way that drives the hook home with icy attitude, laidback phrasing and a lot of comfort included. Smart choice for a single, I must say. Not Because of You is an unintentionally cute song that tries to be all divalicious and sassy. Even putting in a venomous mumbly spoken interlude for good measure, this hip pop synth-string heavy head nodder really tries a bit too hard for its own good. Also featuring a stripped down claptrack, overdone beatbox, sing song bassline and quasi-dance track production, its a song with a lot going for it but not enough to be really noteworthy. It doesn't gel all that well plus the vocals are kind of funny, the way they think they're all around the way and such.

Something More is one of the several tracks that deals with their latin influences dead on. using elongated production, punctuated piano, bouncy bassline and intriguing percussion elements, they craft a pretty genuine track, full of a raw heat thats a bit wasted due to the type of track that this ends up being. They sing this saucy girl power anthem with a lot of poise, a lot of elegance (unusual, eh?). They clean up their phrasing and really deliver a straight forward performance, toning down the attitude and focusing on the vocals themselves. They actually sound a lot more experienced and bona fide than most girl groups, so kudos. Ain't The One sounds almost identically like Total's Trippin' for the first :20 due to the ominous airy synths, sparkling piano slides and intricate acoustics. However, all that is pretty much wiped away on the hard hitting techno-meets-electronica verses that have no real direction to them. They're half-rapped and done with a lot of vigor, really giving you the mpression (ugh, why do people read my stuff again?) that they get into their songs like pros. The uber pretty yet deadly hookline is the culmination of all this turmoil, so its a worthy trip into girl group land.

After all this grinding and pelvic thrusting (or is that just me?), what does any rational person need? That's right- a ballad. The exotic Suddenly is equal parts new school and old school' a softly surfing midnight soul track that features a soaring production job, space-y subtle bassline, mystical acoustic guitar and lush keyboarding. Its got a little bit of cheese to it, especially the snooze-inducing lyricism but they perform it to the best of their ability and manage to salvage a little bit of pride. The misty harmonies are something to keep an eye on, of course. Something 'Bout The Way is very similar to Something More, except that this is a lot more in-your-face and a lot less classy. Its far more energetic, though, which is a definite plus, especially considering the rest of the record's tempo thats slightly slower than this song. Wrapped up with a fiery bassline, infectious claptrack and lackadaisical acoustic guitar, this is bound to offer a different perspective to the last track, bound to get a place jumpin' in no time. (And yes, I do realize that I am indeed a white boy) The vocals are much more animated, freestyle and quasi-come hither. The harmonies are more homogenized, which lessens the experience by far.

Over Me is a funky little hip pop jam that begins with a chic acoustic heavy intro that fades into a fantastically catchy upbeat; complete with shanky magnified bassline, excited keyboarding and wavery acoustics, this kiss off track comes off more believable, probably because of the more original lyrical scheme. With the perfectly zealous production from Robin Thicke (has this man worked with every unknown female in the business or what?), this spicy little ditty could fit in just as well on a Destiny's Child record as this record. They really get the neck rolling on, especially the dismissive hookline thats one of the better constructed on the record. Very nice, even more repeatable. The intriguing Every Angel is the track that takes the most getting used to; you'll have to listen to really see what the heck is going on. This seeming interlude-disguised-as-a-track laidback reflective track of driving bassline, multi-layered keyboarding and surprisingly prominent strings has a nice calm energy about it thats sophisticatedly muted. The lyrics are very fuzzy and ambiguous so you'll not focus as much on the track.

Just Tell Me sounds like something I've heard before, an aggressive mid-90s upbeat with an almost vulnerable subject matter that really shines through. Along with some non-obnoxious scratching, a throbbing bassline and severely underused piano, the girls' energy really stands out, as they show some real pop intellect in their singing manner. They use the production to their advantage, giving some major attitude and throwing in everything but the pop-friendly kitchen sink. For You, one of the few true ballads, is another favorite because it packs in the emotion and fragility from the title track, making this one of the more accessible tracks on the record. Backed by heated guitars, soaring synths, dramatic keyboarding and gorgeous effects, the girls really pour it on with the soft vocal crescendo helping this track reach a very appropriate, natural climax. They switch off the lead more times than any but sound totally balanced (something Destiny's Child can't say) and sure, using their obvious ranges when needed.

Time Out is the worst song present due to the fact that its just got too much going on and whats going on isn't that hot to begin with. With some robotic arrangements, yawn-worthy stuttery synths, intricate bass riff and generic...everything else, its a track that delves into the dreaded banal area more than once; this is just nothing new at all, which hinders its effectiveness. The synchronized choppy electrics and synths are brought way too up while its not worth the 4:00 of your time. Going Down is a much poppier track but the production just backs the heck off so I'm a happy camper. Its smart meshing of upbeat sensibility and ballad overtones really strikes you, especially the subtle acoustics, light claptrack and well-done bassline. Its got a little something for everybody, which is nice. The vocals are once again sharp as a tack, this being one of their strongest harmony performances. They're very together but not totally faceless, carrying the melody fabulously. The little rap isn't so needed, though. That's all I'm sayin'.

What You Do To Me has a lot of damn lyrics, that's for sure. With awkward fast paced rapped verses, anthemic chant-like hookline and a heck of a lot of presence, this is definitely a one of a kind track for this type of record. They're not horrid rappers and their flow deficiencies are made up for with their larger-than-life embellished presences on this love song with a twist. The bassline is actually pretty friendly while the keyboarding is just goin' with the flow and the percussion waits until the last minute to make its presence known, a mistake. Will You Love Me Tomorrow and Don't You Go end up the record on two different paces. The first, a cover of a Carol King song, is a spicy upbeat with an acoustic flair to it, crafting a supreme melody that sticks in your mind. The bass guitar plays a strong role on the song, not being reduced to being lost in the shuffle like normal. The tender production makes for a more defined melody while the vocals really drive home that point, taking advantage of their subtle lower tones and extensively kempt ranges. The last, easily the most instrumented song here, has a horn section identical to Myra's Dancin' In The Street except that this track has much better production and more strength to it. With some hollow pounding percussion, brazen horns and strolling piano, its urban influence is very strong, especially when the chant-like back-up comes on. Its a sassy lyrical song, of course, and even includes four lines of Spanish at the end.

The MPress record is a very nice addition to my collection, a nice arrangement of hip thrusting upbeats and reflective imaginative ballads. While they can be a bit anonymous, this is a talented group who, with the right material, would really soar. If you honestly give a crap about the group by the time you "read" this, I suggest hunting it down at your nearest bargain bin.

Ahhh, I'm back. I make more comebacks than Cher, I tell you. School's totally bogged me down and with academics on top of that (we're on a mini-win streak, though), I haven't even had the chance to think about reviewing something. Luckily, I'm being a big slacker tonight and hand delivering this super average review over someone you've never heard of instead of studying. Nice that I have priorities, eh? I did happen to get my first B since the 5th grade in the time I've been gone, so hey...If you have a comment/question over this material or my life right now, feel free to submit it below.

Great Music To Play While: celebrating your 903rd review of a CD basically no one has heard of

Pay Attention To: Maybe, Something More, Will You Love Me Tomorrow

Don't Pay Attention To: Time Out, Ain't The One, Not Because of You

Last Three Reviews:
Princess Diaries II: Original Soundtrack
En Vogue- Funky Divas
S Club 7- 7

Recommended: Yes