Amazon.com

This reunion of singer-songwriters Rodney Crowell and Vince Gill with pianist Tony Brown, ace guitarist Richard Bennett, and steel guitarist Hank DeVito sounds like the country equivalent of the Traveling Wilburys--a veteran supergroup having too much fun to take itself too seriously. Alumni of Emmylou Harris's Hot Band, the Cherry Bombs were Crowell's backing band in the '70s. Since then, Gill has become a star, Brown has become better known as a label executive, and Bennett has seen considerable demand as a producer. Starting with a call to loosen up on "Let It Go, Let It Ride," the album shows a spirit of playful camaraderie. It's tough to imagine either Crowell or Gill putting a cut titled "It's Hard to Kiss the Lips at Night That Chew Your Ass Out All Day Long" on one of their own albums, but the collaboration here is a honky-tonk highlight. DeVito remains the band's secret songwriting weapon, as "Wait a Minute" (in collaboration with Crowell) and a revival of "Sweet Little Lisa" (previously recorded by Dave Edmunds) capture the exhilaration of early rock & roll. A former gospel pianist, Brown adds revivalist preaching to this busmen's holiday. --Don McLeese ... Read more

Album Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure's signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band's early catalog-newly remastered and expanded wtih a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. ... Read more

Reviews (14)

Good drug music?
This record came out in the summer 1982 after I graduate high school. I was loaded on a lot of substances when I first heard it. The Cure's Pornography was the band's darkest work and most negative to date. It became a Top 10 hit in the U.K. and went on to become an essential album in the Goth rock canon. The 14-song bonus disc features music that is available on CD for the first time including five previously unreleased songs, previously unreleased studio and home demo versions as well as live performances from 1981-1982. This is one of the albums that didn't age well. Besides a few songs here and there, it is really the last album of the early version of the Cure. There was a lot of drug use in the band and they soon broke up. They reformed temporarily to do the "Let's Go To Bed" and "Love Cats" singles, and develop into the more internationally known pop group. After Robert Smith had dealt with alienation with religion on Faith, this album had a bunch of vague lyrics about relationships, alienation, the media, and general disgust with everything. It was a spooky record to hear when you were hopped up on LSD. The bonus CD has some live tracks that sound pretty muddy. There are some interesting bits here and there. I remember when I read Spin Magazine gave this album a low rating. My memory of this time was that Pornography was a great album. Revisiting this great early trilogy, it is obvious that Seventeen Seconds was their great early album, while Pornography is a distant second.

I am very happy and excited!
So I went to my local independent record store yesterday, looking for something worthwhile. They didn't have the Siouxsie album I was looking for...bummer. As I was about to leave, I remembered hearing about the re-released Cure albums, so I checked and they had all the ones released thus far. Not having enough cash to purchase them all, Pornography in particular seemed to glow magnetically before my lusting eyes. The mastering on the old version sounded pretty flatland, but I usually remedied that by cranking it up so loud it wasn't as noticeable. Well, now I don't have to do that, because the re-mastering is crisp, and beautiful at any volume. I'm listening to it very loud right now, and it's taking me a long time to write this, because the music keeps taking me away to a new strange and exciting world. The musical brilliance of this album is now further complimented, with updated sound quality that offers tons more depth, texture and beauty. First time I listened to this version all the way through, my jaw dropped almost to the floor as I listened. Then I got my old version out and listened to it...and you know what? I was so blown away by the difference in sound quality, I think the old version should re-titled "Pornography, the Un-Mastered version". Old-school Cure fans who are scanning reviews to see if it's worth spending their money on this verson of Pornography, do it soon! Do it now, if you have the time. On this one, it's much easier to hear the changing textures wrap around you like a burning blanket from hell. Hmm, maybe my metaphysical imagery is irrelevant, BUT getting to the point...remember when you first heard Pornography? And you were blown away by it's brilliant intensity, yes? Of course you were! So was I, and now I feel as if I'm hearing the album as it was meant to be heard for the first time. I've only listened to it twice through (third time right now) and trust me, there's a LOT more detail on this album that can be heard on the original. This is what struck me the most. As you might guess, like most Cure fans, I've heard the original Pornography thousands of times, and STILL if I listen closely, I keep noticing sounds that pop up on this re-mastered version that are new to me. On the old version, I noticed that those same parts were either muffled, or buried by the frequencies of other instruments. There's SO much more space and texture here. And the bonus disc? INCREDIBLE! I don't understand why some people have been complaining about it...boo-hoo the audience-recorded live performances don't sound professional enough, blah blah blah. I think they sound bleak and really pretty. I like the stark sound-quality, and really, who cares if it's not perfectly-bootlegged (few, if any, bootlegs are)...we're talking about the masters of mood here! We, fans, got the amazing Join the Dots box set, and now re-mastered versions of early Cure albums with an extra bonus disc? Shame on ye who dares to complain! Well, I am VERY happy with my purchase, and I am very excited about listening to this MANY, MANY more times! Thank you, thank you, thank you.

When Rhino puts out a deluxe edition, they always deliver
What's the 4-1-1?
Rhino Records have gone into The Cure vaults along with Robert Smith to bring you Deluxe Editions of two of their most memorable releases. Both are remastered and appear on CD for the first time. In addition to the complete albums, each disc comes with a bonus disc of rarities and unreleased material. Seventeen Seconds contains rarities from 1979-1980 and Faith contains rarities from 1980-1981.

Genre
Post-punk / alternative / gothic / rock

The Good
Highlights from Seventeen Seconds
Drab and dreary piano set the tone of the album on the opening instrumental cut "A Reflection". Eerie background tones help underscore the track. "Play for Today is made up of an up-tempo drum beat, glassine-like keyboards, and watery guitar tones. An infectious little guitar hook goes a long way on "In Your House". I would liken the tone of the song to a hazy dream. "A Forest" employs haunting tones and melodies, backed by thought-provoking lyrics. Fuzzy guitar tones and creepy synths dominate "At Night". Seventeen Seconds" sums up the last moments of your life after committing suicide.

The rarities disc contains "I'm a Cult Hero" and "I Dig You" from Robert Smith's side project Cult Hero. It's more hopeful than any of the tracks Smith penned for The Cure. There are two rough home demos, an alternate mix for Three, and live tracks for every song that appears on the album; even a live version of "I'm a Cult Hero".

Highlights from Faith
" The Holy Hour" begins with a rather indulgent bass line. Robert Smith blends in nicely with his clean guitar tones and his trademark tortured vocals. Driving rhythms run rampant on "Primary". The track is more up-tempo than the usual Cure track, but the story being told is no much on the up-side. Percussion accented by warm keyboard tones prevail on "All Cats are Grey". Smith seems off in the distance as he inflicts his eerie vocals. I wasn't really surprised that church organ tones could be heard throughout "Funeral Party". To keep the mood going, Robert sings like his delivering a eulogy.

The rarities disc contains the unreleased tracks "Drowning", "Going Home Time", "The Violin Song", and "A Normal Story", two raw instrumental demos of "Faith", "The Holy Hour" and "Doubt", live tracks of songs from the Faith album to include a ten minute version of "Faith" and a nine minute version of "Forever", the rare single "Charlotte Sometimes, and an alternate version of "Primary" among it's fifteen tracks.

The Bad
Nothing

The Verdict
When Rhino Records puts together a Deluxe Edition, they always deliver the goods. Not only are you getting rare and unreleased material, which is always a plus, but you're also getting to hear the songs at their best possible quality. It's fun to hear how they went to rough demo to final composition. All of the depressing, sad, and heart-broken moments of your youth can be summed up by the latest remasters by The Cure.

Did You Know?
Rhino has also released The Cure's Pornography as a two CD deluxe addition. I would have reviewed it but after listening to these two, I was ready to slit my wrists.

Go over the edge in better sound
Another excellent and much-needed remastered Cure album appearing this year, Pornography is the last in a tremendous trilogy that includes Seventeen Seconds and Faith.

Like those rereleases, this is definitely worth it and a bonus for fans of the classic sink-into-despair album.The sound has the punch and new warmth of good remastereds, as opposed to the original AAD disc which was flatter and muddier.More liner notes, plenty of pictures, lyrics, and some brief history of the album and the period when the band was (obviously) miserable, doing the drugs, doing the booze, fighting, etc, etc.And once again in rock history, another band made a classic album while wanting to kill each other and possibly themselves.

While these sets are a little pricey, it's still a treat for the fan.The extras are nice as well.The live tracks are decent quality, audience, while the old demos and rough takes are interesting, too, they're totally different.

Certainly the darkest of that early trilogy, it's not to everyone's liking as the mopiness may wear on some, but it's an excellent, complete album from Smith and Co.

Pornographic Material.
1982's "Ponography" is so distinct an album, that's it's hard to imagine how the Cure would sound in 2005 without it.Most likely, the band would have never reached the artistic heights of 1989's "Distintegration," which introduced the band to a whole legion of wannabe suburban goth teens.After three albums under their belt, Robert Smith was able to articulate despair in a manner that raises goose pimples on even the toughest skin.Wailing guitars, distorted synths, and rubbery bass created a musical landscape of dread on tracks like "A Hundred Years," the single "The Hanging Garden," and the chilling title track.Many albums recorded in 1982 sound like it, but "Pornography" sounds timeless and never dated.It's been wonderfully remastered with an extra disc carrying a bevy of demos and live tracks, and sound purists will approve of the sonic upgrade this CD richly deserves."Pornography" is that rare disc that elevates mope to the level of art. ... Read more

Amazon.com

"Why do people who read Dostoyevsky look like Dostoyevsky?" The Go-Betweens return in good form on Oceans Apart, their third post-reunion disc. Relatively modest next to towering achievements such as Tallulah and 16 Lovers Lane, the disc is a grower, impressive and moving in its glimpses of truly human moments. The sturdy, rootsy backing here allows wry Robert Forster and unaffected Grant McLennan to range across familiar territory while finding new, small delights there. A handful of songs rise to the top, sure to make their places on fans' mix tapes; among them are McLennan's "Boundary Rider" and Forster's "Born to a Family" and "Here Comes a City." Early copies of Oceans Apart contain a bonus disc with live versions of a half dozen Go-Betweens classics. --Rickey Wright ... Read more

Reviews (4)

The Go-Betweens strongest post-reunion album yet.
The Go-Betweens were a critics' darling in the 80's, and broke up in 1988, only to get together with all but the original drummer in 2000.Their first two releases since they got together have been solidly above average, but lacking the flair of their previous work.Oceans Apart regains that flair.They just play...amazingly well together as a group, creating a sort of very immersive new-wavey atmosphere that signifies the possibility of getting another Go-Betweens album as good as their last pre-breakup album, '16 Lovers Lane' (Which I highly recommend, by the way).The only problem is...the songwriting sounds very forced at times.The vocals for any given song rarely cover more than half an octave, and they're all grouped together in the same trite, predictable pattern.Luckily, the instrumentation is so immersive that you enjoy the badly written songs regardless.Oceans Apart is among the stronger albums of the year, particularly if you like new-wavey pop/rock.If you liked the other post-reunion albums, Friends of Rachel Worth, and Bright Yellow Bright Orange, you'll probably like this one more.

IN A LEAGUE OF THEIR OWN
If you're looking for the type of popular music that the citizens of Brisbane, Australia are able to conjur, this is it. Without doubt the Go-Betweens are the sunblessed city's most original and prodigious songwriting exports, and though one might look to Seattle, New York, London or California for the songs that define musical preference, the Go-Betweens take their place among the finest in their field.

When Forster and McLennan made the decision in 1977 to form a rock band, few who knew them then could have imagined their artistic odyssey would still be rattling along so swimmingly 28 years later. Through sheer weight of committment to a collective dream, their journey took them from three song gigs at dance halls in their city of origin to the famous CBGB's in New York, to support engagements with REM then cult appeal in England, Europe and the US. A swag of critically acclaimed albums in the eighties delivered the Go-Betweens a place in the pantheon, but for all the effort they were denied acclaim where it might have mattered most - on the charts. So too was the Beach Boys classic "Pet Sounds" at the time of its release. Get the picture?

It's a situation that's always failed to distract the pair from their vision and we, the fans are more fortunate for it.
They stepped back for a time, delivering a handful of solo albums during the nineties, but they've returned in a big way here, acknowledging the sum of the parts is a more fulfilling route to take.

"Oceans Apart" is the second album produced by the quirky and imaginative creative talents of Robert Forster and Grant McLennan, since they re-united in 2001 for their (in my opinion) best album to date "The Friends of Rachel Worth", and it continues their career-long quest to achieve widespread appeal.

Reviewers agree, with superlatives like "masterpiece" and "triumph" flooding the critical landscape. Again the pair have written five songs apiece with "Here Comes the City" among Forster's best, a tune that rings with the universality of the Go-Betweens best known song "Streets of Our Town".

You buy this album because McLennan and Forster are poets and musicians of unique talent and drive, who create music wholly unaffected by the cult of celebrity, that has seen the contempory landscape littered with talentless and pretty (but rich) stooges. They're still "hungry" and it shows. With "Oceans Apart" they are poised to move beyond the respect and admiration of the peers.Play it once it's good but like any great album, play it a second and third time it might even reduce you to tears. Castles in the South of France beckon, at last.

Here Comes a Classic (Sort Of)
The arrival of a new Go-Betweens album is always a hugely exciting event.For what its worth, I agree that this album fits best in the catalog of the Go-Betweens the first time around, more so than the latest two efforts.I'm one of a few, though, who regards Friends of Rachel Worth as one the better albums of the past few year, by anybody.As usual its best to first parse the record into Robert Forster's and Grant McLennan's numbers.RF contributes tracks # 1, 3, 6, 7 and 10.GM chimes in with # 2, 4, 5, 8 and 9.The balance between Forster's edgy and challenging songs and the jangling soft melodies of McLennan are still evident and it works well.RF's eclecticism is evident by a recent interview in which he named Pride and Prejudice, On the Road and Confederacy of Dunces as among his favorite books.Few albums have ever started off with the excitement of the first notes of Here ComesA City, and it manages to extend the headlong rush most of its 3:25.It deserves to become a major single and live show favorite, and has already been heard here in the US on satellite radio channels.It sounds like a train rushing headlong in the night through the outskirts of a city, which is what it purports to describe, prettied up with a killer, unforgettable guitar riff.The only downers in the song are that it could be longer and that it fades out with a whimper rather than a bang.I hope at some point we see an extended version of what is an instant classic and right up there with the best GB songs of all time.Another RF beauty is Darlinghurst Nights, which evokes all the pain and joy of the memory of leaving home and going to a strange new town."And always the traffic, always the lights, climbing that hill star studded nights" evoke dead on memories of Sydney Eastern suburb nights.The Mountains Near Delray is a dirge and is my least favorite while Born to a Family evokes too many memories of other similar Forster melodies.But Lavender is another strong combo of melody and lyric, showing off Robert's great sense of humor.Grants songs are a mixed bag but Boundary Rider (the only song recorded in Brisbane, not London) is great (also too bloody short!) and could also be a great single.This Night's For You - while not exactly as kick ass as Neil Young's This Notes For You - is riveting when played loud.So this album was well worth the wait and like greeting an old friend, even if it hasn't pushed the boundaries too much.The huge and deserved buzz for Here Comes a City should guarantee some airplay for the album in Oz and abroad.The extra disc with six live songs is a nice but not essential bonus from a band who doesn't have much published live material (prior to the re-release of the older albums anyway ....).

Oh . . . My . . . God!
I have been a huge fan of the Go-Betweens' '80s stuff since, well, the late '80s. But I drifted away from Forster and McLennan during the '90s, not paying too much attention to their uneven solo careers, and when the first reunion album came along, I didn't even check it out, though I did go see them live.

But I recently picked up the second reunion album, since I'd heard so many raves about it. It was good, but still not up there with their very best. And so now this new album. I must admit, the hype (MOJO rated it a "MOJO Instant Classic") lured me in, and I made sure I got a copy the day it came out. Listened to it three times in a row, and boy am I hooked. Forster is in rare form, and while the jury is still sort of out on McLennan (where is that melodic genius that displayed in the '80s and lost in the '90s?), as a whole the album is up there with their best. I need to give it a bit more time so that the McLennan songs sink in better, but I'm thrilled to have a record this challenging and engaging at this point in their career.

And I haven't even gotten to the bonus live disc yet! ... Read more

Amazon.com

For a hip, modern boy, Louis XIV's Jason Hill has plenty of old school rock star attitude. On his San Diego trio's debut album he declares himself a "weapon of mass destruction" and then backs it up with salacious come-ons meant to offend as they intrigue ("I know you want a strangle / Or a mouthful of gasoline / Or to be tied up and stoned"). Lyrical allusions to T. Rex and the Kinks tell only part of Louis XIV's actual musical journey. Hill may fancy Marc Bolan and Ray Davies as elegant dandies, and occasionally borrow their lightweight shuffles to great effect. However, his own proper terrain is the thorny inquisition of the Fall's Mark E. Smith. Here, his band throttles in kind, motoring a cantankerous rhythm section that's every bit as vicious as fellow modern day malcontents the Libertines or White Stripes.--Jaan Uhelszki ... Read more

Reviews (28)

Kick ass record.
Everyone by now has heard "True Love is Blind."I saw the xxx video for Paper Doll with models from Suicide Girls and I was immediately hooked.You can find it on the net if you haven't seen it.

This is the best beginning to end album I've heard for a while.

Finally, a Great Modern Rock Band
Good rock bands today are few and far between.A genre which used to be filled to the brim with excellent bands during the 60's and 70's has since fallen in the hands whiney, boring, and untalented bands such as Good Charolette and Blink 182, and has for the most part driven me to listen to underground and obscure bands just in order to listen to something I find good.But a select few bands, Jet, The Darkness, Velvet Revolver, and my new favorite band (and the band in question here), Louis XIV are coming out now and delivering rock and roll the way it was meant to be to the masses.

Louis XIV do one major thing that I think is so wrong with the music industry today - they have fun.So many bands today are Kurt Cobain-worshiping, depressed, carbon copies of each other who have no personality or desire to have fun, its all seriousness for them.However, you can tell that Louis XIV truly are having a good time making their music.They're lyrics are about what actually good rock lyrics are about - girls, girls, girls.Not death or depression, but girls.What a concept, huh Slipknot?

The other thing that I think is missing in today's music is solos.And if you want to listen to those, I think that you would be better off listening to Velvet Revolver, or especially the Darkness.But Louis XIV have got their fair share of them, even if they aren't as long or as intricate as I would like them to be.

The bottom line is, if you like actually good, fun music and not the dark, depressed music that there's so much abundance in today, definitely pick this one up.

Rock LIVES ON!
I saw a video for "Finding Out True Love Is Blind", and
was HOOKED immediately. I bought the disc THAT DAY!
I don't do that often. Louis XIV takes me back to the GREAT DAYS of ROCK whenRock music was ROUGH, and very RAW. Back before Disney created bands, and RoCK became COMMERCIAL.
I'm a White Stripes fan too, but this is the first disc I've bought in awhile where EVERY song sounded GREAT. Enjoy!

The lost White Stripes debut album?????
Well Im gonna share this little secret:BUY THIS ALBUM!!!!!You won't be disappointed.You want hooks?"Finding Out...", "Letter...", "Pledge Of Allegiance"You want sarcastic so-great-thought-it-was-White-Stripes sound? "Paper Dolls", "God Save Queen", "Illegal Tender"And for that must haveballad?The melancholy "Little Pieces" sounds like it was written by Robert Plant in a foggy daze in the 60's. Don't keep this a secret!!!!!

Makes Mommy Wanna Rock
Okay, so I've been a stay-at-home mom for the past 3 years, and have been guilty of not keeping up too much on the current music scene. I mean, I USED to rock hard, but not lately. This band makes me turn it up loud, even with the baby in the backseat.Sexed-up, funny, rockin', decadent...Bowie, T. Rex, the Sweet, etc. etc.Those are the obvious influences, but boy, does it sound fresh to these ears, bored to livin' death with all the stupid, whiny stuff on the air these days.

And, for the record, I happened to love the silly mock-Brit accents. "Sing me a song, and bang me like the girls in Hong Kong."Oh yeah, baby. ... Read more

Reviews (2)

after one month
I feel you cant really judge an album to you have listened to it for at least a month so that is why im writing the review for this album over again. Some songs which i thought were just ok i think are great now and others still seem a little on the weak side. I have listed the songs again with a new rating for each one after a month of listening.<br /> 1.the clincher:9.5/10<br /> 2.get some:10/10<br /> 3.vitamin R:10/10<br /> 4.still running:9/10<br /> 5.breach birth:8.5/10<br /> 6.panic prone:8/10<br /> 7.another know it all:8.5/10<br /> 8.tug-o-war:7.5/10<br /> 9.to return:7/10<br /> 10.emotional drought:7/10<br /> 11.bend the bracket:5/10<br /> In my opinion the cd does real well during the first 1-7 songs but after that on 8-11 it just didn't seem to have as much energy and creativeness to it. I often find my self turning off the cd player at track #7 in fear of losing my taste of the cd. But i will say even thought the last tracks are downhill i still feel the first ones are so good that if you dont get this cd you are not a true rocker. <br />

good but not great
Well Chevelle is back for another one after Point#1 and Wonder whats next. The previous 2 albums had more solid based songs with catchy choruses, this one is based more on the music than on how the lyrics fit in the songs. Even though lyrics are creative they never really fit into the songs that well. The guiter riffs are awsome once again but the only problem is that the words in the lyrics are repeated too many times and many of them feel too stretched and in the wrong place as if they were a filler. Never the less Chevelle brings another amazing cd to the selves possibly even heavier then Wonder whats next. The songs keep you on the edge of your seat even if they tend to drag on for a while. I have rated the songs to show what i think of them 1.The Clincher:9/10:gives you a sense of the Family System,it starts a little slow but brings a nice finish by the end and displays a new touch of rock from them 2.Get Some:9/10:creepy but cool starting, reminds me of Dont Fake This which is a great song, has interesting break in the middle that has just enough flow to keep it apart of the song 3.Vitamin R:10/10:what can i say this song blew me away, it's a perfect example of a song well done and thought out, i think the rhythm fits it so well it makes it Chevelle's best song 4.Still Running:8/10:didnt need the starting message it just draws away from the song, the song is pretty good overall but seems just like another B class song 5.Breach Birth:9/10:nice beginning gives you momentum to keep interested in whats up next, catchy chorus but is repeated a little to much as if they ran out of lyrics to say 6.Panic Prone:8/10:smells like a follow up to Send The Pain Below except it never really goes anywhere making it half slow and half tempting song trying to amount to something that it cant 7.Another Know It All:8/10:has a nice rock beat to head bang to even though it seems a little dull at times it still has some rage in it 8.Tug-O-War:9/10:the first intro is a little weak but the rest of the song displays a good range of music swings that make you want to listen on 9.To Return:9/10:just listening to the beginning gives you a sense of something good is coming, this is another good example of a song that has a good sense of lyrics that fit well in the song, even though the intermission in the middle of the song is a little off the song is still a fine example of Chevelle 10.Emotional Drought:8/10:once again a nice chorus, if only the song could stay in tacked instead of wondering too far off from it self, besides getting to detoured at the end its perfect and it should do well on the cd 11.Bend The Bracket:2/10:i have no idea what happened here i guess they ran out of fillers and just put an extra track from the messing around files in here, this song sounds like a follow up to One Loney Vister but it has no real structure and and the music rhythm doesnt even go with the lyrics Even though this album slightly disappointed me i highly suggest you buy it, it has plenty of rock on it to keep you listening for hours. ... Read more

Reviews (171)

This band's aging nicely....
Ten years after their debut, surprisingly, No Doubt is still around. Who would have thought? Their original sound was so...early 1990's....I would have figured that they would have died out with the grunge era. Boy, was I mistaken! Gwen and company have learned the secret to success: keep your sound fresh while still containing some of the original elements of your music. What No Doubt has done in the past decade is shown how a band can age gracefully, changing their sound as they go, and having a good time doing it. There are some instant classics on this compilation, namely "Don't Speak". But, don't overlook "I'm Just A Girl", "Spiderwebs", or "Ex-Girlfriend" either. All of these songs are great. Of course, the new hit "It's My Life" makes me think back to the early 80s new wave craze...and who knows...maybe No Doubt is the harbinger of a resurgence in that genre of music! In any case, this CD is a wonderful addition to your collection. Get for your living room...get it for the car...get it for everwhere!

A Good No Doubt "Starter Kit"
No Doubt wisely didn't name this CD "Greatest Hits", because only about 6 of the 15 songs on here were bonafide hits. They also were smart not to call it "Best Of No Doubt", because few of the songs on here are really the best No Doubt has to offer. Most of their finest material can be found on their albums, especially Return of Saturn and Tragic Kingdom. Nevertheless, this album is exactly what it claims to be: a collection of all the singles No Doubt has officially released between 1992 and 2003. The standouts range from the recent: the new single, a quality rock-driven cover of Talk Talk's "It's My Life", and Rock Steady's "Hella Good"; to the obvious: their biggest hits, "Don't Speak", "Just A Girl", and "Spiderwebs" from their most popular album, Tragic Kingdom; to the underrated: "Ex-Girlfriend", "New", and "Simple Kind of Life" from the woefully overlooked Return of Saturn.

Chances are if you are buying this, you are either a No Doubt fanatic who buys everything they release (such as myself), or you are a casual fan, who knows a few of their radio songs and want them on one disc. To the hardcore fans: buy Boombox instead: you get this CD, a b-sides and rarities CD, all their videos on DVD, and Live In The Tragic Kingdom on DVD. All this for less than $50!
If you are a casual fan, don't let your No Doubt collection stop here: buy all 5 of their albums (1992's No Doubt, 1995's Beacon Street Collection, 1995's Tragic Kingom, 2000's Return of Saturn, and 2001's Rock Steady). You will not regret it. Listen to how this great band has evolved over the years--from the ska-driven band they were in in the late 80's and early 90's (as demonstrated on "Trapped In A Box", included here)to the innovative New Wave/Pop-Rock band they are today.

A great way to get into this excellent band.

No Doubt About It
As I was loading the songs of The Singles 1992-2003 onto my computer, I realized something - this was the first CD that I had ever given every song a five-star rating in iTunes. This isn't just a set of singles from over the last 12 years - it's also really, really good music.

Every song here has some of the smartest lyrics you will ever find in music, as well as the most memorable themes. Take "Don't Speak" - in an era when every singer asked their ex-lover what had gone wrong, Gwen Stefani pleaded, "Don't speak, don't tell me because it hurts." My favorite song on this CD (and favorite song, period) is the catchy, unforgettable "Just A Girl". "Trapped In A Box" is the weakest track in the way of singing, but its smart lyrics make up for it. "Simple Kind of Life" channels reflective sadness, while "Hella Good" and "Hey Baby" are party songs to the core. "New" can be only described by the word 'fresh'. "Ex-Girlfriend" is all of it a high-powered bass riff. "Excuse Me Mr." is an even more frantic plea for attention and respect.

If you can buy just one CD, make it this one. If you're not quite sure about investing in a No Doubt album, buy this collection. Listen, and not only will you want ND's other five CDs, you'll know why fans will buy The Singles just for its new track, the '80s remake "It's My Life". It's well worth every one of its 59 minutes and 37 seconds.

amazing album, stupid idiot review!
I was appalled to see one idiots review of this album giving Bathwater and new 0/10 and 4/10 to trapped in a box. I have to say that i think trapped in a box is an amazing song, its one of the most intellegent and unique songs out there. If you don't understand the song you shouldn't bash it in your idiotic review. ( I HAVE ALREADY WRITTEN A REVIEW THIS IS JUST BECAUSE IM ANGRY AT THIS IDIOT) :)

i loved this
No Doubt have such a varied compliation on this album its unbelieveable but brilliantly brilliant! From hard rock, to hip hop pop right through to a little rap, some regee and some show tune! One song I found mesmerising was Trapped in a Box, i felt something about it that was like the songs in rocky horror picture show. Such a unique song. I'm just a girl is a great song, I've always loved Gwens voice its very unique and unlike any other voices. My favourite song on the album is very difficult to say because I adored everything. And They haven't let us down with the most recent, It's my life which is one of my favourite songs of all time. All and all this was one hell of an album. Don't stop there No DOubt keep them coming.
You truely would be in need of medical care if you did not like this. BUY IT. ... Read more

Amazon.com

Though he was born well after the pure beginnings of rock & roll had become boardroom contrivances and generic pastiches, Nic Armstrong has tapped into the real deal and made it his own. This young Brit fell under the spell of the Americans who inspired the first wave of English rockers, as well as those lauded countrymen (Beatles, Kinks, Stones, etc.). A sharp sense of melody informs both the uptempo numbers and the ballads. "Too Long For Her" sounds like a long lost sixties nugget without being cloying or nostalgic. The arrangement and production sensibilities throughout are perfectly in sync with the songs and singing (the bass tone on "She Changes Like the Weather" is a joy in and of itself). A terrific take on Chuck Berry's "I Want To Be Your Driver" chauffeurs this brilliant and perfectly rendered rock debut on home. --David Greenberger ... Read more

Reviews (3)

Whitest Great Buyer
The current vintage craze is already tediously infiltrating even the most remote recesses of society- seen any fourth graders with homemade holes in their jeans recently? The term vintage even is suspect. What qualifies? The look alike old t-shirt you got from Old Navy? The argyle sweater from that fancy second hand store? The windbreaker you got last year? In a society where even the most immediate moments seem so last second, the week that was becomes historically relevant, at least until next weeks show. If everything old is new again, what about everything new but made to seem old? Is that twice as good or twice as bad? Or simply twice as irrelevant? In the musical world, fads come and go like aromas in a fast food restaurant, but one fad that's always in style is musical mining. No decade is safe, no style too obscure to cop or to make a vague reference. What if, hypothetically, there was a new record that didn't simply give a polite nod, but rather embodied a whole decade and genre's worth of music in every way, shape, and form?
The Greatest White Liar is one such record, one of the more peculiar and intriguing releases of the year. It is at best a facsimile of all the hits of pre-hippie-hair-era Beatles, and at worst the same. These are all the songs you've heard on that oldies station that goes way back to the black and white decades, only you'll be stuck trying to sing the lyrics. Or hum the melody perfectly the first time through. Or remember exactly where it was you first heard that song. This is also the perfect album to play a trick on your parents. Simply turn it on, ever so innocently, with some vague remarks about a "greatest hits record" and see if they "remember" the songs. Odds are they will.
The problem is that these songs are all so gosh darn catchy and down right rockin. Armstrong holds no punches and feigns no mixed feelings about where his love lies. Melodies, chords, lyrics, even harmonica solos all help to transfer you back to a time nobody younger than 40 remembers.
The most interesting part of the equation is what the music media will do with such a piece. Being British, the UK press is probably drooling over themselves for a new idol to build up and tear down, tiring of all those dance dance retreads (see Bloc Party, Franz Ferdinand, Kaiser Chiefs, etc) and name dropping Gang of Four and The Wire. Whatever way the future is headed, it most surely is going through the past to get there.

Next best thing to a vintage Kinks or Beatles record
Wow!Where did this guy come from?Based on the title, at first I thought it was a George W. Bush tribute record.The sound is vintage British invasion, with lots of white boy blues.The whole thing is solid, with some White Stripes-style rockers and even a few love songs reminiscent of the Zombies.Really, really, really, really good.

Buy this pop masterpiece NOW!
This is no phoney retro throwback.Nic Armstrong is the real deal.Sure, it hearkens back to the fab 60s when British rockers would fill their songs with hooks galore.But it sounds fresh and new.Each song is a little treasure - fantastic melodies, little twists in the arrangements and an absolute sense of POP joy.And I mean pop like the Beatles.Or the Kinks. But the album also rocks.The edges remain a little rough and raw.There is a fine line between knowing what 60s rock from Britain should sound like (paging Noel Gallagher) and making a really grand, rocking record for those who love great pop songs.Some folks carry the torch and others are content to merely try to warm their hands on the flame.Nic Armstrong is absolutely running, torch in hand. ... Read more

Reviews (34)

Great Television Soundtrack..
Out of all the other television soundtracks that I have and that I've listened to, I think this one is one of the best ones. In a few other soundtracks, I maybe listen to about 5 songs and that's it. "Our little corner of the World" music from Gilmore Girls, has great songs. It has punk, it has a bit of rock and a bit of everything, especially the theme song sung by Carole King and her daughter Louise Goffin. Excellent!! I recommend every music lover buying this CD.

Welcome To The Gilmore's World
The Gilmore Girls is a great television program on the WB about a mother, Lorelei, who is from a well-to-do family, got pregnant at sixteen, left home to raise her daughter Rory alone. Now Rory is sixteen and Lorelei and her are best friends. They live in the quirky Connecticut town of Stars Hollow that is full of strange, but lovable townsfolk. The show is full of witty dialogue and has a hip sense of music. The soundtrack to the program shows off its eclectic musical tastes. Carole King originally recorded "Where You Lead" on her Tapestry album and the show uses an updated version she recorded with her daughter Louise Goffin as its theme song. Grant Lee Phillips plays a troubadour on the show who plays musical interludes throughout episodes and he contributes the strong "Smile". Sam Phillips does not appear on the show, but her music is a strong part of each episode and the little snippets of her simple la-la-la cues are sprinkled throughout the album. Another strong aspect of the album is that while it has many well-known artists like John Lennon, XTC, Big Star and Joey Ramone, it doesn't pick obvious songs from their catalogues, but lesser known gems. Mr. Lennon's "Oh My Love" is a beautiful and tender song, XTC's "I'm The Man Who Murdered Love" perfectly encapsulates Lorelei's love life. Big Star's "Thirteen" is a sweet acoustic number and Joey Ramone rips through a thrashing version of the standard "What A Wonderful World". The Free Design's "I Found Love" is a quirky pop tune from the early 70's and The Shin's "Know Your Onion" is a quirky pop tune from 2001. Other standout tracks include Ash's rocking "Girl From Mars", PJ Harvey's "One Line" and Yo Lo Tengo's "My Little Corner Of The World".

Great Music for this "Corner"
I admit to being a male Gilmore Girls fan. I cannot get enough of it. When I noticed this soundtrack I bought it immediately. The songs are great; they are from various eras in time and various styles of music are featured. My fave songs are What A Wonderful World, Oh My Love, Where You Lead and Girl From Mars. If you're a fan, this is a MUST!!

i found love!
i've always loved gilmore girls, as a teenaged bookworm, quirk appreciator, & music obsessee, it couldn't have been more right up my alley. it's one of the funniest, smartest, strangest, pop-culture packed sitcoms around. amy sherman and daniel palladino really do love music, and it shows. this soundtrack hosts a great array of interesting songs! there is no absolutely no filler on this cd. it all meshes well together to make a strange, indiepop day in the sun. le sigh! buy the cd, spread the love.

Permanently in my stereo
This CD is hands down the best CD ever. I am a huge music fan, being a singer and I think that Amy Sherman - Palladino and Sam Phillips did a great job on this compilation based on Gilmore Girls (my favorite show). Even if you don't like the show, it's a great CD to buy to explore music you don't hear on Top 40. It turned me unto so many great artists and bands like Sam Phillips and Grant Lee Buffalo. Buy it! ... Read more

Amazon.com essential recording

Beck brags here that he's "got two turntables and a microphone." He also has a sweeping aesthetic that sees no reason why musical allusions to hip-hop, the Beatles, James Brown, punk, Gram Parsons, cool jazz, and Dylan can't coexist in the same song. Throughout, he rap-sings with sincere irony--I bet he laughs at the sight of a jump-suited Elvis, then cries when the King starts to sing--and Odelay's rich collage of sound may very well prove a prediction of the future. If he ever finds the courage to can the loopy metaphors and just tell a story, he could take over the world. --David Cantwell ... Read more

Reviews (144)

One of the jewels of '96!
1996 was one of the best years in popular music ever. The Smashing Pumpkins' absolute MASTERPIECE "Mellon Collie and the Infinite Sadness" was reaching it's peak. Everclear's "Sparkle and Fade" amazed everybody (even though it's follow-up was even BETTER). Of Squirrel Nut Zippers' "Hot" was realeased, a breath of fresh air in a world of synth-techno crap and cheesy Bush and Nirvana rip-offs. Then, of course, there was Beck's "Odelay". I didn't think it could get any better (or funnier) than "Mellow Gold", but it did! This is about 50 years worth of popular (and unpopular) music and street culture crammed onto one disc. Distorted, noise-drenched punk-rock guitars, funky breakbeats and dusty turntable scratching, steel guitars, banjos, ray-gun synthesizers, jazzy bass, assorted percussion, vintage 60s pump organs, pounding drums, nonsensical, often funny lyrics ("you can't lose in your razor blade shoes"), and the strangest samples you've ever heard (who's sampled Mr. Cool and Haydn all in the same song?) are all on this CD, just to name a few. You can breakdance, mosh, swing, or even just relax with this album. It's the ultimate party record.

Bizarre and magnificent
When most people write about Beck they usually know exactly where to start - his diversity. Generally regarded as Beck's best experimental album before his latest, more serious record Sea Change, as well as a general classic of the 90's. And I don't mean experimental in an inaccessible way. Everything here is accessible to the average listener and gloriously bizarre and interesting. Odelay stands as a melting pot of different genres. From the edgy opening track Devil's Haircut to the soul of Hot Wax to country on Sissyneck and rap on Where It's At, Beck defies all attempts to pigeonhole him as anything but different.

Although the album is highly consistent, there are several stand-out tracks, though these will probably depend on your faovured genres of music. The New Pollution is too eclectic to be put into words, the gentle Jackass is brilliant - ending in a donkey's bray - and of course Devil's Haircut and Hot Wax are true classics. Sampling other songs Beck eschews a variety of pop culture references so that Odelay often seems like he's taking you on a journey of pop culture of the last few decades musically. The real credit though is that all of the songs here merge so well and Beck never comes across as being pretentious or arty. What he's produced here is amazingly original and something that no artist, not even him, has really been able to rival. It showcases Beck's diversity better than the previous Mellow Gold or the later Mutations and occassionally misguided but still fantastic Midnite Vultures. With Beck set to take a more serious note - his lyrics here are often indecipherable or just plain silly - given his last album Sea Change, it's well worth taking a chance to listen to his other masterpiece. Indeed, when seen alongside the intelligent lyrics and mastery shown on Sea Change, Beck's diversity on Odelay seems even more impressive. This is an artist that feels free to flow free with his musical moods, sometimes even within the same songs, and Odelay is Beck at his pinnacle.

I Came Here to Tell You About the Rhythms of the Universe...
...and tell us, Beck does, in this sublime mix of hip hop, alternative, country, jazz, rock and pop, with even a Beatle-ish Sgt. Pepper homage tacked to the very end.

Critics of Odelay accuse Beck of being overly indulgent and WAY-overly derivative, but isn't that the whole point of the CD? Beck has stolen the key to Fun Factory and is determined to play with every toy in the building before security throws him out.

Over 13 tracks, Beck (with a big assist from the Dust Brothers) treats us to a music mixer's wet dream, from the chronically hook-y ("Devils Haircut," "The New Pollution," "Where It's At") to the startlingly touching ("Jack-Ass," "Ramshackle") to the just plain silly ("Sissyneck").

Odelay holds its place as one of the essential CD's of the 90's. Years later it still continues to entertain and excite. This is a joyous celebration of music, period . . . and Beck's best album by far.

blech
This album is overrated. I put it on, and the first impression I got was that Beck really wanted to make a "cool" album.. and he and his producer thought that in order to do this, the songs shouldn't make any sense, there should be few melodies, and the production should be wacky and aloof. It sounds like it's trying way too hard, and I couldn't enjoy any of it.

So Much Was Made of So Little
Is this album, called groundbreaking and classic when it was released, going to matter to anyone in 10 years? Of course not.

ODELAY was embraced at a time when American culture was drenched in irony and pop-culture regurgitation. Not surprisingly, the ironic-nostalgia fad ran SO deep that no one stopped to think about how the music would age once the retro-waves it was riding crashed on the sand...hence the blind worship of this record.

Beck also benefited from the bizarre notion that "blending styles" was an inherently noble act. Didn't matter if the styles were blended clumsily. It was all about the musical blender, man. Basically, it was multi-culturalism dogma creeping into the music scene, and the results weren't pretty.

Once rocks fans clear their heads of all the bad irony and musical crossbreeding forced on them in the past ten years, ODELAY's status is going to take a serious tumble.

That said, the record isn't all bad. "Jack-Ass" is a timeless tune, "Derelict" is damn catchy, and "Novocane" is a nice jolt of adrenaline. Otherwise though, there are a lot of forgettable moments on ODELAY, which precludes it from being deemed a masterpiece. ... Read more

Amazon.com's Best of 2000

The foursome come roaring out of the blocks with their latest collection. The album's first single, "Beautiful Day," raced to the No. 1 slot on the U.K. singles charts and received a similar rapturous reception stateside. From its shimmering preamble to its sweeping, infectious chorus, it perfectly stakes out the middle ground between the anthemic U2 of the '80s and the more grounded group of the '90s. With Daniel Lanois and Brian Eno sharing production chores again after having taken a break with Pop, the U2 team enters the new millennium with their lineup--and mission--intact. --Steven Stolder ... Read more

Reviews (1216)

A Return to Roots, Just Not Their Own...
Forget everything you've heard about this album heralding a return to the days of 'Joshua Tree' and 'Unforgettable Fire'; this is U2 looking for what they still haven't found by looking deep within their soul, with "soul" being the operative word. Over their 2+ decades making music, U2 have explored various music styles, almost all successfully (with the Delta blues of the R+H era being a possible exception). Here, U2 reaches back for a soulful, almost mid-tempo Motown-esque sound, while still sounding, as always, a little ahead of the game. Bono does the Rev. Al Green and Marvin Gaye proud on the gorgeous "In A Little While", followed by a Stones-esque (or is it Wallflowers-esque? I haven't decided) rollicker, "Wild Honey". It's amazing, almost miraculous, that U2 have managed to capture the sentiments of passionate joy so clearly. While the general theme of uplift is captured throughout the album, there isn't quite the continuity of craft found on earlier albums (including the much-maligned but amazing in its own right 'Pop'), but I think that's because each song on 'All That...' is so strong that they can't quite be linked. It almost sounds like a greatest hits package by a band who made these sort of soulful sounds for thirty years. Not every band can make individual albums that both stand alone as incredible testaments of state-of-spirit, and also combine to form an incredible autobiography of musicians who never seem to lose the thrill of making music together. As appreciators of music, we are truly lucky, no, *blessed* to have been granted artists like U2, and there seems to be no stopping them. U2 have delivered their most intimate, beautiful, and uplifting album of their career with 'All That You Can't Leave Behind'.

Music for a New Generation
When U2 first emerged, they were hailed as the rock voice of a generation. Now, two decades later, they are providing the soundtrack to the lives of those original fans' children - truly making music for a new generation. "All That You Can't Leave Behind" is what introduced the Irish rockers to Generation X, and it's as incredible as the band's past work.

With a lead voice as unmistakable as Bono's, deeply touching lyrics, and elegantly-crafted songs, this album is easily one of U2's best. Sure, it doesn't have the impact of "The Joshua Tree" or "Achtung Baby", but it is far from mediocre. Continuing in the styles that they have made so famous in the past, U2 has once again raised the bar on how great rock albums can be.

It's hard to describe everything on this incredible work, but I'll give you the highlights:

'Beautiful Day': The perfect opening to the album, 'Beautiful Day' is an anthem-laced track about embracing life with all its difficulties. An ideal song to lift your spirits.

'Stuck in a Moment...': Though grossly over-played as a tribute song in the wake of the September 11 attacks, 'Stuck in a Moment...' is a wonderful piece when taken in context. A bit lighter and poppier than the rest of the album, it is nevertheless great.

'Peace on Earth': Perhaps the sequel to the rocky 'Sunday Bloody Sunday', this track is a pleading look at needless violence in the world, examining its roots and futility.

'Walk On': Of all the U2 songs I've heard, this is probably my favorite. Easily one of the best songs the band has ever come out with, it is truly in the spirit of great hits such as 'Pride', 'One', and 'Where the Streets Have No Name'. A great message and touching melody - all elements that have made U2 great.

Perhaps the most startling revelation about this album is how short it is. There are so many great tracks here (not one is bad), I thought it contained at least 15 songs instead of a mere 11. However, each track is so beautiful and well-performed, that you won't mind it's length. After all, this is classic U2.

You Sure Can Leave It Behind
A bland and average set of innofensive rock songs, "All That You Can`t Leave Behind" has little to recommend. While there`s nothing truly horrible here, most of the moments are merely passable and far from memorable. "New York" is probably the best track, and even that is far from stunning. This record offers nothing new to the current music scenario, presenting weak compositions that lack originality and innovation. It certainly doesn`t deserve all the overexposure it got, since it has been awhile since U2 created something truly remarkable and cutting edge. This album may please die-hard fans of the band, but those who search for intriguing music will probably be disappointed.

Passable and forgettable.

Blandness
This is one of the most overrated U2 albums ever. It did not deserve to win so many grammys and I'm glad it did not win the grammy for best album of the year. However, it is not one of the worst; it is good compared to the rest of the junk on the pop charts. ATYCLB is a safe U2 album, so safe that it's nearly sunk down to the level of adult contemporary and adult alternative hits, pleasant and uninteresting filler.

Bono's voice is horrific, a pain to the ear, especially on such tracks as In A Little While and Elevation. His lyrics are uninspiring, mostly reduced to simple maxims, such as "Believe in yourself!" and "Everything will be all right," which is apparent on Stuck In A Moment and Walk On. Bono realizes that life isn't that easy on better, previous U2 songs that urge people to find their own solutions and leave the door open for interpretation. Of course, complexity doesn't sell nowadays in pop music and that's why U2 has to feed mainstream listeners the answers to common problems. Also, the poor guitarist's talent is hardly visible. Wild Honey doesn't allow for him to do anything earth-shattering. Grace is possibly one of the dullest U2 tunes in all of the band's history.

Fortunately, Kite, though relatively mellow, is the exception to the rule, one of the only songs on ATYCLB that matches the previous high quality work of U2. A song about immortality and life, it is emotional and a soaring anthem. If the next U2 album takes its cues from this song, I will be one happy U2 fan.

yet again, greatness
Ok. So I didn't really start listing to much u2 until the "Pop" album. Their most artsy, darkest, and least liked album. I loved that album and have become a huge fan of U2 since then. Now, onto the album review. Don't get me wrong, I've heard better versions of some of the songs on here (e.g. the single version or live version of Walk On, or the live version of Elevation), but overall this is another masterpiece.

Anyone saying that u2 is aging or "losing it" is probably sitting around wishing for the Joshua Tree days to come back. Nothing wrong with that, I mean, the Joshua Tree is incredible. But really, there is really nothing to criticize here. There are always multiple versions of u2 songs (from every album), and occasionally non-album versions are slightly better than album versions. Basically though, every song on this album is great.

ATYCLB kinda goes in 3 cycles to me... the first 4 songs kinda kick the album off in full gear, very upbeat for the most part (Beautiful Day, Elevation, Stuck in a moment, Walk On). "Stuck in a Moment" being the mellowest of the four. The next few songs are great as well, but more mellow and acoustic-y (Kite, Wild Honey, and In A Little While). Then, "New York" spices things back up a bit and the last few songs (Grace, Peace on Earth, and When I Look At The World) kinda settle into some sort of religious feeling that Bono often conveys in his lyrics. Personally, I like the first four and last four songs of the album the best, but most of my friends who are more pop-oriented like the middle few. hm.

Great album. Great tour. Probably the best album that came out in 2000. 5 stars easy. Older u2 fans may not like it as much as some of their prior work, but honestly, this album is just as strong as anything they've ever done. Don't get stuck in a rut. Give this album a chance, and u2 will again prove themselves the greatest band on Earth. ... Read more

Reviews (136)

Ha ha
Limp Bizkit produced a new album. I forgot about them 4 a while then they suddenly came out with this. They got Wes back, which is good, and this album does not dissapoint. Only thing is that there are only 7 songs (??) but i guess the second part (i guess they're comin out with another one)will make up 4 that. I like Limp Bizkit a lot but a lot of people hate them. They're a "Hate 'em or Love 'em" type of band and i happen to be a love em person. Fred Durst does a pretty good job in this album (though he is definitly NOT the best part Wes Borland is). I like this rap-metal type of music though its pretty outdated now. I hope that they make a music video 4 any of their songs on here. No publicity either.
-Remember this is My opinionLil Slim

rubbish
Just more proof that a big chuck of modern rock is just
for nerds and teenage high school outcasts. It doesn't
get anymore patheic than Fred Durst. He is supposed to
be a rock star, but the loser can't even get any chick
he wants.

the unquestionable truth...limp bizcit sucks
Come on people, its time to quit kidding yourselves. The results are in; 37,000 copies sold the first week (ouch!). I respect you guys for being so loyal to these guys for so long, but its time to 'sober up'. Limp Bizkit was never good. In fact, they may be the worst band that ever lived. Their first hit song was a cover tune, that should tell you all you need to know. All of their 'original' songs are just old catch-phrases turned into cheesy, generic sing-along garbage. Seriously, even you die-hard Durst fans have to admit that his "rap" with Method Man was one of the most laughable moments in music history.

So now they have released a new record... and SUPRISE! It's a political statement record. Haven't seen that one before! I can see Fred Durst in a board room right now: "well, it got Green Day back on the map... maybe Limp should try it too".Nice try Fred, but you're the last person anyone's gonna seek for political guidance. You're the guy that is best known for lying about sleeping with famous women and leaking a sex tape & then going to every news outlet that will still listen to you & saying it was stolen. You should have asked around about the idea of releasing a cheesy political album, & maybe someone would have clued you in that the formula fails way more often than not. Madonna failed at it, Ministry failed at it, and now Limp Bizkit has failed miserably at it. I think even Justin Guarini's album sold more than yours.

So please, do the world a favor & take the hint. Please go away. Just enjoy your millions & leave us in peace.



by the way, to see fred's amazing guitarmanship, look for the "fred shred" video floating around the internet.it's an instant classic.

Much harder!
First off, for those people who keep comparing the new Limp Bizkit sound to Rage Against the Machine are off their rockers!Although this is one of Limp's harder albums, I just don't see them as having the same sound as Rage.This album is closer to metal than to anything that they, or Rage have done before.

I like this album for the sole reason that it is very un-Limp Bizkit like - it's much harder, and not as "poppy".For the price, it's a decent buy, and as a person who is not the biggest of Limp Bikit fans, I certainly enjoyed it!

Great but needs more
I think the new album is great but it needs more than just 7 songs.I am glad that Wes Boreland is back and they returned to their old form.Looking Forward for more. ... Read more

Amazon.com's Best of 2001

The Gorillaz claim to have found their motley crew of cartoon characters sleeping in Leicester Square, but Blur's Damon Albarn (a.k.a. 2-D) and cult cartoonist Jamie Hewlett (Murdoc) aren't fooling anyone. As the ultimate experiment in manufactured image, the Gorillaz are a virtual cartoon-character-based hip-hop band who bring together witty, silly lyrics and talented musicians. Infectious old-school hip-hop rhythms, rhymes, and effects courtesy of Deltron 3030's Kid Koala and Del Tha Funkee Homosapien (Russel) are combined with Albarn's passion for chugging lo-fi and edgy melodies to create a seemingly raw but ultimately slick blend of styles. This is nowhere more evident than on the hit single "Clint Eastwood," which is carried along by the sound of 2-D's slurred voice and a bluesy harmonica melody interrupted by Russel's punching rhymes. But the surprises don't stop there: Ibrahim Ferrer's appearance on "Latin Simone" could have come straight from Buena Vista Social Club but for the obvious Blur-influenced piano style, while the spooky intro to "M1 A1" wouldn't sound out of place on Michael Jackson's Thriller. Backed by Jamie Hewlett's death-wish character on bass, Cibo Matto's Miho Hatori (Noodle) on guitar and occasional hyperactive vocals, and produced by Dan "the Automator" Nakamura, it's hardly surprising that Gorillaz is marked both by a sense of playfulness and a passion for experimentation. --Caroline Butler ... Read more

Reviews (289)

It's About Time for the Pendulum to Swing Back
Hip-hop's getting boring. Rock's getting boring. Everything's getting boring a la 1989 with Milli Vanilli and C+C Dance Factory being replayed by Nsync and all that other crap out there. THIS ALBUM IS NOT BORING. It's the first new band I've tried that I sat and listened to the entire CD the night I put it in. I saw the video (Clint Eastwood) and being a Flash designer, graphic artist and Clint Eastwood fan, I dug the it! (Although, there is no cartoon Clint in the video). The animation rocks. But, being a musician, I also heard the groovy beat and reverbed harmonica and thought, wow, this is great. I picked up on the Blur connection when I heard the first song - good acoustic guitar. The second half of the album gets a little weak, but it ends strong. Think "It's a Wonderful Life" (Buffalo girl won't you come out tonight) for the tune of track 17 - Left Hand Suzuki Method. I hope this doesn't get overplayed 'cause my friends think I've found the score of the summer. Shh - don't tell anyone! :)

Gorillaz rule! (PLEASE READ MY REVIEW)
If anyone thought Gorillaz, the first animated band, would be bad, YOU THOUGHT WRONG! Let me show you why:

Re-hash(10/10)A great easy-listening song. Should be a single.

5/4(10/10)A great song and one of my favorites!

Tomorrow Comes Today(9/10)This is an OK song. Not good enough for a single, though.

New Genious(Brother)(8/10)I don't see the purpose for this song.

Clint Eastwood(10/10)Not quite the best on the allbum, but good enough for a 12" single.

Man Research(Clapper)(10/10)A perfect song!

Punk(10/10)The best song off of the album!(well, 1 of 'em, at least).

Sound Check(Gravity)(8/10)OK.

Double Bass(10/10)Read what I said for "Punk."

Rock The House(10/10)Read what I said for "Punk."

19-2000(10/10)Great beat and great lyrics. Better than "Clint Eastwood."

Latin Simone(4/10)BAD!

Starshine(6/10)BAD!(well, the lyrics and voice are both bad, but, hey, nice beat!)

Slow Country(100/10)Better than "Punk," "Double Bass," and "Rock The House!" VERY best off of the album!

M1 A1(10/10)Great song and fit for a single. I even like the "HELLO?!" part.

Dracula(9/10)OK.

Left Hand Suzuki Method(7/10)Most of the lyrics(XCGRHGGGBNBGBHFGHGGHGGGFF...)I don't understand, but awesome beat(...)

Unidentified, excellent, music.
Before Gorillaz I had never heard of Damon Albarn, or Blur, or anything like that. But I had heard of Del Tha Funky Homosapien who raps on Clint Eastwood and Rock The House. I also knew Dan the Automator who produced the Gorillaz Self-titled debut. I'm a pretty big rap fan but I like rock as well. So being a big Del fan I heard he was going to be involved in a brand-new, experimental rock band. It sounded cool so I awaited the album. Then I started hearing Clint Eastwood on the radio. What an excellent song. A dark sounding hip-hop beat with an incredible piano loop. I loved the sleepy vocals on the chorus and Del's rhymes were tighter than ever.

After that I had to pick up the album. I went out that day and got it. And to tell you the truth I didn't like it that much. I was expecting an album of "clint eastwood" thinking Gorillaz was a hip-hop band. But after getting over that and listening to the album more it grew on me and I fell in love with it. This is truly one of the most creative and abstract albums i've heard. I like all kinds of music and that's one of the reasons why I love this album. So many sounds come together in this album. Hip-hop, blues, jazz, rock, reggae it's all there. Even the idea behind the band and image is great. The idea of a cartoon band with each member being represented by a crazy cartoon is excellent. This also makes their videos pretty awesome.

So if you're looking for something new, and are open minded I would suggest this album. Over anything else. It's got the best from so many different kinds of music it's hard not to love it. One problem though, I need the second album!!

the best hip hop rock dub cartoon band ever!
I have never heard Damon Albarn before, i found about this album from a combination of play on mtv and knowledge of past projects including Dan the Automator and Del, a unique halfway underground rapper who pops up in the strangest places. Anyone coming from my perspective will be surprised by this album - hell, anyone will be surprised by this album. It is an utterly effortless fusion of delicious lo fi hip hop, relaxed dub, and energetic punk rock. The combination of such bold and surefooted experimentation and the catchy hooks that got it on mtv in the first place is unprecedented.
The album is varied and it has a few slow points (Man Research, Sound Check), but they don't really get in the way, they just give breathing room between the joyful and dark whirlwind of culture. As for good tracks, there is the rhythmic gimmick of rock joint 5/4, the impenetrable lyrics and the pure punk power of Punk. Clint Eastwood (why is it called clint eastwood?) is a perfect single, with its catchy hook and Del's paced lyricism, and Rock the House and Double Bass are excellent bits of rhythmically infections production. Latin Simone is a great song, and the whole Cuban thing comes out of nowhere, and M1 A1 - well, I don't get it, but I can't help singing along with what I think Albarn is saying.
All in all, this Gorillaz project is a total success of an experiment. The persona of the band is fascinating and adds to the fun and humorous but kind of dark atmosphere of the most delightfully weird pop cd ever made.

gorillaz are simply the best ever ever ever ever ever!
Okey, let me start off by saying this, if you love great music then you will positivly LOVE gorillaz.
Gorillaz have made some of the best music in the world.It is unique, catchy, amazing, and fresh.All the songs on the album are great!Dan the Automater is possibly a better producer than the Neptunes AND Kanye West put together( because he is better than each one of them alone ).The band is also interesting because they aren't actually really alive.What I mean is this, the people behind the scenes are real but the characters they play are not.Another thing about this is that there are more than just four members of the band( as the fake cartoon versions would have you know ).There are acually many more including the likes of:Kid Koala, Dan the Automater, Damon Albarn, Del Tha Funky Homosapien, Miho Hatori, Jamie Hewlett, Phi Life Cypher, and Ibrahim Ferrer.There are more like Tina Weymouth and U Brown but the list would go on forever.Lots of DJs have worked with gorillaz including:Kid Koala, The Spacemonkeys, Soulchild, and The Wiseguys House Of Wisdom.The really cool thing about gorillaz is that no one else sounds exactly like them, there are a few that are close( Deltron 3030, and Dr. Octogon )but no one ever actually can ever copy exactly the kind of magical feeling you get from listoning the gorillaz.

Here is a list of the songs and my ratings on them:

1.Re-Hash-***** Great, but repetitive intro to a great album.

2.5/4-***** Old school ska mixed with new age DJing. Unusual mix but still flies very high, in fact, this song was the fifth hit off the album.

3.Tomorrow Comes Today-***** It's a hit and you can tell! It's got kind of a trip-hop feel but Damon Albarn's lo-fi singing makes it something else.

4.New Genious(brother)-***** Sounds like Bruce Lee movie opening mixed with Dr. Frankenstein's lab. One of my favorites.

5.Clint Eastwood-***** Del's rap is great, Damon's chorus is great. Overall a great song( a bit over played on MTV and the radio though ).

6.Man Research(clapper)-***** It's dub reggae at its best!

7.Punk-***** It's old school punk at its best!

8.Sound Check(gravity)-***** Kid Koala really shines on this song, it has amazing DJ work on it as well as kick-@$$ voice samples. One of my favorites.

9.Double Bass-*** A miner flaw on the album but not TOO bad.

10.Rock the House-***** Del raps again with flying colours. Superb.

11.19-2000-**** Great song with awesome vocals but it kinda gets annoying after a few listons.

12.Latin Simone-*** Great music but I don't like Ibrahim Ferrer's vocals. The English version on the gorillaz album "G-Sides"is much better.

13.Starshine-***** Great, but repetetive.

14.Slow Country-***** I just love the piano part on this song and the lyrics are funny. Damon"s vocals again make this song perfect even apointless chorus is brought to life by him.

15.M1-A1-**** This song could possibly have the worst intro ever made. but once you get by it( if you can bear it )the song is good. ... Read more

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In an era when pop nihilism fulfilled its dark promise all too regularly, Pearl Jam not only survived, but thrived to become one of rock's greatest bands. This 33-track double-disc career retrospective documents the arc of a career that went from arena and radio triumphs in the early 90's (while Nirvana's promise imploded in the wake of hype, Pearl Jam's crowd-pleasing fame only burgeoned) to the uncompromising, core audience-focused tack that carried the band into the 21st century. Shrewdly compiled by the band into an "Up" disc that chronicles the band's driving, Stone Gossard-Mike McReady fueled hard rock dramatics (including such early career landmarks as "Jeremy," "Alive" and "Even Flow" alongside more aggressive fare like "I Got the Shit Down" and "Spin the Black Circle") and a "Down" side that focuses more on Eddie Vedder's brooding, often darkballads ("Old Woman..," "Yellow Ledbetter," their unlikely hit cover of the oldie "Last Kiss"), it's a collection that underscores both the band's range and musical integrity. Though centered on the band's pre-Vitalogy studio era and containing no new material, longtime producer/collaborator Brendan O'Brien contributes remixes of "Once," "Alive" and "Black" that offer new insights on the familiar, while non-album tracks like "Man of the Hour" and "State of Love and Trust" considerably enhance the overall listening perspective here.--Jerry McCulley ... Read more

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Reviews (321)

Rock n Roll for the 90's
I don't buy into the hype and put on labels that are so common in today's music. I had heard about this upcoming band back in 94 and was a bit intrigued. When Morning Story came out and Wonderwall was the big single, I started to like what I hear, but Champagne Supernova was the clincher for me.

Spearheaded by Noel and Liam Gallager, Oasis ha