Reviews (23)

"Bizarre love triangle" is great, rest average
It's not a bad album, but in my opinion "Brotherhood" remains one of New Order's worst efforts. The band was badly messed up on drugs and alcohol in the mid-'80s, and pretty much of this album has this distant and weird feel to it. They make an attempt to go back to their punk roots, and that's why this album doesn't come up with some new sounds or great songs like "Blue Monday" or "True faith". The first half of this album contains up-tempo guitar rock songs which sound much too similar to each other. The second half is a bit more varied, featuring the hit single "Bizarre love triangle" and the moody "All day long", but even this basically beautiful song is ruined by distorted guitars and squeaky synth cascades. All in all it's not an unlistenable album, but it's a far cry from the melodic power of "Power, corruption & lies" or the experimental approach of their excellent compilation "Substance".

All pop should sound like this!
I got this the other day and as with all the others I have, I've fallen in love with it. It reminds you of how pop used to sound before the charts became overrun with boy bands and little girls. Stand-outs for me include State Of The Nation (I first heard it on Substance and it sounds even better in the context of this album), Bizarre Love Triangle and All Day Long - surely one of the saddest songs the Order have ever recorded. Then again, that's one thing I like about them - it's synth-pop with a social conscience. Every Little Counts is second only to Fine Time as the funniest tune they've made. It's pretty mad - somebody keep Bernard away from the Sunny Delight, he sounds a little 'hyper' on this one!

Overall, this is another classic album. But then I didn't expect anything else because it's New Order - one of the best bands ever. If they happen to be reading this out there, I'd just like to say this: nice work, keep the (true) faith, guys! And to other listeners, I say: join the Brotherhood today. As the band themselves would probably say, it's nothing you'll regret!

Deserves a second listen, at least
This album tends to get maligned, I think, and with good reason. Offset by two very strong singles, Paradise and Bizzare Love Triangle, the lyrically-dull guitar tracks which make up a good deal of the album seem like rank filler. 'As It Was When It Was' tries for a delicate sound, but the lyrics are too horrible to stomach. 'All Day Long' has a similiar problem, made worse because it tries to tackle the subject of child abuse with its second-(or third, of fourth)-rate poetry. The only non-single song which I liked at first listen was 'Angel Dust,' a very intense three minutes with better-than-average lyrics and a strangely effective Middle-Eastern theme. As for the other songs, though, beginning with the two very similiar rock songs, 'Way of Life' and 'Broken Promise' (which I always mix up because the titles have very little relation to lyrics which make little sense), I tried to give the album a second chance. In the end, I think, it does have some value; the loud, clean sound on 'Weirdo' and 'Way of Life/Broken Promise' is uplifting, and the two singles plus Angel Dust count for a lot ('Bizzare Love Triangle' does suffer from a particularly bad case of singlitis; anyone who's heard the single mix on Substance will lose a lot of esteem for this trimmed version). As for the final track, I just don't know what to do with that. "Every second counts / when I am with you / I think you are a pig / you should be in a zoo"-and then he breaks down laughing. Yes, with the tapes running. Benefit of the doubt; I'll chalk it up to clever self-satire.

simple the best album from new order
the best new order album, in the middle of the 80's, 80's rules!

Don't bother. For die-hard fans only.
I love some New Order records. Movement. Power Corruption and Lies. Technique is good. Substance is pretty good.

My advice is pick any of the above. If you're a really mainstream person who listens to Paula Abdul, get Substance or possibly Technique. If you like the Cure, try the first two. Power Corruption and Lies is probably the definitive New Order record. Movement is in its own genre. ... Read more

Reviews (5)

Didn't live up...
I was a huge fan of their first album...it was groundbreaking in many regards. I was very excited when this new CD came out so I set the mark too high. Odyssey was a let down in many ways, the biggest being they used the same vocal effects for almost every song. There was no variety in the synths either... There are a few songs that are alright, nothing up to the standards of #1 Enhanced though....buy at your own risk.

give it a few listens
at first i was a bit underwhelmed when hearing this album -- nothing really stood out other than some amazing studio production.but as with all great albums eventually, repeated listening has an amazing effect on your first impression.

if you're a dj and don't feel like spending extra $$ on a cd-single release of "just let go" then this version with the bonus tracks is worth the money -- you'd be spending the same amount roughly for the original version of the album + the single combined.

track 3 "never win" was the first one to finally click with me.perfect 21st century electropop.and the "thin white duke" remix of "just let go" with its spooky background synths works wonders on the floors of post-rave underground e.d.m. clubs.

A Fischerspooner Odyssey
Fischerspooner rocked in 2001 with their #1 release which made 80's new wave/synth pop hip again based on the sole strength of Emerge and The #15.

In 2005, Fischerspooner capitalized on their assets and conjured an amazing album which relied less on new wave/synth pop but more on their personal creations of electronica dance rock. The superior Just Let Go picked up where #1 left off and resulted in a stunning anthem-like track. Cloud, co-produced with the famed Mirwais Ahmadzai works equally well with a familiar satrt-stop beginning, retro-electronic and a dream-like chorus. Other winners include the sexy Get Confused and Emerge Part 2, A Kick In The Teeth.

This is definitely a great electronic/dance album not to be missed. The limited edition features expanded artwork (booklet), 2 bonus tracks and a G-force visualizer download link for your PC media player.

If you are not into packaging, the normal edition holds up well!

Im hooked "Give me more"
Unlike most people who have listend to Fischerspooner before this is my first taste of their style. I would have to say from the original production quality to the "catchy" lyrics this is a total package.Just Let Go, not enough can be said for this track, reminds me of a retro sound mixed with Thievory Corp kind of vibe to it. This review is for newbies and the established listeners into this genre. Go,Buy, and decide for yourself.. Don't take my word for this group, the final review is yours.

By the regular edition instead
This is a great album, but the "limited edition" does not have enough features to warrant paying an additional $6. You get two bonus tracks, and that's about it. The free multimedia content on the Fischerspooner website far surpasses what's on this CD.

Very disappointing. Nothing on par with the limited edition DVD that was packaged with their previous release, #1. The album rates a 4 or 5, but I'm giving this a "2" to steer people toward the regular edition of this disk. ... Read more

Album Description

The debut by Melbourne's Cut Copy is a collection of dream and love-laden tunes pulled together with Dan Whitford's inside-out knowledge of 80's flavored synths and studio trickery. Influences range from house to low-slung, fuzzed up punk garage, and seminal 80's raincoat-wearing Mancunian electro-pop to nouveau disco, often within one song. Impossible to pigeonhole. Pop and dance. Happy sad. Simple yet complicated. Sincere yet cool. Naive but clever. ... Read more

Reviews (3)

Daft 80's dance rock magic-
My favorite record(original artist) this summer; imagine a mixture of Daft Punk with a Human League/Depeche Mode type affair with some nice lyrics and guitar licks to keep it fresh and new without sounding like rehashed electroclash(not to say that it is all bad) + you've got a great summer record you can dance too and will most assuredly will hear in the club(maybe remixed). I believe one of the producers is Phillipe Zdar of Cassius; but all of the production holds up to make it a complete album w/ some rock gusto.

Almost the savior of Electroclash
Almost, but not quite. Cut Copy, a one man band from Australia does some things to tart up the electroclash corpse and almost gives it new life. He adds guitars and a new wave feel plus plenty of Human League "Dare" period synth pads (well I guess properly the sound belongs to Martin Rushnett). "The Future" sounds like a track left off of "Love and Dancing," (the dub extraction of "Dare.")

The result is decidedly 80s flavored and in spots classic (synthpop) in its sound. Cut Copy has an ear for a good sounding loop and itty bitty hooks. But a loop does not a song make.

Perhaps Cut Copy was trying to claim some of the territory that Air and Daft Punk have mapped out, but frankly Air and Daft Punk do that better. I think Cut Copy would have been wiser to focus on writing some decent songs. I think often what people miss about the 80s and even Human League (especially Human League) was that behind the wall of electronics were decent songs, songs you could hum. Try humming "The Future."

Promising and clearly talented, Cut Copy just needs to sit down and write a few killer singles.

Fans of Air and Daft Punk might enjoy this slightly faded copy. 80s new wave/synthpop fans will probably zone out about 5 minutes in...

Album of the year... so far
This is very special record. Following up from the more electronic debut 'I thought of numbers' this is huge leap forward for Cut Copy. It has electronic influnces and you can hear that throughout, but the best thing is, it rocks. I stuggle to file this music because it is so diverse. There are a lot different sounds that make up a Cut Copy track. The layering on one track gives way to something simple and attention grabbing on the next track. The composition of the album is special. I found 'Bright like neon love' inspiring in so many ways. It is pushing the boundaries between rock and dance, but in a cool way. This is something new and refreshing. If you like what the Rapture, Franz Ferdinand, the Liars and Phoenix are doing you should love this. In mentioning those bands, I have to say that Cut Copy goes beyond any of those in where the music is derived from. You may hear some Prince, Blondie, Fleetwood Mac, Joy Division, Guided by Voices and Bowie if you listen up. If you get a chance to see these guys live, grab it, otherwise you can make do with this peice of gold... gold I tell ya! ... Read more

Amazon.com

Lyrically and musically, Chorus is less campy and more evangelical than other Erasure creations. It's certainly just as grandiose and danceable as previous albums, but it seems as if songwriter Vince Clarke decided to stop composing smiley-face songs for a while and make a slightly more introspective, more socially observant album. For this reason, Chorus is Erasure's most enduring, most powerful recording. Crowd-cheering samples resound in "Love to Hate You," lending it an almost epic feel. The uplifting "Chorus" hopes for a time when we all treat each other a little better. It may not be the favorite Erasure album among dance-pop enthusiasts, but it's definitely the Erasure album that is meant to be taken seriously. --Beth Bessmer ... Read more

Reviews (30)

Perfect Balance of two Styles
Chorus is a perfect mix of Erasure's two main styles. While earlier Albums were more upbeat and later ones have been more mellow, Chorus mixes them both together on one album.

After hearing four of the songs on Pop 20 hits, I bought this album expecting them to be the highlights of the disk. I was thrilled when I discovered that the entire CD was a highlight! The songs Waiting for The Day, Joan, and Home remain some of my favorite Erasure songs today. I enjoy both styles of Erasure's music and this CD blends them both wonderfully. Easily my favorite Erasure CD and highly reccomended!

Darkest Album Of Them All
Can Erasure be dark? Yes.. they can. Where as "I Say I Say I Say" is a light, fantasy like album, "Chorus" digs deep and brings us into the nightmarish side of Erasure. A side we don't normally see and it's refreshing. It's here that Clarke begins to focus more on digital bleeps and less on analog orchestrations than ever before. I have to strongly disagree with many critics (who don't know jack about electronica) that diss Erasure for always sounding the same. I could say the same thing about rock music or rap music, but that's not the case. Clarke seems to be pushing the limits on what he can do with a synthesizer and still create catchy pop music. There are a number of songs on this album that are just as good, if not better than the singles that came out, such as "Waiting For The Day", and "Home". Both are my favorite songs from the album. Erasure, in my opinion, was and is one of the best bands in the world. No one (except for The Beatles) have crafted so many wonderful and experimental albums, filled with so many pop catchy tracks, as Erasure has. Nice job guys.

Chorus
Chorus~ Erasure is on par with their first album. Yet it gets a prententious and come on none of these guys can really be taken that seriously after all. It is not like Noble comitee will call any day.

Breath of life
I think I have been a bit too harsh on "Chorus" so I decided to give the cd another spin. After all I am big Erasure fan. I have been listening to "The Very Best of Erasure" a lot lately and the songs from "Chorus" has grown on me over the past couple of weeks, namely the title track and "Breath of Life". Production-wise, the album isn't very good. This is album needs a remastering job ala The Cocteau Twins. The sound is very outdated. The overall mood of the cd is more subdued than say "The Innocents". What "Behaviour" is to the Pet Shop Boys is "Chorus" is to Erasure. The overall mood is darker, moodier, and the beats are more restrained. Although I prefer "The Innocents" or latter works like "Erasure" and "Cowboy", "Chorus" is not as bad as I once thought. It is just not nearly as good as "Erasure", "Cowboy", and even "Loveboat".

Erasure at their best
Chorus

I have every Erasure song ever released commercially, and this is, in my opinion, their best album. Other albums may have stronger singles-it is hard to beat the one-two punch of Drama and Blue Savannah, or Chains of Love and A Little Respect, but this was the first Erasure CD that didn't feel like a collection of singles and b-sides. There are no real weak spots here as on previous efforts. There were four singles taken from this album, and if one didn't know what they were, I think one would be hard pressed to identify them. "Waiting for the Day" is the best Erasure single that never was, and "Turns the Love to Anger" and "Perfect Stranger" are fantastic synthpop songs. It is true, perhaps, that this album may seem darker than others, but the production is gorgeous, the songs are brilliant, Andy Bell's voice has never sounded so rich, and Vince Clark's aural landscape is breathtaking. One of my all-time favorite records. ... Read more

Reviews (12)

EXCELLENT ALBUM FOR FANS OF CRYSTAL METHOD & CHEMICAL BROS.
The reason I like bands like "The Crystal Method" and "The Chemical Brothers" is that their music sounds like (and usually is) the soundtrack to a really cool action movie. The music is furious, the lyrics are clever wordplays that don't make sense (and don't need to), and it gets your blood pumping. Overseer's "Wreckage" is almost as good as those two bands.

Dense musical compositions, strange sounds (like an airplane's sonic boom) used for effect, and truly (and I say this proudly) "head-pounding" beats. Unfortunately for some, the reason this all sounds so good is because we've heard it before. There's a song from the "Any Given Sunday" movie soundtrack, two songs from "The Animatrix" soundtrack, and "Horndog", the song played in the Mitsubishi Endeavor commercials (you know the one, where they cut to "Sponge Bob Squarepants" in the middle). I don't mind, as I don't have any of the aforementioned albums, but those that do, you already own 1/4 of the 12 songs on this track, keep that in mind. And they're the best songs on the album.

The rest of the album, however, holds up pretty well. There are a few slow, "trance-y" songs, like "Meteorology", "Aquaplane", and "Sparks", which remind me of Massive Attack or Nick Cave, or even Rob Dougan's classical-electronic sound. They're good, and flow with the rest of the album quite nicely. Also adding variety are some hip-hop influenced songs, tracks like "Doomsday" and "Never", which remind me of a slower BT, in a good way. This all adds up to a wide selection of sounds and keeps things interesting.

All in all, the wait was very long (the album was delayed many times), but it really was worth the wait.

Not exactly original, but pretty darn good.
After years of production and several delays, Wreckage, the debut album from Overseer, is finally here and ready to set the world ablaze. More than likely, you've probably already heard a good number of these tracks, seeing as how they've been used in the soundtracks of multiple movies, video games, and TV shows. While there really isn't anything that hasn't already been done on this album, the songs themselves provide a genuine and refreshing glimpse into the mind of Rob Overseer and his vast imagination, however semi-plagiristic that imagination may at times seem. Let's take a look, shall we?

1. Slayed - 4.5/5: This song sounds like a mix between the Crystal Method and the Beastie Boys. Not my favorite song on here, but not bad by any means

2. Stompbox - 5/5: This track showcases one of Overseer's specialties: mixing electronic-based music with hard rock. It's a good song to be played while participating in atheletic activities, which is quite fitting, as it was featured in the film "Any Given Sunday."

3. Supermoves - 10/5: My personal favorite of this album and quite possibly one of my favorite electronic songs ever. This song is just so fast-paced and powerful that it must be heard to be believed. If you've ever seen the movie "Snatch" or the trailer to "The Matrix Reloaded," you've heard this incredible track.

4. Velocity Shift - 5/5: This is the shortest song on the album, but it's still very, very good. It reminds me a little of a slightly harder Fatboy Slim. This song was one of two Overseer tracks featured in the game "Stuntman", as well as several various commercials.

5. Horndog - 4/5: And now we have the first single which, if you have seen the Mitsubishi Endeavor commercial, you have no doubt heard. It's a rather good mid-tempo song with an excellent bassline, but it's not really the reason you should by this CD (Supermoves is reason enough).

6. Meteorology - 3.5/5: Now the album takes a little break from all the ferocity of the first few tracks. This song is pretty good, but it's not the best of the low-tempo offerings on this album. It's actually pretty weird on the first listen, but not nearly as strange as Heligoland.

7. Aquaplane - 3/5: This is just about the same as Meteorology, only a tad bit slower and done using a different vocal style. Whereas Meteorology sounds like something Moby would do, Aquaplane sounds, in my opinion, very Gorillaz-ish.

8. Doomsday - 5/5: Back to the fast songs. This is my second favorite track after Supermoves. It combines rock, hip-hop, and electronica to produce a song rather reminescent of something BT might do.

9. Basstrap - 5/5: The other song that was in "Stuntman", which sounds very much like it's partner, Velocity Shift, although it's longer and has more vocals. A very catchy song.

10. Sparks - 4/5: This song sounds a little bit out of place. It's more along the lines of something Sarah McClaughlin would do instead of anything else on the record. That having been said, it's the best of the low-tempo songs and is not bad by any means.

11. Never - 2/5: Okay, this is by far THE worst song on the album. Hip-hop I can take, but this... It borders almost on gangsta rap!! While the ambient background music and female vocals in the chorus sound good, they simply cannot make up for the ghetto-centric lyrics. My least favorite on the CD.

12. Heligoland - 3/5: And we end with perhaps the weirdest song of the record, which consists of Moby-like ambient swirls complimented by what appears to be a weather-forecaster speaking complete and total nonsense, followed by a phone that rings for upwards of twenty minutes, only to hang up when someone finally answers and says "'Ello!" It's weird for sure, but it's not the worst thing I've ever heard.

All in all, this is a very solid release from an artist you've probably all heard before but you just don't know his name. Well, it's Overseer. Rob Overseer. And his CD, Wreckage, deserves to be bought. By YOU.

Rocks hard, missed its time
The review given by P-57 is a shallow glance at what "Wreckage" really is, minimizing it when it really is a massive music producing undertaking with mostly great results. Although Overseer sounds similar to other groups like the Crystal Method, it's a great version of the metal mixed with breakbeats sound. How do I disagree with P-57? Let me count thy ways. First off, he says "Doomsday" was the worst track, but it's the reason I bought this cd. P-57 also remarks "any kid with a sequencer could throw together supermoves" or, "It sounds like you'd hear it in a movie..." How naive.. supermoves was not only in Snatch, but remixed for Animatrix. As for the sequencer comment, if you've ever messed with any producing software or equipment you would understand that the guys behind Overseer are MASTERS of producing music. This album took them THREE YEARS to produce. I think its apparent although 3 yrs. does seem a little long.
In fact, if you look back three years, you can reminisce about the chemical brothers, and the crystal method, groups that Overseer sounds very much akin to. I think its too bad this album took so long to produce, because it would have fit in nicely around the turn of the millenium. It's pumped up electro, rocks, and mostly sounds good. Personally I don't like the slower songs slipped into this hype mix.
The song Heligoland is a gyp, and really is 26 minutes of a phone ringing... I think the purpose of the song was to make the cd harder to copy because it makes it longer than 80 minutes. Too bad the album took so long to produce, or that maybe could have been a song.

Derivative, misguided, hastily assembled
We've all heard Overseer's "Horndog" song - the one Mistubishi uses to flog their latest pile of trash. It's a fun little song, except that, like anything else heard over and over again, it gets old and annoying quickly. The rest of the "Wreckage" CD plays like someone dumped Crystal Method, Prodigy, a tiny bit of Rage Against the Machine, and a smidgen of Portishead into a can, gave it one or two halfhearted shakes, and poured the results onto a CD. There's nothing original here, but if you enjoy any of these influential groups, you may find one or two tracks worth your while (emphasis on "one").

"Slayed" starts the album out with such promise, sounding like early Crystal Method, but then makes the fatal mistake of adding a whiny rapper to the mix. He tosses out a few meaningless raps, drops a couple of f-bombs, and ruins the track. This same vocalist also lends his annoying voice to "Stompbox," again detracting from a decent track.

"Supermoves" and "Velocity Shift" are swift-moving big-beat songs that sound like something out of a movie car-chase scene. They are somewhat exciting, but ultimately forgettable - nothing that a kid with a sequencer couldn't throw together in a few hours.

"Meteorology" changes things up a bit. The first half of the track is mostly ambient strings with a German female spoken-word monologue. The second half adds a beat and English singing, which turns out to be enjoyable (a minor drawback being that every repetitive phrase must rhyme with "pours": "scores," "doors," etc).

"Aquaplane," a trip-hoppy sort of track, features the oddest vocal distortion/treatment of the vocalist since Eiffel 65, but still manages to be vaguely listenable. "Sparks" is also in the same trip-hop style, but this time there is no vocal distortion. The singer is quite good and adds a genuine melody to the song.

The extreme low point of the CD is hit with the tracks "Doomsday" and "Never." These are just plain lousy, featuring guest vocalists adding aimless hip-hop rap blubberings about injustice and stealing to support their families and whatnot.

Finally, "Heligoland" is 6 minutes of vague, ambient electronica overlayered with someone reading British sea condition reports, followed by (I kid you not) 20 minutes of the sound of a phone periodically ringing. This would be hilarious, if you didn't suddenly stop and realize that you gave money to this artist so that he could insult your intelligence by giving you a "song" consisting of 20 minutes of a ringing phone.

This is a poor, hasty effort from "Overseer." The CD's title is indeed apropos. It deserves to be relegated to future trivia questions and nothing more: "What was the name of that one song in the Mitsubishi commercial?" "Dunno."

Awesome..... Dance meets hip hop, with alternative influence
I'm not Stephanie, I'm her husband Jared, I bought this cd a day after my friend had purchased the Snatch Soundtrack. Overseer was featured on there, and as soon as I heard him I was hooked. It was awesome. this is for anyone who like dance/electronic, hip hop, and alternative all blended in one. Fatboy slimish, although I have to say a better beginning than Fatboy. It's rare that you find an album where every track stands out in its own right, and is good for that matter. This is one of those albums. I cant wait to see Overseer live. This rocks. You wont be disappointed! Take a chance and embrace music from the UK! ... Read more

Amazon.com

A watershed '90s release, Screamadelica was the most convincing marriage of overground rock and underground dance music yet. With one foot in Beggars Banquet-era Stones (the gospel-rock "Movin' on Up") and the other in the trippy soundscapes of rave culture (the Orb-produced "Higher Than the Sun"), Primal Scream caught the mind-blown euphoria of Ecstacy better than anyone.Frontman Bobby Gillespie had no singing voice to speak of, but his vision of cosmic hedonism made him a drugged-out Pied Piper for the acid tribes. From the incantatory anthems "Loaded" and "Come Together" to the sinister rendering of the 13th Floor Elevators' "Slip Inside This House," Screamadelica was a modern psych classic. --Barney Hoskyns ... Read more

Reviews (47)

Snapshot of it's era.
Part of 'Screamadelica's critical acclaim may have more to do with its cultural impact rather than it's musical one. It's fusion of a traditional rock 'outlaw' image with the then contemporary dance scene was bound to attract critical enthusiasm. Dance music by its very nature is mostly non-image based, the stationary DJ playing their lyric-free records. Bands like Primal Scream and the Stone Roses helped to bring dance music to an alternative rock/indie audience. In the late 1980's rock in the U.K. was increasingly becoming marginalised, beaten back by the all-consuming rise of pop creators such as Stock, Aitken and Waterman. In contrast dance music was at the cutting edge of youth culture and if British guitar bands wanted to retain some sort of street-cred, they'd have to jump from the sinking ship on to the bandwagon pretty quickly.

On 'Screamadelica' this fusion of styles can be seen in the band's choice of producers, Jimmy Miller and Andrew Weatherall. Most of the album sounds like 12-inch remixes of the original guitar based songs. A process which has become standard for a lot of British guitar bands' C.D. singles. For anyone who's ever been at a rave most of the tracks on 'Screamadelica' make perfect sense as an aid to an ecstacy high, the slow long drawn-out build up adds to the sense of euphoria that occurs at the track's zenith.

As an all-out fusion of rock and dance I think 2000's XTRMNTR was a more inspired effort, but 'Screamadelica' was the beginning of Primal Scream's music experimentation. 'Screamadelica' is frequently listed on British music mags top 100 lists. However in the cold light of day 100 years from now, without cultural reference to the time it was created, pop music historians maybe slightly bemused as to why an album built around repetitive riffs should be lauded in the same way as the expressive, original song structures of 'Revolver' and 'Pet Sounds'.

Great
This is a seminal album from 1991, blurring the boundaries of rock and dance and epitomising a whole culture. Loaded alone tranformed Primal Scream from rockstar wannabes into the vehicle for one of the greatest euphoric dance tracks ever. Other songs such as the gospel-tinged Movin' On Up, the trance of Higher Than The Sun, the bluesy comedown chillout of Damaged and I'm Comin' Down, and the epic closer Shine Like Stars make this an essential recording from a great year in music that also produced the likes of Nevermind and Achtung Baby.

The record works really well as it progresses in pristine order from the setting of the opening tones of euphoria to the really dance-based tracks in the middle of the album to the comedown towards the end. Screamadelica was the first essential record by the Primals, and they didn't make another till 2000's polar opposite Xtrmntr, a dirty hell of white noise, industrial trance and electro-punk, but somehow the perfect companion to the blissed-out sounds of this party classic.

lets get loaded
now..how do you review this album without being a least a bit biased...watershed release etc. but, listening to it now..10 yrs after its release, the songs still make you want to groove. the scream moved on to expand their horizons, but this may truly be their greatest album.

Relevant But Dated
Hailed as one of the key dance albums of the nineties, "Screamadelica" is indeed an important and challenging record, even if its "classic" status seems a bit over the top. True, it mixes a lot of different musical styles and references and delivers an impressive combo that includes electro, gospel, pop, soul, rock, shoegazer, funk and a little of everything else. Yet, it has its share of filler moments as some of the songs sound too dated today (the ordinary dance number of "Don`t Fight It, Feel It" or the tedious "Damaged" and "I`m Comin` Down"). It`s a well-crafted album nonetheless, and a couple of parts truly shine (the hypnotic and dazzling "Higher Than the Sun", the infectious "Come Together" or the urban hymn "Loaded"). All in all, "Screamadelica" still sounds somewhat fresh and appealing nowadays, even if it has some flaws, and proves the vitality of one of the most innovative bands around.

Impressive enough yet far from stunning.

90's Classic - Still Kicking
I love this album. I can remember being introduced to their single- Loaded- when clubbing in London in the early 90s and decided to grab a copy of the album. To my surprise- Loaded was probably one of the least listenable singles overall.

Primal Scream has gone on to produce wonderful music over the past 10 years- stretching their themes and artistry to new heights while keeping one foot planted on their roots. Before exploring these other options, however, experience Screamadelica and understand where they came from and why so many listeners rave ... Read more

Reviews (40)

It's SUPPOSED to be different than Karma!!!
When I first listened to this album I was a bit disappointed by the much-mentioned pop influence on this. But a more openminded listen through really made all the difference in the world. I found myself really liking this album a lot. There is such a broad range of talent and experience on this album that after listening to it I feel sated, full, and content. I feel as though I have been taken from awe to passion to ecstasy to fear to sadness to contemplation.

I feel bad for those who can't get beyond comparing this album to Karma. Yes, Karma was great. Yes, Kristy Thirsk and Sarah McLachlan have wonderful voices. Yes, Poem is a bit more conventional and radio friendly. But there is much to be appreciated on this album if you give it a chance. All the singers have simply beautiful voices. The music is still very much the lush sweeping world-spanning style that we have come to expect from Delerium. There are still many ritualistic danceable songs, as well as shivery thought provoking instrumentals.

My favorites on this album are track one, which is just so awe-inspiring, and track 8, "Daylight" with MAtthew Sweet. But opinions will vary. Simply put, this is a favorite of mine, alongside Karma, and in my opinion Delerium is still as delerious to the mind as ever.

An Album for "Silence" Lovers
I'll direct this review at those of you who fell in love with "Silence" from Karma. "Silence" was great because it mixed expert electronic music with the intense, angelic vocals of guest singer Sarah McLachlan creating a captivating musical experience. Delerium must have known this was the sweetspot of Karma and so they decided to make Poem, an entire album devoted to songs with talented guest vocalists. (There are a few pure music tracks on the album, which are still very listenable.) In the end, while not having anything that outdoes "Silence", Poem has at least 5 songs that hit the nail on the head with the same formula. Kristy Hawkshaw, Jenifer McLaren, Joanne Stevens AND Rani Kamal are amazing vocalists, and the very well-crafted electronica on this album fits their voices perfectly. It's a crime to do anything but close your eyes and drink in the sound when these songs are playing. The two other songs with guest vocals deviate from the pattern slightly as Leigh Nash and Matthew Sweet have less 'angelic' voices, but are still excellent songs.
So buy this album and 'drink up'! And if there are some of you who don't 'get it' right away, do give it a few listens as I guarantee there are songs you will like as much (or nearly as much (hey "silence" was amazing))) as "silence".

YES
It is impossible to add anything more to the positive reviews others have made. Great ambient music, uplifting and like an undiscovered treasure everytime I play it. The insiration for this album was apparently the success of Silence on Karma, if Poem is supposedly the child of Karma then this is one of those times that the child has surpassed and outstripped the parent. If you like this you will love Conjure One.
My only complaint if you could call it that is Silence, such a brilliant, outstanding track and because of that I think I will scream if a buy one more CD that has the Tiesto In Search of Sunrise Remix on it, last count I had 16 copies of it. Overplay can and for has for me killed a truly inspirational song. When I play Poem now I skip Silence.

Delerium's best album...
I wasn't a Delerium fan until the release of Karma in 1997. After buying Karma, I went backa nd bought their earlier work (and while it was good, I liked very few songs). Poem & Karma are my favorite CD's from Delrium. Every single track on this CD is good (of course some are better than others). Give it a listen and you are bound to fall in love with it as well.

Outstanding as usual.
My favorites (the ones which stand out from the rest) :
1. "Underwater", very moody.
2. "Inner Sanctum", dark and eerie, simply beautiful.
3. "Amongst the Ruins", sort of like "Forgotten World", mystical.
4. "Innocente", again, dark, moody.

The rest are also very good, although the above 4 are what I think really stand out. ... Read more

Amazon.com

It wasn't so long ago that New York-based Japanese duo Cibo Matto (Miho Hatori and Yuka Honda) were simply a fun, gimmicky East Village outfit who performed on Casio keyboards and sang almost exclusively about their favorite foods. As such, the band's major-label debut album Viva! La Woman was sugary, but not really substantive--a clear-cut example of Eastern culture endearingly misinterpreting Western music. But Cibo Matto has come a long way since penning songs like "Know Your Chicken," "Beef Jerky," and "Birthday Cake." Stereotype A is a mature, instrumentally rich album that sees the group break the novelty mold and achieve recognition for compelling songwriting and interesting arrangements. On Stereotype Cibo Matto incorporates such styles as electropop, bossa nova, soul, hip-hop, and butt-waggling funk, expressing a dizzying range of influences that include TLC, Ice Cube, Luscious Jackson, Antonio Carlos Jobim, and Isaac Hayes. In the process of becoming musically legit, however, Cibo Matto has lost some of their former charm, which is probably fine with Hatori and Honda, who would no doubt rather be seen as credible than cute. --Jon Wiederhorn ... Read more

Reviews (87)

one of the best of 1999
It's a difficult country to gain respect in, America that is, for foreign musicians...Especially those who don't care to be recognized for their cute gimmicks or for novelty. Cibo Matto, though acclaimed for their debut Viva La Woman!, have masterfully and elegantly avoided being artistically restrained to one idea or concept with the eclectic release Stereotype A. This record is groundbreaking for the band and is, perhaps, an affirmation of the strength of good pop music everywhere. While Viva La Woman was symbiotic in themes and musical textures, Stereotype A is all over the map stylistically and in focus. 'Working for Vacation' is a crazy stomp through electronic breaks and middle eastern melodies, while 'Blue Train' is a heavy metal anthem making you check your decks to see if you're still listening to the same record. 'Sci-Fi Wasabi' will please Cibo fans who are fond of Viva's girlie shout-outs, and 'Spoon's get-down-on-the- get-down funkified bassline will have even the most boring of you bobbing your heads. A great element on this album that was a bit underdeveloped on Viva is the inclusion of several ballads. 'Moonchild' is an amazing tune showcasing Miho's pipes better than even 'Birthday Cake'. My favorite track is definitely the gorgeous 'Sunday part 2'. Lyrically and structurally, it is one of the most beautiful songs I have had the privelege to hear in a long time. Overall, Cibo Matto have established themselves as an important element in pop music and we can surely expect a great deal of amazing material in the future from them.

Overproduced and underwritten; Style and no substance
This is the most disappointed I've ever been with a new release from a promising band. The production is slick and meticulous, but the album is void of any musical energy or emotional depth.

Cibo Matto wears many hats this time around: R&B band, Hip-Hop band, Metal band, Lounge band, even the Philip Glass Ensemble. But they forgot to be one thing: Cibo Matto! 1996's Viva La Woman! was a breakthrough album poised to take popular music (finally) in a different direction. The performances were raw and energetic, the lyrics blunt, outrageous, and very personal (contrary to what the media may tell you, the album was not about food; its was about personal experiences presented through food METAPHORS).

This time around, the band sounds like a bunch of session musicians hired to cut a record that bores them to tears. The same was true of their live performance of Stereotype A material at the Great American Music Hall on June 10th. The only time that Miho or Yuka ever perked up was during songs from Viva La Woman!

One more thing: Yuka Honda and Sean Lennon may be a great romantic couple, but he's a debilitating addition to the band. His muddy footprints are all over Stereotype A and the band's live shows. So if you're new to Cibo Matto, I suggest buying Viva La Woman! If you're a loyal fan yearning for new material, keep waiting. I looked Stereotype A up and down like a restaurant menu, and then I left the restaurant to go get some decent food.

Oh...how I love this
This was my first Cibo Matto album, and what an album it is!
It's too bad the duo split after this, because their potential had always been utilized in über-spiffy ways, of which this is quite a shining example indeed.
In the fine tradition of "Viva La Woman", Cibo Matto mix hip-hop and funky sounds all around the mix with tales of relatably mundane experience and, again, sometimes food and related appliances.
Sean Lennon even appears as a guest on this album, as he was Yuka's boyfriend for a time, but there's no doubt that one with his talent could have done wonders for what was already amazing!
From the first, amusing and breezy song, to the last, and all the rocky, rappy, latin-ish and even ballads in between, this album is like an extremely gleeful cornucopia featuring the most unusual, yet succulent fruits.
Proof that the whimsical often wins out.

Boring.
With "Viva! L.A. Woman" they built an original (jazzy, cinematic, undefinable) sound. What do we have in this album? Some standard funky, some standard bossa, some standard hip-hop. Some standard. Overall opinion: definitely boring. What a shame to see so good premises and a so bad conclusion.

Groovy...
Sometimes simple is best, so I will keep this simple. This is the grooviest album I have heard in years. ... Read more

Amazon.com

If Monterrey, Mexico is, indeed, the center of the Latin alternative-music universe, then native sons Kinky are doing a great job of spreading the gospel. The five-piece collective's self-titled debut is an infectious collision of wah-wah guitars, pounding dance beats, and home-cooked rhythm and brass. The band injects just enough authentic tang in its music to raise an eyebrow with the traditionalists, while playing songs demented enough to lure in fans of new-school Mexican electro-pop acts like Plastilina Mosh and Titan. Produced by British tastemaker Chris Allison, whose previous clients include Coldplay and the Beta Band, the album floats on a blissful groove throughout, snaking through styles as diverse as retro shout-along funk ("Mas"), slick, Moby-like trance ("The Great Spot"), and Daft Punk-influenced electro ("Ejercicio #16"), without overpowering Kinky's own emerging identity. --Aidin Vaziri ... Read more

Reviews (31)

Gotta hear it to believe it.
I was priviledged enough to meet up with the member's of Kinky when the opened up for deSol, another latin band I do promotions for. I was invited to attend the next show in NYC. Let me tell you this, this may be one of the best CD's I now own..it's a fresh, unique..unbelievable style. The CD alone is just incredible..but if you get a chance to see them live..only a funeral should get in the way of your attendance..their grooves are so infectuous, you will undoubtedly be won over after the first 20 minutes alone.

Not to mention the fact that the sincerity, hospitality & humbleness of the Kinky guys makes them that much more of a great band. They showed me and my friend a great time..my advice is to see them now while you can get a ticket..Thanks Kinky..and John Pantle. You're great people!

..See you in Brooklyn in August..Shawn A.
spy.foxx@verizon.net

A great original
After listening to their disappointing sophomore album, "Atlas", I was compelled to write about how great Kinky's debut effort actually is. This album is all about unabashed creativity, while not trying to target any specific market. The sound is all over the map - you'd like to put it in some neat little category but it won't fit there. It doesn't fit anywhere, and that's what's great about it. Full of energy, with electric guitars, conga drums, electro-beats, the occasional vocoder, goofy Spanish lyrics, it's hard not to get a buzz listening to this CD. Not only do their songs sound like they could be used in commercials, they ARE used in commercials (ie. "Mas" used for the Nissan Altima). I've seen these guys live and they pumped even more energy into their songs than what was on the CD, which is hard to believe, and this made listening to "Atlas" (which I was initially really excited about) all the more disappointing. Regardless, "Kinky" will stay as one my road-trip favorites for a long time to come.

Another Bumbershoot Endorsement
To reinforce the other Bumbershoot reviews, these guys were a revelation! Inventive, high energy, pure shake-your-booty music, which is why I didn't mind the absence of a strong, lead singer. In fact, for these guys, it is a plus because it doesn't distract from the grooves they are laying down. Yes, the on-site store was SOLD OUT of their CDs the minute the concert was over!! So are others in the area, which helps explain why a bunch of us have stampeded here.

Kinky rocked big time at Bumbershoot
OK, to be honest -- I haven't heard this CD. So this is a recommendation for the band, not the CD.

I wanted to mention that Kinky really had the crowd rocking at Bumbershoot 2003 in Seattle. REALLY rockin'.

Kinky had the crowd going better than any other I saw -- even some big names. There is a TON of great music at Bumbershoot so it really says something when a crowd reacts to a band so positively.

I'd guess that most people had not heard of Kinky but they instantly liked them. It was one of those great scenes.

The music I heard them play kind of defies category but think techno-dance with a Mexican flavour. If you're tired of the same-old, give Kinky a listen! I'm going to.

Energetic, Rhymes, and Fun - Kick it w/ Kinky
Wen't to Bumbershoot weekend of labor day, which is when I saw Kinky. The band a couple of guys going crazy and blasting out tunes that even got the close by b-boys outside the center spin circle stage breakdancing.

The crowd kept growing which truly is a sign of their enigmatic performance. Everyone was dancing and jumping up. Their sound is a medley of all types. I heard some beasty boys, funk, mexican country in it. Mixed up with their instruments it became an electrafying performance. I'll definetely see them again live if they come in town.

The only thing that was a pet peeve of mine is that they had a lot of instrumental songs where I wished they had a lead singer pumping up the crowd a bit more.

Needless to say that by the time I got to the CD purchase area theirs was sold out. ... Read more

Reviews (20)

Perfection achieved in one album....
This masterpiece is much more than the sum of it's parts. A plethora of emotion, It covers evey base, plumbs every nuance of human beauty and frailty, sometimes violent, always immediate and unnerving. Each song is pure genius...from the haunting Faded Flowers , to the greatest dance song ever, Nemesis. Together, the impact is shocking, a musical epiphany. This is what music Should Be. Shriekback has an unholy gift for writing lyrics that reach deep into your guts and take root like that watermelon seed your mother warned you about ingesting. Maybe you shouldn't listen to this album...It could ruin your enjoyment of lesser endevours.

If this is Malaria, then I'm INFECTED
I first bought this album in 1985 based on a newspaper review, and man, were they right. I don't even know where to start--the first three tracks are some of the best music I've ever heard. Consider the possibilities--this CD has never been re-issued in multiple and varied forms (like the Sex Pistols), but stands on its own as an excellent early-80's version of propulsive dance music. It's an excellent way to see what a fusion of XTC and The Gang of Four would do, since the band featured Dave Allen and Barry Andrews. You won't be disappointed--BUY IT NOW (used, from me).

2 really cool songs
Knowing the two tracks from the 'Manhunter' score, I sought out this disc only recently. Track 4 'This Big Hush' and Track 10 'Coelocanth' is well worth the price of this disc alone. Sadly, none of the other tracks are even remotely as good as the two mentioned above. Had the rest of the disc had the same feel or ambience, it would be a killer disc. Sound quality is very good with lots of deep bass. 10 tracks/44.17. Forget trying to read the booklet unless you have a magnifying glass!

The Breath of Reptiles
15 years ago or so, I saw these two lines used as a chapter quote in a book I was reading:
"No one move a muscle as the dead come home."
-Shriekback, Nemesis
I was intrigued, and sought out this "Shriekback" thing. I found "Oil & Gold" on cassette for a couple of bucks at a used record shop. Once I got it home, I played it so much that the tape snapped. Shriekback has become one of my very favorite bands of all time, even now, so many years down the road. Seek this record out and buy it. You'll never look back. Now, if only they'd get back together and tour with the newly-reunited Pixies, I could die content.

An Absolute Must-Have
Think you know goth? Think you know techno? Think you know dance-fusion? Think you know 80s music? If you haven't heard "Oil and Gold," you don't.

So buy it. Just buy it. You will thank me someday. When your brain is stretched into a new shape and your spine is all loose from dancing, when you've drunk in "Ceolocanth" a few times and tripped out like you could swear someone must've slipped something into your drink, but no... You'll thank me. When you learn that the 80s New Wave was not all about A Flock of Seagulls, you will thank me. When it's the middle of the night, and you suddenly realize just who the hell they're talking about in "Nemesis," you'll thank me.

Trust me. Buy the dang thing. ... Read more

Reviews (5)

Good mix from the 90s
It;s always interesting to see what they include on these compliations. This one is not too bad. Some definite hits here.

"Jason has an awesome cd"
That's what my dad told some friends today about this album, Billboard Top Hits of the 90's. When you try and make a best-of from a whole decade of music, you're going to have people who love the track list, ones who hate it, and some who are somewhere between the two extremes. Myself, I think it's a great attempt of capturing 20 of the very best tracks from a decent decade of music.

Billboard Top Hits of the 90's has several songs that you would probably expect to see, such as "Breakfast At Tiffany's," "Right Here, Right Now," "Unbelievable," and "The Sign." It also has a few you probably wouldn't expect to see, such as "Bad Boys," "Free Your Mind," and "I Wish It Would Rain Down." That's where the controversy sneaks in at. I really like how it includes some hard to find, and/or underrated songs, such as "Missing," "I'm Gonna Be (500 Miles)," and one of my all-time favorites (even though I'm not a fan of Friends), "I'll Be There For You." However, I would've really liked to have seen such songs as "Bittersweet Symphony," Sheryl Crow's "Everyday Is A Winding Road," and even Coolio's "Gangsta's Paradise," among others.

While there is one rap song on the album, Billboard Top Hits of the 90's is mostly pop-oriented. I don't know what else to say other than to check out the track listing and see if you like enough of the songs to purchase the album. I saw that it had three of my absolute favorites from the decade, plus many other songs that are better than solid inclusions, so I had no choice but to purchase it. My dad's statement ("Jason has an awesome cd") surprised me, cause it was the first time I've ever heard him use the word 'awesome'. I agree with him, this cd IS awesome. It could've been a bit better, but it's more than worth getting.

Very Inaccurate Portrayal- Rhino, STOP ISSUING THESE!
Rhino Records- the tour de force behind the money-making scheme of the "Billboard Top Hits" series- has for over a decade given us these collections of a particular year's top hits as determined by the vaults of the labels it has access to. This was not much of a problem from the collections reviewing the 1950s to the 1970s, since these labels did produce a good number of the biggest hits during that era. But the labels' hitmaking machines began to slow down somewhere in the early to mid 1980s, and the collections reflected that change as well. However, Rhino, as greedy as it was, kept its head up and decided to continue adding volumes to their "Billboard Top Hits" series. This TOP HITS OF THE 90'S collection is an excellent example of the labels' slowdown.

Problem #1: The collection gives almost no focus to early to mid-90s pop-rap and dance-pop! The only real inclusion representing these genres is "Whoomp! (There it Is)"- a very sad statement, considering that Rhino had put "Gonna Make You Sweat (Everybody Dance Now)," "The Power," and "Rhythm of the Night" in previous collections.

Problem #2: There is relatively no focus on the biggest stars of the 1990s! That means there is no Mariah Carey, no Boyz II Men, no Nirvana and Pearl Jam, and absolutely NOBODY from the two teen pop eras of the early 90s and late 90s. The biggest star from the 90s representing this collection is one-album wonder Ace of Base, and the biggest rock and roll music artist here is Phil Collins, represented with no fewer than two inclusions in a decade when he saw his fortunes gradually diminishing.

Problem #3: The collection is geared way too much towards the mainstream rock fan. Why focus on mainstream rock music, I ask? The 1990s was a time when mainstream rock was far from the main attraction in music- pop music and its subsidiaries (dance-pop and adult contemporary, among others) was the highlight. (Yes, rap did have somewhat of a highlight, and admittedly, its two representations- "Bad Boys" and the aforementioned "Whoomp!"- are reasonable selections here.) And let me remind you- I GREW UP DURING THE 1990S. I AM AWARE OF THE CHANGING TIDES OF MUSIC DURING THIS TIME.

Problem #4: THE COLLECTION HARDLY LIVES UP TO ITS TITLE. Only three of these songs- "The Sign," "To Be With You," and "Unbelievable"- topped the charts. (Some of these songs, like "I'll Be There for You," did not even make the Hot 100's Top 10!) Once again, Rhino seemingly did have access to chart-topping hits that were represented on previous Top Hits collections- among those that are not here are "Because I Love You (The Postman Song)," "Baby Baby," "More Than Words," "Baby Got Back," and "Here Comes the Hotstepper."

Simply put, this collection is a subpar overview of the 1990s. It is hard for me to see a group of people that would truly enjoy this, and I cannot decipher who should pick this up. Maybe if you are looking for songs that you can't find anywhere else, this compilation could be a place to go to...

GREAT 90's MIX, MOST OF THESE SONGS ROCK!
I ENJOY THIS 90's MIX MORE THAN ANY OTHER OF THE 90's MIXES I HAVE. MOST OF THE SONGS ROCK! THERE IS ONLY TWO OR THREE SONGS I SKIP ON A REGULAR BASIS. CHECK THE SAMPLES AND SEE WHAT YOU THINK.

A good album of 90's music if you weren't buying lots of CDs
It is certainly nice to see a Billboard hits collection that is not limited to 10 songs, especially when we are talking about an entire decade. Obviously we are not talking mega-hits here by the more dominant artists of the 90's, but any album that that can bring together the signature hits of The Rembrandts and Meredith Brooks with those by Tag Team and Marcy Playground is certainly trying to cover as much of the musical arena as possible. When you go from Phil Collins to Everything But the Girl that is not bad either when you are trying to reflect the decade. The rule of thumb for a hits collection has always been whether you can find five or more tracks you do not have that you want to add to your music library. If you were into buying CDs big time in the last decade, then that might be difficult. But for those of us who started shopping for music on 45's this is album is going to be a nice way of picking up "One Week," "Unbelievable" and other signature songs of the time; actually, I got to double-digits on the number of songs I wanted to pick up. ... Read more

Amazon.com

Sex Pistols singer Johnny Rotten made a definitive break from his past when he reclaimed his real name--John Lydon--and formed Public Image Limited. He was no longer a token punk rocker, but an artiste reveling in his newfound auteur status. The first six songs of this collection feature this vision of the group: hard, uncompromising, idiosyncratic tunes that turn pop music inside out with devastating results. "Public Image" is the residual fury of the Sex Pistols' breakup rendered with spiky guitars and Lydon's patented snarl. "Careering" and "Memories" are skeletal art rock based on the atmospherics of dub music and perverse dance grooves. But by the Bill Laswell-produced "Rise," PiL was no longer a group but Lydon's personal pop vehicle. The music became increasingly accessible, allowing for "alternative" hits such as "Seattle" on college radio and other tunes that, while enjoyable, do not challenge the status quo as advertised. --Rob O'Connor ... Read more

Reviews (11)

A good but frustrating introduction
This collection brings together most of the best songs from the band's entire career (well, ok, not the last album) while including some interesting remixes. People who listen to this CD will fit into 4 groups.

Some people won't like it at all. Hey, PIL is not for everyone. Go buy something else.

Some people will like the later stuff but won't be able to stand the early stuff at all (except for maybe the first song, Public Image). Some people will love the early stuff and find the later stuff boring. Either way, you'll be skipping tracks on this CD and you'll need to buy another 3-4 CDs to get all the songs you like.

Some people will like it all (although maybe not back to back). Those people will want to get the Plastic Box boxed set and will probably still want to eventually pick up most of the albums to get a complete collection. There are a few odds and ends (remixes and outtakes) that are out of print which is kind of annoying.

What I think is needed is two separate greatest hits CD's, an early one and a late one. There are enough gaps in this collection to warrant it. Who knows if that will ever happen.

One other thing. The sound on this CD is not all that great. Everything was remastered for the Plastic Box boxed set. The tracks on there just sound a whole lot better. I made a CDR of songs from both compilations and the difference in sound quality was jarring. Just another reason that fans would be better served by another collection.

nice
"This is not a love song" one of the best song's I've heard on this cd.I recommend this.It sounds eerily similar to "Holiday in the Sun" by The Sex Pistols.The rest of the cd is good.This is a either/or type of cd.You're either going to like it,or you're not going to like it at all.I like it.

Hits? So Far?
This should really be called "A Random Selection of PIL Songs" or at least "Best of... Period" because PIL didn't really produce any hits and the "So Far" thing leads us to belive that their just sitting on the next big thing, still not bad.

Great second half saves the album from awful first one
Like many have said below, this is a decent way to become familiar with Public Image Limited. Although, on the Japanese version Warrior (Remix) was replaced with The Order of Death, which I think was a better choice. As it is, this version is very worthwhile... so long as you skip Death Disco, Memories, Careering, and Flowers of Romance. I don't see what anyone finds appealing about these early-era PIL songs; none of them have anything going for them, and so repetitive they could drive you mad if listened to more than once in the same sitting. Truly awful. The first track, Public Image, is one of the better ones from the early-era. Halfway through the disk we come to PIL's pop songs. These are all very good, but there are non-singles on Compact Disk, Happy, and 9 that are even better. "Dissapointed" is a bit slower and less forceful than the 9 album version, and suffers because of it. "Brave New World" would've been a better replacement. The final song, "Don't Ask Me", is one of my favourite PIL songs ever and can only be found on this disc; it's a sweet song about saving the earth and whatnot, with happy chimes and bells throughout. John's singing rhythm makes it sound like a nursey rhyme. So stick a safety pin through that and wear it, Punkers.

3/5

An Introduction to PiL
This is an excellent introduction to the world of PiL. Its basically a collection of their singles and hits. The date of this material goes from 1978-1990 and does not include anything from their last album That What Is Not which was not released until 1992. If you are unfamiliar with PiL this would be a good start but if you are a big fan then the Plastic Box collection is for you since it has more obscure tracks and rarities. Both are excellent! ... Read more

Reviews (10)

great track choice but terrible sound quality!
I don't understand. I own all the others CD's from this sery "Classic Alternatives" , they are all great but the track listing of this one is particularly awesum !

The big big problem is with the sound quality. Have they taken a listen to it before mastering the CD's?

Some tracks are very, very hissy (has they were coming from an old tape) , the sound on some others is compressed as it was coming from a commercial FM radio station. It's sad, very very sad because this is really one of the best 80's compilation available around.

So you are warned. If you were planing to get on CD some stuff you have on vinyl to get a cleaner sound, then try to find some others 80's compilations. If you only want this compilation to have some great tracks to dance or similar, it's ok.

Incredible
I could not have hand-picked a better group of songs for this genre of music. The sound quality is top-notch to me, I don't understand the complaints about that. I would pay 4 times the amount of money for this package. A gem, indeed.

Better Than Expected
I host a radio show during the summer months. This CD was heavily featured during my last hour, non-stop music session. The songs here are absolutely the best collection I have heard. I have been unaware of these mixes until this box set. A must have for all fans of alternative.

Worth Every Penny
These discs are an excellent source for hard-to-find 12" singles. I do agree that some of the recordings are lacking in quality but are still good. Real Life's "Send Me Angel" is an obvious record transfer because of the pops and clicks but sounds good nonetheless. I picked up this collection because of the 12" version of "The Safety Dance" because I only had the 45 RPM (remember those?) version. I thought that The Mission's version of "Tower Of Strength" was interesting because it's obviously a demo or BBC session perhaps?

This collection is also worth getting a 4th disc of songs by synthpop pioneers Images In Vogue which featured cEvin Key of Skinny Puppy and Don Gordon of Numb.

Didn't know a lot of these songs, but liked it anyhow...
I came across this CD compilation while shopping a few weeks ago, and as the price seemed reasonable I decided to buy. I don't know why, I didn't recognize half of the songs and several of the artists; but the 80's were "my" decade, so I took a chance.

I wasn't disappointed...the remixes here are classic 80's style. I didn't noticed any degradation of quality, but perhaps I am just used to things sounding like they did 20 years ago. This set took me back, the music and lyrics are fundamentally 80's and will take you back it that was "your" decade as well. I enjoyed this set (3 CDs, by the way, not 4 as someone said earlier) so much that I went out and bought the three that proceeded it.

For [a low price] you are getting a blast from the past. As I rapidly approach middle age (I turn 40 in a few weeks), it is nice to be reminded of my exciting youth. This set did that. It also reminded me that there was a standard of music and talent in the 80's that we don't see nowadays (sorry, Eminem, but you suck!). Forget about today's talentless drivel, buy this set and hear what good music is all about! ... Read more

Amazon.com

Mix Bananarama with Elastica and you've got this giddy, goofy confection in the yummy Top-of-the-Pops tradition. And yes, trainspotters, that's Dave Barbarossa of Bow Wow Wow delivering the big Burundi beat. --Jeff Bateman ... Read more

Reviews (26)

Fun and Catchy!
I first discovered Republica when the song Drop Dead Gorgeous appeared in one of my favorite movies--Scream. I tracked down their CD and was hooked immediately. An amazing blend of catchy techno-dance mixed with rock and electronica, this CD is fantastic. Even the lyrics are different from anything I've heard before--someone criticized the line "In a Hollywood bowl of serial killers," but I thought it was brilliant. And contrary to what another reviewer said, the CD has aged very well and is as good now as it was five years ago. I love all the tracks on this one, but Drop Dead Gorgeous, Ready to Go, Out of the Darkness, and Holly are the stand-outs. A terrific CD!

One of my personal all time favorite cds
Although this band's career has been a brief career, their first album has remained a personal favorite of mine. I remember being blown away by the fusion of rock with dance music when I first saw the video for "Ready to Go". I simply fell in love with the band's music right away. I was rather disappointed in the band's second and final album "Speed Ballads". I thought it was awful. The songs on that album lacked the hooks and techno beats that I fell in love with on their first album. I never heard anything before like what I heard on Republica's self-titled album. I particularly dug the original mix for "Ready to Go". I wish that was released as the single here in the US but unfortunately America remains clueless on techno music. "Drop Dead Gorgeous" is my other personal favorite track off the cd. Saffron's vocals is awesome. She sounds like she is shouting and singing at the same time on every track in a good way. "Out of the Darkness" and "Holly" are other faves of mine. All the songs off this cd are excellent. There isn't a single track on this album I did not like.

It's a crack, yeah I'm back from the rooftop shoutin' out...
This is a rememberal song, I've never heard the others, but I bet they are pretty good! The title is my fav Republica song "Ready To Go" the US mix is sweet in it's own way, original mix has Eng. but was recorded in Germany, "ACH-TuLiBa"! Hahahahahaha! Any way, pick up this CD, IT'S FUN!

What's a catchy dance song that isn't catchy?
The problem with writing several songs that are supposed to be catchy dance tunes is that if they aren't as catchy as you think they are, then there is absolutely nothing for the music to fall back on. REPUBLICA has a few tracks that succeed as being great, throw-away, and fun dance numbers, but the rest of them are fairly forgettable. Most of them fail to have a good catch or a hook to grab the listener.

The two singles "Ready To Go" (recently the background music in a car commercial or two), and "Drop Dead Gorgeous" are about as good as this CD gets. The change of quality from these two tracks to the rest of the forgettable material is fairly dramatic. Instead of catchy little techno-dance tracks, we have boring songs with lethargic drum beats. I've listened to the CD several times in the past week, and I simply can't remember anything about the other songs. Looking at the track listing reveals no recognition on my part. I've heard these songs, I've listened to them several times, but all I can remember about them are vague drumbeats.

The downside with being too simple is that if the single thing that you attempt to do fails, then the entire endeavor is wrecked. Apart from the notable successes, the failures on this album destory any chance it has of being a winner. When the dance songs are too limp to dance to, there isn't a reason to listen anymore. Party music definitely shouldn't be boring.

boring and quickly aging sound
I've seen reviewers relating this album to Garbage 2.0 and Elastica. This is far from true. Republic is techno-dance. They are capable musically and vocally but the lyrics to the songs and the melodies are lame and amateurish at best. "Ready to go" is cool but is not worth the price of the CD. Download the mp3 of it and move on. ... Read more

Reviews (4)

The Best 80's Album
This is the best album that Pet Shop Boys ever made. With excessive beats, keyboards, and synthesizers, this album is great to listen to. If you are a big Pet Shop Boys fan, I also recommend Please, Actually, and Behavior. You will love it!

Their Best Album
Without a doubt, this is their best album. Every song on this CD is a treasure.

Still my Fav Pet Shop Boys Album
I origionally picked up this CD (on tape) in a discount bin, as it had no cover. It was 5 bucks, and I hadn't really heard much of the Pet Shop Boys. I knew who they were from their Chart songs. But this album soon became my fav. And still today, it is one those albums I will actually listen to. Rather then just skip the tracks after a minute.

If you like the Pet Shop Boys, you will love this album.

a disco-casa with 6 rooms of 80s disco fun and sorrow
An over-the-top symphonic disco-romp called "Left To My Own Devices" finds Neil Tennant reading from the diary of a struggling party animal. In the next room, legendary Chicago House pioneer Frankie Knuckles makes a producer cameo on "I Want A Dog" while in another room Miami-pop legend Lewis Martinee (of Expose fame) lends his talents to the brassy, latin and vacation-esque Domino Dancing. On the patio a housy remix of the boys' hit "Always On My Mind" glides into the celebration of "It's Alright." Outside in the night our tragic hero disappears into insincere streets full of lying actors and barking dogs on "I'm Not Scared." The boys leave the playful freedom of the 80s to return with regretful retrospecitve glances on the LP Behaviour. ... Read more

Amazon.com's Best of 1998

The female presence in 1998's releases has been a near tour de force. PJ Harvey, Hole's Courtney Love, and Garbage's Shirley Manson all stormed the music scene with dynamic performances. But none can match the effortless vamp and allure of Curve vocalist Toni Halliday. Her voice has always been dark, seductive, and utterly commanding, and with Come Clean, she and partner Dean Garcia have created a danceable, riveting album that burns the feet and strikes a nerve. If you think their sound is suspiciously similar to Garbage's, remember--Curve were here first. --Beth Bessmer ... Read more

Reviews (30)

An Excellent Disc, Deserves More Attention
Anyone who has seen the television show NIKITA may have heard of Curve, but I hadn't, not until I bought the soundtrack anyway. That series of opening guitar riffs and the ensuing over-the-top lyrics intrigued me. So on a recent trip to Ottawa, I purchased a copy of their only album that seemed to be available in the Great White North...and was promptly blown away. This CD has everything, and its sound changes radically, catering to a broad range of tastes. Those who like nothing but noise, powerful and loud will simply love Chinese Burn, Sweetback and Forgotten Sanity. Those who prefer the softer, more soothing types of music will dig Recovery, Beyond Reach and Alligators Getting Up. I was amazed when I found out that only two musicians are involved. Dean Garcia makes it sound like a full stage of musicians are performing, while Toni Halliday's simply awesome voice can be altered to suit the mood of the music. The only song I really didn't enjoy was the title track, for which I had high hopes. Dean's beats sound fine, but from the moment Toni turned out that screeching, grating voice (which I really didn't believe could hae been hers) I knew I had found the only audible chink in the proverbial armor. That aside, Come Clean is an excellent buy, and I sincerely hope they can attract a larger following in North America. K.R. Tamminen

Wonderful return from Curve
A return after a 5 year absence sees no decrease in quality. It all starts off with the single 'Chinese Burn', a thunderous rhythm track, all beats and vitriolic lyrics. 'Coming Up Roses' is one of my favourite Curve tracks. Quite reserved in terms of noise, no wall of sound etc. It features textured electronic analogs along with a pounding drum loop.

'Something Familiar' is a pure pop/rock track. Chiming guitars combine with more aggressive guitars to form a strong, powerful song. Other highlights include the fast paced 'Sweetback' and the albums' last track 'Recovery', which leaves us wanting more.

An extremely underrated album mainly due to the fact that in 1998 the music world was disintegrating into the whole boy-band and girl-band hell it is now. Well it's their loss, Curve will always have a strong following no matter what because they are one of the few talented and genuine music groups out there.

Curve's late 90's masterpiece
"Gift" is the album that hooked me onto Curve, but it was the Lunatic Calm remix of "Chinese Burn" that shined the light on them for me. I was curious about this band that one of my all time favorite electronic artists had remixed a song from, so I searched for the original track and found it here on "Come Clean". I couldn't find it in stores, so while I waited for it to be delivered, I picked up "Gift" and really liked what I heard. Then "Come Clean" came in.

Although my first listen didn't captivate me, through repeated use, this has come to be one of my favorite CDs of all time! A beautiful yet sinister blend of rock, techno, and gothic hues, Curve's 1998 album picks you up and shakes you until the last track ends. Its a wild ride in some places, but in others it sits you down and seduces you with relaxed vocals and sounds. Then it gets right back up and throws you around again.

Each track is beautifully written and mixed. They all sound different from each other while maintaining a sense of identity. Its awsome.

If you wanna get into Curve, I'D suggest starting here. Then pick up "Gift", "Doppelganger" (and Pubic Fruit if you love Doppelganger), and finally "Cuckoo" if you wish to pursue more. Any of their albums are a great buy, but if you get ANY Curve disc, I'd suggest this one for sure. It greatly sums up their power and potential, in my opinion.

Mainstream Goth...oh joy
hmmm obviously people arent gonna like this review cause generally the people who actually like the album post their comments but for those who are actually looking at an un-biast opinion, this band is good if you want easy to listen to mainstream sounding stuff, but the fact of the matter is most people who like Goth like underground and not-so-known music, which usually is a lot more tasteful and alot less easy to listen to(meaning you might not like it first time around but then you get a more colorful taste maybe the next few listens)

I'm still looking for good female vocalist Goth/Industrial bands, though theres alot out there its the really innovative and strange ones that catch my opinion. I'd have to say the best so far is Switchblade Symphony, they have music that is strange and dark, mixed with beautiful
lyrics and of course beautifully talented voices. though their guitar riffs are simple and sometimes theres a repetitive simpe beat here or there for the most part their music is outstanding and creative. anyhow its obviously stupid to go on about another band when the reviews for this one. when it comes down to it, its obviously all about opinion. but just a warning: there are alot of "dark seductive female vocals with eerie ambient music" music around, since thats the majority of the female vocalists goth genre, so if you like this, you might like collide or switchblade symphony or hundreds of other bands as well, if youhave the money to buy them all then good for you

Not Their Best
There's no doubt that a lot of effort was put into "Come Clean". The production is flawless and shines. However, Curve's fourth album does not live up to their previous three efforts. It's almost as if they were trying to change their sound because they weren't successful with their previous albums. "Come Clean" as an album is disjointed and very experimental. It doesn't know what it wants to be or what direction to go in. Halliday is all over the board with her vocal work, and while shining on some tracks like "Something Familiar" and "Beyond Reach", her vocals are wasted on songs like "Chinese Burn" and "Come Clean". If you want to pick up a Curve album and don't have one, I would recommend "Doppleganger" (from their earlier days) or "Gift" (they're latest release). ... Read more

Amazon.com

In a market saturated by mix albums of every description, Ultra Records' Back to Mine series glows like a beacon in a fog of mediocrity. The idea is simple: artists are given a free rein to compile sets that are both intuitive and personal to their tastes, resulting in mixtures of postclub textures chiefly designed for horizontal dancing and chilled-out bonhomie. Latest recruits Everything but the Girl take to the format like ducks to water, displaying a musical pedigree that touches on house, hip-hop, and light drum & bass. Although most people have warmed to the group's shift into dance culture, what will surprise is their sublime choice of tune. Kicking off with the drum-machine jazz of DJ Cam's "Friends and Enemies," the moody hip-hop noir of Deadly Avenger's "Bayou," and their own production on Beth Orton's "Stars All Seem to Weep," the mood is stoner-paced but never drab. Follow this with a little stripped-back ambience courtesy of Carl Craig and a rousingly sanguine finale featuring Donny Hathaway's "Someday We'll All Be Free," and you have the makings of a fine night in. --Paul Tierney ... Read more

Reviews (54)

This is NOT a new EBTG album, it is a MIX they compiled...
From reading some of these reviews, it appears some people are confused about this release.. perhaps if the contibuting artists' names were placed alongside the tracks (like other compilations) there would not be this confusion...

This is the 6th release in a series called Back To Mine, in which artists and djs are approached and asked to compile a collection of after-hours/back from the clubs tracks... how this differs from other "chill-out" collections is that the artists selected dig deep into their record and cd collections, pulling out rare gems and fave tracks, as opposed to what's hot at the moment.

That said, this newest release of Back To Mine is one of the strongest... I thoroughly enjoyed the track selection and sequencing. Highlights include Deadly Avenger's "The Bayou", Dubtribe's deep house "Do It Now" and Donny Hathaway's beautiful closer "Someday We'll All Be Free". I would give this release 5 stars, but I find the Mary Margaret O'Hara track thoroughly annoying, and wonder why it was included.

The Back To Mine series is well worth checking out. Other standouts in the series being Global Underground DJs Dave Seaman & Nick Warren, as well as Groove Armada. Morcheeba has been picked do compile the next one, due later this summer.

Oh - for more upbeat vibes, check out EBTG's Ben Watt spinning deep house grooves on the amazing Lazy Dog compilation.

Perfect for a Lazy Dog Sunday
Ben Watt shows us yet another side of his already acclaimed DJ ability with this mix of chill beats (as compiled by Ben himself and EBTG collaborator Tracey Thorn). This is one of the most well-blended and seemlessly thread mixes I have heard in recent times. I really enjoyed the jazzy, cinematic vibe created by the track selection. As with any mix cd, there are tracks that I do not particularly like, but they do not detract to heavily from my enjoyment of the mix as a whole. Props to Ben for following up his pumping Lazy Dog mix with this chill after-hours set. He truly is one of the world's premier DJ's.

Fav. tracks include: Deadly Avenger "Bayou," The Roots "Silent Treatment," and Carl Craig "A Wonderful Life."

STILL the best of the series
I own all of them, and I must say, this is still the very BEST in the series. Recent efforts by Orbital and New Order have been disappointing and just don't even compare. EBTG, Faithless, Nick Warren, and Talvin Singh stick to the original "chill" premise.

"Turn the lights down, pour yourself a drink, and kick back.." Wasn't that what the Back to Mine series was suppose to be all about?

Great!!
Best CD I heard in 2002. Laid back but not overly so. I'm not quite sure how anyone can actually sleep to this CD as the insomniac reviewer stated unlees their use to listening to music at a 180 beats per minute. O'Hara's song brilliantly brings down the pace for a few moments until accelerating back to the CD's mostly mid-tempo vibe w/ Roots's Silent Treatment. Perfect for ecletic fans of jazz, hip hop, and house.

it's the chillest --
As a certified insomniac, I've found it necessary to devote a whole section of my record shelf to music that will put me to sleep. Not in the mind-numbingly dreary way that, say, Enya might, but pleasantly and with the possibility of pleasant dreams. This disc does it for me every time. It's especially good for airplanes -- I was never able to sleep on airplanes before.

This isn't to say that I haven't thoroughly enjoyed it awake, too. The natural flow of these tunes is so carefully directed that it accomplishes what only the best mixes can: it becomes its own work of genius. Don't listen to it before midnight, but do listen to it. It's the best of the BTM collection, and the chillest thing I own. ... Read more

Amazon.com

Erasure is at the top of the list of synth-pop groups who have transcended the genre's inherent limitations, and Other People's Songs demonstrates why they've stood the test of time. These are not remixes or samples; in fact, the arrangement apple never falls far from the tree. The selected pop tracks from the latter half of the 20th century are rendered through Vincent Clarke's effervescent sensibility and Andy Bell's emotive vocals. Most dance-club covers have a shelf life that barely outlasts the last call. But as on Abba-esque, their homage to Abba, Erasure meticulously nurture and revitalize rainbow-colored covers, this time making Peter Gabriel's "Solsbury Hill" and Buddy Holly's "Everyday" sweet but not bubblegum-flavored. Erasure has a stockpile of signature sounds, many of them used here to tie together disparate but instantly recognizable pop songs into Erasure songs. --Beth Massa ... Read more

Reviews (78)

They Took The Credit For Your Second Symphony.
Yet another cd filled with cover songs! When will it stop??? I get tired of reviewing so many cover albums, where has the orginality gone? Despite this, Erasure turn in a medium well done burger of a meal here. The obvious successes being "Solsbury Hill", "Everybody's Got To Learn Sometime", "Make Me Smile (Come Up And See Me)", "Everyday", "When Will I See You Again", "Walking In The Rain" and "Video Killed The Radio Star". The misses are definitely "Can't Help Falling In Love" and "You've Lost That Lovin' Feelin'" with medocrity being "True Love Ways", "Ebb Tide" and "Goodnight". Personally, I enjoyed "Everyday", "Video Killed The Radio Star" and "Solsbury Hill" the best. Listening to this, Erasure's first cd since 2000's "Loveboat" made me wish for an all new cd of originals from the boys instead of this half cooked idea of cover tunes. Honestly, I want another "Chorus", "Wild" or "I Say I Say I Say" instead of this rehash. I hear Vince and Andy are working on a new cd, so we'll all just have to wait for more.

It's not as bad as people are saying....
This really is not as bad as some critics and fans are saying it is. The only songs on this cd I personally don't think work well as covers are You've Lost that Lovin Feelin and Can't Help Falling in Love. Then again I don't care for the originals either, they are too sappy and sentimental for me. The remainder I like and think Erasure have done a fine job covering material both familiar and unfamiliar. Solsbury Hill I really like, as well as Everybody's Got to Learn Sometime. The soul remakes When Will I see You Again and Walking in the Rain are quite good. I think my favorites are Ebb Tide, which is given a nice dance beat and pulsing sequencer sounds, and Goodnight, a moving ballad. The remixes I have heard, particularly Make Me Smile ( Come up and See Me) are slamming dance floor booty shakers. ( Did I just write that? That sounds stupid. But it's true ) Some covers collections I have heard in the past only make me want to hear the original versions. Simple Minds' covers cd from a few years ago is the first that comes to mind. But Erasure manage for the most part to trancend the orignals and make them sound like, well, Erasure. And that, to me, makes this a worthwhile purchase.

Other People's Songs
Other People's Songs~ Erasure. I just have one thing; stick to your own songs...

WHAT THE HELL IS ERASURE DOING?
It surely breaks my heart that Erasure, who has the best male singer in the world, could make such an effortless piece of work. Solsbury hill is quite possibly the best cover tune ever but that is just about where it all stops. The rest of the album is just silly and boring. First of all, I'm not sure if Erasure's fan base is even familiar with the material they're covering on this album. Yeah, my Buddy Holly records are sandwiched right in between my erasure cds. But, this is how it is in erasureland these days. Up and down, up and down, and so on. Buy chorus. Buy the circus. Buy all the box sets of singles. Other people's songs is their worst effort ever.

Yuck!!
Let me start off by saying I'm a huge Erasure fan. I have all their CD's and even the boxed singles sets. I have yet to come accross an Erasure CD I didn't like...Until now. I can't make it past the first song (Solsbury hill). Vince sounds like He's playing on a cheap Casio key board and Andy just sounds tired. I don't feel like they added anything or brought anything unique to the covers. Could have been so good and it's just not. ... Read more

Reviews (17)

BAD News
As a massive fan of Mick Jones, and most things the former Clash lead-guitarist has ever done, i have tryed my hardest to like The Globe, but lets face it, this is BAD's worst album! its not the fact the line-up has changed, i meen Higher Power (under the name Big Audio) is up there with anything BAD ever done.
This album lacks any real spark, it is innoative, something that Mick has always gone for in his music.
Twon songs though do really stand out, the kool, "Kool-Aid", which i admit is a very enjoyable and entertaining song.
Another stand out is the awsome "Rush", yes it does sound so much like The Clash's "Should I stay or Should I go", yes Mick exploited The Clash's new found popularity in UK and made this song the B-Side to Should I stay..'s Re-Release, but its still good.
Then theres the awful tracks such as The Globe (which goes to far in the exploitation of Should I Stay...
But honestly do try and buy any of the other BAD albums, after all their much better

The last B.A.D. album
The sound of B.A.D. II somewhat resembles that of the original lineup. The only constant is leader Mick Jones, for whom all B.A.D. albums were virtuoso performances. With B.A.D. II, Jones reduces the amount of background sampling somewhat and tightens up the length of the songs. The result is a more pop oriented album, "The Globe" that features a number of great singles. The title track, "Rush," and "Innocent Child" are absolutely first rate songs worthy of Jones's original band, The Clash. The rest is strong filler and overall "The Globe" is one of B.A.D.'s best albums. Unfortunately, it was also their last as changes in music tastes rendered them irrelevant.

"B.A.D." to the bone.
Some people might just want the "Greatest Hits", but I'd actually rather have this album. It includes "Rush" and "The Globe", two hits that any alt-radio listener would know, plus the good tracks "Can't Wait/Live" and "Innocent Child". Also here is "Green Grass", which is a fairly catchy song, and I think contains a "Kate Bush" sample. The end of the disc isn't as strong, but it's still decent. Overall this is pretty good, it's no "Clash", but good.

Too Many Gimmicks
This is a frustrating album. Many songs start with great promise and then become lost. The opener "Rush" has a bizarre and annoying interlude of spoken word and deliberately bad singing standing out like a sore thumb midway through the song. The first two albums by B.A.D. cleverly used sampling on top of rhythm and melody to add color. On this album, it seems like extraneous sounds have been added at random.

Quite good, but dated
This is probably their funkiest, party record. It's a smorgasbord of samples and riffs, all rolled up in a pop rolling paper. There were a lot of groups really working this angle at the time but probably the Beasties and BAD pulled it off best from a pop perspective.
Every track is tons of fun and the album really hangs as an album, not just a collection of songs.
While it's not my fave BAD, you can't go wrong at a party tossing this disc on.
My fave disc is Megatop Phoenix - just a masterful album. Funky and moving and transcendent. Still great pop sensibilities but it goes a bit farther on the songwriting tip. And the first CD is a classic too. ... Read more