Amazon.com

The Daredevil soundtrack provided a nice boost for this previously unknown quartet from Little Rock, Arkansas. Evanescence’s songs "My Immortal" and the imposing "Bring Me to Life" are clear standouts in the film, mainly because they work so well with the dramatic, eerie undertones of the storyline. They reappear here on the band’s debut, alongside a selection of similarly brooding tracks that evoke pensive artists like Tori Amos and the Cranberries. Vocalist Amy Lee has the kind of voice that can cause weeks of insomnia, but on songs like "Tourniquet" and "Haunted" she belies the music’s sinister mood with evenhanded spirituality, thoughtfully letting some light shine through the tempest. --Aidin Vaziri ... Read more

Reviews (2018)

Something for Everyone...I guess. (4.5 Stars)
I'm bad at headers, please forgive me.

Evanescence was arguably the biggest breakout band of 2003. Now they're sold-out hitmakers that are loved by gothic teenagers, middle-aged women and music critics alike. (I'm naming these from personal experiences) ..now how does Evanescence measure up?

You've already heard the most worthy songs on the CD. "Bring Me To Life" "Going Under" and "My Immortal" are the three best songs on the CD, so if you expect a CD full of beautiful "My Immortals" please search elsewhere.

The rest of the CD is woven with pretty much alternating faster and slower songs. As far as standouts go? Aside from the singles, we also have "Everybody's Fool" which is lacking in lyrics but makes up for that in melody, and "Torniquet" which is full circle above-average but nothing spectacular. For lyrical depth, try "Hello" ..

Amy Lee's voice is tolerable at worst. Her fashion sense may be a bit off-key, but her voice remains lovely and distinctive, and always matches the background (or vice versa, who knows where manufacturing may be lurking..?)

If no one you know is buying this CD, you A) Live in a Ghost Town or B) Know nobody!..
This album remains in the top 5 on the album charts after a year of being on it, selling upwards of 100,000 a week. Nice, right? One of those customers includes my lovely mother. Way to go Mom, you saved me fifteen bucks.

I enjoyed it. It's worthy of removing forty minutes of your life.

BOTTOM LINE: Good. Something everyone would enjoy.
GRADE: A-

Blew me away....
I just recently discovered Evanescence by mistake after visiting a friend's web site and clicking a link for Evanescence - Hello. I absolutely LOVED the track and, having friends who were obsessed with the album and the band, naturally decided to borrow/buy the album. A friend lent it to me, and here I am, listening, several days after becoming obsessed with it myself. I just cannot stop listening to it... Amy Lee's voice is so much more polished and mature than anyone else in her age group of singers, such as Avril Lavigne, Brittany Spears, etc. It's like an angel from heaven has come down to bless us with her talent, and it's no wonder why the song "Bring Me To Life" attracted so many fans to this small Arkansas band and singer! And, without further ado, onto the ratings... Going Under - This song is not my favorite, but nonetheless, it is a great song. The rock beat really strikes my fancy, and the lyrics are well-polished. 9.5/10 Bring Me To Life - The song that inspired Evanescence's fan base, and it's really easy to see why! The lyrics are great, the tune is wonderful, and it's really easy to pick up. It's haunting and rocking at the same time, and overall a great song. It has its shortcomings, however, as it will become really repetetive after a while of listening to it because it is so awesome! 9.5/10 Everybody's Fool - A great song, but it's basically repeating the same thing, merely in different words, through the entire song. 9.5/10 My Immortal - After listening to all of the album and Hello before it, this was my new favorite song. As another reviewer put it, it may be what heaven really sounds like. This is one of the band's songs that you hear everywhere, like Avril Lavigne's Sk8er Boi, and you just instantly love it, but you just never know who the artist is... then you find out, get the album, listen to the song and the rest of it, and become obsessesed instantaneously! Its haunting lyrics and beautiful piano make this an instant classic, not to be missed. 10/10 Haunted - Amy Lee sang the heck out of this one, and because of it, it's great. It's not quite at bloody as Tourniquet, but creepy all the same, and in this reviewer's eyes, creepy = good. 10/10 Touniquet- This song really makes you brood over death. Amy really convinces you that she's in serious pain when she sings so soulfully, and it makes you so sorry for her, that you just can't help but like the song. However, I'm not really one for the morbid-type, so marks down for the gruesome details. Don't get me wrong though; this song is still great. 9/10 Imaginary - Amy describes how she retreats into her own world to escape the horrors of this one, but she can't decide which one she likes better. Very soulful, just like all of the other songs on the album, and one of my personal favorites. 10/10 Taking Over Me - It seems like Amy is willing to drop everything and find her true love, who has taken over her soul and now is morunful for him because he left. The lyrics are great, and the entire song has a very catchy beat. 9.5/10 Hello - This is the song that got me hooked on Evanescence. Haunting and beautiful lyrics, Amy's beautiful voice that will keep you awake (and slightly insane because of sadness and other factors) for weeks to come, and absolutely haunting melody on the piano, this is my personal favorite song on this album. It maintains the sad note of Haunted and Tourniquet, but with much less violence. She doesn't know if she's sleeping or not, and then she realizes that death really does exist, and that nothing will ever be the same. Let me scream for a moment: I LOVE THIS SONG!! 10/10 My Last Breath - When I listened to this, the first time, I got the lyrics stuck in my head because Amy sung them so beautifully! The beat is catchy and fun, and the lyrics are great. Overall, a great song. 9.5/10 Whisper - This song is probably the worst one on the CD, though don't get me wrong; I still love it, but it just isn't up to par with the others. I do, however, love the Latin at the end; Amy translated it roughly to "Save us from danger, save us from evil," and it really fits the mood of the song. It gets pretty slow at the end, so that turned me off of it a little bit. Still a good song nonetheless. 8.5/10 Overall, this album is one of the most polished I've ever heard in years, and it really got me hooked on the goth/rocky genre. I simply can't wait for the next one! Keep up the good work guys!

Blew me away...
I just recently discovered Evanescence by mistake after visiting a friend's web site and clicking a link for Evanescence - Hello. I absolutely LOVED the track and, having friends who were obsessed with the album and the band, naturally decided to borrow/buy the album. A friend lent it to me, and here I am, listening, several days after becoming obsessed with it myself. I just cannot stop listening to it... Amy Lee's voice is so much more polished and mature than anyone else in her age group of singers, such as Avril Lavigne, Brittany Spears, etc. It's like an angel from heaven has come down to bless us with her talent, and it's no wonder why the song "Bring Me To Life" attracted so many fans to this small Arkansas band and singer! And, without further ado, onto the ratings... Going Under - This song is not my favorite, but nonetheless, it is a great song. The rock beat really strikes my fancy, and the lyrics are well-polished. 9.5/10 Bring Me To Life - The song that inspired Evanescence's fan base, and it's really easy to see why! The lyrics are great, the tune is wonderful, and it's really easy to pick up. It's haunting and rocking at the same time, and overall a great song. It has its shortcomings, however, as it will become really repetetive after a while of listening to it because it is so awesome! 9.5/10 Everybody's Fool - A great song, but it's basically repeating the same thing, merely in different words, through the entire song. 9.5/10 My Immortal - After listening to all of the album and Hello before it, this was my new favorite song. As another reviewer put it, it may be what heaven really sounds like. This is one of the band's songs that you hear everywhere, like Avril Lavigne's Sk8er Boi, and you just instantly love it, but you just never know who the artist is... then you find out, get the album, listen to the song and the rest of it, and become obsessesed instantaneously! Its haunting lyrics and beautiful piano make this an instant classic, not to be missed. 10/10 Haunted - Amy Lee sang the heck out of this one, and because of it, it's great. It's not quite at bloody as Tourniquet, but creepy all the same, and in this reviewer's eyes, creepy = good. 9/10 Touniquet- This song really makes you brood over death. Amy really convinces you that she's in serious pain when she sings so soulfully, and it makes you so sorry for her, that you just can't help but like the song. However, I'm not really one for the morbid-type, so marks down for the gruesome details. Don't get me wrong though; this song is still great. 9/10 Imaginary - Amy describes how she retreats into her own world to escape the horrors of this one, but she can't decide which one she likes better. Very soulful, just like all of the other songs on the album. 9/10 Taking Over Me - It seems like Amy is willing to drop everything and find her true love, who has taken over her soul and now is morunful for him because he left. The lyrics are great, and the entire song has a very catchy beat. 9.5/10 Hello - This is the song that got me hooked on Evanescence. Haunting and beautiful lyrics, Amy's beautiful voice that will keep you awake (and slightly insane because of sadness and other factors) for weeks to come, and absolutely haunting melody on the piano, this is my personal favorite song on this album. It maintains the sad note of Haunted and Tourniquet, but with much less violence. She doesn't know if she's sleeping or not, and then she realizes that death really does exist, and that nothing will ever be the same. Let me scream for a moment: I LOVE THIS SONG!! 10/10 My Last Breath - When I listened to this, the first time, I got the lyrics stuck in my head because Amy sung them so beautifully! The beat is catchy and fun, and the lyrics are great. Overall, a great song. 9.5/10 Whisper - This song is probably the worst one on the CD, though don't get me wrong; I still love it, but it just isn't up to par with the others. I do, however, love the Latin at the end; Amy translated it roughly to "Save us from danger, save us from evil," and it really fits the mood of the song. It gets pretty slow at the end, so that turned me off of it a little bit. Still a good song nonetheless. Overall, this album is one of the most polished I've ever heard in years, and it really got me hooked on the goth/rocky genre. I simply can't wait for the next one! Keep up the good work guys!

Hmm
a music fan from hawaii must of been singing along to the songs again. I only got it for the first 3 songs and I ended up listening to the rest of it later. all of the songs except for track 10 or 11 I think are good. My copy was stolen earlier this year so I'm going to pick up another. Amy Lee's voice is very smooth and very high, which is why the music fan from hawaii must of heard something dying..he/she/it couldnt reach the high notes. Anyways This CD owns.

Cool band with a cool cd
The best song on the album is "My Immortal" and Amy Lee sings the hell outta every song on the cd. ... Read more

Amazon.com

Nick Oliveri may have departed, taking his naked bass playing skills with him, but Queens of the Stone Age remains in good hands with co-founder Josh Homme. Putting extracurricular projects like Eagles of Death Metal and the Desert Sessions briefly on hold, the restless front man keeps things dependably loud and sludgy on the group's third album. Monster riffs, choppy rhythms, explosive melodies, and, yes, even a generous serving of cowbell, propel standout songs like "Medication" and "Little Sister" on the follow-up to 2002's breakthrough Songs for the Deaf. Friends also lend a hand. ZZ Top's Billy Gibbons shreds through the reverberating "Burn The Witch," while Garbage's Shirley Manson and the Distillers' Brody Dalle join Homme for a tantalizing threesome on "You Got A Killer Scene." -- Aidin Vaziri ... Read more

Reviews (121)

Great album
So far, this is probably my favorite album of 2005.I first got into Queens of the Stone Age with Songs for the Deaf, which is one of the best hard rock albums of the past few years.Of course, the biggest change since then has been departure of Nick Oliveri, which leaves Nick Homme as the sole center of the band.By and large, he does a good job of keeping the flame, even if there's nothing on Lullabies to Paralyze that quite matches the blistering energy of "You Think I Ain't Worth a Dollar" or "Six Shooter."Instead, songs like "Tangled Up in Plaid" and "In My Head" take their cues from "No One Knows" and "Go With the Flow," while Mark Lanegan contributes the haunting opener.Homme is less successful when he tries to recapture some of the more manic material Oliveri was known for; "Burn the Witch" is excellent, but "Someone's in the Wolf" seems to run on too long and the two tracks that follow it aren't particularly memorable.On the whole Homme's forays into pop ("I Never Came") and funk ("You've Got a Killer Scene") work very well, which should come as a relief to those concerned about the future of the Queens after Oliveri's departure.Highly recommended.

Their best yet
The first time I listened to "Lullabies" was on an 11-hour flight to London so I had plenty of time to relax and let the music sink in.After my first listen, I couldn't believe what I had heard.The album seemed so boring and slow.After so much excitement from hearing Little Sister, I was incredibly disappointed.Yet I wanted to give it another shot.So I did, and I ended up listening to the album at least 15 times during my one week stay in Oxford.

It's now my favorite QOTSA album.I used to think Rated R was their best, because it had the most diversity but I just think Lullabies is a more cohesive album, and a creepy one at that.It definitely has a grotesque, nightmarish quality to it.I really can't get enough of it.I was too quick to write it off, but it gets better with each listen.Favorite song: The Blood Is Love.

For the full experience, listen to it in the darkest room you can find with a good pair of headphones.Mind blowing.

Good, not great.
Josh is going it alone now. You can't compare it to "songs for the deaf." This cd doesn't blow your doors off right away, but after a couple of listens, it will grow on you. I like the mellow stuff. At least Josh keeps doing something alittle different but still rocks. It's a good listen.

HORRIBLE!!!!
I hate this album! I ended up giving it away it sucked so much! the only DECENT song is Little Sister, and that gets old fast!

QUEENS OF THE STONE AGE, KINGS OF THE ROCK AGE
This is easily one of the best CDs I've heard this year(possibly this millennium). Josh Homme creates a world of children's fairytails haunted by nightmares better than anyone since obvious influences Black Sabbath.Nick Oliveri may be Stone Age history, but this album comes across as the most consistant of all QOTSA.It is not as heavy as SONGS FOR THE DEAF without Dave Grohl's pounding drums, but the phsycadelic trip guides your emotions with great melodies, catchy riffs and tripped out sounds like cowbells and the annoying beeping of a phone left off the hook that blends perfectly.

(...) ... Read more

Amazon.com

The standout cuts on this follow-up to Kathleen Edwards's highly praised debut, Failer, serve notice that the Canadian artist has no intention of remaining a cult favorite in the States. The opening "In State" evokes the anthem-like sweep of Tom Petty's "Refugee," complete with signature organ by the Heartbreakers' Benmont Tench, though its lyric of a prison-bound paramour smacks of déjà vu, Failure having opened with a similar narrative. The propulsive title track, with its irresistible double-entendre hook, deserves to be Edwards's breakthrough hit, while the yearning "Old Time Sake" and the buoyant yet bittersweet "Summerlong" expose a disarming tenderness underlying her tough-chick bravado. Over the course of the album, too much of the midtempo material sounds too much the same, more inspired lyrically than musically, failing to sustain the momentum of the opening tracks. The stripped-down intimacy of "Away" will likely rekindle comparisons to Lucinda Williams, but this artist sounds eager to outgrow those. --Don McLeese

Influences and Contemporaries

Whiskeytown, Strangers Almanac	Whiskeytown, Faithless Street	Sarah Harmer, You Were Here
Sarah Harmer, All of Our Names	Lucinda Williams	Lucinda Williams, Car Wheels on a Gravel Road

... Read more

Reviews (24)

great cd and great live
Not much to add to the positive reviews--love both "Back to Me" and her 1st album "Failer."Just wanted to say that I saw her live at the Canal Room in NYC back in March and it was awesome.Great foot-stompin' performance and interaction with the audience.If she comes to your area make sure to see her and her band, and if she comes (back to my area) I'll see her again.

"good things come when you stop looking ~ Kathleen Edwards"
Who is Kathleen Edwards? Well, you could say she's a singer/composer/artist who serves up delights that you'll have ringing in your heard for days and weeks...Zoe and Rounder Records brings this latest release "Back To Me", featuring Edwards strong distinctive style that takes you back to the early days of Folk Music...just like her label mates Edwards has done more for the genre today than any other performer that comes to mind...remember the likes when countryand folk music was pure and not mixed with pop.

Joining Kathleen (acoustic guitars/banjo) are Joel Anderson (drums), Richard Bell (organ), Jim Bryson (vocals), Gary Craig (drums), Colin Cripps (slide guitar), Johnny Dymond (bass), Eric Heywood (pedal steel), Jim James (vocals), Pierre Marchand (piano), Kevin McCarragher (bass), Benmont Tench (organ), Peter Von Althen (tambourine)...bring this album full circle, just the way we like 'em!

The album songs in alphabetical order and composers listed:

AWAY (Kathleen Edwards)
BACK TO ME (K. Edwards/Colin Cripps)
COPIED KEYS (K. Edwards)
GOOD THINGS (K. Edwards)
IN STATE (K. Edwards)
INDEPENDENT THIEF (K. Edwards)
OLD TIME SAKE (K. Edwards/Peter Cash)
PINK EMERSON RADIO (K. Edwards)
SOMEWHERE ELSE (Jim Bryson)
SUMMERLONG (K. Edwards/Colin Cripps)
WHAT ARE YOU WAITING FOR? (K. Edwards)

There is a lonesome tone, a mood set between genres of rock and blends of folk mixed with country...a flavor not so unbecoming for her haunting mesmerizing storytelling...as Edwards explains "If you've got nothing you've still got your family, because you are so safe inside my memory"...poetic and much of the truth rings from such lyrics...gotta love it!

Total Time: 49:00 on 11 Tracks ~ Zoe Records 1047 ~ (3/01/2005)

Wow, This is Great!
I have little to add to this discussion in the way of insight.I simply want to put in my two cents.This is the first of Kathleen Edwards that I've heard, and I am really stunned at how good it is - not only does she have a great voice, unlike some of the other artists in this vein recently, and not only are the songs really good, but there's something about the tone of this album overall that's really compelling and creates an almost-hypnotic vibe.This is truly a thing of beauty, and I plan to go out of my way to see her in concert when she comes to town . . .

This is what I call country
I hardly ever write any reviews, but when I saw the ratings KE was getting I was compelled to state my opinion. I personally think that this is one of the best albums I own. I am a huge fan of Allison Moorer, Shelby Lynne, and Lucinda Williams and I was dissapointed that there weren't more artists that provided the same depth to country music.
Well, Ms. Edwards came along and I add her to my list of Alt-Country favorites. She may not have a beautiful voice like Allison and Shelby, but her strength is in her lyrics. Her songs are like short stories/vignettes and she delivers this songs w/ such honesty and attitude that one can easily visualize each song.
I also, don't agree w/ some of the previous postings that claim that all of the songs tend to sound alike, on the contrary each song is distinct. The only song on this album I don't really like is Pink Emerson Radio. So for those who are curious about Kathleen Edwards give both of her albums a try, you won't be dissapointed.

More like 3 1/2 stars -- it's a good effort!
It was the recent music video that caught my attention to Kathleen's music once again. Although I'm interested in all new singer/songwriters, her first album, Failer, was not convincing enough for me to purchase it. With "Back to Me" the quality has increased and the edge to her music is increasing. Comparing her to Lucinda Williams is not justified as there's maybe one or two instances on the whole album that may remind us of Lucinda for a second -- Kathleen Edwards is too perfect to be compared to Lucinda Williams as I doubt it that Kathleen's band records the first take for the album like Lucinda's band does. I would compare Kathleen's style more to DAR Williams which is probably the closest comparison if comparsions need to be made. I had Kathleen's CD in my car for one spin and then again at home to listen to it a few more times -- and it does take a few times listening to it to discover her real craft, but "Back to Me" is not yet convincing enough and I restled with 3 stars or 4 stars as I think that 3 1/2 stars would be justified. Hopefully the next album will be at least 4 stars. The songs on the album vary ... some ballads, but most songs are a little bit on the wild side with some edge to it and that's good. Kathleen's voice is a little bit annoying at times as it is still a little bit too bright because of her age, but it will mature with time and then comparisons to Lucinda W. will be more realistic. ... Read more

Reviews (11)

Surprisingly Stellar Triumph
When I first heard "Where is the Love" last summer, I couldn't stand it. I dismissed the Black Eyed Peas as one hit wonders and waited for their moment to pass. Then I heard "Shut Up" and was surprised I liked it. It wasn't until I heard "Hey Mama" that I fell in love with them. This CD is by far the best hip hop album right now because each song, even "Where is the Love", sounds good when you listen to the entire album. In my opinion, they are just as good, if not better, than that other visionary hip hop group, Outkast. Each song sounds like a radio smash, and it's not surprising this group has moved past the one hit wonder tag.

1)Hands Up- gets the CD off to a good start. One of the best party songs of the past few years. The perfect opener for this CD.
2)Labor Day- probably my favorite song on the CD. The beat is infectious, the vocals are top notch, and I think would be an even bigger hit than "Hey Mama" if they release it as a single.
3)Let's Get Retarded- the title threw me off at first, but they say right off the bat it's not meant to be offensive. It really is a good song and it's no wonder it is their latest single.
4)Hey Mama- yes, it's not the same version we heard on the radio, MTV, and VH1. Does that make this version bad? No, the track still holds up even without the excellent Fergie vocals heard on the single version.
5)Shut Up- I like the way this song sounds. The vocals play off each other very well, and even though it's about a disastrous relationship, you can still dance to it.
6)Smells Like Funk- another really good song. I like the beat.
7)Latin Girls- a little long, but it's still a really good song.
8)Sexy- I like the feel of this song. It's very smooth and it sounds great.
9)Fly Away- a great showcase for Fergie. She probably sounds her best on this song.
10)The Boogie That Be- another really good party song. The beats are really strong.
11)The APL Song- a good song. I like the way this song tackles an overused subject but still makes it sound very good.
12)Anxiety- a surprisingly strong rock song. The appearance of Papa Roach sounds strange in theory, but makes perfect sense when you hear it.
13)Where is the Love- not my favorite, but I really do like this song now. I understand the lyrics more now. They even make Justin Timberlake look good.
14)Let's Get It Started- the radio version of Let's Get Retarded. My only problem with it is that if they could put this single onto the CD, why couldn't they put the version of Hey Mama we all want to hear on it?
HIDDEN TRACK)Third Eye- probably the most political song on the CD. I really enjoyed this song and think it's the perfect way to close a near-perfect album.

I highly recommend this CD. I can't think of one song that I don't like, and that is a rarity nowadays. This album should have gotten so much more praise from critics than it got, but I believe someday this album will get the respect it deserves.

Exceeded my Expectations
I never thought I would enjoy a Black Eyed Peas album, but after hearing "Shut Up", "Hey Mama", and "Let's Get it Started" on the radio and really liking them, I decided to buy the album. I was pleasantly surprised to find that I like most of the tracks on the album. In addition to the singles they've released, other songs that are great include "Anxiety", which is a collaboration with Papa Roach and comes off as a great hip hop/rock song, "Smells Like Funk" and "The Boogie that Be", which are great upbeat party songs, and "Fly Away" which showcases Fergie. My one disappointment is that the album version of "Hey Mama" is not the same as the radio version. While it is still good, it has a lot less Fergie vocals (the "off the richter, off the richter,..." lyrics are not on the album version) and the music is slightly different. Overall though, this is a great upbeat album that will make you want to sing and dance along!

One of the best albums of the 21st century (seriously)
Almost out of nowhere, the Black Eyed Peas have crafted one of the most excellent albums I have ever had the pleasure of buying. Yes, this album is THAT good. Every song works, and each one sounds like it could be a hit single. With this album, they have earned the right to be called one of the best hip hop groups working today. For those who think Outkast is the only group making relevant hip hop today, please give this album a listen. BEP may not have won all the Grammies, but that doesn't mean they aren't in the same league as Outkast.

Elephunk opens with "Hands Up". This is the perfect song to open the album. The song is practically guaranteed to get any party started. After this song, I didn't know if the rest of the album could be as good as this song. After hearing the second song "Labor Day (It's a Holiday)", I knew this was going to become one of my favorite albums. The song opens with a catchy hook and then goes into a chorus that sounds like they sampled Madonna's classic "Holiday". It is in the chorus that this song just explodes into something incredible. This is by far my most favorite song on the album and I really hope it is the next single. The next song is "Let's Get Retarded". With a title like that, I didn't know what to expect. Turns out it is another finely crafted dance tune. Some people may be offended by the title, but will.i.am says in the beginning of the song "In this context, there's no disrespect." It is just a simple and different way of saying "Let's party!". The next song is "Hey Mama". The radio version of this song has become one of the biggest hits of 2004. Although that version doesn't appear on this album, the original version is pretty good. I'm glad they remixed it for a single, but if this version had gone to radio, I think it still would have been a big hit. The next song is "Shut Up", the 2nd single off the album. I love the way the vocals respond to each other in this song. I had this song stuck in my head for days whenever this song came out last year. It wasn't as big a hit as their other singles, but that doesn't make it any less good. "Smells Like Funk" has a laid-back feel to it. This is another one of those songs that will be stuck in your head long after you listen to it. Next is "Latin Girls". This is a pretty long song, but I like the Latin feel to it. This song could set off another Latin music craze if it were released as a single. "Sexy" is the 8th song on the album and it also has a laid-back feel to it. "Fly Away" is an incredible song. This song is a showcase for Fergie, the newest member of the group. I think that the people who think she can't sing should listen to this song. I love the beat and the lyrics and this song is one of my favorites. "The Boogie That Be" is the 10th song and it too has an incredible beat that few people will be able to resist. This is a very cool song and it shows that this isn't one of those albums that starts to wear out as the album winds toward the end. "The APL Song" is one of those inspirational and uplifting songs every artist loves to do. This one is actually pretty good. "Anxiety" is their collaboration with Papa Roach. I had no idea they would work so well together with BEP. This is a very good song about being so angry you just want all your anger to go away before you do something you'll regret. It is a straight up rock song and I just love it. Next is "Where Is the Love". This was a really big hit for the group, and it's no surprise why. Sure, the song may be a little sappy in some places, but I admire the fact that they wanted to write a song that would get people to think about things like the war and what our country is coming to. Not even Justin Timberlake can ruin this song. Next we have "Let's Get It Started". This is the radio version of "Let's Get Retarded". For obvious reasons, the group wanted to avoid controversy by changing a few of the lyrics before they put the song out as a single. This song is just as good as the original and it has already become yet another hit for BEP. There is also a hidden bonus track called "Third Eye". This song features lines like "If Bush is Pinnochio, then who the hell is Geppetto?" and "You were foolin' me once before, but you ain't foolin' me twice no no." Those lyrics may put off some people, but I love the fact that we are in a place where groups can speak their minds about Bush and not receive death threats like the Dixie Chicks did. This song is a bonus for a near-perfect album.

I am very glad I bought this album. Sure, lines like "Let's get retarded" and "Shut up just shut up shut up" may not be high are, but then again neither are "Hey ya" or 'Your roses really smell like boo boo boo." They are just good silly fun. What's not to like about that? This is one of the best albums I have bought all year. Nearly every song explodes into a little block party, and the songs will be stuck in your head for days. I have listened to this album many times since I have bought it and I will continue to listen to it over and over. This music is fun to listen to and I really do think it is one of the best albums to come along in years. It's definitely one of the best albums I have ever bought. Do yourself a favor and buy this album. You will not regret it.

Where exactly is the love?
Speechless, thats the only way to describe it. When i first heard the single "Where is the Love" gag reflexes arose and vomiting ensued. Was that a little to harsh? I think not. Their "funky beats" and "genius rhymes" are nothing more than a groups struggling attempt to become celebrated hip pop "artists". Now, nothing is wrong with wanting making money, but when mainstream heavy hitters are added to to somewhat underground hip hop group's recipe im inclined to ask myself, Where is the love? The love im referring to, is the love of making good music, not vacuous lyrics stratigicly placed beneath poppy, radio friendly beats and Justin Timberlake. Through their first two albums it was the words, innovativly strung together into lines of rhymes, that ran throughout my head daily, not the teribbly misplaced guitar riff from Papa Roach in Anxiety. Im opting not to touch on the other tracks for the simple reason that it might just throw me into a paroxysm of histaria. I own both of their previous albums and belive me, if i could strike this album from their discography i would. This is not quality hip hop, and if you perceive it otherwise i suggest research on your part is necessary, and you might start with "Behind the Front" and "Bridgin the Gap". Listen to the album if you must, but while you do, ask yourself what exactly it is that your hearing, music or corporate balderdash.

hey mama, buy it now
stacy's mom is rite on this 1, buy it now, B.E.P. rox hard. all the songs r awesome.

THE LADY IN SPIDERMAN 2 SINGING THE ANNOYING SPIDERMAN SONG IS MY HERO ALONG W/ THE GUY IN THE 6 FLAGS COMMERCIAL!!!!!!!!
GO DC! ... Read more

Reviews (165)

Bridging the Weezers
Most fans agree that Weezer's first two albums were the band's greatest contributions to modern music.Personally, I feel the exit of Matt Sharp cost the band too dearly to continue under the name Weezer.Consequentially, after much anticipation, the "green album" and "Maladroit" lacked the substance and replay value of their predecessors.Now, many are calling "Make Believe" Weezer's grand return to their original glory.I can't say the songs on this album have the sheer fun of "Buddy Holly" and "El Scorcho" or the emotional strength of "Say It Ain't So" and "No Other One," but there is a distinctive reach back to the band's roots.I disagree that "Make Believe" is on par with the original "Weezer" or "Pinkerton," but it makes a nice bridge between the two bands.

In short, if you loved the original albums but lost a taste for the band's later releases, then you won't find the "old" Weezer here.On the other hand, if you have enjoyed hearing the band evolve, "Make Believe" is a necessary addition to your collection.

Make Belive... that this is a good album...
Granted, Blue Album, Pinkerton, Green Album (although a little too poppy and generic), and most of Maladroit are some of my favorite, and the best albums ever made, however Make Believe fails to strike a chord in my heart. Basically this album's songs just don't match up to the old ones and are maybe, so to speak, too crooneresque? Weezer needs the heavy guitar (Tired of Sex) to really come out, not speaking the same cliche phrase over and over again (Beverly Hills, the epitome of horrible).
Since it's Weezer, I cannot give them 1 star, they're just too amazing. I will definitly see the Make Belive tour, just to hear the old stuff, however I do not recommend Make Believe

As expected, yet another golden album
I thought it'd be a good idea to listen to this album while I reviewed it, but as I'm so enthralled with each and every iota and intricacy of Make Believe, I find myself losing focus. From the opening drum roll of the first track, Beverly Hills, to the closing bars of Haunt You Every Day, I'm enraptured. Every song on this, Weezer's fith album, has its unique brand of wonderful. From the catchy piano chords copmlimenting perfectly Rivers' vocal melody in Perfect Situation, to the eirily identifiable lyrics of Peace, to the mellow bliss that is Freak Me Out, (Which also happens to contain one of my favorite moments on the album. It's one of those so typical of Weezer, where Rivers is singing, and the melody is climbing and building, and just when you think it's at its peak, Rivers takes it up a couple of notes, thereby forcing you to melt in your chair.) every song is just what you need. Anyway, I could write until I was blue in the face, but I suppose I've said enough. I strongly recommend the purchase of this (and of every other Weezer) album.

incredible
At first the album wasn't a hit with me. Maybe it was built up expectations or maybe it's just one of those things. Pinkerton was the same way with me and is now my favorite Weezer album. After listening to this over and over again, it has clicked and gets better every time. Who knows, mabye after a few more listens it will be competing with Pinkerton. Anyways, awesome album and a definite recommendation to buy. My standouts are "Hold Me", "My Best Friend," and "Haunt you Every Day"

All Gorwn Up but still a child at heart
Make Believe is a combination of all four previous Weezer albums. With the catchy fun songs like Beverly Hills and We are all on Drugs showing hints of both the "blue" album and the "green" album. Songs like Haunt you Everyday and Perfect Situation have the honesty and emotional sincerity of Pinkerton; yet this isn't for 13 year emo girls. There is a new style of lyrics with the quality guitar, drums and bass that Weezer fans have come to know and love. The three year wait is over and the product is something that I don't think anyone could have expected. Make Believe made me fall in love all over again seeing the growth and individual style that they've emerged with. My hat goes off to the entire band. I would encourage everyone to check it out you won't be disappointed. It's on vinyl too! ... Read more

Amazon.com

This supergroup with ever-changing personnel (no longer limited to seven) is less a band than a bilingual concept and boundary-crossing vision. The third and most rambunctious release under the Los Super Seven banner takes its title from the ZZ Top anthem celebrating the Mexican border radio of the 1950s and '60s. With the title track sung by Tejano mainstay Ruben Ramos, the transgenerational duet on "Cupid" by Freddy Fender and Rick Trevino, and the alcohol-fueled mariachi of "The El Burro Song" performed by the Mavericks' Raul Malo (a ringer of Cuban descent), the Hispanic imprint on the project remains much in evidence. From the northern side of the musical border, Lyle Lovett revives Bob Wills's "My Window Faces the South," Rodney Crowell renews Buddy Holly's "Learning the Game," and Joe Ely covers Holly acolyte Bobby Fuller's "Let Her Dance."

Perhaps the album's dominant influence is that of the late Doug Sahm, whose Sir Douglas Quintet was a Tex-Mex trailblazer. Sahm's spirit is channeled here through two songs he wrote--"I'm Not that Kat (Anymore)," sung by John Hiatt, and the jazzy "The Song of Everything," performed by Raul Malo--and another one he recorded, "Talk to Me," given a soulful reading by Delbert McClinton. However wide the musical range, the results rarely fall short of super. --Don McLeese ... Read more

Reviews (4)

More a Concept than a Band CD
I did not come to this CD with any pre-conceived notions.I had not heard of Los Super Seven and have not heard the prior CD's.The only song I had heard perviously was the ZZ Top tune that gives the recording its title.I heard snipets of the music in a review on the radio and thought it sounded hot.The full CD lives up to the promise of the snipets.It is really a collection of different styles and music -- latin styles I have heard but cannot name, a sort of country swing, rock, blues.It is music that was played on border radio partly because there was no outlet for it on the main stream stations."Song of Everything" is my favorite."Heard It On the X" is also good.Owing to the mix, this CD is a little like listening to a good cross cultural radio or music television station in the southwest.Appreciate it for what it is -- a tribute to the boarder radio of the 50's and 60's -- and this is a very enjoyable CD.

Different But Still Great
When I saw Los Super Seven had a new album-I ordered it sight (and sound) unseen. The first two albums were SO great there was no question- just buy it. I tore it open, threw it in the CD player in my car and was shocked to hear what others have mentioned-no sign of anyone from Los Lobos, very little Spanish language music, and alot of rock and roll...albeit superb rock and roll.
Don't be deterred by this-change is always good, and this change is wonderful. To say that this album doesn't belong under the banner of Los Super Seven misses the point: simply put-everyone who has been in LS7 grew up on this music, and therefore it is legitimately part of the series- and in fact an essential part of the series.
Border Radio (and I was thrilled by every word of the wonderful history written in this package) exemplified what LS7 is all about-cross musical and cultural pollination. This collection of updated and heartfelt updates does for Border Radio what the other albums did for Mexican and Cuban styles; brings it together and expands the vision by combining the original artists with those who grew up influenced by their innovations.
This is a GREAT record...the musicianship is superb, production and mixing wonderful, modern while never forgetting the ethos of the border radio music; hot, raw and smokin'.
Liste- I never thought I would love a ZZ Top song either (being an ethinc music snob) but that is not the point, the point is to experience and expand understanding and knowledge about an essential piece of uniquely American music- and on that count alone- this album fits in the series like a glove. Beyond that- this is a wonderful record- the ultimate back yard rockin' party record.
Expanding our musical horizons goes both ways- pushing the boundries and envelope of music and creating something new, and discovering something new that has been right in our own backyard for decades. Take the chance and let go- you'll wish you grew up on the X too...

" Heard it on the X" -- You MUST buy this C.D.

The music in this c.d. is crisp, finger snapping, toe tapping, and I hope you buy it. I just got it in the mail and I have been listening to it every day, night, and at work!
I had never heard of the " X" radio stations. I had heard of many of the musicians but had not personally listened to their music. This music opened up another culture to me. And I want more.
This music is saucy, sexy, jazzy, and with a good dose ofblues. This c.d. will make you feel as if you are listening to the music at a plaza in a border town. It made me start salivating for a libation of the tequila kind. Yes, it can be labeled "Texican " but it's that and so much more. This music is what laid the foundation for groups like Z.Z.Top.
The amount of talent on this c.d. is mind blowing. It had to be great. If you don't know all of them you will get to know them. The music is that good.
After having more than one boy friend who was an alcoholic I found it refreshing to hear a man ( Raul Malo) sing about his girl friend being SO hung over she can't get up.
The El Burro Song is sung with heart and grace, as only Raul can do. The sonic fusion of Calexico, Mariachi Relampago, and Raul's smooth, virile-fueled voice is pure musical alchemy! This is the first song on the c.d. and after hearing this song, you too will be hooked. The next song is " Cupido" which brings the collaboration of Freddie Fender and Rick Trevino. It's a dynamite combination and I hope they do more music together. " Cupido dame la mano" - Cupid help me, lend me a hand.
It's tastefully done and this song will have you heading for the fridge for some kind of libation. I know it made me.
Every single song is great. Song #5 - "My Window Faces the South" sung by Lyle Lovett, reminded me of sitting on the Moon Walk in New Orleans watching the boats go by. The melody is pure " Southern" bliss. His voice is perfect for this song. The two were born to be together.
You will also enjoy song #9 - Ojos Traidores sung by Rick Trevino. He's sad, he's mad, he's hurt and you hear it in his voice. All I could think was, "Boy, she's a mean girl that dark eyed woman." Rick Trevino sings with a lot of soul and you feel his pain.
When you read the credits of all the major talent involved you should note the assistance that was given by the legendary talents of Flaco Jimenez, Arturo "Sauce" Gonzalez, Charlie Sexton, Jacob Valenzuela, Max Baca, on and on. There is no way this c.d. was going to be a dud. It's filled with much illustrious talent. Kudos to the producers who did a great job on this c.d. It was a great under taking and the end product is for your enjoyment.
I have no negative feedback on any of the songs. The music blew me away. I even loved the artwork on the cover. The only things that vexed me were the pictures of all the singers who contributed. They don't indicate who is who. And another thing missing, that miffed me, was the absence of the lyrics. They were nowhere to be found. Come on now, you have great music you must have great words. And you do -- you just don't have them written anywhere for you to read them.
This c.d. stands alone and should be purchased and enjoyed. Trust me, you will fall in love with the music. Some of the lyrics are racy considering the music was written in the 30s and 40s but a lot of it is timeless - ageless, what ever you want to call it. Don't deprive yourself, buy this c.d. and let your mind take you to a place where you can enjoy this great music.

NOT Los Super 7
Before even considering the quality of the music, let me say that I felt cheated by this CD. To sell this CD as the third from Los Super 7 is, to say the least, questionable. The first and second Los Super 7 CD's gave us a blend of Latino and Americana music, played with pioneering spirit. This third Los Super 7 CD just gives you Texas Americana. It is not particularly spirited or pioneering. Some songs are nice, but not more than that. Nowhere do the artists go beyond their normal scope. Furthermore, nowhere in the booklet the Los Lobos members, that to me formed the core of Los Super 7,are mentioned. Why aren't they here? Had I known beforehand I would not have bought this CD. The name Los Super 7 is misused for commercial reasons and the many fine musicians on this CD are not taken beyond there usual borders, which to me is the real betrayal. ... Read more

Amazon.com

Director Wes Anderson's jewel of a comic-character study revolves around the quirks and obsessions of Bill Murray's titular Cousteau-esque deep-sea adventurer and his motley crew of associates. As they did for the director's equally sublime Royal Tenenbaums, Anderson and music super Randall Poster stitch their eclectic source material into a warm, subtly focused new cinemusic whole. Mark Mothersbaugh's original Casio-baroque cues are the perfect complement for Australian film composer Sven Libaek's compelling slices of vintage exotica, while Ziggy Stardust-era David Bowie largely provides the musical subtext, either directly or in earnest, through live acoustic renditions by Brazilian troubadour/film costar Seu Jorge. Seasoning the mix to near perfection are smart, vintage Britpop contributions by Scott Walker and the Zombies, Iggy and the Stooges thrashing "Search and Destroy," the evocative Iberian fire of Paco DeLucia, and Joan Baez's dramatic read of Morricone'sSacco & Vanzetti theme, "Here's to You." -- Jerry McCulley ... Read more

Reviews (37)

Staralfur?
What an amazing film, soundtrack. Bowie's words move the film from scene to scene through one voice or another. Amazing, truely. As to why the beautiful Icelandic ballad, Staralfur was relieved from being the final track on this masterpiece of a compilation, is beyond my knowledge and reason.Yet, Bowie maintain the true emotion and meaning held so tightly by this film and it's creators.5 stars none the less.

I couldn't help myself
Wes Anderson is amazing, his films are spectacular and hilarious and beautifull and akward and representing everything that is good in the world.His soundtracks never fail to amaze me in thier ability to weed out wonderfull songs compiled from what sounds like a garage full of cardboard boxes filled with an enormous collection of 60s/70s records, ranging from legendary to obscure, and random mixtapes from friends lying around in his bedroom.The result is a compilation of songs that are sometimes beautifull, sometimes fun, but always quirky and offbeat in arrangement with eachother.And as Wes fans know, quirky and offbeat is Anderson's expertice. I don't think that Sigur Ros' "Stellafurr" would have thrown off the flow of the soundtrack, because Wes' flow isn't suppose to be a steady even beat and "Stellafurr", as beautifull as it is, is fantastically out of tune within the context of the film and soundtrack.The songs always work out in his master plan, perfectly representing the rythm and mood of his films.Mark Mothersbaugh's score is as usual, strange and funny enough to make me grin a little, standing it's ground even without support from the film (although used to a hilarious effect in the overall story) and Wes, never settling for predictable, linked the whole film up in association with David Bowie's music, obviously suggesting it to be the general music of the film by always having a portuguese singer playing Bowie songs in Brazilian in the background for no apparent reason, but doesn't Seu Jorge just make the songs seem new again?He pulls a fast one on you, but you'll love his chilled-out renditions and view Bowie's music through a totally different perspective. If that doesn't prove to the world just how cool Wes is, then I don't know what will.So, in closing, "The Life Aquatic" is a brilliant energetic leap from the mellancolly (but still hilarious) "The Royal Tenenbaums"."Bottle Rocket" was Wes' fast-paced take on summer, "Rushmore" represented the moody shift of light to dark and coping with being pushed into fall, "Royal Tenenbaums", his sad and heartfelt Winter (no seriously, the seasons they take place in even), and "The Life Aquatic" is the redeeming breathe of Spring.I can't wait to see where his new film, "The Fantastic Mr. Fox" will take us next. Of course, Wes can do anything and everything and make it look good.

Sensible Music.
I really enjoyed THE LIFE AQUATIC WITH STEVE ZISSOU.As visual-appealing and emotional-moving the film is, one of it's best things about it is the soundtrack.About half the songs on the album are David Bowie songs.Most of those are re-imaginings performed by Brazilian musician, Seu Jorge.Seu Jorge's performances have become the key selling point of this delightful album, but has so much more to offer.As much as I enjoy the Seu Jorge songs, I actually like the instrumental pieces composed by Mark Mothersbaugh better.There's something addicting to the keyboard-filled tunes.In fact, my favorite song on the entire album is the instrumental "Ping Island/Lighting Strike Rescue Op".A close second is the album's closing piece by David Bowie, "Queen Bitch."Add in a tune by Devo, some shark attack music by Sven Libaek, and a famed piece by The Zombies and it adds up to one very quirky and original soundtrack. Overall, this is a delightful soundtrack from an endearing movie that's worth the price to own.

Another brilliant soundtrack for a Wes Anderson film
I am totally enchanted by the music in Wes Anderson's films.Somehow, the chosen music is able to elicit such an emotional response.I've never been a fan of Devo, but the song fits the film so well that I've listened to it again and again.Seu Jorge makes David Bowie's somewhat harsh music soothing and soulful.Mothersbaugh's electronic tracks would not have had the same impact had I heard them without seeing the film.My only complaint is the lack of "Space Oddity" and "Ziggy Stardust" from the soundtrack.I really enjoyed Jorge's renditions of those songs in the film, and they were sadly absent from the soundtrack.

Question
Does anyone know what song was playing at the very end of the movie when Steve has the boy on his shoulders? ... Read more

Amazon.com

A spark of redemption illuminates even the darker songs on Mercy Now, the fourth album by Mary Gauthier (pronounced "go-shay"). The influence of her native Louisiana pervades her Southern Gothic songcraft, which first won an audience in the folk clubs of Boston. After a series of releases on independent labels, her Lost Highway debut seems destined to expand that audience significantly. Within her mature, weather-beaten artistry, Dylanesque metaphysics go to Mardi Gras on "Wheel Inside the Wheel"; the naked emotion and eye for detail of "Your Sister Cried" and "Empty Spaces" conjure comparisons with Lucinda Williams; and the plainspoken "I Drink" and "Drop in a Bucket" have the bittersweet bite of the best of John Prine. The spare arrangements of producer/guitarist Gurf Morlix, punctuated by cello, organ, and harmonica, give the material plenty of room to breathe. Gauthier's vocals are half-spoken, half-sung, and all soul. --Don McLeese ... Read more

Reviews (10)

Out of Nowhere! (or not...)
I can't believe that I had never heard of Mary before this album. I listen everyday and never tire of her music or her voice. Had Kris and Janis had a love child, this is how she would have sounded...the best of both.

Mary is Simply Incredible!!!
My wife and I are long-time, hard-core John Prine fans. So, when we bought our tickets to see him in June in Chicago we noticed Mary Gauthier (say go-shay y'all!) was opening for him.

We went out and grabbed Mercy Now just to be sure we were familiar with John's opener. MY GAWD! This album is just amazing! I can't believe we have missed out on her music until now.

Mary is at the top of her game writing and performing songs as great or greater than any of her heros did in their own prime! I NEVER expect to like more than 50% of a new CD (even by my favorite artists) but I LOVE every cut on this CD!

The only complaint I have is her other three CDs are kinda hard to find. I ended up buying all three from the company linked from her web site. (And yes, they are awesome as well!)

Don't even give this a second thought - buy this CD and get ready to listen to nothing else for the next week!

Mercy, Mercy Me
Listen to this album a few times, and a number of the songs will burn themselves indelibly into your brain.The songs are bleak, but the songwriting is of the highest order -- each image is exactly apt.Her voice is a perfect match for the material, as well.

FBI Warning!
I heard Mary Gauthier interviewed and the album previewed on NPR. I am not a C&W fan but was taken with her interview and the raw intensity of the tracks I heard.

The CD just arrived.My only complaint: the very cheaply and poorly printed CD label is dominated by a reversed out 'FBI Anti-Piracy Warning' that consumes probably 50% of the label.

I initially thought it was part of the label art. It isn't.

It is an insulting, tacky and supremely ineffective step by her record company. If anything a real provocation to pirate it, from my POV. Fortunately for them I wouldn't know how to!

"Just say she's a rhymer, and rhymers get restless"
I am probably the last person you would expect to be enthusiastic over what is billed as a 'country' album.Whatever that is.But, for some reason, I've heard 'Mercy Now' four times in the past five days, and if country music always sounded like that song, I would be listening to a whole lot more of it.I would call Gauthier's work country/folk and the in name for that definition seems to be Southern Gothic, a genre name that doesn't make a whole lot sense to me.But the songs on this album, they make sense to me, as they would to anyone who loves carefully crafted, gritty lyrics.

Yes, these are often dark songs.Yet somehow the upbeat peeks through almost unexpectedly.Mercy Now and Prayer Without Words are good examples of that.In other words, they may be sad, but they aren't hopeless, and that little bit of a hook will grab you every time.There is a subtle spirituality here as well - listen to Wheel Inside The Wheel, for example:

Souls ain't born, souls don't die
Soul ain't made of earth, ain't made of water, ain't made of sky
So, ride the flaming circle, wind the golden reel
And roll on, brother, in the wheel inside the wheel

This is interesting work, even if, at its heart it is still about broken relationships, human disasters, being down and out, etc.And there is intelligence behind the lyrics, and a real artistry behind the songs.Give it a listen and you'll see what I mean.

Gauthier has a true Southern whiskey voice, complete with edgy whine.And yet it is capable of a surprising number of colors, from really down and out to gently caring, and oh yes, just a dash of pointed sarcasm.I Drink is a masterpiece of the latter.In an interview, Gauthier mentioned that she often rewrites a song several hundred times, and this level of craftsmanship shows everywhere.

This will probably be my one and only country album, but it is surely one I'll listen to often. ... Read more

Amazon.com

The debut of thundering supergroup Audioslave--featuring members of Rage Against the Machine post-Zack de la Rocha with ex-Soundgarden singer Chris Cornell--is as much curio as fascinating blend of visions. Cornell might be outnumbered, but his unmistakable holler and nihilistic imagery ensure that Audioslave, the album, recalls early Soundgarden. That's especially true since de la Rocha took Rage's signature rap and politicking with him. Still, if this is Soundgarden, it's Soundgarden set to stun. Rage guitarist Tom Morello is more of a mauler than Kim Thayil ever was--witness "Shadow on the Sun," which moves from bruising thud to psychedelic freak-out and back again--while the Rage rhythm section of Tim Commerford and Brad Wilk anchor the bottom end with pure instrumental cement. Intentionally or not, "Gasoline" bears passing resemblance to "Rusty Cage," while the sweeping "I Am the Highway" and slow-burning "The Last Remaining Light" best showcase Cornell's surprisingly New Age-y lyrical bent. Cover art by Storm Thorgerson, who gave Pink Floyd records their distinctive stamp, underscores the set's inherent celebrity. Fans of Rage and Soundgarden can raise clenched fists in unison, for Audioslave is win-win. --Kim Hughes ... Read more

Reviews (836)

Audioslave
Five years after the breakup of Soundgarden and three years after the release of Euphoria Morning, Chris Cornell is back. But now he is backed by one of the strongest groove bands in rock music today, Tom Morello, Brad Wilk and Tim Commerford, who were formerly in the band Rage Against The Machine. This unexpected collaboration has formed an extremely strong, new style. Their sound ranges from atmospheric, with Cornell singing resplendant melodies(of haunting themes), backed by a Morello's trippy, delay soaked guitar, to bone-crushingly heavy. Cornell and Morello have a sonic connection in which the vocals and guitar seem to be one entity, moving together, soaring and decending, screaming and whispering. All the time, Tim and Brad never fail to lay down a rock solid groove. In my opinion, this is the best album of the year. If you don't own it yet, buy it! It is the essential rock album of 2002.

Quite good-but sounds like a supergroup, not a polished band
Audioslave, the collaboration of surviving RATM members and former Soundgarden singer Chris Cornell, brings lots of sound and fury. Unfortunately, the record as a whole doesn't signify anything greater than its parts. This is not to say it's not a good record. At moments, it is spectacular, easily some of the best rock 2002 offered. The opening 1-2-3 punch of "Cochise", "Show Me How to Live", and "Gasoline" are hard to match, as are the more classic rock sounding standouts, "Like a Stone" and "I Am the Highway". The rest of the album, unfortunately is not quite on par; they're all solid songs, but they often sound unfinished and more like a side-project and not a band that plays comfortably together.

Some critics have described Audioslave as RATM with Chris Cornell singing, or Tom Morello playing guitar with Soundgarden. Both such descriptions fit. On their debut, they sound like a supergroup, not a polished band. Even Morello himself seems to have lost some creativity. His guitar riffs still resonate, but even they seem to flow too closely to Sabbath's riff catalog. In the end, the guitar virtuoso seems to have somewhat run out of ideas. The glue here in this collaboration surprisingly is Cornell, whose emotive singing breathes life into the dirgy, thick material.

Taken against other modern rock, Audioslave is amongst the elite. Juxtaposed against either of their former bands, both Soundgarden and Rage packed more punch and left a greater impression. Still, any and all from either band or their respective band members is worthwhile. Recommended.

Good for Rage fans, awesome for Soundgarden fans
This is the collaboration of the recently disbanded Rage Against The Machine and Chris Cornell, the incredible voice of the also broken up Soundgarden. So, you would think they might make a record that's got a heavy funk rhythm section(RATM), with a powerful rock vocal(Cornell), wouldn't you? Well, no surprises here. That is exactly what you get, and I like it.
For those of you who were fans of Rage, it all depends on why you were a fan whether you appreciate this record or not. If the real appeal for you was Zach De La Rocha's rap-style vocal more than the bombastic groove of the band, then you may not enjoy this release as much as I did(and still do). With Cornell on the mic you get Soundgarden-like song structure, but you still have the perfect groove of Rage. These songs are MUCH less political, and more radio friendly.
This is usually a bad thing when it comes to hard rock. So many bands lose their edge when they try to appeal to a more mainstream audience, but I don't believe that's the case here. The edge is still there, just not in every track. These songs aren't experimental in an instrumental sense, or a lyrical sense. They are just typical, serious, well-crafted, straight forward rock songs. We even get quirky guitar wiz Tom Morello playing a straight forward acoustic-like track (see "I Am The
Highway"). His experimental playing takes a backseat to Cornell's haunting vocals on many of these songs. I think that Rage realizes what they have in Chris Cornell, and they want to showcase it. All lyrics were written by Cornell, and this is very obvious. In one of the best tracks on the release("Show Me How To Live"), Cornell rants "Nail in my hand, from my creator, you gave me a life, now show me how to live." An incredibly powerful lyric, but very different than the Rage lyrics.

All in all, I think the Soundgarden fan will enjoy this much more than the Rage fan. And, fans of just plain good music should enjoy most of this release. Your getting an extremely talented band doing what comes naturally with the situation they have. It's not all good, but for the most part it has a lot to offer.

Check out these best tracks: "Cochise","Show Me How To
Live","Gasoline","What You Are","Set It Off", "I Am The Highway", and "Like A Stone".

OVERALL RATING (1-10;10 being superior): 6
For more Dr. Music reviews, visit www.new-sounds.com/DrMusic

Everything sounds the same on here
The three hits from this album, "Cochise", "Like a Stone" and "I am the Highway" are all good, but not great. Chris Cornell's voice has clearly gotten better since Soundgarden, but he doesn't do his signature yell nearly enough. The instrumentals just seem lazy to me, and don't live up to Rage standards. Also the eleven other songs seem to be trying to imitate one of the three songs I have listed already.
I give the CD three stars because it still is quality rock music, and sadly better than 95% of the other Rock music out there today.

How could something that looks so great on paper go so bad?
Rage Against the Machine and Sound Garden were both awesome bands apart from one another, they had completely different styles and sounds and thats how it should have been, after the demise of these 2 bands when I heard about Audioslave I was all for it, it would be like the coming of 2 amazing bands molded into 1, but alas it wasn't to be. After hearing the minor hit Cocheise I lost some of my faith for the band but I still had hope that it was first single jitters...then I heard like a stone. This song sucked abysmally, it pissed me off more then anything, it lead me to champion for the return of rage and garden, because this song was nothing of what these bands used to be, long drawn out moody songs COMING FROM FORMER RAGE PLAYERS?! THIS IS WRONG!! And with that song it signaled my now hatred of Audioslave, personnally if Sound Garden doesn't get back togeather oh well thats a shame, but if Rage doesn't get back togeather then its a crime because they are needed, because now more then ever political bands are need to help sway the mind of a country needing a regime change. ... Read more

Reviews (47)

It's quite good.
Breaking Benjamin's new album is solid, no two songs sound the same on here. They keep a really varied style through this one, and it makes for one of the best albums I've bought this year.

The good stuff- The first 4 songs are excellent. "So Cold" is a great opener and first single. It's the best song on here in my opinion. From listening to the beginning of "Firefly", you'd think it was just a continuation of "Follow", but when the verse starts it changes pace and becomes completely different. It's also one of the best on here. Ben's singing is good all around here, it's always good when somebody can go from melodic singing to a harsh scream in a couple seconds (as in "Believe"). The songs are all well-written, and musicianship is good here too (The bass playing stands out on a few songs).

The bad stuff- Well, it's short. It's under 40 minutes, and not that there's anything wrong with short CD's, but I think there's more potential here that hasn't been shown. "So Cold" is a very progressive song, and the rest of the CD doesn't seem to quite break the same ground. Not every song on here is memorable. Other than that, it's good.

Conclusions- It's a good solid hard rock album. They have changed their sound a bit from "Saturate", which is a good thing that they've expanded on. There's some (softer) experimental stuff on here in "Forget It" and "Rain", which aids in the variation on the album. Overall, I'd recommend it to anybody who likes hard rock (stuff like Finger Eleven, Default, Nickelback, and too many other bands to list).

Benjamin Is Far From Busted
I firmly believe that Breaking Benjamin will rise above the cluster of other great rock bands of the new millenium (i.e. - Stereomud, Earshot, Seether, Three Days Grace, Ra, Saliva, etc). Not quite sure what it is, but the sound the band emits is uniquely their own. The guitars are hard. The vocals are crisp and audible. The drumming is steady and the bass is the backbone... sometimes just thumping along, other times thunderous. Ben (the 'broken' one) Burnley has his hand in writing all the songs along with the help of his bandmates, Markus James (bass), Jeremy Hummel (drums) and Aaron Fink (lead guitar). "So Cold" is their first hit of 2004. Other hits should follow. CD liner notes include the lyrics. My picks for other groovy tunes are "Simple Design", "Firefly" and "Break My Fall". I like this 2nd release of Ben's much more than last year's raw "Saturate". It's a bit more mature (dare I say 'commercial') and much more polished. This disc was supervised and mastered by the master himself, George Marino. Also - if you can , search for the 'limited edition' package containing 4 bonus 'live' songs not found on this album. Great buy at the low-low price. Pick up "We Are Not Alone" and be the first to spread the rumor to your hard rocking friends. Absolutely no filler to be found - every track is good. No rap, hip-hop, unabated screaming, death metal growling, or Linkon Park nu-metal wanna-be's.... this is ROCK in it's purest (not including the last track - mellow & acoustic), most simplistic form. Excellent disc and one of my favorites in 2004.

absolutely amazing
I have quite a sizable music catalog, probably more than 60 cd's and i have heard some great albums in my 16 years, but after owning this record for less than a week i am convinced this is the greatest cd i have ever heard, this thing is absolutely phenomenal. i mean it is beyond belief. from the opener "so cold" to the last song, the amazing ballad "rain" each of these songs will amaze you. They rock out in some songs and in others have ballads that could be on mainstream radio right now. i paid $12 for this cd, i would pay $100 for it. You have to go buy this thing.

This Cd Rock's
I just got it today for so cold and follow and the rest of this cd is great, the person that said breaking benjamin is under rated is right, This band is great!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Amazing...Underrated
Breaking Benjamin is one of those bands that comes along every so often, which is not very often, that takes the music and tears it up. They are SOOOO underrated that it makes me sick. Their music is unreal, their lyrics are straight to the point, they are not fake, and they are an amazing band. These guys need to be made heard by the public. Yeah, Polyamorous was on the radio a few times, and had a video on MTV, but in my opinion, thats the 5th or 6th best song on that CD...LETS SPREAD THE WORD OF THESE AMAZING ARTISTS... ... Read more

Amazon.com

Garage-rock hero Jack White producing honky-tonk legend Loretta Lynn? And Lynn comparing him to renowned Nashville producer Owen Bradley? Yes, we all know the world is rapidly shrinking, but now we've seen everything. Most stunning of all--they nailed it. For the first time, Lynn has written all of an album's songs, and her lyrics are as cutting and incisive as ever. On the powerful, biting "Family Tree," she brings her babies to the home of her husband's mistress, so that they can see the "woman that's burning down our family tree." Throughout she cunningly tackles tried-and-true honky-tonk themes of love gone bad, drinkin', cheatin', and murder. Lynn even offers a compelling slice of theological fatalism ("God Makes No Mistakes"). White's production--mostly stark and atmospheric--ranges from more-traditional country to straight-up White Stripes, with most tracks falling somewhere in between. White duets with Lynn on the rousing one-night-stand story "Portland, Oregon," but he does not need to sing to leave his personal stamp. At 70, Lynn seems thoroughly engaged and delighted; at times she delivers some of the most emotionally potent singing of her career. A decade earlier, Johnny Cash turned to rock and rap producer Rick Rubin, and the move resuscitated Cash's career. Now, Jack White has done the same for Loretta Lynn, another country legend whose music is simply too raw and honest for the contemporary country crowd. Van Lear Rose exceeds all expectations, a bold collaboration in which artists from two different musical universes forge a memorable work that neither could have created alone. --Marc Greilsamer ... Read more

Reviews (153)

"HAVE MERCY!" and other great songs
Now, let's hear a review from a REAL music fan (one that's not from California, hint, hint).

While Rick Rubin was able to revitalize the Man In Black's career, Jack White has taken the Coal Miner's Daughter and one upped the man with the Texas goatee. He's helped her create the best compilation this amazing woman has ever put out. Even better, they're all originals.

Combining Lynn's beautiful, bitter sweet tone and Appalacian sensibilities (as best heard on the song 'Miss Being Mrs.') with White's revamped, solid, country 'twang' guitar style, the two have made an album that is truer to country music than the vast majority of acts that you would hear nowadays on CMT or your local country radio station. Even when White reverts back to a more garage blues guitar style, such as in 'Portland Oregon' or his solo at the end of the 'Long Black Veil'-esque song 'Woman's Prison', he's still able to do it in a way that oozes honky-tonk. While this is not the same Loretta Lynn that was known 30-40 years ago, she's still able to create music that paints a clear, poignant picture of the world that she grew up in, and holds dear to this very day. Buy, listen, love.

Oh, and don't worry. This will be my only review for this album. Sham on, buddy (you know who you are).

Electric. Fires on all cylinders.
First let me say, that though I have respected the musicianship of both Loretta Lynn and Jack White, I have never bought any of their music before this album. I am not on a street team, I don't have an axe to grind about the state of Country Music or Alternative Rockers, and I don't work for the record company or get a kickback for anything. This album is friggin' awesome. It's electric and it fires on all cylinders. The professional marriage of Loretta Lynn and Jack White couldn't be more perfect. I listened to this for the first time last week and have already bought 4 more copies for friends. I'm the type of person who listens to a new CD and latches on to a song here and there, often skipping around to hear my favorites. This album had me listening straight through again and again and thanking whoever was responsible for bringing this gift to me. Loretta is a storyteller of the highest order and her expressive voice is only surpassed by her brilliant, often hilarious and always affecting lyrics. Jack White lavishes her with the attention her talent deserves, punctuating the rough edges and pulling back for heartbreaking reveals. Just get this CD. Buy more than one. And be happy that the stars aligned and we benefit. I still marvel that in this day and age of overproduction, these two have pulled off a resonant, simple and beautiful album that rocks, is full of surprises and is endlessly infused with plain old down-home charm. I'm officially in love.

Lovely Loretta
After reading a very favorable article about this album in Rolling Stone, I knew I had to buy it. It's wonderful. Loretta's voice is as beautiful as always and Jack White is a great addition. It's the kind of album that grows on you, too. After listening to it a couple of times, you appreciate it even more.

Album of the year
It's hard for musicians to reinvent themselves or do something new and exciting so late in their careers. It's great that Jack White has got involved with someone like Loretta Lynn, because then maybe young people will start listening to older music. All the songs are pretty exciting, a mix of rock and country. Country music never sounded so weird and fun. It is a revolution.

Loretta is Amazing!
You have to listen to this album with an open mind becasuse it is none like Loretta has ever put out, but all songs were written by her, and I have to say I like the entire album. Some of the songs have a rock edge but Loretta keeps up just fine. Some of the songs are as country as you can get. Very good album. I reccomend it. My favorite songs are, Vanleer Rose, Miss Being Mrs, High on a Mountain top, and Mrs Leeroy Brown. They are all different, but its all good music. Great instrumental music as well as vocal. Loretta is Amazing! ... Read more

Amazon.com

Hitch up your I-Pods, egg-headed hipsters of the future: They Might Be Giants, the out-there band that files its sound under the banner of "Can't We All Just Get Along" is speaking your language. What they're saying is No!, but in a way that's weirdly welcoming, especially to anybody who's over 3 and has a hard drive. No!'s computer enhancements (animation, games, and a sing-along scroll bar) don't assign the strictly audio experience to the so-what pile, but at certain moments they seem necessary--how else are you supposed to decipher a song ("Violin") whose only words are "violin," "hippo," and the ticking off of fractional segments of George Washington's head? Of course, to try to make sense of the 17 tunes contained here may be to miss the point. While TMBG's lyrical and vocal hijinks can be off-putting to grownups prone to self-consciousness about not getting the joke, the generation No! takes aim at needs nothing in the way of validation. Thus the brilliance of baggage-free ditties like "Fibber Island," where the natives strum rubber guitars and sew buttons on cars, "John Lee Supertaster," a rock & roll fantasy following a hero with heightened senses of sweet and sour, and "I Am a Grocery Bag," detailing what's bumping around in brown paper after a trip to the market. With their triumph over the tube (TMBG took home a Grammy for the theme to Malcolm in the Middle and perform and wrote the intro to The Daily Show with Jon Stewart), frontmen John Linnell and John Flansburgh have already infiltrated the family market, sort of. No! finds the band bending to a level lots of other giants might overlook, but without cramping up. Given the right reach, They Could Be Kiddie Icons. -Tammy La Gorce ... Read more

Reviews (106)

Dont cross the street In The middle of NO!
No! is a great kids album. I have all their cds, and even though i'm 11, this is still a great album. They don't have to be Raffi with songs about cute whales, but they have to be Johns, with songs about grocery bags and hippos.Great animations also!

1.FIBBER ISLAND
A good opening. Almost like a folk song.One of the best kids songs about imagination. One of the best flash games also on the
CD.

2. FOUR OF TWO
Another good {yet older} song. TMBG can sing about loving girls and dating, while still making it appropiate {and a bit confusing when they sing about bugs and flying cars} for kids. Great song.

3. ROBOT PARADE
On the "Working Undercover For The Man" they had an hard rock, fast version of this song. On No! it's softer, and more understandable, even though the game gets boring.

4. NO!
The title track. You get to change No blocks to Yes blocks! A good use of electric guitars.{!}

5. WHERE DO THEY MAKE BALLOONS?
One of the best. Sung by their drummer, I think, this song teaches about other countries and their products while asking the age-old question, "Where DO they make balloons?"

6.IN THE MIDDLE, IN THE MIDDLE, IN THE MIDDLE
An old cheesy 60's song, I think. Sorta dull.

7.VIOLIN
Even though the songs consists of the words "Violin-lin-lin","Hippo", "Mop!" and "Speck of dus-dus-dust" and a fraction lesson using George Washington's head {You'll get a presidential surprise!}, it is one of the best songs on the album.

8.JOHN LEE SUPERTASTER
My personal favorite. A rocking tune about a guy that is a supertaster. Has a hilarious intro by John Flansburgh.

9.EDISON MUSEUM
Originally on "Long Tall Weekend", this is still a great, spooky, educational song.The flash thing has the ghost of Thomas Alva telling you about phonographs and stuff.

10.HOUSE AT THE TOP OF THE TREE
My 2nd favorite, and the best game, where you try to save a treehouse by feeding a disturbing,fat mouse thats eating the house. If you dont feed him, the house falls down. The creepy little guy still pops his head out the window and waves at you.

The next four songs are all under one minute long, and, in my opinion, the worst. Anyway, CLAP YOUR HANDS makes you want to dance, I AM NOT YOUR BROOM is about what happens when your broom runs away, while the WAKE UP CALL song is a bit boring because the only words are Bo Bo Do Bo Bo. I AM A GROCERY BAG is about half a minute long, but you get to play with food in the interactive thing.

The last three songs are about sleeping and lullabies. LAZYHEAD AND SLEEPYBONES is a rather beautiful song that can actually somehom make you fall asleep. BED BED BED is a fast, energetic Beastles-esque type song about...you guessed it, BED!
And SLEEPWALKERS is a med-tempo song about people who roam across the nation while they sleep.

In all, this is a good album and I recommend it to everyone.
{Try to find the bonus song on the CD-ROM!!}

-Thomas Neufeld

all sorts of TMBG goodness
For those TMBG fans that were disappointed with Mink Car, I'd definitely not give up on they might be giants, but rather, pick up a copy of No! Sure, that'll mean getting over your pride and buying a childrens' album, but I think you can manage. Yes, No! is made for kids to enjoy, too, but that definitely does not mean that it's bad. Quite the opposite, actually. Almost all of these songs could easily go on a regular TMBG album, and everyone would be more than satisfied. I absolutely adore "Bed, Bed, Bed", "John Lee Supertaster", and "Four of Two", but they're really all great. The animations and games are wonderful, too. "The House at the Top of the Tree" is bunches of fun, and "I am Not Your Broom" is hilarious. Another interesting track is "Where Do They Make Balloons?" sung by Danny Weinkauf, the band's bassist. It's surprisingly very good; a nice variation.
In summation, a very cohesive TMBG album, extremely fun and educational for kids, great songs live, and TMBG goodness all around. I DEFINITELY RECOMMEND BUYING THIS ALBUM. if you're a tmbg fan, you should already have it!

Great for all ages
We bought this to have kids music in the house for my new son, but my husband and I love it!

Attuned to the mind of a child
This album captures the triumphant exuberance of childhood in a way that few other children's albums do. Songs such as "Fibber Island" and "Robot Parade" encourage children to exercise imagination and creativity. In "Bed, Bed, Bed," watching TV is but one of many activities in a full day that includes meeting friends, riding bikes, and playing the guitar. Even better, some of the songs are educational ("Where Do They Make Balloons?", "The Edison Museum") with the spirit of play, not lectures. But best of all, the songs have both simplicity and sophistication to their goofiness to appeal to children and older listeners alike. "Violin" and "John Lee Superstar" are good examples of this.

This album contains no bad language, violence, or encouragement of such, so most parents would not object to the material in this album. While some of the songs ("I Am Not Your Broom") may be interpreted as encouraging rebellion in children, I do not feel they are any more subversive than say, the poetry of Shel Silverstein.

The whimsical interactive sequences mostly require only that you run your mouse over the images, so children who can't click the buttons can still enjoy them. My one-year-old nephew insisted on going to listen to the CD on the computer first thing in the morning for quite a while. I also bought this album for my TMBG fan friends who were soon to be parents, and they were delighted.

Hooray for No!
My little sister got this for her birthday a few years back, and I must admit that I listen to it as much, if not more than her. A friend of our family is a hard-core TMBG fan, so we get a new CD pretty much every birthday or Christmas, or whatever. This is a totally awesome CD! I love the enhancement-you can plug it into your computer and it does all sorts of cool stuff. I admit that I brought it on the way to a sports championship and a few of the guys laughed, but soon found themselves singing along as well. Overall, a HOORAY FOR NO! ... Read more

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The infectious twang and pop hooks of Wilco's former efforts may be fading fast, but A Ghost Is Born is still a rewarding effort that demands repeated listening. The group's fifth album extends upon the experimentalism of Yankee Hotel Foxtrot with angular, blues-soaked guitar riffs ("At Least That's What You Said," "Hell Is Chrome"), a handful of sparse, yet catchy tunes (smack dab in the middle of the disc) that will surely keep college radio stations smiling, and a lengthy track that descends into mere static ("Less Than You Think"). Frontman Jeff Tweedy's songwriting continues to evolve: "Hummingbird" is a dreamy Randy Newman-styled love song; "The Late Greats" is a sly ode to the world of pop tacked onto the end of the album (as if using such a fun song on this understated disc was an afterthought). Meanwhile, producer extraordinaire Jim O'Rourke manages to make the most complicated arrangements here sound minimalist and laid-back. All told, it's another great addition to the Wilco canon. --Jason Verlinde ... Read more

Reviews (142)

Been Waiting Too Long
I'd give it four stars in the LP era, where I'd have to listen through the 15 minute static noises of "Less Than You Think". This is a John Cage 4'33-esque commentary on what can be considered music. I won't get into that now, but it's good to listen to it at least once in context of the whole album. Especially since it contrasts very starkly with the straightforward track "The Late Greats," which is probably the closest thing you'll get to Alt-Country on this album. Anyway, luckily we have the skip track button for casual listening. The rest of the album is incredible.
If you like climaxes, this is your album. Several songs start off slow and progress into some pretty hard hitting rock and dissolve into distortion. There are less dings and pings on Ghost than YHF. Ghost is more minimalist, relying more on primal baselines and rythmic sequences that make you sort of lose time within the song, often before hitting you hard with a jam. "Spiders" is the eiptome of this, and probably is the musical version of Tweedy's well-publicized migraines.
Bottom line; the alt-country fans hoping for Another A&M, the pop fans hoping for another Summerteeth, those in between hoping for another Being There, and everyone else who came on board with YHF hoping for more of the same didn't get your wishes. But that's what I love about Wilco, each album is distinctively Tweedy, but there's always something new to keep you interested.

Don't Judge Too Soon
It's a classic mistake -- a big name band comes out with a new album, and critics and fans alike step in immediately to give their first impressions. If there's one band for which that approach is a consistent a mistake, it's Wilco. Like many, I'm frightened of albums that I instantly like; they invariably begin to fade away sooner than later.

"A Ghost is Born" will leave many bumfuzzled out of the starting gate. Similar in overall style and structure to its controversial predecessor "Yankee Hotel Foxtrot", this record depends heavily on brooding atmospherics which envelope the rather conventional melodies. This is Jeff Tweedy's niche; the basic pop song format shadowed and subverted by dissonant, disquieting counter-themes. For those willing to submit to Wilco's own (admittedly wry) internal logic, the rewards will come; doubt will fade like Smarty Jones in the final leg of the Belmont, and the patient listener will be overtaken and surprised by a work of unexpected depth.

Among the better tracks are "Hell is Chrome", which sounds like Paul Simon backed by Dark Side-era Pink Floyd; the breezy yet bittersweet "Wishful Thinking"; and "Theologians," a blue-collar manifesto that supplies the album's thesis with cleverly employed Biblical analogies. But the song that stands out most is "Muzzle of Bees," and astonishingly schizoidal piece whose delicate acoustic elements are trampled by wailing electric histrionics. "Muzzle" best demonstrates Wilco's disparate musical interests while showing off their latently strong musicianship.

Give this one a chance. Odds are it will make regular rounds in your CD changer well into the future.

what are you people thinking?!
This is not going to be so much a cd review as it is a rebuttal to all those who write reviews for this site...including you, Amazon.com.

Okay, forget that Wilco is one of (if not the) most innovative rock (yes, rock) bands that exists today..."Ghost" is simply a very brave and very, very amazing album that any band would sell its soul to even have conceived of, let alone create. What Wilco accomplishes on this album, even more so than YHF, is emotion - hard, raw emotion without allowing the incredible success of said YHF to interfere. Wilco (Tweedy specifically, though not exclusively) is fast proving itself a creative force which relies not on jingles and soon-to-be-radio-slough to sell its albums...in fact, Wilco couldn't care less if it sells albums or not (research your YHF history to see what I mean). Wilco proves to all us earlier non-believers that there still are those artists out there who believe in their music as an extension of themselves, as a reflection of who they truly are, not who their so-called fans wish them to be. They are artists in every sense of the word, meaning they toss critisism to the wayside as the simple opinions of those who can't...or, in the very least, won't. Art does not demand critism to exist, only the critic. So, so-called fans, save all your critisms for the next J-Lo album or whatever piece of trash you're currently reviewing. Wilco is above you all.

Now, on to the achievements of "Ghost" - amazing, spectacular, artistic, and true. That is all.

Okay, this is the Wilco cd I've waited for
I came to Wilco as a fan of the 90's band, Son Volt (and if you haven't heard of them, you are in for treat). After falling in love with those records, I followed Farrar and Tweedy in their musical travels, but Tweedy's records just never quite made it for me. Yankee Hotel Foxtrot was okay, but nothing special.

This cd is great. It takes a song or two really get going, but man, it's worth it. The songs are beautiful and dream-like. The lyrics are lovely. The long musical interludes are hypnotic. For me, this is the best Wilco cd by far. Get this one.

Great Music to Fall Asleep to
We have all heard the story before and you will hear it again, about a band that hit it big by being spurned by their record company over what was one of the better albums of the last decade. Problem is that if they had turned this album instead of YHF, I am not sure that anyone would really be complaining all that mcuh.

A Ghost is Born reminds me of the inferior B-Side Yankee Hotel Foxtrot album. While I am not one of those Alt-Country Snobs that wishes Wilco would do alt-country again or pine for the days of Uncle Tupelo, I do pine for the Jeff Tweedy/Jay Bennett songwriting and stage presence that is missing on this album. The best three albums by Wilco are Being There, Summerteeth and, Yankee Hotel Foxtrot and its no coincidence on each of those albums, Jay plays a crucial role in the music writing process. The problem with this album is that it becomes Jeff Tweedy and the Wilcos. More Guitar strung out guitar solos and ridiculous droning that someone will argue as being some artistic masterpiece. Well Jeff Tweedy is trying to prove something, but you know I just want an album that I can listen to over and over again and not get tired of it.

There are some great songs on this album. Hummingbird is a great song and shows once again that they do still have it in them to write a great pop song. Handshake Drugs sounds like later Velvet Underground material. While I always loved the song it had already been released before (Albeit a different mix). Theologians has also grown on me.

There are a lot of forgettable songs on this album as well. Muzzle of Bees and Wishful thinking just don't really do much for me. Spiders was turned into a huge mistake by making it 10 minutes and do we really need endless nonstop sounds on Less than You think. Maybe you like to listen to bells and whistles nonstop but I surely do not. Im a Wheel is probably one of the worst songs that Wilco has ever written. I rolled my eyes the first time I heard this song live and I was just hoping that they would realize their mistake and make this some odd B-Side.

If you never have bought a wilco album this is not the one to start off with. This band has pretty much done no wrong coming into this album. Each one of their albums they have grown as a band but what we notice more on this album is maybe the dismantling of Wilco. The bands makeup is changing more than Menudo and that has to be worrysome. You cannot have any type of growth when you only have two original members and the others have either been kicked out, fired or just sick and tired of it. ... Read more

Amazon.com

So much has been said about disco-punk's King Midas, New York musician/producer James Murphy, that it's kind of hard to believe that we've had to wait until 2005 for the debut album from his dancefloor project, LCD Soundsystem. LCD's classic triumvirate of early singles--"Losing My Edge," "Give It Up," and "Yeah"--joined the dots between punk-rock, disco, and funk in a way that hadn't been seen since the New York downtown scene of the early '80s, but these are bravely relegated to a bonus disc in favor of a suite of new material that reworks the band's influences in new, often explicit ways: take "Movement," for instance--a homage to the Fall that finds Murphy barking "It's a fat guy/ In a T-shirt/ Doing all the singing!" over punchy analog synths, or the quietly majestic "Great Release," a doff of the cap to Brian Eno circa Taking Tiger Mountain. For all his encyclopedic musical knowledge, however, it's one of Murphy's strengths that he seldom seems uptight about the practice of music-making: it's how he can get away with penning a gonzo disco-punk number and naming it something as fantastically flippant as "Daft Punk Is Playing at My House"--and more importantly, it's why LCD Soundsystem succeeds as a splendid dance record as well as a smart intellectual exercise. --Louis Pattison ... Read more

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Posthumous releases fall into two categories: those which the artist was working on at the time of their death, and those which are gathered from every nook and cranny to keep fans enthused and cash registers ringing. Elliott Smith's from a basement on the hill is of the former variety. It was close to completion at the time of his untimely death. Over the course of the set's 15 songs, Smith's powerful songwriting and production skills are shown in their full breadth. From thickly interlocked chordal guitar riffs ("Coast to Coast") to shimmering melancholia ("A Fond Farewell"), the songs are each brought to their own particular focus by whatever means were most appropriate. There are lush background vocals, keyboard washes, pounding rhythms, and heart rending balladry. This disc is a sad goodbye to richly emotive artist. --David Greenberger ... Read more