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In 1972, when rock & roll was all but dead in Manhattan, five cross-dressing glam punks from the boroughs convened and began hammering out crude, sub-Chuck Berry rock for the downtown in-crowd. It took another year before a record company dared to sign them, thus foisting The New York Dolls on an essentially uninterested world. Taking their cue from the band's guitarist/Keefalike Johnny Thunders, hardcore Dolls fans pooh-poohed Todd Rundgren's production as wimpy: twenty-five years after its release, songs like "Personality Crisis" and "Looking for a Kiss" sound more trashily invigorating than ever. With the Rolling Stones finished as a vital force by '73, the doomed Dolls were there to step into the void. A classic. --Barney Hoskyns ... Read more

Reviews (42)

Nearly A Classic....
I know what I'm saying might be regarded by some of the other reviewers here as heresy (especially as - and I probably should declare this - I'm a big NY Dolls Fan), but this album should be better regarded as a bold statement of intent to what was to come on "Too Much, Too Soon". So what's the deal? One absolute, all-time classic "Lookin' for a Kiss", three or four really good songs, another three or four good ones, the rest indifferent - the problem is the album is too unfocussed; You're blown away by the opening pairing of "Personality Crisis" and "Looking For A Kiss" (probably the best start to an album I've ever heard...) and then unfortunately you're into the pretentious dirge of Vietnamese Baby. Things improves with the pleasant pop of Lonely Planet Boy, and then quickly disimprove with the over-the-top epic Frankenstein. After this, it's easy to understand why people might be dissuaded from going to side two.

Which is a pity - "Pills", "Subway Train", "Trash" are all great trashy glam-blues-punk-whatever rock songs and the rest isn't bad either. The problem really is in the Track selection - why couldn't "Frankenstein" and "Vietnamese Baby" have been left off and instead replaced by some inspired covers, as on Too Much Too Soon? "Give Him a Great Big Kiss" springs to mind.

In case all of this is a little too bitchy (it probably is), "Lookin' for A Kiss" is worth the price of the CD alone, and 80% of the rest of the album is damn good. I'll give it 4 stars, but (sigh) it could so easily have been a 5...

What? You don't already own this?
Having just re-listened to this album a few days ago, the same recurring thought hit me every time the record ends: why can't they make 'em like this anymore?

From beginning to end, this is uber-classic rock'n'roll at its finest, and what's still amazing is that over 30 years later, it's still as vital and fresh as ever.

From the gutter-punk raunch of "Trash", "Personality Crisis", and "Looking For A Kiss", the album subtle melds Chuck Berry to Iggy & The Stooges, but injects more than its fair share of original licks that have yet to be topped even to this very day. "Lonely Planet Boy" is the doo-wop classic that never was, and "Pills" sounds just as potent unplugged as it does here in this steamrolling version.

My personal favourite has to be "Subway Train", which crystalizes the ethos of the Dolls in under 4 1/2 minutes. The follow-up "Too Much Too Soon" is equally good, but less rife with classics. Get 'em both anyway.

would have been bigger then life.
In the 70's the new york dolls did a tour with two off the biggest bands ever areosmith and kiss. The only thing about this tour was that the new york dolls headlined the tour. If it wasn't for horione the new york dolls would have been bigger then life itself, and johnny thunders would have been in the rock and roll hall of fame buy this album listen to great music buy some of the greatest.

raw and beautiful and full of energy
This is one of my favorite albums of all time. It is so raw and beautiful and full of energy and emotion and no one plays the guitar like Johnny Thunders...

I've gone through so many copies of this recording, the cassettes wore out, the vinyl is thrashed and now the CD needs replacement. That's a lot of listening and it's still not enough. From start to finish this record is great - no filler or throwaway songs to speak of. Just full on rock and roll at it's finest.

"Mick who?"
Ah, the Dolls. More than any other band, they were the epitome of the rock 'n' roll lifestyle (them and The Stooges..but that's another story). They didn't just burn the candle at both ends--they used a blowtorch on the middle. All the drug-crazed, trashily androgynous, Rolling Stones-in-drag insanity of the New York Dolls was woefully short-lived, but the result was a breakthrough 1973 LP that was a huge influence on the future punk movement. The Ramones (guitarist Johnny Thunders was a friend of Dee Dee Ramone's) and the Sex Pistols (Malcom McLaren managed the Dolls before there even was a Johnny Rotten) probably wouldn't have existed without Johnny Thunders and David Johansen to show them the way.

Way grittier and wilder than their glam rock kin (David Bowie and T. Rex), the Dolls basically updated the early rock 'n' roll of Chuck Berry and Jerry Lee Lewis. What the Dolls lacked in instrumental prowess they made up for in reckless sexual abandon and crazy R&B swagger. Thunders' guitar is HUGE, sloppy, and manic, and his filthy riffs and solos are what make this album. But let's not forget the trashy wit and great singing of Johanson, Sylvain Sylvain's piano, Jerry Nolan's crashing drums, and bassist Arthur Kane...well, he sucked, but you barely heard him over the wonderfully shambolic boogie anyway.

The opener Personality Crisis establishes everything the Dolls were about--stomping piano, riproaring guitar, and Johanson's cocky swagger and crazy vocals. The 1-2-3 punch of Personality Crisis, Looking For A Kiss, and Vietnamese Baby is then followed by the short reprive of Lonely Planet Boy. The epic Frankenstein brings the rawk back, and it is immediately followed by the insanely addictive sing-a-long Trash. The album ends with Jet Boy, which hooks you with the biggest freakin' chorus ever. Filler? What filler? Every song rules. They're so good that you will almost forget about Todd Rundgren's godawful production. Almost.

The New York Dolls' first release ranks up there with The Stooges' Fun House and The MC5's Kick Out The Jams as the definitive proto-punk album. Barring that, it may be the greatest pure rock 'n' roll document EVER. You need this one. ... Read more

Album Description

Story Of The Year explodes with pure punk energy on the St. Louis Band's major label debut album from Maverick.Produced by John Feldman (The Used, Good Charlotte).Enhanced CD includes 3 behind-the-scenes videos and more.2003. ... Read more

Reviews (186)

STORY OF THE YEAR - PAGE AVENUE
What can I really say about this album? Badass, awesome, greatest ever, etc. I mean, words can't even begin to describe how awesome this band really is. They're completely amazing. Ever since the first time I heard "Until the Day I Die", I haven't been able to stop listening to this album. I mean, sure, like any other album, it gets old after listening to it nonstop for three weeks straight, but I still HAVE to listen to the album in its entirety at least once a week. Story of the Year really opened me up to this whole post-punk/emo style of music. If you're a fan of bands like The Used, Funeral For A Friend, Emery, Senses Fail, Matchbook Romance, Thrice, Finch, etc. then you should definitely check out Story of the Year. My favorite songs include: Until the Day I Die, Dive Right In, and Swallow the Knife.

01 - And the Hero Will Drown - 4/5
02 - Until the Day I Die - 5/5
03 - Anthem of Our Dying Day - 4/5
04 - In the Shadows - 4/5
05 - Dive Right In - 5/5
06 - Swallow the Knife - 5/5
07 - Burning Years - 4/5
08 - Page Avenue - 5/5
09 - Sidewalks - 5/5
10 - Divide and Conquer - 3/5
11 - Razorblades - 4/5
12 - Falling Down - 4/5

Story of the Year with an outstanding album
Story of the Year has the perfect sound with the great blend of fast paced singing and occasional emotional screaming. The lyrics are all amazing and meaningful, but not overdone. Not one bad track on this album, that's what amazes me. Similar artists to SOTY are Thrice, Autopilot Off, and Thursday.

1. And the Hero Will Drown - 8.5/10. good opener, but not even close to the best song on the album.

2. Until the Day I Die - 10/10. amazing song. displays the great vocal quality of this album.

3. Anthem of Our Dying Day - 9.5/10. great lyrics, good beat too.

4. In the Shadows - 10/10. good chorus & lyrics, and AWESOME ending.

5. Dive Right In - 9.5/10. perfect mix of singing and screaming.

6. Swallow the Knife - 9/10. important piece to the middle of the album.

7. Burning Years - 8.5/10. awesome beginning, good guitar and drums.

8. Page Avenue - 9.5/10. good beginning, good middle, good end.

9. Sidewalks - 9.5/10. great lyrics, we can all relate to.

10. Divide and Conquer - 9.5/10. I love the chorus, and also again the blend of screaming and singing is sensational.

11. Razorblades - 9.5/10. perfect chorus, good drums.

12. Falling Down - 8.5/10. great song, really fast paced. meaningful lyrics. its just too short or it would be in the 9's.

Page Avenue - Story Of The Year
This is a great cd that's full of different sounds and rhythems. This CD goes from rock to softer rock and then hard rock. I wouldn't advise this CD for the squemish when it comes to screaming though. If your not too bad...then this CD is definitely worth the risk. Replay value for this CD in my opinion is a 9/10. Lastly... This is a GREAT CD and well worth the money!!!

Associated Titles: Linkin Park, Billy Talent, The Used(Same Producer),and The Lostprophets

Amazing
I saw this band this summer at, The Warped Tour. They are awsome performers. This Cd is by far my favorite in my cd collection. Don't miss out on this one. All of there songs are great, great sound. Just all around an awsome band. Buy it! You won't be disapointed.

Highly Reccomended
i think that this album ROCKS and think you should buy it and it is worth every cent. ... Read more

Reviews (49)

A must-have debut CD!
If this CD only contained the song "Long Black Train", it would be worth purchasing. What a song! When I heard it on the radio, I couldn't believe that I was hearing it on the radio.

Josh Turner's deep voice is so rich and pure. To me, it is the best kind of voice for real country music.

The cover of the late Jim Croce's "Don't Mess Around with Jim" is a pleasant little surprise. With Turner's deep Southern voice, you get the idea that you might be hearing Slim sing the song.

For those who hate modern country!
I would definitely recommend this CD if you're one of those out there who thinks country has become too pop-ish. If you think pretty-boy bands like Rascal Flatts and Lonestar should be on a different radio station, you'll probably like Josh Turner's music. I first heard "Long Black Train" a few days ago, when I saw the music video on television. The next day I bought the CD. And I was not disappointed. While many of the other songs don't sound as traditional as "Long Black Train", the sound does remind me of the better days of Joe Diffie, Dwight Yoakam, and Alan Jackson's first songs. I know I miss those days; if you're sick of hearing Toby Keith get down with his bad self in his southern-rap way, give this CD a shot.

Off to a great start...
When I first heard "Long Black Train" Turner's voice amazed me. So much so that I did something I only do two or three times a year -- I went to a store and bought the CD within a day or two. I was not disappointed. I would pay this man to put my "to do list" to music and sing it!

I did not really expect to like the album as much as I do, I thought the title song might well be the only one I ever really loved. But with songs like "Jacksonville" or "In My Dreams" catching my attention I really just couldn't help it. I found myself smiling at the sentiments and I laughed and cringed at the same time over the lyrics in "What it Ain't."

Art is created to share and evoke an emotional reaction; Long Black Train succeeds nicely as a debut album.

FROM ONE OF JOSH TURNER'S GREATEST FANS
This is a great album and couldn't be any more opposite of invisiboy2001's review. There isn't a bad song on the whole album. Seeing I love hunting and fishing and everything about the outdoors, the song "Backwoods Boy" is my favorite. In my opinion, Josh Turner has a bright future ahead of him and may someday be one of the best artists in country music EVER. I think his name and music will be as great as Alan Jackson, George Strait, and many other greats. I encourage everyone to buy his album and wish Josh Turner the best of luck!!!

amazing debut album - a must have
I've read the below reviews and I can't disagree more with the people who have given this album anything less than 5 stars. This album is a must have for any country fan, and any music fan who's interest in music goes beyond Britney. There are only a few artists out there who's albums you should buy for, if nothing else, the pure quality of their voice. This is one of them. Just listen to that dark, mysterious voice singing these songs and try not to get goosebumps...I dare you!

It's almost spooky how much this guy reminds me of Johnny Cash. Not only is his voice very simmilar but the songwriting and the music itself remind me more than once of Johnny Cash's american albums. This is a great new talent that will most certainly add some brilliant music to the country-scene. Believe me...this is a train you don't want to miss! ... Read more

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After hitting a creative peak in the early '90s, Los Lobos settled into a decade-long groove that was perhaps a little too comfortable. The band's twelfth studio CD, The Ride, tries to shake things up a bit, and mostly succeeds by pairing the group with a string of collaborators similar to Carlos Santana's Supernatural. Only instead of the young hit-makers that propelled Santana's comeback, The Ride matches Los Lobos with early influences (Bobby Womack, Little Willie G) and long-time friends (Dave Alvin, Elvis Costello).

The experimentalism that fueled 1992's Kiko can be found here on a couple of tracks--most notably "Kitate," a deliriously wiggy collaboration with Tom Waits and Martha Gonzales of Quetzal--but generally the focus is on blues, soul, and roots rock. Surprisingly, some of the strongest performances are new versions of songs previously recorded by Lobos: Costello helps the band re-invent "Matter of Time" as a piano and pedal-steel guitar ballad; Mavis Staples turns the folk-blues lament of "Someday" into rousing Stax soul/gospel; and Womack segues effortlessly from "Wicked Rain" into his '70s blaxploitation classic, "Across 110th Street." Of the newer material, the band shines brightest on "La Venganza de Los Pelados," a Latin dance workout with Café Tacuba, and the bluesy soul of "Chains of Love," which shreds 12-bar formula by including a 90-second violin solo. The latter is a tribute to '50s rock & rollers Don and Dewey, proving that the best road to the future is sometimes paved by revisiting the distant past. --Keith Moerer ... Read more

Reviews (30)

It's big & beefy -- like the band
Somehow I'm glad Los Lobos decided to go with a more traditional rock sound for their latest album instead of the fascinatingly quirky work they did with Mitchell Froom. While their Froom-produced records occasionally had me scratching my head, this new music delivers exactly what it promises -- full-grown roots-rock with all the muscle and talent of Los Lobos behind it. The big feature of this CD is the band's collaborations with a wide range of artists from Ruben Blades to Dave Alvin to Richard Thompson and Elvis Costello. And those are just the "advertised" guests. The CD also has organ playing by Garth Hudson of The Band, and songwriting partnerships between various Lobos and people such as Robert Hunter of the Grateful Dead.

Anyway, the songs are mostly great, especially a blues-y duet with D. Alvin on "Somewhere In Time" and the beautiful "Rita," a rare non-guest song (just the guys). The only truly "weirdo" number is a song they did with Tom Waits, "Kitate," which includes Mr. Waits growly unintelligibly in the background. It's a song that grates a bit, and is out of place with the rest of the tunes. But what do you expect from Waits, a once-great songwriter who lost touch with reality a long time ago? Fortunately that one is an exception -- just about everything else on The Ride is top-notch.

Bottom line: this is a worthy and rewarding album, a great gift to THE "Band from East L.A." to their longtime fans.

Another Groundbreaking Effort
Los Lobos have always been a band that has confounded critics who want to classify their music and fit them neatly into some category like Latin-rock or "roots rock". The only problem has been that Los Lobos defy categorization. They have proven over a long and successful career that they can convincingly fit in anywhere. Los Lobos always have a surprise for fans and critics alike, as one never knows from one album to the next what to expect. Their previous album, "Good Morning Aztlan", was their best in years and with "The Ride", Los Lobos deliver another groundbreaking effort.
Some have compared this CD to Santana's smash Supernatural because of Los Lobos' use of a series of guest appearances by a variety of stars from all over the musical map. I think its better, because the array of musicians is more imaginative and the arrangements of the songs more innovative.
My favorites are La Venganza de los Pelados; Wicked Rain/Across 110th Street with a very soulful vocal by Bobby Womack; Hurry Tomorrow; Ya Se Va, a muy picosa dance number featuring salsero Ruben Blades; a soul-stirring Someday with Mavis Staples, and a very bluesy Chains of Love.
Most other songs are good, too. The only cuts I did not care for are Kitate which featured Tom Waits and Martha Gonzalez, and Matter of Time, a reworked song from How Will the Wolf Survive that features Elvis Costello. The original is MUCH better.
Los Lobos have remained intact for an unusually long time. Those who have been fans since the first are used to the bands' wild swings across the musical landscape and love them for it. This CD should only serve to strengthen their devotion. For those who have just recently heard of Los Lobos, I say why not start with this CD? I highly recommend it.

Go buy this CD right now.
The last LL Album I bought was Kiko. Back then I considered it to be one of the best CDs I had bought in years.
Now I say the same about this one.
LL are great musicians, and add a little something to material that could otherwise be perceived as good but a little traditional. Their guitar riffs are always a little off the beaten track, their drum/bass backing always a little interesting, their instrumentation playful and virtuos, and the production flawless. The guest artists really contribute to create a special sounding CD, too.
Elvis Costello always does a great job, Womack reinvents two great songs (I enjoy these versions a lot more than I did the originals), and Staples is absolutely breathtaking in "Someday". Tom Waits does what he usually does (adds a little hysterical madness), and he's great as usual.

GREAT!!!
I'm not going to go into a fanciful track by track dissection of this CD, my only recomendation is to buy it and now. Listened to it after tough day at work and mellowed me out. Usually when I see a CD with a bunch of special guest artists I'm leary but they do the trick and more here especially the organ work of Garth Hudson and scorching vocals of Mavis Staples. Did I mention to go out and buy this CD, doesn't get any better!!!

Take the Ride
With nary a change in personnel, Los Lobos have been making music together for more than 30 years (take that U2). And dare you try to pigeon-hole them as a Latin-American band from East LA, their body of work would prove that label bogus. They are consistently one of the most eclectic and daring bands around and 'The Ride' stands among their finest work. A gleaming showcase of versatility, the band dips into their usual array of Mexican/Latin, pop, rock & roll, country & western, rhythm & blues, Irish, gospel and various indefinable hybrids. And, as if the voices (David Hidalgo's evocative lilt, Cesar Rosa's feral growl) and musicianship of the regulars wouldn't be enough, these Wolves have recruited a parade of unique and distinguished artists (Tom Waits, Elvis Costello, Bobby Womack, Mavis Staples, Dave Alvin, Ruben Blades, Richard Thompson, Café Tacuba, Little Willie G., Garth Hudson, Mitchell Froom, et. al.) to aid in their endeavor. Every guest is a natural fit. While a worthwhile cd by the young Mexican-American band Los Lonely Boys has been getting a fair amount of hype of late, this one by their progenitors sambas rings around it. If you only know Los Lobos by virtue of their one-hit remake of 'La Bamba' years ago, you owe yourself a chance to discover an unsung and underappreciated American institution. ... Read more

Album Description

As the eight-piece Brooklyn collective Hem releases their second full-length album, Eveningland, their reputation precedes them as one of the most distinctive and emotionally rewarding bands in American music. Hem’s homespun blend of vintage Americana, country/folk and chamber music made its 2002 independently released debut Rabbit Songs a critical success, inviting musical and lyrical comparisons to everyone from Dusty Springfield to Randy Newman to Aaron Copland. On Eveningland, recorded during their brief tenure with the ill-fated Dreamworks label, the band shows how deeply they’ve matured as musicians and songwriters.Eveningland, produced by Messé and guitarist Gary Maurer, updates the rustic charm of Rabbit Songs as references to bygone folk tunes give way to sonic touchstones from another classic era."These songs have more of a relationship to the ‘60s and early ‘70s. We’re all in love with that Countrypolitan sound," Messé says reverently referring to!classics like Ray Charles’ Modern Sounds In Country And Western Music, and albums by Glen Campbell and even the Carpenters. Produced by Gary Maurer and Dan Messe. ... Read more

Reviews (77)

I can feel it in my bones...
his album is a hit-or-miss case. I have friends who can't stand it, and I have friends who love it and claim it in their Top 10 of all time. It's worth listening to just to see where you stand. There isn't much debate about whether or not Liz can sing...she can't. She had to take singing lessons for her latest album. So ignore her voice...its whining, its monotone, it cracks, and it sounds like she was singing in her garage. That's also one of the strong points to those people who loved this album so much. When Liz's voice cracks, its usually because of the emotion in it. That's generous, given she doesn't really show much emotion...but she does deliver angst, longing, despair, guilt, and a little raw hatred. Her lyrics are witty, yet sometimes simple, but what her voice fails to deilver, her words do. Take the warnings of parental advisory seriously...she doesn't edit her feelings at all. It took me a long time to love this album. The songs don't work the first, oh, let's say 10 or so times you hear them. But if you think you hear something in her style, then listen some more. Memorize the songs...because they will grow on you, and infect you, and take you over. This is an ideal album for someone who just got out of a relationship. It runs the full range of emotions about breaking up...longing, hope, anger, guilt, despair, anguish. But ultimately the real charm of this album lies in its simplicity...most of the songs feature Liz as the sole musician. The songs seem as if they were recorded by Liz, her guitar, and a tape recorder (and actually, most of the songs came right from the demo tape that got this album recorded). The production quality may disapoint those looking for a studio-hyped album with richly woven melodies. I personally thought that the power and the charm of the album came from the fact that it was nothing more than Liz, stripped down to nothing but herself and her guitar. You'll either love it or hate it. But those who love it never take it out of their CD players.

This CD changed my life.
I first saw Liz Phair perform in 1993 at Treno's in Urbana, Illinois. She was an opening act (along with the Coctails) for the now-defunct Urbana-based band Corndolly. At that time, Liz was singing and playing guitar in the middle of a room full of people; I couldn't hear her at all. Therefore, when I saw "Exile in Guyville" on the shelf at the record store, I figured I'd buy it just to see what I'd missed. From the first listen, I was hooked. It rarely left my CD player, and the tape I made for my car nearly wore out. That next academic year, I was working on my master's thesis. I was three months late submitting it for approval, and I blame the delay entirely on this album. Late at night, when I should have been working, I would play "Exile in Guyville" and absolutely disappear into the lyrics. Each of the songs stands well on its own, but together, they make up an album worth more than the sum of its parts. This CD truly is a work of genius.

A Truly "Mesmerizing" Album
What an absolutely wonderful album! I was afraid that I wouldn't like it at first, but from the opening notes of 6'1", I was hooked! Every song on here is a gem and hooks you, especially the opener, "Soap Star Joe," "Never Said," and "Stratford-on-Guy." MUCH better than her latest and completely the opposite of it. Word of warning: If you don't enjoy indie-type music, minimalist arrangements, garage-type production, or lyrics that actually make sense beyond the usual Britney Spears type stuff, then this one isn't for you.

All They Say It Is
What is wrong with America? Besides Bush and taxes, it's our country's taste in music. In 1993, an amazing album came out. It was Exile In Guyville. Despite the press and MTV both intervening to help this album, it only sold 296,000 copies. However, that's an amazing figure for an indie release. I think it should have sold 20 times as much. Liz Phair is the reason for Alanis (whom I LOVE) Jewel, and most recently, Avril Lavigne. My favorites are: 6'1, Dance Of The Seven Veils, Never Said, Flower, Gunshy and Stratford-On-Guy. I plan to buy Whip Smart in the next few days, but Exile In Guyville is amazing no matter what. No wonder it's considered one of the best albums ever made. I love her new songs, but I also love the folksy stuff that marks this album. Can't we love both? I think so. Critical acceptance is important, but Liz Phair has given me and a lot of other people reason to believe that she deserves more commercially. The amazing quality of this album says that. I think that had it been released in 1996 or 1997 at the height of the girl-in-rock movement, it would have sold more copies. But then she would have been accused of riding the wave. I prefer her as the brave fearless leader that started it all and got no credit, because it makes this album more special than it already is.

Almost a five...
I first gained interest in Liz after hearing the catchy(but overplayed)"Why Can't I?" on the radio. Then, I heard she used to be an indie rock queen, and after reading all of the five-star reviews on here, I decided to buy it. My first reaction was: What a monotone voice! I'm so dissapointed! But I started listening to the lyrics closer. I decided my money hadn't been wasted after all. The best songs are: Help Me Mary, Glory, Canary, Mesmerizing, #### and Run, Girls Girls Girls, Divorce Song, Flower, Johnny Sunshine, and Stratford-on Guy. "Never Said" seems to be a favorite of many people, but I find it mediocre. Take the Parental Advisory warning seriously, because she never edits her feelings. Sample Lyric: Every Time I See Your Face, I Get All Wet Between My Legs. But that can't mask the album's greatness. Buy It! ... Read more

Amazon.com

The party line on most Windham Hill products seems to be that it's either the greatest stuff since wave machines, or that it all sounds alike. On a Starry Night, with its collection of world songs and reputable artists such as Flora Purim, Airto Moreira, the Turtle Island String Quartet, and others, does lean toward a seamlessly understated, homogeneous quality that is broken only occasionally by Bobby McFerrin's piece and a couple of others. That said, there can hardly be a more mellow or sonorous album of kid's music anywhere. Starry Night could calm a nursery with no nurses; why, it could even soothe the pained yelps at the dog pound--and turn a freeway full of bumper-to-bumper sour pusses into pussycats. Effective? You've heard of mind control, haven't you? --Martin Keller ... Read more

Reviews (29)

gentle music for children and adults
I believe that music is a powerful and innate force in our lives, so I bought a number of CDs geared toward children when I gave birth. Most were harmless enough, many became tiresome after a while .... this CD still gets played regularly at our house after three years.

International artists play and sing old favorites as well as songs new to us, but even the old favorites (Rock-a-bye-baby, Brahms Lullaby) are performed in engaging ways which renew their interest. Heaven knows, I am not one to seek out Kumbaya, but I even like that song here! Seventeen songs are presented from the US, Japan, Indonesia, Brazil, Ireland, Congo, Ghana, Cuba, Iceland, Israel, England, Russia and Germany. Some are sung, most are instrumental. All are very beautiful and soothing. The CD booklet contains a paragraph about each song with performance credits, original words and translation.

A remarkably soothing collection of lullabies.

Will definitely become one of your favorites!!
This CD is beautiful and so soothing. It really does give you a dreamy effect. It's good for the soul! We use it for bedtime music for our 4yr old, and not only does she love it, but we love it. I am so glad I found this CD. It raises the standard of what good lullaby compilations should sound like. First Class music, indeed. Don't hesitate if you're looking for good music for nightime or even a relaxing break in the day for your little ones-this is an excellent choice.

Soothing, dreamy music!
I just had to write a review of this cd. It was recommended to me by another mother, and I tried it and love it! We like to listen to it in the living room as nap time approaches, nursing with the lights dimmed. With the fan going and this cd on quietly, both momma and baby start drifting off to sleep. It's absolutely wonderful, and I recommend it to anyone who needs some instant R&R.

Your Baby Will Love This CD
We were given "Starry Night" as a gift when our son was born 21 months ago. It is one of the best gifts we have received as he has been sleeping to this CD from day one. The minute we turn the CD on and dim the lights he knows that it's time to sleep - whether it's for a nap in the afternoon or after a long day of running around.

We love this CD so much that both sets of in-laws bought it for our son...

Most relaxing compilation of music I've ever heard
This CD is a must-have! My 9-month-old puts her head on my shoulder to drift off to sleep as soon as she hears the first tune - no matter the time of day. She is always asleep before the end of the second track (the delicate, almost haunting Japanese Music Box) and I'm consistently teary by the end of the third (in English it's known as "Go to Sleep" - the lyrics will make any parent's heart ache with love for your child). It even gets the three- and four-year-olds to sleep in my older daughter's preschool class. What would really be great is if massage therapists would play this CD instead of that babbling brook, new age stuff - now THAT would be worth $100. ... Read more

Amazon.com

The hard-edged title cut kicking off this disc suggests that Kasey Chambers might be exploring an entirely different frontier than she did on her 2000 debut, The Captain, but the dozen tracks that follow are much more in line with the sparkling country-folk of her first album. That's good, because at this early stage in her career, there's no reason for Chambers to stray from her obvious strengths: simple but honest lyricism set to tastefully twangy instrumentation and spiked by her alternately sweet and sassy voice rising straight from the South (even if, in her case, it's South Australia). Various guest vocalists add breadth to the proceedings, with results that range from slightly disappointing (Lucinda Williams on "On a Bad Day") to effectively reflective (Paul Kelly on "I Still Pray") to wondrously evocative (Buddy Miller on"Runaway Train") to downright transcendent (Matthew Ryan on "Million Tears"). Mostly, though, it's Chambers's confidence and charm that shines brightly and clearly. --Peter Blackstock ... Read more

Reviews (65)

Great Voice, Great Songs
Alt-Country is a genre that has made stars of alot of great artists: Lucinda Williams, Ryan Adams, Wilco, etc. Kasey Chambers is a new voice in this movement. The Australian born singer has a voice that reminds me of early Lucinda Williams, but with her own sassy twist(Lucinda Williams actually sings on 'On A Bad Day'). She truly knows what really great country music is, but she takes that and to me says: 'I am Kasey Chambers, and this is my music, like it or not.' A great young singer with a voice of an angel. But don't let her looks fool you, she is a truly gifted singer-songwriter who seems to have a passion for what she sings and what she writes. From Pure Alt- Contry('Runaway Train') to Honky-Tonk('A Little Bit Lonesome') you can tell that Kasey Chambers has pure genuine talent and is going to be around for a long while.

Amzing lyrics, haunting voice
On a ten hour road trip to Texas, my friend and I had to break up the monotony of flat, dusty roads by introducing each other to new music. I played Patty Griffin for her, and she played Kasey Chambers for me. I had no idea how much I'd fall in love with this CD. I do not like most country music, because the majority of singers don't write their music and it's unbelieveably corny. Chambers however, fuses country and folk, writes her own material and speaks from her heart and mind. Once you get past the pitch and range of her voice (and at times you may have to turn down your stereo), you realize what a talented individual she is.

Although all the songs are good in their own right, I am particularly moved by "A Million Tears." The lyrics are heartbreaking, frank, and honest: "Do you wanna ride in my car? / It's parked out on the street / Or just stay with me awhile / Before I fall asleep / Take these tears / Wash your skin / I'm having trouble breathing / Since you walked in. . ." Another heartbreaker is "Not Pretty Enough." Chambers ask the question that everyone thinks in a relationship: "Am I not pretty enough? / Is my heart too broken? / Do I cry too much? / Am I too outspoken? / Don't I make you laugh? / Should I try it harder? / Why do you see right through me?"

From full-on country ("A Little Bit Lonesome"), to soft ballads ("Nullarbor Song"), to heartbreakers like "A Million Tears" and "Not Pretty Enough," Kasey Chambers' "Barricades & Brickwalls" is one of the best American CDs to come around in a long time. . .and she's Australian.

Wonderful
I first heard Kasey when my mom bought her CD, and since then I have been constantly borrowing it. It's just wonderful. Kasey is able to turn everyday emotions into wonderful, wonderful songs. I absolutely love this CD and I wish that other will hear her amazing talent, too.
1. Sort of a rock song, but not really. Very good. 4/5
2. I love this song. Shows feminism and the real meaning of beauty. 5/5
3. I didn't like this song. Good lyrics, but not the best. 3/5
4. Allright. Like 1, is a rock song. 3.5/5
5. This song annoys the crap out of me. Just a bit ttttooo country for me. 2/5
6. A very, very beautiful song that I could relate to ("I will learn to live in a new town/but my heart is staying here. ")5/5
7. Also a lovely love song. Very beautiful 5/5
8. Okay. 4/5
9. My favorite song! It is just gorgeous and beautiful with perfect music, lyrics, everything. 6/5
10. Allright. 3/5
11. My mom's favorite song. Is a very good song for self-esteem. Is a very good feel-good song. 4.5/5
12. First song is good, but IGNORANCE is breathtaking. Instead of hearing Britney Spears singing about flat "love" songs, you can listen to Kasey on the guitar singing about the unnoticed problems that the world has ("if you're not p***ed off at the world, then you're just not paying attention"). Just so beautiful, and for a good cause. I STILL PRAY: 4/5 IGNORANCE: 5/5
I promise you that it you buy this CD, you will not regret it.

Holy Cow!
I got this cd almost exactly a year after hearing "Not Pretty Enough" on a sampler cd I got from purchasing a present for someone. I immediatly fell in love with the song, mainly because it put my feelings into words about someone. After listening to the one song for a year, my boyfriend finally got me Barricades and Brickwalls for christmas. It's awesome, and I'm listening to it now! Her voice is amazing, with a touch of breathiness that adds to the overall effect. The lyrics are another thing, so thoughtfully written out and sung from her own heart. She actually wrote the songs herself. I've never been a country fan, but the cd is making me change my view (very slowly!). I love this girl!

Essential Listening
This is simply one of the best CDs I own. I am a huge Lucinda Williams fan and bought this out of curiousity (due to her praise and back-up on one track). Chamber's voice is perfect for the thoughts she expresses, and the lyrics are touching, humourous, and insightful. You won't be disappointed, I still listen to it often even after many months. ... Read more

Reviews (11)

Coincides with Hiatt's best period
John Hiatt has always been a maddeningly inconsistent songwriter. He was once tagged with the "Next Dylan" label and had a disappointing career until his "Bring the Family" album in 1987. Starting with that record, he released a run of laid back country-rock albums including "Slow Turning," "Stolen Moments" and "Perfectly Good Guitar" that marked the high point of his career both commercially and artistically. The "A&M Years" collects the best songs from this period all on one disc. The best of the best include "Slow Turning," "Thing Called Love" (later covered by Bonnie Raitt) "Real Fine Love," "Drive South" and "Child of the Wild Blue Yonder." Hiatt is a good singer, a decent songwriter and a fair storyteller. His style is reminiscent of a more country-ish and less arrogant (fellow Hoosier) John Cougar Mellencamp. This collection is the perfect set of his songs for the casual fan.

John Hiatt greatest hits The A&M years '87-'94
I never hear John before Delbert McClintons Sandy Beaches cruise. John Hiatt played every song on this CD. If you love to rock and Dance this is for you. I could not sit still listning to him! John really makes a diffrence doing Thing Called Love. Thank You Girl moved me. This is a must for anyone who loves good music. It was like he was singing my life!

A very good introduction
This compilation, which draws from some of Hiatt's best albums, is filled with excellent songs, and it works very well as an introduction to one of America's best songwriters. But it is a shame that A&M didn't had access to Hiatt's earlier material, especially from one of his strongest albums, 1983's "Riding With The King".

But the rights to that one belong to Geffen Records, and so do two of Hiatt's other pre-1987 albums (his earliest output is split between MCA, Epic and Universal). So this isn't a definitive Hiatt compilation (the double-disc "Anthology" comes much closer), but the songs that are here are superb: "Buffalo River Home", "Slow Turning", "Perfectly Good Guitar", "Thank You Girl", "Lipstick Sunset", "Child Of The Wild, Blue Yonder"...tough, groovy rock n' roll, folkish shuffles, and exquisite ballads coupled with mature, insightful lyrics.

Fantastic!
I got turned onto John Hiatt by some of his more recent work (Walk On, etc.) but I knew I wanted to hear more of his older material. This disc is simply great! I have since listened to a great number of his older CDs, and I will say that this disc manages to truly capture the best of John Hiatt. This disc gets heavy rotation in my CD player and ranks as one of my top cruising-down-the-highway CDs. Both new and old Hiatt fans will be pleased with this collection.

Don't let the hype scare you
I normally let hype scare me. When people rave on about songwriters like Hiatt I tend to get a little worried. If you are in my camp on this, let me assure you that John Hiatt is the real thing. This compilation is of course a mere sampler of the work Hiatt has done but again they are songs with sound and substance. Hiatt writes your wonderful ballad about ache and loss, those ridiculous decisions we make(Lipstick Sunset),and these are certainly heart on the sleeve renderings of the human condition. What puts John Hiatt in a class by himself is probably what takes him away from the amazingly popular gold record realm, and that is that he writes about love gone right, not just love but marital love, with kids. Hiatt puts down a welcome mat to a world of babies, wives, former ghosts and abuses, and is never afraid to expose himself on his journey flavored with folk, country, blues, and stadium rock. Finally, I would suggest if you have never heard John Hiatt, pull up a chair and listen to the lyrics, full of humor(rhyming ameoba and queen of sheba) and lovely images (the aforementioned Lpstick Sunset). A warning to you, these are songs that appeal to the humanity in our journeys. Some rock pretty well(Hiatt really rocks in concert by the way), but they are about things, about our lives as human beings...trying to love and exist in a beautiful and flawed world.... (and I suggest you listen to my favorite... Buffalo River Home...to get a sense of my taste.) I don't think you'll be sorry. ... Read more

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Riding high on the phenomenal success of A Rush of Blood to the Head, Coldplay is in peak form on Coldplay Live 2003. This CD/DVD two-pack was filmed (on Super-16mm film) and recorded in Sydney's Horden Pavilion on July 21 and 22, 2003, during an exhaustive year-long world tour, and the medium-sized arena provides a fitting stage for the London-based rock quartet, not so grand as to overwhelm the music, but large enough to indicate their large and loyal following, which includes enthusiastic fans of either gender. Especially when played in DTS 5.1 surround, this 90-minute concert is richer, thicker, and (of course) louder than Coldplay's studio recordings, lending a wall-of-sound expansiveness to the band's signature sound, which draws from such diverse influences as Genesis, Pink Floyd, The Verve, U2, and their own unique sonic landscape. "Politik" gets the gig off to a rousing start, and other impressive!highlights include "Daylight," "Yellow," the as-yet-unreleased new song "Moses," and the popular hits "In My Place," "Clocks," and "The Scientist." And while the concert visuals are slick and professional (perhaps placing a bit too much emphasis on singer/frontman Chris Martin), this DVD and CD--the latter containing a truncated 70-minute version of the same performance--are best appreciated for their pristine audio quality. Culled from 400 hours of home video, the 40-minute "concert diary" represents a wasted opportunity, enjoyable for hardcore fans but offering no insight into the band or its individual members. Much better, then, to play the concert at healthy high volume, and appreciate Coldplay in the prime of their young career. --Jeff Shannon ... Read more

Reviews (67)

Coldplay on top
I am a HUGE Coldplay fan and found this DVD to be well worth the money. For those who were unfortunate to miss out on seeing them live (like me) this does make you feel like you are in the audience watching them. And even though most of the members stayed relatively stationary throughout the songs(except when Chris thrashes around on stage to 'yellow'- when perhaps he should have stayed seated), the energetic lighting and multiple camera angles, not to mention Chris's passionate vocals, keep the mood vibrant and energised. Visually the concert is very good, and the music is excellent with some of the songs sounding better than they did in the studio recordings.

The only thing that was dissapointing was the tour diary. I am a huge fan of coldplay's music, but also their personalities. From the small amount of footage i have seen of them in interviews they all seemed like really funny and charismatic guys- especially Chris. So when i found out that there would be a behind the scenes documentary included in the DVD i waited with baited breath, desperate to get greater insight into their individual personalities and the way that they live. However,this documentary fails to do that. One of the most frustrating things about the diary is probably the fact that there is a lot of footage of them on stage, and considering that we already have access to a full concert i found this to be unneccessary and the time should have been used to showcase who they were as people. Also watch out for Gwyneth Paltrows blink and you'll miss it appearance on the documetnary (she was on tour with them at the time)

pale
Coldplay, like most English bands, doesn't really deviate from the studio version when playing live. This makes for a predictably likable set. With only two CDs it's too early for Coldplay to release a live recording. In the documentary (included on the DVD) you get the feeling that Chris Martin doesn't think his band will last. The U2 influence is undeniable especially considering how far the band has come in America in such a short time. It's also a testament to how bad the music scene is today.

The bonus CD is tracks from the same concert as the DVD and offers noting new.

For completists only.

-DW

Decent, but not nearly as good as other concerts
I am very picky about the concert CDs I buy, and this was no exception. I was a bit disappointed after having downloaded a handful of prior Coldplay concerts (as well as attending one). The songs add a little variety to the recorded versions, but not really enough to justify buying this set. Other groups (Dave Matthews comes to mind) have set the bar very high on producing variations on the originals, and Coldplay tends to stick to the studio formulas pretty closely. If you can ever find a recording of their 2002 concert at The Forum in London, it is a fine example of what this album should have been. The band is capable of a lot more, I'm just not sure why the label decided to use these particular tracks.

Left me wanting more
As a recent convert to all things Coldplay, I was hoping for more insight into the band beyond what I've heard on the album. What I got was a great live performance, with a couple new songs -- but it did not rise above. Don't get me wrong - I love the album - but I expect to hear a different side of the band on a live album. And I want to hear MORE of them. 40 minutes of audio? C'mon people, throw us a bone? Love the music, just want more of it.

Awesome!!!
I am a new fan and just love this CD/DVD. Haven't had a chance to view the DVD yet, but I have been playing the CD in SUV every day. ... Read more

Amazon.com

Though he's rightly revered as a pungent, literate songsmith, McMurtry would be just as happy to go down in history as a rocker, a scathing guitar-slinger equal parts Keith Richards and Neil Young. For the most part, McMurtry's first live recording (drawn from four separate gigs in Salt Lake City, Nashville, and Asheville, N.C.) slams that point home with droning fuzz-tone guitar jams and a rhythm section that measures up to Crazy Horse's pounding gravity. Even Townes Van Zandt's gorgeous "Rex's Blues" roars without compromise. With the exception of the relatively understated "Rachel's Song," "Out Here in the Middle," and one of his best new lyrics in years, "Lights of Cheyenne" (previously unreleased and rendered solo here), the trio find a slash-and-burn sonic equivalent to the songwriter's withering social commentaries, often trumping their original versions. --Roy Kasten ... Read more

Reviews (12)

Great Live Album
James is truly one of the great Texas songwriters and is even more amazing live.

For lovers of Texas music, country, folk, blues and good old rock and roll, this is a live album to get. Whether you prefer Lou Reed or Kris Kristofferson, there is common ground found in McMurtry's lyrics and the HBs are just a rocking band.

Recorded at over 4 shows in Salt Lake City, Nashville and Asheville, McMurtry combines the wit and intelligence of his musical forbearers, Townes Van Zandt and Johnny Cash, as well as his father, author Larry McMurtry (Lonesome Dove). The live setting proves that McMurtry and co. are one of the tightest, most energetic bands around.

Great album...should have been a double disc
For James McMurtry fans you will understand when I say this should have been a double disc. If you are not familiar with McMurtry, buy this album and then all of his albums and you will see what I mean. I have seen James dozens of times live and for my money nobody does it better. This album truly shows what a great vocalist, song writer, and guitarist James is. His sound is raw but refined at the same time as is evident in the powerful "Rachel's Song". His song writing is reminiscent of his great father's works, novelist Larry McMurtry. If there was any justice in the music industry these days, James would be a household name. For now I am glad he isn't because there is nothing like seeing him perform to overcrowded beer joints the way good music was intended to be heard. My only complaint is it isn't a double disc. I can't think of a bad song he has ever done. A definite must have for fans and beginners alike.

Not bad...!!
I've never really "got" McMurty's vibe... His studio albums seem too controlled and cerebral for my country-twangy tastes... But here on this fine live album, he lets his hair down and gets a little rough, playing several long, grungy Americana jams (the average song length here is about six minutes), suggesting a mix of Warren Zevon, Neil Young and Steve Earle... I gotta say, I liked it, and I didn't really expect to... Worth checking out!

Down home Texas country folk rock! How's that?
I first heard James about 8 years ago, completely by chance, which is usually the best way. I was taken immediately with his guitar style, his raw yet tender, literate vocals and his amazing way of 'just telling a story.' I loved 'Where'd You Hide the Body?' and 'Candyland' but didn't care much for his more recent efforts. Then I sampled 'Live aught-three' in B&N and was immediately reconnected. 'St Mary of the Woods' is a great set opener...a wonderfully bittersweet tale of megastar detox. The rest of the CD just keeps getting better. I'm glad he does a version of a Townes Van Zandt tune... a tribute to one of Texas' premiere singer/songwriters. He deserves much wider recognition than he gets. He should tour in FLORIDA (hint); we love him down here! James, long may you amaze us with you understated artistry.

Blue Skies and Open Road
Excellent Live workings of some of McMurtry's Best. The tunes drip with passionate renditions from a master storyteller. Quality playing with a group of great good old boys. Rock and Roll Americana never sounded so good. If you arn't singing along to "No more Buffalo" as your driving down the road you got no soul. If your a fan you need this CD. ... Read more

Reviews (19)

"Love" is magnificent
"Love is Hell" had a weird, twisted path before it finally settled on this smoky all-in-one album. Singer/songwriter Ryan Adams churns out visions of lonely hotel rooms and rainy nights, with only a few duds along the way. It's a wonderful return to spare, well-written rock with a country-bluesy edge.

Adams starts off with a sweet piano solo that blossoms into the thoughtful "Political Scientist." Then he sets off on a slightly uneven path of downbeat ballads ("Afraid Not Scared," the piano-led "Avalanche") and meditative rockers (the slow "City Rain City Streets," the bland title song), before rounding off on the melancholy "Hotel Chelsea Nights."

The story of "Love is Hell" is a little strange. Adams created the "Love is Hell" album, only to have it rejected, split in half and released separately, then mashed back together as a single disc. Music execs -- who knows what they think? But the single-disc "Love is Hell" is in some ways better than its separate halves. It feels more cohesive and smooth.

Adams eschews the usual rock instrumentals for a sleeker sound, full of piano solos and spare guitar riffs. His singing is sad, but shows signs of optimism; he wears his heart on his sleeve, and uses it as a guitar pick. And the songwriting is at worst good, at best excellent. "I am going to push them away/falling through the leaves of the winter trees/drowning slowly..." he tells us. And he sounds like he means it.

Now one album (as it was meant to be), Ryan Adams' "Love is Hell" is a dark, chilly, whisky-soaked collection of outstanding rock'n'roll. Love may be hell, but it's a well-crafted hell.

Ryan's shining moment (to date)
Not everyone will agree, however up until Love is Hell I have felt that Ryan Adams has produced some works of genius and some quite forgettable material - very inconsistent. Gold was definately his best until now however even Gold had moments that dragged that album down (and we won't mention Rock N Roll).

Now we have Love is Hell in all its glory on one album with a fantastic bonus track (probably one of my favorites on this album). Here we have the softer/darker side of Ryan with a touch of english rock/pop added to the mix - think The Smiths twangy guitars and the soaring vocals of Coldplay/early Radiohead. Throw this in with a touch of country and blues rock and you have Ryan's most consistent and cohesive work to date. Favourites include; 'Shadowlands' - is magic and has a spine tingling guitar solo (not dissimilar to the another magic moment on 'Le Ciegna Just Smiled'), 'I See Monsters' (awesome acoustic guitar work), 'Anybody Wanna Take me Home' (as mentioned earlier a fantastoic song and was not included on the EP's), an inspiring acoustic version of the Oasis classic 'Wonderwall' and the best closer to an album in years, 'Hotel Chelsea Nights' - simply stunning - check out the amazing vocals and more incredible guitar work. This album has the feeling of an album that will be remembered in years to come like great albums from our past eg Abbey Road, Wish You Were Here, Hunky Dory etc...pure class.

Very Very Good CD.
One of my favorite CD's of all time.

WOW ! Adams is the best young artist...
with an ability to fusion blues, rock and a vocal style that is nothing short of hynotic. His tune Jesus, Don't Touch My Baby is absolutely spell binding. At first I couldn't figure what he met by Jesus don't touch. So, I finally came to the conclusion he met a hispanic guy who wanted to steal his baby.
I think the whole damn thing could have been made better if his baby was somehow dying. But, I think this "kid", of 30 is GREAT. I am an old rocker and host a folk music show on a college station. I throw in Adams every once in a while for mood and to get a renewed sense of how well deep blues, folk themes and an incredible voice come together.
I would have bought the albums for Chelea Hotel and the other for Jesus Don't...

Payback Is Hell, Parts 1 and 2
Leaving the manipulative gestures up to his record company (again), Ryan Adams croons his way through a so-so collection of forgettable post-"Gold" schmaltz, from which I can hear a glimmer of the genius he once believed himself to be, and apparently believed all too well. Monumental, crushing ego mixes with a desperately nasty record company like gas & fire, and I ain't buyin' it. Lost Highway, "Where Artists Go to Die", and its overinflated roster of has-beens, can kiss my grits. ... Read more

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A splendid Seattle-scene overview featuring the likes of Pearl Jam, Soundgarden, Screaming Trees, Mudhoney--everyone of note, in fact, save Nirvana Bonus: two songs from Minnesotan Paul Westerberg, his first since folding the Replacements. --Jeff Bateman ... Read more

Reviews (34)

Still the greatest soundtrack of all time
Eleven years later, and this is an unequalled achievement: Even post-Tarantino soundtracks and countless other greats, "Singles" stands up as the best soundtrack of all time.

Effortlessly blending all of the all-stars of the early 1990s Seattle scene except Nirvana, recorded JUST before they broke into the international music consciousness, "Singles" is both an amazing snapshot of a point in time and a great companion piece for fans of that music.

Songs unavailable elsewhere from Pearl Jam, Soundgarden, Alice in Chains, Chris Cornell, Smashing Pumpkins and Mother Love Bone is something of a dream come true for many music fans, and what's especially nice is that there's no filler anywhere on this album. Even lesser lights like The Lovemongers turn in great tunes, such as the band's rocking cover of Led Zeppelin's "Battle of Evermore."

Sticking out as not being part of the Seattle scene is post-Replacements Paul Westerberg, but his two songs -- the only performer on the album to do two, although Chris Cornell performs both with and without Soundgarden -- are probably the best tunes in the collection.

While this makes a great companion piece to the movie, which features music quite strongly -- one scene even features a character stopping the action so his girlfriend (and the audience) can listen to a good section of Jimi Hendrix's "May This Be Love" (included on the soundtrack) -- it stands alone as simply a great album as well.

My strongest possible recommendation for fans of early 1990s rock music.

Seattle Snapshot
Back in the early 90's, Seattle was the hippest place in the country. From grunge music to coffee, Seattle was the center of cool. Cameron Crowe used the city and it's music scene as the backdrop for his second movie, Singles. This soundtrack is made up of mostly Seattle grunge bands and is a true gem. Many of the bands included here are instantly recognizable, but at the time of the movie's release they were young and fresh and just making a dent on the music scene. Pearl Jam, Alice In Chains, Soundgarden & Smashing Pumpkins all released highly successful and notable recordings throughout the 90's and they all contribute excellent songs. Pearl Jam provides two numbers and they are among the band's best. "Breathe" is a classic PJ rocker in the "Alive" vein while "State Of Love & Trust" contains a classic Vedder lyric. Alice In Chains provides the short burst of energy in the pulsating "Would?" and Soundgarden's lead singer Chris Cornell contributes the reflective "Seasons". The two non-Seattle performers, Minnesotan Paul Westerberg & Chicagoans Smashing Pumpkins, give the album two of it's best songs. Westerberg's "Dyslexic Heart" plays throughout the movie and gives it its theme. It is a great piece of pop music and stands in contrast to the grunginess of the rest of the album. The Smashing Pumpkins close the album out with the feedback driven epic "Drown". Other lesser known Seattle bands who never reached the mainstream success of the previously mentioned bands given the album a nice balance. Mudhoney is a Seattle legend and they provide "Overblown" while a band who contained future members of Pearl Jam, Mother Love Bone's "Chloe Dancer" is quite poignant. Seattle godfather Jimi Hendrix is here as is the Lovemongers which is Heart's acoustic forary. All in All the album and movie is a time capsule of Seattle and is worth looking back on.

Nostalgia for the '90s
In the course of the two decades I have listened to music, my favorite decade for music was the early '90s when alternative (I hate using this world immensely) music was big thanks to the explosion of Nirvana and grunge (another term I hate using) music. One of the most defining moments in alternative music that particular decade was the Seattle-based film "Singles" (one of the few films I can stomach from Cameron Crowe). Not only did I love the film but the soundtrack was equally good. It had some of the hottest modern rock bands of the decade on one cd. Not only was it the soundtrack to an excellent film but also the soundtrack to generation x (ugh! another term I loathe). One of my personal favorite songs on the cd is by Minneapolis hero Paul Westerberg "Dyslexic Heart", an incredibly infectious song that I could not get out of my head when I first heard the song. The cd kicks off with one of the most premier grunge bands from the '90s, "Would" by Alice in Chains. It is one of my favorite songs by Alice in Chains with its trademark sludge guitars provided by Jerry Cantrell and nihilistic lyrics by Layne Stayley (R.I.P). Ironically enough, Cameron's wife Nancy Wilson (Heart/The Lovemongers) appears on the cd with her side project The Lovemongers. They do a fairly interesting cover of Led Zeppelin's "Battle of Evermore". All the songs are great. I love the Screaming Trees' "Nearly Lost You" and "Seasons" by Chris Cornell. "Singles" is evidence to what great music that came out of the '90s. Too bad the new millenium has proven jacksquat.

Those were the great days of Music in the 1990s
The Grundge era of the early 90s was a wonderful time for me, growing up as a teen. The music, album and movie were great. I still love the grunge music from that time period. It's better than what happened musically the rest of the decade and into the new millenium.

Nostalgia...
This was one of the first albums (I got it on cassette) which I ever bought, back when I was about 15 or so in 1992. I had been listening to the radio for a year or so, hearing all those "grunge" sounds coming out of Seattle at the time. This became my favorite for 1992, and whenever I hear any of these songs these days it instantly takes me back to my teenage years, as awkward as they may have been, just because of the newness of the whole thing. So far as I can tell this was the last big "scene" in rock, to break at a national level. At the time, everyone was wearing flannels and faded jeans (I was no exception). Not all of the music has held up (I'd cite Alice in Chains as sounding more dated than the rest but maybe I just personally don't like the sound), but much of it sounds even better to me now than it did back then. The Chris Cornell solo track is very passionate and soulful (why didn't he just go solo back then??) and the Pearl Jam songs are better than anything I have heard on their albums. Basically, this is the only early-90s rock compilation you'll ever need, it has everything and as some reviewers pointed out, no filler. Even a throw-back to the best stuff from the 80s, with Paul Westerberg of the Replacements contributing a few great tracks. By the way, as this soundtrack gets so much press on its own, see the movie too! It's great, and now that I'm a few years short of 30 I appreciate it more. ... Read more

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Guster's formula is quite simple: Take time-tested harmonies à la Simon and Garfunkel or the Hollies, pour them over pleasant acoustic guitars, and add a pinch of congas for toe-tapping made easier. Lost and Gone Forever all but screams "radio friendly!" (especially with hit-producing wunderkind Steve Lillywhite at the knobs), but luckily the final product is more palatable than that.The musical plan is occasionally augmented by an electric guitar or strings, but generally follows harmonious sounds over articulate voices. Some people will listen to Lost and Gone Forever and find it too slight and completely corny, but others will fall under the spell of Ryan Miller and Adam Gardner's full-bodied vocal blend. --Jason Josephes ... Read more

Reviews (158)

You Will Probably Love this CD...give it a try.
I am a 47 year-old curmudgeon, certainly not a member of Guster's target audience. I had seen the FA FA video on MTV and was intrigued, but the lyrics seemed so silly. Then my daughter's boyfriend, who understands my unusual musical taste better than I'd thought, let me have a listen to Guster. From day #1 I was hooked. I search for life songs, the kind of songs you can listen to over and over without getting tired. This CD has many. EITHER WAY will go down as one of my all-time favorites. Track 8, HAPPIER and Track 10, TWO POINTS FOR HONESTY are incredible. If you like Travis you will love this CD. Other bands I like, in case you are concerned I'm steering you the wrong direction: Dave Matthews, Richard Ashcroft, Tears For Fears, Peter Gabriel, Tori Amos, Bare Naked, Innocence Mission, October Project, Dido, Toad the Wet Sprocket... Now, be careful. I also bought PARACHUTE, Guster's first effort, and was not as happy.

excellent
although kind of overproduced at times, this album has to be a classic for any fan of music.. a friend of mine over the net got me hooked on these guys..I could have sworn i've seen reviews on here for this album, but it looks like im the first?

excellent band.. beautiful harmonies, extremely radio friendly, but sincere and honest at the same time.. this is what pop music should be folks! i'd have to reccomend "Barrel of a Gun", "Either way", and "Rainy Day" everything is beautifully done.. those are just my favorites. deffinetly if you are trying to get into this band, you should buy this album first.. then "Keep it Togeather".. i dont know what after that, because these are the only two albums i have.. for now

The Best Band Ever
This CD is probably my favorite guster cd. There is not one song I don't like. I also just love this band. You NEVER get tired of listening to their music. I have listened to Lost and Gone Forever probably a hundred times and I am not exaggerating. You never get tired of their music. Guster is just as good live as they are on their cds, so go visit guster.com and find out when they are comming to your town, you won't be disappointed!

whole cd play
This is one of those cds I love to chill to and I don't have to change songs. It keeps the flow and is a continuous mellow groove that rocks!

great music!
they have really great music. i had never heard of guster, until just this weekend. they were playing on a pbs show called Austin City Limits. They sounded great. ... Read more

Amazon.com essential recording

Trace is obsessed with time. "Can you deny there's nothing greater ... than the traveling hands of time?" asks frontman Jay Farrar early on, and song to song, he deliberates time's tyranny. Farrar's voice always sounds beaten but never quite broken here, and when on the impossibly catchy "Windfall" he wishes "may the wind take your troubles away," it feels like nothing short of a blessing. Trace is alternative country's most perfect moment: the Uncle Tupelo-ish electric crunch rocks for something better, even as its twangy steel and fiddle never forget the very country fact that time will beat us all. --David Cantwell ... Read more

Reviews (56)

Talk About the Passion
Talk about the passion. No, this isn't a review of Murmur, though if you listen closely to Trace, there is no denying that Jay Farrar and his band Son Volt have been influenced by 1980s R.E.M. The passion I'm talking about here is the passion Son Volt clearly feel for the country/rock music they make, as well as the passion you'll feel for this album once you fall under its spell.

If you're like me and have found yourself "searchin' for a truer sound" in recent years, you need not look any further than the opening track on Trace, "Windfall", to find it. Very few songs in this world are perfect from beginning to end, but "Windfall" falls into this exalted category. Astonishingly enough, two songs later, "Tear Stained Eye" nearly tops "Windfall", plunging you into a beautiful melancholia in the process. Just when you are ready to start crying into your IBC, "Route" rocks you back up from the depths of despair. That catch in Jay Farrar's voice when he sings the word "reality" is absolutely gorgeous and the song is as anthemic as anything U2 have ever produced.

Though as the Amazon reviewer astutely points out, many of the songs on Trace deal with the inevitable passage of time, it is not always easy to grasp the meaning of Farrar's lyrics. As Michael Stipe or Robert Plant would tell you, however, this lyrical obliqueness is not necessarily a bad thing. To this day, I can't tell you what most of Lifes Rich Pageant is about, yet it still sounds darn good to me. And, as you can tell by my review, Trace sounds darn good to me as well.

The album that ruined Son Volt
How on earth can any band be expected to top such a triumphant debut album. Jay Farrar's complex lyrics along with his haunting voice(and wonderful backup vocal work) are a perfect complement to the heartland rock/country arrangements. While you always want to judge each of a bands albums on their own merits, it just seems that Son Volt was caught up in attempting to revive the magic of Trace in its next two albums. Who could blame them?

Trace embodies all that was good about the Alt-Country movement, without stepping too much into the standard pitfalls. The obsession with alcohol and failed relationships which tormented Uncle Tupelo are washed away in this album. It is too easy for some Alt-Country acts to breakdown into whiny rants about how life is unfair. There is a quiet and reserved optimism in this album which was especially refreshing in the midst of the Grunge rock era.

Overall it is an album that has aged gracefully. With Ryan Adams recent popularity I hope that many will take another look at the Alt-Country/No Depression community from where he came. If they do Trace is a fine place to start.

Droning and depressing
You'll enjoy this album if you're depressed and you want to stay that way. It's not melodic, the vocal style of Jay Farrar is a droning monotone - I guess some would consider it folksy, but I believe he could do better. None of the songs stick in my memory after 5-6 listenings. I'll probably sell it or give it away. The type of music I like: Dwight Yoakam, BR-549, Steve Earle, Lyle Lovett...hope this helps!

So good . . .
This is music so good that you can smell it. It smells like fresh air, hay, the taste of a cold beer on a hot day, a pretty sunset. It smells like the wind, crackly static, and the first fish you ever caught. Then later, it picks up, and it starts to smell like the first bar you ever went into, and the first cigarette you ever smoked. It smells like girl in front of you's perfume as you stood there, waiting for the show to start and wondering how you'd talk to her- hoping that maybe she'd back up and bump into you - or like standing outside on a rainy day.
And when you're done listening to it for the first time - or even the hundredth time, it smells like heaven.

Lost Moment of Promise
1994. Radio was suddenly, briefly, free of sound-alikes. Pearl Jam and Blues Traveler and Son Volt were played side by side. Any band might emerge as the Next Big Thing.
Jay Farrar had written one of the most brilliant rock singles of the decade, "Drown," and it was everywhere, utterly out of place and perfectly beautiful amidst the grunge sludge and the epic jam band singles of the moment. A three-minute promise. A raw blend of country, punk, and existential loneliness: "Living right is easy; What goes wrong, you're causing it."
On the plains, a hundred thousand young men filled with sunny-day angst, a sorrow neither parallel nor at odds with Seattle's rain-induced joylessness, heard for the first time their voice, their cry, their raging against the shrinking of the world and its possibilities.
Here was something different from John Mellencamp, a sound come off the prairie that spoke for those of a new generation whose entire existence had in the previous decade been reduced by record executives and money-minded producers to a strummed acoustic guitar and some jaunty fiddle solos spooled onto tape and then off again over the FM airwaves.
This was a deeper song resounding over the wide, flat middle of the country. A promise that simultaneously summarized all that had come before - Johhny Cash, Chuck Berry, Gram Parsons, Jason and the Scorchers, the Clash, the Replacements, and even Nirvana - and at the same time looked toward a horizon falling ever away. Possibility. Truth on the radio. Places unnoticed, unspoken of, perhaps even unseen. Stories untold. Lives a person might recognize.
It's hard to imagine that moment if you were not there. If you came of age a year or a decade too late, if you have only known the homogenized sound of the late 1990s and early 21st century. To hear this record now and to know it was once a viable commerical venture is to mourn what has been lost. A moment of promise.
Jay Farrar is still making records, but they aren't on the radio. The prospect that your local deejay (if such a thing still exists) will spin one is laughable. Radio crept away from risk, from honesty, from what could have been. John Mellencamp remains, to many, the only voice of the heartland in American rock and roll.
Switch over to the AM. Perhaps you'll find a truer sound. ... Read more

Amazon.com

Though Ray Wylie Hubbard ran with the rowdiest in progressive country through the 1970s, when he fronted the Cowboy Twinkies and wrote "(Up Against the Wall) Redneck Mother," he has since matured into one of the most reflective of Texas troubadours. Following a pair of bluesier releases, Hubbard returns to his folk roots with a collection that could pass as a Lone Star coffeehouse hootenanny. He applies his warm, weathered voice to "Drivin' Wheel" (popularized by Tom Rush), harmonizes withEliza Gilkyson on her bittersweet "The Beauty Way," and collaborates withCross Canadian Ragweed's Cody Canada on the hipster's credo "Cooler-N-Hell." A hallelujah chorus including Gilkyson, Patty Griffin, Slaid Cleaves, and Bob Schneider transforms a Woody Guthrie lyric into an a cappella spiritual ("This Morning I Am Born Again"), while the acoustic rendition of "Roll and I Tumble" evokes the rural roots of the blues standard. Though this collection spotlights Hubbard more as an interpreter than a songwriter, he revisits his outlaw days with "Dust of the Chase" and "Dallas After Midnight," trading verses with Jack Ingram on the latter. The album pulls out all the stops on the eight-minute closer "Choctaw Bingo," powered by the dual guitars of songwriter James McMurtry and producer Gurf Morlix. Its reckless spirit suggests that Hubbard hasn't totally settled down. --Don McLeese ... Read more

Reviews (5)

AFine Release From One of Texas'Holy Songwriting Trinity
Texas seems to produce an awful lot of singer-songwriter story telling types, and Ray Wylie Hubbard ranks right up there with Robert Earl Keen Jr and James McMurtry as one of the best.
I am not originally from Texas, but I have been aware of Hubbard's songwriting genius since Jerry Jeff Walker introduced him to the wider world back in the mid-70s with a cover of the riotous Redneck Mother. Since that time, I have been an occasional fan, picking up a Hubbard CD here and there as I became aware of a new release.
Delirium Tremolos is no different. A friend who is a regular buyer of Hubbard recordings alerted me to this about a month ago and told me how much he enjoyed it, so I gave it a shot.
As you might already know from the industry blurb or from other sources, this is a collection of mostly cover songs written by somewhat obscure songwriters, some of whom are unfamiliar to me. That's OK, I like to find hidden treasures, and there are a lot to discover on Delirium Tremolos.
My favorites are Eliza Gilkyson's The Beauty Way, Roger Tillison's Rock and Roll Gypsies, Gurf Morlix's Torn In Two, the Hubbard/Canada joint composition Cooler-N-Hell, and James McMurtry's epic Choctaw Bingo. That last I like specially because of its wry humor and because I know all the places mentioned in the song. Though I'd yet to hear McMurtry sing Choctaw Bingo himself, the way it is written has McMurtry all over it. To add to the listener's enjoyment, Hubbard brings in McMurtry to play guitar on this rendition.
I also like Dust of the Chase, though it took me a while to warm to the version here. The original is on Loco Gringo's Lament, and in my opinion, is the best song Hubbard has ever written!
If you are into alt-country outlaw type music, you are sure to like Delirium Tremolos whether or not you have heard Hubbard before. Give it a shot, you can't go wrong.

backroads poet
Ray Wylie Hubbard's new CD continues in the style of his previous recording, Growl, but does not merely reiterate it.Delirium Tremelos is less, er, growlier.As much groove as melody, Growl was a rough-edged evocation of the imaginary America conjured up in its traditional folk music -- though the songs were Hubbard's originals.

This time he's borrowing mostly from other writers, all good ones; nobody would question Hubbard's intelligence and taste.The sound is sweeter in many places, sometimes downright pretty (e.g., Canadian writer David Wiffen's "Drivin' Wheel," recalled by all who were there for Tom Rush's classic 1970 reading, and Woody Guthrie's declaration of spiritual independence, "This Mornin' I Am Born Again").The old-time folk-blues "Roll and I Tumble," another of the album's particularly striking moments, comes closest to the antique, anarchic spirit of Growl.

With each recording -- and with the help of Gurf Morlix's producing genius -- Hubbard moves closer to the front rank of roots-based American performers and composers.Onesenses that this veteran, evolving from a decent literary singer-songwriter to a grittier, more engaging backroads poet, is finding that dark and raggedy voice that was always inside him.

His music has a gruff side, but that is its ballsy charm
Playing Time - 45:35 -- Ray Wylie Hubbard may be best known as the composer of "Up Against the Wall, Redneck Mother," and he also wrote "Wanna Rock `n Roll," Cross Canadian Ragweed's party anthem. On his "Delirium Tremolos" album, the Texas singer/songwriter with the strong, growling baritone primarily interprets songs of Eliza Gilkyson, Roger Tillison, James McMurty, Slaid Cleaves and others. Three originals from his own pen are also offered. "Dallas After Midnight," originally recorded about 20 years ago with the Lost Gonzo Band, is a hard-hitting tale of a liquor store robbery gone wrong with all its social commentary. Jack Ingram sings with Ray Wylie on this number. Another Hubbard ballad, "Dust of the Chase" relates the story of a scripture-reading gambling man who is "lost in the dust of the chase" that his life brings. Written with Cody Canada, "Cooler-n-Hell" is straight-ahead blues that speaks to those things under heaven which are cooler-n-hell.

When choosing covers, Hubbard shows an affinity for meaningful songs that are both funny and serious. His socially conscious messages have built him plenty of fans in the alt-country crowd.Back in 70s, Hubbard and his Cowboy Twinkies band had a very short fling with Warner Brothers. Some additional albums followed during the 80s. The decade of the 90s found him cleaned up after 25 years of drugs and alcohol and with some top Americana releases such as "Eternal and Lowdown" and "Growl." At age 43, Hubbard also took his first guitar lesson, learned to fingerpick and actually began to study songwriting. On the road, he carries an inspirational book entitled "Letters to a Young Poet" by Rainier Maria Rilke.

"Delirium Tremolos" features some material which is a very good fit for Ray Wylie, chosen with the help of producer Gurf Morlix.The project opens with "The Beauty Way," written by Eliza Gilkyson and Mark Andes about Gilkyson's father, Terry, who wrote a number of big hits. Gilkyson sings with Hubbard on this cut, as well as with four others on "This Mornin' I Am Born Again" presented a cappella with only percussion.

The album closes with a personal interpretation of James McMurtry's "Choctaw Bingo," an 8-minute party trip to a family reunion in Oklahoma. The song paints impressionistic pictures of some characters like Uncle Slaton who makes moonshine and cooks crystal meth. We're gonna have us a time with Roscoe, Bob, Mae, Ruth-Anne, and Lynn. Especially the last two I reckon, as Ray Wylie sings, "And they're second cousins to me, Man I don't care I wanna get between `em, with a great big ol' hard-on, like a old bois d'arc fencepost..." Other guest singers on "Delirium Tremolos" include Jack Ingram, Patty Griffin, Kimmie Rhodes, Bob Schneider and Slaid Cleaves. Musicians include Ray Bonneville (harmonica), Rick Richards and Jon Hahn (drums), Cody Canada (electric guitar), Ian McLagan (Hammond B3 organ), and Gurf Morlix (bass, guitars, percussion, steel, mandolin).

On a personal side, Hubbard leads a more conservative life than some of the eccentric people he sings about. He's married (Judy), has a son (Lucas), attends Lucas' baseball and basketball games, and hosts a Tuesday folk and blues radio show (KNBT in Gruene, Tx.). He also plans to tour, write songs, and re-release some of his earliest work in the near future. The music has a gruff side, but that is its ballsy charm. Ray Wylie Hubbard's expressive musicality continues to build a large following, albeit not with that many audiences of mainstream country music. (Joe Ross)

Hometown Boy Made Good
Since we live in the same town, I can't say anything bad about Ray. Opening with a cover of Beauty Way, a darn fine song to begin with, but Ray gives it the road weary touch it needs, the singer who's seen too many honky tonks, the character the original seemed to lack (but the original is much better than most dreck being recorded now) and closing with another cover, the equally great Choctaw Bingo. I must say this is not as good as the live version on Live in Aught Three, but the snaky guitar is worth the price of admission. Buy it, you'll like it.

A rock and roll gypsies' masterpiece
Ray Wylie Hubbard's "Delirium Tremolos" is the best CD I've heard in a month of Sundays.The craggy old Texas singer/songwriter mostly sings songs by other people, backed up by fabulous guitar work and female singers on some tracks who counterpoint Hubbard's growl with a bit of sweetness.

I suppose you would call RWH's style alt.country.His formula is to sing songs with interesting --sometimes deep, sometimes humorous, always surprising -- lyrics, backed up by heavy duty guitar work and little quirky touches such as a harmonica or a gospel organ that breaks in now and then.Maybe he's more like Lucinda Williams than any other artist -- although Hubbard seems to me to have a broader range of interests.

"Driving Wheel" is perhaps the most melodious song on the CD with a killer steel guitar wailing in the background and Patty Griffin adding her voice to the choruses. "Dust of the Chase" features an eerie harmonica weaving in and out of the vocal."Choctaw Bingo" is eight minutes of hypnotic chanting and heavy, heavy guitar. All the other songs are equally interesting.

At first listen, this sounds like a CD that will be an all-time favorite of mine.

Smallchief ... Read more

Amazon.com essential recording

Strangers Almanac first grabs you because it sounds so great. It's filled with dynamic performances that smolder moodily, then flare quickly into firestorms of twangy and soulful guitar rock that fuse Uncle Tupelo with the Stones, the Replacements, with Gram Parsons. But what makes this album essential are the songs of frontman Ryan Adams. Take "Houses On The Hill," about a man merely going through a box of old letters: in just two verses, and to a melody that's the definition of bittersweet, Adams relates a drama more rich in detail than most novels. One of '97's best albums. --David Cantwell ... Read more

Reviews (54)

One of the top five of the 90's
Ryan Adams has one of those whiskey soaked voices that drives slow sad songs deeper and drives rockers with a frenzy that approaches John Lennon's raspy shouting on 'Twist and Shout.' On this album Adams' songwriting and a dedicated band that drifts easily from deep country with bluegrass tinges to Stones (or John Mellencamp or Paul Westerberg)inspired rock and roll, combine on record ranks easily as one of the top five for the entire decade.

I have heard bands or singers called "World Weary", and no band is a better example than Whiskeytown. Lumping them in the "Alt-Country" or "No Depression" (whatever that means) groups is unfair. Whiskeytown is equal parts rock and roll and country and with Benmont Tench manning the keyboards behind them, this band turns out some of the best [North] American music this side of Tench's full time job, Tom Petty and the Heartbreakers or the Band [mostly Canadians]. How many "Alt-Country" could turn out a ballad as souful [including horns] as 'Everything I Do?'

The songs themselves swing from the simple and plaintive opener 'Inn Town' and 'Losering' to the raving 'Yesterday's News' and 'Waiting to Derail' to the bare bones acoustic guitar and fiddle on 'Houses on the Hill' and 'Avenues' and the afforementioned 'Everything I Do.' Every song on here stands pretty much on its own and the changing styles keeps everything moving. Going from 'Houses' to the late era Replacements-ish 'Turn Around' to the dark and brooding 'Dancing with the Women at the Bar' is a good example.

Do yourself a favor and just buy it.

continuing gram parsons' vision
if gram parsons had recorded an album in 1997, it might have turned out quite similar to whiskeytown's "strangers almanac." aside from the decidedly 90s-style studio tricks that are sprinkled throughout the record's thirteen tracks, the countrified singer/songwriter style is what shines through. yes ryan adams tends to get a lot of hype, but most of it is well deserved. charisma, strong lyrics, and a natural understanding of the intangibles that make great music will do that. whiskeytown may upset the country purists because of the distinctive rock influences, namely on "16 days" and "yesterday's news", but it's just a continuation of parsons' blurring of musical boundaries. "inn town" is a beautiful opener - subtle and emotional, and it's followed by the aching "excuse me while i break my own heart tonight" which seems too short but is arguably the strongest track here. the quieter moments are the album's gems, with "everything i do", "avenues", and "dancing with women at the bar" standing out, though "waiting to derail", a uncharacteristic yet effective rocker that has an emo-punk edge to it is strong as well. alcohol is a major theme throughout the album, and though it's easy to find fault in adams' characters (himself included of course) for their drunken finger-pointing, he manages to come off as sincere and regretful, if only for a second, and that makes him endearingly human. many music critics point to wilco's "being there" as the definitive 90s "alt-country-rock" record, and while that record is easily as strong as "strangers almanac", it's clear that wilco was steering away from its country roots, whereas whiskeytown unabashedly embraces them here. credit adams and caitlin cary for that. a must for any modern country-rock fan.

very good
Way too much has been made about Ryan Adams' career after Whiskeytown. Did he sell out? Does he have a shred of artistic credibility left? To be honest, I don't care. Just listen to the songs and let them stand on their own merit. Strangers Almanac is a great album from start to finish. This is a great place to start with Adams' career. However, many people believe it also is the place to stop as well.

a record for all beautiful loser's
Ryan Adams is a genius. Yeah his ego is a mile high, but you know what with lyric's as good as this I came see why he's like that. Anyway, Strangers Alamanac unfolds like a novel of youth lost and longing. On this record you can really see the Paul Westerberg influence, rather than their debut Faithless Street(which by the way is also great) a big the Gram Parsons influence. "Avenues" sounds like it's a companion piece to The Replacements song "Here Comes The Regular". Adams to me always had a beautiful losers/youthful romanticism ethos about him. Anyway, buy this record!

Quite possibly the best record album ever.
When listening we must all mourn what Whiskeytown could have been. The songwriting, vocals, and music on this album all come together to embody the "No Depression" movement. Quiet desperation. Depth of emotion rarely heard in music. Listen on an all night drive-- with a picture of your ex-lover on the dashboard and a carton of cigarettes beside you on the seat. ... Read more

Amazon.com

This young Canadian singer-songwriter delivers a sucker punch of an American debut. While it may take a few listens for some of the material to sink in, Kathleen Edwards plainly has attitude to burn and a killer band to back it up. As a rootsy artist who sings about sexual attraction and betrayal with a languid breathiness, she inevitably has been tagged a younger Lucinda Williams, but it would make as much sense to describe her as an alt-country Ani DiFranco or a female Ryan Adams. What's most powerful in her music, however, seems to come from a deeper, more personal place than the study of other artists: from the violent climax of "Six O' Clock News" to the bitter resignation of "Hockey Skates" to the buoyantly rocking resilience of "12 Bellevue" to the offhand sensuality of "Westby." Plainly, she's unconcerned with ruffling feathers, titling one number "One More Song the Radio Won't Like" and elsewhere asking the musical question "Do you think your boys' club will crumble just because of a loudmouth girl?" --Don McLeese ... Read more

Reviews (57)

On Her Way
Well, I'm not ready to hand her the "Heir to Lucinda" title, but Kathleen Edwards has a future. She fronts a band that rocks country. She writes a good lyric story and sings in a fragile tough voice that sells the stories. Like Lucinda, a lot of those stories hammer or mourn old, and sometimes dead, boyfriends. Wisely, she doesn't waste a minute and frontloads Failer with her best. A song belied by its terrific upbeat guitars, Six O'Clock News is the downer story of a pregnant girlfriend watching as cameras cover her apparently bipolar lover's fatal confrontation with the police. One More Song the Radio Won't Like, a kiss off to a music scene schemer, is anything but radio unfriendly. Once heard you hum it all day. Hockey Skates -- she's from Canada of course -- is the weary ballad of an affair that's been going bad for so long that everything and everyone is worn out by it -- "I'm so tired of playing defense/and I don't even have hockey skates." Nothing else here quite matches that trio's quality, but it's all good, if occasionally repetitive, e.g. Maria=One More Song. Best of the rest are Mercury, Westby (older married man/young woman motel sleaze; "if you weren't so old/I'd probably keep you."), and Sweet Little Duck.

And if I didn't like this for any other reason, there's always the fact that the bassist is named Kevin McCarragher. Have to compare our Irish roots sometime.

Wonderful record well deserving of the accolades.
It's as if Kathleen Edwards took the best elements of several of her contemporaries and made them her own. Her keening voice evokes Laura Cantrell, but she's a far better singer in terms of phrasing, body and personality. Her country-tinged arrangements nod to both The Wooden Stars and Blue Rodeo, and her witty, observant lyrics sometimes remind me of Sarah Harmer.

Edwards' gift is to make simplicity beautiful. I can't think of anybody else right now who can make a dead-simple, repetitive melody as "Six O'Clock News" work, and work so marvellously. "Hockey Skates" hangs its spare arrangements on a terrific yet basic guitar line, but played with relish. That vocal ad lib which opens "The Lone Wolf", the surprisingly gutsy electric guitar of "12 Bellevue" and the multitracked acoustic strums of "Westby" are all examples of the imaginative yet deceptively simple touches which make the songs great.

The great playing and arrangements on this record definitely help, making the most out of simple country-rock elements, and Edwards' singing is very engaging, often careless of pitch like Neil Young and early Sarah Harmer, but always expressive and fitting to the song.

From time to time, an artist is hyped simply because s/he is better than the rest. Kathleen Edwards is one such artist, and if the media hype helps people discover her music, all the better.

If Lucinda Williams and Ryan Adams had a daughter together..
She might be named Kathleen Edwards. I think the song writing style is a perfect blend of those two artists. She writes about failed relationships, not being accepted in the "boys" club that run so much of the music industry, not being able to get her songs played on the radio, having an affair with an older man, too much drink and drugs, and you have no doubt she has sufferred heartache, a thread that runs through most of Lucinda Williams songs. But wait...because she also strikes back. In the song "Westby" she sings "If you weren't so old, I'd probably keep you/ if you weren't so old I'd tell all my friends/ but I don't think your wife would like my friends." In "One More Song the Radio Won't Like," she sings "Reel it in and shut your mouth/reputations are in doubt/write a hit so I can talk you up/ no one likes a girl who won't sober up." Ryan Adams writes a lot like that-songs about being hurt, but he finds a way to poke a finger in the eye. She does that in virtually every song and she sings like she REALLY means it! The band is excellent; they play rock with a country edge. My favorite song is the opener "Six O'Clock News." It's a catchy tune steeped in irony-the boyfriend seems to snap, he's holed up, he's got a gun, and the one thing that might save him is hearing that his girlfriend is pregnant. Alas, she is not allowed near him to deliver the news, and he ends up dead, all over the evening news. Potent songwriting! Highly recommended, and I think this is an artist to watch.

Pry it from my cold, dead hands
I absolutely love this CD. The more you listen, the better it gets. Lyrics are fresh, and range from wise, insightful, and humorous to truly gorgeous and evocative. I have a 10 disc player in my car, and this one has been in since it was released -- well, o-kay, it has been taken out, but only so I can listen to it elsewhere!

True Canadian Grit
Our friends to the north in Canada have been known to give us some of the best artists to grace the pop music world, from the Guess Who to Gordon Lightfoot and Joni Mitchell. Kathleen Edwards, in my opinion, can be added to that ambit with her debut album FAILER, an album that must rank as one of the best for the year 2003.

Edwards has been compared more than a few times to Lucinda Williams, which is heady praise indeed. But she is also her own woman, with an approach that combines alternative country and 1960s-style folk-rock along with stark modern lyrics, and a sardonic sense of humor. There's good social comment on "Six O'Clock News", and a big (but well-deserved) punch to American corporate radio on the ironically titled "One More Song The Radio Won't Like." There is also the use of one off-color word in the track "National Steel" which shows off a true acid side of this new Canadian gal.

Kathleen is someone well worth watching for in the future; hopefully, American radio stations, be they country or adult-alternative, will latch onto her. ... Read more

Amazon.com

When Willie calls, Austin responds. Tragedy brings out the best in this music-minded community, as some of the city's finest artists showed by joining forces with Willie Nelson in a concert to benefit the victims of South Asia's tsunami. With Patty Griffin's "Love Be Heard" and Nelson's rendition of "Living in the Promiseland" setting the idealistic tone, the performances range from the go-for-broke rock of Joe Ely and Alejandro Escovedo to the folkish country of Bruce Robison and Kelly Willis and the arty, indie pop of Spoon. "Travelin' Soldier" provides the best example of the communal spirit of Austin music, as that hit for the Dixie Chicks finds Natalie Maines harmonizing here with the song's composer Robison and his wife Willis. Maines provides vocal support for Griffin on "Mary," and Griffin teams with Nelson on a set-closing duet of "Angel Flying Too Close to the Ground." With a generous selection of 18 tracks, the last third of the album features Nelson in fine form, his conversational phrasing and distinctive guitar even jazzier than usual. Though he's plainly the headliner, all of the performers rise to the occasion, to the delight of the responsive hometown crowd. --Don McLeese ... Read more

Reviews (2)

What We Deserve- Willie Delivers

Willie Nelson is always ready to assist when there is someone in need. He gives back. When musician Michael Hall called "and when Willie said, `Count me in,' I knew we were off and running." The "Tsunami Relief Austin to South Asia" concert was held at the Austin Music Hall. Patty Griffin, Spoon, Joe Ely, Alejandro Escobedo, Bruce Robison and Kelly Willis and the Geezinslaws were among those who performed.
All the acts donated their talents. Proceeds of ticket sales for the concert at the 3,000-capacity Music Hall went to the American Red Cross, UNICEF and Doctors Without Borders.
As Willie Nelson said "There are a lot of people who would like to do something. We are glad to offer those people opportunities to help out in different ways."

Willie Nelson's Tsunami Relief Concert was recorded and this CD is pure Willie. He asked several of his good friends to play with him in Austin and they came through.

The best of the songs are by Willie. "Living In the Promised Land" sung by Willie is the best- his sweet gravelly voice comes through. He goes on to duet with Patty Griffin in "Angles Flying Too Close To The Ground".

My favorite is the moving tribute, "Traveling Soldiers" sung by Kelly Willis and her husband, Bruce Robison and Natalie Maines.
Kelly Willis sings a solo in "What I Deserve', and she is so apt at bringing out the slow, singular notes of this song.Bruce Robison raps up the best of his with "What Would Willie Say?" Bruce Robison is one of the better country singers and writers and his part of this CD is a real tribute to Willie Nelson. 18 songs on this CD, and none of these disappoint.The real winners are the Tsunami relief victims and the rest of the public who are fortunate to hear this CD. Highly Recommended. prisrob

Excellent Music for an Excellent Cause
I was fortunate enough to be at this concert, and it was truly awesome.I've been waiting ever since for the cd and dvd to be released, and I was not disappointed.The album has that vibrant quality only live albums seem to pull off.It's a great mix of the best of the Austin music scene, and generally just a feel good, rocking album.If you're not familiar with some of the artists on this cd, namely the Joe Ely Band, Bruce Robison, Kelly Willis, & Patty Griffith, and Alejandro Escovedo, this a good way to check them out, and help out a good cause. ... Read more