Album Description

Full title - God Put A Smile Upon Your Face. ExclusiveAustralian single from their 2002 album, 'Rush of Blood tothe Head', is b/w three exclusive non-LP tracks, 'Murder','Politik' (Live), & a cover of the Echo & the Bunnymen's'Lips Like Sugar' (Live). Copy Controlled. Capitol. 2003. ... Read more

Reviews (1)

Probably the best compliation
Okay, I haven't really felt the need to review any of Coldplay's stuff, despite a certain affinity for the band. I had to remedy that for this single, as it quite literally brought a dream to life.

But I'll get to that in a moment. "God Put a Smile Upon Your Face" isn't their best song. Of course, I can't think of a "bad" Coldplay song, you can really only compare their songs to one another. This song is very melancholy and wonderful, it's just no "Yellow" or "Green Eyes".

"Murder" is a good song. I didn't really catch anything that stood out, but I'll definitely give it another listen. "Politik" live is lovely, with a minute and a half intro before they get to the infamous opening guitar.

And the gem of the album, the final track. I saw the cover of the single and went "Hm, new import. Bonus." Then I saw the sticker claiming "Contains all new Live versions of "Politik" and "Lips Like Sugar". I dropped what I was holding, stunned.

For those of you who don't know, "Lips Like Sugar" is a song by Echo and the Bunnymen, one of Chris's favorite bands. Before I'd heard of Coldplay, I was an Echo and the Bunnymen buff. "Lips Like Sugar", bar none, is my favorite song. And apparantly, Coldplay agrees, since Chris introduces it by saying, "Here we go, this is one of the greatest songs in the world." And he's quite correct. Chris does an excellent job covering the vocals, never trying to imitate Ian'swork on the original. the rest of the band plays the song spectacularly, a slightly faster version that the Bunnymen themselves do live.

As I stated previously, this was a dream come true. Ever since I heard "Parachutes", I knew Coldplay and the Bunnymen had to do an album together. And while this isn't quite the same, it's still wonderful to hear. And a note to Ian, Will, and the gang: I think hearing you guys cover "Spies" would be awesome. ... Read more

Reviews (19)

manchester gold
Always in the shadow of Bernard Sumner's high-flying Electronic venture, Peter Hook's Monaco was bound to play second fiddle in the post-New Order order. However most of the criticisms of this album are incoherent. Derided as a gratuitous tribute to Hook's ankle-level bass playing and glam-rock proclivities, "Music for Pleasure" is indeed just that: solid Manchester gold to put into your CD player and turn way up. That's the reason I buy CDs. And will somebody please tell me why a song is bad if it's over five minutes long? To criticize a track on that basis alone betrays an absence of aesthetic sensibility. Maybe that's why music critics are music critics and not the successful musicians that they wish they were. Anyway, cheers to Hooky for this one--anyone who listens to "Music for Pleasure" will know where New Order got its groove from.

Not New Order, Not Even Electronic, Not Worth It...
Well, I'll start with what's good...
The first single (and album track.) "What do you want from me?" Superb. Exellent. Able to raise expectations for the album to above average. The album is released. Despite a mediocre critical review I read in the paper the day of its release, I buy it, speculating that the review was written by a jaded critic who never properly appreciated good 80'ish synth-pop which "What do you want from me?" clearly evokes. In fact this song is better than any song of of New Order's 1993 album "Republic," including the fan favorite track "Regret." This song actually sounds like a really good, upper-echelon New Order single. The first time I heard it, I thought it was New Order. The vocals and guitar work are like Bernard Sumners, with keyboards are percussion that sound like the work of Gillian Gilbert and Stephen Morris respectively. One of the best singles released in the 90's in my opinion. Too bad it was the best the album had to offer.
In stark contrast to the first song, the album immediately takes a wrong turn. Peter Hook's signature bass sound (his best attribute) sinks into the background of several sub-par tracks. Whether or not track three is tounge in cheek, it actually made me wince and laugh. This is not a good thing. I simply cannot believe that it was put out by the same guy. The rest of the album is uneven with a little brit synth pop, and some ... techno sounds. Good tracks resume halfway through including a nice ode to Portishead's innovative sound, but sevral are just that... about half what they could be. Cut out half of these and Monaco would have a 4 star EP release. Stretching it into an album was not good for the listener or for them. It is the dancy numbers like "Junk" that are not needed and overly long. Peter Hook's second strong point, his vocals, are nice on "Tender," a favorite of mine and a jem in the coal mine of material here. Unless you are a die hard New Order fan who has to have every offshoot release, spend your money elsewhere. The first song is amzazing but not enough to jusify having to hear the third. Efforts by New Order (the whole of them) and Electronic are far superior. I would like to give this two and a half stars, but cannot in good conscience award it three.

Heat Wave...
This thing cooks....It's not too hard to figure out where the drive and energy found in any New Order work comes from...Hook is the beat and a perfect foil for Sumner's school-boy, soccer idolizing, slightly sugar coated musings...This always makes it to the morning spin, handles the delays in a long commute home well, and survives the evening to energize...One of the best, if not the best, to come out of any New Order or spin off offering.

Solid work
A severely, severely underrated album. Peter Hook is quite simply one of the greatest bassists of our time, and it is evident from the infectious grooves that lace this album and enhance its total musicianship. More straight-ahead rock than New Order, it still retains the classic New Order melodies and ear-catching "Hooks" (pun intended). It's high time that this release got its full due.

Timeless. A True Masterpiece.
This is such a great CD. "What Do You Want From Me" is such a fabulous song. I've been listening to this CD almost 7 years and it still blows me away. This is a keeper! It's like New Order with a twist. Very groovy, upbeat, and just feels refreshing. I'm glad this New Order side project stayed humble because it means it won't be spoiled in the masses. A cult-classic for sure!

Enjoy! ... Read more

Reviews (32)

Interesting...unique...pretty good
Now I'll admit it, I didn't buy this CD to long ago. Even though this was made back in 1995 I decided why not, I loved the song "In The Meantime" back then and had planned on buying the album, but I always forgot about it when I was in the record store. But anyways lets get down to the CD, Spacehog definetly intended to make their album unique and different from anyone else's and let me tell you they sucessfully did it. The only other sound I can really compare this to is David Bowie and even saying that is a stretch, and though this album could of been better I still applaud them for their bold efforts. "In The Meantime" is a great song though, and if they only followed that formula for the rest of "Resident Alien" it would be a classic. Yes it is true, these guys deserve alot more recognition than they get, hopefully someday they will finally get that fame that seems to be owed to them.

SPACEHOG deserves a lot more attention!They rock!
Spacehog is one of those bands where only a few people have heard of them, and those of us who have are so pissed that everyone else doesn't love them as much as we do! They must be the most underated rock band of the century! I'm a little to young for David Bowie, but this album still rocks...if you like "In the Meantime" then you'll have to love the enire thing! Richard Steel, Johnny Cragg, Royston and Antony Langdon form the perfect mix! Their sound is so unique! BUY THIS CD AND CALL YOUR LOCAL RADIO STATION TO REQUEST THEIR SONGS! You'll love it!

Off the beaten path
I first learned about Spacehog through the news. The singer, Royston Langdon (aka "The Luckiest Man Alive") married Liv "Arwen Evenstar" Tyler in 2001. This made headlines at the time, as it was incontrovertible proof that even the homeliest of guys can hit the jackpot every now and then.

Three things strike me about this album:

First, is it quirky? Yep. Off the beaten path? Definitely. But underneath this somewhat bizarre album is a collection of strong and well crafted songs written by people who are quite talented songsmiths.

Secondly, they're very well produced. They have a great sound, and whoever the producer is deserves an award. The band's strengths are played up. The mix is just right. The sound they get out of their instruments is simply phenomenal. It's perfect for their style of music.

Thirdly, the singer, Royston Langdon, has a strangly intriguing voice. I'm not sure it would carry well in a more traditional band, but it's perfect for what Spacehog does.

Pigs in spaaaaaaace.
Though I'm sure they're mostly thought of as a one-hit-wonder, man what a hit. "In The Meantime" has got to be one of the coolest songs of the mid-90's. After that the songs aren't as good, but still similar, and mostly interesting. Actually I think "Cruel To Be Kind" was a minor hit as well. Their sound is definitely retro-glam, like a "David Bowie" or "Elton John" influenced 90's alt-rock band. By now this disc is probably in every used store across the country, and well worth the price you could get it for. After a few listens, you'll realize "Space Is The Place".

Hog Wash,
No, I am not French but the majority of this recording SUCKS in ANY language. I have owned this cd for 9 years and I never get past the 1st song "In the Meantime" the rest of em' come on; immediately I lose interest. Faster than a blind date with your mom.

"In the Meantime" is this CDs only saving grace. Save your pennies, this one is hog wash! ... Read more

Reviews (22)

"...It's an illusion of life..."
While Dead can dance's first album was already a magical gothic rock experience their second album brings their music to the heights of artistic perfection.
"de profundis" already shows band's new style - heavy medieval wall of sound,Lisa's etheral vocals and creepy atmosphere."ascension","Cumirant dawn","Mesmerism" are really scary and fascinating at the same time,while Brendan Perry's songs have got more traditional new wave rock feeling."The cardinal sin" is very hipnotising with it's dark lyrics,trumpets,gloomy bass riff and ocasionally played piano. "advent" is the most normal sounding song compared to the rest of album. "Indoctrination" is a great ending to the album.
TO be honest at first i didin't liked "spleen and ideal" as much as their other works.at first i thought it is too much raw and uncertain...but after few listenings i got addicted to it. i think that this is the music that you really love when you will already get into it.

Between two worlds
"Spleen and ideal" is my favorite DCD album; the dynamics of the arrangements and the thrilling performances here are amazing. While the drum machines and the doomy atmosphere of their self-titled debut have remained, DCD's overall sound embraces unfamiliar approaches for an essentially rock-based band: European medieval music, featuring Gregorian chants, Celtic, and neo-Gothic. Lisa Gerrard takes a larger share of the vocal turns here than on DCD's debut. Nearly every song has a particular element or edge to it, making it immediately attractive and fascinating, just listen to the majestic trombones of "Ascension", the pulsating dance beats of "Mesmerism", the booming, primeval bass drums of "Enigma..", or the crystalline synths of "Advent". Always employed with rare skill and grace, the medieval elements of this album evoke a deeply touching, ecstatic mood without ever sounding trashy or unfocused. Maybe "Spleen and ideal" is not DCD's most popular album (many fans prefer the follow-up "Within the realm.." or DCD's commercial breakthrough "Into the labyrinth"), but I think the band hasn't sounded so severe and powerful on other releases.

another world
dead can dance puts me in another place, a space outside myself that is very conforting and spatial. Each and every album. I do not own one DCD that I don't love. This one in particular takes me away like meditating. It's very mesmerizing.

....
This has been my extra-turbo favourite cd for the past 7 years.Indoctrination is definitely their best ever song!

Dull DCD
The first Dead Can Dance song I heard was "Towards the Within", which absolutely mesmerized me. So when I got Spleen and Ideal for Christmas last year, I was thrilled (having previously gotten Aion from the library and enoying that)...until I put it into my CD player. This is so different from the DCD music I enjoy. Personally, I can't get enough of Lisa Gerrad's soaring glossolalia, but this CD mostly contained depressing drones in Brendan Perry's depressing, unemotional voice. It either puts m to sleep or gives me a headache. I highly recommend Spiritchaser (my favourite to date) or Into the Labyrinth. ... Read more

Amazon.com

Unless you choose to invest in the five-disc Direction Reaction Creation box set, this 25th anniversary collection is the best Jam available. The 20-track retrospective heads chronologically from the debut "In the City" single to the farewell one-off "Beat Surrender" by way of the most notable chart hits and a sprinkling of classic album tracks. Although fans may quibble with the exclusion of peak-period singles "All Around the World," "Strange Town," and "When You're Young" (as well as the presence of the misanthropic "Mr Clean"), what strikes anew is the taut energy of the trio's playing, the bitter bile of Paul Weller's lyrics, and the sophisticated, hook-packed update of Britbeat from one so young (Weller was still only 24 in 1982 when he broke up the biggest band in Britain). --Garry Mulholland ... Read more

Reviews (4)

A great primer for a classic British band
Across their six albums, The Jam touched on virtually every style in existance, and this CD is a great chance to see that. Their roots were in the punk / new wave scene, but frontman Paul Weller also had a lvoe of soul, funk and jazz, as well as an itneresting socio-political approach that had a different kind of bile to the Sex Pistols - it was perhaps more positive and inspirational, even in their early days.

The selections are roughly 50/50 split between singles and album tracks, which means that a lot of singles are missing - although only the lush ballad The Bitterest Pill and the obscenely catchy When You're Young are really missed. Album tracks such as the poignant English Rose and the powerful Liza Radley are certainly among tehir finest tracks.

Their artisitc progression is quite easy to chart from the tracks here. With a love of 60s pop, they somewhat tagged onto the punk vibe in tehir early days, before coming into real form with the amazing, edgy Down In the Tube Station At Midnight, which builds into a truly stunning climax as its sad tale reaches its conclusion.

The Eton Rifles then burst them into the UK Top 10, with it's hilarious lyrics on the class struggle - "all that rugby puts hairs on your chest, what chance have you got agaisnt a tie and a crest?" - before they increasingly took influences form black American music. Start! is especially inventive, and seems to be several songs in one. The acoustic social commentary of That's Entertainment is perhaps their greatest track - no wonder its one of the few that still features in Paul Weller's solo set.

Having been heard in the film Billy Elliott, and covered by Britpoppers Gene, A Town Called Malice is their best known / least unknown song. With a very Motowny baseline it's representative of their later material, and extremely hummable, while lyrically still down to earth and quite English.

The band were soon finsihed, as the artisitc differences become too much - bassist Bruce Foxton formed punk band Stiff Little Fingers, while Weller fronted the soulful, romantic Style Council (both great bands as well). Their legacy is impressive, and too easy to overlook.

Great intro to an overlooked band!
It's already been said a million times, but I guess it bears repeating: the Jam were a smart band with an edge who were idolized in their native Britain but almost completely ignored by American listeners. It's sad, but very true. (In the States, Jam leadman Paul Weller was most famous for being the only featured singer who nobody could recognize in that Band Aid video of "Feed the World (Do they know it's Christmastime?") "Oh look there's Bono, George Michael, Boy George, and Simon Le Bon. But who's that guy?")

Now with "The Sound of the Jam" one can get an idea of what American listeners missed out on the late 70's and early 80's. This is a complilation of some of the best songs from the Jam's six studio albums and greatest singles. The CD lists the tracks in chronological order from the raw punkish sound of the band's early days to the soulish/Motown derived sound of its later effots including their most famous song- "A Town Called Malice," which was featured prominently in the movie "Billy Elliot."

This is really a terrific compilation for anyone curious about this band. As mentioned above the Jam's sound evolved greatly over time and this album allows a listener to follow that progression without the expense of buying every studio album. However, this CD is a teaser because once you start listening to the Jam chances are you're going to want to hear more.

Great Sound Quality On This Nice Collection Of The Jam!
The Jam were part of the punk movement that took place in England in the latter 70's, and while they might not have been as popular as The Sex Pistols, The Clash or The Police, they did release some excellent songs as is evidenced here on this latest remastered collection called "The Sound Of The Jam". More popular in their native England than in America, they had a number of hits such as "The Modern World", "Eton Rifles", "In The City","English Rose", "Going Underground","Town Called Malice" and "Beat Surrender" to name a few. While this collection is the best sounding I have ever heard with it's top notch remastering, giving the songs an enriched sound compared to other compilations, I was surprised to see that their hit "Funeral Pyre" was not on this collection. I'd have easily given this cd five stars had it been included. If you, like myself, enjoy listening to groups such as The Police, The Clash, Generation X, The Buzzcocks, The Sex Pistols, and Elvis Costello, then I would highly recommended adding this cd to your collection.

Good start for collection
It's a crime that the Jam are not as well known in the US as they are in the UK. Unlike many of their peers from the original punk explosion of 1977, the Jam expanded their sound with each release, becoming superstars in the UK along the way. Paul Weller, the trio's singer/songwriter, had a knack for mixing the personal and the political in songs that were simple in construct, yet catchy and powerful. With influences as diverse as 60's Motown (Check the bassline of "Town called Malice") and the Who, they cranked out one instant classic after another. This comp is a great start for neophytes, and will have you hunting down the rest of their amazing catalogue. ... Read more

Album Description

Aussie version of the classic release at a nice price!Unavailable in the US. Features their campy version of 'MyWay'. Digitally remastered. ... Read more

Reviews (13)

Not A True Sex Pistols album!
This album should be credited to Malcolm Mclaren and the Blowaves, not the Sex Pistols. Apart from the early John Rotten tracks and the Sid Vicious tracks this is utterly useless drivel!
Not Punk, Not Rock, Not even good comedy. YAWN!!!!

anarchy in the punk record
The Great Rock N Roll Swindle is itself a headlong swindle to the people who could take the project seriously - that is to say, an album long endorsement of the idea that Malcolm McLaren strongarmed the idea of punk music. In it, there's plenty of nose-thumbing aberrations like an orchestral "EMI," or the willfully grating "Who Killed Bambi," enough so that the whole project can easily be dismissed as completely indulgent. However, a handful of fist-pumping songs prove that, despite any arguments to the contrary, music wouldn't have survived without the Pistols - "What You Gonna Do About It," the Sid Vicious "My Way," and even the title track have nearly as much spit in them as actual Pistols songs.

Who killed The Sex Pistols?
This is the soundtrack to the "documentary" about The Sex Pistols. It features a few good tracks and a lot of junk. The songs sung by Sid Vicious are a definite highlight, especially the legendary "My Way". The tracks by original vocalist Johnny Rotten are poorly perfomed, unrehearsed covers of other people's songs, other than the reprise of "Anarchy in the U.K." from Never Mind the Bollocks. There are also a few vocal contributions by Sex Pistols Steve Jones and Paul Cook, which are pretty good. And then there are the odds and ends. There are mediocre contributions by Ten Pole Tudor, bank robber Ronnie Biggs and Sex Pistols svengali Malcom McLaren. Then there is the really weird stuff; a disco Sex Pistols medley and a tradional French version of Anarchy in the U.K. This CD is for hard core Sex Pistols fans only.

Believe Malcolm
When he says the Sex Pistols were a rock n roll swindle, you may as well believe him. Certainly, this album is a swindle, and its sales must make Malcolm (their manager) laugh all the way to the bank. A few unreleased Sex Pistols songs, a few weak tunes by other members, and some Malcom produced crap make this a forgettable CD. Sure there are some funny songs here. So what? There are lots of funny songs around. These aren't particularly witty by any means. Seriously, the Sex Pistols were a good band, then and now, highly overrated. Pick up their first CD and that's all you need. Or better yet, by something by the Clash, Ramones, Buzzcocks, Dead Kennedys, or The Damned. Hear real punk music that wasn't "Svengalied" into existence. So, okay, you can yell at me now. :)

My Desert Island Disc...
If I only had one cd to listen to for the rest of my life, I'd pick this one. No joke. I'm not even a big Sex Pistols fan. This CD is hugely entertaining. It is punk, disco, folk, and good old fashioned rock n' roll. It is agressive, violent and funny. "Who Killed Bambi" makes me laugh and want to break something every time I hear it (and I am 34 years old, and should be more responsible, you know?!?) Anyway, if you are on a road trip or something, listen to this one start to finish. Also see the movie. ... Read more

Album Description

UK two disc, remastered reissue of 1982 album includes 9 bonus tracks - John Peel Session #5, first broadcast 15 September 1981 'Deer Park', 'Look, Know', 'Winter', 'Who Makes The Nazis?' - Kamera 7inch single, April 1982 'Look, Know','I'm Into C.B.' and live tracks 'Session Musician', 'Jazzed Up Punk Shit', 'I'm Into C.B. (Stars On 45 Version)', 'And This Day', 'Deer Park' and 'And This Day (Revisted)'. Castle. 2005. ... Read more

Reviews (2)

Wonderful aliveness
This album wakes you up.You too want to Invent Words.Loooooove them.Bless them all.I play the alternate version of "Who Makes The Nazis" over and over and can't get enough.It's so organic.Has actually MADE ITS WAY into my novel.Yes, I am writing a novel.The Fall is helping me.>:-)

The Fall at their most controversial!
'Hex Enduction Hour', The Fall's mammoth fourth album, stands along with 'This Nations Saving Grace' as their greatest achievement. Realeased in 1983, a year after the amazing 'Perverted By Language', 'Hex Enduction Hour' was shaping up to be the final album that Mark E. Smith was planning to release. That was until the finished album was released to huge underground success (not hurt by the infamous opening lines to 'The Clasical'). In the wake of its success, the band decided to keep it going for a little while longer (20 years!). Many of the band's best songs come from this album, in particular 'The Classical', 'Just Step S'ways', and 'Who Makes the Nazi's?', the latter of which helped fuel the fire of controversy surrouding the album. Also, the closing song, 'And This Day', is arguably the best of The Fall's loooong tracks, clocking in at over 10 minutes. I'd go as far as to say that this is the least compromised album in he Fall catalog, although more than likely, very few actually were.

This import only reissue is worth the hefty price tag attached mainly because of the difficulty in obtaining any other rare or out of print version of the album(I had the old version on backorder for over a month on both Amazon & Insound!). And even better, there is an entire bonus disk of live tracks, John Peel sessions (RIP), and the 7" version of the cataclysmic b-side 'I'm into CB'. Long liner notes, written by Daryl Easlea, are included also, which trace the orgins and importance of the album. If you are a Fall fan at all, there is no reason not to pick this album up. It marks the mid point in their near perfect run of 80's albums that began with 'Grotesque'(included 'Perverted By Language', 'The Wonderful and Frightening World Of...', 'This Nation's Saving Grace') and culminated with 'Bend Sinister". A wonderful and frightening world indeed... ... Read more

Amazon.com's Best of 2000

Primal Scream's XTRMNTR is one of the most intense andinnovative politically charged musical diatribes since the MC5's1969 debut. Approachingelectronic, funk, and alt-punk-based sounds with equal ferocity, thisis arguably the band's finest record yet. The over-the-top brillianceof "MBV Arkestra" (a seven-minute, Kevin Shields-saturatednoise fest) alone cannot be exaggerated. Really! --MikeMcGonigal ... Read more

Reviews (62)

5 years ahead of their time
With this release, Primal Scream surpass all their previous accomplishments and deliver their most impressive album yet. More weighty than Screamdelia and easier to digest than Vanishing Point, Exterminator continues Primal Scream's constant evolution. This is their political rock album, filled with angry political statements, set to the most rocking techno I have yet heard. The guests the Scream got for this album make it worth purchasing on their own, Kevin Sheilds of My Bloody Valentine, Bernard Sumner of New Order, Death in Vegas, Chemical Brothers, among others contribute to Exterminator. Together with Primal Scream, they make the most forward-looking music heard in ages. Every song is brilliant, and the album hangs together as a whole extremely well. "Swastika Eyes", the albums centerpiece, and heard in two mixes (the Chemical Brothers re-mix is amazingly the lesser of the two), is seven minutes long, but delivered with such force and immediacy that it seems like a brilliant 3-minute punk single. This is truly an album every person should own. Dance music fans will enjoy the great beats, Rock fans will enjoy the pounding energy, and fans of new sounds will be simply blown away. The American release of the album includes an extra track not heard in the British release, a cover of a 60's garge band song "I'm Five Years Ahead of My Time." No other words seem sufficent.

Contender for Most Over-rated album of 2000 ?
The British music press have been fawning over Primal Scream and their latest album since the release of Xtrmntr early this year. In their furious desire to embrace a band 'that matters' they have grabbed on to the incoherent and hypocritical adolescent rantings of Bobby Gillespie and co. The first four tracks on this album are of top quality, if somewhat derivative of the Stooges and Velvet Undergound circa White Light/White Heat. They also owe a lot to Mani's exquisite driving basslines, honed in the early 90s with the Stone Roses. After that however, it falters badly. A terrible attempt at white-boy rap with 'Pills';a jazz-rock fusion which Soft Machine would have been ashamed of; a remix of a track already on the album; and the inclusion of a MBV remixed track which had already been released a year ago. Album of the year? I really don't think so.

Difficult, Uncompromising & abrasive, but Superb nonetheless
Primal Scream have never been a band about conformity, from their humble beginnings as a flowered-up rock 'n' roll band ("Sonic Flower Groove"), to the ultimate indie-pop / Dance fusion of the ecstasy generation ("Screamadelica"), through to a melting pot of Alternative Rock, Alternative Dance & Electroncia ("Vanishing Point")...Primal Scream have consistently delivered vastly deferring albums from what went before, and with "XTRMNTR", they not only hand in their most nihilistic, Aggressive and confrontational release thus far, but have made an album that not only matches their career highlight of "Screamadelica" (but depending on who you speak to, possibly surpasses it). Anyone expecting the freewheeling exuberantly optimistic follow up of Screamadelica with be in for a rude awakening, after the first track "Kill All Hippies" rolls into view. Hard edged electronics, interspersed with dialogue laded the start of the track before a commanding kick drum bursts into action and gyrates into full blown brash and unrelenting alternative Rock, and provides a flawless statement of intent.

"Accelerator" up's the aptitude considerably, with a song largely constructed of immense guitar feedback, with singer 'Bobby Gillespie' yelling like a deranged club singer over a thick dense wall of sound, immediately gratifying & although not an easy listen and uniformly relentless in its approach, each listen gathers a greater appreciation for this musical, change of direction.

"Swastika Eyes" would probably be the song that I'd have to cite as my favourite (if forced for a answer), as it has some of the most visceral guitar playing I've heard in ages, with house-influenced bleeps and Dance rave drums, this is the Dance / Rock crossover songs that Primal do so well, and Bobby holds up his end of the deal with a half sung/half spoken delivery that belies it's political beliefs, yet feels abrasive, hedonistic & gleefully innovative.

"Pills" is shouty punk-Rock done expertly, it's construction is simple and a far more laid back prospect, consisting of not much more than simple keyboard & Drum patterns, with another nod to dance music breaks layered over the top, Bobby Gillespie elevates this track to greatness with vocal of pure shouty apathy & disillusionment, that is a million miles away from the screaming energetic vocal of previous tracks, this is one of those tracks that is either a Love it/Hate it track, possibly appealing to those, with an appreciation of Punk-Funk music in their music collections, especially as the track contains a verse with some of the most concentrated amount swear words in a song.

"Blood Money" again confounds the listeners expectations with an instrumental Jazz/Bass Guitar fusion, the Jazz element in question is a seemingly referencing of many of B-movie spy Thrillers that featured 60/70's jazz as their musical score, all horns and Sax, that is not unlike something off a 'David Holmes' album. Coupled with a sublime repeating, groove laden bass Guitar rhythm. This is amongst the most surprising of the tracks included, not because of a drop in musical quality (if anything it's another personal fave), but because it's so defiantly different from what's gone before on the album, that the stylistic change is undeniably surprising, but for an album this is so rigidly non-conformist & experimental, this should be welcomed with open arms, and those (like me) that actually like the odd instrumental arrangement included in a vocal album, this stands out for it superb composition.

For those looking at making the purchase for this album, the question is.."Is it worth 5 Stars??", and the answer is 'Most Definitely....but is it something I'd recommend to everyone, or buyers of the Primal Scream's earlier albums??. Here the answer isn't so clear cut, and a hefty "Try Before You Buy" warning is the best advice I can give. It's not the quality of the album that in question here, but more to do with the fact that this is so far removed for what went before, that some people will buy this with fond memories of the Rave-influenced "Screamadelica" or the Electronic passages of "Echo Dek" in mind. And this album couldn't be more far removed for those two. "XTRMNTR" is a hostile, unrelenting, abrasive, anxious & Difficult listen. And those not knowing what to expect will be in for a 'Rude Awakening', but if you can handle (or indeed enjoy) this jump of genres from: Alternative Rock, Alternative Dance, Electronica, Alternative Punk & and small heaping of funk, this is easily their most demanding album yet, but curiously also one of their best. If your not prepared to give the investment, then I'd say avoid this, and look elsewhere.....but those undeterred by the prospect of Primal's most confrontational album, will possibly even give this the nod over "Screamadelica".

XTRMNT! XTRMNT!
does this album deserve 5 stars? YES IT DOES.
but, are there any tracks that you'd want to skip after listening a few times...yes there are. The toothless chemical brothers remix of swastika eyes and possibly blood money are 2 tracks that i would have removed from the tracklist. Every other track is filled with venom and spits at you like a cobra..a must buy

Techno-punk?
This is one of the most abrasive and bizzare peices of music i have ever heard, and i can't stop listening to it. This is what i would call new age punk music. Fast dance beats melded with layers of guitar feedback, thumping bass and even free jazz. Top that off with harsh political rantings that would make Rage against the machine take notice. "Swastika eyes" is Anarchy in the UK 2k. XTRMNTR is one of the few true musical statements to come out in recent years. ... Read more

Amazon.com

The bad news: Alone with Everybody, the first solo venture by the Verve's ex-lead singer Richard Ashcroft, is not as good as the Verve's pinnacle departure album, Urban Hymns. The good news: it's really, really close. Urban Hymns's elongated, psychedelic space jams and reflective, occasionally plaintive themes seeped osmotically into the listener's every cell, becoming gloriously inescapable. The melodies on Alone with Everybody remain within the parameters of the Verve's last album, carrying over the massive swells of orchestral strings; mellowed, trippy, blues-influenced guitar licks; and Chris Potter's dense production. Initially, the impact is slightly diminished because Verve fans will find it very familiar. But Alone is less cathartic and more resolute because Ashcroft has found real love. As you'd expect from such an adept and introspective songsmith, Ashcroft's love songs are not schmaltzy.This isn't the kind of love that can be expressed through the ear-splitting wail of a pop diva or the jangly chorus of a college-rock quartet. Songs like "You on My Mind in My Sleep," "Crazy World," and the heart-wrenching "On a Beach," reveal a love that is consuming, complex, fragile, and obtained at the conclusion of an exhausting, painful war with the self. The album sprawls in expansive contentment--a contradiction in terms understood perfectly by anyone who's ever loved so deeply, humbly, and unexpectedly that they've needed nothing else. --Beth Massa ... Read more

Reviews (128)

Long Overdue Return
It seems like an awful long time since I last heard Richard Ashcroft on the Verve album 'Urban Hymn's',but the wait has definitley proved worth it.I was a bit worried before I got the c.d. because many of the reviews were unfavourable.Many critics seemed to cite Ashcroft's use of session bass player Pino Pallodino as a sign that he'd made a bland middle of the road album.They based this on the fact that Pallodino had done much of his work with Paul Young in the mid eighties.Well I have to say that I didn't hear any similarities on this album to anything done by Young.In fact I don't think it is a bland c.d. at all.The up tempo tracks still sound like The Verve.The slower numbers are also excellent.He uses strings quite often on this c.d. to great effect,like on the track he did for UNKLE.The c.d. starts off on a strong note with 'A song for the lovers'.The next four songs are slow low key ballads,with 'I Get My Beat' sounding like any verve song.The session players used on the album are excellent and each of these songs have strings used in the background.The production is really polished-maybe too polished for some peoples liking.Track 5 'You On My Mind,...'sounds like a definite potential single.Track 6 'Crazy World' is a quicker rock song that really reminds me of his previous work. The second single 'Money To Burn' has a catchy,cheerful feel to it ,which goes against the general mood of the album.An even better up tempo song is 'C'mon People' which belts along with along with a piano as the main driving force.This is by far the most commercial song on the c.d. and sounds quite different to anything he's done before.I think it works as it's a nice break from bleaker songs Richard Ashcroft is normally associated with.Even more unusual are the lyrics at the end of the song where he sings 'I feel fine now'.The c.d. closes with the excellent slower song 'Everybody' complete with customary steel guitars.This c.d. is a real welcome return of one of rocks more interesting characters.

An Album For Lovers
Anyone who accuses Ashcroft of becoming the next Paul McCartney (happy, content and rich), ought to re-listen to some of the tracks from his sublime solo CD. If songs like "Crazy World", "On My Mind In My Sleep" and "On the Beach" don't sound like some of the most complex, emotional tales Ashcroft has ever woven about hanging onto love as a means of survival, then I give up. I'm glad to hear Ashcroft hasn't lost his edge despite the high profile and extremely disappointing breakup of The Verve. While the CD doesn't capture the defiant zeal of "Urban Hymns" (a CD hadn't left my CD changer in the two years since I bought it), it cerainly contributes a deeply personal and romantic element to an otherwise bland British pop scene, which has seen the breakup of the Verve and the slow and painful death of Oasis. Ashcroft's love songs are something which has been missing from music for a long time.

Ashcroft's solo debut
Richard Ashcroft's first solo album follows much of the same formula as Verve albums. Most of the songs are leftovers from the Verve days but they are still a very tasty treat. Highlights include "C'Mon People (We're Making It Now)" and "Money to Burn", the latter is six plus minutes of abandonless music, and one of the hidden gems among all the Verve and Ashcroft songs. Ashcroft's solo debut has songs about love and life, and a general embracing of life where the early Verve albums were quite dark and dreary. Either way, good music is good music, and this is much better than average stuff. Recommended for fans of Verve, and fans of Rock/Indie.

POWERFUL-MINOR FLAWS
Excellent solo debut by Ashcroft. I am a huge Verve fan and think Ashcroft is by far one of the most honest, committed, and talented songwriters around- like most UK bands (As compared to money hungry US bands) he lays his emotions on the table for all of us to share.

There were big expectations on this CD following Urban Hymns and he deivered for the most part. The only problems I have with it are that is highly over-produced which sort of takes away from some of the more raw emotion and passion in his lyrics and too many of the songs try to hard with extended jams at end. I'm all for 5 minute songs with extended endings but he tries a bit too hard with some, and since so many of the songs sort of follow that formula it takes away from the real stand-outs. Some should be shorter and left to extend live. Also, he sounds a lot like Neil Diamond on some songs which is a little creepy but not a critism.

But, those are nitpicks and I have high music standards so if you are into artists who care about their craft rather than how to best market and sell CD"s then pick this up.

I think almost all US artists should be required to go to "training" in UK before they release a CD.

This is real music.
The Verve were a great band. This is not Yhe Verve, but it is still great. Do not expect the music on this album to be exactly like The Verve. It isn't. The songs you will find on this album are similar to Ashcroft penned songs written later on in The Verve's career, like History, The Drugs Don't Work, and Lucky Man, but mostly gone are the long dreamy psychedelic jams.

But that's ok. This isn't The Verve. It's just Richard Ashcroft, and that's good enough. In my opinion he is one of the best song writers alive today, and there are many fine examples found on "Alone with Everybody". My favorites are Everybody, I Get My Beat, You on My Mind in My Sleep, and On a Beach. The rest are also very good. There is not a single bad song on this album, I love them all.

I loved The Verve, and though they are gone and will never exist again, I have moved on and am thankful that Richard Ashcroft is still around to amaze me with each new release. Long live Ashcroftism! ... Read more

Amazon.com

Awash in the same Britpop romanticism of their debut Love Is Here, Starsailor's Silence Is Easy strains with the weight of the band's next-big-thing status. In response to the clamor anointing them as the next Verve or Coldplay, Starsailor try to meet the expectations with sheer weight of conviction. They even lured legendary producer Phil Spector out of retirement to boost their sound into new realms of lovelorn sincerity. Occasionally, it works; "Music Was Saved" opens with a burst of sunny, Echo and the Bunnymen-like pop, as singer James Walsh sweetly layers his delicate voice through a brisk, catchy chorus. Also impressive is the title track, thick with tender emoting and soaring melodies. Too often though, the band gets stuck in syrupy sentiment, like a cover band playing to the cheap seats. Ballads like "White Dove" try for melancholy allure, but come closer to maudlin excess while emphasizing Walsh's lack of dynamic range. This may not be the big "statement" record they tried for, but getting the attempt out of their system will hopefully allow them to relax and tap their considerable pop savvy in the future. --Matthew Cooke ... Read more

Reviews (17)

Promising
Like The Verve, Starsailor is from Wigan, which is very northern. It's a cold and bleak place. Starsailor hasn't really made an impact in America yet. They are lesser known that Coldplay, Travis, and Doves. Now there are a bunch of American bands jumping on the earnest rock bandwagon. The field is crowded. Starsailor stands out still because of great songs like "Fidelity" and "Silence Is Easy." But the rest of the album doesn't make a strong impression. James Walsh is a talented singer and songwriter. This time out they even got Phil Spector to help out. His bad mullet and all. While The Beatles are busy releasing records without the handiwork of the Wall of Sound man, Starsailor are brining himself back to pop music. Spector must have been affected by the experience. He killed some bartender at House of Blues soon after. Maybe he could have stayed on for the whole record. Easy listening was popular during the 1970s too. Jackson Browne and Fleetwood Mac were very popular for some reason. Songs like "White Dove" are not bad, but I am sure that Starsailor hasn't made their great record yet. It may be a collector item in the future because it will possibly be the last record Phil Spector did.

The band sold out
Ok, I loved the first album by Starsailor. They seemed like old souls singing to the rest of us, tapping into our sub-conscious. This album finds Starsailor devolving into pop stars. The songs are shorter, the music assaults your senses, the lyrics are almost screaming at you.

If you like pop music, you'll love this album. If you liked the dark undertones, deep lyrics and undulating melodies of their first album you'll only be disappointed by Silence Is Easy.

If you're a newcomer to Starsailor, buy Love is Here instead. The melodies in Love is Here sneak up and wind themselves around you, Silence is Easy leaves you feeling like you just ate a McDonalds super sized value meal, you're full, but an hour later you're left unsatisfied.

Overrated
This album could have been good. The tunes are ok, the lyrics are nice, no gripes on that. But the sound is very flat, it lacks depth and warmth (which is terrible for a pop album). And there is a bit too much orchestra in the background.
I was much more thrilled by Turin Brakes' "Ether Songs", or even Moloko's "Statues", which both display amazing arrangments, and an outstanding sound.

-
i'd probably really give 3.5 stars but that's beside the point. when love is here came out i was one of the first to buy it and then no one really had any idea who starsailor was. they promised to make their follow up cd different from the first and it deffinately was. silence is easy wasn't a bad cd really; it just wasn't spectacular. i don't think follow up cd's are ever as good as debuts because by the second time around artists now have a crowd to please. popularity generally wins over creativity and starsailor proved this to be true. there were a few excellent tracks near the end but i predict that with the release of their third album starsailor will become mainstream and cultivated by society into a pop culture disaster.

Coldplay and Doves: watch out!
After a rather succesful debut, which propelled the single "Fever" into collective awareness, the brit quartet came back in 2003 holding hands with legendary produced Phil Spector (who came out of retirement for this one) to shift producers after two tracks were completed: the contagious title track and "White Dove". With their recording engineer, Danton Supple, a disciple of Steve Lillywhite and Brian Eno, taking charge of production, the band completed an album that can be powerful (largely due to the combination of lyrics with the dramatic timbre of singer James Walsh) while it's peaceful in a sense. If there is a band that Coldplay should be "concerned" about, it is Starsailor, precisely because of the delicate balance that they're able to accomplish: almost easy to listen, while being able to easily strike a chord with the listener.

My favorite tracks: the opening song, "Four To The Floor" and "Born Again". So, you may be wondering, after so many positive comments, why don't I give 'Silence is Easy' five stars? Because there's only so much of the same that you can take. The one problem with this album is that it becomes repetitive after a while, so once you've heard 3-4 songs you've almost heard them all. Otherwise, another very nice act to keep eyes wide open for, in the future. Coldplay and Doves: watch out, Starsailor is on your backs! ... Read more

Album Description

UK repackaged reissue of 1977 album, includes new artworkwith extensive sleeve notes & previously unseen photos. 12tracks including three bonus tracks, 'Choosey Susie', 'GoBuddy Go', 'Peasant In The Big Shitty' (Live). ... Read more

Reviews (7)

Just as good today.
Yep, I was punk back then. I had the leather jacket and the hair to prove it. Did we regard the Stranglers as Punk? To be honest I don't recall but what I can tell you is that we loved the Stranglers, really loved them. They looked and sounded so damned good on stage but spit or jeer at your peril. This is a band who have been known to pick a fight with the entire audience - and win.

This is one of those album that will stay with you from the first time you hear it. The keyboards are fantastic, the drumming solid and Cornwall's vocals are perfect but its JJ Burnel's bass that gives it that unforgettable sound. I have read so many band interviews where the bass player names Burnel as a major influence and its not hard to see why - he is better than Entwistle was with the Who.

If I were to name favourites it would be hard but the tracks I tend to replay are Goodbye Toulouse and Hanging Around .

No go get 'Black and White'.

Stranglers 1st might not be "punk"
But it sure has anger and attitude in spades, which is just as good. So its more of a punk experiment if you will. Burell's bass sounds like a buzzsaw, Black's beats are steady, probably the most normal thing on the album, Greenfield is a very good keyboard player and his giddy sounds inspired a bunch of new wave, but Cornwell sure sounds mad and you hardly even notice his guitar until it's sound kicks you in the head. Its also the best one they did. The closest it gets to a contemporary punk song is "London Lady", but if any true punk listens to "Ugly", "Hanging Around", or "Peaches" they should understand what they were getting at. More of a Frank Zappa if he was English and had deep rooted punk influence.

Rattus Norvegicus
This album is an absolute classic, great for putting on if you've had a bad day!

Although the general tone is of unadulterated anger typical of the punk era, it is rich both musically and lyrically. A one-mega tone bass is perfectly offset by almost medieval keyboards in the typical early Strangler's style. The lyrics go from insane, offensive and hilarious to moody, lovesick and serious but always seem to hit the mark.

At the time the Stranglers had recently moved to London. The sewer is a thinly veiled metaphor for the big city, the people are rats - hence the name of the album.

This is by far the best Strangler's Album.

The Authentic 1977 Punk Rock UK Masterpiece
More often than not in magazine articles, books and television documentaries about UK Punk Rock, The Stranglers are ignored or at best written off as 'not really Punk'. The reality back in 1977 when 'Stranglers IV (Rattus Norvegicus)' was released was that the band were the Punk Rock group of choice for the majority of the original UK punk rock kids (both cognoscenti and latecomers) alongside the Sex Pistols. While the latter bands' musical brilliance was often overwhelmed by the Jubilee year media circus their manager Malcom McLaren exploited, The Stranglers relied on their multicoloured, malevolent music and their own eldritch personas.
For original punks like myself, who could relate to the youthfulness of The Sex Pistols, The Stranglers were not boys but mature men - and all the scarier and more significant for it. The Stranglers summoned up the feeling of walking around British towns at night in the late seventies for young men, full of fear, unrequited lust, misanthropic romanticism, sick of the violence and sex we saw everywhere, the former so close, the latter often frustratingly beyond our youthful reach. Branded as sexist bullies by the music press, the band were merely honest: young men often are aggressive and lustful. Their music is misanthropic, but it has a shadowy existential beauty, heartrending melodic sentiments reminiscent of The Doors often pouring out of a scree of uptempo noise like that of The Velvet Underground, but always uniquely The Stranglers. To lay one myth to rest, their music was never a problem for women either - there were (and still are) plenty of girls at their gigs.
Containing two hit singles (the corcuscating 'Grip', whose tumbling psychedelic organ riffs are counterpointed by the Coltranesque sax motif played by Welsh coalminer session man Eric Clarke and the top ten smash 'Peaches', whose killer cod-reggae moog and bass groove provides perfect backing for this unashamed and refreshing admission of male lust for the opposite sex), 'Rattus' peaked in the UK at number 2 and helped the band become the top selling band in Britain in 1977 with the exception of Abba and The Eagles: of course, they also sold more records than all the UK Punk groups put together for the first few years of their existence - even now it is uncertain if The Clash & The Pistols have ever outsold them cumulatively.
'Goodbye Toulouse' is a romantic stomper, a kind of Punk 'Song For Europe' while the mammoth 'Down In The Sewer' is gritty science fiction with a Ray Bradbury 'something wicked this way comes' carnival organ, vertiginously melodic guitar and a prog-rock coda that kicked the ass of proficiency somewhat. 'Ugly' , one of the most vicious sounding pieces of music in history (including 'Sister Ray') references Shelley and Burnel's shouted line in the middle of the song when the music stops still shocks. 'Sometimes', 'Princess of the Street' and 'Hanging Around' remain the definitive portraits of the cold, wet, dark, dreary but horribly exciting British street nightlife of the Punk era.
This album showcases the band at their first peak: recorded live in the studio, with equal weight given to keyboards and bass as the guitar in a production that reveals them as stylists both technically proficient and quirkily unique: J.J. Burnel, whose savage sound confirms the bass as a lead instrument in rock, up there with Eberhardt Weber, Barry Adamson, Mick Karn, John Cale and Chris Hillman. Dave Greenfield, the Hendrix of rock keyboards, whose technical ability would within a year outstrip that of Wakeman, Lord, Banks or Emerson already had a better grasp of melody and structure than any of them, his riffs as complex as solos, his lightning solos out of this world. Hugh Cornwell, whose Robbie Kreiger via VU guitar alternately grated like bells struck with sandpapered hammers before pulling off solos of unparalleled lyrical angst. Finally, I must mention Jet Black, the solid, evocative drummer, whose cymbal crashes on 'Princess of the Streets' are a perfect example of affect in simplicity. The vocals, shared between Burnel and Cornwell are full of both ire and longing. The ultimate strength of the Stranglers is that nothing is wasted, no instrument or voice is 'lead' or overly foregrounded - this is a band, not a frontman with a guitar backed by bass and keyboards you cannot distinctly hear. Kudos to the brilliant Martin Rushent, better known for producing the Human League, whose finest moment this is rather than those he enjoyed with the Sheffield synthesists.
So that was true Punk Rock in 1977, not the political claptrap you've been told - The Stranglers formed at much the same time as The Sex Pistols and sold more records and never compromised- they even had a keyboard player, a true mark of real Punk Rock authenticity/audacity before the Stalinist formula of Clash-esque politically correct protest (leave it to Bob Dylan, Strummer!) and the uniform punk look drove the artists out of the scene. There are few records as angry, as lysergically colourful and as decadently lyrical as Rattus Norvegicus. Hear it and live the reality of UK Punk Rock 1977 while marvelling at how few bands can play this dynamically now.

Look for new interst in the Stranglers
"Peaches" featured in new Adidas ad. Great bassline, awesome sleazy lyrics. The whole album is great. ... Read more

Reviews (15)

Outstanding pop.
Heaton and co. has marked their place in the music history by doing "The People Who grinned Themselves to Death". The voice of Heaton is like a save by Peter Schmeikel and the music is like a penalty score by Andy Cole. The album as a whole is like Man U. at the first place in Premiere league. I can't help it but I think "Build" is a song so close to Beatles that is possible. I usually don't compare any artists with the B. And the clothes they wear! Where can I buy them?????? If someone knows or want to share their inner thougts about The H. please write and tell me. The Pusjkins is also a good band. It's a swedish female band. But Oasis sucks!!! The 90th century sucks. Please bring me back to 1984.

Eighties pop guilty pleasure with a message
The Housemartins were one of the most brilliant and underrated bands of the 1980's and this is their masterpiece. From the anthemic title track to the eerie closer "Build", the Housemartins show why they were absolute masters of a sound that was unmistakably British, unabashedly political, and undeniably pop. In an era of conservatism, the Housemartins addressed class issues with a double edged sword of soaring harmonies and biting sarcasm. What really sets this album apart from the band's lesser work though, is its variety. Slower numbers like "The Light is Always Green" and the album's gem "Johannesburg" mesh beautifully with uptempo rockers like "Me And The Farmer" and "I Can't Put My Finger On It", which contains one of the most infectious guitar hooks ever written. A true classic of eighties British pop, "The People Who Grinned Themselves to Death" is a must-have for anyone who appreciates English guitar pop, liberal politics, and harmonies that would make Lennon and McCartney jealous. I'll give it four stars, only because its sound is unlikely to win over someone who ordinarily does not listen to this type of music. You'll give it five.

Great Stuff
This is one of my favortite recordings. It always cheers me up to hear it. If you like this as much as I do, you'll also likely enjoy the quirky sound of The Balancing Act, Three Squares and a Roof, another great, albeit obscure, album.

Pop mastery at its best! Run and find this one now!
'TPWGTTD' is one of the best brit-pop releases ever! If you want a good example of wry, tongue-in-cheek, up-tempo, quality pop muzik (talk about, Pop Muzik!), look no further. It is bands like The Housemartins and The Church that made me realize most good pop rock occured years ago, compared to the mostly garbage that's out now.

Quite Good Pop
I can't remember how I got to first listen to the Housemartins, but I remember I liked them from the beginning. They don't have so deep lyrics, but they are great with melodies (check out Pirate Aggro). This is definitely a must have, I haven't listened to other Housemartins records, but this is album is good enough to love their music.

I'd say the highlights on this album are "The People Who Grinned...", "Pirate Aggro" and "Bow Down", but still you can listen to it as a whole over and over again.

The most funny thing about it is that their bassist was the man we now know as Fatboy Slim (aka Norman Cook aka Quentin Cook). ... Read more

Album Description

Import Re-Mastered reissue of the classic 1979 compilationfeatures 24 tracks including 8 bonus tracks, 'You Say YouDon't Love Me', 'Are Everything', 'Strange Thing', 'Running Free', 'Raison D'etre', 'Why She's A Girl From TheChainstore', 'Airwaves Dream' & 'What Do You Know'. EMI.2001. ... Read more

Reviews (3)

Modified perfection
The US version of "Singles Going Steady" is my all-time favorite album, and all the tracks on the US version are included here (the 16 non-bonus tracks). The eight original A-sides are pure punk pop perfection, proving our lovelorn hero Pete Shelley was the most talented songwriter of the punk generation. The Buzzcocks had three winning aspects to all of their singles: (1) bright, bristling energy, delivered at a 100 mph pace courtesy of virtuoso drummer John Maher; (2) killer hooks from the twin guitar attack of Shelley and Steve Diggle; (3) sensitivity and sincerity to their lyrics. No other punk band can really claim to beat the Buzzcocks at any one of these three keys to success. I mean, just try and picture Johnny Rotten singing, "So why would I cry if you ever left me?/Maybe 'cause you're all I'm living for", with Sid Vicious providing beautiful harmonies in the background. Well, that's precisely what Pete Shelley and Steve Diggle did, without ever sounding remotely whimpy. It's hard to pick highlights, but the well-recognized classics "What Do I Get?" ("I only get sleepless niiiights!") and "Ever Fallen in Love?" ("...with someone you shouldn't've fallen in love with") will serve nicely, as will the more obscure gems "I Don't Mind" and the ferocious "Harmony in My Head", the only song Steve Diggle gets to sing on (aside from bonus tracks).

And, surprise surprise, the original eight B-sides are every bit as good. They show the Buzzcocks branching out a bit into new directions, but they always manage to drive home great songs, like the harshly melodic punk epic "Autonomy", the bitter rockabilly of "Just Lust" ("There's bed in your eyes, but there's nothing to trust...just lust."), and the Cole Porter-esque "Lipstick" ("Does the lipstick on your lip stick on my face?"), along with any other you'd care to pick.

So if it has all that, why only four stars? Well, it's the bonus tracks. If you're going to add material to a masterwork, the supplementals need to be as brilliant as the original material, otherwise the work will suffer as a whole. And that's just what happened here. Parts 1-3 suffer from absolutely deplorable production (thank heavy drug use for that...just say "no", kids), with the vocals buried at the bottom of the mix. And beyond that, the songs are weaker, too. The band was breaking apart at this point and as a result the creative focus was wandering quite a bit.

You DO get two bona fide classics: Shelley's wistful "You Say You Don't Love Me", and Diggle's fiery character sketch "Why She's a Girl from the Chainstore", the only track from Parts 1-3 where the production isn't bad enough to ruin the song. Each of these sound just fine next to other classics like "Love You More" and "Everybody's Happy Nowadays". But the other six tracks range from pretty good (Diggle's "Running Free", which could have been a classic if not for vocals-at-the-bottom junkie production and, believe it or not, the excessive use of cheesy keyboards...in a Buzzcocks song!) to absolutely unlistenable (Shelley's terrible "Are Everything", easily beating out "Hollow Inside" as the worst Buzzcocks song of all time...to give you an idea of how bad it is, Heaven 17 covered it.)

This CD is not a bad purchase at all. It's got the complete Buzzcocks UK 7" singles discography. And as the Buzzcocks rank with the Beatles when it comes to singles bands, this is a great album. But the more enjoyable listen is unquestionably the more compact US version, which is why I must give the UK version 4 stars.

The Greatest Singles Album of All Time Just Got Better
The Buzzcocks' Singles Going Steady not only boasts superior sound, but now includes two singles from 1979's "A Different Kind of Tension" ("You Say You Don't Love Me" and "Raison D'Etre"), and 1980's "Parts 1,2,3" EP. Superior melodic pop - some of Shelley's and Diggle's finest work. Essential to any undertanding of UK punk and pop music of the late 70's early 80's.

The Best Of The Buzzcocks Is Even Better Than Ever!
British punk band The Buzzcocks headed by Pete Shelley and Steve Diggle, were part of the punk, new wave movement of the later seventies which included groups such as The Sex Pistols, The Clash, The Police, The Jam, The Saints, Generation X, to name a few. The Buzzcocks had something that most of the other punk bands lacked, and that was melody. The Buzzcocks played melodic punk if you will. This collection of the best of The Buzzcocks is remastered for improved sound quality and includes extra songs. The standouts on this collection (and there are many) are "Orgasm Addict", "Love You More","What Do I Get?", "I Don't Mind", "Ever Fallen In Love?", "Promises", "Everybody's Happy Nowadays", "Harmony In My Head", "You Say You Don't Love Me","What Ever Happened To?", and "Noise Annoys". If you enjoy listening to 70's punk then this collection is a must have. Highly recommended. ... Read more

Amazon.com

Most bands, when they want more attention, pump up the volume. Not Elbow. The Manchester quintet's second full-length is quieter than their debut, Asleep At the Back, luring listeners into its clutches with weird sonic details: the twinkling electronics that open "Ribcage;" stuttering guitar feedback on "Not A Job." Equally seductive are singer Guy Garvey's vocals, full of hushed gravity as he mutters thumbnail sketches of characters ranging from nasty buggers ("I've Got Your Number") to his band mates ("Snooks"). Underlying all the subtle touches are some deceptively catchy tunes: the clap-along shuffle of "Buttons & Zips;" a love song from the other side of the world ("Fugitive Motel"), and another that spins as slowly as a lonely satellite ("Switching Off"). Thousands also includes cameos from members of Doves and Alfie, and, on the final bars of the swelling "Grace Under Pressure," a Glastonbury festival audience--the second time through, you'll probably join in, too. --Kurt B. Reighley ... Read more

Reviews (16)

"Thousands" is worth it
Manchester band Elbow rose to fame in the UK with their moody debut "Asleep in the Back." In "Cast of Thousands" Elbow takes a slightly different tack. The music is a little smoother, the album altogether a bit more cohesive, and its lovesick melancholy brings to mind a sunny day temporarily obscured by clouds.

The opening track, "Ribcage," is a gradual buildup accentuated with a gospel choir, followed by the vaguely funky "Fallen Angel," the brilliantly bluesy "Fugitive Motel," the magnificent "Grace Under Pressure," the African-inspired "Snooks (Progress Report)," the insanely catchy "Buttons and Zips," before rounding off on the same solid note it started with on the brief "Flying Dream."

"Cast of Thousands" somehow manages the impossible: it hangs on to frustration and dreariness , while managing to shift into a more optimistic space. Basically it's a collection that has retained its edginess, but is able to sing a little wistfully, "I blow you a kiss/It should reach you tomorrow/As it flies from the other side of the world..."

The more typical drums'n'percussion are joined by string sections in such songs as "Fugitive Motel," which adds an extra dimension to it. Not to mention barking dogs, tambourines, accordians and sprawling synths. Only the African drums start to drag. And the music is layered in a peculiar way, shifting the guitar and bass over one another. As a result, the instrumentation is richly layered like a gourmet cake.

Singer Guy Garvey is rather reminiscent of Radiohead's Thom Yorke, but a little more hesitant. He sounds unsure in many tracks, as if he isn't sure how he should sing with the music flowing behind him. And in some of the tracks, the London Community Gospel Choir provides a panoramic sweep of backing vocals.

Elbow is still in fine form in "Cast of Thousands," a rich slice of lovelorn pop-rock that will appeal to fans of diverse, intricate music. A must have.

Moody Ethereal Music for the Soul
Having been turned on to British music for some time, and having purchased many outstanding albums from bands like Travis, Coldplay, Radiohead, Beck, and Oasis, I felt there had to be more bands that so enthusiastically celebrated classic rock sounds. Thankfully, Amazon catalogs people's purchases so that we in the states can sample music that other like-minded people bought. That's how I found Elbow. Cast of Thousands is an outstanding album that deserves to have its tracks analyzed individually...so here goes:

1. Ribcage - (*****): Like the mantras offered ala their previous album, this song builds from quiet and unassuming lyrics and music into a multi-layered experiment in cobra-swaying grooves and gospel choir shimmies. Outstanding track.

2. Fallen Angel - (*****): This ruckus romp is as close to mainstream rock as I've heard from Elbow. It does remind me of Peter Gabriel as other reviewers have mentioned. I love the bass sax sound that is achieved by the guitar player. This song would be best played at high volume while cruising the strip in a convertable...

3. Fugitive Motel - (*****): Fugitive Motel is a beautiful song that has superb music provided by a mix of piano, orchestration, upright bass, guitar, and jazz-style drumming. Simply breathtaking in its breadth of emotionally inspired lyrics and music, this song is a standout among the album.

4. Snooks - (*****): The driving beat of this number is enough to drive an already shaken soul into spiritual submission...then when the Ennio Morricone-inspired guitar and orchestration with interesting synthesized sounds begin, the tune just speaks and the music erupts into sonic jolts--parts of this song belong in the cinema--outstanding.

5. Switching Off - (****1/2): This song begins with simple drum beats accompanied by a tamborine and what I would swear is an old-style reed organ. This motiff is repeated for the primary verses, while the chorus builds musically with excellent instrumentation and wonderful use of volume to evoke emotion.

6. Not a Job - (*****): Probably the most uptempo song on the album, Not a Job is also one o