| UK | Germany |
| Home - Music - Alternative Rock - British Alternative | Help | |
| 21-40 of 200 Back 1 2 3 4 5 6 7 8 9 10 Next 20 |
click price to see details click image to enlarge click link to go to the store
| 21. Loveless | |
![]() | list price: $11.98
our price: $7.99 (price subject to change: see help) Asin: B000002LRJ Catlog: Music Sales Rank: 1425 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (299)
Language is usually a poor tool to communicate the experience of sound, and it is rendered useless when presented with a document like this. If I were to try I might suggest words like "beautiful", "oceanic", "sensuous", "sensual", "ecstatic", "dreamlike", "orgasmic", "breathtaking", "emotive", "transcendent", "psychedelic", "mesmerizing", "elephantine", "lullaby", "ethereal", "soothing", "mellifluous" and "euphoric", but I would simply sound like an Amazon reviewer whose specialty is hyperbole as opposed to subjective critique. Make no mistake, however...this album is nothing short of extraordinary in every way. The fact that so little has come close to its power and grace since its release in 1991 is either testament to the vision of its creators, or proof that human beings are able to successfully channel the mysteries into an audio recording. I feel this album is also an excellent example of the kind of textural tone colors that can be realized through the creative use of a guitar and digital sampler. The stereo mix might be described as "distorted", "out of tune", or "unbalanced" to the casual listener, and indeed, the recording is ripe with the sounds of machines being used in ways for which they were not designed. By the same measure, Les Paul was criticized for electrifying the guitar. "Loveless" is a wonderful album for the musician, as it will challenge, confound, and leap over your preconceptions of what music and sound should be. It has been said that an essential quality of good art is its ability to leave each who witnesses it changed, and the fact that everyone who hears this album either swoons or recoils is proof that this is art with a capital "A". I give "Loveless" my absolute and highest recommendation. No degree or amount of accolades do it justice, and my life is richer for having heard it. What more can I say?
When i first purchased "Loveless" and listened to it, i was a bit disappointed. It got so much acclaim as "one of the greatest albums ever!" so i kept trying, then one day I was listening to it... and... it just... CLICKED! it just clicked to me how beautiful this album really is. its just so many different things! want me to tell you how different? i've wrote over 50 reviews on CD albums here at Amazon, and when I i clicked the "recommended" button on Loveless, it had more than half of the CDs i reviewed. Spiritualized, Godspeed You! Black Emperor, Neutral Milk Hotel, and much much more. this part of this review may seem useless to you, but i'm just saying... if you buy any album from the '90s... make it this one.
The first thing that kind of puts me off is the complete lack of dynamics anywhere on the disc. There are two: on and off. And I can't help but feel that for each song Shields just picked a key and kind of fuzzed around until it sounded right. I'll give you that some of this noise actually sounds pretty cool when the layering is done correctly -- I do like the intro to "I Only Said". I read some reviews that compared "Loveless" to Philip Glass and Debussy. I just can't hear it. I can't get past the part of me that thinks that most of the record sounds like whale song played through a slew of pedals and other toys. The fact that the band nearly bankrupted a whole record albel recording this beast is beyond me. Where did the money go? (and yes, I have listened to it on the Sennheisers) I don't find the production value to be all that spectacular. For my money, this is not one of the best records of the 90s, as has been stated. This sounds like what would happen if Sonic Youth covered Radiohead's "Kid A", and its not all that fabulous. I think I will stick to Hum's "Downward is Heavenward" for my expansive, spacey, fuzzy, and celestial rock songs.
| |
| 22. Brothers & Sisters | |
![]() | list price: $5.98
our price: $5.98 (price subject to change: see help) Asin: B0000DJZ95 Catlog: Music Sales Rank: 8546 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
Reviews (2)
"Brothers & Sisters" (3 tracks; 11 min.) is a fascinating look into early-Coldplay. The title track is quite good, and the band later re-recorded the track as a B side for the "Trouble" single in 2000. "Easy to Please" is a dreamy track, with Chris Martin crooning away over sparse instruments. "Only Superstition" finds the band rocking harder, a nice track. In all, a very welcome re-release of Coldplay's earliest recording. Definitely highly recommended for those of you who (like me) are charmed by the "Parachutes" sound. ... Read more | |
| 23. Greatest Hits | |
![]() | list price: $27.99
our price: $22.99 (price subject to change: see help) Asin: B0002UYA68 Catlog: Music Sales Rank: 485 US | Canada | United Kingdom | Germany | France | Japan |
| 24. Mermaid Avenue | |
![]() | list price: $17.98
our price: $13.99 (price subject to change: see help) Asin: B000007NC0 Catlog: Music Sales Rank: 1014 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com's Best of 1998 Reviews (119)
Essential? You'd have to agree.
"Mermaid Avenue" (15 tracks, 49 min.) is a true collaboration between the artists. Some songs find Wilco's Jeff Tweedy at lead vocal, Bragg on others. Music on some tracks is written by Bragg, others by Tweedy/Bennett, yet others by Bragg/Wilco. While I'm a huge Wilco fan, I must admit that the Bragg-written songs are more coherent within the Guthrie legacy. Check out for example the sparse "Eisler On the Go", and "Another Man's Done Done" (with Tweedy on lead vocal). The best is "Way Over Yonder in the Minor Key" (with Natalie Merchant on back vocals). Natalie also sings lead on "Birds and Ships". (So you really shouldn't be surprised by Natalie's fab collection of folk tunes "The House Carpenter's Daugther", issued independently last year). In all, this is a terrific collection, which deservedly received a second volume as well. Recommended for fans of Billy Bragg, Wilco, Woddy Guthrie, and of course Bob Dylan.
| |
| 25. Never Mind the Bollocks Here's the Sex Pistols | |
![]() | list price: $11.98
our price: $7.99 (price subject to change: see help) Asin: B000002KIE Catlog: Music Sales Rank: 1458 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com essential recording Reviews (279)
All you so called "punks" who think the Pistols were just puppets, pay attention. Do you really think someone with an ego like Johnny Rotten would have let himself be controled by Malcolm McClaren? When you say he created the bad boy image, and that the Pistols were nothing but a media show, guess again. When you think that, all you're doing is falling vicitm to the media machine that is Malcolm McClaren. Movies like "Sid and Nancy" and "The Great Rock n Roll Swindle" don't even come close to telling the truth. All Malcolm did was create havoc in the band by getting them bad gigs at places taht just ended up cancelling their shows. The Sex Pistols were real. They started it for you all. Jonny, Glen Matlock, Steve Jones, and Paul Cook WERE the Sex Pistols. Sid was nothing but a face. These boys were acting punk before it was called punk. They had a style all their own that bands like The Clash and the Buzzcocks tried to mimic. (Even those bands themselves have admitted that the Pistols they wanted to be like the Pistols). This is a wonderfully horrifying album. One of the essential punk classics. Its such a pretty mess and should be heard by everyone. Nevermind the modern punks, nevermind the meadia frenzy, nevermind the fact that every music historian and punk from the '70s credits the Sex Pistols for changing everything about music, never mind the bolloks of it all...here's punk rock at its finest.
| |
| 26. The Last Broadcast | |
![]() | list price: $17.98
our price: $14.99 (price subject to change: see help) Asin: B000065SXM Catlog: Music Sales Rank: 8348 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (106)
Doves know how to make moody, ambient music. But what they've become masters at is taking their soundscapes and turning them into warm, full rock songs. Their debut, Lost Souls, was the beginning of Doves honing their sound. Here, on Last Broadcast, the band is tighter and more focused. A killer intro preps you for something astonishing, and when "Words" blasts in, it delivers. A clever riff enhanced by lush, rich production and a disctinct tone of optimism, "Words" leaves most gloomy Britpop bands in the dust (Travis and Starsailor, pack your things). Following the reggae-tinged "There Goes the Fear," the haunting King Crimson rework "M62 Song" drifts in as if from an ancient AM radio. Beautiful in every way, it echoes the work of Nick Drake and other long gone troubadours without feeling out of place within The Last Broadcast's greater framework. Some songs miss ("Satellites" is too long and meandering), but the last four songs are as good as it gets, particularly "Pounding," a pulsing, driving anthem sure to be playing on a movie soundtrack sometime in the near future. Where Lost Sould petered out as an album, Last Broadcast ends with "The Sulphur Man" and "Caught by the River," both powerful, atmospheric arrangements that leave you wanting more. Fortunately, for some customers, there is more. Some editions of Last Broadcast contain a bonus disc with four extra songs. Seek it out. While the four extra songs are fittingly not included on the album, they are fun on their own, particularly "Hit the Ground Running," which is a Doves rehash of "Werewolves of London." Already big in England, Doves deserve a larger following here in the US. The Last Broadcast could be, and should be, their big breakthrough.
In comparison to their earlier release, Lost Souls, The Last Broadcast is definitely a happier and more accessible album. What the album lacks in dark honesty, it makes over tenfold in perfect songwriting.It almost reeks with pop motifs and has definite brit pop sound. A song like "N.Y." feels like a Blur song with Oasis pop, and "Satellites" is just riddled with gospel-influences, which instantly reminds me of Sting's last album. Those are just a few examples, at least. This doesn't detract from any of the songs (all of these influences are good), but it's not as groundbreaking or mood-setting as the debut. A song like "Pounding," which is my favorite track, has fairly basic guitar playing and musicality, yet has all the perfect hooks to draw the listener closer into the music. While I am a devouted fan to their debut, The Last Broadcast is an ideal follow up and a perfect way for the Doves to become one of the focal points of the new brit-pop movement. Their songwriting and lyricism is still up to par, and any appreciator of just good rock and roll would immensely enjoy this CD.
Songs like "There Goes The Fear" and "M62 song" show their more folk side with a knowledge of prog rock. The first song sounds like coming off drugs and trying to enjoy life with them. Doves are great at creating distinct sounds that come to mean something over time and repeated listens. Mostly recorded in Manchester and Bath, "M62 Song" was recorded under a flyover and sounds like some of the weird songs Vincent Gallo did for Warp Records. Just as things get spaced out and mellow, Doves get loud and big again on "N.Y." that sounds like driving in the country music. Doves define their true sound here early on. It is a real mix of modern and the past, and there's no looking back now. The American release also comes with a bonus disc of four songs that includes a funny take on a Warren Zevon song. The Second part of the album starts for me with "Satellites" that is a heartfelt ballad that is like a round. "Friday's Dust" is an even more impressive ballad. This is widescreen music for people who can look past the obvious. "Pounding" reinforces one of the main themes of the album: "Seize the time because it won't last forever...." This is done with a lot of building power. The title track is lighthearted ditty that becomes psychedelic at times. "The Sulphur Man" begins as a sort of religious song that could be played in a church. It is about this mysterious figure than seems as hard to put your finger on as this album is. This record is a great journey. It is a little deeper than something like Oasis. A song like the final track "Caught By The River" is like a little story about life itself. You are reminded that a lot has happened on this CD. Doves are finally a rock band that balances emotion and intelligence in a way that most of Britpop bands never could. (www.freewilliamsburg.com)
The album's three best moments are, literally, at the beginning (following the intro, with "Words" their more Coldplay-like track), midway through the album (with the beautiful "Satellites", followed by the tripping "Friday's Dust") and wrapping it all up, with "Caught by the river". Looking forward to their upcoming album, which they are recording at the time of this writing. For now, I leave them with four stars and recommend their "Lost Souls" and its counterpart B-sides album "Lost Sides" before this one. ... Read more | |
| 27. Queer As Folk: Fourth Season | |
![]() | list price: $18.98
our price: $14.99 (price subject to change: see help) Asin: B00023B14O Catlog: Music Sales Rank: 9482 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Album Description Reviews (21)
| |
| 28. Essential Clash | |
![]() | list price: $24.98
our price: $22.99 (price subject to change: see help) Asin: B00008H2K0 Catlog: Music Sales Rank: 2372 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (35)
| |
| 29. Definitely Maybe | |
![]() | list price: $11.98
our price: $10.99 (price subject to change: see help) Asin: B000002AS3 Catlog: Music Sales Rank: 4267 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (144)
DEFINITELY MAYBE displays all the promise that Oasis had when they were just starting (a promise that has since been betrayed by their mediocre most recent work). The ingredients: loud and aggressive guitar work from Noel, some timeless melodies, and the trademark sneer and arrogance in Liam's singing. Liam's voice seems even brasher in this album than it did in the follow-up, and it works darn well. The songs just exude confidence. The best tracks are probably "Live Forever," "Supersonic," and "Slide Away." "Live Forever" is probably a better single than "Wonderwall"--great tune, great work by Liam. The melody is pure exuberance and arrogance, especially on the memorable chorus. "Supersonic" has a monster guitar riff, and it's one of the best pure rock songs they've ever done. "Slide Away" is a monster of a love song--loud, brash, but with lyrics and a melody that pull on your heart: "Now that you're mine / We'll find a way of chasing the sun / Let me be the one who shines with you / In the morning when we don't know what to do." The last track, "Married With Children," is quite soft and gentle. It says quite a lot that Oasis managed to pull off two such different songs ("Supersonic" and "Married With Children") on one album. There are a couple throwaway tracks ("Digsy's Diner" comes to mind), but overall the album is just as good as WHAT'S THE STORY (MORNING GLORY)? This album is highly recommended to anyone who liked "Wonderwall" and the other singles off the second album. Both albums have their weak spots, but the strong songs compensate very well. Also recommended to Oasis fans: Travis's THE MAN WHO (similar melodically, but much quieter.)
Overall, a fantastic album, and there is nothing like Oasis when they were young, very hungry, and also very talented. Not to say they're not talented now, but the raw energy that comes from reckless youth is induplicable (is that a real word? it is now!), and their music is far more mature and couth now so there is no use comparing apples and oranges. "Definitely Maybe" has definitely stood the test of time, and continues to do so. Oasis is hated, and highly underrated in the States but our English speaking buddies across the Atlantic know what's up, and they know and believe Oasis is a great band. "Definitely Maybe" is very highly recommended.
other great tracks: Only complaint: They didn't include "Cloudburst"
| |
| 30. Urban Hymns | |
![]() | list price: $16.98
our price: $13.99 (price subject to change: see help) Asin: B000000WF0 Catlog: Music Sales Rank: 2887 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (218)
The album is very consistent with an excellent sound, brilliant lead vocal by Richard Ashcroft and gentle and often psychedelic guitar by Nick McCabe. Ashcroft, an author of most of the songs, is at its peak as a songwriter. His songs at Urban Hymns are better than on the two previous Verve albums. He can write the most passionate and tender lyrics and then deliver them in his original way. The Verve only recorded three albums, each of them better than the previous one. Urban Hymns is the last one after which the band broke up. If you like Urban Hymns then I recommend to go back and listen to the previous one called A Northern Soul (the song History itself is worth the money). Ashcroft's solo album from 2000 - Alone With Everybody is a good work too.
Beyond "Bittersweet Symphony," Richard Ashcroft and company craft a perfect, wondrous pop album that clearly outshines anything done by either Blur or Oasis. The songs here are so diverse, so perfect, so melodic, so touching, that they are inescapable after several listens--whether it's the soft acoustics of "Sonnet," the gritty rock of "The Rolling People," or the wah-wah funk of "Weeping Willow," The Verve paint a loose musical portrait with their psychedelic guitars, funky keyboards, and jazzy rhythm section. To top it all, Richard Ashcroft adds his brilliant, emotionally extravagant lyrics. These are not the empty, meaningless meadenerings of Oasis or the pretenious, distopian musings of latter-day Radiohead, these are the bittersweet stories of Richard Ashcroft's life, his past drug use, and his rediscovery of spirituality and the fragility of life. He sings in a voice that is saturated with emotion and echoing of truth--never before have I heard lyrics that reflect any better the feelings of their writer. "Urban Hymns" is phenomenal, and its fittingly bittersweet. It's an album that plays more like a giant oil painting, swimming in its color, perfect in its imagery, and undying in its message.
1. Bitter Sweet Symphony (10/10)- The violin music in the beginning sets the tone for the entire piece, and I love it. This has no competition- it's my favorite song. 2. Sonnet (9/10) I think I might be a little prejudiced with this song, because you can see what comes before it... it's a sweet song, but it doesn't really compare... 3. The Rolling People (10/10) I love this song, as well. It shows a different side of The Verve, and it's great, too. This one isn't slow... good contrast. 4. The Drugs Don't Work (9/10)- Very soulful. 5. Catching the Butterfly (10/10) 'I'm gonna keep catching that butterfly in that dream of mine...' great melody, and I love the lyrics... 6. Neon Wilderness (7/10) This song sounds like it wasn't finished... my least favorite. I usually skip through this one. 7. Space and Time (10/10) I love the 'I just can't make it alone' part of this song... makes my want to sing... or perhaps jump up and dance. Either one. 8. Weeping Willow (10/10) You never hear the lyrics 'weeping willow' in this song until the very end, but when you do, they really mean something. Not quite sure WHAT, but something... 9. Lucky Man (10/10)- I love this one, as well. 10. One Day (10/10) The lyrics and the song are both so sweet in this song... 11. This Time (8/10)- I like this one, but not quite as much as the others. 12. Velvet Morning (10/10) I love when the music changes from soft and slow to loud and a bit wilder... It's like, 'dumdumdumdumdum- ANOTHER VELVET MORNING FOR ME.' Kinda takes you by surprise. :) 13. Come On (10/10)- Perfect ending... 'Come along with our sound'. Fabulous. End rating (drum roll, please): 123 stars out of 130. That's a pretty good percentage. Get this CD... I loved it. And, once you hear Bitter Sweet Symphony, you're pretty much sold already...
I remember I was browsing through a CD store when I first heard "Bittersweet Symphony." It immediately caught my attention, and I stood rooted on the spot just listening. Very few times has an album jolted me like that, but this was one of those times. I asked the clerk who this was and he said that it was from the new album by The Verve. After "Bittersweet" was over, he told me to hold on and listen to "Lucky Man." It was after that I was sold -- I had to buy the album. On this album, you get 13 little masterpieces -- there's not a filler track in the bunch. Besides the excellent songwriting, the production is outstanding. I haven't heard such a good mix of strings since Tony Visconti's work with T. Rex -- just listen to "Lucky Man," "Bittersweet Symphony," or "Sonnet" for proof. The only downside is that the group broke up after this -- their finest moment! Of all the dumb luck. While Richard Ashcroft has gone on to do a couple of solo albums, they don't seem to capitalize on what The Verve had done on this album. Yes, he's the voice, the did much of the writing, but as the old saying goes: the whole is greater than the sum of its parts. Best album of the 1990's? This one, no question about it. After the Britney's, the Justin's, and all the other drivel from that era fades, this will be one of the albums people look back upon fondly. Rating: A+ ... Read more | |
| 31. My Aim Is True (With Bonus Disc) | |
![]() | list price: $17.98
our price: $13.99 (price subject to change: see help) Asin: B00005MLU0 Catlog: Music Sales Rank: 1936 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (27)
On My Aim is True - which must have come as a shock to his ex-office colleagues - his greatness manifests itself in about six tracks, five of which are undeniably brilliant, the other of which any individual listener can choose for him or herself. The other songs, while hardly mere filler, pale by comparison, and are perhaps ill-served by bare-bones production, slow tempos, and somewhat forced lyrics. The greatness of My Aim is True lies at least as much in the fact that it is the marking of an arrival as it does in the half-dozen truly great songs it contains. On first listen, "Welcome to the Working Week" seems to start off the disc beautifully, and provide a great introduction to what makes Elvis tick. It is angry, bitter, and pithy (which is probably the single best and most oft-used word to describe his lyrics). However, one cannot be struck by the song's overly abrupt ending (a technique which can be effective, especially in punk, but isn't here), and the fact that the song doesn't make much sense and therefore fails to pack its potential lyrical punch (why is someone whose picture is in the paper being "rhythmically admired" being welcomed to the working week?). "Miracle Man" further reveals Elvis' lyrical abilities, and has that patented Elvis mix of bitterness and guilt, but is a bit ill-served by its matter-of-fact presentation (as are "Blame it on Cain" and "Less Than Zero," the latter of which was the first indication of what one critic called his "bizarre fascination with fascism"). "No Dancing," a chronicle of an eager-to-please, sex-starved nice guy (I wonder who?), is more pleasantly poppy, and is the best of the first four songs Finally, at track five, we arrive at "Alison," the first undeniable indication of Elvis' talent. Here he is a singer-songwriter in the best sense of the term. Elvis packs all of what were to become his trademark emotions into this song, as he laments a lost love from whom he just can't keep the appropriate physical and emotional distance ("Sometimes I wish that I could stop you from talking" / "I can't stand to see you this way"). The singer of the song wants Alison back, but cannot accept her as she is now (and he probably shouldn't), but would gladly have her as she once was (and she might be just as happy to be that person again, too). This song should lay waste to any doubts that the first-time listener might have. After "Alison," the CD alternates between truly undeniable brilliance and pleasant enough pop songs. In the latter category are the Tin Pan Alley ditties "Sneaky Feelings" and "Pay It Back," which are entertaining, but serve mainly to indicate Elvis' range, and may not impress listeners who appreciate the pithy Elvis. "Less Than Zero", the first line of which was immortalized by Elvis's first (and, for a very long time, only) Saturday Night Live appearance, might have worked better if it were a bit tighter, and played at a quicker tempo, while "Waiting for the End of the World" sounds more like a report than a song (although the guitar work is quite tasteful). But don't let this frighten you away. The second half of the disc also treats the listener to four of the best songs Elvis ever recorded, which, in combination with "Alison", almost make pointing out the weaker moments of the disc sound like nit-picking. "(The Angels Wanna Wear My) Red Shoes" sublimely reveals a kinder, gentler, whimsical Elvis, who seems to think he's good enough, smart enough, and possibly liked by non-existent entities. It also contains some of the best lyrics on the CD (eg, "I used to be disgusted, but now I try to be amused" / Oh, I said 'I'm so happy I could die'/She said 'drop dead' and left with another guy"). "Mystery Dance" reveals the sexually frustrated Elvis in an impossibly catchy one-and-a-half minute glory days of rock and roll song drenched in the attitude of punk. Hearing Elvis Costello sing "I'm not angry anymore" - in a quintessential Costello self-portrait - is like hearing a fish sing a song called "I'm Not Wet." And the disc's closer, the reggae-infected "Watching The Detectives", almost sounds out of place on My Aim is True, but it nicely foreshadows the greater sophistication of his future releases (but the soon-to-be-released single "Radio Radio" seems to belong on this album). All things considered, Elvis emerged more or less fully formed on the finer moments of My Aim is True. The weaker songs, at the very least, indicate an amazing musical facility, while the stronger songs are strong not only by comparison to the others on the disc, but to any song released in 1977. The CD is less of a sign of things to come than a full-fledged revelation of a great musical talent and palpably unique personality. I do believe that he has better, or at least more consistent, albums (eg, This Year's Model, Armed Forces), but the best songs on this CD are at least as good as the best ones anywhere in his catalog. Still, the lesser songs do subtract a bit from the overall quality and momentum of the disc. Even if they are good enough songs, they are less impressive in a way that makes them seem unsatisfying and disappointing. But this can fade with repeated listenings, and My Aim is True is a fine place to start or to continue appreciating one of the best singer-songwriters of the past three decades. (The bonus disc included with the Rhino re-issue is worth having not only for the alternate takes and live songs, but for the fascinating liner notes, penned by Elvis himself. All nine of the Ryko version bonus tracks are included, and the alternate versions of "No Action" and especially "Mystery Dance" - which is solo and all acoustic - are welcome additions. Live versions include those of "Less Than Zero" - with some interestingly different lyrics - and the David/Bacharach song "I Just Don't Know What to do With Myself". Several other tracks are presented in what are appropriately called "Honky Tonk demos," and showcase Elvis' lifelong enthrallment with country. Plus, lyrics to every song - bonus tracks too - are thrown in. So be sure to shell out the extra few bucks for the Rhino 2-disc set.)
| |
| 32. Live 2003 (CD & DVD) | |
![]() | list price: $24.98
our price: $22.99 (price subject to change: see help) Asin: B0000DJZA0 Catlog: Music Sales Rank: 1667 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (67)
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)
The bonus CD is tracks from the same concert as the DVD and offers noting new. For completists only. -DW
| |
| 33. Girl Called Eddy | |
![]() | list price: $13.98
our price: $12.99 (price subject to change: see help) Asin: B0002IQGBC Catlog: Music Sales Rank: 2002 US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com | |
| 34. Feelin' Alright: The Very Best of Traffic | |
![]() | list price: $17.98
our price: $14.99 (price subject to change: see help) Asin: B00004C4QU Catlog: Music Sales Rank: 4096 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
Reviews (19)
Some live performance clips of Traffic made their way to MTV's closet classics. Three of those were from John Barleycorn Must Die, the album where Steve Winwood, Jim Capaldi, and Chris Wood reformed after Winwood's temporary split. "Freedom Rider" featuring a moody sax and fluttering flute along with Winwood's usual psychedelic organ, showed that a two year absence hadn't done the group any harm. The near-seven minute instrumental jam "Glad" was my favourite, demonstrating Chris Wood melding saxophones, flute, and percussion together, with Winwood's piano, wavering from left-hand keys to right, with the slow walking rhythm of the piano towards the end. The sobering guitar and flute title track to John Barleycorn was a tale of the struggle against alcohol as personified by the title, with the growing of barley as an analogy to John growing up. Beer, ale, whisky... we get that from barley, yeah? From their debut Mr. Fantasy, the dreamy title track with heavy guitars merged with psychedelic organs, a plea to the title character to cheer them up with a tune, is one of their signature tunes and the way Winwood wanted the band to go. The first two singles from that album are the UK Top 5 "Paper Sun," a bright psychedelic piece that mirrors the sound Floyd had with their debut, Piper At The Gates Of Dawn. A sitar introduces and later continues on their UK #2 hit, "Hole In My Shoe" lyrically "I walked through a field that just wasn't real with 100 tin soldiers" and musically like "Strawberry Fields." Oh, and Neil of the Young Ones covered this on his Heavy Concept Album. Dave Mason's contributions from the second album include "You Can All Join In" with its skippy rhythm and bluesy guitar. He also did what I consider to be another signature tune, the well-paced rockin' jam "Feelin' Alright." Winwood steps towards blues in the upbeat "Pearly Queen," also from the same album. By the time "Rock and Roll Stew" and the Low Spark of The High Heeled Boys came out, Traffic had added Rick Grech (ex-Blind Faith) on bass and Jim Gordon (ex-Derek and the Dominos") and they were more accessible on FM radio. The near 12-minute title track was an intricate composition hinting more towards jazz/rock as evidenced by the extended piano and sax bits. Nothing from their last three albums, Shoot Out At The Fantasy Factory, On The Road, and Where The Eagle Flies are here, but what is here is the best during their formative years, mostly with the original four members.
Track 10, "Glad" by Steve Winwood, is totally instrumental, much of it by Chris Wood. The people in Traffic play so well that I wonder why the singing seems to tend toward tuneless rumination that might even be trying to be Chinese on track 9, "Shanghai Noodle Factory." The CD notes calls this "psychedelic imagery." Track 2, "Hole in My Shoe," by Dave Mason, is actually a cute song, number 2 in UK rankings in September 1967, but the rest of the group didn't like it, so Dave Mason was the first of the group to leave Traffic. Tracks 5 and 6, "You Can All Join In" and "Feelin' Alright?" are also Dave Mason songs, and are also pretty good for Traffic. Chris Wood plays flute and Saxophone especially well on track 11, "Freedom Rider," and he has been with the group for this entire CD, so he deserves some appreciation when they finally let him stand out. When Traffic toured as a three piece band, I'm sure he did a lot of this and that, organ, percussion, and vocals for sure. I first heard track 4, "Mr. Fantasy" and track 13, "John Barleycorn" a long time ago. "Mr. Fantasy" is typical of the Traffic sound, and "John Barleycorn" is done so traditionally that I haven't decided how Traffic got involved (for over six minutes) in telling a straight-forward story that made sense in a way that the rest of these songs don't. Track 15, "The Low Spark of High-Heeled Boys," at over eleven minutes is a long romp, but it gets going with a tune early and keeps driving. With six musicians by September, 1971, they play and play, and they all knew they were pretty good.
| |
| 35. Immortal Memory | |
![]() | list price: $15.98
our price: $14.99 (price subject to change: see help) Asin: B0000D1C6T Catlog: Music Sales Rank: 3102 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Album Description Reviews (29)
1, the song of amergin-the song starts with a sound so chilling and some dark layered strings swirl around this chilling sound and then just strings playing a creepy melody 2, maranatha (come lord)-the song starts with layered voices chanting slowly maranatha yes the voices are Lisa Gerrard's its like the aftermath off a battle war and when her voice slowly brews in so angelically its like the smoky black sunset clouds drift apart while a shining light beams down on all the dead souls and this immortal angel being carrying them up to heaven 3, Amergin's invocation-this song starts with a haunting orchestra 4, elegy -this song starts with a faint string rising faintly then an angelic beauty spreads her voice across its like she is singing a lullaby to the lost souls it's a very gentle track it's a song which is a lament in other words. The strings are gorgeous 5, sailing to Byzantium-this songs starts with strings lowering and rising I suppose to create the feeling off waves and so beautifully done and so haunting as ever then Lisa's comes rising down over the ship like an angel using her operatic chilling voice to create the lost lands forgotten, her voice in this sends shivers down my back especially how she sings to the stings and drum beats swell with her voice like the waves are huge it's a song about journey but done so achingly haunting .Lisa's voice is amazing in this song as it gently reaches high notes and blows into deep ones like the wind . 6, abwoon (our father)-the song starts with a deep note that rises gently and Lisa's voice comes in as beautiful as ever but using her voice in a different octave and note as Lisa can do, the song makes me picture off a angel holding a dying person in her or his arms and the angel is singing our father in a ancient language the song is so touching that it made me feel I wanted to cry the song is a picture off an emotional scene it gives u that feeling. 7, immortal memory-this starts again with strings this song is a gentle beauty in the same classification as sacrifice from the duality album and sanvean put together 8, paradise lost-this song starts with a similar string effect as the first track then some dark spooky brooding strings swirls around, the music makes u feel like u have travelled back to the land that was destroyed some time later it takes u through the lost paradise and then voices start to swirl around the low tone off the strings like swirling souls giving it a haunting feeling giving u voices passing through the land then its like something changes Lisa swoops into a opera style voice like she cannot believe what happened that day while in the background the swirling sounds are swirling around her voice. 9, I asked for love- a dark string starts this off and suddenly and emotionally Lisa's voice comes in its like Lisa is standing in a her home which has been ruined from the battle looking around it giving her back memories and Lisa is singing these memories in an emotional and haunting way this song made me weep through the whole song so she is making u feel what she is feeling, gorgeous and lush .the backing vocals that Lisa does is so tear jerking. 10, psallit in aure dei-this song is again slightly haunting its like Lisa has just sat down in a abandoned church and is hearing the organ's while strings are swirling around the organ and Lisa is following the organ melody in a haunting way it's a beautiful closing track.
"Immortal Memory" is firmly in the second category. That should not be taken as a negative criticism. To some degree, much of the music Lisa Gerrard has created (or participated in) seems custom-made for background or secondary focus. Of all the CDs she's made, this seems to be that more so than any other. However, there is a sweeping, haunting quality to the CD that paradoxically emerges when it's in the background. Lisa's voice has always had an otherworldly quality to it, whether she's singing in a "real" language or in her own private glossiola. The slow swelling of the strings and synths on these songs act almost as sister currents to the stream of Lisa's singing, fluidly though deliberately pouring into your ears. Let me share how this CD has hit me two ways: initial listen, and then "applied" listen. My initial listen was right after purchasing the CD, and I listened intently, thoughts and attention really focused on the music. I was mostly disappointed, a bit bored, and not enthused. The CD went onto the shelf, and sat there for a while. My "applied" listen was recent. A late night drive into the country, to see the stars, contemplate the state of my life, and perhaps even some soul-searching prayer....and I wasn't sure what (if anything) I wanted to have playing in the car stereo. I grabbed "Immortal Memory" with a handful of other CDs. "Immortal" turned out to be the perfect soundtrack to a night spent counting the stars and looking inward. Twenty miles from the city, civilization's presence an annoying but mild white glow to the west, I let the stars and the dark wash over me, and Lisa's music was the score. One song faded into another, and yet they were perfect: tuned into the spirit but not demanding, complimentary to the natural magnificence of sky and land. I was very, very glad to have it along. The songs on the CD were like fellow travelers, quietly evoking their own parallel journeys as I thought about mine. Perhaps that's too melodramatic for some, but I suspect if it is, then you're not a big fan of any of Lisa's music. The only song on the CD that seems to be structured like a "proper" song or piece is "Sailing to Byzantium." The deep bass of the building drums and Lisa's parallel building of vocal power and intensity are echoes of her past work, though still subdued compared to much of it. If you were hoping for another Dead Can Dance CD, or Duality II, you'll be disappointed. If you're looking for songs more about atmosphere than melody to play during reflective times in your life, you'll be richly rewarded. ... Read more | |
| 36. Mermaid Avenue Vol. II | |
![]() | list price: $13.98
our price: $13.98 (price subject to change: see help) Asin: B00004TBES Catlog: Music Sales Rank: 2957 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com's Best of 2000 Reviews (40)
Perhaps the greatest aspect of this album are the featured singers. Billy Bragg has made good with his connections. Wilco, one-half of the estranged Uncle Tupelo (the band that single-handedly jump-started the roots rock movement) makes for an exceptional back-up band, and Jeff Tweedy pushes some of the better songs, such as "Secrets of the Sea." Corey Harris, emerging as the new king of the Delta blues, takes it home with "Against the Law". Natalie Merchant adds a song Woody probably sang for his kids, sweet and simple. The gorgeous thing about this album (and Vol. I) is its beautiful simplicity. The best songs are stripped down. Bragg isn't afraid to use a banjo, mandolin, or anything else deemed "outdated" by modern music. It's classic without being pretentious. When Bragg wails "All you facists are bound to lose," it might as well be Woody singing it.
| |
| 37. The Whole Story | |
![]() | list price: $16.98
our price: $13.99 (price subject to change: see help) Asin: B000002UA7 Catlog: Music Sales Rank: 11156 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
Reviews (37)
The version of "Wuthering Heights" features a newer vocal, which is more developed than the girlish vocals of the Kick Inside days and helps the piano and drums of this song. Yes, she does sing about the longing about Kathy towards Heathcliff. Much better than the original. "Cloudbusting" is my favorite single from here, especially with its martial rhythm set by the strings and synthesizers. The song and the video are related, as it's sung from the POV of the daughter of an inventor who creates a rainmaking machine that gets the government after the inventor, considered a threat to the men in power. [Hounds Of Love] "Breathing" is one of Kate's most serious pieces, about the effects that radioactive fallout has on a baby still in the womb, and it's sung from the perspective of the infant. The addition of a cold official sounding voice reporting the results of fallout from a nuclear test and the crescendo that rises with the "What are we going to do, we are all going to die refrain" shows that Kate is an artist with political conscience. [Never For Ever] One of Kate's best realized pieces is the piano ballad "The Man With The Child In His Eyes" on a man who is most surely her Prince Charming, [The Kick Inside] The dreamy "Wow" about the travails of fame and show business [Lionheart] is followed by two songs from Hounds Of Love, the frantic title track, and "Running Up That Hill", where she is ready to make a deal with God and trade places. There's some weird background vocals towards the end. The sombre guitar ballad "Army Dreamers" tells the story of a serviceman in the B.F.P.O. who's been killed and the opportunities he never had, such as a proper education, the ability to play a guitar, or getting married and having a child. "What a waste, army dreamers" Kate laments. The upbeat weirdness of "Sat In Your Lap" tells the story of someone who wants to be an intellectual, scholar, full of knowledge, but can't be bothered to learn and just wants it set in her lap, i.e. "just gimme gimme gimme gimme gimme." "Experiment IV" the new song, is about some people asked by the military to create a "sound that could kill someone from a distance," instead of "music made for pleasure, music made to flow." And the regrets of the inventors for making such a weapon is felt in the lyrics. The sound neatly fits in the Hounds Of Love era. "The Dreaming" featuring a didgeridoo, and Kate's slight Australian twang, tells how the aborigines and the natural habitat are being exploited by the mining companies, with the aborigines being driven to drink and even kangaroos being hit by vehicles. [The Dreaming] Finally, "Babooshka" is about a woman who tests her husband's fidelity by writing him anonymous letters, disguising herself as a younger version of herself, and seeing if he'll go through with an adulterous affair with his own wife. The piano is struck forcefully during the verses, before the electric guitar riffs kick in the prechorus and chorus. [Never For Ever] Kate's greatest hits does not tell the "whole story", as she had two more albums and a record deal with Sony, but it tells the best stories of the recording chapters of her career, as they were the most experimentally creative and lyrically enriching.
In a Good Space, | |
| 38. The Stone Roses [US] | |
![]() | list price: $16.98
our price: $13.99 (price subject to change: see help) Asin: B0000004V2 Catlog: Music Sales Rank: 7982 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (199)
It is impossible to fully describe with words the staggering level of aesthetic beauty and perfect songcraft present here. This music by itself is melodically and harmonically extraordinary; when put in the hands of Ian Brown, John Squire, Mani, and Reni, it becomes something more, a phenomenal blur of psychedelic transcendental magic. The opener "I Wanna Be Adored" seems to drift out of heaven with its distant rumblings. As the funky bass line emerges from the noise and the layers of shimmering guitar harmonies cascade over the ominous rhythms, the stage is set for a truly astonishing musical journey. After this opening swirl of drama, "She Bangs The Drums" makes a perfect entry, its endlessly catchy, carefree melody taking the listener to a different world. And these two songs are but the beginning... There is never a dull or unenlightening moment on any of these 13 masterpieces; even "Don't Stop," which is "Waterfall" played backwards, is profound and peerless, and "Elizabeth My Dear," a one-minute interlude set to the tune of Simon and Garfunkel's "Scarborough Fair," is a political protest for the ages. The album's true shining moment is its conclusion--no album in the history of rock has ended so well. The 13-minute firestorm that is "This Is The One/I Am The Resurrection" is a masterstroke not soon to be replicated by anyone. The triumphant guitars of the former song--which recall the harmonious work of The Byrds--and the sweeping, awe-inspiring instrumental solos on the latter are as close to pop Valhalla as any band could ever hope to be. Although this album never went platinum and was basically ignored outside of Britain, it went eventaully go down as one of the top ten albums of all time. Some critics continue to downplay its quality and impact, saying that it is simplistic and overly naive. Yet "The Stone Roses" is a much finer piece of work than Nirvana's much-overrated "Nevermind," Oasis' shallow "Definitely Maybe," and U2's derivative "Achtung, Baby." It is better than anything by The Clash, The Rolling Stones, and The Sex Pistols, and thus is one of the absolute finest pieces of music ever, with a place next to "Double Nickels on the Dime" and "Revolver."
If you like pop music. If you aren't a crabby, contrarian. (fragmented sentences for dramatic effect. ;) ) If you LOVE great tunes, BUY THIS CD and enrich your life. You'll thank me for gushing like this when you experience this work of genius. I am not being generous, I am being honest. ... Read more | |
| 39. The Best of Blur | |
![]() | list price: $18.98
our price: $14.99 (price subject to change: see help) Asin: B00005176F Catlog: Music Sales Rank: 3470 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (69)
*The second disc is a Live Blur Concert and gives you a taste of what they sound like in concert.
| |
| 40. Singles Going Steady | |
![]() | list price: $11.98
our price: $10.99 (price subject to change: see help) Asin: B000000QGE Catlog: Music Sales Rank: 6758 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
|
Amazon.com Reviews (47)
Which brings me to my next point (how convenient). Pete Shelly sure knows how to write. Sophomoric lyrics of the afformentioned song aside, Shelly's words are powerful, introspective, and love-lorn ("Ever falln in love with somebody you shouldn't have fallen in love with?"). They perfectly capture the feelings of teenage angst without being whiny. This makes the songs surprisingly honest, and allows listiners to identify with the permenently blue lead singer. I guess this means that the Buzzcocks sacrifice a ton of punk credentials for that, but does it really matter? If the music is enjoyable, then what's the harm in a bit of genre-bending? Hard-core punkers dismiss the Buzzcocks as being insufficiently punk, comparing them to the shi*ty "pop-punk" bands of today. What they fail to realize is that Shelly and Co can write good, entertaining songs, while Good (bad) Charolette and Simple Plan cannot (The 90's pop-punk scene has got to be one of the bigest musical disasters since Bette Midler. If I hear another whiny pre-pubescent "punker" whine about some girl just because Blink one-eighty-what-the-hell-ever did it, I'm gonna explode. But I digress). In fact, if you really want, you don't have to call the Buzzcocks punk. Call them rock, call them pop, call them whatever the hell you want, just ENJOY the MUSIC.
Plus, they just included a really mediocre remake of "ever fallen in love?" in the new shrek movie. Hear just how much better the original is. Standout songs: What do I get, ever fallen in love, everybody's happy nowadays
| |
| 21-40 of 200 Back 1 2 3 4 5 6 7 8 9 10 Next 20 |