Amazon.com

My Bloody Valentine's entire career has been aiming toward the perfect guitar noise that Kevin Shields has in his head: a pure, warm, androgynous but deeply sexual rush of sound. Loveless is overwhelming, with Shields and Bilinda Butcher's guitars and voices blending into each other until they become a distant orchestra, the rhythm section striding in majestic lockstep, and occasional bursts of dance rhythms (as on the single "Soon") buoying the live instruments' warp and drift. Furiously loud but seductive rather than aggressive, the album flows like a lava stream from one track into another, subsuming everything in the mix into its blissful roar, and pulsing like a lover's body. --Douglas Wolk ... Read more

Reviews (299)

beautiful, ethereal, fuzzed-out bliss-one of my fave cds!!
i have actually owned this cd since it first appeared on the music scene ages ago, and to this day, i love it more each time i listen to it. mere words can't even describe the profound and lasting effect it has had on me; as an artist, it has provided for me a swirling, heady landscape from which i have always pulled forth inspiration. kevin shields is a true genius-i have yet to hear anyone that has been able to rival the unique sounds he has been able to twist and distort into truly beautiful, angelic noise. belinda's voice flits in and out of the thundering guitars on some tunes like a feather falling to the ground...during the midst of an earthquake. it sounds like an odd combination, but for anyone who's heard it and loved it as much as i do, it all seems to gel and compliment one another perfectly. so, what can i say that hasn't already been said by every other reviewer here? at the expense of sounding like a broken record, this gorgeous album is not to be missed, and has rightfully earned the title of a "masterpiece". even if we do ever hear from mbv again, it will be interesting to see how they top this excellent album. if you've yet to hear it, i strongly suggest that you purchase it. if you're anything like me, you will return to it again and again for sheer indulgent listening pleasure...provided that you're ever able to take it out for your cd player at all!!

Loveless thunders elephantine!
If music is the external record of the evolution of the human consciousness to a point in time where all sound, even the white noise that is the universal frequency of interstellar energies, is heard with wonder and as manifesting beauty because it is one with our experiential perception of god, then My Bloody Valentine's "Loveless" is nothing less than a landmark record in that evolution.

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?

one of the greatest albums of the 1990's...
in 1991 came the already classic "Loveless". the rockers "My Bloody Valentine" made their rare debut with "This is Your Bloody Valentine" in 1984. then, four years later they released "Isn't Anything", but the album they made them special... the album that made them famous in the rock genre... was "Loveless". which is easily one of the greatest albums out there. what a incredible 48 minutes it is, with amazing tracks like "Only Shallow", "When You Sleep", "Sometimes", and their amazing ending to the album... "Soon. but theres absoulutely not one bad track... those are just the stand-outs. Only Shallow has some of the greatest streaming guitars ever. theres always those complaints with the band with the vocals they can't hear and not nearly enough bass. but if you listen to the record a couple more times... you realize that doesn't matter.

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.

I've tried. Really.
I really have tried with all my might to like and appreciate this record, simply because of all the wonderful things I have heard about it. In the end, I just can't do it.

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.

Very jumbled over-layered fuz.
So amny people love this album but I think it's one of the most over rated albums ever.
Take a guitar, turn the reverb and volume all the way up and let it go over the vocals and you have this album.
Can't understand a single thing that is "sung" and the music sounds like it was recorded on a tape recorder that the batteries were about dead in.
Almost ever song sounds alike.
Sorry, but I think this album stinks. ... Read more

Reviews (2)

A wonderful treat for Coldplay fans......
.....who are waiting for their 3rd album. I stumbled across this last night at the store, and it has Coldplay's early work. The first track, 'Brothers and Sisters,' is wonderful, and so is 'Only Superstition,' but I loved 'Easy to Please.' It's a dreamy Parachutes-like song. The piano is such a beautiful addition to the song. It makes you leave whatever troubles you and go into Coldplay's world, led by Chris' soft trance-like voice. The song, and the other two songs, are gems. A must for any true Coldplay fan.

Coldplay's First Release Ever
In 1998, Coldplay was toiling away in London pubs when they got noticed by someone from Fierce Panda Records, which offered the band a one single release contract. In March 1999 the label released this 3 track single, which immediately attracked great buzz, leading to a bidding war among bigger labels and some months later the band signed a "major label" deal with Capitol.

"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

Amazon.com's Best of 1998

A ghost, a band, a troubadour. Easily the strangest co-op project ever, and easily one of the finest and most evocative albums of the year. British socialist and folkie Billy Bragg was given unprecedented access to Woody Guthrie's unrecorded lyrics. Teaming up with alt-country band Wilco and quoting from more than 50 years of country, folk, and rock music, Billy and company bring Guthrie's politics, poetry, and morality to the end of the century and prove he's as necessary now as ever. --Tod Nelson ... Read more

Reviews (119)

I'd buy 10 cds to find this one.
I'd buy 10 cds to find this one! Billy Bragg and Wilco have created the feeling that Woody Guthrie is alive and well and enjoying a little rock and roll. Their use of Woody's lyrics with original music is still true to an evolving Woody if there could be one. The music grabs you emotionally, hard and holds you through each cut. It's riveting. The range is amazing from Woody in love with living cuts such as "Walt Whitman's Niece" to serious political tunes like "Eisler on the Go" that focus on the witch hunts of the '40s and '50s in a very human way. And then there's what could have been a children's song--"Hoodoo Voodoo." Who else but Billy Bragg with help from Nora Guthrie could have done this? The album is a real album. It's all there. You can feel Guthrie writing 1000 songs in twenty years and then spending the next twenty years trapped in a deteriorating body in a state hospital. Sadness but not desperation, Guthrie never gives! up. Bragg extends Woody's contribution by pulling music from the lyrics, many of them written after Woody realized he faced a horrifying disease. Whatever else you do, listen to Mermaid Avenue and love it!

Do you know how hard it is to JUST ADD LYRICS to music?
Especially if those lyrics are over 50 years old, practically poetry, and created by a master songwriter? Or put another way, imagine someone handing you the lyrics to a tune from "Nebraska" and saying, "OK, now just sing it real good." JESIS, I don't think so. And if that doesn't put this stellar effort by Bragg and Wilco into perspective, what more can I tell ya? [Eh, keep yer shorts on, there'll be another 3rd Blind Biscuit Korn Hole album out 'terrectly.] So i'm amazed they pulled it off? And with such interesting results -- there really is something here for all kinds of tastes: from the breadth of musical influences displayed [a bit of Dylan, Lennon, Garcia, the Band, it could on and on] to the lyrical content [from the personal to the political].

Essential? You'd have to agree.

Remember; this is not Woody's music.
This cd at least makes me wonder how Woody would've done it. I think the vocals would be edgier, and clearer,easier to understand and remember, even after one listening, as I can when listening to actual Guthrie recordings. Perhaps some of the sappier melodies here might have been a little harder, a little more manly, for lack of a better term. As for the choice of Bragg; I'd sooner have some digitalizing freak collect all of the appropriate Woody syllables, and put them back together into the 'new' material. Second choice, Dylan. Third choice, somebody who's not Billy Bragg.

4.5 Stars.... Masterful Mix of Guthrie Lyrics and New Music
Nora Guthrie, Woody's daughter, thought it might be fun to have new music set to Woody's "lost songs" (lyrics to which Woody had music set in his head, but he never published the music). Billy Bragg and Wilco may make a curious, or at least not a very obvious, choice for the task, but boy, are they up for it!

"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.

I'll try to be brief, for a change
. . . If you are a Wilco fan and you don't have this album (and Vol. II), you should feel very silly, and buy this right now. It is absolutely sublime. ... Read more

Amazon.com essential recording

Recognizing that there's no such thing as bad publicity, manager-Svengali Malcolm McLaren molded the Pistols into the most confrontational, nihilistic band rock & roll had ever seen. Propelled by Johnny Rotten's maniacal vocals, Steve Jones's buzz-saw guitar, and (most importantly) bass player Glen Matlock's hook-filled compositional skills, the Pistols' early singles "Anarchy in the U.K." and "God Save the Queen" defined the raging style of British punk. By the time they recorded their lone 1977 album, Matlock had been bounced, replaced by the image-correct but utterly untalented (and ultimately group-dooming) Sid Vicious. Not a 10th as good as the singles, the album nontheless remains a bile-filled emblem of the times. --Billy Altman ... Read more

Reviews (279)

Never mind the hype... good, but not great.
More words have probably been written about the Sex Pistols (and about this album in particular) than any other punk act from that era. Thus, when I first started listening to punk, this was my launching pad. Fortunately, I have moved on and have since found much better, better punk to listen to. Is it a bad album? no, it has some genuinely catchy tunes (Holiday in the Sun, Anarchy in the U.K., God Save the Queen... you know). But, is it a great album? In my opinion, no. The Ramones wrote catchier tunes, the Clash had more substance, Talking Heads were more creative, the Damned were first(in the U.K., anyways). Never Mind the Bollocks now stands mainly as a historical artifact... it got more media attention at the time, and continues to muster up attention now. The Pistols were masterful media manipulators... but, let's face it, their musical skills and innovation was lacking (listen to the intro riff to this album... it was stolen straight off of the Jam's "In the City"). Again, this album is not a bad album by any means... heck, I still listen to it from time to time. But, I think it's place in punk's Partheon is highly exaggerated. Listen to some other stuff from the same era... maybe you'll come to the same conclusion.

THE ESSENTIAL PUNK ALBUM: IT CHANGED EVERYTHING!!
This is where it all started. Sure, the Ramones and Talking Heads came first, and sure, Cock Sparrer was around in England by this time, but which of them spawned a great musical revolution that would change the shape of music? None of 'em. But with NEVERMIND THE BOLLOKS, HERES THE SEX PISTOLS, everything changed.

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.

THE BEST
It is very hard to believe that this came out in 1977. This cd sound harder and more angry than today's punk. But anyway, this is a loud, fast album from the most outrageous band ever, the Sex Pistols. The standout songs are Holiday in the Sun, God Save the Queen, and Anarchy in the U.K. Get it if you like punk.

A Good listen
Well, the pistols were a bunch of untalented Showoffs. They had no musical Talent whatsoever, Thats why i love and hate this album all at the same time. A great rocking Album.Also very boring at the same time.Sid vicious Was an idiot, Pure and simple.He got what he deserved anyway.But apart from all the political shenanigans associated with The pistols, This album is a rocker, and definitely worth a listen , i can only handle 6 tracks In the album, Then is starts to bore me.Make your own decision

Overrated?
Pay what little it costs to buy this, play it loud, and enjoy.
If it doesn't make you feel charged and asking yourself what you've been missing, there might be something wrong with your stereo. If you fall asleep, have someone check your vital signs, you might actually be dead.
Pete Townshend, an original punk, dedicated his album Empty Glass (1980) to his daughters and the Sex Pistols. Had the Sex Pistols stayed together, they may have opened for the Who when they toured in '82 instead of the Clash.
This music is more defiant than any display (clothing, haircut, accesory) considered punk, and is the yard stick by which all of that genres music is to be measured. The Pistols never branched out musically, changed their outfits, etc. They were so punk that they disbanded after having played thier biggest show (Winterland, San Francisco), just a couple years after forming, and like real punk, burned out instead of rusting.
Every song on this is a gas. Holidays in the Sun, God Save the Queen, Bodies, Anarchy in the U.K., EMI, No Feelings, Problems, and New York are pure brilliance. What the Pistols did, and when they did it, showed more balls than someone burning an inverted crucifix on stage, or burning a flag or a picture of the pope. God SAve the Queen, in response to the silver jubilee couldn't have been more unpopular a statement at the time, and is a good reminder for anyone jumping on a band wagon for something so pointless.
Beat on the brat that thinks this is overrated, cuz they got rocks in their head.
The only thing the Pistols did wrong was not fire Malcom McLaren after he brougt Sid Vicious on board, instead of someone not a junkie that could play their instrument, and maybe they'd have made another record, although not likely as good as this. This is the best punk record ever made, as an original of something generally is. Good punk is not deep, like the Clash (and I've worn out their first 3 records) and not monotonous (like the Ramones). God bless the Ramones, but the Gabba Gabba hey and holes in the jeans got old, and Johnny Ramone is an ultra republican (not very punk that)While your ordering this, see if you can get "the great rock and roll swindle" on dvd or whatever format available. You'll see there was a sense of humor to all this as well. ... Read more

Amazon.com

The Last Broadcast sees Doves frontman Jimi Goodwin and multi-instrumentalist brothers Andy and Jez Williams soaring to new if perhaps grandiose heights. The thundering opening beat and spiraling guitars of "Words" are reminiscent of Ride at their bombastic peak, and "There Goes the Fear" has relentlessly reverberating Latin rhythms, New Order-influenced guitars, and sweeping vocals that are nothing less than breathtaking. Quiet reprieve comes with "M62," a delicate haunting reworking of King Crimson's "Moonchild," bizarrely recorded under the M62 flyover in Manchester, and its desolate atmospherics are juxtaposed against the remainder of the album. With the thrusting onslaught of "Pounding," the obligatory earthy rock of "N.Y.," and the joyous pastoral acoustic-led splendor of "Caught by the River," the Doves have crafted a liberating sophomore album that happily combines the uplifting anthemic essence of dance with good old rock & roll.--Christopher Barret ... Read more

Reviews (106)

Takes them to the next level
Doves are a unique band. Coming from a background in dance music (as the band Sub Sub), they applied their sensibilities in that genre to create a wholly original sound as a rock and roll band. They're compared to bands like Radiohead and Coldplay much too often, and Last Broadcast is proof of why.

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.

An individually brilliant album for the Doves
The Doves sophmore release, The Last Broadcast, bucks the traditional sophmore slump and takes it's place as a stunning version of Brit-pop. While not as dramatic, moody and brooding as the debut album, The Last Broadcast is definitely the Doves' chance to shine as songwriters and as musicians.

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.

what you stole my queen margaret stamp!!!!
this four is based entirelly on a few of the songs(words,satellites,pounding,last broadcast). this is probably because i am normally a fan of death, black, and doom metal (with a bit of rock thrown in because its good and to avoid being totally hated by scum who think they're better than me because they like things that lots of other people like as well). there are however a few CDs such as this which i like for no apparent reason that i or anyone else could ever explain. i don't know why i like it but if I do there is no good reason for anyone else in the world to not like it.

A Major Album
This is the second record by the much loved Doves. They are the greatest thing to come out of Manchester. Their first record Lost Souls was brilliant but often uneven. This time they went into the studio with the idea "Every song's got to be a killer." They were tired of being labelled as a dark and depressive band. They wanted to do music that was positive and upbeat, since now being miserable such a cop out. There's a new enthusiasm and confidence on the new record. The Last Broadcast is mostly self-produced. After the strange "Intro" the album moves into "Words" and that's where The Big Music starts. Even though it uses a U2 guitar riff, it goes on to something else. This is wake up and face the day music. This record makes you think about you life and hardly any music does that anymore.

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)

Very good, but not as much as their debut
As much as their debut album was one of those rare jewels with practically no weak songs, this work by the Manchester band was not as solid all through it. However, it must be said it has several brilliant moments that make you think that their outstanding debut was beyond beginner's luck.

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

Album Description

Showtime’s critically acclaimed and highly rated original program Queer As Folk is back!The 4th season soundtrack is in stores June 22th and features 14 of the most memorable songs from this season. ... Read more

Reviews (21)

A nice change of pace...
It is no doubt that the current season of "Queer as Folk" has been targeting a much deeper degree of topics than the previous three seasons. So, even though it did come as a surprise, it is no doubt why the new Season Four soundtrack stands out on its own from the rest of the collection. This time around, there isn't the steady flow of dance music laced together in what has become an almost tedious fashion. Upon listening to the cd the first time, I was let down at this realization. I wasn't really sure what to think. However, it all quickly grew on me and I can now say that it comes as a nice change to a show that has grown and changed with us all over the years. The tracks are much darker... like the taste of what we were given on the second cd of the season three soundtrack. However, they still resonate better than the last. Not exactly "happy" music... much of the complaint ridden selections cover such experiences as lost love, death, and the other darker tones of this season's subject matter. Listen to it without the expetation of another club-dance collection and it is easily appreciated in its true form.
I have heard a lot of bad reviews for the cd. Mainly in the matter of people being disappointed that it does not fall into the same category as the last three soundtracks. To stay the same is boring. We need change! And, that is exactly what this cd does this time around...

2 stars because its a Queer as Folk CD
OK I admit I have got into a bit of a rut with the Q as F CDs and I have previously bought them and loved them for the dance tracks. I was disappointed with CD 2 from season 3 as it was not great dance music, most of it old and already in my collection. It was therefore with some trepidation I bought CD 4. Unfortunately for me season 4 continues the downward spiral of season 3 CD 2. I bought it on the strength of season 1, 2 and 3 (CD 1) and really wish I had had the opportunity to listen to it before purchase. Any crticism is a personal thing and not all will agree but I stand by comments I have made to friends such as it makes me want to cut my throat, its a bad T-rex cover etc.
I agree with the reviews that say the music in Q as F is an essential part in telling the story however people have bought the previous CDs on the strength of the club tracks and trying to get that Babylon / Woody's feeling. I feel cheated as this CD is such a complete change in direction and its not even good alternative music. Much of it is old and depressing, at least with seasons 1-3 when I listened I was always 'uplifted' as its 'happy' music.
This review is an edit of my original as I have re-listened to the CD since then trying to find something about it I like. Though I appreciate some of the tracks more now I still feel like I am listening to a Leonard Cohen CD.
For the sake of set completion I am glad I have season 4 but all in all it is very very very different from previous seasons and for those that just 'lurved' the soundtracks to season 1-3 you will probably be as disappointed as those of us who have given this 1 or 2 stars

QAF:S4 A Change in Direction and BPMs
I purchased Queer As Folk: Season Four spur of the moment thinking it would be a great summer Hi-NRG disc for listening in my car. After my initial disappointment, where I thought briefly of writing a "don't bother" type of review, I decided to really take a listen. After further consideration, I believe it makes for good listening, but not if your in the mood for a continuous bump and grind upbeat dance mix. There is nothing bad on this CD and it does have a number of dance-oriented selections, but some cuts are more worthwhile than others including Cue the Pulse to Begin by Burnside Project, Train by Goldfrapp, Understanding the New Violence by The Uncut which has an early 80's dance/new wave retro sound, the hilarious showbizzy/loungy If I Were a Man by Andrea Menard and the melodic Wonderful Life by Black, the main title cut from his 1987 release. Listening to the lyrics of Wonderful Life one can understand why it was chosen by the producers of the series. I hope our lives are more multi-dimensional than just going to the local cha-cha palace on Saturday night and the culture that surrounds it. The QAF:S4 soundtrack, while not a classic, proves that a change in direction can be a good thing. I applaud the producers of the series and the CD for taking chances and risking alienating fans which they have done here obviously. After all, the same thing over and over again is boring and not very creative.

COMING OF AGE
I believe this new CD is great! I know it's not anything like the other 3 seasons, but neither is the TV show. It's their "coming of age" and this new CD is exactly that. There is less dance club and more realistic (if that is the right word) music. It is more meaningful. There are, of course, still some club mixes and an awesome broadway-type tune on the CD. I think, if you love the show, you will love the CD.

What happened here?
I purchased the Season 4 soundtrack with anticipation of greatness and what I found was certainly a let down. This is the worst of all the soundtracks; I was expecting so much more. When they started this new season with this great new opening and the Cue to Begin song I thought wow. The music that is in the show is so much better than what they placed on the soundtrack. The mix that was chosen for Cue to Begin was a sad one and a major let down. The mix that is actually on the show is so much better and I guess that I was expecting to hear something similar. I would not suggest purchasing this seasons sountrack and hopefully they will hear our pleas for better music in the future. The first three seasons are worth the purchase. ... Read more

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The Essential Clash demonstrates once again how superior the Clash were to any of their punk peers. It's striking that, while the effects of the movement continue to resonate decades later, most '70s punk has dated badly. Even the great singles of the Sex Pistols, perhaps because they encapsulated the time so perfectly, do little more than remind one of 1977. But this fine 40-track double-disc collection demonstrates that the Clash's sound maintains its vitality, whether in the apocalyptic foreboding of "London Calling" or the sulking "I'm So Bored with the USA." When frontman Joe Strummer died in December 2002 at age 50, much was made of the political conscience he'd brandished throughout his career; it must be noted that appearing to be a great thinker in comparison to other rock singers is no great accomplishment. Appearing a great rock singer in comparison to other vocalists is a much more impressive achievement, and this retrospective provides irrefutable evidence of the genius of Strummer and the band he led. --Andrew Mueller ... Read more

Reviews (35)

Essential for sure...
...as the title suggests. If you only listen to one punk band, the Clash should be it. I used to really dislike punk--then the Clash's box set, The Clash on Broadway, was released, and I got a chance to hear a bit more of what I'd been missing: "Clash City Rockers," "I Fought the Law," and of course, the radio tracks like "Train in Vain" and "Rock the Casbah." These guys were smarter, snider, and more talented than most of the punks who were out there at the same time or who came after them, and they gave rock 'n' roll the shot in the arm it so desperately needed in 1977.... I quite agree with the customer who said that today's crop of punk bands cannot possibly hold a candle to the Clash. This is the real deal.

The only album that matters
There have been other compilations by this band:"The Singles","The Story of the Clash Vol.1, and "Clash On Broadway". But there are a few factors that differentiate this from the others.For one thing, it's not an expensive box set with extra tracks the average listener does not need to have. Also, chart success wasn't what they were known for so there's more emphasis on tracks that weren't released as singles but are favorites to fans and music lovers alike. Most of the first disc is from their first album alone. Finally this double disc set puts their very best in chronological order ending with the track "This Is England" from their last studio album "Cut The Crap". This collection displays the pioneers of rebellious punk rock at their most vital. No rock fan should be without this one. Nothing here has been edited or remixed.

Awesome
Just thought I'd say put in disc 2 and skip to track 8 and just let the cd play from there if you're under the influence of anything.

Good but....
Theres only 3 Clash albums you really need(The Clash,London Calling and Combat Rock).

They Fought the Law
Of course diehards will gripe about the song selection in any compilation such as this, as you can see here. All they have to do is listen to the original albums like they always have. But if you're looking for a sturdy, jam-packed introduction or summary of the best work of the Clash, this package is for you. I've never been much of a punk fan, finding it too amateurish and focused on attitude rather than talent. However, I do know that every genre has its groundbreakers and originators, who can easily rise above the imitators and followers. For punk that would be the Clash, who were brilliant songwriters, could really play their instruments, never cared about the confines of musical categories, and are deservedly influential. (And have you noticed how many Joe Strummer look-alikes there are these days?) This package adequately represents most of the original Clash albums, and while there are a few clunkers like "Groovy Times," we do get most of the band's bona-fide classics, and some surprising covers like the reggae "Police and Thieves" and the rockabilly "I Fought the Law," which really show off the band's range of abilities. An added bonus is a pretty informative history of the band in the CD booklet. This is a fitting summary for a band that all rock fans should get to know better. [~doomsdayer520~] ... Read more

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With the swaggering chords of the opening "Rock'N'Roll Star," Oasis announced that big, brash Brit rock was here to stay--at least for a few years. They wore their rock & roll with an angry young sneer, a Mancunian petulance wedded to a vision of cathartic release. Their supersonic two-guitar attack took them "Up in the Sky," where they would "Live Forever" or burn out in a blaze of alcoholic glory. Noel Gallagher's songs weren't subtle--or shy of overt plagiarism--but, spat out in the Lennonesque snarl of little brother Liam, they took on a venomous power that had millions of young Brits taking them at their own arrogant word. In the U.S., meanwhile, the response was more Maybe than Definitely.--Barney Hoskyns ... Read more

Reviews (144)

The First and the Greatest
Okay this CD is back when Oasis was just one of those dumb bands struggling to keep up. But it's the best Oasis CD ever (not mentioning (What's the Story) Morning Glory)!
1. ROCK 'N' ROLL STAR-An awesome song with great vocals and great guitar.
2. SHAKERMAKER-An extremely rhythmic song. But my only complaint is that Liam (the lead vocalist) keeps repeating the words "Shake along with me" over & over
3. LIVE FOREVER-My 1st favorite with hand drumming and lyrics both soft and rocky at the same time.
4. UP IN THE SKY-A good song nothing really like it. But Liam get's a little high pitched with his singing.
5. COLUMBIA-It's guitar get's pretty loud at times but with a chorus worth remembering.
6. SUPERSONIC-My 2nd favorite song on the album. It has cool guitar work. And is just an awesome song.
7. BRING IT ON DOWN-See "Columbia"
8. CIGARETTES & ALCOHOL-A classic "Definitely Maybe" song with a resemblence to "Columbia" and "Supersonic".
9. DIGSY'S DINER-See "Columbia" and "Bring It On Down".
10. SLIDE AWAY-A great song that basically repeats "Let me be the one who shines with you" and "Why don't you slide away".
11. MARRIED WITH CHILDREN-A melancholy divorce song with awesome acoustic. (A great way to finish off a pop/rock album).

A too often underrated debut
In the States, most people know Oasis for "Wonderwall" and "Champagne Supernova" and other gems off their second album. Their debut album, DEFINITELY MAYBE, is arguably the better one, a wonderful combination of youthful attitude and catchy melodies.

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.)

Auspicious outrageousness and Oasis at their rawest!
Hands down the greatest debut album released by any artist, ever. Musically, this is Oasis at their rawest, hungriest, rather than sophisticated and musically advanced. The tracklist reads more like a greatest hits lineup as almost every track is memorable and unique. 'Rock 'n' Roll Star' is a fantastic beginning, and tells people to reach for their dreams. 'Shakermaker' is a Coca-Cola ripoff, but a damn good song. 'Live Forever' put Oasis on the map and remains one of their finest songs. "Up In the Sky" is the one song that's different than any others on the album , and it's a good one too. 'Columbia' is one of my personal favorites, simple lyrics and great execution musically. 'Supersonic' is one of the most popular Oasis songs till this very moment and their first single ever, solid drum intro until Noel tickles the Gibson. 'Bring It On Down' rocks harder than any song on the album, and Noel busts out the Gibson again for an amazing guitar solo in the final frame. 'Cigarettes and Alcohol' is about rock star excess, and still one of their best songs lyrically. 'Digsy's Diner' is the first in a line of bouncy late album tracks (She's Electric, Be Here Now) and it has very nice Liam vocals. Speaking of nice Liam vocals, 'Slide Away' is ten times better, and still one of the most heartfelt Oasis song, "Let me be the one/That shines with you/In the morning/When we don't know what to do" Noel pens and Liam pleads. Album ender 'Married With Children' is a mellow number, and it discusses discrepancies between lovers.

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.

The Best Ever
Almost made a two word review: "Slide Away" The best vocals ever

other great tracks:
-Rock n' Roll Star
-Live Forever
-Columbia
-Supersonic
-Bring it on Down
-Cigarettes and Alcohol
-Maried With Children

Only complaint: They didn't include "Cloudburst"

Totally Mad Fer It
With this album Oasis made British rock n roll cool again. After the demise of fellow Mancs, The Stone Roses, the British rock scene grew stale. Definitely Maybe reignited it with cocksure arrogance accompanied with a pop friendly beat and rip roaring anthems. The working class had a band to answer "student" groups like Radiohead. Living in the "black economy", Oasis gave the rest of the world a glimpse into their lives much like Gangsta Rap gave white America a glimpse of inner city life. Songs like "Bring it on Down", "Supersonic", and "Cigarettes and Alcohol" spoke of a drug fueled existence. While "Rock N Roll Star" showed their self assured attitude. "Live Forever" is the stand out track and sums up the whole Brit Pop period so much so it was chosen as the title for a movie on the period. Noel Gallagher writes the songs but vocalist Liam Gallagher takes it and makes it his own, he could be the Ronald Reagan of 90's music scene. One of the best rock albums of all time I highly recommend it for any serious music fan. ... Read more

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Perhaps you weren't convinced of the Verve's staying power until recently. Before the release of Urban Hymns, skeptics wondered if they could ever match the explosive power of their earlier dedications. In 1995, most critics dismissed their offerings of the time as vapid, romantic excursions. To their credit, the Verve have sustained their shadow rock legitimacy while introducing string arrangements, piano fills, and slide guitar. Nowhere are these stirring traits more obvious than in the epic single "Bitter Sweet Symphony." Laying it on thick throughout the rest of the album with painfully engaging ballads, the Verve have crafted their most accomplished album to date, proving the longevity of their cultural resonance. --Lucas Hilbert ... Read more

Reviews (218)

When The Drugs Don't Work Try This Album
This is undoubtedly one of the best albums of the 90's. It contains two megahits - Bitter Sweet Symphony and The Drugs Don't Work. The latter I consider to be one of the best love songs ever recorded. Few other songs also rate very high - Sonet, Lucky Man, Space and Time and Velvet Morning.

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.

All Time Favourite
There are no words to describe "Urban Hymns"--all I can say is that it's the soundtrack to my life. When I first heard "Bittersweet Symphony" nearly five years ago, I almost fainted in rejoice, trying to imagine how any band was capable of such artistic beauty and lyrical perfection. Soon enough, the song became ubiquitous on both radio and TV, and its soaring melody of strings and double-whack beats will always remind me of that glorious time in music and in my life.

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.

The best in my collection.
I got this CD two weeks ago, and it hasn't come out of CD player since. After I first heard Bitter Sweet Symphony, I knew I had to get it... that song is great on so many levels.

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...

Urban CRAP.
Boring typical british new romantic crap. To say this album can stand the test of time is a joke! There are plenty of copies in the second hand record shops already! Anybody into this trash should get a life.

This Will Stand the Test of Time
This is one of those timeless albums that you can listen to now (six years after its initial release) and still enjoy it. Each of the songs still sound as fresh as today as they did back in 1997. With this album, the Verve hit a homerun.

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

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Elvis Costello kicked off his debut album with a formal device that would also serve his next two long-players well: the first thing you hear is his voice. That opening phrase--"Now that your picture's in the paper..."--was more than sneakily, if not intentionally, appropriate, since Costello was quickly declared the second coming. It's become de rigueur to dis the pub-rock backing of U.S. band Clover, but their work here is satisfactorily edgy; guitarist John McFee makes some of the arrangements with his wailingly articulate fills. The remastered Rhino reissue includes a full second disc of demos and rarities. --Rickey Wright ... Read more

Reviews (27)

An Intro. to Costello
This is a quintessential Elvis Costello album. If you don't own an Elvis Costello album, then this album will be a great introduction. Every song is on here is catchy and stands on its own as a rock hit. Costello has a unique style unlike a lot of Rock, yet when listening to his songs I think that this is what Rock and Roll is about. With catchy lyrics and upbeat rhythms, My Aim is True will have you coming back to listen to it over and over again.

Opened my doors of perception
Scene One; A sixteen year old boy is happily sitting in suburban Detroit. The soundtrack to his life is what would later come to be known as Classic Rock Radio. There are rumors of punk rock and new wave from England, however these are not audible yet in the midwest. One Saturday evening, he sits down to watch SNL with special musical guest Elvis Costello. Snap! That was the sound of a dropping jaw breaking the coffee table as Mr. Costello (looking like an exhumed Buddy Holly) plays Radio Radio. Scene Two; Said boy brings home My Aim is True. His mind is blown. Every song sounds like a hit single. He is amazed. Maybe there are other unheard things out there like this. Epilogue; This album helped open my doors to Punk, New Wave, Reggae, Ska, Jazz, Blues, World Music, Country, well you get the idea. Thank you Mr. McManus. One classic album.

The Marking of an Arrival
"If he didn't exist, someone would try to invent him", read a promotional poster for Elvis Costello's 1977 debut. However, sometimes truth is stranger than fiction, and to try to invent Elvis Costello would be like trying to invent Woody Allen, a personality whose singularity is on par with Elvis's. Elvis Costello was the angry young man par excellence, and if punk is all about attitude, then he certainly fit the bill (he was only 22 when the LP was released). My Aim is True also introduced a superb artist who could cover half a dozen styles (punk, rockabilly, reggae, Tin Pan Alley, new wave, singer/songwriter) and emotions (bitterness, anger, lust, ruefulness, whimsy, and musical inspiration) in an equal number of songs. Top that off with his moniker and unsettlingly warped Buddy Holly appearance, and you have the walking popular music museum that Costello is.

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.)

World 's Introduction To E.C.
This album is a great beginning for any Elvis Costello collection. What can you say about this album that hasn't already been said. I feel that some of standout tracks here are:
"Watching the Detectives", "The angels want to wear{my red shoes} "lESS THAN ZERO" and "Blame it on cain". The only thing that's missing here is the full group of "the Attractions; instead it is the pub-rock backing of U.S. band"clover". I don't think some of the arrangements that guitarist John McFee made were the appropriate choices that he picked, for example: when E.C. and "the attractions" played together on later albums this sounded much better and more sonically intense. Therefore, I think this debut album is quite different than any other of his recordings. The deluxe 28 page booklet and the new liner notes are in my opinion a great addition to this Rhino record collection.

Perfection!
Simply put, one of the top 5 rock albums of all time! ... Read more

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

Reviews (67)

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

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

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

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

For completists only.

-DW

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

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

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

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A Girl Called Eddy is the rather unassuming name used by singer-songwriter Erin Moran. On this, her debut album, she teams up with former Pulp guitarist and acclaimed solo artist Richard Hawley to produce an album of elegance and depth. Quite simply, A Girl Called Eddy is music made by grown-ups for grown-ups. The band, who also featured on Hawley's own opus Lowedges, create sophisticated arrangements that add an almost jazz-like feel to tracks like "Tears All Over Town," "Girls Can Really Tear You Up Inside," and "Life Through the Same Lens," yet they never threaten to overpower Moran's own tender and emotive voice. She is, after all, the real star here, and she proves her abilities both as a singer and as a lyricist throughout. "You're lonely like only the broken can know," she broods on "Somebody Hurt You," and her voice conveys both sympathy and intimacy, never an easy feat on a recording. This is a surprisingly accomplished debut album--dignified, literate, and well-observed. Its mellow, relaxed pace may sound perfect for late-night listening, but A Girl Called Eddy will command your attention. --Robert Burrow ... Read more

Reviews (19)

Feelin' Alright? Actually, I am feeling good myself
Of the bands Steve Winwood's associated with, there's Traffic, formed after his departure from the Spencer Davis Group, in which he temporarily departed during his sojourns with Blind Faith and Ginger Baker's Airforce. He reformed the group, which stayed together till 1975. This is also the group associated with Dave Mason, who left and rejoined several times before embarking on a mostly unsuccessful solo career and a brief stint with Fleetwood Mac in the 90's. Traffic itself contributed to the British psychedelic scene, replete with organs, flute, saxophones, sitars, and harpsichords, as well as other instruments, showing how they embraced Indian sounds, the neo-Bachian music by Procol Harum, and the like, and they're all here on this greatest hits compilation.

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" featur