Amazon.com

The final album by the Clash's original Strummer/Jones incarnation is also their most inconsistent. There were musical and ideological rifts developing within the band, and it shows: the experimentation is almost as wild as Sandanista!'s (and the biggest experiment is heading away from their punk shiftiness and into a commercial rock sound), but they seem to be enjoying it less. The band's stabs at funk and poetry aren't terribly successful, but it all came together for two massive hits: "Should I Stay or Should I Go?" has the biggest, stupidest, most perfect riff this side of "Louie Louie," and "Rock the Casbah" pulls the band's politics, fine-honed sarcasm, and saw-toothed guitar sound into the service of a dance-floor beat. --Douglas Wolk ... Read more

Reviews (75)

ready for combat
combat rock is one of those albums that gets alot of heat for becoming the record that makes a band a sell-out.sure should i stay and rock the casbah are their two most well known songs but who cares?this has taken alot away from combat rock and it's very sad.combat rock may not be the clash's best album but it does have it's really good moments.straight to hell has to be the greatest song the clash have ever done.joe's words are so emotional and powerful in this song you'll forget that this band used to be a punk band.while the album doen't really contain any punk songs the lyrics are punk enough and the best example of that might be the opening song know your rights.ghetto defendent is another song that has some powerful lyrics and it features writer allen ginsberg.sean flynn has almost the same ammount of emotion as straight to hell does and it's also one of the clash's best songs.inoculated city is another great song on the album and mainly because of the lyrics.the whole album has an apocalypse now! feel to it.don't listen to the people who say it's a bad album because of the lack of punk and don't let the people say it sucks cause it's not all like the two singles.combat rock is a good album.-rancidpunx

Ghetto defendant/It is heroin pity...
Critics like to talk about The Clash "selling out" with this album, but aside from the singles SISOSIG? and Rock the Casbah, there's very little here that sounds even remotely commercial. Nearly all the songs are good. Know Your Rights is a little too obvious, and isn't really a song, but, that's the only glaring weakness, and even that could be worse. There's my favorite Clash song ever, Ghetto Defendant, which is strange and surreal, but also very gritty, in a way. And of course it features Allen Ginsburg guest vocalling. Sean Flynn, Inoculated City, and Death is a Star are along similar lines, if not quite as strong. Then there's Car Jamming, which, like a number of songs here, is kind of a political stream of consciousness, and works out well. Straight to Hell and Overpowered by Funk are also highlights. And let's face it, the singles are pretty good too. All in all, if you like the Clash, you need this album. It may be somewhat less challenging than their earlier work, but it isn't compromised at all.

Big Letdown After A Creative Peak
London Callimg and Sandinista showed The Clash developing from their initial punk beginnings to a great studio band making excellent albums with much depth. The rot set in with Combat Rock, which for all purposes really is the last true Clash album(Cut The Crap can be dismissed altogether). This album is nothing more than two hit singles sandwhiched between a bunch of filler that sounds like the worst moments of Sandinista, plus two pretty decent songs "Know Your Rights" and "Straight To Hell".I have it because it's The Clash, but hardly their best.

the Clash's worst!
I bought most of the Clash's albums upon their original release (including this one). Their music continually evolved, however, that evolution took a wrong turn with this album. It wasn't inventive like London Calling (yes you whipper snappers, nothing like it had been put out till then - we all realize that a lot of stuff since then has borrowed that sound) or experimental like Sandinista. Quite frankly, it's just a dumb album. I gave it two stars because it was the Clash, anyone else would have warranted less.

Half good, half bad
Mind you, I'm not a huge Clash fan...

A lot of people call this the Clash's sellout album. The production is more 80s, there are lots of synthesizers and some catchy, poppy songs. It's also known as a bit of a muddled up record. For me, listening to it is definitely a mixed bag.

The first half of the album isn't that bad. Some of it's pretty clever. I actually like "Know Your Rights", unlike a lot of people. It's got some cool guitar effects, noises and the like, and with his sneering voice and confrontational lyrics, Joe Strummer paints a paranoid picture regarding the state of human rights. "Car Jamming" has got a great rhythm by drummer Topper Headon, and the echo on the harmonies gives the song a cluttered up feel, a lot like a car jam. "Should I Stay or Should I Go", with the blaring guitar, thick British accent singing and relationship issues would probably be the Clash's catchiest track if it wasn't for "Rock the Casbah". It's rare to find a fun political song, especially one as catchy as this. With it's dancable rhythms, goofy sound effects, and Joe's raw, sarcastic lyrics, it's my favourite track on the album, sellout or not! "Red Angel Dragnet" an angular, spoken word piece about crime in New York city, and I think is one of the Clash's best spoken word songs. They have a lot of fun with it (gotta love the accents in it), the rhythms are catchy, and they get the message across. The message is also heard loud and clear on the moody, atmospheric "Straight to Hell", the sound effects and synthesizers adding to the gloom. Once again, great rhythm work by Topper Headon!

It's a bit downhill from here on though...

"Overpowered By Funk" hasn't aged well, I guess. I think it's probably the most annoying song. Disco beats, big cheesy synths, overuse of the word "funk", and a cameo by a very slow rapper. Only in the 1980s... "Sean Flynn", with it's saxophone, flute and 1980s sonic trickery seems to be more about atmosphere than anything else, and I didn't think it was very interesting. "Ghetto Defendant" features Allen Ginsburg, but they don't use his weathered, throaty voice very well. They just have him spouting words rhyming with "metropolis" in front of a repetitive melody that sounds a lot like lift music. Bit of a shame. Songs like "Atom Tan" and "Innoculated City" sound all right, but it sounds a bit like Joe and the boys are just going through the motions a bit. Getting a bit sick of each other and all that. "Death is a Star" is an intimate, odd spoken word piece that starts off in a storytelling style then bends itself into a folky ballad. There's sound effects of crickets and some piano too, quite good piano playing for a punk band, actually. I know Joe's singing is a little rough around the edges at the best of times, which is what he's known for, but here he tries to sound delicate, which he doesn't quite pull off as well.

If you want to hear what 1980s Clash was like, I'd say this is the album to get first, rather than "Sandista!" or "Cut the Crap". If you're only just getting into the Clash, it might be better to start with "London Calling". ... Read more

Album Description

UK 2002 remastered reissue of the British ska revivalist's1979 album. Includes ECD section containing 2 promotionalvideos 'Gangsters' & 'Too Much Too Young'. Produced byElvis Costello. ... Read more

Reviews (32)

A ska free-for-all
Even the absence of "Gangsters" can't deflate my joy in listening to this cd. (I can't say the same for the missing "Tears of a Clown" and "Ranking Full Stop" on the English Beat cd.)

I'll never forget when The Specials appeared on Saturday Night Live in 1981. They performed a searing, blistering "Gangsters" as they slam danced with the air around them. When they were through, the usually savvy New York audience was stunned. Dead silence. And I don't think it was because they were impressed: they just didn't know what they had just heard. But this Brooklyn boy was on his feet at home, jumping, and scrambling for pen and paper to remember this band's name so I could buy the album, which I did the next day.

I was in for more than I'd expected. Half this album's tunes are pure energy, the other half were more subtle reggae tunes. I thought The Specials were a tight, no-holds-barred, musically frenzied band. But there's something else: their songs carry incredibly intelligent, socially aware lyrics. Some songs are of the utmost seriousness. "It Doesn't Make It Alright" is a powerful indictment of racism. On the other hand, "Too Much Too Young" is a more witty, sarcastic look at teen pregnancy. There are strong messages in several songs, and this is an added plus. It is ska that is unafraid to approach any topic. It's fun, it's serious, it's damned good music.

Have you bought this cd yet?

An all time Classic
This is clearly the best Ska record ever made. Their debut album (the BBC had just aired The Specials John Peel Sessions, but it was not yet for sale. Also, their true debut was a 45rpm single of Gangsters whose B-side was titled The Selector and credited to The Selector, but in reality, The Selector was Jerry Dammers, John Bradbury, both from The Specials, and two of their roommates. I think it is the best song The Selector ever did).

If you listen to earlier versions of these songs available elsewhere, you can see how much they honed everything. The Specials had toured the U.K. supporting The Clash, and as a result you can hear more Clash-like-Grit on this album, and you can also see The Specials influence on Clash songs like Pressure Drop, very Ska.

I like everything about this album, every song. I still remember my high school English tutor in the 9th grade (I was really bad in school) who was more interested in shaping my musical tastes, and my sister, English was third on his list. He made me a tape of this album with the This Are Two Tone compilation on the second side. I listened to that tape for years, before they had tape-players that would flip the tape for you. I remember one time I accidentally hit "Record", so to this day I am surprised there is no gap at the beginning of "Concrete Jungle".

Not too long ago, I was invited to several Specials shows. My friend had gone to school with Mark Addams (keyboards) in Coventry and whenever they'd come to San Francisco my friend rob would arrange to have us on the list. They have altered the band since 1980 (when this album came out), a few new members, but they still have Neville Staples(who looks even cooler today), Horace Panter, Roddy Radiation, and Lynval Golding. They preformed these songs in a dizzying frenzy. After each show we'd go backstage with them (once to the Green-Room of the legendary Fillmore Auditorium!) and one time on their tour bus somewhere in Santa Cruz. My friends wife was blind, so she had a seeing-eye-Doberman with her. We were on this crowded bus, with the band, this huge dog and scattered other people. They were playing some old sixties Ska on the bus stereo, and Lynval Golding (guitarist) danced with the seeing-eye-dog, and I cracked a corny joke, which I began to regret as I was saying it. I said to Mr. Golding, "Do The Dog!" (referring to their song by the same name) then my ears began to turn red. He thought it was the funniest thing he'd ever heard and slapped his leg as he laughed. He put his rude-boy hat on my head, which was pathetically loose, and laughed his way to the ice-chest and he fetched two beers and brought one to me as his laughter died down. The joke seemed rather obvious to me. He took his hat back as he gave me the beer. It was all very weird.

Anyway, this is the album to have. I have many Specials albums, and would choose this one over all the rest, or any other Ska band, there is No Doubt about that. If you have never heard this album but are considering it, then trust the instincts that brought you this far and get it, if you remember this album from your youth but haven't gotten around to getting it on CD I suggest you drop everything and get it, and get Led Zeppelin IV another time. This album has aged very well.

awesome just awesome i mean fantastic even
this cd was great it was one of the best things ive heard in my entire life it was awesome just awesome you know the rest i love you specials you changed my life you know jerry dammers is the man with the amazing lyrics it just blew me away there awsome

Rock steady and rock solid
This album is permanently seared into my brain. I listened to this album too many times to even estimate, having discovered it in High School (when it came out - yes, I'm getting old), spun it endlessly in College, and have never really stopped listening to it. Now and then it kind of fades to the back of the old collection, but sounds as strong as ever every time I resurrect it from the stack. This is one of those albums that I've owned on vinyl, tape, CD and now resides in my Ipod. The infectious nature of this album is best related in a ridiculous story: We were on a business trip to make an advertising presentation for a client in Chicago about 5 years ago, My colleague and I both graduated college in the late 80's but we never really discussed music. While we were waiting to pitch our campaign outside the boardroom, we both noticed a framed 2-tone poster inside a nearby office. One by one we both ran through every song, every beat, every freestyle ranking from this album, each picking up seamlessly where the other would leave off. Sounds stupid, I know - but it's that kind of album. Just buy it - buy it now!

fantastic stuff
This is the best 2tone/ska album there is.Although the Specials introduced a raw,punky,English working class aspect to the ska sound, they retained much more of that original Jamican sound than any of the 3rd Wave American bands.The sounds of inner city England at the time were punk and reggae.The likes of Sex Pistols,The Clash along with reggae from the likes of Bob Marley and Dennis Brown were regularly in the top 5 in the UK charts.Unlike in the ghettoised projects in the United States,black and white working class kids in England shared the same housing estates and schools and so there were much greater opportunities for cultural hybrids.When punk appeared in 76 skinheads re emerged after disapearing from the scene for 5 years.The whole Specials idea was partly a calculated response by Jerry Dammers to remind the many skinheads who were flirting with nazism at the time that black cultural influences had been fundamental to the existence of the original skinhead movement.Anyhow it was a clever experiment that proved commercially succesful and this is an excellent album. ... Read more

Reviews (32)

Great tracks all in one cd
This is a great grouping. If you love the most popular tracks last year that attracted the most attention and you are not up for buying every nominated cd get this. I love the mix of artists and love almost every song on this compilation. Not much to do but pick the best and put them all in one cd but this one is awesome because there were so many interesting musically aesthetic releases last year.
My favorites:
Crazy in Love - Beyoncé
Clocks - Coldplay
Going Under - Evanescence
Cry Me a River - Justin Timberlake
Beautiful - Christina Aguilera
I'm With You - Avril Lavigne
Dance With My Father - Luther Vandross
Keep Me in Your Heart - Warren Zevon
Stacy's Mom - Fountains of Wayne
Any Road - George Harrison
Ain't No Mountain High Enough - Michael McDonald
Send Your Love - Sting
Hole in the World - The Eagles
Unwell - matchbox twenty

Great Grammy's
Beyonce Featuring Jay-Z:Crazy in love. I don't like Beyonce, but this was a pretty good. 5/10

The Black Eyed Peas & Justin Timberlake:Where is the love?
Second best song. That's it. 9/10

Coldplay:Clocks. This is an ok, but it might get boring after a while. 7/10

Eminem:Lose Yourself. This is the best mother
f[family website]en song on the CD. 10/10

Missy Eliot:Work it. This song is gross. I hate it. 1/10

Evanescence:Going Under. I realy think that this song is good. 8/10

Outkast:The way You move. Bottom line, good song. 7/10

Justin Timberlake:Cry me a River. Justin was better when he was with *Nsync.

Christina Aguilera:Beautiful. I don't like it. 1/10

Avril Lavinge:I'm with you. Its a d[family website]n good song.
8/10

Luther Vandross:Dance with my father. This song is weird. 2/10

Warren Zevon:Keep me in your heart. No comment. 3/10

50 cent:in da club. Go, Go, Go Charolette its ya birthday. 8/10

Fountains of Wayne:Stacy's Mom. Funny song, good song. 8/10

Heather Hadley:I wish i wasn't. I don't like it. 1/10

Sean Paul:Gimme the light. I know i keep saying this but, it's a good song. 7/10

George Harrison:Any Road. I didn't listen to this one, but there are plenty of other good songs. ?/10

Michael Mcdonald:Ain't no mountain high enough. I'll let you decide. ?/10

Sing:Send your love. Its ok. 5/10

Eagles:Hole in the world. Its ok. 4/10

Matchbox 20:Unwell. Its an original song. 7/10

anything from 7/10 or higher is a good song.

5/10 or higher is ok.

4/10 or below is bad.

Remember, that this is my opinion.

Good Overview of 2003's Biggest Songs
1. Crazy In Love - Who could forget Beyonce's first hit by herself. Actually Beyonce's first #1 by herself. Yay Beyonce!

2. Where Is The Love? - Well, not only is it Black Eyed Peas's first #1, but Justin's first #1 by himself. Yay them! THE #1 SONG OF 2003!!!

3. Clocks - Coldplay was nominated for best record. This is a good song, but I don't think this should be here. It's too old.

4. Lose Yourself - From Eminem's #1 movie 8 Mile comes Lose Yourself. This song is good, but again, it's too old. I think the Grammy's are more focused on a good songs and not hits of 2003. I don't care, but please don't make the whole CD like this.

5. Work It - From Missy's #1 album Under Construction, comes Work It. I think it's too old, but this is nominated for album, not the song.

6. Going Under - From Evanescence's Fallen, comes Going Under. I think they should of used Bring Me to Life. It was a bigger hit.

7. The Way You Move - OutKast's first #1 hit from Speakerboxxx/The Love Below. I think this was an excellent choice.

8. Cry Me A River - Ok, this is kind of a problem. Cry Me A River is a horrible song. Not a good choice, but a good album.

9. Beautiful - Another great song, but it's too old. They should have used Can't Hold Us Down. That was the 2nd biggest hit.

10. I'm With You - Avril's 2nd #1 hit. It's an awesome song!

11. Dance With My Father - Not a big hit, but who can forget Luther's incredible lyrics.

12. Keep Me In Your Heart - I've never heard this before Grammy Nominees 2004. It's ok. A little to slow and boring. I don't think this was a hit anyway.

13. In Da Club - 50 Cent's first appearance on pop radio stations. IN DA CLUB WAS THE #2 SONG OF 2003! IN DA CLUB IS AWESOME!

14. Stacy's Mom - Fountains of Wayne's first top 10 hit. This song is excellent. It's a little gross though. " Stacy's mom has got it going on. She's all I want, and I've waited so long. Stacy can't you see? You're just not the girl for me. I know it might be wrong but, I'm in love with Stacy's Mom. "

15. I Wish I Wasn't - Wasn't a big hit. It's a good RnB song though.

16. Gimme the Light - Good dance song. Sean Paul's first appearance in the top 100.

17. Any Road - Never heard this before this CD. This is the other problem. Why was this nominatted for best POP performance?

18. Ain't No Mountain High Enough - (see Any Road)

19. Send Your Love - A good dance song. Wasn't a big hit.

20. Hole in the World - A big hit on Adult Contemparary radio stations.

21. Unwell - A big hit. #1 played on Adult Contemparary radio stations in 2003. A good choice.

Overall, a good mix of 2003's biggest songs. (Amazon, I wasn't using a word count so it could be over 1,000 words. Sorry!)

GRAMMYS 2004
BEYONCE’ FEATURING JAY-Z "Crazy In Love" Record Of The Year

THE BLACK EYED PEAS & JUSTIN TIMBERLAKE "Where Is The Love?" Record Of The Year

COLDPLAY "Clocks" Record Of The Year

EMINEM "Lose Yourself" Record Of The Year Song Of The Year

MISSY "MISDEMEANOR" ELLIOTT "Work It" Album Of The Year

EVANESCENCE "Going Under" Album Of The Year Best New Artist

OUTKAST "The Way You Move" Featuring Sleepy Brown Album Of The Year

JUSTIN TIMBERLAKE "Cry Me A River" Album Of The Year Best Male Pop Vocal Performance

CHRISTINA AGUILERA "Beautiful" Song Of The Year

AVRIL LAVIGNE "I'm With You" Song Of The Year

LUTHER VANDROSS "Dance With My Father" Song Of The Year

WARREN ZEVON "Keep Me In Your Heart" Song Of The Year Best Male Pop Vocal Performance

50 CENT "In Da Club" Best New Artist

FOUNTAINS OF WAYNE "Stacy's Mom" Best New Artist Best Pop Performance By A Duo Or Group With Vocal

HEATHER HEADLEY "I Wish I Wasn't" Best New Artist

SEAN PAUL "Gimme The Light" Best New Artist

GEORGE HARRISON "Any Road" Best Male Pop Vocal Performance

MICHAEL MCDONALD "Ain’t No Mountain High Enough" Best Male Pop Vocal Performance

STING "Send Your Love" Best Male Pop Vocal Performance

EAGLES "Hole In The World" Best Pop Performance By A Duo Or Group With Vocal

MATCHBOX TWENTY "Unwell" Best Pop Performance By A Duo or Group With Vocal

Grammy nominees 2004
1.Crazy in Love (Jay-Z /Beyonce)
A good song by beyonce and Jay-Z. A song that i will not get sick of. 5/5

2.Where Is the Love? - 4:05 (Black Eyed Peas / Timberlake, Justin)
This is an ok song gets annoying after a while. 3/5

3.Clocks - (Coldplay)
Excellent song by coldplay one of the best on the albumn. Has a great beat and great lyrics. 5/5

4.Lose Yourself - (Eminem)
Eminiem proves on this song why hes the best rapper around. 5/5

5.Work It - (Elliott, Missy 'Misdemeanor')

One of Missy Elliots best songs to date. 5/5

6.Going Under - (Evanescence)
One of the best new artists of 2003. Their debut albumn is also one of the best selling albumns of the year. 5/5

7.The Way You Move - (OutKast / Brown, Sleepy)
This song has a catchy tune and good rapping in it. 4/5

8.Cry Me a River - (Timberlake, Justin)
One of the worst songs on this albumn. Cry me a river for having to actually listen to it. 1/5

9.Beautiful - (Aguilera, Christina)
This song lives up to its name it is absolutely beautiful and has a good message in it. 5/5

10.I'm With You - (Lavigne, Avril)
This song is good but not great. 4/5

11.Dance With My Father - (Vandross, Luther)
Excellent and heart touching song. if this song doesn't touch your heart, there is something wrong with you. 5/5

12.Keep Me in Your Heart - (Zevon, Warren)
I didn't particularly care for this song. 3/5

13.In da Club - (50 Cent)
One of the best rap songs of 2003. 5/5

14.Stacy's Mom-(Fountains of Wayne)
At first i didn't like this song, but after a while this song quickly became one of my favorites of 2003. 5/5

15.I Wish I Wasn't - (Headley, Heather)
This song is ok, not the greatest though. 3/5

16.Gimme the Light -(Paul, Sean)
One of Sean Paul's most annoying songs ever. 2/5

17.Any Road - (Harrison, George [1])
Abouslete Excellent song from former Beatle George Harrison. 5/5

18.Ain't No Mountain High Enough - (McDonald, Michael [Vocals/Keys])
I absouletely can't stand this song for some reason. 1/5

19.Send Your Love - (Sting [1])
Great song from Sting. 5/5

20.Hole in the World -(Eagles [1])
The Eagles prove that they still got it with this song. 5/5

21.Unwell -(Matchbox Twenty)
Excellent song from my favorite band. Glad to see that they were nominated at the Grammys. 5/5 ... Read more

Amazon.com

By now, everyone knows how adventurous Radiohead are, which makes this live record--a hairy rock-band cliché--seem like a strange capper to their decidedly cliché-rejecting records. But throughout the hubbub surrounding Kid A, and its Amnesiac companion piece, Radiohead never embraced the notion that they're reinventing anything. Even while a tempest of critics hailed the band as saviors, pulling rock from the jaws of consumerist self-destruction, the band ignored it all, going into stadiums and working out their twisted angst through angry, direct means."National Anthem"'s fuzzed-out riff rages aggressively behind Thom Yorke's crazed, breath-scat vocal, giving the song a rollicking edge that was nowhere on Kid A. The same effect is heard on "Idioteque," as Yorke, getting backup vocal help from the crowd, sings over an acoustic beat, removing the distant, electronic touch of the studio version. "True Love Waits" aptly ends the record with Yorke and a solo acoustic guitar, which finds just the right touch on a song that Radiohead have played with for years (long-term fans should note the first ever appearance on record of the track). In the end, Radiohead don't really stray too far from the original templates of these songs, they merely play up the highs and milk the lows, just like any good rock band should. -- Matthew Cooke ... Read more

Reviews (133)

Or They Might Be Right
An extraordinary live compilation, and as such, one of the best live records you'll hear this year. In this format, the music takes center stage; the songs are good enough to avoid any 'experimental' label the critics might try to bestow on it.

Standout tracks: Morning Bell, Idioteque, and Everything In Its Right Place morphing into Dollars and Cents. Any other band would kill to have a back catalogue like this. What's more amazing is that all the songs (save the atmospheric True Love Waits) come from just two albums: Kid A and Amnesiac. The casual fan might be disappointed that there's no 'Creep,' the rock fan might bemoan the total lack of Bends material, and the critic might complain about OK Computer's absence, but if you've liked any of their albums, this one belongs on your CD rack.

Even better, with only 8 songs, this is no 70's type double live album. It's just rock music that rocks you, and then leaves the building. Just like its supposed to.

Great Album but missing some good songs.
I just purchased the new Radiohead live album, and let me tell you what this album kicks ass! There are only a few groups that I would even consider buying live albums from, Rush and Radiohead are probably the only two. I did not even know this album was coming out, I just happened to see it listed on Amazon. The track listings are as follows:

The National Anthem
I might be wrong
Morning bell
Like spinning plates
Idioteque
Everything in its right place
Dollars and cents
True love waits

The majority of the album is from Kid A and Amnesiac. My favorites included: The National Anthem, Morning Bell, Idioteque, Everything in its right place and True love waits. The majority of my favorite songs are off Kid A. I especially like True love waits; I have never heard that song until I bought this album, the acoustical song is a great ending to the album. The only drawback that I can see from this album is that they don't put anything on from before Kid A. There are a TON of good songs from OK Computer and The Bends that they could have added to this album but did not. A single Live album does not do this group justice a double album would have been awesome! But all in all this was the best ($$$)I ever spent, do yourself a favor and go get this album!

Let Me Be The First To Say...
Let me be the first to say that this album is a "must own" for any Radiohead fan. I know some fans of their early music were confused or disappointed by the fussy studio electronica of Kid A and Amnesiac but live versions of these songs take on new dimensions and show how powerful and energetic they can be. If you've seen them live you're aware of how great their shows are. I Might Be Wrong captures their energy pretty well and lets you look at the songs in a new way. The one drawback is the disk is only 40 minutes long, that's 40 minutes too short for me!

The best Radiohead album?
There are valid criticisms of this album: the abbreviated length, the fact that anyone with a high-speed internet connection can make up their own collection of live tunes. But the availability of complete live shows doesn't negate what this is: a superb little record that chooses quality over quantity, resulting in flawless music all the way through. That's the rarest of all accomplishments, for a live or studio album.

Radiohead open up on stage in ways they never do in the studio. They manage to convey a range of sound comparable to their albums' production effects, but without the calculated distance. The result is that each of the songs here seems a truer version of itself: noisier, more powerful and more genuine. Like Spinning Plates and Everything in Its Right Place, in particular, crackle with new emotion. And all the songs benefit from what's best about live work: they're energized by the fact that they balance constantly on edge of possible failure (though of course these were selected because they succeed).

Anyone who has only listened to Radiohead's albums will benefit from hearing how they flourish on stage; and anyone who already knows live Radiohead should cherish these outstanding mixes. In the company of only their fans, Radiohead finally aren't afraid to be a great band.

Get This For "Spinning Plates" Alone
the songs are all executed well.
my brother enjoys this albums version of "i might be wrong" more than the AMNESIAC's version.

but, this version of "SPINNING PLATES" is the real reason to get this.
it's just brilliant.

i got this as an afterthought, but i'm really glad i have it. ... Read more

Reviews (51)

welcome to space station slowdive
This album combines the talents of Neil Halsted (singer and songwriter) Rachael Goswell And my favorite Brian Eno who played Keyboards for David Bowie. The album is a mixture of beautiful melodies and Harmonies in the keys of D,B,A & E. The vocal harmonies of Neil and Rachael flows beautifully and it is very colorful in it's unique guitar texture. The song, Melon Yellow has these beautiful cymbals in reverse and the minimal bass lines make this song sound dark and mystical. My personal favorites on this album are 'When the Sun Hits','Dagger'& '40 Days'. Brian Eno recorded this incredible album but he also co-wrote two songs on this album and he played keyboards on 'Sing'. This band is one of my all time favorite bands. I saw Slowdive, live two times before they broke up and the talent in this band is just amazing. They wrote so many beautiful songs and made so many major contributions to the ShoeGazer scene but in England they never were as big as they were here in the U.S. If you have a moment and love Brian Eno's music or even David Bowie, listen to this album. It's a great influence on any aspiring musician.

You just arent a gazer unless you own Souvlaki
This album induces you and sucks you into its haze of soaring guitars and Beautiful voices. My advise to you is wait till dark, light a candle and fall asleep to this amazing album. There really isn't a bad song on here, even the extra tracks are good, a bit on the Brian Eno side, but good. I especially like "Country Rain" I cant get that one out of my head. "Some Velvet Morning" is a nice rendition and "Souvlaki Space Station" has a great bass line. I was at lunch one day and i was chatting with a girl who I liked, we were talking about music and in the midst of Green Day and Offspring I brought up Slowdive. She said she'd never heard of them and since I remember this album changing the way I looked at music I was hoping that by letting her borrow it I would open up a whole new musical world for her and in the process bring her closer to me. Unfortunately she didn't seem to have the acquired taste, I guess I should've gone with something a little more....mainstream. Anyway if you like Shoegaze, you'll love "Souvlaki".

A mesh of genres
I remember the first time I heard this album, and I thought "Holy crap, this sounds like the perfect marriage of two great albums that I already have and completely appreciate in my collection: My Bloody Valentine's "Loveless" and Prefab Sprout's "Two Wheels Good."

I'm not going to go into the sub-sub-sub genre labeling of this work, other than I know that it really doesn't fit or hit a particular "brand" of music, which is a good thing for it. Better than those two? Maybe not, but yes, maybe, just due to the extraordinary merging of experimentative alt-guitar rock chaos and preppy alt-rock introspection.

I'm not going to pretend that I know everything music, but I do know that chicks who would otherwise thumb their nose at this particular level of genre busting stuff dig this album. I almost feel like a cheater having this one in my collection. It's almost too easy to, well, you know, ummmm, well, yeah, you know, when this one gets play time.

a must have for the "shoegaze" collection
slowdive, are a brilliant band. the name intrigues you to find out who they are and what they are all about, and when you do, you hear a wonderous noise from the echoes of guitars and dreamy vocals. "souvlaki" is like a dream, and it's entrancing melodies and harmonious guitar work, overlaying one another with extra reverb sounds wonderful. my favorites are "souvlaki space station" and "when the sun hits", but all of the other tracks are brilliant as well. "some velvet morning" is an excellent addition to this album, and the technoish, trance extra songs here aren't that bad. if you're into radiohead, blur, my bloody valentine, or any of these brits, you should check slowdive out.

Sweeeeet...
Slowdive are, for me, the band that most defines, and are the best representative of, the genre "shoegazer." The name "shoegazer" was originally a derogatory term (like "impressionism" for that French school of late-19th-century painters, interestingly) coined by some snotty British music journalist to apply to a crop of bands such as Ride, Lush, and My Bloody Valentine, that appeared in the early 90's and whose sound was defined by dense layers of guitar textures and that tended to effect a distinctly introverted stage presence. Actually, most people are not familiar with the term or the music: you certainly won't hear any "shoegaze" on hit radio.

While in the main, shoegaze music tended to be melodic as well as loud and textured, part of what set Slowdive apart is how much more both sweetly melodic and densely layered their music was compared with their contemporaries. They hit their stride with Souvlaki, their second full-length LP, and made the most sonically ravishing and unforgettable album of their ilk. An important part of their sound and unique charm is the male/female unison vocals of singers/guitarists Neil Nalstead and Rachel Goswell, which sounds like it could have been lifted from some sixties folk/pop outfit, only... it's not. It fits in beautifully with the expanses of sound and color wash that fill out this music, though. It all soars and lifts magnificently. There's a good dynamic range between the songs, too, from the yearning, searching "Alison," delicate reverbed-guitar picking of "Here She Comes Now," overwhelming wall-of-sound tsunami of "Souvlaki Space Station," and haunting, faraway, acoustic "Dagger"; the album never gets samey or washed-out as is the distinct danger with this kind of music. Fully-realized and a complete and satisfying experience, Slowdive's _Souvlaki_ is a real treasure. ... Read more

Amazon.com

In an about-face that could alienate technophiles, this group of dance revisionists celebrate guitars and "real instruments" in the face of processed music. The Williams brothers and their mate Jim Goodwin first had a hit with the disco-charged "Ain't No Love (Ain't No Use)," but they became disillusioned with the Manchester scene, picked up guitars, and formed the Doves--a band determined to infuse raw emotion into their music. From instrumental opener "Firesuite," which showcases their rumbling, restrained guitar firepower, to the tumbling acoustic shanty "Sea Song" to the balmy Technique-era New Order rocker "Catch the Sun," none of the album's 11 tracks bears any real resemblance to any other (and, in this rare instance, that's a positive). The Doves have produced an outstanding debut album in Lost Souls, alternately melancholy and uplifting, sparkling darkly with charged atmospherics. --Mike Pattenden ... Read more

Reviews (113)

Best rock album of 2000...
Why The Doves haven't received more exposure in the States is beyond me. Songs of this quality are the ones that should be playing on your local alternative radio station. As with all good rock music, "Lost Souls" really effects one's emotions. The songs both musically and lyrically are epic. To give you an idea of their original sound, I would take The Verve, Radiohead, Spiritualized, and maybe a dash of Travis - put them in a container and shake it up. If I had to pick the stand-out tracks (which I wouldn't want to do because every single one of these songs is worth listening to repeatedly), I would say: Sea Song, Rise, The Cedar Room, and my personal favorite - The Man Who Told Everything. I have had this album for 7 months now and I still listen to it about two or three times a week. Highly recommended to those who love rock, but have been bummed by the recent contributions of popular bands.

Great Eclectic Music
Dove's Lost Souls is a mix of various music sounds and styles that are each unique from start to finish. The moods of the songs are very different as well, one could probably call this album an emotional buffet. The result? One eclectic CD that oozes talent.
I'm not going to describe each song (how can you capture the essence of a great song in a couple of sentences? You can't...) but I can tell you that I think the second half of the CD is much better than the first, particularly the bonus tracks. They are without a doubt the best set of bonus tracks I've ever heard on any album...period. In fairness, while I don't think Amazon picked the best song samples for this album, the reader should get a fair idea of Dove's sound from the tracks they provided.
Here's the part where I try to say something bad about the album, as the only people who tend to take the time to write these reviews are the fans, who not surprisingly, tend to leave extremely biased reviews (and why not?). I do this to play devil's advocate and give the reader a small rain-cloud amid the brilliant sun-filled sky of glowing reviews, but I just can't find it in me to do it this time around. This CD is just that good.

Glorious retro pyschedelic debut
No doubt that this one hits all the right notes. Sorrow, wonder, ecstasy, disappointment and even love. I happen to catch these guys on their first American tour and they did not disappoint. Their live show was enhanced by a continuous slide show and psychedelic lights. They even played some numbers before they had yet been released such as Pounding and Hit the ground running, which is their take on Warren Zevon's Werewolves of London. Very good show and even surpassed the studio versions of their songs. One song in particular had a very different texture and tone to it and surprised me how much better it was live and that's the song Lost Souls. An incredible song in the studio made even more impressive live with images of Nico on the slidescreen behind the band. Inspiring and breathtaking, all I could do was stand and soak in the sound and rhythms of this incredible group. Well worth the effort to hear and experience the depth and texture of this cd. If you don't like it at first, stay with it, it will become one of your faves. If you like all the aforementioned Britpop bands or if you prefer Pink Floyd, or some other mid-seventies hard rock or prog rock you will definitely dig these guys. I've never grown tired of several tracks on this well played cd. Seasong, cedar room and lost souls are but three of them.

Feel the Dove
Lost Souls is easily the best brit pop album to come out in a long time. Coldplay, Travis and the ilk have nothing on this. The band flexes it's brooding cinematic soundscape right from the start with the noirish instrumental "firesuite". Other songs such as "Sea song", "catch the sun" and "the cedar room" are irresistably good peices of dream pop. Don't be a fool, be a Dove and set yourself free!

Wildly Overrated
There is one--ONE--outstanding song on this CD, and it is over 7 minutes long (and lets face it, only the Stone Roses and Janes Addiction can pull that off). This labum is wildly, wildly overrated. Beware tyhe astroturf. ... Read more

Amazon.com essential recording

Only months after his initial conquest with My Aim Is True, Elvis Costello delivered an even fiercer diatribe. His first record with the long-running Attractions, 1978's This Year's Model remains one of that blistering rock year's most indelible albums. Orwellian even when not directly alluding to the great man (a sly nod to 1984 on "Living in Paradise"), the 22-year-old and band crashed through the raging anti-party of "Pump It Up" ("When you don't really need it"), the perverted Spectorisms of "Hand in Hand," the punk manifesto "Radio, Radio," and the stylishly anti-fashion "This Year's Girl" (in the season of Suzanne Somers, no less) with no less force than the Clash. Probably his greatest, most elegantly imagined and rendered long-player. The bonus tracks on Rhino's 2002 edition include an "Alison"-style take on Costello's country ballad "Stranger in the House" and a cover of the Damned's "Neat Neat Neat," both early proof of the new king's adeptness at outfitting his sets with conceptually brilliant surprises.--Rickey Wright ... Read more

Reviews (27)

Fall in to submission, hit and run transmission.
If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces" "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The liner notes, as Elvis describes the whirlwind of forming The Attractions and heading for the US, are fun as well as the pictures. (I do wish the US album cover shot of Elvis with his face partially obscured by the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

Any Year's Model
This Year's Model was Elvis Costello's second album and his first with the Attractions. Mr. Costello embodied the angry attitude of punk rock, but unlike most punk bands that were unskilled musicians that thrived on energy, he has an unbelievable sharp pen and a great ear for melody. The album opens with the fierce "No Action" that in fine punk form clocks in at less than two minutes. "This Year's Girl" is wry take on the fame machine. "The Beat" has a catchy organ riff and is Mr. Costello's look at self-gratification. "Pump It Up" is a fiery track as is "Lip Service". "(I Don't Want To Go To) Chelsea" has a manic verve while "Little Triggers" slows things down. "Radio Radio" is the most famous off the album, but the album's best track is "Lipstick Vogue". The song has a thumping bass line that shuffles along until a frenzied close. This Year's Model gave further proof that Elvis Costello may well be the king.

Phenomenal, essential to any music fan
Everything about this album screams perfection. From the catchy yet complex lyrics about love and lust to the tight musicianship by the Attractions. Mr. Costello wears his heart on his sleeve with every note that he sings.

There is not one weak track here, in fact they are all perfect in every way. I kid you not. I suppose that if I had to pick highlights they would be "(I Don't Want to Go to) Chelsea" "Hand in Hand" and "Radio, Radio." With this record alone, Mr. Costello proves that he deserves to be hailed by some critics as one of the best recording artists of all time. And the fact that it only took him a matter of months to do this? Mind-boggling indeed.

Fall in to submission, hit and run transmission
If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had even been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces," "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The historical notes from Elvis are great fun, as well the pictures. (I do wish the US "This Year's Model" cover shot of Elvis with his face partially obscured behind the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

10 out of 10 for the first two albums...
While I absolutely LOVE "My Aim Is True," I honestly think this album is a bit more than an iota better. While in modern days, his light may have been dimmed quite a bit, back in the day Elvis Costello was an immense luminary, a visionary. He saw what he liked; he wrote about it. He saw what he disliked; he wrote about it. He even took on corporate music and the radio with "Radio, Radio," playing it on Saturday Night Live in protest of his record company's indefatigable requests to play "Less Than Zero" (a solid good song, mind you, but overplayed).

Then there's the opener, "No Action" covers a relationship that is more like a game, where at least one person is not sure what the real terms of the relationship are, and the other just wants the unsure member to go away. Meanwhile, on a completely different note, "Pump It Up" (with its powerful, repetitive guitar and organ chords) takes a stand against doing things in excess. "Pump it up until you can feel it, pump it up when you don't really need it."

If you're a real music fan, you'll own this and "My Aim Is True." ... Read more

Amazon.com

The Dead Can Dance chanteuse ditches her partner, Brendan Perry, for this solo outing. Mixing middle-eastern drones, Balkan stringed instruments, Chinese percussion, and the European classical tradition, it's a singularly beautiful and mesmerizing album that occupies a genre all of its own. File next to Chant and Jan Garbarek, and be sure to alert progressive-minded classical buffs.--Jeff Bateman ... Read more

Reviews (44)

opera like, yet not
This album begins very opera like, as if you are getting ready to hear a score for a film, and this dissapointed me greatly. As the CD began and reached the 3rd track I was calmed and my judgement ceased. I was immediately taken by the coming tracks and was so happy. Lisa Gerrard did not dissapoint her fans. I just recently purchased this CD so I am not that up to date with her current life. I became a fan just this year. I always loved Dead Can Dance, but my taste was always more towards Brendan Perry and not Lisa Gerrard. After I heard the "Gladiator" soundtrack and her last song "Now We Are Free" I was hooked. I loved the song so much that I wanted to catch up to her other work and purchase them. "Duality" is much better than "Mirror Pool"! It is developed and mature for the record stores compared with "Mirror Pool", which seemed more lost.

"The Mirror Pool" has its own special and seperate charm! I cannot say its poorly done for it has some of the most beautiful material which Lisa sang, such as "Swans" (my favorite), "Ajhon", "The Rite", "Glaradin" and "Persian Love Song". I am still more fond of newer material she has released. I adore "Nadir" and "Now We Are Free". I think that is the Lisa Gerrard I am crazy for!

Unique, Mysterious, Haunting.
What more can I say about Lisa Gerrard? I'm in love with her voice and her style of music. I'm not sure what it's called, so I'll just call it "exotic" for now. I'm a beginner to this type of music. The first I heard of Lisa Gerrard was on the Gladiator CD. Loved it! I have a warning for others who may be buying bits and pieces of her music: It's addicting! It haunts me all day long. I not only hear the music while I'm listening to the cd, but I hear it all the time, even in my dreams. Her voice, the music, the feeling--I'm entranced.

HOLY
This music is so fundamentally powerful that I struggle to put it into words. I am a fan of various genres including hardcore punk and metal - yet this CD can tear me to shreds when I listen to it. Pure, raw, spiritual emotion pummels you endlessly through the unearthly vocals of Lisa Gerrard. Her range, talent, creativity, and dynamics here are supreme. She is unparalelled. Her backing musicians are jaw-droppingly talented as well.

This CD is an example of a powerful artist at the top of their game. This takes feminine vocals over the top and beyond. Very much worth your time if you are into spiritual musics from around the globe.

quintissential Lisa Gerrard
Here where she's solo she is able to explore her brilliant inner world of music at its truest. The dominant features are its fierce uniqueness, darkness, & world influences. There are also many beautiful, triumphant moments glittering through the album & some ambitious & perfectly successful experiments. Her voice is great. The composed polyphony is really incredibly wonderful. The instrumentation is eclectic & instruments well-chosen. She's a great musical visionary, & I think on her solo cd's she's able to do a lot she couldn't do in Dead Can Dance.

Dreamy
I had heard that _The Mirror Pool_ was "darker" and more "sad" than Lisa Gerrard's later duet album, _Duality_, and so I was hesitant to buy it. How very silly of me.

There are two kinds of sad music. One type of sad music drops you into a blue funk even if you're perfectly happy when you start listening to it; it makes you feel morose and depressed. The other type of sad music is comforting when you are actually sad, and if you listen to it when happy, you will find it not depressing but simply beautiful. Sarah McLachlan is a perfect example of that sort of "sad music". And so is Lisa Gerrard, though her style is 180 degrees from Sarah's. And as far as "dark" goes, this music does not conjure up a hellish cavern or "goth" catacomb, complete with the smell of brimstone. (I'll leave that sort of music to my teenage brother.) Lisa Gerrard's music evokes the darkness of a moonlit night, or a candlelit room. It's "romantic" dark, not "oppressive" dark. I liked it very much.

Though it's a sublime experience to listen to this album from start to finish, here are a few of my favorite tracks:

"La Bas: Song of the Drowned"--With its low, chanting vocals and haunting church bell, "La Bas" reminds me of nothing so much as the mythical island of Ys, sunken beneath the waves, whose ghost bells are said to be heard from the shore.

"Sanvean: I Am Your Shadow"--I actually didn't like this song at first. With its swooping melody and mournful tone, I at first thought it was too melodramatic. But I found myself humming it all day after my first listen; it followed me like the shadow of the title. After a few more listens, it became one of my favorites.

"Largo"--Lisa Gerrard sings a Handel piece, and proves she has the pipes to put a lot of these "pop opera" divas to shame.

"Laurelei"--I just love this one. It has a hypnotic melody and a morphing tempo. It's rather long but never seems to get old.

"Nilleshna" and "Gloradin"--the last two tracks, which together close out the CD on a soothing note.

I highly recommend this beautiful, entrancing album to anyone who likes beautiful, entrancing albums. ... Read more

Amazon.com

Following a British rock tradition initiated by the Beatles and lovingly inherited by the Jam and the Clash, Oasis is the only band of the CD era to offer fans extra tracks on their singles that are often as good as, if not better than, the hits. Rather than saving his new songs for the next full album, Noel Gallagher prefers immediacy. Thus, this compilation of those various "B-Sides"--many available as nonimports for the first time--works just great as a listening experience, offering metallic rushes ("Acquiesce," "The Swamp Song") and absolute melodic beauty ("Talk Tonight," the marvelous "Rockin' Chair"), while conjuring up the ghosts of Mott the Hoople, T. Rex, the Fab Four, and Slade, although Oasis's "Cum On Feel the Noize" is sadly absent. --Bill Holdship ... Read more

Reviews (144)

Oasis' weakest album exposes their strengths
The quality of the songs on this collection of B-sides is impressive. Oasis have often been accused of having a narrow musical range, but here they demonstrate otherwise. From the almost embarrassing tenderness of Talk Tonight to the punkish Headshrinker to the pure-pop Rockin' Chair, Oasis demonostrates that they have the widest sonic range of any rock band today. Couple that with (an often overlooked) wide emotional range, and one can see that Oasis have a solid grasp of what pop-music is about. If Definitely Maybe was shamelessly bombastic and Morning Glory beautifully muted, we know now that it was purposely done (It's hard to imagine Talk Tonight on Def.Maybe or Acquiesce on Morning Glory!). Even more exciting than the songs on "The Masterplan" are the implications which stem from their B-sides. It is easy to forget that in only 5 years together, Oasis have released 60+ songs, which is an impressive amount of hard-work. This work-ethic (which is often obscured by news reports of heavy drinking/hotel trashing/etc. by the band) is highly unusual and is only seen in the likes of U2, REM, and the Smashing Pumpkins. It bodes well for the future. Prdiction: Oasis' next album will be an unqualified breakthrough and may also be a masterpiece. All part of the Masterplan!

The Masterplan is a Masterpiece
This album is 4 years old, but I consider this as one of the best CDs in my collection.

Anyway, I'm sure all of the bratty Gallagher duo fans miss the "old" Oasis.....And who wouldn't? These bad-mouthing guys from U.K. have captivated the fans with their Beatlesque music and outrageous behavior. However, their awesome music tells us what it's all about. And who the heck put a lot of effort on their B-sides? Oasis does.

1) Acquiesce- Great, old-rockin' jolly song. This is actually one of the most favorite B-sides of the fans. It starts with a line from the chorus of "What's the Story? (Morning Glory)" It comes with heavy guitar riffs, catchy chorus and the great alternating voices of Liam and Noel. Just perfect.

2) Underneath The Sky- It's one of the best tracks in here. Chorus performance reminds me the famous execution of second voices (Noel does it best) from the Beatles.

3) Talk Tonight- Ah! My fave acoustic Oasis' song. It's a melancholic, eager-like tune which was written by Noel to his younger alcoholic bro.

4) Going Nowhere- One of Noel's "journey" songs. Kinda good, but it has less lyrics.

6) The Swamp Song- Instrumental track of the album. It is composed of flooding guitar tunes and harmonica by Paul Weller.

7) I Am the Walrus- It's noisier, one heck of a cover. But, I still prefer The Beatles' original.

8) Listen Up- The drumming is like from ex-drummer Tony McCarroll's performance in "Live Forever". One of the Oasis' oh-so long songs.

10) Half The World Away- Typical Oasis' guitar-dependent song. But, I think it's a neat track.

12) Stay Young- I absolutely love Liam's voice in here! (Hey! Stay yuuuung and invincible..) Very appealing song with an uplifting message.

14) The Masterplan- This enchanting track completes my favorite songs from this marvelous B-side album. Poetic lyrics, awesome arrangement of instruments (heck, it's the whole orchestra)
and Noel's memorable voice makes this 14th track. This must of the most haunting rock song as for now (Goo Goo Dolls' "Iris" will have to be in the 2nd place)

Indeed, these guys show that they're more of the so-called Beatle pirates. They're the kings of the 90's rock n' roll. If there's one Oasis album that you have to buy, it has to be THIS.

NOT the Beatles
All of you out there who feel Oasis are the 2nd coming of beatles are wrong. Though influenced (and which major rock/pop band isnt) by the beatles, Oasis stands for evrything the beatles didnt. Rocking Chair, Listen Up, Going Nowhere, Fade Away, Stay Young, Half the world away, All great songs musically, but if you step inside the lyrics, you find views expressed formally in punk rock. Like wanting to be great in a town where average is expected. These kids from Manchester hated the town, had a poor childhood, and found that there only outlet to their depressing lives was music. As heard in Fade Away- "While we're living, the dreams we have as children fade away." Perfect. Buy the album while theres some left.

To be sung by the gods of Uranus for the next 5000 aeons
Oasis' true power has always been showcased in their B-Sides being just as good, and often better than their A-Side. The vocals alternate between Liam and Noel Gallagher, which helps keep this album fresh. Besides a few worthy titles being missed out on this disc, such as 'Its Better People' and 'D'yer Wanna Be A Spaceman', 'The Masterplan' is superb.

The first five tracks of this album are the album's best highlight, with the mega anthem 'Acquiese' starting off the pack. 'Underneath The Sky' is an overlooked piece, with a wonderful melody and piano bridge. 'Talk Tonight' is what acoustic concert-goers long for in it's beauty, while 'Going Nowhere' feeds your dreams of escaping your dead end town. 'Fade Away' has a massive kick of electric guitars and riffs, accompanied by a sneering Liam vocal.

Unfortunetly, the one low point in this disc is the following two tracks. 'The Swamp Song' is decent, but doesn't belong with such gems as the tracks before. And despite many Oasis fans claiming otherwise, 'I Am The Walrus' is by far the worst song Oasis have ever recorded, much less their worst cover. The aural quality is horrible, and it's one of the few times that Liam's vocals leave something to be desired. Luckily for you, you have the power to skip to 'Listen Up'

Ah, 'Listen Up'. Lovely opening riff, even better melody. The epic of the album, filling you with the pride that only Oasis can. 'Rockin Chair' and 'Half The World Away' are two more acoustic sparks that show Noel's power as a massive guitarist/songwriter. '(It's Good) To Be Free' is decent track perfect to sing along with. 'Stay Young' is loud and fun while 'Headshrinker' knocks your head off with its power.
"The Masterplan' is indeed a fitting end to a lovely disc, with a gorgeous outro that wraps up everything you've just heard.

This album is Oasis' grandest achivement, and while we wait for them to finish their sixth album, we have this and many other grand albums to relish in.

Yes, I said relish.

Remember When?
Oasis is the only recent British rock band to make an impact in America, if you don't account for groups like The Corrs. Also The Progidy. The horrible musical decade of the 1980s came and went, and we were left with a bunch of arrogant baggy bands from Manchester that nobody really wanted to like. Then Nirvana happened. As we were all doing figurative heroin in tribute to Kurt, finally Suede and Pulp came and took the UK by storm, while here, we where nodding off after Kurt's death. Then came Blur, Radiohead, The Verve, and finally Oasis, what we always wanted. These were songs to get excited to and be inspired. No self-indulgent naval gazing. All about getting high, driving in a jaguar, feeling the sunshine, having an E.... Whatever. Definitely maybe. Noel Gallagher was the best songwriter since (insert name here). Liam was a god and the best frontman since.... Ian Brown!!! Noel was into The Beatles, The Jam, and Bacharach (?). Take a commercial or a Marc Bolan rift and there you have a great song. Number one, mate! For two albums, Oasis were the best, the greatest, and deserving of all our attention (now being spent on Monica Lewinsky!). But then came Be Here Now. Even those who were life-long Oasis fans, had to admit that OK Computer was a fine album. But all along we knew that Noel's B-sides were better than Blur's entire pretensious output. Now all us Oasis fans can walk down the street with a fist in the air, and a copy of The Masterplan in the other. We know damnit! The cover has a picture of Noel as a boy telling a bunch of music professors how to write a song. With the exception of "Swamp Song" and a Beatles cover, this album is nigh perfect. It rocks and has the rightgeous tunes that makes me forget how painful it was to listen to Be Here Now with a straight face. ... Read more

Album Details

This CD Debuted at #1 in the UK in Sept 2004. It Marked a Revival in the Fortunes of the Band that Arrived Powerfully on the UK Scene in the Late 1990s. Their First Album, 1998's "The Good Will Out," Entered the Chart at No. One and Generated Three Top 10 Hits, and it Hit the Top 10 with the 2000 Follow-up "Drawn from Memory" and 2001's "if You've Never Been." ... Read more

Reviews (217)

4 stars for an album worthy of it.
Not so long before this album came out, Oasis were praised for there Pop hooks, over crunching guitars, with a pinch of infectious lyricsm. And this album has it all, so what was the problem. Well it seems there arrogance and slating of other artist was getting to people. Which is a shame for this album is worth much praise. From the arrogant snare of Liam's voice, to Noel's clever and sometimes vague lyrics. Your marvel at the music. Sure the lyics don't make much sense sometimes, but who cares. It's just music. "D'ya Know What I Mean" opens the album with a brash stare of cockiness only Oasis could pull off. "Step off the train all alone at dawn/Back in to hole where I was born" are the first lines uttered from Liam's lips, and right then and there you feel a rush of adrenaline. And for 7 and a half minutes your mesmerized by walls of guitars and useless sound effects (but you couldn't care less). The album contiues the trend of loud guitars and "What the hell?" lyrics with songs like "My Big Mouth" "Be Here Now" and pretty much the rest of the album. "Stand by Me" and "All Around The World" shows the anthemetic genius Noel at work. You find yourself humming it or singing the song in your head an hour later. Which is what Oasis is for. But the real show stopper is "Don't Go Away". A heart wrenching song written for Liam's and Noel's mother who was ill (She's fine now). Lines like "Danm my education/I can't find the words to say/For all the things caught in my mind" are probably the most touching things Noel has ever wrote.

So take my word if you wish. Get the album, stomp your feet to it, sing it agian later in you head, and enjoy it. It's just a danm good time.

P.S.
These are b-sides that I believe are worthy of the album, but didn't make it:
(I Got)The Fever
Stay Young
The Fame
Flashbax

Be Here Now - Great, but not so great as the Prequels
The instant Be Here Now hit the headphones of the critics it was written off. The hype surrounding Be Here Now was incredible, and therefore people expected 'Supersonic' and 'Wonderwall' repeated, and Oasis didn't give it to them. But Be Here Now is in fact a stunning mix of light Rock and majestic, soaring epics. 'D'You Know What I Mean?' kicks off the album with distroted chords and catchy rock riffs with depth in the lyrics that is often overlooked on first listen. The album reaches the depth only achieved previously with 'Wonderwall' and 'Cast No Shadow' with 'Stand By Me' and 'Don't Go Away', both of which show Liam's softer vocal skills. 'I Hope, I Think, I Know' and 'My Big Miuth' are both fast-paced, catchy little ditties and 'Fade In/Out' catches the listener with a sudden contrast to it's first few minutes with Slide Guitar and hard vocals. 'Magic Pie', though not one of Oasis' greatest tunes, which, unfotunately, does not highlight Noel's singing ability well, does have some beautiful touches in both the lyrics and guitar. Though 'Be Here Now' and the reprisal of 'All Around the World' are both rather weak (However I don't think the Reprisal was meant to be the greatest musical piece Noel's ever written) the end of the album is truly where it shines. 'It's Gettin' Better (Man! )' is a racous yet soaring seven minutes of musical glory with an incredible minute-long guitar riff at the five minute mark and some of Liam's greatest ever singing; he mixes his trademark sneering with some tone and note changes never before seen in him. Finally, 'All Around The World'; a 9-minute epic of a tune, indescribable to mere words and possibly my favourite ever Oasis song; the 'Champagne Supernova' of Be Here Now. If you like Oasis, in fact, if you like Alterntive music at all, you must get this album.

Not Bad
There's been a stalinist re-write of history on this CD.

'The Greatest Thing Ever' on it's release soon evolved into 'A Misguided Overblown Epic'. Not surprinsingly, it fits pretty neatly between the two. The dross on here is simply pedestrian; nothing on here will make you want to throw the disk away. The songs are too long ('Magic Pie' and 'Do you know what i mean?' outstay their welcomes after the 8th guitar refrain!!!) and the constantly huge guitars do seem to hide some pretty weak songs.

'Stand By Me' is wonderous and 'All around the world' and 'Girl in the dirty shirt' are defiantly celebratory. Though they come off as boorish morans in the tabloid press, the talent within their ranks shines through. And Noel has the best handle on fame that I've ever seen.

Pure rock and roll
Critics suck. This album is better than people give say it is. It may not be their best work, but to anyone with any clue on what good music is should know this cd is a great one. I am a huge oasis fan and own every cd they have. I like every song they have ever written and the B-sides like Lets all belive are great. This album has what most bands dont have anymore, a guitar playing well and loud. The song I hope, I think, I know is one of the greatest songs they have written so i dont know why i hear people badmouthing this album. If i were start over and buy thier albums, this would be number 2 right after Their first one becuase that is my facorite one.

This is what beatles sounded when they were stoned
Incredible bad musicians, terrible song writers, the worst vocalist ever, what else can I say?
They totally destroyed what the Beatles created for all of us. All of their songs are copied from The Beatles' Rubber Soul, Revolver and Abbey Road. Please do not buy this cd! I recommend you to buy good alternative rock if you want so: R.E.M and The Cranberries ... Read more

Amazon.com

Talk about your oblique strategies. With a stealth that would make the most cunning panther proud, in its serpentine career the English collective James has accumulated one of the most impressive song catalogs around. It hardly matters that few of these singles have been stateside hits. James's specialty is the chapel-chiming alterna- track, borne on majestic guitar hooks and the breathy, breathtaking vocals of sensitive-guy frontman Tim Booth. Thus, this gorgeous anthology may come as a shock to Yanks familiar with the group only via its quasi-novelty number "Laid," or maybe the whooping "Born of Frustration." Material-wise, the old ("Sit Down") shimmers as brightly as the new ("Tomorrow," "She's a Star"). Booth is such a likable, commanding presence, and his combo such an exhilarating, optimistic force, that you only want to hear more from James once this album ends. Hit the repeat button or explore their catalog--it's your call. --Tom Lanham ... Read more

Reviews (43)

A great compilation of one of the most talented pop groups
I first heard James when I was about 12 years old when my brother used to listen to them, and I recently bought this album to see why my brother was so taken by this band, and I've think it's an amazing album. Tim Booth's voice is very interesting, and his vocal abilities are varied and intense. The music is catchy, and a tad repetitive between songs, the same tune seems to be used quite a lot, but the sound is good enough to never really let that get in the way. James, is pop/rock, and that style is not for everyone, but if you liked such classics as "sit down" and "laid", or if you like the work of The Smiths and Morrisey then this album is definitely worth your money.

My first James album - who is now my favorite group
Not much else to say that the others haven't said already... brilliant songs from a brilliant group. I knew very little about the band before purchasing this album, only remember hearing the song Laid before. Since then I have collected every James album and can now say they are my favorite group. I honestly believe as a whole this is the single best CD I have ever heard, there are no fillers or stinkers and none of the tracks grow thin with repeat listenings.

After this album, you'll be hungry for more James. Get their latest release, Millionaires after this. I think its their best quality regular album and you won't get any duplicate songs since it came out after the Best of. Unfortunately I'm not sure if its available in the US, I ordered it as an import, but its worth every penny. I usually rotate between the Best of and Millionaires.

After that you pretty much can't go wrong with any of their albums... Stripmining is probably their weakest (still good though), so save that for last (no songs from that album made it onto the best of album). One of my favorite songs that didn't make it on the Best of is 'Lost a Friend' from Whiplash, although the latter half of that album has a few weak songs.

Anyways, I think James is absolutely brilliant. They have a style all their own which isn't really duplicated by any other artist. Also check out Booth and the Bad Angel, Tim Booths solo album, very good as well.

A Wonderful and elegant best of package.
James was one of the great unsung bands of the great Britpop era of the 90's. Overshadowed by The Stone Roses, Suede and such others, James churned out great chimey sounding pop. Since some of their albums were of scattershot quality and the band produced brilliant singles, a best of CD of this band makes sense. Its a great package, beautifully put together and a must have for any fan of British rock or great rock in general. Highly recommended!

Fine music from a fine band
James are one of our finest bands. I'm not sure if they are very well known on the other side of the Atlantic but they are a work of genius. Great songs like 'Laid' 'Sit Down' and 'She's A Star' make James one of the UK's finest bands. Give it a try Americans.

Seven you could play in church - but not Laid
One of the key bands to come out of Manchester, UK in the early 1980s. They survived the pressures of stardom and carried on making quality music. Here is a collection culled from the first 17 years or so. A rich tapestry with no fillers; every track is musically rich. Lyrics that are understandable by folk either side of the Atlantic that tell tales often poignant, always clever. From the beautiful Seven that you could play in church on a Sunday - to the tale of strained romance in Laid (that you wouldn't). This album is a delight that you will listen to many times. ... Read more

Amazon.com

Songs to Learn and Sing is a staple in the collection of post-new-wave rock. It was an era when the term progressive had just replaced the word alternative to describe music that was just too cool for American radio. This album is a compilation of Echo and the Bunnymen's British chart toppers from 1980 to 1985. The only song on this album that received attention beyond the band's cult following was "Bring on the Dancing Horses," made famous by its inclusion in the Pretty in Pink soundtrack. Echo and the Bunnymen are a tinny, twangy, ever-so-slightly-out-of-tune guitar band. What lead singer Ian McCulloch lacked in vocal range he made up for by embracing his comfort zone with full-force cracking, emotional yelps. A distinctive, recognizable sound, even to the barely initiated, this album marks an era yet is so enjoyable, it remains proudly timeless. --Beth Bessmer ... Read more

Reviews (17)

Just the beginning...
This is going to be just the beginning for you. The Bunnymen piqued my interest with Evergreen, so I thought I'd start off my Bunnymen collection with a sampler. Although this became my most played CD, it was my least satisfying! I just had to buy more and have not been disappointed ever since. It is obvious just listening to the disc the whole way through how different the Bunnymen's albums are. Furthermore, the rest of the songs on each album are just as good as the ones included here. In fact, I don't think the Crocodiles songs give you a good impression on how great an album that one is. It is awesome!

This is a smart investment. Not only do you get a sample of each of the Bunnymen's four classic albums, but you get two great non-album tracks in Never Stop and Bring on the Dancing Horses. If you could just get a Greatest Hits that included these two and The Game and Lips Like Sugar, the only two good tracks off the otherwise (...) Gray Album, then you would be all set.

Sounds like most of the other stuff of its time...
...until you get to track 8, "The Killing Moon." This CD is worth it if only for this song. Sure, you could buy "Ocean Rain," but why not live a little and try out some of their earliest stuff with this album? It's not the rest of the songs are all that bad; they're just really, really dated. Good CD, and worth its price.

through the thick and thin
after listening to "killing moon" in the movie donie darko i decided to go out and buy the cd. i fell in love with it and never stopped listening to it. it is very catchy. i suggest you guys go out and buy this album along with
the church-under the milky way
and joy division-substance. they are truly great albums to own and listen to for the rest of your lives...so go out now and buy them! make yourself happy

Echo & The Bunnymen Are Timeless
I first heard this band when they appeared on the soundtrack to "Urgh! A Music War" when they did "The Puppet". Ever since then I was hooked on them and this album totally epitomizes everything about them. Great lyrics, catchy guitar riffs and Ian McCulloch's vocals are extremely mesmerizing! Definitely worth the pickup especially on tracks "The Puppet", "A Promise", "The Cutter" and "Killing Moon"...definitely a great CD to have in your rotation!

a world above and beyond a drum machine called ECHO
Back in the 80's, this album got heavy rotation on my record player and I still listen to it. Even Bunnyheads that prefer proper albums to singles' collections find this one irresistable, especially since it includes some tasty non-album cuts ("The Puppet" and "Bring on the Dancing Horses").

E&B were relegated to alternative underground status, but that didn't stop them from being melodic pop geniuses. The first 4 or 5 songs are guitar-driven, but then songs become more expansive, employing synthesisers and string sections.

"Do It Clean" sounds like a rockin' update of "Stepping Stone" while "The Cutter" represents a sophisticated step forward for the boys. "Silver" is a positively joyous celebration of life. "Seven Seas" also feels like a celebration of sorts, but with a touch of melancholy.

I love putting a disc like this on where I can kick back and enjoy every single track. They're all good, all featuring Ian McCulloch's rich, deep voice and inscrutable yet intriguing lyrics. ... Read more

Amazon.com

Three years before 1991's Loveless, My Bloody Valentine's masterwork of impossibly dense soundscapes, the Dublin quartet offered some fairly affecting dream pop on its first full-length album, Isn't Anything. Both worthy of Creation's "shoe-gazing" heritage and skewed enough to stand up next to pre-grunge guitar bands like Sonic Youth and the Pixies, the record makes the most of a group that hadn't yet found its bearings. And at its best, Isn't Anything hints at how great it will be when their sonic discoveries are finally honed. --Roni Sarig ... Read more

Reviews (28)

Stepping stone in Indie history.
My Bloody Valentine are undoubtably one of the most important bands in the history of indie music and, although 'Isn't Anything' doesn't quite measure up to the immense standards of 'Loveless', it still serves as a unique sign-post to where music was (or is) going.

Basically this is a stepping stone between 'Loveless' and the early work of The Jesus and Mary Chain. Echoes of The Velvet Underground pervade, yet the sheer sonic ingenuity of Kevin Shields takes this already avant garde template to an entirely original plain. However, this is not to suggest that the songs are somehow lacking. The last four songs, particularly 'You Never Should', are a arguably the pick of the bunch- all mangled guitars and pretty, lo-fi melodies- yet there is much to enjoy elsewhere. Brutal riffing comes to the fore on the single, 'Feed me with your kiss', while the brilliantly off-kilter double-tracked vocals of 'Sueisfine' lead to the sonic equivalent of inertia- which is really rather good.

With its mixture of great tunes and twisted experimentation, it is clear why 'Isn't Anything' is held in such high esteem by many musicians. The sound of garage-rock on E and LSD instead of Speed, the really strange thing about 'Isn't Anything' is that My Bloody Valentine could go any further.

paved the way for post-rock bands o' plenty.
This album is 12 years old, and still holds up as one of the best in my collection. This album, like very few others that i own, offers more than just a listening experience. It's a milestone in music history. This was 1988? and here's a guy who plays guitar chords with tremolo bar in hand. No one had even attempted this at the time. Kevin Shields guitar tone is almost 15 years old, and no one can replicate it even with todays equipement. Guitar tones aside, this album goes far and beyond that. The songs are nothing short of masterpeices. "You Never Should" is my absolute favorite song of all time. And the heartbeat drumbeat in "All I Need" is just spine tinglingly beautiful. one thing i am absolutely sick of is people saying the vocals are too quiet. Those people obviously aren't listening hard enough, and you should not take their reviews seriously. Just because the vocals can sometimes be hard to make out, doesn't mean this band isn't saying anything. They're saying lots, and it goes beyond just the lyrics. Listen again.

nowhere near Loveless, in many ways...
"Isn't Anything" is no where near My Bloody Valentine landmark 1991 rock album, "Loveless". one of the greatest albums of the '90s, maybe THE best. but three years before Loveless was their 1988 album, "Isn't Anything". 12 tracks, 38 minutes of the Bloody Valentine you know. they made their debut in 1984 with their incredibly rare album, "This is Your Bloody Valentine". we all know My Bloody Valentine because of their album "Loveless", but before they had this. yeah, they still have the rockin', streaming, amazing guitars -- just not as good. nor is the record.

i think, personally, "Loveless" has one of the greatest productions ever in the music industry. though, "Isn't Anything" differs from Loveless. songs could've sounded so much better with rocky songs like "Feed me with your kiss". theres not much more i can say in this review, "Isn't Anything" is a good album... but like i've said, Loveless just completely slaughters Isn't Anything in tracks, time, production, instrumental, and musically.

if you loved "Loveless", its likely you might enjoy Isn't Anything. worthy to have in anyones collection, but don't expect the beauty or amazement of Loveless.

Better than Loveless
I like "Isn't Anything" better than "Loveless". if you think otherwise, then you should consider fu**ing off.

First off, the lyrics to many of these songs rock. the lyrics for "soft as snow" are cool.
Secondly many of these songs rock. Look no further than "Feed Me with Your Kiss" and "You Never Should".
Thirdly buy this record or suffer the consequences of Kevin Shield's wrath.

best songs:
"Cupid Come", "feed me with your Kiss", "sueisfine", "when you wake, your still in a dream"

Songs that suck:
"No MOre sorry"

Simply Amazing
Let me start by saying my bloody Valentine is my favorite band ever, and this is my favorite album of thiers. I am tired of people comparing "Isn't Anything" to "Loveless." I think the band was in two totally different eras of the bands existence and they each have two very different things to say.
One cannot argue the brilliance of "Loveless," which after one listen made me throw out all of my REM tapes. Loveless might have been the album that along with Pavement's "Slanted and Enchanted" and Nirvana's "Nevermind" changed the musical landscape forever. It is still being imitated and appaulled by everyone from Billy Corrigan to the guy from Phish as well as many others.
The reason why I would choose "Isn't Anything" over "Loveless" is that it sounds more like a band album rather than a Kevin Shields album. Debbie's bass playing has never been stronger or more creative -- just listen to the openning bass riff! Colm is simply amazing, picking up where Keith Moon left off. Bilinda and Kevin are amazing, both on guitar and the interplay between their vocal harmonies. It is tight and focused and so innovative that it started a musical movement --(shoegazer or dream pop, depending on which side of the Atlantic yr on).
Along with Sonic Youth's "Daydream Nation," 'Isn't Anything" brought attention to the fact that a new breed of guitarist was emerging, that something wonderful was about the happen and about to turn the music industry on its ear. Buy it today. ... Read more

Album Details

Digitally Remastered Collection of the Definitive Tracks from One of the Punk/New Wave Movement's Most Revered Iconic Bands. The 15 Essential Tracks were Chosen by the Group, Including the Previously Unreleased Track "Dizzy". ... Read more

Reviews (8)

Doesn't Dazzle
I think they should have remastered the original two greatest hits collections, not to mention all the albums, rather than picking and choosing for a new collection. I have every CD and they are in bad need of remastering (low volume production on all). As much as I love them, they seem to be trying to get yuppies to enjoy their music by making a rather radio friendly "Greatest Hits" collection. I still think Hyena is their best album with the amazing Dazzle & Swimming Horses. Where is the b-side collection all us fans are waiting for? They speak so much about them in the Biography but they haven't surfaced since 45's were made. Hell, I love them so much I forgive them. They still put on an amazing show.

Great songs that improve with age
This collection is ideal for the casual listener or those who wish to investigate the work of Siouxsie And the Banshees based on what they have heard on the radio. As such, it is a more than satisfying collection that offers the greatest hits from 1978's Hong Kong Garden up to 1991's Kiss Them For Me and 1995's Stargazer. It includes two cover versions: The Beatles' Dear Prudence and Julie Driscoll's hit This Wheel's On Fire, both competent if not brilliant interpretations.

Of course the 1980s was their most fruitful period with UK hits like Happy House, Israel, Christine, Spellbound and Arabian Knights. Most of these are atmospheric numbers with just a hint of The Banshees' proto-goth dark side shining through. Their debut album The Scream still remains one of the most psychotic statements in rock but is not a piece of music that lends itself to hits compilations. Well, perhaps Helter Skelter should have been considered ...

My favorites include their first hit, Hong Kong Garden, a powerful punk number with absolutely blistering guitar work and an exotic touch, Kiss Them For Me, their lilting, swaying 1991 hit about a doomed actress, Peek-A-Boo from the 1988 Peep Show album and Stargazer from their last, under-appreciated album The Rapture. Great songs and an innovative edge lend a timeless quality to the music. Those who want more of this great band are advised to investigate the compilations Once Upon A Time (1981) and Twice Upon A Time (1992).

This has all been done before
I would give this CD 5 stars because the songs on here are indeed brilliant but given the fact that nearly all of these songs have already been released on the compilations "Once upon a time" and "Twice upon a time" and are not necessarily their best - but just selected singles, I can only give this 3 stars. Siouxsie's songs were pure genius back in her 80's heyday. "Happy House", "Christine" and "Spellbound" are absolute classics and still stand the test of time.

I think her hardcore fans are still wanting more than just the repackaged singles. The b-sides and more obscure album tracks on a compilation would have been far more interesting.

Yes, there are better songs to choose from, but.....
I don't argue with the fact that there are better, more fascinating and perhaps even more representative songs in the Banshees' backcatalogue which would have made a more compelling set of discs. But, because every die-hard fan claims to be an aficionado, someone would inevitably complain with whatever set of more obscure songs were chosen. One must remember that this is, first and foremost, a "Hits" package--and for that purpose the selection of songs is right on the mark. A listener experiences the commercially successful side of the Banshees, which, while not the most intriguing or satisfying facet of an incredible band, is heaps better than 99.9% of everything else being produced today.....commercial or otherwise.

"Best Of"? Hardly.
With the notable exception of "Arabian Knights" and "Spellbound", Siouxsie and the Banshees forfeit two decades of intense, gut-wrenching, innovative work in favour of the watered-down, pop-influenced music that soaked much of their late albums. This "Best of" album is a sorry representation of the incredible depth of their work, and sadly surprising in its selection. The Banshees would have done well to let fans pick the songs, in the fashion of Björk's compilation. This might have ensured a more well-rounded set of discs.

The remixes, while undoubtedly entertaining, would have been better replaced by B-sides or genuine Banshees songs such as "Night Shift" off of the album Juju and the incredible "Switch" from their debut album, The Scream. The dark torment and twisted ecstasy of the band's early compilations is completely absent from this album. Experimental songs from albums like Kaleidoscope and Hyaena also get overlooked although the notoriously happy-sounding "The Killing Jar" can be reexamined in light of its morbid, telling, lyrics. Gone is the wound-up fury of "Blow the House Down" and the tragic statement made in "Swimming Horses" (Siouxsie speaks out against honour killings...). Gone is the gothic heave of "This Unrest" and the uncanny beauty of "Lullaby".

The creative genius that is the base and the source of the band's unique revolution cannot be divined from this poor offering. For a more complete vision of everything Siouxsie has to offer, I would suggest seeking out every album, starting from the debut and moving on through The Rapture. It's the only way to fully embrace the breadth of the work. Of course, there are quite a few throw away songs in the mix - pop chart sellouts and weak attempts at music palatable to the general public - so let me narrow it down to a list of songs/albums well worth the money.

1) The Scream - This debut album is an amazing force of bitter rebellion and gothic sound. The band's layered, dark approach to music is absolutely stellar. Stand-out tracks include "Metal Postcard", "Switch", and "Nicotine Stain". Read the lyrics, they're worth the effort. For a band that came together over a non-serious, unmusical rendition of "The Lord's Prayer"...this is unbelievable.

2)Join Hands - Although I don't own a copy myself, I can't wait to get my hands on one. This is a further exploration of their moody trek down the road of classic goth and the songs can be alienating to new listeners. Lyrics are often undiscernable - hence the necessity of the lyrics booklet. Knowing what she's saying helps in appreciating the band's work that much more. Check out "Placebo Effect".

3)Hyaena and Kaleidoscope - Experimental songs like "Tenant" and "Swimming Horses" are amazing for their innovation and peculiar clarity. Then there are the typical Banshees songs such as "We Hunger" and "Trophy" which bring out the gritty, dark style that is so vital to their music.

4)Juju - This is a dark tour de force that stands on its own as a symbol of everything goth and everything Banshees. Every song is a stand-out and the extended "Voodoo Dolly" has creepy going for it every second of the way.

5)Tinderbox and Peepshow - These two albums dabble in the darker side of pop and the lighter side of goth with introspective songs written by Steven Severin (his lyrics for "Cascade" and "Melt!" are beyond comparison in the way of description and detail, imagery and beauty). Tracks like "Scarecrow" and "Turn to Stone" unveil a more polished side of the Banshees while retaining the sombre fervor of earlier albums. In "Rhapsody" Siouxsie reveals the true strength and operatic quality/potential of her voice to the stunned surprise of the listener.

The Rapture is a strange, disconcerting album in that Siouxsie makes way for a strangled attempt at pop. However, tracks like "Not Forgotten" and "Sick Child" (the latter of which has lyrics by Budgie!) are heartfelt reminders of their old style. In any case, for a real taste of Siouxsie and the Banshees, do yourself a huge favour and look beyond the packaged, polished world that is their "Best of" album. When you've done that, you'll realise (as did I) that your money is better spent elsewhere. ... Read more

Album Description

55 tracks on 4 CDs, featuring 34 tracks on CD for the first time, including The Thorn EP. 76-page booklet with an introduction by Siouxsie and full track annotation by all 3 band members plus full lyrics for all B-sides, printed for the first time. Sleevenotes by Mark Paytress. 2004. ... Read more

Amazon.com

In a few short years, the Clash transformed themselves from one of English punk's hardest-edged bands to an adventurous outfit with their hands in reggae, dub, dance, and funk. Nowhere is that range more evident than this collection of singles spanning their entire career, from the three-chord fury of "White Riot" through the swooning pop of "Train in Vain" to the dance groove of "Rock the Casbah." While no substitute for the likes of the self-titled debut, London Calling, or Sandinista!, The Singles does offer up a succession of tunes that helped make the Clash the world's biggest punk band. The addition of two tunes not released on any of their original albums ("Bankrobber" and "This Is Radio Clash") add to the value of this retrospective. --Rob O'Connor ... Read more

Reviews (20)

Not a good place to start and a pointless album
As far as The Clash is concerned this no-way a Definitive Collection and is quite disjointed in terms of continuity. Sure, it has the wellknown Punky tracks that brought fame to the Rock Foursome of Strummer/Jones/Simonon/Headon. Tracks such as White Riot, Tommy Gun, I Fought the Law, London Calling and Rock the Casbah are all on this album, however so are some forgetable B-side tracks with their 80 pop-esque feel that I am sure the band would rather not remember.

It is a rather pointless album - and should certainly not be thought of as a "Best of Album". If you are new to the music of the Clash, and wish to buy a compilation album: "From Here to Eternity" is a great "live" album and "The Story of the Clash (Vol 1)" is however probably your best bet. However if you concider yourself a diehard Clash "Punk" then you probably have most of their albums - which have these tracks, anyway - so this compilation isn't for you either.

Conclusion: A pointless collection, despite a few good tracks.

Good Introduction cd
If you have never heard the clash before or are interested in hearing thier music i say get this cd or London Calling- both are great cd's. Some of the best songs on this album are london calling, train in vain, i fought the law, Rock the casbah, and should i stay or should i go. Excellent collection of classics and Highly recomended.

A Good Compilation
This is a very good compilation of the clash. This contains all of their singles. It is not as good as the essencial clash. There are many great songs on this cd. Some of the very notable songs are White Riot, Clash City Rockers, I Fought The Law, London Calling, Train in Vain(Stand By Me), Rock the Casbah, Should I stay or should I go, and the highly overlooked This is radio clash. This is a great cd and i do recomend but I would recomend The Essencial Clash instead of this.

Pretty Good, But...
This is a good compliation. There's only one problem. If you star out on it, you're going to want to buy more. Trust me. I started on this compilation. I loved it so much, I ended up buying all their albums (except for Combat Rock.) The Clash are a life-changing kind of band.

Highlights include: White Riot, Complete Control, Clash City Rockers, White Man in Hammersmith Palais, Bankrobber, The Call Up, and Rock the Casbah.

a downhill rollercoaster ride
starts off strong and plummets in its dyre existence. i do not like the almost disco sound of the 80's clash. singles/best of cds should never be made. it spells two words. CASH IN. ... Read more

Amazon.com

This two-man Manchester supergroup--New Order's Bernard Sumner and the Smith's Johnny Marr--made one of the best debuts of the '90s with Electronic. More New Order than Smiths, the album was a blend of plangent fretwork and frenetic sequencing, with bleak lyrics intoned in Sumner's clean, boyish tenor. "Get the Message" was orthodox '80s pop, but the heartbreaking "Gangster" was an electro-rock masterpiece. The album featured engaging cameos from the Pet Shop Boys on "Getting Away with It" and "The Patience of a Saint". --Barney Hoskyns ... Read more

Reviews (44)

Combination of many talents all in one........
This is Electronics first album. I bought it ten years ago and love it like its a day old. New Order's Bernard Sumner,the Smith's Johnny Marr, Pet Shop Boys's Neil Tennant and Chris Lowe formed togather and made a MASTERPIECE OF ART. This albums is nothing less than perfect. Every song is a smash. "Idiot Country" and "Tighten Up" shows Johnny Marr's talent in full affect. "Reality" really touched me the very first time I heard it and has Bernald's voice at its peak. "The Patience of the Saint" and "Getting Away With It" shows the magnificent coordination of the voice of Neil and Bernald as they perform togather. This album shows the progress of synth-pop and new-wave sound to a new level. There is a mixture of songs that have more electronica and others with more acoustics and guitars.
There is a varity for us all in this great album.
Also check out other albums by Electronic.."Raise the Pressure" and "Twisted Tenderness"

OH YA...................
This is Electronics first album. I bought it ten years ago and love it like its a day old. New Order's Bernard Sumner,the Smith's Johnny Marr, Pet Shop Boys's Neil Tennant and Chris Lowe formed togather and made a MASTERPIECE OF ART. This albums is nothing less than perfect. Every song is a smash. "Idiot Country" and "Tighten Up" shows Johnny Marr's talent in full affect. "Reality" really touched me the very first time I heard it and has Bernald's voice at its peak. "The Patience of the Saint" and "Getting Away With It" shows the magnificent coordination of the voice of Neil and Bernald as they perform togather. This album shows the progress of synth-pop and new-wave sound to a new level. There is a mixture of songs that have more electronica and others with more acoustics and guitars.
There is a varity for us all in this great album.
Also check out other albums by Electronic.."Raise the Pressure" and "Twisted Tenderness"

The last synth -pop masterpiece
It just doesn't get any better than this. I miss the days when music was this good. This album was the last big hurrah for the synth-pop genre, as the decade of the 90's would soon be flooded with grunge.

Electronic Rocks!
I have been a longtime fan of New Order and I have always enjoyed The Smiths. This album is the brainchild of Bernard Sumner, New Order's vocalist with Smiths' guitarist Johnny Marr. This album also had an assist by Neil Tennant from the Pet Shop Boys. While Tennants influence is felt on a few tracks, Electronic is a unique creature unto itself borrowing the best from its respective bands. With Marr's amazing guitar riffs and Sumner's Brit-boy vocals, the self-titled album emits great feeling, despite being synth-pop. However, the lack of organic instruments do not detract from the sound. Through and through, you will find that the album is mostly up-tempo and will make you want to move. However, if you listen to the lyrical content, you might find yourself feeling a little down. Between the two contradiction, the album will leave you in the aftermath of an emotional rollercoaster. I highly recommend this to any who appreciate the music of the Manchester scene in England.

The best from the best
However I look it's clear to see I love this album !!! Fantastic vocals fantastic taste in instrumental organisation, this album is as catchy as it can get but also with very deep meaningful lyrics,

Don't listen to Getting away with it when you have just split with someone though, especially as its so damn good a song,

If you like the the eletronic scene from the late 80's with the like's of Depeche mode, New Order, Pet Shop Boys then get this album it has your name all over it !! ... Read more

Amazon.com essential recording

What the hell is this? Though the two-record sprawl of London Calling--with its exploratory mutations of reggae, rockabilly, and even disco--proved that the Clash weren't content to lie fallow in a punk-rock ghetto, nothing prepares you for Sandinista's messy melange. For 36 tracks (the Clash originally released this as a three-record set for not much more than the price of one), the band tackles everything in sight, including waltz, gospel, disco, children's ditties, funk, reggae, dub, delicate instrumentals, psychedelic explorations--hell, they even play a Clash rocker or two. Though many have said there is a single great album hidden among the three here, it's the pure chutzpah of Sandinista that makes it such a particular pleasure and a brain drain at the same time. It's the document of a band that can do anything and tries to do everything. It's the glorious sound of failure. And if that ain't the Clash, what is? --Tod Nelson ... Read more

Reviews (115)

Best of the Clash, best of 80s, best of rock
Why I called it the best of rock? It is among 30 or 40 rock masterpieces that I know. Among them it is the longest, offering more brilliant songs than any other one. Sometimes songs from other album are not poorer, but their number is less. Notice: all the poorest songs of Sandinista are collected on the 1st disk. Don't be fooled, listen more! The 2nd and the 3rd disks are almost perfect.

List of masterpiece songs (my edition): Magnificient Seven; Junco Partner (+ its reprise Version Pardner); Something About England (+ its reprise Mensforth Hill); Crooked Beat (+Junkie Slip); One More Time (+One More Dub); Lightning Strikes; Corner Soul; If Music Could Talk (+Living In Fame); Equilizer; Call Up; Washington Bullets(+Silicone On Sapphire); Broadway; Charlie Don't Surf; Street Parade; Version City; Shepherds Delight.

The Leader, Somebody Got Murdered are the poorest. In comparison with other ones. The rest are quite good, good and very good.

And the last note. IMHO cult of the London Calling is the kind of mass psychosis.

quite good...
I think there are a few weak songs here, and there might be a tidge more mucking about than is really necessary, but there are also some true classics. The Call-Up is utterly brilliant--perhaps my favourite Clash song, it's powerful, haunting, and entirely gorgeous. One More Time isn't far off; I even like the dub version, although I think it was a mistake to put it right after the original version. Somebody Got Murdered, Lightning Strikes (Not Once But Twice), Police On My Back, The Equaliser, Ivan Meets GI Joe, and Washington Bullets are also great. Hell, even the gospel number The Sound of Sinners, which sounds like a very, very bad idea on paper, turns out to be quite good.

As I said before, it's not perfect--some of the songs, especially on the second disc, kind of blend together, and it also features two of the greatest travesties ever perpetrated upon mankind; i.e., a little girl mangling Guns of Brixton (at the end of Broadway) and the--gack--*children's choir* version of Career Opportunities. Still, it's a great album in all. The Clash were easily punk's most significant band, and this does a fine job of showing why.

it's sounds like early BAD to me.
this is my favorite clash album of all time. only thing was, it was on eight track. man, i hated that freakin (clunk clunk) right in the middle of a song you were really digging. can't wait to hear it on cd. if you like this you'll love Big Audio Dynamite. pura vida, steve

The nadir
When I think back on the first time I heard this album, I remember saying to myself, "That's it. It's truly over. Punk, Clash, everything is gone". This gruesome, indulgent, unnecessary and plain awful album was the nail in the Clash's coffin, as far as I was concerned. Somewhere in all these tracks is a decent e.p., if you remember those. "The Magnificent Seven", "Washington Bullets", "The Call Up" are okay tunes. If I could find three or four others, maybe there would be an e.p. On the other hand, just looking back at the songlist on this album is depressing me over 20 years later.

5 Stars for its Conception, despite the Mixed Results
Anytime you hear anyone talking about the greatest album in rock history with at least a dozen songs that they can't bear to listen to, you should immediately think of the Clash's masterpiece of musical diversity, "Sandinista!". Those who are only familiar with this band through the remarkable "London Calling" or their commercial breakthrough "Combat Rock" will undoubtedly be perplexed by the stupefying array of musical directions taken during this two CD set from 1980.

No matter what you think as a listener, the stylistic mélange has a definite purpose: to show the universality of fundamental human concerns about oppression, violence, poverty, and despair, and also the universality of music itself, as an expression of these concerns. As The Only Band That Matters, the Clash's main strength has always been their songwriting: indignant, sardonic, but always heartfelt in their concern for the downtrodden. Anthems such as "Magnificent Seven", "Up In Heaven", "Police on My Back", and "The Call Up" are equal to anything in the band's oeuvre, and still serve to remind us of the ideals that once made rock music seem relevant. And sure it's tempting to skip over the more off-the-wall selections (some of which foreshadow the coming of so-called "world music" and some of which are just plain annoying), but that's taking the easy way out, and at this point in their career, the Clash just wasn't ready to do that. Perhaps we shouldn't either.

But the simple fact is that most listeners today are less interested in the band's politics than in the music itself, and that's where the album's diversity can be problematic. How many of us can honestly say that we're strongly connected to all the various musical styles that the Clash attempt over the course of these disks? To this reviewer's ears, the rock and funk tracks still stand up very well, but what is to be made of the band's forays into dub, Irish folk music, calypso, the minuet, cocktail jazz, etc.? Whether you can hang with these tracks or not, it's hard not to admire the sheer audacity of it all, but that doesn't mean you'll want to listen to every song whenever you put on this CD. But despite the presence of material you might never want to hear again, the good stuff on this album is too great to ignore. I've found that an 80-minute CD is enough to hold all the real winners on this album, plus enough of the better oddities (not every experiment is a failure) to preserve the flavor of the complete work.

Now more than ever, we mustn't forget that there's a whole world of people suffering out there, and what diminishes them diminishes us, because we're all living in the same global village. This multifarious work of musical art is a powerful reminder of their plight. And ours. ... Read more

Amazon.com

One of the finest albums to arise out of the shoegazing trend coating the early 1990s, Ferment is rich, lush, and wrenching. For what it's worth, Catherine Wheel get a mention in the liner notes of the Smashing Pumpkins' Siamese Dream. Perhaps it's indicative of the fact that this album rocks a little harder than the genre-defining releases from the likes of the Stone Roses, the Charlatans, and the Inspiral Carpets. Ferment includes guitar solos, albeit tasteful guitar solos, that most of Catherine Wheel's contemporaries would have balked at. Later releases abandon the ethereal noise wash, leaning a little more toward the sound of their admirers the Pumpkins. A beautiful, spiraling release, Ferment is pliable but impenetrable. --Beth Bessmer ... Read more

Reviews (31)

It's Sad When True Musical Talent Is Ignored...
I am completely and hopelessly addicted to Catherine Wheel's "Ferment". It is difficult to imagine that a hard rock album can be beautiful, but this album truly is. The brilliant vocals, guitar work, and drumming all fuse to form an almost hypnotic masterpiece. The album starts off with the fantastic trio of "Texture", "I Want to Touch You", and "Black Metallic" and from then on you will be hooked. Just go along for the ride! Every single track is better than most singles that are played on the radio! In particular, the songs "Indigo is Blue", "Ferment", and "Tumbledown" are so incredible that I simply can't get the music out of my head!! This may sound like a bad thing, but believe me it isn't. Catherine Wheel is one of those bands that simply did everything right and yet failed to be commercially successful. For the life of me I can't understand why! As a band they are so incredibly talented and sophisticated that it makes the stuff on MTV and MuchMusic look like it it was written by third-graders on a PC music program! Unfortunately, the damage to this band is already done. They are nowhere to be found nowadays, and every true fan of rock music should feel a great sadness because of it. If you are a rock music fan, I beg you to give Catherine Wheel a listen! "Ferment" is one of the best albums of the 1990's bar none, and I simply can't recommend this album enough!

they were never shoegazers proper...
although i hesitate to refer to catherine wheel as ever qualifying as "shoegazers" ('loveless' and 'souvlaki' are the best examples of that genre) due to CW's more up-front songwriting tendencies, i do think that this excellent LP evokes similar feelings in the (lucky) listener...rob dickinson's extraordinary voice (one of the loveliest male voices in all of rock music) is prominently featured over the depth charges of guitar, rather than the reverse (Shoegazing 101)...

anyway, this is a truly wonderful album, with nary a single track being forgettable...CW has since faltered album after album, trying to be more "rock" and/or "pop" really has never suited them, and all of their albums after 'chrome' are not very good, in spite of what hardcore fans may attest...

'ferment' features a few standout tracks and a wealth of lovely "supporting cast members"...the title track and 'black metallic' are both stunning, as if the band had tapped into the emotional heart of what the real shoegazers were missing...regardless of the lyrics, dickinson's vox and the shimmering, hissing, soaring guitar torrents make for beautiful stuff...'indigo is blue' has a perfectly timed pause before its guitar solo (don't let the phrase "guitar solo" scare you off), and also makes gorgeous use of dickinson's uniquely "hollow" vocal style...the words to "salt" are mostly unintelligible (perhaps CW were gazing shoeward on occasion), yet the song gallops along gracefully, with peals of feedback buried behind the wall of guitars in its fadeout...like slowdive's 'machine gun', the song manages to be moving without any sort of decipherable lyrical hook...

anyone interested in the kind of lush rock music that doesn't seem to get made anymore as frequently as it did during the early 90's (nowadays we get tweeness, soulless post-rock, over-earnest emo schmaltz, and so forth) should absolutely seek out 'ferment'...

the follow-up, 'chrome', is structured in a very similar way ('texture' is to 'kill rhythm' as 'black metallic' is to 'pain') and is also worthwhile...

the shivers that raced up my spine years ago during 'black metallic's quiet bridge are easily brought back on every listen...this record should be cherished...

"Imagine a light that never escapes you"
As soon as I saw the music video for "Black Metallic" on MTV's 120 Minutes back in my high school days, I knew I had to have this album. Ferment is unbelievable and Catherine Wheel instantly became one of my favorite bands of the 1990s. Ferment was their debut album and has a more raw, stuffy sound than their next recordings. It has very loud guitars and drums but the songs are also very melodic and catchy. "Texture" really rocks and is an excellent opening track, hooking the listener right away. "I Want To Touch You" is very catchy and is perhaps, next to "Balloon," the most accessible track on Ferment. It was also released as a single. "Black Metallic" is heavy but is also one of the most beautiful songs I've ever heard and the album version clocks in at over 7 minutes. It is amazing, especially when the guitars kick in again after the quiet interlude towards the end. Other favorites of mine include the rocking "Shallow," "Tumbledown" which has a beautiful melodic guitar that turns into a blazing riff, "Bill and Ben," the catchy "Salt" with the kickin' drums, and the fun Ba-B-Ba-Ba-"Balloon." The title track is interesting. It is very quiet and soothing and just explodes with headbangin' guitar. Catherine Wheel's later albums may be better produced with crisper sound, but Ferment is, perhaps, their most solid release. No weak tracks here at all. One final note: the lead singer is Iron Maiden's Bruce Dickinson's cousin! How cool is that?!

The best
Owning this album is more than a gesture in supurb musical taste. Adding Ferment to your collection elevates you to rock guru status. Keep it right next to your copy of The Queen Is Dead and anyone eyeing your cd library will know you're for real.

Their best- best of the gazers
If you are looking for a gazer band with some kick this is it! I Want TO TOuch You chugs along and Black Metallic has a feeling that Ride never got. Nuff siad if you are a gazer fan. ... Read more