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| 41. Combat Rock | |
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Amazon.com Reviews (75)
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 | |
| 42. Specials | |
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Album Description Reviews (32)
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?
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.
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| 43. Grammy Nominees 2004 | |
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Reviews (32)
The Black Eyed Peas & Justin Timberlake:Where is the love? Coldplay:Clocks. This is an ok, but it might get boring after a while. 7/10 Eminem:Lose Yourself. This is the best mother 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. 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.
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!)
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 "Ainât 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
2.Where Is the Love? - 4:05 (Black Eyed Peas / Timberlake, Justin) 3.Clocks - (Coldplay) 4.Lose Yourself - (Eminem) 5.Work It - (Elliott, Missy 'Misdemeanor') One of Missy Elliots best songs to date. 5/5 6.Going Under - (Evanescence) 7.The Way You Move - (OutKast / Brown, Sleepy) 8.Cry Me a River - (Timberlake, Justin) 9.Beautiful - (Aguilera, Christina) 10.I'm With You - (Lavigne, Avril) 11.Dance With My Father - (Vandross, Luther) 12.Keep Me in Your Heart - (Zevon, Warren) 13.In da Club - (50 Cent) 14.Stacy's Mom-(Fountains of Wayne) 15.I Wish I Wasn't - (Headley, Heather) 16.Gimme the Light -(Paul, Sean) 17.Any Road - (Harrison, George [1]) 18.Ain't No Mountain High Enough - (McDonald, Michael [Vocals/Keys]) 19.Send Your Love - (Sting [1]) 20.Hole in the World -(Eagles [1]) 21.Unwell -(Matchbox Twenty) | |
| 44. I Might Be Wrong: Live Recordings | |
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Amazon.com Reviews (133)
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.
The National Anthem 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!
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.
but, this version of "SPINNING PLATES" is the real reason to get this. i got this as an afterthought, but i'm really glad i have it. ... Read more | |
| 45. Souvlaki | |
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Reviews (51)
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.
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 | |
| 46. Lost Souls | |
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Amazon.com Reviews (113)
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| 47. This Year's Model (With Bonus Disc) | |
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Amazon.com essential recording Reviews (27)
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.
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.
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 | |
| 48. The Mirror Pool | |
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Amazon.com Reviews (44)
"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!
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.
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 | |
| 49. The Masterplan | |
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Amazon.com Reviews (144)
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) 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.
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. 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.
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| 50. Out of Nothing | |
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| 51. Be Here Now | |
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Reviews (217)
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.
'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.
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| 52. The Best Of James | |
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Amazon.com Reviews (43)
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.
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| 53. Songs to Learn & Sing | |
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Amazon.com Reviews (17)
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.
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 | |
| 54. Isn't Anything | |
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Amazon.com Reviews (28)
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.
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.
First off, the lyrics to many of these songs rock. the lyrics for "soft as snow" are cool. best songs: Songs that suck:
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| 55. The Best of Siouxsie & Banshees | |
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Album Details Reviews (8)
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).
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.
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 | |
| 56. Down Side Up: B Sides & Rarities | |
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Album Description | |
| 57. Singles | |
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Amazon.com Reviews (20)
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.
Highlights include: White Riot, Complete Control, Clash City Rockers, White Man in Hammersmith Palais, Bankrobber, The Call Up, and Rock the Casbah.
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| 58. Electronic | |
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Amazon.com Reviews (44)
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 | |
| 59. Sandinista! | |
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Amazon.com essential recording Reviews (115)
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.
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.
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 | |
| 60. Ferment | |
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Amazon.com Reviews (31)
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...
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