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The soundtrack to the best movie ever made about strippers nods to the second-best, with a new version of Irene Cara's theme song from Flashdance, and to another famous cinematic striptease, with Tom Jones's cover of "You Can Leave Your Hat On." The bulk of the score, though, consists of songs that are more or less real-world stripper classics. It's hard to hear Hot Chocolate full blast and not bump and grind at least a little. Trivia note: Anne Dudley, who wrote the movie's incidental music (two pieces are included here), used to be in the Art of Noise.--Douglas Wolk ... Read more

Reviews (19)

Get up and dance!
If you loved the movie, you'll love the soundtrack. I play this one in my car on a regular basis. It's a great mixture of dance songs and they also bring alive some memories of great scenes in the film. You just can't sit still while this one is on. Once you've seen the movie, can you EVER hear Donna Summer singing "Hot Stuff" and not see the guys in the unemployment line? Buy it, you'll like it!

Full Monty Review
"The Full Monty," is the soundtrack to a movie of five men who are in need of money. Hey, what better way to make money than by simply STRIPPING?. That's basically the theme and the style of the music on the CD. Great! It is the perfect party CD, because the beats are fast and the lyrics become stuck in your head straight away. My favorite song on the CD is "You sexy thing" by Hot Chocolate, but there are many other cool songs on the CD. I highly recommend it!

This soundtrack is "Hot Stuff".
The truth is, this is a great disc to have if it's your favorite movie, or if you just really love to strip. Most of these tracks are well known, and each one is more fun to dance to than the last. There's a few oddballs here, but most of it's oldies/disco era tunes, and all likely to put a smile on your face, and a jump in your step. My favorites are "You Sexy Thing", "Land Of 1000 Dances", and "Rock N' Roll, Part 2". Of Course it's hard not to like "Hot Stuff" and the "Flashdance" tracks too. After this, all you need is a good stereo and a stripper's pole.

A great movie deserves a great soundtrack
With a mix of rock and roll types from the 70's to the 80's, one can't help but like The Full Monty soundtrack. The original songs written for the movie are also wonderfully unique in their sound. And, with titles like "The Lunch Box Has Landed" how can one go wrong?! =) (The song is actually quite good). Though the redo of "Leave Your Hat On" isn't quite as good as the original, it does have a nice flair to it. A feel-good compilation! =)

A fun, up-beat album
A great mix of classic songs like "You Sexy Thing" by Hot Chocolate, and a great remake of "You can leave your hat on" by Tom Jones. There are also 2 tracks that are from the original score, composed by Anne Dudley. This is an album that will make you wanna get up and dance, with it's semi-camp 70's disco songs, and the final song may even get you to doing your own version of The Full Monty. Just make sure that the curtains are closed. ... Read more

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1989's Sensual World remains Kate Bush's most mature, entrancing album. Expectations ran high for the long-awaited follow-up to her 1986 breakthrough The Hounds of Love, and she met them with this sometimes breathtaking, often introspective work. On songs like the erotic title track and the dramatic "Love and Anger," Bush charts the many rhythms of relationships with a keen eye for detail and less frilly bluster than usual. Elsewhere, with the tense "Between a Man and a Woman" and the lush "This Woman's Work" she virtually lays the foundation for Tori Amos's future success. Musically, Bush broadens her palette with the smart additions of Irish piper Davey Spillane, Balkan singers The Trio Bulgarka, and jazz bassist Eberhard Weber. --Michael Ruby ... Read more

Reviews (60)

Shows Bush can do it without the mysticism
After "Hounds of Love", on which Bush elevates spirituality to a concept level, but manages to do it with quite incredible skill, it was difficult to see where she could go.
"The Sensual World" largely jettisons the mystical themes of her previous two albums, and is in fact more accessible than "The Dreaming" or "Hounds of Love". Bush prefers here to focus on romantic themes and the pain evident in them. Only in "Heads We're Dancing", (about her beloved turning into Hitler) do we get the themes that dominated her previous two albums. Rather, we see lyrics focused on the difficulties of keeping together ("Between A Man And A Woman", "Love And Anger", "Reaching Out"), or on the earthly life of women (the title tune and "This Woman's Work").
Bush softened her tone compared with her previous album and the emphasis is on melody rather than dense rhythms.
This melodic character works stunningly throughout the title tune and "Never Be Mine", in which the airy pipes that made "Night of the Swallow" so brilliant are seen once more. "Never Be Mine" is undoubtedly her most beautiful song ever, with the Trio Bulgarka giving an impressive performance in backing her vocals and the dreamlike lyrics being memorable. "Heads We're Dancing", with its references to Hitler, is impressive art-rock, and "Walk Straight Down The Middle" also stands out. The title tune, though wordy, shows her brilliant orchestrations working wonderfully, and "The Fog" shows she never lost the childlike sense seen on "Hounds of Love" and "The Red Shoes." {"Just put your feet down child"}
"This Woman's Work" returns her to the sound of her early singles, but her production gives a better sound than on her underproduced early albums. {That song came from the movie "She's Having a Baby"}
However, she never manages to rock as effectively as on "The Big Sky" and Alan Murphy's guitar playing on "Love and Anger" and "Between A Man and A Woman" never reaches the standard of "Get Out Of My House" and "Running Up That Hill". Indeed, this album's less mystical nature appears to suit the softer tunes better than the rockers - she is most effective on the romantic ballads, though "Rocket's Tail" is impressive and could have been better with a more even arrangement.
In summary, a good introduction for the uninitited, even if not so wonderful as "Hounds Of Love".

The Sensual World of Kate Bush.
The Sensual World begins with the breathtaking titletrack, what's in my opinion one of Kate's best songs. Love and Anger is a nice upbeat song whith Kate doing a funny laugh at the end of the song. When I here The Fog, I see an old harbour surrounded with fog, and gulls flying above me. The dialogue is really beautifull, with the violin, harp, whistles, and the orchestra. "See how the flower leans instinctively toward the light" sings Kate in Reaching Out. Heads We're Dancing has good percussion and Rythm Guitar, but I don't get the message in this song. On Deeper Understanding Kate is singing about a computer, I think that she was one of the first who did this, (It was 1989!) On this song you can here the Trio Bulgarka for the first time on this album. With there exotic sounding voices they give the song a beautifull touch. The next song, Between A Man And A Woman, is about not interfering in a relationship, because it's not your problem. Never Be Mine has a Good chorus; "This is where I want to be, this is what I need, but I know That this will never be mine". The Trio Bulgarka is also featured on this song, and also on the next song; Rocket's Tail, that sounds very explosive. This Woman's Work is a song from Kate witch is on of her greatest work ever. With the beautifull piano and orchestra. Lyricly it's in my opinion the best song of Kate. And finally, the last song Walk Straight Down The Middle, is a good ending to this record. The Sensual World is a lovely trip in the world of Kate Bush. And maybe my favourite Kate album, together with Hounds Of Love.

Fine Line Between Sensuous and Incipid
Kate Bush called this her most 'feminine' album, the point being to create sensuality through sound. In essence, 'The Sensual World' is intended to be symbolic of the romantic and sexual state experienced by women. However, as Bush could never be considered a 'normal' woman by any standard her views on the subject are not surprisingly rather jilted. Still, some very emotional and touching music is on offer here, although the soft celtic tones of this album (which is succeeding two very dynamic albums before it) makes it sound at times a little incipid.
Best Tracks: Love and Anger, Reaching Out, This Woman's Work.

New sound is good, innovative, but past stuff is better
It was a full four years after Hounds Of Love that Kate Bush reemerged with a new album, a new sound, and a new label, Sony.

The title track is one of her erotic songs a la "In The Warm Room" or "Symphony In Blue" from Lionheart, with Kate's girlish whispers almost tickling one's ears. and the lyrics are There is a distinct Irish sound with the Uileann pipes and a bouzouki.

The semi-calypso sound and prominent bass sets the tone of the mid-tempo "Love And Anger." Part of it has to do with saying the things one means, that "something so deep you don't think you can speak about it." Once that happens there'll be "two strings in sympathy", that someone who will help one change the past and the future.

After a burst of mad laughter, comes "The Fog". Kate's voice is at her most vulnerable here. Being overwhelmed enough by love has reduced Kate's persona to the frightened state of a child who's learning how to swim and has a kind father telling her the water's only waist high. She asks "Is this love big enough to watch over me, big enough to let go of me? Without hurting me" The emotional highlight has to be Nigel Kennedy's melancholy violin solo, and the orchestra arranged by Michael Kamen works well too.

"Reaching Out" shows how we all desire something and blindly reach out for it, whether it's a child reaching for fire, or a man for something he cannot have, but what they both have in common is "reaching out for Mama" which could mean certainty, but also an answer, harkening back to the universal navel.

The next two songs are the most imaginative from this album. The upbeat "Heads We're Dancing" is set in 1939, before "the music started" and has her dancing with someone, until she recognizes his face from a picture: "It couldn't be you/It's a picture of Hitler."

Before the proliferation of Internet recluses, the character of "Deeper Understanding," alienated and feeling lonely and lost by a colder world, turned to her computer and a new programme, a voice console, which talks to her. "Hello, I know that you've been feeling tired/I bring you love and deeper understanding." The Trio Bulgarka, consisting of the exotic voices of soloist Yanka Rupkhina, Eva Georgeva, and Stoyanka Boneva, all Bulgarians, chant while she sings the chorus. One of the songs I relate to.

The Celtic-flavoured ballad, "Never Be Mine" is a merging of Celtic Uileann pipes and the Trio Bulgarka. There's a conflict between wanting someone and a life as an ideal but missing the concrete reality of both. The two-sided coin of that concept is encapsulated with "The thrill and the hurting will never be mine."

"Rocket's Tail", also featuring the ethereal Trio Bulgarka, is about a woman who trying to emulate a rocket on November (I presume on Guy Fawkes night), goes as far as putting on a pointed hat, a gunpowder pack and stick (fuse), and standing on Waterloo Bridge, is ready to blast off. The songs starts a capella with Kate and Trio, till the line "and now shooting into the night", when Dave Gilmour's guitar signifies that the woman has taken off into the night. Creative!

The haunting and beautiful ballad "This Woman's Work" about a young unexpected mother-to-be who doesn't seem prepared, and is sung from the POV of a worried mother who anguishes over things she should've spoken to/or done with her daughter. Her vocals rise to a crescendo when she sings "Oh darling, make it go away" as in the feelings of angst. This was not only featured in the movie She's Having A Baby, but also was the name of the box set she released.

The Sensual World does not carry the romantic wonder of early albums such as Kick Inside and Lionheart, nor does its innovations top those of Never For Ever and The Dreaming. As for the sound, the constant drum backbeat is a bit distracting, as many of Kate's ethereal sounds did not require a steady drums. The songwriting though remains top-notch, even though some of the music doesn't reflect the lyrical quality. But both Celtic-flavoured songs, arranged by Bill Whelan, and the Trio Bulgarka songs add another dimension to Kate's sound.

"You've talked me into the game of chance"
Oh, Kate where are you? The music world needs you more than ever. "The Sensual World" is Kate Bush at her best. This record is tied with "The Dreaming" as my favorite Kate Bush records. But this album is more accessable for the general public. If you have never heard Kate before, listen to this record first. My five favorites off of "The Sensual World" are as follows:
1)"Walk Straight Down The Middle" This is my personal favorite Kate song. It also has Drums, Drums and More Drums. Yeah!!!2)"Between A Man And A Woman" A song about the unfortunate hypocrisy that society has about how to handle spousal abuse. 3)"The Sensual World". The album opener and title track is a little homage to Irish celtic music with a modern beat loop thrown in. 4)"Heads We're Dancing". A rocker. Also shows Kates unique vocal control. 5)"Better Understanding". When the world becomes a little overwhelming, listen to this song for a "Better Understanding". Kate was and is a woman ahead of her time. For one thing she didn't need a band name to hide behind, and she more importantly never compromised her art. Good for her, and for her fans. ... Read more

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If there's one thing film producers and record executives like more than Success, it's Success: Part 2. Thus when Ridley Scott's high-tech sword 'n' sandal epic scored both Golden Globe wins and Academy Award nods for Best Film and Best Score, it was a sure bet that another volume of Hans Zimmer's and Lisa Gerrard's music for the film couldn't be far behind. Though not exactly leftovers, the tracks here sometimes point to the fact that there wasn't enough fresh material to fill this volume out, hence we get some remixed cues, a handful of familiar music with dramatic dialog excerpts edited and superimposed (or misplaced, with decidedly mixed results), and even a beat-heavy, dance-club mix of "Now We Are Free." With a little over half an hour of entirely fresh material and some souvenir dialog snippets over the rest, there's enough here to please Gladiator die-hards. Also of note: guitarist Heitor Pereira's flamenco-flavored flourishes are better showcased throughout; and "The Gladiator Waltz" serves up one of Zimmer's original synth demos (with a dash of Russell Crowe dialog up front)--a dramatic amp-up of Holst's "Mars, the Bringer of War" that's a prime example of the composer's state-of-the-art digital orchestral conjuring. --Jerry McCulley ... Read more

Reviews (56)

Gladiator-New Cult Motion Picture
Not only is the Gladiator DVD the largest selling DVD in the history of the media, the motion picture itself is also one of the leading cult films of all times. I know a half dozen people who have watched the entire movie ten or twelve times. Amazon offers what can only be considered a must have trilogy; the Gladiator DVD, the CD Music from the Gladiator, and now a second CD More Music from the Gladiator. More Music from the Gladiator acts to intensify the entire Gladiator experience. The additional material is so very good that one can only wonder why it wasn't originally included in the film. The technique of using actual voice overs with the score bring all the original emotion of watching the film back again and again. A professionally done Gladiator Screensaver for your computor is an added bonus. If you liked the movie buy not only the DVD, but the entire trilogy. Remember "What we do in life echos in eternity".

Thoroughly satisfying
I am a painter, (of pictures) who listens to music while working. I was addicted to "The Gladiator" score. Finally I broke down and ordered "More Music from The Gladiator". Every once in a while I do something really smart; and this was one time. This record is even better than the the first one; yes, it's possible. The combination of Hans Zimmer and Lisa Gerrard just can't be improved upon. I don't care that the sentence ends with a preposition. This music is tops. MOOD up to 'here'.

Neutral
I was hoping for great & extended things with the two Now We Are Free mixes, but, while both are good, they're not anything special. As for the rest of this "More Music..." record, I believe more score material without so many inserted movie actor lines would have made more sense for this release. Afterall, the entire script can be found on the film's DVD, and it's probably safe to say that most "More Music..." owners have the DVD. A big neutral for me ... waiting for "Even More Music from the Motion Picture Gladiator".

Better than the 1st sountrack CD, I think
This CD is magical, sensual, earthy, lush, gorgeous, absorbing, healing, exciting, relaxing, empowering and life affirming. All in one CD! I guess I'm about the only one who thinks this CD is more beautiful than the original soundtrack. I prefer it because it's got more sensual and meditative passages on it, less battle scoring. I like hearing the actor's voices, also. Such good acting, it combines with the music to take you far away, to another and much more exotic world.

Strong Follow-Up
While Hans Zimmer's Second Gladiator CD is not as good as the first, it offers refreshing remakes of tracks on the first CD. Now We Are Free, Juba's Mix balances the score by adding a more relaxing mood to the already powerful and anxious tone of the other tracks on the CD. It would have been nice to see more material from the movie and less music which didn't make Gladiator's Final Cut. However, it demonstrates Zimmer's incredible talents and is ejoyably entertaining to listen to. ... Read more

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Long before No Doubt brought back ska and Big Bad Voodoo Daddy resurrected swing, Lisa Gerrard and Brendan Perry were making music that recalled an earlier time. How early? Try the Renaissance. Everything old--really old--is new again on Aion, the band's fifth and arguably finest album. Like DCD's other discs, Aion revolves around the interplay between Gerrard's soaring glossolalia and Perry's baritone crooning. A range of styles are explored, from the polyphonic choral heights of "The Arrival and the Reunion" to the smooth balladry of "Fortune Presents Gifts Not According to the Book" to the Middle Eastern sensuality of "Radharc." Other standout tracks include the playful "Saltarello," a traditional 14th-century instrumental dance piece, and "As the Bell Rings the Maypole Spins," a strikingly melodic song carried by bagpipes and Gerrard's angelic voice. --Steve Landau ... Read more

Reviews (32)

Inspired by Renaissance music, Dead Can Dance excel
Released in 1990, AION shows Dead Can Dance, the duo of Lisa Gerrard and Brendan Perry, exploring styles of Medieval times and the Renaissance. The production is excellent, and it ranks among DCD's best albums.

AION opens with "The Arrival and the Reunion," a short piece that shows off Lisa's amazing voice as overdubs allow her to provide her own polyphony, with David Navarro Sust (a collaborator on 1989's THE SERPENT'S EGG) providing backing vocals.

There are a number of quiet, instrumental pieces on this album which sound highly authentic, such as "Saltarello" (which really is a piece from the 14th century), "Wilderness," and "The Garden of Zephirus."

As with any Dead Can Dance album, there are songs that feature either Brendan or Lisa more heavily. Lisa provides among others "Radharc," "The Promised Womb," and "The Song of the Sibyl," although for that last one I prefer the live version on TOWARD THE WITHIN.

Brendan gives us the tragicomic "Fortune Presents Gifts Not According to the Book" and the odd "Black Sun."

It's remarkable how this album, the first after Lisa and Brendan split up (she went to Spain, he went to Ireland), features such excellent collaboration. Definitely one of Dead Can Dance's best albums, although I think the best is WITHIN THE REALM OF A DYING SUN.

the crossroads of DCD's career
This is the best DCD album I have heard, which makes it one of the most beautiful bits of music ever. By now a lot of people know about Lisa Gerrard's beautiful voice and Middle Eastern-influenced dance beats, and those are displayed very nicely here. Radharc is one of the best examples of the latter. But Aion is dominated slightly more by the neo-classical and Renaissance vibe - Saltarello, the second track on the album, is far and away the best "pure" (no drum machines or samples) Medieval dance track you will ever hear. I play this track often to techno and trance junkies, and usually they are simply stunned. Aion also features some of Brendan Perry's trademark dark, droning vocals that will have Nick Cave and Peter Murphy fans weeping with delight - Black Sun is the standout. A great album to start your DCD collection with, especially if you've just heard about the band and don't quite know the material yet. (Note - their first albums are mostly slow and dark, like Black Sun. Their later work is more dancy and "exotic", typically more like Radharc. Lisa Gerrard's solo work is pretty much all like that.)

Excellently moody and then hear what I am saying!
This is the greatest CD I have heard from Dead Can Dance and I have heard them all and yes Enter the Labyrinth was not far behind.

My main drawback from the general 5 star Amazon rating that 31 people reportedly maintain is that the music is only cold. The Renaissance songs that the band covers are much more interesting to me in their original versions, the covers they do are hectic and while technically proficient do not burn me as much as I would appreciate in a cold manner.

Mr. Perry does initiate some strong vocals in the Black Sun which do not bore me, however the lyrics are mildly tiresome, if you actually research their intent; i.e. if I wanted to be preached to, I'd think church wasn't on every street corner and subscribe to Mr. Perry's heavy world view. Lisa Gerrard is interestingly kitsch as usual in her lack of interest in singing something sensical and really brings the hammer in several of the songs. Bravo, and that song on her solo CD, the Mirror Pool, Sanvean, #4 if memory serves, well before "Gladiator," that was the billy goat's gruff.

I think the tone wears thin on Dead Can Dance as a band when the coldness is just for being cold. I would've appreciated less impasses and more awareness and understanding, beauty aside, 4 stars. Buy the thing because it's excellently moody and then hear what I am saying! (The lyrics won't be listed in the CD and due to the fact that Brendan slurs musical phrasing, you will need to look online for the real lyrics)

Matthew Hahn, www.movingtracks.com

It's true! The dead CAN dance!
'Aion' was my introduction to Dead Can Dance (DCD) and it has truly made a fan of me! The choral explosion on "Arrival and the Reunion" [pulled] me in fast as it reminded me a lot of neo-goth group, Mors Syphilitica. Then comes a 14th-century instrumental piece called "Saltarello", which has a great Renaissance dance beat that's really quite irresistible when it comes to swaying in your stilled position! The music slows down a bit once "Song of the Sibyl" comes on though as it features very little background noise. Instead it focuses solely on the chilling vocals of Lisa Gerrard's shaky yet affective vibrato. One of the best Dead Can Dance songs with Lisa singing on vocals however would have to be "As The Bell Rings the Maypole Spins", which features some incredible bagpipe playing!

I love both of the duo's voices so I really appreciate the fact that they trade-off after "Song Of The Sibyl" from Lisa to Brendan Perry, whom sings on the subtle Medieval tune, "Fortune Presents Gifts Not According to the Book". It's on the haunting "Black Sun", which brings to mind the dark brilliance of 'Within The Realm of a Dying Sun', that his somber baritone truly succeeds in tantilizing the listener with his seductive vocals though! And while the eastern influenced "Radharc" may arguably be the best song on 'Aion', the entire album is a delightful treat for the senses and I couldn't recommend it any higher!

.enchanting.haunting.beautiful.dark.mystifying.
.Amazing.This CD brings you into an alternative reality, a trance-like state. It brings ye back into the times of the Renaissance. Beautiful vocals, and extremely talented musicians.
.highly.reccommended. ... Read more

Reviews (27)

Far too mellow for my liking
For many long-time Stereophonics fans, going back to the 1997 "Word Gets Around" debut album, this album is likely to be a disappointment, as it is for me. "You Gotta Go There To Come Back" (13 tracks, 57 min.) is the Welsh band's 4th album, and a startling transformation. From a brash alterna-stomp-rock sound, the band is now already settling into a middle-of-the-age, lazier sounding bunch, regretfully.

The album is dominated by pensive, easy sounding songs, even ballads with strings and all, if you can believe that. Some of them work quite well, like "Maybe Tomorrow" (the 2nd single) and "Rainbows and Pots of Gold". Others don't quite make it, like "I'm Alright", "Since I Told You It Was Over" and the truly out of place "Climbing the Wall". The album does contain some (2 to be exact) tougher-sounding tracks: "Madame Helga" (the 1st single) and "High as the Ceiling", both excellent. For me, the album's epitomized by the opener "Help Me", a lazy blues-rocker that, at 7 min., drones on about 3 min. too long.

If it sounds I'm being harsh, it's because the Sterophonics have been much better. I don't imagine they'll play too many of this album's tracks at Cardiff's Millenium Stadium home-town gig later this Fall, because this album clearly doesn't translate well to stadium rock. Kelly Jones' vocals remain as instantly recognizable as ever, of course. But for their better work, steer instead to "Performance & Coctails", their best CD by far.

Its New!
We all need bands like Stereophonics. While they don't achieve the high successes of Oasis, Radiohead et al, they keep the rock n roll clock ticking, and fans have something to buy in between releases from the big bands.

This album is classic, and somewhat new ground for Kelly Jones. The standout track is "I'm Alright", which is in the mould of Massive Attack ,and this shows the maturity and vision of his songwriting. From the bluesy I Miss You Now, to the full out rocking off High As The Ceiling and Madame Helga, the variety is terrific. Have a tissue ready for Since I Told You Its Over as this is the most beautiful song written this year. His growl is at its best, and while JEEP was primarily a completely chill out album, this one is packed with rocked, chilled and reflective music, perfect for any mood you may be in.

Although their success isn't exactly massive, I've always rated Stereophonics in my top two bands along with Oasis. In YGGTTCB, the lyrics mach perfectly with the music, and the mood set is flawless.

Now Kelly seems on the verge of going solo with the sacking of the drummer Stuart Cable, and I think some of the stuff he could churn out could be massive.

Phonics fans beware, you have a CD to buy.

Must love rock
This is my first Stereophonics album and I must say that they know what they are doing. The album has great rock songs that let you get driven by the sound. Well structured and melodic pieces is what you get here. There's nothing fancy or too technical about it, but Getaway, Maybe tomorrow and I miss you know are mellow bluesy cuts that hit deep inside.
If you love good, straight forward rock, you're gonna like this one.

The Kids Are Alright
Let me tell ya...these guys rock! I first read about them in the local St. Louis music paper, bought their CD and was lucky enough to see them blow Bowie off the stage at the Fox Theater. I haven't heard music like this since the Black Crowes burst on the scene. Just when you thought music was going in the dumpster along comes the Stereophonics proving The Kids Are Alright!

A warning to those who saw them live...
I first heard (and heard of) Stereophonics when they opened for David Bowie in St. Louis; point blank, they were AWESOME (as was David, by the way). I bought this CD the next day, and while it is definitely good, I thought that their live show was a little better. While onstage, Stereophonics had fun with their music and let the sound explode (both "I Miss You Now" and "Help Me" were 7+ minutes long); the album versions, however, are more subdued and, in my opinion, too polished -- there seem to be too many extra sounds (like the repetative "Help me" over the last chorus on the first track).

Still, this is a good album; however, I'm really looking forward to a live CD... ... Read more

Reviews (8)

You Gotta Look Sharp!
It's easy for many -- especially music industry writers -- to dismiss Joe Jackson as a pop musician who possessed nothing more than delusions of grandeur, due to his forays into jazz and classical shortly after his first two smash albums. A pompous musician, or a true artist? Regardless of what side you're on, there's one thing you can't deny: Joe Jackson was/is one crafty, talented S.O.B., and I feel he's a force to be reckoned with.

_Look Sharp!_ is a smash album with ridiculously catchy tunes, infectious melodies, cynical and ambivalent lyrics, and snappy rhythms that'll be impossible *not* to bop your head to. There is literally not one boring, unlistenable tune to be found here: every track is jam-packed with energy, taste and charisma. While the lyrics are quite sarcastic (and hilarious in spots), the music is impossibly upbeat, and refrains from depressing wallowing: leave it to wisecracking Joe to turn something so self-deprecating and sarcastic into something peppy and upbeat -- it almost makes you wonder if Joe is celebrating his own dissatisfactions with love and life. Either way, infectiousness and intelligence are so rare to come by in one package. But Joe Jackson delivers big-time in this department. "One More Time" is a perfect example of how Joe makes something miserable sound so peppy and fun: listen to those ironic, almost masochistic lyrics. Yet the music is so driving, tasty and energetic. Of course, many already know "Is She Really Going Out With Him?" featuring those semi-hilarious, yet reflective lyrics, and the muted riff on the verses. "Throw It Away" is a fast-paced, energetic rocker, with Joe howling in certain parts of the track. The title track many may have heard as well: a snappy, tasty number exhibiting excellent musicianship. Listen to the sophisticated arrangement in the vocal harmonies during the closing parts of the chorus. "Fools In Love" is a reggae-rock number that pretty much speaks for itself, title-wise: the lyrics and Joe's vocal delivery crack me up hysterically. Hilarious stuff. And later, to close out the album, "Got The Time" is a fast-paced, energetic rocker in the style of "Throw It Away."

Want something ludicrously catchy and snappy? Want something subtly sarcastic and sneering, but at the same time, utterly reflective, moving and funny? Want some upbeat music good for cruising with your girlfriend, or otherwise? Pick this album up, along with _I'm The Man_. Both are essential Joe Jackson albums.

Looks sharp, sounds sharp
Joe Jackson's first two albums have always represented, to me, what was good about the New Wave/No Wave splash of the late '70s to early '80s. LOOK SHARP was Joe Jackson's impressive first dive into those waters. Although not as consistently engrossing as his next album, I'M THE MAN, this album was a great introduction to the contradictory, self-conscious attitude of late '70s pop. Alternating between comic and pathetic, like "Is She Really Going Out With Him?" to "Fools in Love", the album does have an interesting range. The title cut is probably the most self-conscious in the sense that it figuratively asks, "How should I look and/or behave in this post-punk world? What is the new attitude?" I had just turned twenty when this album came out and, for that reason alone, this cut spoke to me. I worried about having to look "over my shoulder" too.

The DVD has a great sound and the accompanying goodies make it well worth the very reasonable price.

Been there...
This record is sharp and energetic, cynical and angry, insightful and perceptive, all tightly-wound frayed nerves. Think a bad night plus too much coffee in the morning for a smart misfit with a gift for melody. It can be a bit much at times but when I'm in a certain mood I put this on and it hits the spot. Most people who do "breakup music" like slow, sad songs from what I can tell. Well, this is what I go to at those times. It reminds me that the world of romance, indeed the world in general, is taken too seriously. People will be people. Girls will continue to go out with big apish guys for no apparent reason. The newspaper will continue to report on all kinds of useless [junk] and neglect real problems. And no matter how cynical you get or think you are, you're still gonna fall prey to love. This album laughs at the world, at itself, and turns the mirror on all of us. It's a classic, timeless, and I'm amazed more bands don't cover these songs. Especially after one of their members has gone through a breakup or divorce, has stayed up all night, and has imbibed too much coffee.

Look Sharp... SHARPER THAN EVER
Back in the late 70's when I was a teenager, I purchased this record due to it's unique packaging... A 2 disc 10" "sandwich" album with cool cover art and even a "LOOK SHARP" lapel button. I was shocked to find that the music was incredible as well! Needless to say, even though I still have the record, I haven't heard it in years and stumbled accross it on Amazon. Boy am I glad I did! The album is a total classic that is as fresh as when released sounding even better on compact disc. A MUST FOR EVERY COLLECTION.

Classic New Wave Album
Joe Jackson's debut album is one of the greatest debuts of all time. Before you even pop the CD in to your player, you can look at one of the greatest album covers of all time. It shows two shiny, white shoes, casting light upon the sidewalk in front of them. Incredibly cool. Then, the music. "Look Sharp" is filled with varying musical styles. Punk, reggae, pop, and even jazz can be heard at different points on this record. Another achievement of Jackson's on this record is the songwriting. Much of "Look Sharp" conveys Jackson's cynical views on relationships, dating, and love. This often is presented in a humorous manner, which makes it that much more entertaining to listen to. The album kicks off with "One More Time," one of the more punkish tunes on the album. It goes on to classics such as "Sunday Papers," and "Is She Really Going Out With Him." The latter is arguably the strongest song on the album. It is Jackson's observations on the men he sees the women around him dating ("pretty women out walking with gorillas down my street..."). Other standout tracks include "Fools In Love" ("fools in love, are there any other kind of lovers?") and "Look Sharp." Overall, a classic new wave-period album that is both emotional and humorous at the same time. One of the talented Jackson's crowning achievements. ... Read more

Reviews (3)

Don't buy this CD!!!
I am one of the few people that buys all of his music (instead of illegal downloading) because I want to support the artists that I like. When I buy a CD I always make a copy so I can burn a back-up, play it in my portable player, make my own mixed cd,etc. These new "Dual Discs CANNOT be copied/ripped on a computer!!!!! I have tried 4 different programs and it wont work. In my opinion it ruins the way that I want to use the music I purchased. I will NEVER again buy a dual disc. What sense does it make if you cant listen to the music the way that you want to enjoy it.

BE WARNED. BOYCOTT THE DUAL DISC!

great album, good to ok surround
This is a wonderful album.Keane brings to mind Rufus Wainwright and Coldplay mixed together.There are no guitars on this album which makes it stand out from their contemporaries.
I have about 20 dvd audio discs and one other dualdisc and have never had a problem with them, but for some reason the dvd audio mix on this album will not play.Well it would be better to say it plays but there is no sound.The dvd video mix (ac3) plays fine.I wonder if anyone else has encountered this problem with the album.
The mix of the surround is good, it's just not much different than listening to it in stereo.I wish the engineer had been a little more inventive.It would have been nice to have a dts mix as well, but my guess is there wasn't enough space to accommodate it.

Hopes for "Fears"
British mope-rock is alive and well, as Brit-pop trio Keane makes their debut with "Hopes and Fears." Strong, soaring vocals from Tom Chaplin are backed up by some solid piano-based pop and rock. Despite constant comparisons to Radiohead, Travis and Coldplay, Keane shows plenty of promise as a unique new band.

It starts off with a strong piano solo in the quiet "Somewhere Only We Know," followed by a stream of catchy pop like the thoughtful "Everybody's Changing" and the shimmery "Bend And Break," and gossamer ballads like the melancholy "We Might As Well Be Strangers" and soaring "She Has No Time." It wraps up on a strong note with the plaintive "Bedshaped."

As a dualdisc CD, this also has a DVD side if you flip it over. It includes several music videos of okay (though not great) quality, including one that is different in the U.K. It also contains a special photo gallery and song lyrics, which are a pleasant accompaniment to the CD itself.

If any British band breaks the rock mold, it seems to be labelled as a Radiohead/Coldplay wannabe. On some superficial levels, Keane sounds rather like those bands. But it manages to remain a bit apart, rocking a bit harder and sounding a bit more straightforward and simple. It's hard to truly classify Keane as really being pop -- the lack of guitar and the prevailing piano seem to edge its catchy melodies closer to classical pop.

The first thing to know about Keane is: No guitarist. At all. Ever. Don't let it scare you -- the mix of rippling piano and gentle percussion are enough to make their melodies catchy without electric riffs. At the same time, they take some musical risks. Psychedelic piano-pop? Believe it or not, Keane does that.

Tom Chaplin's vocals are the strongest point of Keane's lineup; his solid, high soars along with the shimmery music. At times his vocals get a bit TOO high, like when he sings the title line of "She Has No Time," but most of the time he manages to sound like a heartbroken guy exorcising his breakup demons. The songs themselves aren't terribly complex or insightful, but they can be quite poignant: "And if you have a minute why don't we go/talk about it somewhere only we know?/This could be the end of everything/so why don't we go/somewhere only we know?"

Keane needs to distance itself more from the other Brit-mope-rock bands before it can blossom into true greatness. But in "Hopes And Fears," they have succeeded in the basics: bringing forth some beautiful, sometimes heartrending music. ... Read more

Amazon.com

This '90s update of the classic U.K. television series of the '60s was roundly criticized for its murky, convoluted plotting and quirky performance by Val Kilmer in the title role of Simon Templar. But its soundtrack--a typically market-driven collection of modern pop--is actually one of the better efforts of the '90s. Leaning heavily on electronica influences (Orbital's conservative rendering of Edwin Astley's TV theme, Moby's driving "Oil," The Chemical Brothers' "Setting Sun," and others), The Saint at least holds together as a cohesive musical statement, something many similar collections can't claim. Also includes songs by the Sneaker Pimps, Duran Duran, David Bowie, Everything But the Girl, and Duncan Sheik. --Jerry McCulley ... Read more

Reviews (22)

Big Name Techno here we come
When I first bought this CD, it was for the theme tune by Orbital. However, I found on it a selection of techno from big names, such as David Bowie, Daft Punk, and Chemical Brothers.

I found that after listening to this CD I was able to identify those short clips that spiced the movie, such as the blast of Chemical Brothers as the goon squad leapt out of their car and after Val.

Excillent Selection
In, general, sundtracks to such movies can be extreamly cheezy and pathetically generic. But htis Cd stands apart like a shining star. Following are the resons why this is my favourit Cd of all time.
1..Excillent tracks by some of the most modern and cuttin edge artists of today.
2..Orbital's reworking of the original saint theam is beautifully rendered and perfectly mixed to create an air tight masterpiece.
3..The track by Uderworld is one of the best jungel/dance song i have ever heard.

4..Sneaker Pimps are always a please welcome addition to any album.
5..Duran Duran, David Bowi, Fluke and Daft Punk add to this Cd an exciting array of modern rock and infectious electronic groovs.
6..The version of before today by Everything but the girl is fantastic!

I absolutely love this Cd and this is a must have form anybody who remotely understands and respects good music.

Great Memories
You know how sometimes a music can conjure up memories of a time in your life that is pleasant, or not so pleasant? That is what "The Saint" soundtrack and even movie does for me. I remember seeing the movie in 1997 - and the friends I saw the movie with. The club heads, the cars, and etc.

This CD is real quality. I still love it today - so much so that I bought it a few times as the ones I had before got scratched - always around the Duncan Shiek track... This was out just when Sneaker Pimp's "Six Underground" was starting to get popular (before Ministry and every other mass "chill-out" compilation overplayed it), Duncan Sheik had released a feature cd maybe the year before that did very well in the US as did EBTG (Walking Wounded). But some of the hidden stand-outs that do spark up the good memories of when I saw this movie and when I lived in England - Underworld's Pearl's Girl, Polaroid Millenium's song and Daft Punk's "Funk". "Roses Fade" is also a cut that I really like with the guitar build-up in the beginning.

I definitely recommend it. For me it is one of those special CD's that I cherish. Mind you some cuts I will pass through - but if anything it is because I had heard the songs too much in 1997-1998! (Fluke, David Bowie). Enjoy

THE SAINT DOES TECHNO
DEAR READERS,

THE NEW SAINT MUSIC IS ALIVE AND ON TARGET. FOR THOSE OF YOU WHO ARE OLD FANS OF THE SAINT, THIS IS A FRESH NEW TAKE ON THE OLD STYLE AND TUNE. THE MIX IS WELL DONE AND QUITE MODERN. TAKE A LISTEN AND REMEMBER THE SAINT WILL ALWAYS RETURN... 0 O /|\/' \| / \ /_ |_

well...
Great album, but when watching the movie, I heard "You're All I've Got Tonight" performed by The Smashing Pumpkins, but found it to be missing on this soundtrack. too bad, as it's an excellent version...

it can be found on the Aeroplane Flies High box set, tho, so that will have to do ... Read more

Amazon.com

Duality is at once sacred and playful. It is both dark and light, organic and refined, masculine and feminine. Dead Can Dance's Lisa Gerrard partners with Pieter Bourke, formerly of Aussie band Eden, to create this compositional dance of partnership that is classical, ancient, and thoroughly modern. Gerrard's voice is multitracked at times, conjuring a cathedral choir and the droning chants of monks. Drums and synth snake from desert to brilliant stormy sky to shaking earth and the bodies that inhabit those spaces. There are lush multiple layers of strings, bagpipe drone, and, quite literally, the laughter of children. The vocals sans "real" words and multicultural instrumentation will be familiar to Dead Can Dance listeners. Yet there is something more exclusive, more womblike about the music of Bourke and Gerrard; rather than two distinct bodies making music, like mother and in utero child sharing blood and breath, they are mutually dependent. --Paige La Grone ... Read more

Reviews (41)

A beautiful album. Lisa and Pieter are wonderful together
I've been an obsessed fan of Dead Can Dance since about 1984. Lisa Gerrard's voice is so beautiful that she has brought me to tears on several occasions. This album is wonderful. My favorite is Sacrifice, which is full of so much emotion, and is so moving, it puts little goose bumps on my arms. The Unfolding and The Comforter are also amazing. So is the whole album. It's a must have for anyone who enjoys beautiful music. I look forward to another colaboration by Lisa and Pieter. Duality fits them perfectly.

Beautiful and enchanting music
This is simply one of the best records of 1998. Form the very first song and until the end, Lisa Gerrard & Pieter Bourke are making some of the finest music, to be heard in a long long time. The Mirror Pool was a great album, buth this one goes even further. Imagine the next time Lisa Ger- rard & Brendan Perry sits down to make a new DCD album, how will they make anything like this (or even better). Buy it now.

a dissenting opinion
Well, unlike most people writing reviews here, I never really cared for Dead Can Dance. I guess I just didn't get it. But I really do like this album. The music is great for relaxing, cooling down after a stressful day in the modern world, taking a break, thinking deeply, reading, or winding down at the end of the day. But it's not shallow or sentimental; it's deep, haunting, and spiritual in the old-fashioned, strong sense of that word. If you enjoy new age music, this is a good CD for you.

Even if you're not a Dead Can Dance fan!

I listen to this and weep...
I weep for the loss of the grandeur and majesty that were Dead Can Dance. I weep for the mighty have fallen. That, in essence, is the emotion caused by this cd.

In an effort to fend off what I am certain will be backlashes of the devout Lisa Gerrard followers, let me say this: I absolutely adore Lisa Gerrard and the material she has produced since parting ways with Brendan Perry. However, it is with a degree of adoration that is far below that which I felt (and CONTINUE to feel) for DCD. I know, to an extent, DCD have forever gone and I should just get over it. Even Brendan is sounding more like Tim Buckley than Brendan Perry. And, even Brendan's stuff with Elijah's Mantle is far inferior to even DCD material.

But, I cannot forget what once was and anytime I play either of the three best recordings ever made (DCD's, "Within the Realm of a Dying Sun," "Serpent's Egg" and "Aeon," respectively), I am transported back to what DCD were(and, truthfully, is) all about.

This recording is more similar to anything you'd find being played on NPR or some "Pure Moods" variant. It has a few moments of clarity and resolve, but beyond those, it falls flat on its face. This is a terribly crushing thing for me to have to admit too. So, I say it with every ounce of respect and sense of defeat. Lisa...you are so much better than this and capable of such far greater work.

But, and the big "but," Brendan always was the Yin to Lisa's Yang. They need(ed) each other and balance each other and apart....apart they will never amount to the totality they achieved.

This is wordy, verbose and probably quite obtuse in terms of a "review" of this cd. Please forgive me though. I have just listened to "Within the Realm..." in its entirety and have a tremendous sense of longing and bereft-ness (ok, I made up a word). You may notice that most of the ecstatic reviewers are new-comers to the whole DCD family (and its descendant variants). That comes as a result of having no point of reference by which to judge the present work. If it is the first you have heard of this, I can see how one would do cartwheels over this. If however, you spent the better part of the 80's and 90's shelling out top-dollar for 4-AD import prices (long before Ivo sold out to Warner Brothers), you know what I mean.

I give this three stars solely because it is Lisa Gerrard and, hey, that counts for something.

Enchanted !!
Lisa has done it once again !Her vocal chords are a gift to humanity . She once again proves that she can keep the spirit of DCD alive .

I have a true passion for Middle-Eastern music . This album manages to give the listener a feeling of "travelling" on magic carpets with Lisa's voice as a guide .

Alongside Lisa and Azam Ali , this is some of the best middle eastern vocal work the past 2 years . This CD will play on my CD for a LONG time .

I only wish record companies would start to release music like this on SACD or DVD-A ! ... Read more

Album Description

In his notes for this passionately compiled box, producer Gary Stewart writes, "the diversity from the late-70s punk/new wave scene turned into a full-blown, variety-fueled, genre-busting orgy in the '80s...The music became, in the best sense of the words, more complex, more literate, a bit more serious, and as a result, made astrong impact on mainsteam rock culture." From funk punk to revisionist roots rock to hard-core to smart-ass clever pop-and every musical nook and cranny in-between-Left of the Dial presents many of the '80s' most important tracks. Savor the far more influential flip side of the "Where's the Beef?" decade's musical output! ... Read more

Album Description

First comprehensive anthology from one of Creation Records' shining lights. Compiled by the band and featuring rarities and previously unreleased material. This two CD anthology charts the rise of Britain's best loved shoe gazing rockers, featuring all their most celebrated tracks. The band's entire catalog is unavailable domestically. Castle Music. 2005. ... Read more

Reviews (3)

You MUST get your SWERVE on.
Correction to Amazon's info.: 33 tracks total, not 37. Not included: A Change Is Gonna Come, Last Day On Earth, Wrong Treats, Land Of The Lost. The 2 CDs are jam-packed nonetheless. Track order is different.
This is not exactly a one-stop shop for all the best of Swervedriver. It's one of those "hits" plus rarities comps., with something for everyone, including previously unreleased, import-only and vinyl-only material. A true best-of would have to include such songs as these: Laze It Up, Hands, Girl On A Motorbike, Last Day On Earth, Wrong Treats. I could go on.
But don't get me wrong. Do not hesitate for a moment to acquire this set. There are very few collections of music of any kind out there that kick as much ass as this. The previously unreleased Neon Lights Glow is, yes, an absolute killer. And I for one am glad the songs are not in chronological order, because the Raise-era material all in a row would wear my ears out and start to sound a bit monotonous.
Assuming this over 2 & 1/2 hours of Swervedriver are not enough for you, I advise you to do this next: Go to swervedriver.com, which contains a more-than-generous selection of live recordings. You can fill in the gaps, after a fashion. I chose the 5 songs I previously mentioned plus I Am Superman, Director's Cut Of Your Life & Up From The Sea.

a nearly perfect collection of goodies
There is no middle ground with Swervedriver fans.You either haven't heard of them or you love them.And though my collection of Swervedriver albums and b-sides and 7 inch records certainly gives me many reasons to love them, this double CD gives me two more.

Swervedriver played their cards pretty much perfectly here.They have thrown together (almost) all their "hits" and included most of the best b-sides over the years, plus a few unreleased gems.They have opted not to do so in chronological order, but that choice merely highlights their diversity instead of showing their evolution.The only really notable exclusions in my opinion are the b-sides "Flawed" and "Laze It Up", but one can't expect to get all the rare tracks onto two CDs.

For the starter not familiar with Swervedriver, there is "Son Of Mustang Ford", "The Birds", "Duel", "Kill The Superheroes", "The Hitcher", "These Times", and "99th Dream".For those already in love with the band, there are all the good singles previously only available in 7 inch form ("My Zephyr", "Mars", "Why Say Yeah", and "93 Million Miles From The Sun") here on CD for the first time.There are also a few officially unreleased tracks that have been floating around the bootleg circuit for a while.

The demo version of "Mustang Ford" closes the second CD.This is Swervedriver in its pre-produced, lo-fi, balls-to-the-wall, rock n roll glory, and this version clocks in at over 7 minutes.The preceding song, "Just Sometimes", is a bit of a repetitive throwaway but for the beautiful Adam Franklin riff on guitar."Over" is a two part track, blistering you in "Mustang Ford" fashion for the first few minutes before zoning off into Shoegazer Land."Neon Lights Glow" is easily the best unreleased track on the record.It includes the token Swervedriver guitars and the use of strings also previously attempted with "Last Day On Earth" (which is strangely absent from this collection).However, the use of strings here seems to be more in line with the usual Swervedriver oddities than it was on the more conventional "Last Day".This song is a completely brilliant eight minutes of bliss and is worth the price of the CD alone for hardcore fans.

So here's what you get with the CD besides a nice write-up in the CD booklet and a diagram of their various guitar pedal setups (which is an extremely cool addition for guitar players).

Disk 1

"Son Of Mustang Ford" - The single that started it all and the first Swervedriver song I ever heard on MTV's "120 Minutes".

"Planes Over The Skyline" - "Duel" single b-side.Brilliant guitar work as always, though a bit repetitive.

"The Birds" - In my opinion the most sing-along-able of all Swervedriver songs.Weird pop perfection.

"Duel" - Magnificent.Whenever that guitar changes for the chorus, my hair stands up on the back of my neck.That sound has never been successfully imitated before or since, or at least not to the same effect.This is the shortened single version.

"Why Say Yeah" - From the split 7 inch single with Sophia.A very good song though Sophia's "So Slow" on the other 7 inch was better!

"Scrawl And Scream" - An always underappreciated single from the "Never Lose That Feeling" and "Reel To Real" EPs.If memory serves correctly, this is a slowed down and superior version of "Afterglow", another b-side (not included in this collection).

"Rave Down" - A classic with another unforgettable guitar progression.

"How Does It Feel To Look Like Candy?" - A great song except that the horns drive me absolutely crazy.It could be me, but they seem lower in this mix.

"Blowin' Cool" - Another underappreciated dandy from "Mezcal Head", though I would have rather seen "Girl On A Motorbike".

"The Other Jesus" - Such a simple yet driving bassline, as well as crazy guitar interplay.

"Juggernaut Rides" - An early b-side that is as great as all their b-sides.

"For Seeking Heat" - The opener from "Mezcal Head".If this doesn't get your attention, you are likely dead.

"These Times" - This is the album version and the not the faster version that many people are fonder of.Regardless, a good song is a good song no matter what the pace.

"The Hitcher" - A fantastic b-side made even more amazing only in that Adam Franklin actually improved the song when he stripped it down for an acoustic rendition on one of his Toshack Highway EPs.Definitely a Top 5 b-side from a band that has as many great b-sides as The Cure and in a shorter period of time.

"My Zephyr" - Another 7 inch only release until now.Another great song with some really creative guitar work.

"Last Train To Satansville" - The great cowboy tale told Swervedriver style.I guess it depends on your mood if you think you were shortchanged on this one.Sometimes you love the extended outro and sometimes you don't.This version is only 3:30.

"Kill The Superheroes" - The song many Swervies would claim to be their all-time favorite, and it's a b-side.Adam Franklin's guitar work here is nothing short of mind-boggling.How he could think to use those riffs and put a vocal melody over it is truly the work of a genius...or a madman.This version is a bit shortened too, as it clocks at just over 6 minutes (regular version was 7 minutes I think).

"Behind The Scenes Of The Sounds And The Times" - I think it's odd that they'd throw this one right after "Kill The Superheroes" because the beginnings of both songs are so similar.This is another brilliant tune and probably my favorite off of "99th Dream".By the time that album rolled out, the switches and sounds Swervedriver used in this song were becoming more and more rare.

"Never Lose That Feeling" - The last song on the US version of "Mezcal Head".This version is without the second half "Never Learn" portion, so instead of nearly 12 minutes with both those songs sandwiched together, this one is a more tame 4 minutes.

Disk 2

"99th Dream" - The opener and title track from "99th Dream".Great tune and Swervedrive somehow seamlessly incorporates surf rock into their repertoire.

"Sandblasted" - An early shoegazer hit.

"Maelstrom" - A b-side from the "Last Day On Earth" EP.

"93 Million Miles From The Sun And Counting" - A slowed and shortened version of "Harry And Maggie", one of my favorite Swervedriver songs.Hearing this one on CD and in its full glory makes me think that they were right to put this one on the collection.It may actually be superior.

"Ejector Seat Reservation" - Title track of the third CD.This song has more in common with the preceding albums than it does the album that bears its name.

"Over" - I think this is a very early demo, probably from around the "Mustang Ford" demo time.Stylistically it has much in common with that time.As stated above, this is a first part hard rocker, second part shoegazer.

"Duress" - One of the highlights of their live shows and the ultimate zone out song.This one has been shortened by about 30 seconds.

"Mars" - From the same 7 inch single as "My Zephyr".One of the better b-sides out there.

"Neon Lights Glow" - As stated above, an until-now unknown masterpiece.This must've not made it onto a regular CD due to time constraints only since it is nearly 8 minutes long.

"Sci-Flyer" - The first song on their first album.It's so good a band out in California decided to name themselves after it.Can't say I blame them.

"Cars Converge On Paris" - Ahhhh.Some songs are just perfect to go to sleep to."Duress" is pretty good for that purpose, but it may give you nightmares.This one will make you dream happy dreams.Another perfect b-side.

"Deep Seat" - Probably the song I listened to the most from "Raise".A slow and plodding rocker with great riffs.

"Just Sometimes" - An unreleased track that is the weakest link on the CD.But at just over 2 minutes long, it isn't enough to aggravate me and I'm thankful they put it on here since I hadn't heard it before.

"Son Of Mustang Ford (demo)" - Seven minutes of Swervedriver rocking harder than they have since.This version is much more raw and aggressive than the album track.It's also a bit funny at times with all the "yeah"s that they use to punctuate certain parts of the song.

So there you have it.Thirty-three tracks total.If you're a Swervedriver fan who has all their stuff already, well you know you'll have to get this eventually so you might as well do it now.If you're not much of a fan but remember a few songs from them or don't, this is a good place to start.The price should not be a deterrent.This stuff is so vastly superior to anything else on the airwaves now it isn't even funny.Add it to your collection and you can become a Swervedriver snob like the rest of us and feel cool that you know about them when none of your friends do.

Brilliant!
Swervedriver

http://swervedriver.com

Buy this album and check out their site for fifty-five (55) MP3s.

You won't be disappointed!

AllThatNoise ... Read more

Amazon.com

Their goth-sounding name and dour visual image aside, the prolific duo of Brendan Perry and Lisa Gerrard produce wildly eclectic but utterly unique music. Their painstakingly crafted albums encompass numerous arcane genres, from European classical music to ancient Celtic and Middle Eastern folk styles, often employing authentic antique instruments to achieve their ambitious, emotive soundscapes. The 1993 effort Into the Labyrinth found Dead Can Dance mixing their medieval leanings with more exotic Eastern influences on "Saldek" and "Yulunga," while exploring Celtic balladry on the traditional "The Wind That Shakes the Barley" and theatrical songcraft in their interpretation of Bertolt Brecht's "How Fortunate Is the Man with None." --Scott Schinder ... Read more

Reviews (44)

DCD's most popular album, but perhaps the least interesting
INTO THE LABYRINTH, released in 1993, was Dead Can Dance's biggest success, selling over 800,000 copies at last count. For many people, including myself, it was the first exposure to Dead Can Dance and seemed indeed a fascinating album. However, after having collected every release by DCD, it is apparent that INTO THE LABYRINTH is the least of their albums.

From 1986's SPLEEN AND IDEAL to 1991's AION, Dead Can Dance explored a world of baroque, classical, and Renaissance song structures gifted with the unique touch of Lisa Gerrard and Brendan Perry. INTO THE LABYRINTH, however, shows a massive change in style. Gone are the orchestral elements, and here Lisa and Brendan display their interest in Eastern music. It's a strategy that doesn't impress, because their talent was really evident most in the style that they had formerly performed.

Another problem is the inconsistency of the record, caused by Lisa and Brendan's increasing tendency to work apart. If it wasn't for a magazine article I read from this era, I would seriously doubt that Lisa and Brendan even came together to record this album. The album is split into Perry's (no longer philosophically brilliant) songs and Gerrard's (increasingly absurd) glossolalia.

On 1996's SPIRITCHASER, Perry and Gerrard had become more comfortable with their new style, but they never again reached the peak that their earlier style afforded them.

Not the Best Introduction to the Uninitiated Perhaps?
After many spins in my CD player, this CD has become one of my favorite DCD albums. Of course, when I first got the CD, I would never have said that. It just seemed really strange to me then. Luck for me, this CD was not my introduction to DCD, which was The Serpent's Egg (their finest, in my opinion, due to the marvelous song "The Host of Seraphim"). So, while I recommend this album to all true music lovers, you should be aware that it was a turning point in DCD's musical career, and it is very different from their earlier more European, Classical works, which I heartily recommend you sample first. The best songs on the album for me are: "Ariadne," "Yulunga," and "Towards the Within." A lot of people I know also like "The Ubiquitous Mr. Lovegrove" and "The Carnival is Over." Finally, I would like to point out that this is DCD's best selling album but not necessarily their absolute best overall, although I really love it.

if this is supposedly their best...
This is one of two DCD albums that I've heard. If it is any indication of the rest of their corpus then I'm staying far, far away.

Each to their own- I find the instrumentation over-bearing and fake-sounding- slick and studio-ish. This evokes about as much earthy mood as the soundtrack to your average super-nintendo RPG. The lyrics are usually trite, often idiotic and at times just plain maudlin, "And the past is now your future/It bears witness to your soul/ Make sure the love you offer up/ Does not fall on barren soil..." Never mind how badly the lame-montone singer guy warps his syntax (rhyming soul with soil?) in order to force the rhyme- wasn't that a jack handy musing on SNL a couple years back?

Their attempts at evoking the sensual/erotic textures of some Would-be mid-eastern twilight olive grove fall flat, mostly due to the cumbersome electronica tweaks and beats. A few tracks are kinda palatable (when the girl is singing in some other language, thereby masking the lyrical idiocies) but not worth buying or subjecting yourself to repeatedly.

I guess this just ain't for me. If it makes your average ageing goth-mom dim the lights and dance about, nostalgic for the early nineties colllege spoken word scene where she lived so brazenly... all the more reason to let these cds find new homes in landfills and sale bins across america the great.

Dead Can Dance
I was turned on to "Dead Can Dance" by a Npr radio (Krcc 91.5fm) out here in Colorado. The show was, overnite FreeForm the station had at the time. I am the owner of "Into the Labyrinth". Two Thumbs up !!

DCD are an Audiophile Dream
I was first introduced to Dead Can Dance with this album in a high-end audio store. The dark, etherial, eclectic, and unique style of music on this album is wonderful and well recorded. Being an audiophile truly unique and exciting music to playback on good audio equipment can be hard to find. This album (as well as many other of DCD's albums) delivers in large quantities. Musically I really appreciate Brendan Perry's song lyrics, especially in "The Ubiqutous Mr. Lovegrove", and the haunting way he executes them. Thus this album is probably my favorite by DCD along with "Within the Realm of a Dying Sun". I heartily recommend this as a good album to start with if you've never heard DCD before. The sonic magic will transport and amaze you...a fantasy for the ears. If you're an audiophile this should be on your "Records to Die for" list, great stuff! ... Read more

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Like the Boomtown Rats fronted by Martin Amis. Classic Britpop. --Jeff Bateman ... Read more

Reviews (84)

Absolutely Essential Britpop
I bought this album when I was a young boy, and "Common People" captured my attention. I really liked the melody, and being a 12-year old boy at the time, I saved up my measly allowance and bought this album for the song. Lo and behold, I didn't listen to the other songs very often, and I soon forgot I had this album.
I dug the album out of its hidden place near the end of 1999 and gave it a chance, and I finally realized what I was missing the first time I heard it: the sexual innuendo, the great song structures, the insanely catchy melodies. "Disco 2000" quickly became a favorite of mine, and everytime I hear it, I can see metrosexual Britons singing it in the clubs at the height of Britpop mania.
In my opinion, this album outclasses and outshines the offerings of Blur (The Great Escape) and Oasis (What's the Story Morning Glory) in 1995: when music historians look back on the good, bad and ugly of the Britpop scene, this album will stand head and shoulders above any other albums and be regarded as a true (lost) classic of the turbulent 1990s. Get it today and see what you've been missing all this time.

The blueprint for the indiekid
In the depths of the UK sit the tribe of pale-skinned, overthin, intellectually bright group of semi-weirdos: the indiekids. Their leaders? Pulp. Their blueprint for survival? Different Class?

Pulp blend the Britpop music of Blur with wryly observed lyrics on class, society, and standing out. As the album sleeve states, 'Please understand. We don't want no trouble. We just want to be different. That's all.'

There are some great little melodies and songs on the album, but its really more than music: it is a message. Therefore its lyrics are the real matter. Mis-shapes is the definate indiekid song, so perfect and some which indiekids can relate to so incredibly that it makes you shriek with delight.

Common People, obviously, is on class. The lyrics to each song are written like essays - with full stops and question marks, in sentances, not lines. Elsewhere Pulp tackle aging from Childhood ('Disco 2000'), Love ('Something Changed, Feeling Called Love') and Drugs ('Sorted for E's and Wizz'). We love Jarvis Cocker because he's so weird, in an average sorta way.

Best British album of the past 20 years!
This is one of my favorites. I first saw a snippet of "Disco 2000" on a TV in an Army PX in Kuwait City in '96. Soon as I returned home, I bought it. It was in my CD player and separate from its case so often, I didn't know most of the song titles. I played it so much, my 220-pound-corn-fed hillbilly roommate even liked a few tunes. I lost that copy after a few years. When I found it later on for $2.50, I giggled like a kid.
This album is one of the few reasons why the mid-90s didn't suck completely. I recommend this CD to every carbon-based life form on the planet. BUY IT!

BEST OF THE BEST
I am not usually a fan of what could be termed "Brit Pop" - but since I heard "Common People" on a dancefloor 7 years ago now, i have been hooked on this album. Unfortunately, this album seems to have been Pulp's Magnum Opus because I found their previous and subsequent albums of a significantly lesser pedigree. I believe that most bands have one seminal work in which the music, lyrics and performance all comes together - this album is it. Slightly tacky, lots of fun, wicked, aggressive and highly creative - all at once. A must have.

I'm obsessed with Jarvis Cocker
The 1st time I heard Pulp, I immedietly fell in love with Jarvis's voice and his amazing lyrics. Every one of their CD's is great, and they all have a different sound and different inspirations. "I Spy" is probably one of the sexiest songs I've ever heard, and I'm very selective about what I find sexy. ... Read more

Reviews (24)

DCD continues to evolve, and the results are surprising
Coming two years after their perfect WITHIN THE REALM OF A DYING SUN, Dead Can Dance's 1989 album THE SERPENT'S EGG shows the band continuing to evolve. Here, Dead Can Dance reached an interesting turning point. Lisa Gerrard's vocals begin to show the ethnic influence that would come to the front in 1993's INTO THE LABYRINTH, while the interest in older musical instruments foreshadows the renaissance-themed AION.

This album is especially remarkable because it departs from the use of orchestral musicians and lush atmospherics to give a more personal glimpse of Lisa and Brendan's partnership.

THE SERPENT'S EGG opens with "The Host of Seraphim," which may be their finest song ever. Featuring Lisa's pious wailing over the backing vocals of David Navarro Sust and Brendan Perry's drums, this song is literally heavenly.

As with much of Dead Can Dance's output, individual songs can be noticed as either Brendan's or Lisa's, such as the half-and-half split of WITHIN THE REALM OF A DYING SUN. Here, it's obvious that Brendan has provided "Severance," "In the Kingdom of the Blind...", and "Ulysses." Lisa clearly is the creator of "The Writing on My Father's Hand," "Song of Sophia," and "Mother Tongue."

Nonetheless, for the first time here are several tracks where Lisa and Brendan are equal, such as the aforementioned "The Host of Seraphim," as well as "Orbis de Ignis" and "Chant of the Paladin."

While not Dead Can Dance's best album, which is arguably WITHIN THE REALM OF A DYING SUN, this album should not be the last you purchase if you are a fan of this unique duo.

Ruhig, feierlich und mysteriös
In einer Welt, wo "Harry Potters" Phantasiereisen Buch- und Kinorekorde machen, da ist die mysteriöse Musik von "Dead Can Dance" bei vielen willkommen.

Das Album liegt zeitlich zwischen Aion und Within the Realms of a Dying Sun. Es hat die mittelalterlichen Elemente-Assoziationen des ersteren und die ruhige Atmosphäre (aber nicht so düster) wie "Within the ...").

Manche Tracks werden von einer Art Kirchenorgen begleitet (The Host of Seraphim) und "Severance" einer der besten Tracks des Duos überhaupt und eine gesangliche Sternstunde von Brendan Perry. Auf diesen beiden Stücken ist die Stimmung sehr relaxed und ernst, im Radio könnte man unbekannterweise auch glauben, es sei eine Gottesdienst-Übertragung eines fernen Landes an einem Feiertag. Das gleiche gilt meines Hörens für "Orbis de Ignis" daß sich wie eine Art erfundener gregorianischer Choral anhört (nur Gesang und manchmal eine Glocke, die auch auf Aion zu hören war.

"The Writing of my fathers Hand" ist eine schöne Ballade von Lisa Gerrard und klingt fast überirdisch schön. Fast zu schön für meinen Geschmack oder um es einem Gast vorzuspielen, der die Gruppe nicht kennt. Ähnlich "fast zu schön um wahr zu sein" klingt der Vocal-Track "Song of Sophia".

"Mother Tongue" hat einen monotonen Percussion-Hintergrund, eine Streicher-Begleitung und Lisas Stimme. Die Percussion ist aber nicht so bombastisch Wagnermäßig wie auf "Spleen and Ideal"

"Ulysses" getragen von Perry's Stimme hat Harpsichord/Streicher Elemente, die sich rhytmisch strukturieren.

Trotz der vielen Rezensionen scheint sich kein Hörer zu wagen, die Musik von "Dead Can Dance" näher zu analysieren. Begriffe wie "keltisch" oder "germanisch" (was ist das eigentlich?), gotisch (ebenso ein Gummiwort wo man viel interpretieren kann), mittelalterlich (wirklich oder nur assoziativ).

Die Gruppe hat(te) wirklich ein perfektes Image: Für ihre Plattenaufnahmen liesen sie sich sehr viel Zeit, perfekt produziert. Obwohl aus der "gotischen" Szene der Grufties kommend (?) spricht ihre Weltmusik viele Menschen an, die Umsätze dürften das zeigen.
Dead Can Dance ist die einzige Gruppe, wo ich noch nie eine ganz negative Rezension gelesen habe, ihr Nimbus und Ausstrahlung ist so erhaben, daß man eigene Kritik an den Musikern fast als sakrale Lästerung empfinden würde, was auch ich nicht tun werde. Nur in so weit, daß ich der CD nur 4 Sterne gebe statt 5. Es ärgert mich ein wenig, daß die meisten "regulären" CDs der Gruppe nur ca. 35 Minuten lang sind, auch diese. Brendan/Lisa vergebe mir diese Kritik! Auch die CD-Covers sind so spärlich gestaltet, daß sie Analysen ausschalten und zur eigenen Phantasie Lauf lassen. Man glaubt sich in ein Völkerkunde-Museum versetzt, mit Fotografien von uralten Kultgegeständen wie Masken, ohne natürlich das Land und den Herkunftsort zu nennen. Jedenfalls scheinen die Covers auch so bedeutungsvoll und tiefsinnig gestaltet, daß die Objekte zur Wichtigkeit und Suche im Zentrum eines "Indiana Jones" Filmes stehen könnten.

Wie hat die Gruppe es nur gemacht, sich so ein Image/Aura zu verschaffen? Wirklich faszinierend und beneidenswert. Hat sich die Gruppe die Rhytmusstrukturen, die seltsame Sprache in den weiblichen Vocals und die englisch-sprachigen Mystiktexte von Perry nur ausgedacht (wie Harry Potter) oder ist sie Essenz einer ausgeklügelten archäologischen Musikstudie des Paares? Niemand wird wohl dieses Geheimnis lüften, vielleicht ein Forscher im 4. Jahrtausend, der darauf eine neue Bewegung und Theorie aufbaut?

Diese CD ist unbedingt anschaffenswert, eine der besten von "Dead can Dance", etwas getragener und ruhiger wie die meisten anderen. Wenn man Perry einmal ausklammert ist sie in manchen Tracks schon den Soloplatten von Lisa Gerrard ähnlich.

Splendid!
Hypnotic! Grows in your head like a mind virus.

Not as the best but still great
Dead Can Dance's peak was throughout Into the Labyrinth and Aion yet The Serpent's Egg still contains the original Dead Can Dance essence.

Evil Sick Beautiful
This album was my introduction to DCD, and remains my favorite although it certainly has no shortage of competition from their later efforts.

I don't know how to relate to you how truly inspiring "The Host of Seraphim" is to me, both as a fan of the music and as a songwriter myself. I can only say with any effect that, for once, the title of a song like "Host of Seraphim" does not belie the pretense of the artist. It has that title because it REDEFINES the word angelic in my mind. I spent a great deal of time listening to Brendan Perry's takes on the album, mainly because when I was younger I was always very skeptical, being a man, that a woman's voice could have the same reach and dramatic effect as a man. And that I would equate that to Perry's voice is no mistake, because there is no doubt that he is a gifted singer, and Perry's slow sonorous tones in "Ulysses" still (and always will) give me the willies....but about three years after I first got this album (and was then listening to their later albums), I pulled out Serpent's Egg again and realized that the real depth of this album will always remain with Gerrard's songs, and particularly with "Host". The only gripe I could possibly have about this album is that they got the song order backwards...."Ulysses" really would have been more appropriate as an opener, and "Host" as the powerful finale. Instead, I find myself reordering the tracks in Winamp, but that's really not a major (and hardly a minor) complaint.

I don't want to waste myself away trying to describe the way this album moves me - and truly it would be a wasted effort, because I don't even think I'm through processing my reaction to it in a lot of ways musically - but to the potential listener I say: if you are curious about DCD at all, you can safely start here (or at the compilation called A Passage In Time, which contains both of the above-mentioned songs) and you'll never have to wonder again what all the hype is about. ... Read more

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At their career zenith, Oasis were lauded as the best band in the world. They were actually never the greatest rock & roll band at any time, but for a few years they were the biggest. While they offered the '90s two of its most defining albums, and a resurgence of '60s-influenced Manchester rock, Oasis tumbled off the top of the mountain in the last half of the decade. Heathen Chemistry is their first step back up the ascent, albeit a small step. The album opens with "The Hindu Times," which will certainly be listed among Oasis's best anthems, and it closes with "Better Man," a distorted-guitar-driven thrill that revs up to 60 mph in second gear. But between the strongest songs on the disc, Noel "Walrus" and Liam "Eggman" Gallagher exploit the Beatles references almost to the breaking point. It's no secret that the Gallaghers worship the Beatles (who doesn't?), but here they've gone beyond obvious influences and stepped right into infringement territory. On "Born on a Different Cloud," Noel's guitar weeps a little too gently, and Liam's signature rasp now sounds like a deliberate imitation of Lennon with a cold. Further, Liam shares the mic with Noel, who sings lead on several tracks, the best being "Force of Nature." Unlike on Beatles albums, however, the switch back and forth is jarring (Liam might be the biggest troublemaker, but he is also the better singer). Nonetheless, if a band is going to unapologetically rip off what was unquestionably the best band in the world, no one does it better than Oasis. --Beth Massa ... Read more

Reviews (220)

Incredible Band, Superb Album
Wow!! Not what expected! As a big Oasis fan (obviously as I'm the first reviewer) I had high expections for this album. The singles prior to the release of Heathen Chemistry...'Hindu Times' (great rocker) and 'Stop Crying Your Heart Out' (excellent power ballad) wet my appetite for some classic Oasis music. But I must say my expections were met in ways I would've never dreamed. Let me tell you this....LAIM SONGWRITING CARRIES THIS ALBUM. You still there?! Yes, snarls and all...this guy has talent and beyond that unique voice. To date the Oasis magic has stemed from Noel's earnest songwriting which has been recently evolving into superstardom (reference: 'Carry Us All', 'Gas Panic', 'One Way Road', and 'Sunday Morning Call').
But Liam's three contributions on this album have you listening intently like never before. For example, take 'Songbird' a folk rock ditty that'll never end up on an Oasis Best Of but where did it come from. Liam's only song credit to date has been 'Little James' a simplistic jam rememberable only for its addictive NA-NAs. I guess I chose a round-a-bout way of saying Oasis is creating something creative unlike anywhere they've treaded before. P.S.-Liam's other two tracks are atmospheric guitar driven rockers in case you're not into folk rock. I guess that leads us to Noel's contributions. Traditional Oasis to be sure, but he's not taking that eventual next level in his music. His songs like 'Force of Nature' show a slight variation, but he seems preoccupied in throwing venom and distaste and his ex-wife Meg in the lyrical content. Has the divorce ordeal swayed Noel from elevating his music? Does he need a B-Side to do it? A guest musician? We are waiting because he is too good to keep pace with his earlier accomplishments. Nonetheless, he doesn't disappoint on 'Little By Little' and the two singles to date. To sum up, if you've followed Oasis for years this is not the time to walk away. This album is Oasis through and through, apart from Liam's sweet curveballs which will definitely keep this CD in your heavy rotation.

So what if they are arrogant?
This is a great album, a really really great album. An album they probably should have made straight after Morning Glory when they WERE the biggest band in the world.
Starting with the very Oasis-esque The Hindu Times you can tell this album is Oasis at its best.
Noels vocals have not always been the bands strong point but Force of Nature follows on quite well as does the Liam Gallagher driven Hung In a Bad Place.
Stop Crying your heart out is meant to be the don't look back in anger equivalent whilst the two acoustic performances on this album - Songbird and She is Love come out with two thumbs.
Born on a Different Cloud is definitley Beatles inspired as are Liams vocals on the track which sound almost identical to that of Lennons. Despite the messy engineering on that song it remains probably the stand out.
HC finishes off with Better Man - a 4 minute rock diddy which leaves you wanting more after its quick guitar rise and dump right at the end. Heathen Chemistry goes for about 74 minutes - your typical length for an Oasis album, but it is actually filled with about half an hour of silence after Better Man in which case you are then hearing a 5 minute instrumental. Thats probably the only downside of the album for me, to wait that long or even skip to it but yes, it's worth it.

A definite buy for anyone who enjoyed Oasis' early work and those who despised Be Here Now - don't worry Heathen Chemistry is nothing like it!

"Talking to myself again, this time i think i'm getting through"
- Born on a Different Cloud

Great Album
Heathen Chemistry may just be Oasis's most consistent album. Every song is enjoyable to listen to, and the the album flows extremely well. For those of you who think this album doesn't rock enough, you obviously don't know what your talking about. "Hindu Times" is one of their best songs, and it contains some great guitar playing by Noel. In fact, the first three songs on this album all rock. "Force of Nature" and "Hung in a Bad Place" are some of there more underrated rockers. Another great rocker is the closing number "Better Man", which obviously has some influence from John Lennon. Also, after listening to "Born on a Different Cloud", I was amazed at how much Liam sounds like John Lennon, and I now feel that that song is a tribute to him. This album is highly critized because of sounding too much like the beatles, but I do not think that is a bad thing. In fact, Oasis through out their career have been bashed by many critics for ripping off the beatles. Here's a news flash for everybody, almost every band today has ripped off the beatles in one way or another, and I still fail to see how Oasis is any different than any other band. Noel and Liam are great song writers and they can play great music, even if they sometimes sound a little like the beatles. Now back to the album, the rest of the songs on this album are just as stong as the ones already mentioned. "Stop Cryin Your Heart Out" is a beautiful ballad. "Songbird" and "She is Love" show Oasis on a more accoustic note, and even show flashes of country. Overall, this album is a must buy for any Oasis fan, and I do feel that this album may help the band find their old magic again. I can't wait for their next album.

good cd
There's no reason to hate oasis, it's just that people got so sick of hearing wonderwall, that they forced themselves to hate them. Now anything new that comes out is overshadowed in the one hit wonder crap that gets their 2 months of airplay and then fades. At least that's the case in the states. In England, hell, the country can't get enough of this band. Maybe I should move there b/c I love the band.

Heathen Chemistry, although not yet a classic as What's the Story and not (in my opinion) as structured as Standing on the Shoulders of Giants, it still fits in nicely as the latest effort pulled out by the guys. What's to notice about this album is that only Noel and Liam are the only remaining members of the original band. Then again, they are the backbone of the band. It is obvious to any fan that the sound is much different than the first 3 albums though. It can be a good thing in some songs such as the "Hindu Times" which rolls through w/ much energy, and "Stop Crying Your Heart Out" which was somewhat of a recent hit and also in the movie "The Butterfly Effect" at the end. Another UK single, "Songbird" which rather short, was written by Liam. It should have been longer b/c it's a great song and very catchy.

Noel sings lead on "Force of Nature", "Little By Little", and "She is Love." Usually the songs he sings end up as B-sides, but can't forget his most famous "Don't Look Back in Anger" plus he did a nice job w/ "Where Did it All Go Wrong." Personally, "She is Love" should definately been scratched on this album. It doesn't really fit in w/ the sound of any other songs. Would have been a nice B-side that Oasis masters more than any other band of all time. "Force of Nature" is cool which shows some sarcasm in it. The last UK single, "Little By Little," is a great song w/ a nice chorus and good guitar solo. The video for LBL is sweet as well.

"Hung in a Bad Place" is somewhat of a filler, but still a great oasis song that ranks w/ any non-single they have. "A Quick Peep" is like the new version of the "Swamp Song" but just only over a minute. I'm sure they extended it somewhere down the line. "(Probably) All in the Mind" is a Beatlesque type song w/ a nice ring to it. Liam writes and sings "Born On a Different Cloud" This is his best song to date. "Better Man" also provides the album w/ a crisp new sounding oasis. The only thing that sucks is that they put a 30 minute gap until the hidden song. There's no lyrics and mostly just jumbled guitar play, w/ a nice drum beat and later on some kind of woodwind, maybe a flute. Anyway if you forgot to push stop, you'll eventually get to it.

You can bash oasis as much as you want for not putting out any u.s. singles since "Don't Look Back in Anger" but you shouldn't hate the music if you are an oasis fan. They are pretty much a whole new band, and actually for the better. Heathen Chemistry may not be the best oasis album, but it still is a great oasis album.

(Almost 4 stars) An Honest Review
Oasis's 5th album is an impressive return to form.

Overall the album falls short a fairway compared to their first two, but its good to see that Oasis have made a return to form on this one, and important that they have made a return to form also.

Many songs on this album are good, very good as the Hindu Times shows, which without a doubt is as good as many of their other songsof Whats the Story...... and Definitley Maybe.
Anyway heres a rundown of how good the songs are, and note that alot of these tracks are compared to the songs off their first two albums and The Masterplan(as they should be), which are the best and only good Oasis CDs so far.

1. The Hindu Times - This is Oasis at its best.

2. Force Of Nature - 10/10

3. Hung In A Bad Place - 10/10

4. Stop Crying Your Hear Out - This is a very very good song, and is two steps away from being as good as Wonderwall, but there are'nt enough electric guitars in it, which their should of been and even if their were the song would not of been the same but better, its good but not great compared to "Live Forever" and 'Wonderwall"

5. Songbird - Its listenable, but the lyrics are stupid and it should not of been on the album, its songs like Songbird and She Is Love that let this album down alot.

6. Little By Little - This is really close to being as good as Don't Look Back in Anger, and even though it is'nt, its really brilliant, one of the best songs of the album and one of their best songs too.

7.A Quick Peep - All instrumental, really good.10/10

8. Probably All In The Mind - Its almost there, the guitars could of been alot louder than they are, it could of been a much better song.

9. She Is Love - Listenable but also a stupid song, I don't like it, and I don't see why anyone else should either.

10. Born On A Different Cloud - Really Great song, but theres to many effects noticable, some great guitar bits, should of been louder which would of had more effect.

11. Betterman - Not like other Oasis Songs, good song though and is more of a groove. Would of fitted better on the album if the majority of the other tracks were real good.

So their you have it, an honest review of Oasis's 5th album by a person with good taste.
Its a shame it was'nt as good as it could or should of been, but they will return to form without a doubt. ... Read more

Album Description

2003 remastered version of their 1984 album. 4AD. ... Read more

Reviews (6)

Strange yet familiar
The Cocteau Twins are the sort of band that has a very distinctive sound, unlike anything that has come before or since, and "Treasure" is an outstanding example of their sound.

Tracks like Otterly and Donimo, the last songs on the album, sound at once otherworldly and intensely familiar. Other reviewers have compared this music to the singing of angels, and that comparison isn't far off - it sounds like it's always been there, playing just beyond the range of your hearing as the sun rises (in the case of Donimo) or you drift off to sleep (for Otterly) or grin inwardly as you prepare a suprise for someone you love (Pandora, though oddly titled for it).

If you're new to the Cocteau Twins and looking for a place to start, "Treasure" is an ideal place to start as an early example of that distinctive otherworldly-familiar sound. If you're already a fan and looking for more, "Treasure" will be a welcome addition, as it combines the dreamlike vocals of Victorialand with the stronger instrumentations of "Milk and Kisses" and similar.

A timepiece never changes pace
Music that becomes you.
Words that surface like lost phrases of Dickinson.
From the celestial to the carnal, these songs soar,
dive, rise, and cut through the air.

Frazer is the great unknown poet.
Guthrie is the metaphysical architect.
Do yourself a favor.
Buy every single recording they ever made.

I Found the Sound with Cocteau Twins
Since 1988 I have collected everything by the Cocteau Twins I can get my hands on and still, after listening to all these albums for all these years 1984's "Treasure" still remains my absolute favorite. The first song on the CD "Ivo" gets your skin buzzing with the beautiful highs and lows of Elizabeth Frasier's voice, then song #2 Lorelei comes in and completely blows you away, and by the time #4 Persephone (my personal all-time favorite song) blasts through your speakers you're in a completely different world. It's a timeless and classic piece of art that will always sound as good as it did the first 100 times you listened to it. Other recommended Cocteau stuff. "4 Calender Cafe" is a must have album for songs like "Bluebeard" and "Know Who You Are at Every Age", any compilation with the song "Spangle Maker" on it such as "Pink Opaque" is a must have, and of course "Heaven or Las Vegas" is a well known Cocteau Twins classic for 10 absolutly perfect songs such as "Iceblink Luck", "Cherry Coloured Funk", "Pitch The Baby", and "Road River and Rails".

Floating Over Head
This CD by the Cocteau Twins makes me think angels do tread on the ground and have a habit of singing whatever they please. The music is lush but not lost, soaring yet not new age. The work is simply something you put on and listen to and enjoy the experience every time over time. I do not know of another band as successful with completely non-worded lyrics and atmospheric sound walls. The floating over head voices of the Cocteau Twins, enter the Treasure...

Matthew Hahn, www.movingtracks.com

This album is truly a "treasure"
I have always been meaning to check out the Cocteau Twins music over the years. I only have been exposed to a couple of songs of theirs over the years. I loved what I heard from my very limited exposure...the swirling yet lush guitars of Robin Guthrie and the angelic vocals of Elizabeth Frasier. While perusing one of my local favorite indie record stores after work today, I decided to see if they had any of the Cocteau Twins reissues and thankfully they did. I had a difficult time choosing which cd I wanted to get. It was between "Garlands" and "Treasure". I eventually decided upon "Treasure". I am so glad that I chose "Treasure". The music is simply breathtaking and moving to my ears. To say that Elizabeth Frasier has a lovely voice would be a gross understatement. Her vocals on "Treasure" took my breath away. I loved the album the moment I heard "Ivo" but the real winner on this album has to be "Donimo". That song is nothing short of amazing. All the songs on "Treasure" is a real gem and an early precursor to goth bands like Diva Destruction, Faith & the Muse, Lycia, and of course Black Tape for a Blue Girl with its gorgeous ethereal melodies. After listening to "Treasure" twice, I am a converted fan. Although the band is no longer around, I will continue to seek out the other cds that were recently reissued. ... Read more

Reviews (22)

The Redwalls
I saw The Redwalls play at The Garage in London on 2nd January 05, supporting Nine Black Alps and was blown away by the energy and overall talent of all the members! They had charisma and a very original style that is displayed perfectly through this CD so I'd certainly recommend buying it! The four-piece from Chicago are definitely worth a listen, and to hear them live is awesome! I met them after the gig in the bar, and they are such nice, down to earth guys, that so evidently love what they do so give them a chance... they will not disappoint!

Check them out at Lollapalooza
I saw them open for Keane in Orlando and they were outstanding.

The sound is familiar and fresh - like hearing an old track rerecorded then realizing you don't know it after all. They don't sound anything like Jet, but it's the same feeling I had hearing them. You can give this album to your kids or keep it for yourself, but it needs to be in your music collection.

I hear they've been added to Lollapalooza. If you're going, don't miss the set!

Good stuff
I haved not seen them live, but the lead singer from my band (Quiet Kid shameless plug) has and says they have phenomenal energy. Their album is quite good and has a great sound to it, so I imagine them live would be awesome. Very consistant quality, but still varied enough that you dont feel like you're hearing the same song over and over. I'd love to see them live. Pick it up!!

See them live
I saw these guys live in the Twin Cities last week. They opened for Keane and The Zutons. These guys were definitely the best part of the show. They had great energy and actually looked like they were having fun. To top it off, they sounded great and their songs were well written. Give these guys a shot, unless you hate Rock 'n' Roll!!!

Beatles reincarnated, with extra edge.
these boys are awesome.Having recorded this album just after high school, their talent is pure and true.Their songs are upbeat, with a rock undertone.trust me, they are good.I saw them open for keane with the zutons, and i highly recommend them live.but the album is great too. ... Read more

Album Details

Australian Release featuring a Bonus Acoustic EP. ... Read more

Reviews (56)

A Fantastic Debut
My first Stereophonics album was Performance and Cocktails, which I bought in London when it first came out. I'd never heard of them, but the record was getting great reviews so I got it to see what all the fuss was about. I loved it, and bought Just Enough Education to Perform and their newest, You Gotta go There to Come Back as soon as each was released. I read about this album, their first, but didn't bother to get it 'cause most of the reviews said it was raw and unpolished compared to their later albums. It is indeed raw and unpolished compared to the later records, but it also has a power and energy that eclipses the later recordings. I love all of their albums, but to me this is their best. The songs have a ragged, hard edge, whether full-throttle rock like A Thousand Trees and Local Boy in the Photograph, or on the softer songs like Traffic and Billie Davie's Daughter. Kelly Jones writes the best lyrics of any British songwriter of today. Yes, they're gloomy, sad and depressing, but the music is full of life and promise, and there's never a hint of the pathetic, self-absorbed "poor misunderstood me" junk of grunge or modern emo music. Jones writes songs that explore different views of bad times and about carrying on through good or bad times. This is a fantastic album, and one that Oasis probably wished they could've made. They may remind you of Faces, Black Crowes, Oasis, and even Steve Marriot, but their sound is entirely their own; fresh, modern and powerful. Kelly Jones has grown to be an even more thoughtful, mature and polished songwriter, but the energy and drive of their first album captures lightning in a bottle. It's hard to believe this is a debut album. It's that good.

Sleazy, seedy and downright catchy...
Kelly Jones' vocal presence on this, The Stereophonics debut album, is overpowering. A raspy, gargle-with-razorblades voice, like an indie Joe Cocker, he bolsters the intensity and passion of this fine record. Packed with the menace of suburban life, the songs are vignettes, tales which recall Raymond Carver and with superb lyrics. A Thousand Trees is about a neighbourhood paedophile, Too Many Sandwiches about life in a public house and a couple of songs about teenage suicide.

One of these tracks, Local Boy In The Photograph, vies for the title of best song. A heartbreaking, soaring rock anthem as a small town learns to cope and recall the anniversary of the passing of a young boy. It's powerful stuff. Traffic, the obligatory ballad, is good too, but the prize of best track has to go to Same Size Feet, a blackly humorous tale of murder and lust.

If it all sounds a bit heavy-going, then believe me, it's not. The musical pedigree here is way above par and the songs are mostly catchy and likeable. What sets it apart from the countless, increasingly faceless Brit indie bands, however, is the lyrical intensity and, therefore, Word Gets Around ranks with Pulp's His 'N' Hers and Different Class and Manic Street Preachers' The Holy Bible as one of the most impressive Britpop (TM) albums of the nineties.

they suck
they suck they only have 1 good song and it is more life in a tramp's vest and that is the only good song out of all the songs on all of their cd's

Pedestrian Britpop Perfection
I give this album a highly recommended 4 1/2 out of 5 (rounded up to 5) because even though you've heard this type of guitar-heavy pop band at least four times before, you've never heard it this good. The Stereophonics have perfected their genre and are sincerely amazing songwriters.

This Welsh band has been called the "Matchbox Twenty" of Britpop, which can be a good or bad thing depending on how avant garde you claim to be. Unfortunately, the innate talent of this band was overlooked by many critics, because like Matchbox Twenty of american alterative rock, the Stereophonics arrived after the britpop genre had already peaked artistically but record companies were still churning out several interchangeable bands. If you're looking for a band that knows how to construct quality pop songs that are catchy yet poignant, then they're the band for you. If you're looking for a band that sounds completely different than the pop status quo then perhaps you should look elsewhere.

The Stereophonics put together great songs, each with their own pervasive driving beat, and beefy guitar hooks. The raw vocals of Kelly Jones perfectly underscore their tragic, yet beautiful lyrics. Unlike some of their more idyllic contemporary songwriters, the Stereophonics have an uncanny sense of irony in portraying their song subjects. I doubt Matchbox Twenty or Northern Uproar could come up with the staggering metaphorical lyric from "A Thousand Trees" that describes a football coach torn down by rumors: "it takes one tree to make a thousand matches/only takes one match to burn a thousand trees." This first album catches them at their freshest and their songs capture the idealism of youth fading away as it approaches the harsh realities of the real world.

Songs such as "A Thousand Trees," "Looks Like Chaplin," the breathtaking "Traffic," and "Local Boy in the Photograph" all strive to capture the fleeting tragedies that often go unnoticed in small town life. "Last of the Big Time Drinkers" and "Goldfish Bowl" are both songs that lament and celebrate alcohol only as a self-defeating escape to a droll working class existence.

The surge of the Britpop in the mid 90s brought about many interchangeable bands, and the Stereophonics were classified among them. However, this album soars far above the Catatonia, Bows, or Feeder offerings from that same time period, when Britpop was sputtering out. Had the Stereophonics showed up in 1994 when Oasis did, Kelly Jones would be as revered as Noel Gallagher for his superior pop anthems. This is a great band, that is not to be missed. Their first two albums are necessities for connoisseurs of Britpop.

Fab
This is a amazing album. My review may be totally biased as I am in love with Kelly Jones. But it is so great. All the songs are just too good to really write a review for. This album is addictive especially Goldfush Bowl. That has to be my fav song. I recommend this with alll my heart and their other albums are just as good. Definately my favourite band. ***** ... Read more