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Crotchety critics complained that this Glaswegian quartet sounded too close to cult Memphis band Big Star for their own or anyone else's good, but Bandwagonesque proved that unapologetic homage can sometimes work. The Fanclub's mesh of yearning, ethereal melody and cranked, feed-backing guitars came together superbly on "The Concept," "Metal Baby," and the thrashing "Star Sign"--mini-blizzards of mellifluousness that yoked Alex Chilton to Crazy Horse and the Ramones. Dismiss "Alcholiday" as "record collection rock" if you must: it doesn't make the track any less sublime. --Barney Hoskyns ... Read more

Reviews (27)

Every music lover should own this
Teenage Fanclub have made a better album than this in the form of Grand Prix but Bandwagonesque is an equally essential purchase. Part self-conscious evocation of sixties' pop, part grunge-inspired guitar fest, Norman Blake, Raymond McGuinley and Gerard Love pointed the way for a host of cross-Atlantic guitar bands with a Lennon/Wilson fixation and a modicum of talent. Alcoholiday, a blaze of criss-cross guitars and heart-breaking lyrics, is one of the finest singles never released, while The Concept, Star Sign and Guiding Star are not far behind. Utterly wonderful.

Get On The Bandwagon
Teenage Fanclub is one of the most underrated bands of the 90's. They are pure power pop and their fuzzy guitars perfectly balance off their exquisite vocal harmonies. "The Concept" opens the album and it is a brilliant song that sets the tone for the album. Lead singer Norman Blake's honey drenched vocals are backed by a fuzz-toned guitar riff and the lyrics are quite sly. Other standout tracks like "Alcoholiday", "Star Sign", "December" and "What You Do To Me" combine the band's Beatles and Big Star influences of slick harmonies, large hooks, crunching guitars and snarky lyrics.

Soundtrack to high school
One of the best records of the 90's. Finally getting around to replacing my long lost worn-out tape. Buy this.

up-beat and fun!
This cd is up-beat, fun, happy, sad, mellow, and energetic all at the same time. They use harmonys on the chorus and the melodies are pop-ish. I love it! It is good to chill out to.

a power pop classic
I just bought this album due to the fact that everyone says it is so great and because it is really cheap. Everyone is right. This record is fantastic. It is full of great songs like The Concept, What You Do To Me, and I Don't Know to name a few. Really if you are into highly melodic music with some distorted guitars I highly recommend purchasing this record. ... Read more

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Rock'n'roll can pretty much burn off pure mythology alone, but what happens when the soap opera of drug abuse and broken friendships threatens to overwhelm the music? That's the problem the Libertines' eponymous second LP must face up to--and while it sometimes struggles to live up to the magic of its predecessor, 2002's Up the Bracket, it's still peppered with enough inspiration to explain why people still care about this band. Co-frontmen Carl Barat and Pete Doherty tackle their problems head on with the opening "Can't Stand Me Now," an anthemic, harmonica-accompanied number with echoes of the Cure's "Lovecats," that sees Barat sum up The Libertines' troubled history in the album's most quotable line: "The boy kicked out at the world/ The world kicked back a lot f***ing harder." Further rollicking moments come on the Barat-sung "Narcissist" and knockabout closer "What Became of the Likely Lads?" But there's some workmanlike moments, and almost inevitably, they feature Pete at the helm: see the hoarse, off-key "Don't Be Shy." All told, a merely good record. If the Libertines truly want a place in rock history, they'll have to prove they have the discipline to channel their undeniable inspiration. --Louis Pattison ... Read more

Reviews (21)

The More Mature of Their Albums
This cd is a definte departure from the earlier Beat cds. The earlier cds are more where the Fine Young Cannibals went back to, while this cd marks the beginning of General Public. The songs "Save it for Later" and "I Confess" are two of their best, but lack the wildness of the quintessential Beat style that Fine Young Cannibals recaptured. This, oddly, is the best Beat cd. Odd because it seems an accident in the face of the break-up of the band that followed its making. It has a refined Jazz feel with the marked Beat raggee sound forced on it, as opposed to the other albums which have it just the other way around. Out of all the albums that The Beat, The Fine Young Cannibals, or General Public made this, I think, will survive the test of time.

One of Beat's Best...
This c.d. is absolutley astounding ! From the first track to the last there is not a single flop or disappointment; Even the album cover conveys a sense of coolness and sophistication. I had only heard the name English Beat growing up but never ventured to listen to their music thinking it was another heavy-synth new romantic band by it's name alone. Now, I am glad I've heard them ! Their mixture of ska, reggae, pop, and a few other styles will surely capture any avid music collector's attention. Also, the vocals of the lead singer are very reminiscent of Colin Hay's from Men At Work (another '80s great group). Although the album originally was released in 1982 I can see or hear why it firmly stands up to the test of time !

One of my all time favorites
I loved this CD since college, when it was just vinyl. I'm listening to it today in my office, and it just really stands the test of time. The lyrics are so clever and the beats interesting. Really, how many times have we all "done too much of both types of w(h)ining"

Highly recommended! A great 80s classic.

Classic English Beat
The best songs are the poppy ones that you know already ("Save it for later", "I Confess") but the other tracks are pretty solid. Not as great as "Whap'pen" or the first album (name escapes me), but good none the less. If you only buy one English Beat album, buy one of the first two or the greatest hits album. If you're a fan and already have the others, buy this one to complete your set.

To Beat this, You better beat me first
If there is a better overall cd by the Beat i dont know what it is. This is actually one of the best cd's ever, by anyone save perchance Debbie Gibson or Tiffany (hardy har har). Thats not subjective opinion either thats objective fact. My grandpa agrees. On the real though this is the serious a$$kicker with great songs like Jeanette and the untouchable Save it for later. Please. Plus it feature toasting by Pato Banton - buy it just for that if for no oher reason. ... Read more

Amazon.com

Listening to Dead Can Dance is a transcendental experience. Enriched with dedications to the living Gaia, their creations subsist in natural and other worldly realms. Initially crafting songs which augmented their Australian roots with Gothic and Renaissance traditions, the group have since grown to encompass a hybrid of global sounds. On Spiritchaser the enchanted souls of founding members Brendan Perry and Lisa Gerrard shine in this, their most ethereal LP to date. Whereas earlier endeavors succumbed to genres grounded in eras of the past and non-Western present, it's immediately apparent that this album has loftier aspirations. Hypnotically threaded with traditional and electronic instruments, the exorcism of each song touches upon the universal essence beyond. While Gerrard's heavenly vocals are used primarily for instrumental effect, Perry's fertile lyricism both compliments her efforts and expresses the spiritual associations related to the album's title and meaning. Intrinsically delivered with shamanistic connectivity, the sensations ritualize the modern mortal. --Lucas Hilbert ... Read more

Reviews (40)

Black rock
"Spiritchaser" is not as bad as some previous reviewers have said, but it's also a far cry from DCD classics like "Aion" or "Within the realm..". On the other hand, it's difficult to compare this album to the group's prior work, since the band decided to ditch all medieval elements and to steer into a fairly obvious world music sound which especially draws from African folk music. The majestic, menacing edge of earlier efforts has been replaced by a laid-back, somewhat artificial feel and overly mannered arrangements. With voodoo percussion, unintelligible vocals, and environmental noises it would be quite o.k. if only the songwriting wasn't in decline. The tracks often have too few ideas for their length. On "Song of the stars", "Indus", and "Song of the Nile", Brendan and Lisa drone on and on for up to ten minutes on a single track. I just find most of the material here largely unfocused and unmemorable. The only interesting tracks for me are the densely percussive "Nierika" and "The snake and the moon" with some catchy guitar lines. People tend to love world music because it sounds unfamiliar to them, but let me tell you, it's all been done before with more passion and drama, particularly by artists from Peter Gabriel's "Real World" label.

The Unfortunate End
This is supposed to be Dead Can Dance's final work...which is very unfortunate, as "Spiritchaser" sees DCD breaking some amazing new ground here which cries out for further exploration by Perry and Gerrard. On this release, the Mideastern and European tinges fade away, to be replaced with a vibrant focus on Caribbean, Native American, African, and Indian directions that promised so much...had the duo gone on to work with them further. Everything on here is a standout track; there are no duds, really. And the control they exhibit here over their studiocraft is as impeccable as was found on "Aion". That release, this one, and "Within the Realm of a Dying Sun" are the ones to get for starters, but unlike "Within...", this album is so much a fully-composed listening experience that begs to be play from start to finish. It just irritates me no end that this is where DCD decided to call it quits. There seems so much unfinished from the strength of this album...

Indus - My Favorite Song Now
Very relaxing music, almost supernatural. Unlike anything else.

The kind of CD you "experience."
Blending a seamless mix of Native American and African styles of music into their synthetic brew, the final album from Dead Can Dance is also their must fully actualized. Not for casual background listening or mentally agitated states, "Spiritchaser" has filled my days at times when I've needed to sit back (or lay down) and reconnect with life and a more peaceful point of consciousness.

"Spiritchaser" is also a very earthy, sexual CD for me. As the liner notes state, there is a belief that organic instruments, made from living creatures, then contain part of the soul of the creature and make each instrument the voice of the soul from which it was created. That kind of reverence permeates the eight songs on "Spiritchaser," where the sounds and the voices seem to manage to seep into the listener's essence, touching hearts as gently as they touch minds. (Although you have to smile as the song "Indus" gracefully references George Harrison's "Within You Without You.") To close, "Spiritchaser" is the kind of CD you listen to when you wish to have an environment that surrounds and envelops you.

PS. I will heartily recommend this CD to fans of Delerium, Deep Forest and earlier Enigma, even though they are only marginally related.

Not big deal...just noise
YES, the voice of Lisa Gerrard is beautiful BUT can't be appreciated in this boring disc. Some sounds and nice, but the way in which they mixed them.....It's just noise. They tried to make an "ethnic" disc but they failed. I repet by buying this disc.
Luis ... Read more

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The debut release by this superstar-Goth outfit shined (and still does) in all its glorious misery and despair. Just how can it be so beautiful? the listener wonders. For one thing, when the project is conceptualized by 4AD Records brain-man Ivo Watts-Russell and includes artists from groundbreaking U.K. bands such as Cocteau Twins, Magazine, and Dead Can Dance, and when a chunk of the material is from musical heavyweights such as Tim Buckley (the haunting "Song to the Siren"), Alex Chilton of Big Star (the devastating "Holocaust" and the heartbreakingly lovely "Kangaroo"), and Colin Newman of Wire (the rockin' "Not Me"), you're bound to come up with something that will be remembered and revered by old-school Goths everywhere. This is lush, hypnotic, astonishingly beautiful.--Lorry Fleming ... Read more

Reviews (34)

Moody collaboration by many 4AD artists
In the 80s, the 4AD label specialized in bands that played moody, borderline mopey music. In 1984, head man Ivo Watts-Russell got many 4AD artists together to record this album. Most of the tracks include members of different bands playing together. Several cuts are cover tunes. I'm not as blown away by it as most of the previous reviewers (I wouldn't trade any of my Cocteau albums except "Garlands" for it), but it's a good album that should appeal to fans of the label's bands. The CD includes members of Cocteau Twins, Dead Can Dance, Cindytalk, Colourbox, The Wolfgang Press, Xmal Deutschland, and Modern English, along with a lead vocal by Howard Devoto on a cover of Alex Chilton's "Holocaust". This is mood music, music to veg out to at night.

The definite highlight is a cover of Tim Buckley's "Song to the Siren" by Cocteau Twins Elizebeth Fraser and Robin Guthrie. Other highlights are Fraser singing Roy Harper's "Another Day", Modern English's Robbie Grey singing "Not Me", and instrumentals "Fyt" and "The Last Ray". I prefer the 4AD compilation "Lonely Is an Eyesore", but I still like this enough to have bought it once on LP and again on CD.

(1=poor 2=mediocre 3=pretty good 4=very good 5=phenomenal)

The Greatest Chill Out Album...Ever-5 Stars++++
Of all the record companies who have influenced modern music,I reckon none have done so as much as 4AD records.From Indie rock to trance,from alternate sounds to ambient-this company had groups that were always one step ahead of the rest and were always willing to look beyond the mainstream.When This Mortal Coil were created-an amalgamation of all these groups it was certainly an exciting prospect.Groups like Cocteau Twins,Dead Can Dance,The Wolfgang Press,etc working together to write songs and also do amazing covers of songs by Tim Buckley,Alex Chilton,etc-it was a daunting prospect and one that worked so amazingly well.It also provided a great introduction to try out the music of those 4AD groups properly.

As you can imagine with so many people working on an album-the sounds of the tracks are quite diverse.The difference between Howard Devoto of Buzzcocks fame singing Holocaust with it's piano's and cello to the Indie guitar romp track 11 "Not Me".Liz Fraser does the most amazing cover version of Buckley's "Song To The Siren"-comparisons to the original are quite startling.She almost has this soothing spiritual lilt that sounds sort of Asian,and this accompanies the most amazingly gentle shimmering guitar from Robin Guthrie-I didn't know it was a guitar until I read the innersleeve and this was made in the early 80's long before studio trickery could be used so effectively.Compare this to Lisa Gerard's frightening hypnotic vocals on the track "Dreams Made Flesh"-they're described as "yang t'chin" vocals and they are just unbelievable.Her Dead Can Dance partner Brendan Perry plays what called a bass drone-which sounds like some sort of Ancient Greek instrument.There are long Pink Floyd type instrumentals and shorter minimalist tracks of romantic sentiment.Yet despite all these contrasts each track has a close bond.It's almost like going on some sort of spiritual journey in a storm-full of different emotions-soothing,harsh,ambient and raging.There is a great sense of blissed out satisfaction when you reach the end of the c.d.

For those people who are into listening to the "chilled out" experiences that seem to make up 90% of all compilations-then maybe you should check out where this concept had it's origins.This Mortal Coil are a group of sorts that very few people seem to be aware of-yet if you name some of it's members people seem more aware.I've given this c.d. to so many people and to a person they have all come back with the reaction of "where has this been all my musical life".One of the greatest albums ever released in my opinion!

Not everyting from 4 a.d is good...
Tried to like This Mortal Coil..i ADORE ethereal and gothic music..but just can't warm up to this.Do yourself a favor and try Dead Can Dance or Tanya Donelly instead-or try Kari's solo material!

Song of the soul
If your soul could literally sing, I do believe this is the song you would hear. 'Song to the siren', has got to be one of the most captivating songs ever created. No matter what kind of music you're into, your heart and soul will definetely surrender to this...undeniably. Listen and fall in love.
Angel

yes . . .just how CAN it be SO beautiful??
The Amazon review is right, this record is perfect in so many ways. I don't understand how anyone could not think that "song to the siren" is the most beautiful song in the world. Elizabeth Fraser has made so much great music with that voice (teardrop, this love, the thinner the air, ivo . . .for example). For myself, I like the album as a whole and I play it all the way through frequently. There are many many hidden parts that are so amazing, like the wave sounds of an ocean right before the "dreams made flesh" track that accompanies the longing, distant voice in the background.

Some standouts would be "another day" "kangaroo" and "holocaust" but I really love all of them. "not me" does sound a little dated and out of place on this record though. And I do love "fond affections" but the line "there's not light at the end of it all. Let's all sit down and cry" always makes me laugh a little bit in its overly cliched 'gothness'.

Buy this, if anything, for "song to the siren" it will stay in your heart, soul, and mind forever. Give this record a listen in a dark room, with cigarettes (if you smoke) or a glass of wine, or just your thoughts. ... Read more

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The Clash's label didn't believe this debut would sell in the United States. By the time CBS got around to releasing a stateside version of the U.K. album, the British original had become an import hit. While the U.S. release contains outstanding tracks such as "Complete Control" and "Clash City Rockers," it's still missing "Cheat," "Protex Blue," "48 Hours," and "Deny." No matter which version you prefer, The Clash is a fearsome listen. Joe Strummer reviles the system at every turn, while Mick Jones wields his guitar like a switchblade. Yet even on their debut there are hints of future musical adventures. Junior Murvin's "Police & Thieves" is solid reggae, while "White Man in Hammersmith Palais" expertly interpolates the reggae groove into their punk attack. --Rob O'Connor ... Read more

Reviews (62)

This is the essential album ...
There's no denying that the UK version of The Clash's self-titled debut is the essential version. Anyone remotely familiar with The Clash or the UK punk scene can tell you that. It's all here - the snarling, cockneyed fury, the amphetamine-laced vitriol, stungun guitar chops, DIY musicianship and songwriting (though Strummer/Jones hardly deserve to be lumped into that category) and most of all satisfying, searing music played at a breakneck pace. After all, the album's barely 40 minutes long and by 2000's standards that's not a lot of music. Then again, when was the last time 'N Sync or any other band burst out of the gate with an album like this? 1976 or 1977 if memory serves ...

The arrangement on this CD is superior to the US version. It flows much better. The right songs are here (excepting, arguably, '(White Man) In Hammersmith Palais') and this is the way The Clash intended the world to hear their debut album. That last point is probably an important one in making the case for this version.

Perhaps most importantly, though, is the fact that this album truly defines punk. It's not just three chords and a disaffected chorus. That's going through the motions. It's about emotion - raw & pure. That's what The Clash has in spades. Take 'Police & Thieves' as an example. Is it punk rock? You bet it is.

Bottom line: If you're at all interested in punk music - or music period - you need to own this album.

how to make a six star recording
Buy this c.d. and burn it onto a disc with the pre-rope singles from 78-79.... White Riot (single version), 1977, capitol radio one, complete control, city of the dead, clash city rockers, jail guitar doors, white man in hammersmith (palais), and the prisoner. Total clock time = 60.75 minutes! If the label were to market such a product I would by the album again. What you would have is the greatest pure-punk release ever. Period. Without the singles you have the greatest punk album ever, however at only 35 minutes its a shame you will have to buy the box set or three other c.d.s to compile the complete singles w/ the sometimes classic b-sides intact.

Awsome cd
One of the best clash cd's ever!!!

nevermind the sex pistols, here's the clash
here's what i said when i bought it: "a phenomenally important album, to be sure...but i don't like it near as much as london calling, which may now be one of my absolute favorite all-time records...this one is certainly a lot more punkish, which is probably the reason i can't get totally into it."

well, i'm into all sorts of punkishness these days, and things have changed. i still prefer london calling, but also believe the clash's first effort is light years beyond the sex pistols'. and well, then you've got a little thing called longevity...

Golden Punk Days.........
Before I start talking about this cd, I got to say what a great job they did cleaning this cd up. You would never suspect this cd came out in 1977. Truly Remasterd.

This cd is a must for all Punkers. It is a true punker cd. This cd includes 5 songs not on the UK version. And their great. Relive the old days of punk with the clashes 1st album. My favorite song on this album is "Garageland". My least favorite is "Im so bored in the U.S.A", just because ok your from the UK, it doesn't mean everysong you should write about how great the UK is. Like bands from heir we don't say "I love America". But anyways this is a great british band.

This is a must for Ramone fans, Sex pistols fans, Misfits, and other bands from the 70's, a must. You will love it. ... Read more

Amazon.com

On Weightlifting, their fourth album, Scotland's Trashcan Sinatras tackle love, loss, and personal triumph with beauty and maturity--no easy feat in a culture teeming with cynical alt-rockers. This is a record founded on earnestness and sky-parting melodies, as the driving, anthemic "Welcome Back" makes clear: it's a song of survival from a quintet that has fought tenaciously to sustain a career while keeping its quaint musical ethos intact. Weightlifting may not be the group's masterpiece--that would be its previous album, 1996's A Happy Pocket--but this is far and away the Sinatras' most accessible album, their most carefully crafted, their prettiest. Indeed, crooner Francis Reader and company seem most at home in quieter tunes like "Leave Me Alone," "Usually," and "Weightlifting," knee deep in delicate textures, lush harmonies, and nuanced phrases. With strings and occasional horn parts, the Sinatras harken to music of bygone eras without a trace of kitsch or irony, never losing sight of the importance, in rock music, of catchy grooves and searing guitars. --Michael Mikesell ... Read more

Reviews (7)

A good collection
This collection brings you what someone considered to be the best of the British Ska group Madness.
First off, every song on this CD is good, great even. The major draw back is, as if with every "best of" album, it's only worth buying if you're not a huge fan. If you are a fan than you should already own every Madness CD in which case there is no reason to buy this CD.
If you're new to Madness, or you just want their major US hits like Our House, It Must Be Love, House of Fun, and One Step Beyond than this will be great for you.
The other draw back to this album is that it features nothing from "Wonderful," which is a 'wonderful' album but never realesed here in the states.
All that said it's still a great album featuring many great songs.

A Bit of the Best, but not quite "Best of"
This really is a pretty decent dose of Madness, and it was good to see they picked a generous selection from the first two albums.

The only downer is: the first two Madness albums were fantastic, and, in my opinion, they lost much of their pizazz on future releases. It's hard to picture a Madness "Best of" without tunes like "Bed and Breakfast Man," "Middle of the Night," "You Said" and "E.R.N.I.E," especially when they include mediocre songs like "Michael Caine."

This is a good ---but not great--- Madness collection. But if you want an excellent selection of Madness tunes, search for their first album and "Absolutely."

Incomplete
Looks like a good collection EXCEPT where is "Bed and Breakfast Man"????!!! I hate it when domestic "Best-Of's" always leave out one or two of the most deserving songs.

Can't beat 'em!!
well, being an ex-skin (but still young at heart!!) you just cant beat them!!!...all their songs have relavancy, and still love listening to them all these years later (even converted my late father to their music....so they must have been good!!)

"Camden, London, England gives birth to Ska - Madness"
In the late '70s and early '80s - Ska-revival was in the group from Camden - "Madness" - humorous, rollicking, fun, quirky, whimsical and good-natured. This British phenomenon, influenced future bands and was fast becoming the countries most beloved groups.

Hip-O records, Pat Lawrence (producer), Dana Smart (compilation producer), Jim Phillips (mastering) and Ilene Weingard (art direction) have given the music enthusiast the ride of their life...entire album is awesome, outstanding and complete. Each selection of this 19-track compilation stands on its own infectious merit!

Total Time: 71:33 on 19 Tracks...Hip-O Records 699...(2000) ... Read more

Amazon.com

The title Man-Made runs the risk of messing with diehards' notion of what Teenage Fanclub is all about--melodic, classic-era indie pop a la Badfinger and Big Star--but concerns that the Scottish four-piece has swerved from its organic sensibility in favor of something souped-up and synthetic are unfounded. Back in the studio for the band's seventh disc (and its first recorded in the U.S., with Tortoise's John McEntire producing) are the trio of gifted songwriters and instrumentalists that have supplied this outfit with a surplus of talent since it formed in 1990. Norman Blake, Gerard Love, and Raymond McGinley each contribute four songs; parsing who wrote what, as usual, makes for the perfect rock-geek parlor game: is the straightforward, jaunty "It's All in My Mind" (Blake) stronger than the harder-rocking, riffy "Time Stops" (Love) or the earnest "Feel" (McGinley)? In the end the correct answer is who cares: Teenage Fanclub is back. Their vibe continues to be timeless, accessible, and as satisfyingly cool as it's ever been. -Tammy La Gorce ... Read more

Reviews (18)

The Final Word on Blissed Out
The early 1990s was the time a new musical genre was born: blissed out, also known as naval gazing and shoe gazing, sobriquets that did little to help the popularity of a new underground dream pop. Yet a cult following ensued with Slowdive's Just for a Day being pretty much the quintessential blissed out album, too good, with its slow beautiful melodies, to be denigrated with a term like new age but the music is such a snail's crawl that it does sort of leave you dazed and, as the genre suggests, blissed out. In spite of an overly long intro on track one, the rest of the album seques from one song into the other effortlessly and makes this a classic blissed out album. The genre still lives in small circles. If you like this kind of stuff, check out Victorialand by the Cocteau Twins and the newer bands like Titania, Sway, and Silver Screen. The latter band has a single out on the Tonevendor label, a compilation of various bands, called All I Have, which is one of the most beautiful Slow Dive-like songs around.

The Mothership of Blissed Out Music Movement
In the early 1990s Just for a Day became a cult following, sending out mellifluous dreamy dazed-out, blissed-out music, song after song in an album that spawned a new genre, sometimes called blissed-out, other times called naval-gazing or shoe-gazing. Perhaps the album's weakness, if any, is the long ponderous introduction to track one, which, unbelievably, plods too long in a monotonous fashion, so much so that a friend would not listen to the cd after being turned off by track one, only to love the album after I encouraged her to start the cd on track two, after which each song seques into the other with efforlessness and made her a fan. What makes Slowdive many fathoms better than new age or mood music is that Slowdive has melancholy, achingly beautiful melodies and soothing but never precious vocals. If you like this kind of thing, check out other blissed-out classic bands like Moose or the vintage Cocteau Twins album Victorialand. Even today some bands are carrying the Slowdive legacy such as Sway, Silver Screen (featured on Tonevendor Records),Titania, Beaumont, Lovejoy, and, as of five years ago, Blue Boy.

Words that describe this album:
Soothing. Calming. Relaxing. Quiet. Loud. Beautiful. Intelligent. Thought-provoking. Wonderful. Breathtaking. Priceless. Classic. Timeless. Must. Be. Purchased. Now. :)

Waves - one of the greatest songs ever.
What compels me to write a review for this album is the song "Waves." Those opening guitar chords and wash of sound is so evocative of my memories with friends at Stinson Beach in Northern California, even though these memories were a few years before I first heard this song. That is strange that a song can do that to me. I feel the sun, the 'soaring birds', the languor, and the rhythmic ocean through this song. The lyrics are so poetic- the lines 'leaving all my sins I turn away, like soaring birds, I watch my sorrow play,' gets to me every time. And then there is a moment in the song when the drums kick up the beat and it gets urgent and the synthesizers soar up an octave, expressing so much of how we feel sometimes in that singular instance. It feels so sincere and from his heart. Those synthesizer harmonies are some of the greatest musical experiences for me. I don't understand why synthesizers aren't used like this more often, like it was in The Cure's incredible Disintegration album. I sure wish Slowdive could have made more albums instead of taking a different direction altogether with Mojave 3, although I can listen to All Your Tears from Out of Tune 20 times in a row. And then the next song, Brighter, chimes in those beginning notes and Rachel Goswell sustains those ethereal high harmonies that seem slightly out of tune. The other song I have to mention is Catch the Breeze. At the end the guitars reverb into oblivion- taking you there with it. I hope I have convinced anyone interested in impressionistic music to get this album, one of my all-time favorites (along with Souvlaki, which might be better!). The song Shine, which is on one of their EPs, Blue Day, has a similar beauty to this album. Thanks Neil and co.

blissout just for a day
On an overcast afternoon recently, I put this album on and was transported to an ineffably beautiful and sublime world. This album was made when most of the members were barely 20 and demonstrates Halstead's genius for atmospheric textures and orchestral landscapes. While not as mature and well produced as Souvlaki, its a definitative portrait of melancholy youth full of unresolved yearnings. ... Read more

Amazon.com

Can the debut album from London dandies the Libertines live up to the hype? With the Clash's Mick Jones at the production helm, gravelly tracks such as "Horror Show" and "The Boy Looked at Johnny" rattle along like first-gen punk classics. But like the Strokes, the Libertines manage to imbue snotty garage rock with a sort of wistful romanticism that adds genuine soul to their raucous clatter. Although there's no sign of "What a Waster," the single that made their name, there's no shortage of excellent tunes here. "Boys in the Band" is an affectionate ode to a groupie, with frontmen Pete Doherty and Carl Barat hollering: "And they all get 'em out / For the boys in the band." "I Get Along" proves that these boys have a knack for penning tight, nervy songs that evoke the Jam and the Buzzcocks. --Louis Pattison ... Read more

Reviews (53)

emulates, but never truly imitates
The comparisons to the Clash will be inevitable due to this london band's fushion of punk, blues, dub, funk, and some straight up rock riffs that would make chuck berry smile (not to mention the careful production of Clash co-founder Mick Jones.) Strokes comparisons will also be plentiful thanks to lead singer Pete Doherty's sounding uncannily like a julian casablancas/joe stummer hybrid.
But these guys are certainly not knock offs, and they display a lot more talent than the hives, vines, and most of the rest of the post-post-punk bands that have become all the rage.
Whereas those aformentioned bands sometimes just sound like loud-mouth high school kids who've stumbled across some catchy riffs, the Libertines draw from decades of rock tradition (not unlike the clash) to create an unruly, amazing debut. Check out "Boys in the Band," where funk-fused riffs and Doherty's swaggering vocals pull a u-turn into barbershop style harmonies. Or the hook-laden rock of the title song, which is reminiscent of the clash's finest moments. Rarely does a band approach such a wide array of attitudes with equal proficiency.
This album is destined to be one of the best debuts of the year. Pick it up now so you can tell everyone you heard them first.

Makes the Strokes Look Foolish
Upon buying this I expected to hear another mediocre band that had hopped on the "garage revival" bandwagon...boy, was I suprised. The first track, Vertigo, is so good that I played it again immediately after hearing it for the first time ever. It's been said before, but its true that this is what The Strokes would sound like had they decided to listen to The Clash and The Jam, rather than Television and The Velvet Underground. This record is fantastic all the way through, unlike some of the other buzz bands of the moment that have 3 decent singles and an album full of filler. Sick hooks, great choruses...get "up the bracket" and i promise you it will be in your cd player for weeks. The US version also includes their first single, "What A Waster", which was excluded from the UK album release and is probably the weakest cut...maybe 'cause it was produced by "The Butler" rather than Mick Jones, who did the rest of the album. If the Libertines, keep showing this kind of improvement, look out, Fred D and Chester B.

Fun yet Complex.
I got this CD for Valentine's Day and it really hasn't left my disc player since. Track 8, "Tell the King," is one of my favorite songs of the year. The lyrics are interesting and not bubblegummy, "you can cut and twist like a journalist" is an example. This is an eclectic CD. It's got a punk and rock and pop sound. You'll dig it.

Fantastic Rock Album
For this to be a debut album is nearly unbelievable. It's brilliant, with a mature sound and intelligence that makes The Libertines stand out against other new bands claiming to be similar. With tracks that get better and catchier with every listen, this is an album not to be missed.

as long as the lager flows....
When I first heard the Libertines, it was in 2000 with their first single "What a Waster". Like "Highly Evolved", it blew my mind. It wasn't the lyrics, it wasn't the look, it was the music and, THE SOUND! It was obvious then, and even more apparent in this album, that these boys from the South of London understood their roots, absorbed their influences, then, reinterpreted all of it to suit the moment.

I will say it now, Pete Doherty, if he doesn't kill himself first, will eventually be recognized as one of THE greatest songwriters of his generation. The Kid completely gets IT. He has taken the energy of the Ramones, combined it with the poetry of the Smiths, and filtered it all through the swagger and drunken bliss of Oasis.

If you have been wondering what all of the hype is about or, you are just looking for something that will give you hope that Rock n Roll ain't dead...then this is YOUR album. ... Read more

Amazon.com

Maintaining a unique sensibility for pop hooks and lyrical charms, Ned's Atomic Dustbin create British pop sounds that are instantly recognizable in their headshaking catchiness. Forged with standard rock instruments, the Ned's sound is even more salient because of the dual bass guitar lineup which provides jolting cross-melodies like no other. A constant barrage of dirty guitar scratches across the surface with flange and wah-wah providing spongy effects. In between the rapid movements, themes of post-adolescent angst come off brilliantly with the shrewdly idiosyncratic lyrics of singer John Penny. With a little help from the "Madchester" scene, they enlivened the steps of listeners further beyond the realm of the typical shoegazers of the time. --Lucas Hilbert ... Read more

Reviews (15)

It'll make you "Happy".
"God Fodder" is a pretty good album of early 90's brit-pop. Actually it's more brit-rock, considering that most of the album is fairly heavy, compared to others in the genre. The two big songs on here are also the two best, those are "Kill Your Television" and "Grey Cell Green". But numerous other tracks are good and catchy too, like "Cut Up" and "Throwing Things". If you're a fan of the era, or of similar bands, check out "Ned's Atomic Dustbin". You won't know, "Until You Find Out".

Probably some of the best guitar driven Brit-Pop
After seeing these mop-topped guys jumping around on MTV, in a paint-splattered room that seemed to be left over from the J. Geils Band's video for "Centerfold," I really was in no hurry to explore this band. Then, while shopping for CDs - I could not get the hook out of my head ("It's In-Si-Ide Her" - from the track: Grey Cell Green) and in fact, only got the right CD by luck. It has since emerged as one of the best that I own - certainly of it's genre. With two electric basses, two to three guitars per song and the most aggressive drum presence of the decade before Dave Grohl of Nirvana, the songs on this album are dense and packed with intertwined melodies, good musicianship and various rhythms. Stand out tracks include the aforementioned "Grey Cell Green" (the only track of Ned's that received any degree of heavy rotation), "Selfish" (contains a sample from the film, Die Hard - grinding, driving song with quite a few rhythm shifts) and the amazing, almost"~ flamenco-Spanish guitar styled, "Capital Letters." These guys are adept at all kinds of wordplay ("The grey cell's green only if the green sells grey, the grey sells green only if the green cell's grey" - Grey Cell Green) ("She'll break some hearts when she grows up. She'll break some hearts if she owns up - minus one. Mine is one." - Capital Letters). 80's and early 90's band, their rock is pretty timeless.

Good early 90's alternative rock
This is 90's alternative rock at it's near best. I recommened you check out the song "Grey Cell Green" and if you like that song, check out this album. It sounds good...

Terminally Groovy
What a CD. I remember my first exposure to Ned's was when I was in 8th grade, and MTV was periodically playing the video for "Grey Cell Green." There wasn't much to the video, but I kinda liked the song. I didn't rush out to buy the album. But, one fateful day I was at a record store and they were playing the album, and it was on sale for (I still remember) $5.99 for the tape. I bought it. It didn't come out of my walkman for almost 3 months. From the opening chord of "Kill Your Television" to when the distinctive sound of the 2nd bass, I was hooked. Personal favorite songs "Happy" and "Throwing Things." I still listen to the album alotand it still gives me the same charge as it did the first time I listened to the cassette when I was 14 (13 years ago).

Now In The Dustbin
God Fodder is another one of those discs that seemed a lot harder and angrier when it came out than it does now. Ned's anthemic 'Kill Your Television' sounds more than a little tired 10 years later. Worse, the rest of the disc is so similar in style and tone that it could pass for remix versions. Of interest to die hard fans and nostalgia buffs only. ... Read more

Album Description

Taken from the 2002 album, 'A Rush of Blood to the Head'.This Australian exclusive five track EP is b/w four non-LPtracks, 'Crests Of Waves', 'Animals', 'In My Place' (Livein Manchester), & 'Yellow' (live KCRW Santa Monica, CARadio Session). Capitol. 2003. ... Read more

Reviews (12)

When this Clock chimes
I am a big Coldplay fan, and this is a great single. It all starts with 'Clocks,' which has become perhaps their biggest hit here in the states (bigger than 'Yellow'? Maybe).

But the great music does not end there. 'Crest of Waves' is a number that will definitely grown on you. It has a unique sound for Coldplay, with a slight 80's vibe. One could argue that it's one of their more catchy tunes. After that is 'Animals,' a song Coldplay has been performing live for quite awhile. In fact, there was some surprise that it did not make it onto the album. It's a little darker than 'Crest of Waves,' but a more beautiful song. I think it's single-worthy in itself. In fact, I think you could throw both of these songs onto 'A Rush of Blood to the Head' and not miss a beat - they are both album quality tracks.

The two lives tracks are a mixed bag. The piano-based version of 'Yellow' is interesting, although I'm not quite sure it works. Think 'Have Yourself A Merry Little Christmas' from the CD 'Maybe This Christmas,' released last year. 'In My Place' is an enjoyable little concert piece with the crowd getting involved nicely, and a hint of Chris Martin's onstage charisma.

Even if you're only somewhat of a Coldplay fan, you should definitely pick this CD up. I gave it 4 out of 5 because they elected to include the radio-edit version of 'Clocks' instead of the album version, which is annoying to a big fan like myself. You should really get this for the two B-sides, which you should find to be just as enjoyable as most of the album tracks.

Beautiful song with awesome b-sides
Clocks is a wonderful song, I fell in love with that song when Coldplay had the previewing of their new album back in August of 2002. Although, the radio edit isn't as strong as the one on the record because they edited a piece of the piano solo out. If you listen to the album version and then the radio version, you'll understand what I mean by this. "Crests of Waves" is a great song. I downloaded it a few months ago and it's definately one of my favorites. All I've ever heard is the live version of "Animals" but it's a chilling song. Then you have the great "Yellow" to sing along to and it's live! And the wonderful "In My Place". I have to admit, when I first heard this song, I didn't like it much. Then, it grew on me and it's one of the highlights of AROBTTH. Buy AROBTTH it offers more material than this import single and includes "Warning Sign", the title track and "Amsterdam". Either way, they're both great cds and you won't be dissapointed. :)

Clocks - the longer single
I will not discuss the song Clocks, supposing that you have already heard it by now.

Crests of Waves and Animals capture Coldplay wearing their Echo & The Bunnymen influence on their sleeves. And their inclusion onto A Rush of Blood To The Head would have added some much-needed diversity since they are both far more bouyant than most of the album's songs.

The live recording of Yellow, strangely enough, doesn't seem to have an audience. It's just Chris Martin singing along with his piano, nothing else. I myself prefer the full band version.

The live recording of In My Place is a little on the messy side when it comes to mixing. Martin's voice gets a little off-key at times and the crowd, at one point in the beginning, becomes louder than the band. Aside from those details, it sounds just like the album version.

Best Coldplay Non-LP
I recently started trying to find all the Coldplay singles, most of which are hard to find. This is by far the best I've found so far. I would reccomend this highly to anyone who likes Coldplay at all, and it's a great first single with which to start a Coldplay collection.

The best single released from "A Rush Of Blood" so far...
In addition to this version of the "Clocks" single, I also purchased "The Scientist" (Canadian) and "In My Place" (Canadian). Hands down, this is the best single of the three. In addition to the stellar first track "Clocks" (in a radio edited version here), the b-sides and live tracks make this one a worthwhile purchase.

"Crest Of Waves" and "Animals" sound very similar to the rest of the tracks on "A Rush Of Blood," and could have easily been included on the album. "Crest" is a mid-tempo track that sounds similar to "Green Eyes" (from the album). "Animals" is a bit slower, but I wouldn't quite call it a ballad--possibly more comparible to the title track "A Rush Of Blood To The Head."

The "live" version of "Yellow" is a very different rendition, almost unrecognizable if not for the lyrics. This track is Chris Martin solo at the piano on the famous Morning Becomes Eclectic show on KCRW. It is much slower and more melancholy than the familiar album version from "Parachutes," but still very pleasing.

The last track captures the energy of the band during their tour for the "Rush Of Blood" album. This "live" version of "In My Place" is from the MTV UK Coldplay special, which finds the crowd singing along and the band sounding as good as ever. This single was also released in the UK with the b-sides, but without the live tracks. Pick up this version, as you will be happy to have the live versions of "Yellow" and "In My Place," too! ... Read more

Amazon.com

The Music are nothing if not confounding. Their second album, Welcome to the North would, based on its title alone, suggest that this quartet wear their Northern England roots on their sleeve. But rather than producing yet another tired Oasis or Stone Roses pastiche, the Music decamped to the distinctly un-Northern town of Atlanta, Georgia to work with renowned rock producer Brendan O'Brien (best known for working with Pearl Jam and Soundgarden). The results are thrilling--an over-the-top, bombastic album that often manages to combine the rock power of Led Zeppelin with the epic psychedelia of Jane's Addiction (helped by frontman Robert Harvey's vocal similarities to Perry Farrell and drummer Phil Jordan's breakneck drumming, reminiscent of Stephen Perkins). And though the lyrics occasionally venture into pretension (really, who says "mine eyes" anymore?), they're made forgivable by the power of tracks like "Freedom Fighters" and "Bleed from Within" (which even boasts a drum solo). In fact, the only outright homage to their Northern indie heritage is "I Need Love", with a danceable, New Order-esque bassline that drives the whole thing along. But generally, they stick to their guns instead of their roots, making Welcome to the North a great rock album. --Robert Burrow ... Read more

Reviews (96)

12 Memories
Here we have what is probably the second best album of 2003. It is dark, it is melancholy, it is good. But it is also cheery in spots, and definitely has some great hooks, orchestrations, and infectious pop melodies. If you're a fan of British pop/rock, then you'll hardly go wrong here.

Travis' "12 Memories" sees the band sounding very polished and self-assured. Almost every single song on here works, and even the ones that don't quite pull it together aren't bad. The first track, 'Quicksand', gets things off to a great start, with the bitter male lead upset over being left. The vocals and orchestration come together exquisitely here. 'Beautiful Occupation' harkens back to a somewhat Beach Boys style-sound, but is still uniquely Travis. 'Re-Offender' is a good little builder of a song. I listened to it multiple times when I first got the CD. 'Somewhere Else' is great, and 'Love Will Come Through' is a surprisingly straightforward pop song, positive in its message, but it still has a rather dark sound to it. And these are just the highlights. The rest of the album flows wonderfully, as well.

It's good to see that Travis haven't lost their edge. They are well established in their career, and are still producing stunning albums. This bodes well for their future. A future which I welcomingly embrace.

I'll Disagree with Many Who Say this is a Bad CD
This album is full of great melodies, and I'm surprised to read that people think that this doesn't sound like Travis. Half their songs from previous albums have the same gloominess tempered by catchy riffs. Some say the political rhetoric is too much, but the political songs are not in your face but rather more subdued: how can you say that "Beautiful Occupation" is not a good song? It evokes the sound of U2 during their more political days, and the lyrics are a bit more generalized so it doesn't become mired in the politics of the day. It could be any occupation, really. Other great songs are "Peace the F*** Out," "Quicksand," "Love Will Come Through," and "Somewhere Else." The weaker stuff is at the end, in my opinion. And, I don't like the idea of the "hidden track" that comes after a minute of silence following "Walking Down The Hill," which in itself is not a terrible tune but doesn't benefit from the techno stylings. The piano tune that follows, "Some Sad Song," is better. All in all, I must say that Travis is my favorite "new" band, and I think they are so much better than Coldplay or Radiohead( two bands that are more style than substance ). Fran Healey's voice is a distinctive one, and his straight-forward lyrics and singing are a welcome antidote to the kind of poison that has been fouling up the airwaves in the last four years( or even longer ). As for production values, the album loses some of its more distinctive guitar work from the previous two albums, on some songs trading the more jangle and echo laden sound for more of a dense, overdriven tone. But, overall, the album is sonically sound and deftly wrought with many layers. Oh, and if you're wondering about the lyrics to the mysterious memory number twelve, go to the last page of lyrics and hold it at an angle to the light. They're "hidden" there in a different shade of black.

Fond of "Memories"
Travis takes a sharp left turn in "12 Memories," a controversial evolution in the Brit-pop band's sound. It's more cynical, more sharply melancholy, more political, and experiments with their sound. While it may turn off people expecting a sunny listen, it makes up for its shortcomings with its beautiful writing and instrumentation.

It kicks off with the mournfully catchy "Quicksand," political pop-rocker "Beautiful Occupation," and the vague, quiet "Reoffender." After the rousing "Peace the F*ck Out," they take a slightly different turn with the depressingly upbeat "How Many Hearts," the eerie "Paperclips," and the catchy but confusing "Somewhere Else." The end takes a wild seesaw between the melancholy "Some Sad Song" and the prettier, lighter "Walking Down the Hill" and "Happy To Hang Around."

The political Britpop of "12 Memories" gives a vaguely Beatles-esque feel to the album. Okay, it's not "All You Need is Love," but the darker, frustrated feelings in "12 Memories" are more in tune with the times. Then, apparently having gotten their soapboxing out of their system, Travis focuses on the lonely, chilly ballads and pop-rockers.

Fran Healy's low, rough-edged voice is well-suited to the melancholy music. And that music takes a newer, more experimental edge here, like the build-up of swirling sound in "Mid-Life Krysis" or the meandering, swelling, surreal lament or the tinkling soundscapes of the penultimate track. It adds to the moodiness, and gives the feeling that Travis is growing and changing.

And the political themes may rub some listeners the wrong way, but they remain as explicit as they can be without naming names. Some songs, like "Somewhere Else" and "Mid-Life Krysis," have lyrics that are confusing at best. But overall the writing is quite solid, and Healy's voice brings to life lines like the plaintive "Hopelessly hoping our plan will wake up/Hoping it all will be fine."

"12 Memories" takes Travis to a more cynical, gloomier place, but the chilly, twilight beauty of the British pop-rock is undeniable. Not the best they have done, but certainly intriguing.

Terrific.
I first heard travis when watching the trailer for the movie ( not yet out in theatres ) "Garden State" ( natalie portman, zach braff ) and it happened to have one of travis' songs toward the end, " Love will come through" Well, I have to say- I was just captured by the ingenuous mixture of soft drums( or synthesizers) and cooing voices, and the incredible intro melody.. i just had to have it... i paid about 17-18 dollars for it at barnes and nobles and it is worth every cent. I immediately grew attached to many of the other tracks on the album, including beautiful occupation and re-offender. (...)

Excellent blend of mellow and rock
Love this CD. Can't remember the last time an entire CD was so enthused with a blend of mellow and rock rolled into one. A soothing listen, one you'll want to repeat over and over again. ... Read more

Amazon.com

1981-1998 reveals why Dead Can Dance was such an influential group and why their music remains very much alive. From the opening notes of "Frontier," the first piece Lisa Gerrard and Brendan Perry improvised together, Dead Can Dance opened a doorway into worlds at once ancient and alien, frightening and glorious. 1981-1998 compiles the output of Dead Can Dance from their seven studio albums, live performances, and sundry collections. Through their many stylistic shifts, it reveals the music of ecstasy, a state of spiritual release that can be as serene as a Gregorian chant and as intense as a Persian dervish. But then, Dead Can Dance always had two sides. There were Perry's Jim Morrison-meets-Sinatra vocal croons, and there was the uncanny and passionate Gerrard, whose Middle Eastern, Bulgarian, and Gregorian singing styles created a transcultural dialect of the imagination. Perry surrounds Gerrard in a gothic architecture of synthesizers, strings, the Chinese hammered dulcimer called the yang ch'in (played by Gerrard), bouzoukis, and hurdy-gurdys. As ancient as its sources, Dead Can Dance is as modern as the end of time, which is where a lot of this music still sounds like it's headed. 1981-1998 follows the pair from their beginnings in Australia to their final studio album, the African-Indian derived Spiritchaser. Among the gems are their last song together, "The Lotus Eaters," recorded just before their final split, and a Gerrard composition called "Bylar." Performed here by Dead Can Dance, this rapturous piece was previously available only on The Echoes Living Room Concerts Volume 2, in a version by Gerrard. In concert, Dead Can Dance was almost a religious experience and that aspect is nearly captured on the final disc of this box in a DVD of their live concert film, Toward the Within. Also included are some videos. --John Diliberto ... Read more

Reviews (21)

The Lotus Eaters
I've been eagerly anticipating the release of this collection since its announcement months before. This set delivers on its promises and there is much on this box set for Dead Can Dance fans to salivate over. It comes in a thoughtfully designed sleeve, with the 4 discs included inside a hardbound book of landscape photographs and text information.

One of the notable items to be excited about is the inclusion of the DVD. This includes the concert performance TOWARD THE WITHIN (with interview footage), along with five promotional videos ("The Host of Seraphim", "Frontier", "The Protagonist", "Yulunga", and "The Carnival Is Over"). The videos are rich with imaginative direction and ideas (especially "Carnival"), such a far cry from the rubbish that passes as music videos these days. It's a shame DCD didn't produce more of these.

The audio CDs also offer new and exciting additions to the DCD cataloge. "Labor of Love" and "Threshold" find DCD (band mates Brendan Perry and Lisa Gerrard) closer to a conventional Rock band unit, complete w/ guitars and drum machine rhythms, and thus got tagged early in their career as "Gothic Rock". DCD surprised everyone when they made a stunning foray into exploring music from various cultures and time periods, thus producing diverse material from the Italian 14th century dance-step of "Salterello" to the percussive African rhythms of "Nierika".

The most valuable item on this set is the inclusion of the final track that Perry and Gerrard recorded together as DCD, called "The Lotus Eaters". This song was to be included on the band's follow-up to the SPIRITCHASER album, but the rest of the proposed album's music never materialized, leaving this bittersweet glimse of what musical directions DCD might have taken next. Gerrard weaves her stunning voice in and around the leisurely pace of the drums and Perry's guitar playing. The impact of the break-up of DCD is felt greatest on this song.

If you haven't discovered DCD's music yet then I suggest that you discover a band whose body of work is both ahead and out of our time.

Collector's must
Dead Can Dance (DCD) music can move you deeply, both in an emotional and in a physical sense. While simple at first glance, it has a quite complex background and you can almost always find details you didn't realized yet.

Regarding this box set, it tries to cover all DCD career and I think it does it quite good. Yes, radio versions and first songs have poor sound quality. Yes, song ABCD is missing. But you can still find the musical essence of DCD in the CD (and their musical essence is unique and really beautiful).

The presentation is luxurious (hand-made looking booklet with discs intertwined inside), although I don't know if it's worth the money.

The booklet is beautiful, but I can't find the relationship between the photos and the text. Some lyrics are incomplete but I find it a good work anyway.

The concert and the videos are simply great. It's just amazing to watch Lisa, Brendan and all the band playing live. But... again, image quality is poor (it seems as if they just moved the VHS to DVD, so you get VHS image quality, not DVD image quality). No subtitles, but the DVD menu is original.

In short: if you're a fan and you're missing anything contained in the box, consider buying it. If not, maybe you should consider other alternatives (the box European equivalent, "Awake" - 2 CD and no DVD - ; or some of the albums)

a MUST for fans
I came across this CD by chance . Just browsing through pages of cds , when i saw a collection . I thought "yeah right , another Best Of album" . But i looked into the tracklist and saw that the songs covered were not only the classic hit singles -- so to say . There were demo versions and unreleased tracks .

I ordered it and received it a few days later . For starters the packaging is excellent ! It is like an encyclopedia of Dead Can Dance . Hard cover with engraved lettering all around . Lyrics , pictures -- the works !

My biggest surprise was looking inside where i found 4 cds instead of 3 as listed on the back . Looking at the forth and final disk i noticed it did not say cd but DVD ! I was shocked to see that they had included the Towards the Within Live on DVD as well ! And all that for an incredible price !

What can i say but a big BRAVO to those who released this ! Good job and i hope more bands take this as an example release for their future collections .

Package: A Selection: B DVD: C-
Nice package, though the cardboard sleeves are awkward. A few niggling complaints about song selection aside (Cardinal Sin, Mesmerism, etc), the unheard songs are a real treat. Too bad the three remaining Peel Session tracks and lost treasures like "The Children's Toys" couldn't fit.

There's a few too many Perry-goes-Lightfoot tunes for me. But "Lotus Eaters" is truly phenomenal. However, including the edited (just listen to the intro!) version of "Mr. Lovegrove" and not divulging that info in the liner notes is misleading at best.

Ditto for the DVD, a severe disappointment. It appears a very amateurish transfer from tape. The sound is adequate but the picture quite blurry... Barely a step up from the VHS release. If some of the care and effort that went into the box and the photos and text could have been diverted to the DVD, it may have made a huge difference. As such, this imperfect assortment is primarily designed to milk more ducats from DCD's conspicuously consuming fans.

Who's bright idea was this?
I'll start this with a brief summary of my backround with the band... I listened to DCD back in the mid to late 80's, and had a bit of exposure to them in the early 90's, and I enjoyed everything I heard, for the most part. Then, one sunny afternoon in CA I got tickets to what would become the Toward the Within video. After that concert I never wanted to hear their studio works again. They seemed weak, unpolished, and not even half as intense as the live performance. So, since about 1993 all I've listened to was the live disc. In short, I am not a huge fan of the studio output band. So, on to the review: I give the CD portion of this box 2 stars. Not being a loyal follower / somewhat fanatic, I can live without the outakes and radio edits, and would have prefered a 3 disc compilation of their best tracks through the years from their albums (why they bothered to put songs from Toward the Within on one of the audio discs when they're all on the DVD is a good question). I can, on the other hand, see how this would be a treasure for the die-hard, but for the passer-by fan, uh, pass. Now, the main reason I was so excited about purchasing this: THE DVD! 3 stars. Having loved the concert (a rare and wonderful experience)and live CD, this was a dream come true. Unfortunately, while the video and audio is excellent, someone felt the need to cut interview footage between every song, or every other song. There's not even an option to view it without these clips! Skipping from track to track doesn't aid much either as the interviews are faded into the concert audio! What a great way to ruin whatever state you may reach while watching the concert. Just when you start to get into it, BAM! "I think..." A bad decision on someone at 4AD's part, in my opinion. I'm guessing they did this so that you'd have to purchase the live disc if you wanted the uninterrupted performance. The studio videos that are also on the disc are no real joy for me, but, again, for the DCD completist, I'm sure they're a welcome addition. If they would've left the concert alone I would've given this 5 stars. ... Read more

Amazon.com

In 2000 Oasis wisely dispensed with theatrics and concentrated on being the world's greatest stadium-sized pub-rock band. And so, with just three mammoth video walls in tow, they toured the world. Big as the video screens were, however, the band's straight-ahead rock and Liam Gallagher's mouth were even bigger, and contributed much to the drama, tension, and entertainment of the tour behind Standing on the Shoulder of Giants. Fine examples of both were recorded when they played Wembley Stadium. Musically, Oasis make good on their claims to be the biggest and the best with rocking versions of "Supersonic," "Shakermaker," "Cigarettes & Alcohol," and "Live Forever." As for Liam, Familiar to Millions wouldn't be half the album it is had his inane ramblings, brotherly abuse, and audience taunts been edited out. That's where the real live atmosphere lies--there and in the sound of 70,000 fans singing the choruses of "Wonderwall" and "Don't Look Back in Anger." --Dan Gennoe ... Read more

Reviews (77)<