Reviews (3)

This is what a Greatest Hits album should be!
I have every Billy Bragg album except this one, and the rare stuff on the third disc is tempting me to correct that oversight. Record companies take note - that's how a Greatest Hits album is supposed to work!

For those unfamiliar with Billy Bragg, his music may be best summarized as "acoustic punk", but he has experimented with numerous styles over the course of his twenty year career. This three CD set collects them all, in a rough chronological order. Disc one begins in Thatcherite Britain: you can picture Billy sitting in a smoke-filled pub belting out coarse folk tunes and love songs with tender quirky lyrics; we then follow him outside into the middle of the poll tax riots, with socialist anthems and rich ballads that tell stories of heartache and broken dreams. Disc two starts at a time in Bragg's career I'd rather forget, the Britpop period, but thankfully the salvation of the later 1990s soon follows. Here he returns to familiar themes - disillusionment with the state of the world, left wing Utopianism, and, of course, love - but the music is more sophisticated and polished. There's even a few Woody Guthrie covers thrown in for fun (and to remind us of his politics). Disc three is made up of remixes and rarities I've only ever heard live or bootleg, which is why I'm going to break down and buy the album!

Regardless of your politics, it's hard not to be moved by songs like "Levi Stubbs' Tears" or "The Space Race Is Over", or to reminisce about relationships gone sour over tracks like "The Price I Pay". Billy Bragg is truly a prolific artist, with a poet's soul and a bleeding heart, and this collection of his work is, as the title says, ESSENTIAL.

Pleasantly surprised...Now I am officially a NEW fan
I bought this CD on the fact that it was value for money. Depending on your retailer you can get a bonus third 10 track disc. So overall you have 50 tracks and over 200 minutes of music. WOW! If all music CDs were like that...I'd buy triple the new releases CDs I buy now.

The first disc is the more instantly gratifiable (quiet ambient, sonic, subliminal, primeval and surreal). The second disc needs more spins to appreciate, but still as good. The production values of this CD is first class...high quaility sound: guitars, piano and all sort of modern distortions.
Overall I am impressed by this 3CD set. Now I am a fan of Billy Bragg.

NPWA!
Bragg's tune, "No Power Without Accountability" sums up his political perspective absolutely accurately, and in this collection, his career is summed up just perfectly. This is a writer who puts his head and his heart on the line. Art as politics blazes through his skewering of the western world. While his neo-socialist underpinnings seem at times dated ("Great Leap Forward"), you need to keep in mind that it was no accident that he should turn to Woody Guthrie and in partnership with WILCO essay some of America's heartland-poet's unfinished songs in so compelling a manner. Like Ireland's Andy Irvine, Bragg has taken to the road for the common man. Fatcats of either white or blue collar are pilloried, their efforts at exploiting those who have entrusted them with power are stripped of the rhetoric designed to feed people what they want and laid open as lies meant to enrich the prevaricators. For all the vitriol, there is an incredibly human voice that touches the heart as well as fires the mind.
Besides all that, Bragg can write a damn fetching tune. For all the rhetoric, he can turn around and write something as emotionally honest as "Somedays I See The Point," one of the greatest songs ever written. His early resetting of "Just Walk Away Renee" is shear (you'll get it) genius. There is a lot to consider here and it is all worth the investment of your time. WILCO, The Blokes, his solo stuff: all are delivered with a sense of commitment. The third disc presents some rarities, including a cut from a radio show in Philadelphia that misrepresents its xenophilic title by content. Nonetheless, Bragg is just brilliant with his "Rhyme or Reason." It's irrelevant whether you embrace his politics. What counts is you have before you the works of a man who has considered thoughtfully the human condition and has found cause to say that the least of us should never be trampled upon. His is a noble soul. Fripp says, "With commitment, everything changes." Bragg clearly lives that commitment. ... Read more

Album Description

2003 4AD reissue of 1988 album remastered by guitaristRobin Guthrie. ... Read more

Reviews (8)

My favorite of theirs.
"Blue Bell Knoll" is one of those albums that's perfect for laying down and daydreaming to. The layers of music, lush and hypnotic, mixed with her vocals make this disc beautiful and timeless. I won't even comment on the seperate tracks, because they're all completely stunning. The remastering here is an improvement, but not so much to buy a new copy for. I also enjoy "Heaven Or Las Vegas", but this album I like more. Or you could get the 1982-90 "Stars And Topsoil" collection. That's 18 remastered songs.

Great Expectations
To be fair, I thought the original album, even the cd release, was amazing. The remastered version is definitely an improvement, but the improvements are fairly minor in nature. The individual tracks (vocals, guitar, drums, bass, synths) all are a bit brighter and more distinct, hence less "muddy." The original mix was a bit treble-heavy and could sound washed out at times, and that is counterbalanced in the remaster by the clarity given to the individual tracks. If you are a fan of the group and already own this album in its original format (whether vinyl or cd) and have been thinking about replacing it, I'd recommend going with the remastered version. If you're thinking about giving BBK to a friend who is not familiar with the group, give the remastered version. If you're expecting to hear something that sounds incredibly different from the sound of the original version, I suspect that you may be disappointed. All in all, I believe this is an improvement on an album that was already pretty darn close to perfection.

a huge disappointment.
Please note that this review pertains only to the remastered 2003 edition of this album, not to the content of the original release--which is brilliant, amazing, etc, etc... words don't express, though many have been written. My disappointment stems from the remastering itself. Aside from the cranked-up volume, there is simply no improvement over the sound of the original master. And there are some serious deficits: The feedback ending of the title track has been curtailed (too boisterous?), and the synth ending of 'suckling the mender' suffers the same fate. These are not such minor quibbles as they might seem-- little details like these are the interwoven gems in Blue Bell Knoll's sound tapestry, and if anything should have been opened up and showcased a bit. I expected as much from Robin Guthrie after his work remastering the hits for 'Stars and Topsoil'-- notice his treatment of the ending to 'Sugar Hiccup'. And idiosynchrasies continue: the bass on the new version may be a tad fuller, but it must come at the expense of the drums, which have noticeably less impact. I listened to them one-after-another and I couldn't believe what I heard. This was my first purchase of a Cocteau Twins remaster, and it's totally changed my plan to get the whole collection-- ask anyone, I've always said the early Twins' albums could really use a remaster. This was just absolutely not what I had in mind.

A TRUE MASTERPIECE !!!
This is the most beautiful album i have ever listen to.
if i think of art or insperation to life then i think this album has it all.
I bought it 12 years ago and it still succed to move me deeply ! its an all time classic of what true-music should be..a bright sun-light strait to the soul, a warm feeling of something real and pure. The combination of robins melodies and sound and liz voice is a heart-breaking beauty.
I will never get tired of this album and im so thakfull that i own this miracle.

The mysterious Cocteau Twins album
This one was and still is a mystery. It took me a while to like it. But now it is my second favorite album of the Cocteau Twins.
The album opens with the stunning title track, "Blue Bell Knoll". And the title is appropriate, for not only are bell sounds heard throughout the recording, but blue is defintely a color that is felt when listening. I always call a Cocteau Twins record a sensual experience, because you use all of your senses. Not only to you hear the music, but you feel it, see it, smell it, and even taste it. Another thing different about "Blue Bell Knoll" were the song titles. One of the great things I always looked forward to when getting a new CT album, were reading the song titles because of their usual unusual nature. But on this album they were particulary unusual, for example, "Suckling the Mender", or how about "Spooning Good Singing Gum". But once again they were telling the listener to look beyond labels and song titles to experience the beauty of this group. Let me tell you my five favorite songs off of "Blue Bell Knoll". 1)"Blue Bell Knoll". The way the title track starts quietly and builds to one of the best jam sessions in recorded history is breathtaking. And I believe Elizabeth is absoutely priceless on this song. She does some of her best work here. 2)"Ella Megalast Burls Forever". A heartbreaker. The majestic and introspective feel of this song is impossible to put into words, take my word for it and listen to the album and experience it for yourself. And play it loud. 3)"Cico Buff". The music is the star of this song. The rhythm and guitar playing is awesome. The music makes the singing seem natural. And the optimism the song portrays is also important. 4)"A Kissed Out Red Floatboat". This one has a techno feel to it, with a little ambiance thrown in. And also the title is great. 5)"For Pheobe Still A Baby". A lullaby for the grownups. Play this one at bedtime and you will forget all about your troubles and have a pleasent night dreaming. I rate the group priceless and the album 5 stars. ... Read more

Reviews (32)

Do I Have To Spell It Out? C-H-E-E-S-E A-N-D O-N-I-O-N-S
Yes, the Rutles TV special was very funny, but don't let that distract you from the top-notch Pop on this CD. I like it so much that my band used to cover "I Must Be In Love."

The production is a bit sparse at times, but the great Neil Innes injects enough energy and wit into every tune to carry them through the thinner moments.

"Goose-Step Mama," "Number One," and some of the other 'early' Rutles stuff is good, but when Innes hits the band's 'middle' and 'late' periods--beginning with "Doubleback Alley"--he whips off a few near-classics. "Piggy In the Middle," starts as a baltent rip-off of "I Am The Walrus," but Innes adds a melodic turn that makes it the Rutles own. "Another Day" and "Cheese & Onions" recall 1970-ish McCartney and Lennon without ridiculing either.

Which is, of course, the secret to the Rutles greatness: Innes & Eric Idle were great fans--and great friends--of the Beatles. Imitation may be the greatest form of flattery, but it takes a real fan to do it right.

By the way, there are those of us who have argued for years that, if the Beatles had ever wanted to get back together post-1980, Neil Innes was the obvious choice for a fourth.

As for the eternal question--will the Rutles ever get back together--I think Mick Jagger put it best:

"I hope not."

The Rutles Passed The Audition
I wish I could have given this CD 10 stars! If parody is the greatest compliment, then Neil Innes and the boys paid the Beatles the greatest compliment of them all. The music contained on this CD is extremely precise and accurate. There are times on this CD that I have to wonder if I am really listening to the Rutles or the Beatles. I dare anyone to tell me that the vocals on "Cheese and Onions" do not sound exactly like John Lennon. "Another Day" could be mistaken for Paul McCartney, under his "Nomme de merde de taureau," Arsenio Vermounth.

The CD format offers more songs than the LP. One of the extra tracks, "Get Up And Go," sounds very much like the Beatles "Get Back."

Although the film "All You Need Is Cash" was nothing more than the casts of Monty Python meeting Second City TV to poke fun at the Beatles legend; this CD is positively no joke. The music is accurate to the point where you would say things like "That sounds a lot like. . . ", but, by the same token, they are slightly different to add a touch of originality. The lyrics are quite charming and entertaining.

This is a wonderful CD. It is good for die-hard Beatles fans, as well as those who are not. It is definitely worth every penny. And, yes, "the Rutles DID pass the audition."

It's some of the most ridiculous songs ever
I found this in a bargin bin in December of 84. I found it for the most part a big steaming pile of shaving cream. Don't forget this is a family webpage. There was some demented genius here with "Good Times Roll" where they play to the tune of "Lucy In The Sky With Diamonds", There is also "Cheese and Onions" not a good mix. "Hold My Hand" which is to the tune of "All My Loving" qualifies as a competent love song, and "Piggy In The Middle" was done to the tune of "I Am The Walrus", but to me should've been released this year as these are songs that would probably be big hits right now as Rock and Roll is truly dead.

Long Live The Rutles!!!
Simply put, The Rutles were one of the British Invasion's biggest phenomenons next to The Who, The Rolling Stones and The Beatles. Between 1962 and 1969, the prefab four of singer/songwriters/bandleaders Dirk McQuickly and Ron Nasty along with guitarist Stig O'Hara (the quiet one) and drummer Barry Wom (the noisy one) created music that was timeless and revolutionary.
The Rutles CD spans the bands entire career covering classics from the critically-acclaimed albums "Meet the Rutles", "Rutles For Sale", "Rutle Soul", their experimental masterpiece "Sgt. Rutters Only Darts Club Band" and their final recordings as a band "Let It Rot" and "Shabby Road" (the latter album spawning rumors that guitarist Stig O'Hara had died because he was depicted wearing no trousers on the album cover). The CD also features music from The Rutles feature films "A Hard Day's Rut", "Ouch!", the critical disapointment "Tragical History Tour" and the animated hit "Yellow Submarine Sandwich".
Musically, the CD shows just how ahead of their time The Rutles really were. Tracks such as "Good Times Roll", "Nevertheless", "Piggy In The Middle" and "Cheese and Onions" feature recording techniques that were innovative and unheard of in the '60s. "Love Life" was one of the first 'flower power' anthems pre-dating The Beatles "All You Need Is Love" by just a few hours. "Let It Rot's" "Get Up and Go" is still an FM rock staple today receiving heavy airplay.
It's hard to believe that The Rutles phenomenon was nearly forgotten after the band broke up in December 1970. It wasn't until the summer of 1978 when Eric Idle of Monty Python fame produced a definitive documentary film of the band, that the world recollected their memory of the beloved prefab four.
In 1996, The Rutles released an album of outtakes and leftovers entitled "The Rutles Archeology" which spawned a full-fledged Rutle reunion (minus Dirk McQuickly).
Nearly 40 years after The Rutles first began, their influence continues to be felt by each new generation of musicians. The songwriting of Nasty/McQuickly continues to inspire millions while the musicianship between Nasty, McQuickly, O'Hara and Wom remains unsurpassed.
Besides containing great music, The Rutles CD comes with a fold-out CD cover which includes a detailed essay on the band as well as an interview with The Rolling Stones' Mick Jagger, one of the many artists who was famous alogside The Rutles.
With this all said, run out and buy The Rutles CD and relive the fantastic memories of Rutlemania.

hilarious
Brilliant stuff. I nearly busted a gut when I saw the film and saw that the George Harrison character was played by an Indian. ... Read more

Reviews (27)

What are box sets for?
The point of box set compilations, like this one, is to provide the listener with an overview of a particular era or type of music. It's impossible to include everything everyone, especially completists would want or even expect. The questions to answer then are "Does this set provide you with a insightful look into 70's punk?" and "When I'm finished listening, have I learned something useful?" The answer is yes, resoundingly. If you were around in the 70's, you will hear and remember some old stuff that you have probably forgotten, and if you weren't around then, you can see how punk morphed into new wave and then devolved into the pop music that often passes as "punk" today. (Devo was right!)

If you like to show off your knowledge of obscure punk bands, or if you think hair gel and a trip to Hot Topic to get a Blink 182 shirt makes you a punker, then this box set isn't for you. It's for people who are interested in, not obsessed with the music and who at least know the difference between punk and "punk." Enough said.

Great Primer on Punk's roots, no Misfits.
This is a great intro. to early Punk Rock. Nearly every early act is represented, with a few notable exceptions.

The MC5 are right up there with the Iggy and the Stooges and The New York Dolls for paving the way. They aren't included. Though the stuff they recorded in the early 70s wasn't their best, the seminal "Kick Out the Jams" came out in 69'. It could've been included because afterall, Punk is about ignoring the rules.

The Misfits recorded plenty of material in the late 70s and are very deserving of a place here. "She" "Bullet" or "Teenagers from Mars" would've been good choices. Perhaps rights issues etc.(like with the Sex Pistols) prevented this?

Also, someone mentioned Social Distortion not being here. Though the band was together in the late 70s, their first single didn't come out 'till '81. Nitpicking aside, the collection gives you a better intro. to the roots of punk than anything else on the market. If you're thinking about getting this, Buy it. Also consider picking up the Sex Pistols "Nevermind the Bollocks" The Misfits "Static Age" and The MC5 "Kick out the Jams".

Stop hesitating
This is an excellent box set of an odd era. When music labelled as "punk" came out, it seemed kind of dangerous and anti-establishment. The loud guitars, short and fast songs, and dangerous band names like The Clash, The Jam, The Ramones, and Television were pretty scary. The funny thing is that many of the songs on this box set have memorable melodies, good harmonies, and fine instrumental work.

As with any box set from various artists, it is easy and fun to second guess the track selection. For example, I think LA punk is completely over-represented. Also I would have liked Plastic Bertrand's Ca Plan Pou Moi and something by the Bizzaros. And where are the Suicide Commandos?

Nonetheless, even if you own half of the songs, stop hesitating and buy the set. It's another quality Rhino product with great sound and a great book.

I Was A Punk Before You Were A Punk - Birthdate: 11/10/57
In choosing to document punk rock, whose very boundaries are still blurred nearly 30 years on, it's certainly forgivable to think that Rhino may well have embarked on a mission that was doomed to failure from the start, both from a philosophical and practical standpoint. Time constraints, licensing snafus (John Lydon purportedly refused to permit the inclusion of any Sex Pistols' tunes - Rhino rates the purchase of "Never Mind The Bollocks" as more essential than this one anyway), and a lot of hand wringing were all undoubtedly obstacles to be hurdled in compiling this four-disc box.

Despite such a daunting task, Rhino for the most part manages to come up all aces on "No Thanks! The '70s Punk Rebellion," dancing a razor's edge by adopting an approach which allows for the inclusion of bands that were originally tagged with the more palatable "new wave" label, crusty, true believers in the cause, and record collector geek-fodder alike. In order to buy into what Rhino is selling, you may have to suspend some of your beliefs as to what "punk" actually is/was.

It's inevitable that most of the attention is paid to the nerve centers of New York and London and except for the Sex Pistols, all of the usual suspects are present and accounted for. The Clash, Ramones, The Damned, The Heartbreakers, The Buzzcocks, Richard Hell, The Stranglers, Television, and Generation X all take a bow (or two) and rightfully so, but kudos to Rhino for looking to other places on the globe, like Ohio (Dead Boys, Devo, and Pere Ubu), Australia (The Saints), Ireland (Boomtown Rats, The Undertones, and Stiff Little Fingers), and Scotland (The Rezillos). Shame on them for including so many songs that were previously available on their "D.I.Y." series back in the early 90's.

"No Thanks!" also lifts a pint to bands without whom this compilation wouldn't even exist, like The Stooges, The New York Dolls, and yes, The Dictators. On the other hand (are you sitting down?), where's the MC5? Another sticking point, for me anyway, is the inclusion of Californians like Black Flag, Fear, Dead Kennedys, The Dils, and The Germs, all worthy of the "punk" brand, but their staunch nihilism is somehow out of place here. I say that disc space would have been better filled with Plastic Bertrand's "Ca Plane Pour Moi," The Professionals' "1-2-3" or "The Magnificent," Chelsea's "Right To Work," or anything by Radio Birdman. Of course I was also fooled by the first few Buster Poindexter albums, so proceed with caution.

Arguing over what rightfully qualifies or doesn't qualify as "punk" may be part of the attraction of a compendium like this. Obvious margin walkers would have to include Nick Lowe, Mink Deville, The Runaways, Blondie, Elvis Costello, The Pretenders, The Soft Boys, and Joe Jackson, all of whom made the cut due to either an abrasive attitude, enduring cult status, a snappy wardrobe, or the right haircut. As for the Talking Heads, I still say the world would have been a better place had they never entered a recording studio.

At the end of the day, though, we should all genuflect to Rhino for their single-minded and undying devotion to their subject matter. And when it comes to packaging and reissues, there is simply no one better. "No Thanks!" contains a 100-plus-page booklet crammed full of essays by producer Gary Stewart and Billboard's Chris Morris, quotes from several of the culprits responsible for the noise, photos galore, and a track-by-track analysis by Ira Robbins and Dave Schulps, whose Trouser Press took up the slack heroically and brilliantly in the late 70's when Creem was going down the tubes. Add to all of this the fact that this box contains tracks by the likes of the Rich Kids, Subway Sect, The Mekons, Alternative TV, and The Pop Group which are getting harder and harder to find stateside, and what you're left with is a no-brainer. At this point in my life, that's a godsend.

Filling In the Blank Generation
I'll keep this review succinct: while one can certainly quibble about the inclusion of this song or that band, "No Thanks" provides an admirable overview of early Punk that spans several continents and stylistic trends. More critically, this isn't some "Greatest Hits" compilation designed to sell CDs and little else -- whoever chose these songs knows the genre intimately. How else to explain the presence of such unknown but deserving artists as Alternative TV, the Mekons, the Dils, the Saints, and Johnny Thunders? If you never got around to picking up the 45s way back when, "No Thanks" will fill many gaps in your collection. And if you were too young to have made it past the bouncers at the Rat or the Mab or CBGBs, "No Thanks" gives a welcome feel for the three-chord catharsis that at the time could only be found in risk-taking dives like these or on a scattered handful of radio stations. For the rest of us: nostalgia for an age yet to come. ... Read more

Amazon.com

Lisa Gerrard and Brendan Perry actually manage to out-shimmer the Cocteau Twins on this 1987 release, which finds their beautiful minimalism adorned with increasingly developed compositional genius. The cascading melodies that grace "Summoning of the Muse" and "Persephone" are tailor-made for that next Christmas or Winter Solstice celebration, while more conventional (albeit somewhat somber) pop tracks like "Xavier" and "Anywhere Out of the World" keep the going from getting too arcane. All in all, more fun than a barrel of goths. --Billy Grenier ... Read more

Reviews (49)

True Gothic Music
I was only recently introduced to Dead Can Dance, and this album absolutely hooked me. As other reviewers have rightly commented, Within the Realm of a Dying Sun is just about as goth as it can get.

My favorite song on this CD is the Summoning of the Muse. It is haunting and etherial, with both uplifting tones and tones of absolute despair. The clear chimes of the bells, and then the addition of Gerrard's soaring, mournful, emotional voice makes the song an absolute necessity for anyone who likes DCD, or music that will focus your emotions. It is so beatuiful...

Xavier is another transfixing song. Perry's voice blends with the music so well, and the lyrics are very interesting and profound, if you are patient and listen carefully enough to figure out just what he's saying, because he does mumble sometimes.

Anywhere Out of the World is the 1st song, and the dark piano/chime (I don't know what it is, only that it sounds perfect) sets the mood perfectly. The Perry comes in, and you settle in for a time of dark(but not depressing), beautiful music.

Cantara starts out slow, and then speeds up with a fast, more middle-eastern style song. The voices start out a little harsh, but then you just get caught up with it. It's enthralling.

If you are new to DCD, Start with this CD or Aion. If you have some DCD albums, and are considering getting this one, I'll join with the other viewers in saying that this album is a spectacular piece of work, and one will not be sorry after listening to it. I think that The Summoning of the Muse makes the whole CD, but all of the other songs are excellent, too. You will not regret it.

Medieval Times.
In my opinion, this is DCD's best CD. Even though it is said that "Aion" is the most medieval DCD album, I believe it falls short in comparison to this magnificent CD. (But Ain is still great!) I just don't seem to be able to spot one single song I don't like of this CD, or in other words: This is a perfect album. Brendan's songs are very deep and poetic, while Lisa's are brilliant and very spiritual as always. (Still, none of these songs compares to the EPIC "The Host of Seraphim", from "The Serpent's Egg") "Summoning of the Muse", and "Persephone" are the best songs of the CD, the first made up entirely of ringing bells while the second a classical Lisa Gerrard that starts calmly and then sets off with all the fury of Lisa's wonderful voice. A truly marvelous CD that every single lover of good music ought to own. By the way, I'm looking for the movie "El Niño de la Luna", starting Lisa Gerrard. If anyone knows any info, please contact me.

a question...
i just have a question for those of you who are more knowledgeable about DCD than me (and maybe others had this question as well): where is the cover art taken from (artist, name of the piece, and so on)? i just ask, because it's so eerie and cool that i'd like to see more of this artist's work. thanks!

Masterpiece!
I've been reading some of the comments about this album. Most of them are purely based on personal feelings and preferences. So is mine, I believe. However, at some point, I think a work of art should no longer submit to personal opinions, rather it should enter the constellation of everlasting monuments to mankind's ability to create Beauty.
In fact, no matter what the opinions are, this is a monument, "Within ..." is a landmark in music creation. And only if the name of the band wasn't so ... dark, perhaps more visibility would be available to both Perry and Gerrard.
The evolution of the compositions in this record are the perfect settlement to this collection of art; each and every title is placed exactly where it should, and no superfluous sound is recorded. You will find it very difficult to point out any kind of mistakes in this record, appart from wether you like it or not.
And of course, as a band, DCD works out just close to perfection. The sublime Perry's lyrics and the supernatural Lisa's voice. It's all in there.
If you ever go to Paris, don't miss a visit to Père Lachaise cemetery. There you will find the tomb displayed on the cover. I was there but only found that afterwards!
An aboslute masterpice.

Do a sound check first!
Best advice on this cd is do a sound check first! I LOVE DCD and would highly recommend their music but this is NOT my favorite! So why do people check reviews anyway? . . .it's just someone's opinion . . .I read these wonderful reviews and found that this cd is my least favorite DCD . . . .I love Lisa Gerrard for her incredible talent but that is not reflected on this album. I love her haunting middle eastern flavors, the driving rhythms and her wonderful Celtic influences. . . suffice to say this album does not offer that. . . . I found it slow, morose, and boring. . . . . again sound check and make your own opinion . . . ... Read more

Amazon.com

Three albums in, and Stereophonics have written their first truly mature work, Just Enough Education to Perform. While the Welsh trio's first two albums were blighted by the occasional spot of facile pub-rock tub-thumping, which served only to dilute Kelly Jones's emotive laments into ear candy, Just Enough Education to Perform evokes the ragged croak of early Rod Stewart or the world-weary country lament of Neil Young without feeling the need to unnecessarily embellish its content. It's not all good: the album's first single, "Mr. Writer"--a stab at dismissive music journalists--is, ironically, petulant and unwieldy, spoiled by Jones's clunky lyric: "You've just enough, in my own view, education to perform/ I'd like to shoot you all." Far more successful are the simple semi-acoustic readings of "Nice to Be Out", "Step on My Old Size Nines," and "Lying in the Sun," which prove that, stripped down, Jones can match most singer-songwriters of an alt-country persuasion without breaking into a sweat. By this time in their career, Oasis began losing themselves in bland bombast and a fog of hollow guitar solos; to their credit, on Just Enough Education to Perform, Stereophonics do not let fame cloud the clarity of the record's meaning. --Louis Pattison ... Read more

Reviews (50)

More than enough education to perform
JEEP is, without doubt, the best effort yet from the Stereophonics. It's a gentler album than their previous one, "Performance And Cocktails", with the emphasis here more on melody than on the fairly boring hard rock that characterised PAC, (with the exception of "Just Looking" and the outstanding "Pick A Part That's New").

It doesn't open brightly, though. "Vegas Two Times" would've fitted quite nicely on "Performance And Cocktails", launching into a boring tune after a ridiculous 50 seconds of warming up sounds. Worst song on the album. "Have A Nice Day" should have been the opening track.
However, things start to look up quickly. "Lying In The Sun" is soft and beautiful, with exceptional lyrics from Kelly ("But you burn me up you paint my skin/In bad designs that ain't even in", etc.)
The first single, "Mr. Writer", has a pretty good chorus with cool backing vocals. The rest of it is just okay.
The third single, "Step On My Old Size Nines", is the second best song on the album. Great melody, lovely harmonica playing, a beautiful ending.
The highlight of JEEP is "Have A Nice Day", the second single. It's one of the best songs ever, no question. I don't care if people think it's sappy and that the cab driver in the song has nothing interesting to say, it's excellent!
"Nice To Be Out" is okay, "Watch Them Fly Sundays" is another of the album's strongest tracks, and the remaining ones are pretty good, except maybe for "Everyday I Think Of Money".

Overall, this is a solid recording from a great Welsh band, who have proved with this release that their music is maturing a great deal. Keep up the good work!

Well Educated
This is the Stereophonics third album and it was always going to be sifficult after the massive success they had with their previous two albums (Performance And Cocktails and Word Gets Around). Just Enough Education To Perform is slightly slower in tempo throughout the album with a few up beat songs. The first single to be lifted from this album is Mr Writer(top five in the UK) which shows that this album has already got a good start. Some of the key tracks on the album are the fourthcoming single Have A Nice Day, Nice To Be Out, Step On My Old Size Nines and Lying In The Sun. The whole of their album is upto their usual standard and i love it, i havent stopped listening to it since i bought a week ago(released on 9th in the UK), and i have even taped it to listen to in the car. Well Done Lads

This is a good cd.
I had never heard this band in America till last year, when over the summer I was glued to one of the very addictive music television channels in India. They played many Stereophonics videos. When I came back to the States, I programmed my Yahoo Launchcast radio station to play them, and I really enjoyed them. After looking at their CDs available in Borders, I bought "Just Enough Education to Perform". I enjoyed most of the tracks, except, for some reason, the first one about Las Vegas. The lead singer's voice is very nice, and the music is comforting.

Simply Fantastic
I consider myself a pretty mature and well traveled conossieur of music. I am into everything from the Dead to Pearl Jam to Sinatra. I discovered this band about 6 months ago and absolutely fell in love. They are simply fantastic by having a familiar yet completely new sound. I am seeing them open for Bowie next week and am as psyched to see them as the Thin White Duke himself. Do yourself a favor and give these guys a listen. They represent all that is good with British music today and for my $ are the best band, outside of Guns N Roses, Nirvana, The Black Crowes and Radiohead to emerge in the last 15 years.

As good as your favorite pair of jeans
I was suprised to read all of the negative reviews of this CD. I happened to think this one of the best records I've ever purchased. To each his own, I guess.

I think of it this way. To me and a lot of other people, this record is like your favorite old pair of jeans. When a new style of clothes hits the stores, we may buy it because it's new, exciting, or different. But, if you're anything like me you eventually get sick of the novel and go back to the old favorite pair of jeans.

There's nothing flashy, shocking, or groundbreaking about this Stereophonics album. Most music that is those things fades out as quickly as it hit the scene. Bands like the Stereophonics stay on the radar because they continue to give you what you like.

If you like bands like Travis, Starsailor, or any of the myriad bands of this genre, this album is terrific. It delivers a lot of the emotion and feelings that got you liking the Phonics in the first place. If you're not a fan of this type of tunes, you may want to stay away from it.

"Just Enough Education to Perform" won't be enough to "convert" you to Britrock or even to this band. But if you like this stuff, you won't be dissapointed. ... Read more

Album Description

2005 remastered reissue of 1979 and 3rd album from The Boomtown Rats featuring frontman Bob Geldof. Contains 4 bonus tracks 'Real Different' (B-side), 'How Do You Do' (B-side), 'Late Last Night' (B-side) & 'Nothing Happened Today' (live in Cardiff). Mercury. ... Read more

Reviews (4)

Awesome Remaster of a classic album!!!
This was always my favorite Boomtown Rats CD and I'm glad this and all the other Rats CD's have been remastered."The fine art of Surfacing" is an amazing CD from start to finish.The lyrics and melodies are brilliant.God, I wish these guys would reform and tour again.C'mon Bob, reform the Rats.

Many consider it their best; great remaster, odd track order
Thankfully, this 1 re-release, out of 6, has an unperverted track order...but the price is still ridiculous, so check with the new/used dealers in the top right instead of Amazon...

Anyway, I'm writing this review to note, for the less informed, to correct/make notes on the other reviews which are incorrect in their claims about original versions of the albums/sources of tracks:

"Real Different" was ORIGINALLY released as the B-side to Elephant's Graveyard in 1981, about 6 months before the release of Rat Tracks.
Rat Tracks, much like the Rolling Stones' Flowers "album" was a fabricated release made by North American record companies, outside the band's control. The same sort of treatment most bands used to get (and sometimes still do) when their music crosses the oceans to reach North America. A stupid, but very common, activity on the part of North American record companies.

"How Do You Do?" was ORIGINALLY released as the B-side to "Like Clockwork" in 1978.

Not intending to pick fights or criticize, mind you, I'm simply obsessive about the original placement of non-album tracks.

Somewhat puzzling...
Made in EU in 2005, Serial# 982-677-5, Playing Time 53:03

Most of lyrics enclosed...

If you're like me, you've been waiting to "retire" your vinyl pressing of this as soon as a CD version was made available.

Like all 6 re-releases of their albums, the remastering job is excellent! If you're reading this, you probably don't need a description of the genre of music (and talent) included.

Instead, I'll focus this somewhat brief review on the differences in content between the North American vinyl pressing and this CD issue:

a) "When The Night Comes" has been edited from a 4:58 track to a 4:44 version.
b) track 11 ("Episode #3") is now in its proper logical position (i.e. at the end) and has been restored to its full length glory (it was at the end of side 1 on the vinyl)
c) track 12 ("Real Different") was originally released on the "Rat Tracks" EP
d) track 13 ("How Do You Do?") was originally released on the 1992 CD edition of "A Tonic For The Troops"
e) track 14 is a "real" bonus track!
f) track 15 (the live version of "Nothing Happened Today") is a different recording than released on the "Rat Tracks" EP

In my opinion, THE best re-issue of the 6...

The Classic Rats from UK
Greaaaaaaaaattttt re-edition of a classic one of the New Wave. The delay finished there am this great disc and all the catalogue of Boowmtown Rats rescuedhere. For anger of the used and expensive salesmen of cd's. ... Read more

Reviews (3)

JOLLY GOOD
I was amazed how many songs Supergrass have had- wot a collection of records! These songs are very feel good summer drive time songs- play in your car and start the summer fun! A refreshing change to the manufactured crap (aka Busted- down with Busted) out there. Listen

Superb Collection
Supergrass seem to have flown under the radar recently. Their later albums, following the wonderful In It For The Money, have attracted little attention but the band has continued to release some terrific music and now we find them at the ten year anniversary of the beginning of their career, prompting the release of this best of compilation.
They are without doubt one of the best bands of their generation, one of those groups that wears their influences on their sleeve, yet creates a unique and instantly recognisable sound and style of it's own. Though they are sometimes lumped together with the "Britpop" bands, that label never entirely suited them and they have continued making great music after that era faded, while bands like Oasis and Blur either fell by the wayside or lost the plot completely. Judged on the music alone, this is the best CD you will hear this year. If you have never heard Supergrass before and you like smart, hooky British guitar-pop music, I imagine that hearing all of these songs together would leave you pretty dazzled (I am biased though!).
This compilation takes a pretty safe route by gathering together all of the singles from the band's four albums (and there are plenty) plus "Strange Ones", which as far as I know isn't a single. For some reason there are also three "bonus tracks" tacked on the end. The presence of these "bonus tracks" is a little puzzling - these are album tracks but, like "Strange Ones", they all come from I Should Coco (which is probably the most intoxicatingly exciting debut by any band that I have heard). There doesn't seem to be any reason why tracks from other albums couldn't be included - tracks like Sitting Up Straight (ironically also from I Should Coco), Beautiful People, Your Love, G Song, Tonight and Evening Of The Day would have been welcomed.
The only slight disappointment with this collection is the two new tracks, which is the reason long-time fans like myself are buying this. "Bullet" is not too bad, but it's a bit heavier than the usual Supergrass fare and it's maybe a bit too grungy and non-descript. The other song, "Kiss of Life" is very weird, not in character with the band at all. It seems to be heavily influenced by Prince - in fact, I thought it sounded like an outtake from Beck's Midnite Vultures album! Honestly, there are a lot of Supergrass b-sides that are way better than these songs, for example "Nothing More's Gonna Get In Our Way", "Melanie Davis" "20ft Halo" and "Believer" so these songs may be a bit of a letdown for hardened fans.
To put it simply, if you are curious about Supergrass or just a casual fan this is an almost perfect compilation. If this is your introducation to Supergrass I can guarantee that you will be compelled to check out their albums. The music is simply that great.

It's retribution
....from the supernatural, you better watch out cos they're coming to get you, woooo!!! Brecon Beacons, one of my favorite songs by supergrass isn't on here, but this is still a really good "best of" album. Buy it!!!!! ... Read more

Reviews (57)

(Finally) Following Up a Masterpiece
It only took The Stone Roses five years of lawsuits and general self-destructiveness to produce the only follow up album to their 1989 self-titled masterpiece. It has since become apparent that "Second Coming" is also their swan song. That said, though not as strong as the debut, it's a pretty darn good album in its own right. The Roses were never ones to shy away from extended tracks, and they start right off with the nine-minute epic "Breaking Into Heaven," which starts slowly with a bunch of sound effects and pays off handsomely. After that comes a selection of songs more sonically challenging and for the most part less danceable than the debut. Other highlights include the beautifully melodic "Ten Story Love Song," the equally pretty "Your Star Will Shine," the rocking "How Do You Sleep," and the hit single "Love Spreads," which is the most dance floor ready of any of these tunes. The rest of the material fills in adequately, but the "hidden" tracks at the end are, for the most part, not worth the effort.

Overall, a strong successor to The Stone Roses' excellent debut that also serves as their epitath.

Doesn't Deserve All The Harsh Criticism
The Stone Roses' sophomore effort "The Second Coming," at the time of its release in late 1994, probably caught more undue flak and bitter criticism than any LP in the history of rock music. If you were to read these harsh and pretentious album reviews written by the likes of Q, Rolling Stone, and NME, you would be inclined to belive that "The Second Coming" was not only a mediocre album but also one of the worst albums in living memory. It is neither. It is an excellent piece of work that, though imperfect, is still an intriguing and worthwhile listen.

John Squire's guitar playing here is consistently mesmerizing and enlightening. His blistering solos on the epic, atmospheric opener "Breaking Into Heaven" (ingenious intro) and the classic comeback single "Love Spreads" (like "Voodoo Child" with religiously controversial lyrics) are a thing of magic, and his sublime, more harmonic riffing on "Ten Storey Love Song" and "Your Star Will Shine" prove that his technique is just as melodically subtle as it was brazenly pyrotechnic. Mani's bass playing is thick and swampy, an ideal compliment to Squire's bluesy inclinations. Reni adds his characteristically accomplished drumming and beautiful background vocals, and Ian Brown noticeably grows as vocalist, eschewing his previously naive whisper for a sleazily enthralling moan.

The instrumental work alone merits much praise and attention; Squire as a virtuoso blues guitarist is far superior to Jack White or any of the current "blues revival" axemen, and Mani and Reni comprise one of the finest and most versatile rhythm sections of all time. The songs here aren't to shabby either. In addition to the ones I named above, you also get the frenetic dance-blues fusion "Begging You," the vague Zeppelin parody "Tears," and the fiery Hendrix tribute "Driving South."

Yet despite these ubiquitous strengths, almost every single review of this album that I have read begins with a line similar to: "Well The Stone Roses have finally followed up their absolutely perfect debut album..." When reviewing an album, I try to judge it on its own merits and not rank it relative to another album that was recorded at a different time with different intentions. "The Second Coming" is far different than its predecessor, yet I think that this is not necessarily a bad thing. When listening to the awesome psychedelic blues mayhem that fills these twelve tracks, I get the notion that the band didn't want to make a clone of "The Stone Roses." After all, they had pretty much maximized their previous musical style, producing some truly awesome classicist pop and spawning a thousand guitar-rock/pseudo-dance bands in the process. I honestly belive that if they had made another album just like their debut, it would have worn out its welcome and been judged by the same impossible standard as "The Second Coming." Everyone had already made up his mind about the Roses' second album, dismissing it with narrow-minded musical prejudice.

In conclusion, the new, heavier direction is brave and admirable. At least the Roses didn't bend to the level of Oasis and begin spewing rudimentary and unimaginative pop. The songs here are thoroughly melodic, intensely rhythmic, and mostly well-written, making this "disappointing" sophomore album better than the best efforts of most other bands.

A travesty that this isn't well known
This album puts a HUGE majority of albums to shame with it's virtuosity, lyrics, melody, beauty and art. It is SO overlooked and underappreciated that it should be considered a crime against humanity.

I really have to respectfully submit a theory that those who don't like this CD had expectations problems from the first release. This CD is not "The Stone Roses Part II" it is a new direction with hints at the old direction (listen: "Ten Storey Love Song").

This is a BIG slice of funk, blues, pop, and rock that would make any rock music fan drool endlessly. I am so sad that this CD is not listened to and admired as it should be. From the opening jungle sounds, betraying the (ultimately) African (or African American) influences which shaped this wonder to the final guitar soloing, breathy singing of Ian Brown, and rollicking bassline of "Love Spreads", this CD is full of quality art.

Please, if you discovered the Stone Roses late or just never picked this up, pick it up and listen to it as a work of art. An independent CD not related to the first CD in any but the smallest ways.

Let me put you in the picture,
let me show you what I mean.
The messiah is my sister,
ain't no king man, she's my queen!

Thank you Stone Roses for giving us this beautiful CD and all the other wonderful music you created!

Man oh man . . .
. . . was this a heart breaking experience the first time I listened to it. The first Stone Roses album is, in my opinion, one of the greatest albums ever made. It's an effortless little bit of dancey psychedelia, where the four band members seem to be actually inhabiting each other's brains - that's how tight it is.

Which understandably gave me pretty high expectations for the follow up. Which the boys decided to call 'Second Coming,' out of either ego or a weird fatalistic sense of acceptance. Because a second coming, this record ain't. I still remember listening to it the first time, sitting on the floor, trying to convince myself that it was actually good. I couldn't, and ended up selling it for cigarette money.

Five years later, I decided to give the thing a second chance. And I found myself liking it a lot more. Honestly, if this were the debut album from some random unknown band, I'd probably say it has a hell of a lot of potential and some catchy, engaging tracks. But it isn't some band I've never heard of - it's the Stone Roses - and this doesn't measure up to what they were capable of in the past.

What's wrong with this album? First, it doesn't feel as though the boys ever really came together on their songs the way they did in the past. It's like Brown or Squier wrote a couple of songs, played it for the band, and then just recorded the thing, right then and there. There isn't the loose effortless feel - there are clearly 4 separate musicians who aren't quite on the same page, musically speaking.

Second, John Squier is not a terribly good writer of lyrics - some of them are, in fact, painfully bad.

Third, Squier is an excellent guitarist. Not a problem in and of itself. But here, he seems very eager to show the whole damn world just how good he is. And how funky (which is not very). His soloing is incredibly self-indulgent and really sticks out like a sore thumb.

So is there anything good about this album? Absolutely. About half the songs are quite good. 'Breaking Into Heaven,' after the interminable intro, is excellent. As is 'Ten Story Love Song,' idiotic lyrics excepted. 'Your Star Will Shine' is quite lovely. 'Begging You' is a nice dancey little number that, unfortunately, suffers from extremely muddy production. 'Tears' is quite cheesy, but there's something compelling about it.

And 'Tightrope' is, in my opinion, almost worth the cost of the album. It's not like much the Stone Roses have done before, but it's lyrically excellent, and has a nice loose feel to it. It would have been nice to hear more in this vein.

The rest of the album is, if not unlistenable, very very generic. Nothing horrible, but nothing beyond your standard middle-of-the-road mid-90s radio pap. With a really really technically proficient guitarist.

So, all in all, there's good stuff here. For a big Stone Roses fan, this is hard-listening, making you wonder what might have been. For a Stone Roses neophyte, this is quite good, so long as you keep in mind that their previous album is the best musical thing this universe has ever seen.

COMING UNDONE!
BREAKING INTO HEAVEN: 5 stars.
DRIVING SOUTH: 2 stars.
TEN STOREY LOVE SONG: 4 stars.
DAYBREAK: 4 stars.
YOUR STAR WILL SHINE: 1 star.
STRAIGHT TO THE MAN: 1 star.
BEGGING YOU: 2 stars.
TIGHTROPE: 1 star.
GOOD TIMES: 1 star (talk about an ironic title).
TEARS: 2 stars.
HOW DO YOU SLEEP: 1 star.
LOVE SPREADS: 4 stars.

Tally 'em up:

28 stars
12 songs

You're more or less looking at a 2 star album. ... Read more

Amazon.com

Long before groups like Oasis and Blur provoked cross-Atlantic media hype, Catherine Wheel were evolving the Brit-Pop style that typifies the genre's distinction. With the release of Chrome in 1993, they advanced their whispered-wall-of-sound approach to rock amalgamation. Underneath the rust and steel exterior, Chrome exhibits the confidence and sonic rhapsody of its creators. Beyond such fortitudes, the vocal and lyrical arrangements are perhaps the truest accolades of the album with lyrical themes which accompany the listener to the heart of tranquilized and love-inflicted fantasies. The fuzzy solos and vibrato accord further complement the songs aided by crystalline guitar melodies. Jaded with growing pains, singer Rob Dickenson croons with perfect tenor appeal on tracks like "Kill Rhythm" and "Crank," highlighting the personal temperaments which shape the album. Turning experiences into 12-step chromatic conclusions, Catherine Wheel polish the metallic spirit in any latent rocker.--Lucas Hilbert ... Read more

Reviews (26)

I have hundreds of cd's & this might be the best.
This was the first Catherine Wheel album I purchased. I now own all of them. I wish I could have back the 3 years they were recording before I was aware of them. This is still their finest album in my opinion. There is not a poor song on this CD. The mellow, dreamy tracks Fripp, The Nude, Ursa Major Space Station, are remeniscent of their fabulous Ferment CD. There are plenty of songs with a hard edge to them however: Broken Head, I Confess, Kill Rhythm. Strange Fruit & Show Me Mary are somewhere in between but are amazing still. Sit back, listen & experience this album & you might feel emotions you didn't even know you had. I would recommend it to anyone who loves music & craves something a little more complex & developed than the usual top 40 american slop.

"Deep, distant and pure"
Chrome is the follow-up to Catherine Wheel's excellent debut Ferment. It still has the loud, stuffy sound of Ferment but is not quite as raw and is more varied musically. It begins with the explosive "Kill Rhythm" which is very powerful yet catchy and sports some nice duel vocals in places. "I Confess" is very nice with a killer guitar riff in the middle. Some of the tracks are a little more accessible than the music on Ferment. "Strange Fruit" has addictive guitar and pounding drums and nice duel vocals. "The Nude" is also very accessible, as beautiful and artistic as the title suggests. Other favorites of mine are the surreal "Broken Head" with the sing-along-to chorus, and the even more surreal "URSA Major Space Station" (the drums here are amazing). Then there is the quiet 7:34 "Fripp" (Catherine Wheel usually has at least one extended track per album). The singles off this album are not as good as those off of Ferment. The best part of "Crank" is the opening riff and "Show Me Mary" is a little too pop. Still, Catherine Wheel's sophomore release is right up there with the brilliant Ferment. If you are new to Catherine Wheel, listen to the music clips Amazon offers and, if you like what you hear, get their first three CDs: Ferment, Chrome, and Happy Days. They are all solid with superb alternative rock material. Plus: Rob Dickinson, the lead vocalist, is cousin to Iron Maiden's Bruce Dickinson! How cool is that?!

most under rated album from the 90's by far...
one of the most under rated bands of the 90's... you hear their influences in many of today's popular bands. oasis and radiohead are admitted fans. if you don't know this album then you don't know the history of british rock as well as you should.

A must have
Every song on this album is amazing. If you're going to buy only one Catherine Wheel album this should be the one. This actually was the first album of theirs that I bought and now I have all of their cds, including many singles which have unreleased tracks on them. I would describe the albums sound as hard, rythmatic, and somewhat pop. The lyrics as powerful blues. This mix is very unique and they are unmistakable if you were to have heard them before. I suggest that everyone should buy this album you wont regret it. Most likely it wont be the last album you buy of theirs.

the best album ever
The fact that this album, and many others by Catherine Wheel, was overlooked by radio and music magazines -- what can I say? It's a crime. There are so many people that I meet who are closet Catherine Wheel fans. ("You like them? You've HEARD of them? I had no idea!") Among those people, this album seems to be a consistent favorite. I remember when this album came out, and I was working at a indie record store, a British music zine rated *Chrome* the "second-best British album ever." Buy this album. You won't regret it. ... Read more

Amazon.com

Few women have expanded the vocabulary of rock as bewitchingly as Kate Bush; among male stars, only Prince may have taken as many risks. Hounds of Love saw Bush reining in the kookier aspects of The Dreaming, channelling them into epic electro-pop that tackled big issues of life and death and God with gripping drama and intensity. "Running Up That Hill" was one of the great singles of the '80s; "Cloudbusting" was string-driven, magically pretty; "Jig of Life" showed that Bush is one of the few pop artists who can flirt with Celtic mysticism without sounding twee or trite. Forget the riot grrrls: Bush is the real thing.--Barney Hoskyns ... Read more

Reviews (97)

Labor of Love
For the past 22 years (since the release of "The Kick Inside"), I've been trying to decide why Kate Bush is such a household name in both Great Britain and Europe, but barely recognizable in the United States. My conclusion is that Americans like their music simple: melody they can hum, toe-tapping rhythm and harmony following the modal scale.

Appreciation of "Hounds of Love" (and all of Kate's work) requires active listening rather than passive hearing. "Hounds" is composed of two conceptual movements. "The Ninth Wave" (cuts 6 through 12) is a fairly straight forward narrative about death and resurrection. The lullaby (And Dream of Sheep) softly woos the listener into the tragedy awaiting "Under Ice." "Hello Earth" is the most moving musical description of spirituality that I have ever heard. The ending (The Morning Fog) portrays an angelic resurrection.

The second movement ("Hounds of Love" cuts 1 through 5) is not so easy to define. Certainly the theme is love, but what kind of love? Is this a story about fear and intimacy (Hounds of Love) or is there an darker underlying theme of incest (Cloudbusting).

Kate has composed two incomplete musical theater pieces with story line and characters. Only your imagination and creativity can fill in the missing parts. Listeners will be well rewarded.

The Best Album You're Ever Likely To Hear!
I cannot find the words to say what an amazing album this is! Kate Bush manages to fit two albums on one 13-song CD. The first 5 songs act as a driven diary on different kinds of love while the next 7 tunes chronicle a woman's night in the water as she fights to stay alive. Brilliant! "Hounds Of Love" is pure alt-pop while "Cloudbusting" teeters on new wave-classical. Throughout the CD, Kate flirts with different musical styles, merging them into new, mystical forms. "Under Ice," a song about drowning, is somber yet effective, rock and folk, insane and calm. The whole CD is one dramatic track after another! Just hearing the absolutely bombarding song "Waking The Witch" is reason enough to snatch this album up!! A grande experience. I recommend this album to everyone! A classic!

An incredible piece of work from an original songstress
Being a product of the '80s, well technically the '70s however I don't remember that decade as well as the '80s, one of my personal favorite songs has always been Kate Bush's "Running Up That Hill (A Deal With God)". I always thought that Kate Bush had one of the most unique voices in music. I have to admit that I only own one Kate Bush cd and that is "Hounds of Love". I recently dug the cd out of my mountain of mostly useless cds that I stash in my closet. I decided to play the cd and I soon found myself falling in love with "Hounds of Love" all over again. I am no expert on Kate Bush or her music as a lot of reviewers appear to be here so I am going to have to review on what I heard. I think it is a given to say that without Kate Bush, there would have been no Tori Amos. The similiarities are obvious, especially to Tori fans (such as myself). As I said earlier, Kate has a unique voice as does Tori. Both women are constantly changing the octaves in their voices as they sing. The oblique, if not abstract lyrics are seen in both women's songs. In regards to "Hounds of Love", I found myself enjoying the "Hounds of Love" side slightly more of than "The Ninth Wave". I find myself more drawn to songs like "Mother Stands For Comfort" and "Cloudbusting". Nevertheless, all the songs are wonderful. Kate Bush has a real knack for songwriting. I just don't see or hear enough artists like Kate nowadays. Artists like Kate Bush comes once in a blue moon. "Hounds of Love" is an incredible piece of pop music and certainly deserves a remaster treatment like The Cocteau Twins' catalog were given.

Most Insightful Album Ever Recorded?
Hounds Of Love is an enigma, a complex and epic masterpiece. Throughout, Bush attempts to find a balance between the difficulties of human love, life and spiritual enlightenment, and ultimately is seeking salvation. The album is divided into two sections: Side one, Hounds Of Love is rythmic, synthesised, dynamic and probably the closest Kate had come so far to sounding mainstream. Side two, The Ninth Wave, chronolises a drowning woman's dreams and her rebirth, and is complex, abstract, and perhaps occasionally weirder than anything she did on 'The Dreaming.' The album somehow manages to stay pretentious yet accessible, wildly experimental yet cohesive. A difficult feat for sure, but Bush executes this to perfection.
Best Tracks: The Big Sky, Waking The Witch, Hello Earth.

Undeniable masterpiece
Anyone who doesn't recognize Hounds of Love as a masterpiece just doesn't get it. Go back and really listen to it at least ten times, play loud from beginning to end. If you still don't get it, check your pulse or seek some professional psychological help.

Hounds Of Love was a huge influence on Prince at the time, when he made Parade, Sign Of The Times and Lovesexy. Many other musicians have declared themselves Kate Bush fans, like recently Outkast and perhaps surprising to some Johnny 'Rotten' Lydon - who by the way hates Tori Amos or Torrid Aimless as he calls her. Indeed, and if you want new agey elves & fairies music, go buy an Enya CD instead.

Some pointers that might help you get it. The whole album is about Love and Life. Big words, I know, but Kate Bush always manages to find the perfect balance between complexity and simplicity. Running Up That Hill is about a love between man and woman, Hounds Of Love is about fear of love/embracing life, Mother Stands For Comfort is about her mother (did Kate have a bit of a strained relationship with her mother?) and Cloudbusting is about her father (with whom she is very close). I always read The Big Sky as being about her brothers, growing up with them, something like that.

Picking the B-side apart as if they are seperate songs doesn't make much sense. The Ninth Wave is a story - nothing confusing about it! - about a girl drowning (Under Ice), her struggle against death/out-of-body experience (Waking the Witch/Watching You Without Me), will to live (Jig of Life), nightly rescue (Hello Earth) and new appreciation of life waking up in the morning (Morning Fog):

I'll tell my mother,
I'll tell my father,
I'll tell my loved one,
I'll tell my brothers
How much I love them

Of course Hounds Of Love is not as neatly literal as the basic arch sketched here. It transcends it with rich imagery and symbolism and music that sounded like nothing else around when it first came out and imho still sounds totally fresh today.

Claiming that Lionheart is better is utter nonsense. Kate Bush herself has said in interviews she wasn't happy with it. Record companies preferred their artists to release a record every year. Lionheart was put together from leftovers of the Kick Inside. After Lionheart Kate Bush decided from then on she would take her time and only release albums when they're ready.

...rumors are the new album is almost ready and to be released in 2004. ... Read more

Amazon.com

A watershed '90s release, Screamadelica was the most convincing marriage of overground rock and underground dance music yet. With one foot in Beggars Banquet-era Stones (the gospel-rock "Movin' on Up") and the other in the trippy soundscapes of rave culture (the Orb-produced "Higher Than the Sun"), Primal Scream caught the mind-blown euphoria of Ecstacy better than anyone.Frontman Bobby Gillespie had no singing voice to speak of, but his vision of cosmic hedonism made him a drugged-out Pied Piper for the acid tribes. From the incantatory anthems "Loaded" and "Come Together" to the sinister rendering of the 13th Floor Elevators' "Slip Inside This House," Screamadelica was a modern psych classic. --Barney Hoskyns ... Read more

Reviews (47)

Snapshot of it's era.
Part of 'Screamadelica's critical acclaim may have more to do with its cultural impact rather than it's musical one. It's fusion of a traditional rock 'outlaw' image with the then contemporary dance scene was bound to attract critical enthusiasm. Dance music by its very nature is mostly non-image based, the stationary DJ playing their lyric-free records. Bands like Primal Scream and the Stone Roses helped to bring dance music to an alternative rock/indie audience. In the late 1980's rock in the U.K. was increasingly becoming marginalised, beaten back by the all-consuming rise of pop creators such as Stock, Aitken and Waterman. In contrast dance music was at the cutting edge of youth culture and if British guitar bands wanted to retain some sort of street-cred, they'd have to jump from the sinking ship on to the bandwagon pretty quickly.

On 'Screamadelica' this fusion of styles can be seen in the band's choice of producers, Jimmy Miller and Andrew Weatherall. Most of the album sounds like 12-inch remixes of the original guitar based songs. A process which has become standard for a lot of British guitar bands' C.D. singles. For anyone who's ever been at a rave most of the tracks on 'Screamadelica' make perfect sense as an aid to an ecstacy high, the slow long drawn-out build up adds to the sense of euphoria that occurs at the track's zenith.

As an all-out fusion of rock and dance I think 2000's XTRMNTR was a more inspired effort, but 'Screamadelica' was the beginning of Primal Scream's music experimentation. 'Screamadelica' is frequently listed on British music mags top 100 lists. However in the cold light of day 100 years from now, without cultural reference to the time it was created, pop music historians maybe slightly bemused as to why an album built around repetitive riffs should be lauded in the same way as the expressive, original song structures of 'Revolver' and 'Pet Sounds'.

Great
This is a seminal album from 1991, blurring the boundaries of rock and dance and epitomising a whole culture. Loaded alone tranformed Primal Scream from rockstar wannabes into the vehicle for one of the greatest euphoric dance tracks ever. Other songs such as the gospel-tinged Movin' On Up, the trance of Higher Than The Sun, the bluesy comedown chillout of Damaged and I'm Comin' Down, and the epic closer Shine Like Stars make this an essential recording from a great year in music that also produced the likes of Nevermind and Achtung Baby.

The record works really well as it progresses in pristine order from the setting of the opening tones of euphoria to the really dance-based tracks in the middle of the album to the comedown towards the end. Screamadelica was the first essential record by the Primals, and they didn't make another till 2000's polar opposite Xtrmntr, a dirty hell of white noise, industrial trance and electro-punk, but somehow the perfect companion to the blissed-out sounds of this party classic.

lets get loaded
now..how do you review this album without being a least a bit biased...watershed release etc. but, listening to it now..10 yrs after its release, the songs still make you want to groove. the scream moved on to expand their horizons, but this may truly be their greatest album.

Relevant But Dated
Hailed as one of the key dance albums of the nineties, "Screamadelica" is indeed an important and challenging record, even if its "classic" status seems a bit over the top. True, it mixes a lot of different musical styles and references and delivers an impressive combo that includes electro, gospel, pop, soul, rock, shoegazer, funk and a little of everything else. Yet, it has its share of filler moments as some of the songs sound too dated today (the ordinary dance number of "Don`t Fight It, Feel It" or the tedious "Damaged" and "I`m Comin` Down"). It`s a well-crafted album nonetheless, and a couple of parts truly shine (the hypnotic and dazzling "Higher Than the Sun", the infectious "Come Together" or the urban hymn "Loaded"). All in all, "Screamadelica" still sounds somewhat fresh and appealing nowadays, even if it has some flaws, and proves the vitality of one of the most innovative bands around.

Impressive enough yet far from stunning.

90's Classic - Still Kicking
I love this album. I can remember being introduced to their single- Loaded- when clubbing in London in the early 90s and decided to grab a copy of the album. To my surprise- Loaded was probably one of the least listenable singles overall.

Primal Scream has gone on to produce wonderful music over the past 10 years- stretching their themes and artistry to new heights while keeping one foot planted on their roots. Before exploring these other options, however, experience Screamadelica and understand where they came from and why so many listeners rave ... 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. The bonus DVD includes five songs from Weightlifting culled from the band's performance on KCRW's "Morning Becomes Eclectic." Sadly, it's not the whole show, but all 17 minutes are excellent: passionately played, well recorded, and tastefully shot on video. --Michael Mikesell ... Read more

Album Description

UK reissue of the 1979 debut from the much loved new wave/ska act, digitally remastered with special packaging.Includes CD-ROM videos for 'The Prince', 'One Step Beyond...', 'My Girl' and 'Night Boat To Cairo'. 2000 release. Standard jewel case. ... Read more

Reviews (8)

Life changing
I bought this album (maybe my Dad paid for it as I was only 9!!!) soon after its release. I s