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It can't be said enough: Gomez is probably the most unlikely name for a five British kids who worship Tom Waits and the Grateful Dead. But that's nothing compared to their sound, a growling brand of blues-rock that sounds like it originates on the Mississippi rather than the Thames. The group's previous album, 2002's In Our Gun, was all about experimenting in the studio. Split the Difference, then, is Gomez getting back on track. The band makes a decent attempt to revive the homemade feel of its early recordings, turning up at least two winners in "Extra Special" and "Sweet Virginia," but it seems like a compromise. While the three-part harmonies soar, a distinct lack on inspiration suggests the band would rather have another go at pushing buttons and name-checking Kraftwerk. "We Don't Know Where We're Going" seems to say it all. --Aidin Vaziri ... Read more

Reviews (20)

Gomez is back in the saddle!
British rockers Gomez have had to live with the hype of their acclaimed 1998 debut album "Bring It On" (which won multiple awards). Since then, they have searched and tried to live up to that acclaim, with mixed results, and now here comes their 4th album, and it's great to see that Gomez is finally, truly back in the saddle!

"Split the Difference" (13 tracks, 50 min.) is a return to the all out rock'n'roll that brought the acclaim. The album starts off with a blasting "Do One" and doesn't let up from there. "Where Ya Going" reminds me of early-Pearl Jam, just great. "Silence" (a UK single) is almost a pop song (and I mean that as acompliment). "Catch Me Up" (another UK single) just rocks great. "Sweet Virginia" (not to be confused with the Rolling Stones tune of the same name) is a gorgeous ballad. There is really no bad song on the album. If there is a weak track, it's the closer "There It Was".

For those of you who fell in love with Gomez' debut, this is the true and worthy follow-up. For those of you new to Gomez, this is one of the better 2004 albums so far, please check it out!

OK maybe four and a half
This album kicks major A-- in my opinion. The only dissapointment to me is the last three songs are just OK. First ten are dynamite, just light it and go.
I read reviews and I usually puke. Music cannot truly be described by words, so how do you write a review then?? Simple..This album Rocks, from song 1 though 10 this album livened up my day, everyday since I bought it. Walking around manhattan , going to work, at work, on the way home...Its so nice to find bands that the more you listen, the more you like them. We can always complain about the fact that one of there singers is much better then the other two, but honestly how many groups have three singers that are all good musicians???..not just bland frontman trying to be the "hip cool" leader. This is a band in all sense of the word.
If you liked Gomez before, this album is a little different, a little more tight and not meandering. I think they decided to make a banging rock album with songs a larger audience would like, but they are still very much GOMEZ. There needs to be so many more bands out there like this....and this album is awesome,. Do yourself a favor, buy it and throw it right on your headphones and take a walk. You will find yourself boppin, singing and doing the white boy dance rather quickly...and at the same time being rocked and funked up with three seperate guitars, three different singers a kick ass drummer and bass player..What more do you need??? Gomez rocks..See ya on the 8th here in NYC!!!

Hiring Tchad Blake = BIG MISTAKE!!!
Well, after going on in my review of Gomez on my website about how they make original music that doesn't sound like the Beatles, they go and make the most blatantly Beatles rip off album I've ever heard. From the pseudo "Yellow Submarine" artwork to the harmonies in the songs.

Hiring Tchad Blake was the biggest mistake they ever made. Not only does he have a goofy and pretentious way to spell his name he has ruined one of the best bands in music today. In his attempt to make Gomez a "jam band" he has totally taken away all of the innovation and experimentation that made them cool to start with.

It may sound like I hate it. I dont hate it but its certainly their most uninspired and least interesting work to date.

Gomez, if you read this FIRE TCHAD BLAKE, go back to your studio experimentation and piecemeal method of composing. The world does not need another "rootsy" jam band. We've all heard the music on "Split The Difference" before. You were great and now you are merely mediocre.

A true Gomez fan.

Lord, They Were Born a Rambling Band
Gomez's bluesy Americana has always been out of place on the Britrock scene. True, it has antecedents - The Faces, Humble Pie, even Oasis fer chris'sakes. But somewhere between their grainy vocal presence and jamming psychedelica they've always felt forced - a cut-rate Dead for the new millennium. Split the Difference couldn't be better named. They have the right producer in Tchad Blake (Latin Playboys; Tom Waits). He anchors their escapades with a bottom-heavy rumble that lets them stretch out on a thrasher like "We Don't Know Where We're Going" or hook a sly groove as on "Meet Me in the City". Perhaps because they've been doing it over four releases now there isn't such a heady whiff of retro (even though Split the Difference is their rootsiest move yet). Yet Lord, they were born a rambling band. Now they're a pretty damn good one.

Sweet Virginia
Gomez are a bunch of young acidheads from Liverpool who were obsessed with Tom Waits. They got a lot of awards in the early days. In five years they recorded three albums and collected a bunch of extra tunes for a b-sides compilation. They had three different lead singers. They were student types who sang about "Tijuana Lady." Fast forward to 2002: they started playing in the United States a lot and started catching on with the jam band crowd. Gomez even played shows with String Cheese Incident. I saw a show in San Francisco that was one of the most enthusiastic crowd I had ever seen at a venue. It was a two night sold out run at the Fillmore. The next year Gomez was done touring and ready to do some new songs. It was hard to predict what they would do next. They hooked up with Tchad Blake (who has worked with Tom Waits) to make their most unlike Tom Waits record yet. They ended up recording over fifty songs. "Do One" is Gomez at their essence. "Silence" is like The Beatles. This record is less electronic than their previous one. Gomez takes us on a spiritual journey that some Gomez fans are saying is their best yet. Maybe they are not really a jam band. Phish is gone, and Gomez is still here ... Read more

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Despite the tepid production by metal guru Sandy Pearlman, the Clash's sophomore album, Give 'Em Enough Rope, manages to burn with white-hot intensity. Though not as amateurish or snarling as their debut album, Rope finds the boys flexing their songwriting muscles. The first three songs ("Safe European Home," "English Civil War," and "Tommy Gun") stand among their most powerful and leap from the record with brute force.Though they hit a few clunkers ("Cheapskates"), this album is a near classic and gives a hint of the band to come that would light up the world with London Calling. --Tod Nelson ... Read more

Reviews (31)

Better than ya might think.
This album seems to be the favorite whipping boy among Clash fans. While it's true that it was a descent from their self-titled, and just a taste of what was to come on London Calling, it's still a noteworthy album. This is the Clash's loudest and most rocking album to date. Heck, the first 6 songs are practically worth the price. They're easily among some of the best songs that the Clash has recorded.

All of the Clash's albums include reggae/ska and world music influences, but they employ these on Give 'Em Enough Rope without losing their sharp, punk rock focus. "Safe European Home", "English Civil War", and "Tommy Gun" are absolutely *godly*, and "Julie's Been Workin' for the Drug Squad" give us our first glimpse at the Clash starting to branch out and explore other genres, which would be expanded upon in London Calling.

I can't say the album is perfect. It starts to fall apart and become less interesting towards the end, and would've ended on a less-than-desirable note if it wasn't for "All the Young Punks". But, hey, out of 10 songs, 6 are PERFECT (first 6 on the CD), 2 are awesome ("All the Young Punks", "Drug Stabbing Time"), and 2 aren't that great ("Cheapskates, "Stay Free"). 8 good songs out of 10 = 4 out of 5 star rating.

If you like the Clash and don't own this album, I highly recommend it. Especially if you're more attracted to their punky side, as opposed to Combat Rock and Sandinista.

Essential
Everyone seems to think that this is a more-or-less throwaway album by punk giants The Clash. What you aren't being told is that many of the songs on this album are essential to any punk education. If you crave the easy pop of punk bands like the Buzzcocks, the Damned's first period, and the Ramones, then this is unquestionably an album that you will like. The fact is, it requires more than a few listens to make it into your heart. It lacks the immediacy of the first album, and the pop sensibility that dominates "London Calling" and "Combat Rock". But don't think for a moment that the urgent nature of tracks like "Safe European Home", "Tommy Gun", and "Drug-Stabbing Time" won't grab you immediately after you hear them. If you can't understand this album, then you hate pop music. And make no mistake, punk rock is pop at its bloody heart. Therein lies its beauty-- it is the egalitarian expression of popular unrest compressed into three minute anthems. There is no reason that this shouldn't be among the great pop records of the twentieth century, and if this isn't the case now, then history will prove me right in the next century. If you are passionate about punk or pop, this is the place to find it-- others find it uneven, but the true music fan will find it vastly satisfying, even if its production values are higher than most "punk". The Clash made this educated decision, and you should, too.

under rated
I love this album. It seems not as many people like this album and i ahve no idea why. Joe strummer is so incredibly talented. Safe European Home and all the young punks are by far the best songs on this album. Out of all the original punk bands the clash were with out a doubt the best.

Good songs hampered by bad production
Give Em Enough Rope is a good album, with only one bad song. Unfortunately, the rest of the songs have such bad production it doesnt matter. The sound is tinny and feels small. This is a shame because 'Safe European Home', 'English Civil War', 'Stay Free', 'All the Young Punks', 'Drug Stabbing Time' and 'Guns On the Roof' are fantastic songs, and its hard to argue that this is a great album song for song, and is the only Clash album that it is difficult to pick 5 great ones from for a compilation. Whereas the other albums have more obvious standout tracks, Give Em Enough Rope has several out of 10 songs. This compacted track list means that the album is a quick headrush of punk. great for a quick fix. Just that production needed tweaking. Oh well.

Not too good.
This album is not very good, but nobody's really to blame. There are really only two good songs, Safe European Home and English Civil War (the live version of which is much better than this one) and a load of mediocre to awful ones.

But this was a transitonal album and it was on the tour for Give 'Em Enough Rope that _London Calling_ was born, so one can't complain too much.

For Die-hard Clash fans, this is, of course essential. But for everyone else, skip it and buy the Boxed set! ... Read more

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With Standing on the Shoulder of Giants, the self-professed "biggest rock & roll band in the world" continue their exploration of great British rock of the late '60s. Paying homage to heroes is one thing, but many of Standing's best moments sound like their icons' low points. This is Oasis, however, and they do pull some stunners out of their hats. "Gas Panic" and "Where Did It All Go Wrong?" demonstrate the command of catchy hooks and epic anthems that powered their classic first two albums, Definitely Maybe and (What's the Story) Morning Glory? Elsewhere, their influences are more obvious. The psychedelic "Who Feels Love?" is George Harrison in full Eastern mystic mode, complete with sitar, tabla, and tape loops. The rocker "Put Yer Money Where Yer Mouth Is" has the strut and stomp of vintage Doors and Rolling Stones, but is ultimately let down by weak wordplay. Liam Gallagher's "Little James," a paean to paternal love, also contains some laughable couplets ("You live for your toys, even though they make noise"). Still, Standing is a definite improvement over its 1997 predecessor, Be Here Now. For real proof that Oasis resurrected Britpop in the '90s, newcomers would do well to investigate Definitely Maybe and (What's the Story) Morning Glory? --Rob Burrow ... Read more

Reviews (267)

still hanging on for their ultimate classic
we're all waiting for their next wtsmg, and we all know it, and we all hope that every album is going to be it but while SOTSOG has its great moments, its definitely no WTSMG. Just think back to the way you felt listening to WTSMG, the inspiration, the energy, like no record you'd ever heard in your life before. Well I'm just not getting that same feeling with SOTSOG. I still love it cos its oasis, and i will always love noels songwriting, and liams vocals, and the way this band performs, but there's still something missing. Go Let it out, sunday morning call, and roll it over are vintage oasis from the old days, any of those songs could have been on an earlier album but the rest is a new direction for the band. Where did it all go wrong and gas panic are perfectly crafted pieces of work, while f**cken in the bushes still shows that this is one of the only bands left around who can actually 'rock'. However its too early on to give a solid review. Be here now I didnt like at first but now i adore the album, i think its great. Its pure oasis times 10. THey took the WTSMG formula (cos it was successful) and thought they'd amplify it to the max and the result was Be here now, and for those of us who love that oasis, heavy guitar, crank up the stereo music then it was great. But like Be here now I think SOTSOG will have to be played over and over again, maybe over a period of many months, before a solid review can be derived. At a first glance though, while this album is not great, it still shows they still have that magic from WTSMG (in a couple of songs) that if only they could reproduce ten fold, then we should surely have one of the greatest albums of all time. If any band has the talent, and the magic, its oasis. Lets hope they can do it, and in the meantime, just enjoy SOTSOG for what it is. A good, Oasis album.

Best Album Yet!!!
I think this is the best work that Oasis has put out to date. Most people think DM was their best work, but (besides supersonic and live forever) every song on it sounds the same(but good music). WTSMG was a very good ablum and was my fav. until SOTSOG was released. BHN had a few classics like Don't Go Away and All Around the World, but my fav was Magic Pie. BHN was probably my least fav but still very good work. SOTSOG is now my favorite album by Oasis and any Musical artist I like. It has a much different mood than WTSMG and DM, which makes it good(different sound is always good). Songs like Gas Panic and Roll it Over grab my attention the most and even the bonus cd Let's all make believe is a very good song. Every song on this album is worth listening to over and over again. Well, that was my 2 cents. Worth buying for a Oasis and a non-Oasis fan. Great Work!!! P.S. I can't wait til their concert here on April 21st :-)

Buy this one last...
Ok, do not buy this album as your introduction to the band. For crying out loud get Morning Glory or Heathen Chemistry first. This album was recorded in the midst of turmoil in the band, and only the Gallaghers and Alan White came out the other side (White is now also gone). And it shows. But there are many strong points - The instrumental first track features some fantastic drumming and a guitar riff that is still stuck in my head. Go Let It Out is Noel's singalong genius coming out again, and I love it. The other highlights are Where Did It All Go Wrong and Gas Panic - GP in particular should go down as one of their all time bests. But as an album it feels somewhat average, and you know they can do so much better - they proved it, in fact, with Heathen Chemistry.

Standing on shoulders indeed
Standing On The Shoulder of Giants has the unfortunate reputation of the Oasis album with no spine. Even though there is a sound byte with cursing in the first track, this album shows a more mellow and contemporary Oasis, a sound that tends to clash against the snarling roar of Definitely Maybe. This did not catch on very well. In fact, one critic pronounced it the worst album of 2000.

In perspective, Standing On The Shoulder of Giants sits in the middle of being an outstanding Oasis album and being a total disappointment. In some ways it hits the mark, and in some ways it misses entirely. This all adds up to a B-.

There are some painfully forgettable tracks such as the Doors rip-off Put Your Money Where Yer Mouth Is, the bland and substanceless I Can See A Liar, and Liam's first recorded original song Little James (a silly aping of Hey Jude). But what's left is gold, such as the Kula Shaker-triggered Who Feels Love. Standing tall is Gas Panic, probably the best track on the album. Noel takes lead vocal on Where Did It All Go Wrong? and Sunday Morning Call (the latter foreshadowing Heathen Chemistry). Giants ends on a soft note with the George Harrison-inspired Roll It Over.

When you add it all up, two-thirds of this album is great Oasis. The rest is just kinda meh (a vocal grunt describing disinterest). But it comes mildly recommended. The b-sides are also worth tracking down.

Ignore the backlash!
Oasis comes down to Earth after flying sky high with hopes and ambitions in "Be Here Now". "Giants" is sober, but the music is trippy, in a way only Oasis can pull off. "F***kin' In the Bushes is an excellent opener and the album holds steady through the entire playlist. "Go Let It Out" is basic Oasis, "Put Yer Money Where Yer Mouth Is" and "I Can See A Liar" are weak lyrically, but people seem to miss the barrage of music being played behind Liam's words, excellent drumming by Alan White. "Who Feels Love?" "Little James" and "Gas Panic!" are the three very trippy songs. There is a ridiculous sitar bridge in "Love?" and an even more ridiculous mellotron bridge in "Panic!", must hear both. "Little James" is the first song written by Liam on an Oasis album, his lyrics are simple and at the same time heartwarming in his first song. "Where Did It All Go Wrong?" and "Sunday Morning Call" are sung by Noel, and he is at his best in both; very regretful in "Wrong", and even more regretful in "Call", as this whole album is the hangover after "Be Here Now". The album ender is "Roll It Over" and its appeal can equal "Champagne Supernova" at times as they are both similiar songs. Overall, "Giants" is a solid album, all the way through, and the transformation of Oasis into a more grownup band. The music is more intricate and polished than its predecessors as they were all carried by catchy hooks and simple chords. Recommended for anyone with an ear for good music. ... Read more

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Although this band is largely responsible for defining the circa 1990 rave culture, their music is far removed from the bass-heavy electronica usually associated with dance clubs. Ten songs on this album are characterized by lazy tempos, groovy bass hooks, and artfully simple percussion tracks which interact perfectly to form smooth, danceable beats.The rhythmic foundation is further accented by tasteful guitar licks and restrained keyboard parts. Their lyrical content tends to be a little dark, even seedy for exstacy fueled dance parties.The flat, nearly spoken vocal arrangements mesh with the rest of the musical stew. --Michael A. Massa ... Read more

Reviews (22)

Pills, Thrills, Leave the Bellyaches at home!
I am the only person in Oklahoma to own this album, but I would encourage it as an EXCELLENT blind buy. Who cares if you weren't in high school in 1989? "Step On" is a groovy single, but the rest of the album is sure fire sing-along fun, with back-alley grit poetry and retro-cool galore. I'm even finding that much of the pop music on the radio right now isn't as cool as this eleven-year-old gemstone. Don't think, just buy. It's worth it for "Loose Fit" and "Bob's Yer Uncle."

Fun
I love this album! Groovy, lazy and mad - this album, along with the Stone Roses self titled album, personifies the Madchester movement of the late eighties early nineties. Shaun Ryder's vocals (if you can call them that) are not conventional which is absolutely perfect for this cd. This a great cd for the summer - buy it! P.S. Dia, you are not alone, there is some life in Oklahoma.

essential madchester album to own
the late 80's to mid nineties thre was a rush of english bands that were great. this gem came out at the beginnings of the whole madchester scene. though the mondays were short lived, they blessed us with this masterpiece. step on, just a great bass line that hooks you in and the rest of the album transports you for a sonic ride.

I will try to be neutral
To all die hard HM's fans, I apologize. I am not someone who has been a HM fan for years, nor do I have their first tape from that concert in Chet's basement for Suzy's birthday from twelve years ago.
I am a newbie to the HM's and here is my attempt at an unbiased review:
This is a great cd. I have been a fan of Stone Roses for over ten years, and have never even tried out the Happy Mondays. Recently I saw the movie 24 Hr Party People and decided to buy this album on a whim. This is great stuff - front to back. Impressive guitar "noise", infectious drumlines, and those crazy, unapologetic vocals. Diggin' it - buying more.

It's all the rave.
I got into this album about the same time as "Stone Roses" and "Some Friendly", and like them all equally. "Step On" was the track that got me hooked, but the rest is also catchy, and just as sweet. "Kinky Afro" and "God's Cop" are a good start, but I think the last half of the album is stronger. "Dennis And Lois" and "Bob's Yer Uncle" I love, and the last two tracks are a perfect ending to a great party. Alot of this is upbeat and danceable, and what isn't has a good mellow groove to it. "Pills" or not, by the end of this album you should find yourself in a state of peace and "Harmony". ... Read more

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The band whose alumni went on to both the Beautiful South and (improbably) Fatboy Slim was a lot more like the former. Paul Heaton's laconic songs are nicely groomed and innocuous-sounding, with a happy jangle and rich harmonies (the group's interest in gospel extends to technique as well as sentiment), but there is a dryly vicious sense of humor lurking inside them--"Sheep" flips a familiar religious image on its back and leaves its legs waving in the air. London 0 Hull 4, the band's first album, is full of cheerful, taut little tunes about failures of the spirit, barstool sexism, and thermonuclear Armageddon--not to mention love of humanity, which underscored the fact that they weren't just nihilists, they actually cared. --Douglas Wolk ... Read more

Reviews (12)

it's Happy Hour
Yes, this album is full of meaningful lyrics and clever opinions, but let's step aside from the conversation about the political interests of this band. London O Hull 4 is a guaranteed up-lift when you need some happy music. Songs like "Happy Hour" or "Get Up Off our Knees" are wonderful to listen to. The Housemartins were a band made up of great musicians with great voices, which reflects in them implementing gospel-like harmonies and even an accapella song at the end of a very well-rounded CD. I don't listen to this album every day, but I've had it since it was released and I still enjoy it a lot every time I listen to it again.

Pure Pop
This is pop. 3 minute songs. Catchy melodies and memorable refrains. BUT it is not shallow. Good pop-songs take great skill to write. The Housemartins just said more so succinctly. Their music stands in stark contrast to so much other self-absorbed music with a message. And you can party to this music. When they were a pub band in the early eighties then they had no peers. It is one of life's great regrets that I never saw them in a smoky bar in Bristol (or Hull, or London) before Happy Hour made them nationally famous. Cheerful music that makes me think and makes me smile.

Don't let their cuddly exterior fool you.
The Housemartins have a message and they're not afraid to put it plainly. Coming from the 1980s British society that fumbled its way through massive political shifts, they house vitriol in lyricism, like the chorus of "Flag Day" - "It's a waste of time, if you know what I mean / Try shaking your box in front of the Queen / 'Cause her purse is fat and bursting at the seams / It's a waste of time if you know what I mean." But they're equally willing to poke fun at themselves, as with the frenetic and thoroughly uplifting "We're Not Deep" - even though you know they took a page from Twain's warning against symbolism in "Huck Finn".

The Housemartins remain my favorite "80s Nerd Alternative" band and will never go out of style in my house. I was reading Ayn Rand and Nietzsche while I was listening to "Get Up Off Our Knees", and the combined effect has lasted well into my adulthood.

I originally owned this on cassette, and the CD includes several bonus tracks that make it worth every penny paid - most notably, the gospel/a capella rendition of "He Ain't Heavy, He's My Brother" that never fails to bring a tear to my eye while I'm belting along with it in the car. It's on tracks like "Heavy" that P.D. Heaton and his bandmates redeem themselves for the conniving way they've driving socialism deep into your brain with their pop hooks. At their core, the Housemartins are not about politics, they're about people, and their affection for humanity must be the root of the beautiful harmonies and charming pop melodies that put this album in my top 5 of all time.

Good old nostalic college sounds
Loved it back then and am still amused by it now, but must thank rat_schmitt (reviewer below) for the post collegiate reality check. Baahhhh.

EBULLIENT COMMUNIST POP
This record is a joy from start to finish. "Anxious" could have been recorded by the Dave Clark Five at their peak, and "Happy Hour" was one of the best singles of the 80s. The leftist sentiments expressed in the lyrics could be used today in this era of capitalism run malignantly amok. Like Billy Bragg, the Housemartins made polemics fun.

Oh, and for you teenyboppers out there, Fatboy Slim was their bassist. ... Read more

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Ride was an essential element of the wall-of-sound, trippy, melodic shoe-gazing movement of the early '90s. Nowhere is their best album and is one of the prettiest albums of that era. Songs are psychedelic wash of reverberation, and ghostly, passive vocal melodies. Born from the womb of My Bloody Valentine distortion, Ride tempers their sound with an easier melody, reaching across to the pop spectrum. "Vapour Trail" stands out as the leader of the pack--a gorgeous song that floats and drones in and out of your head like a cleansing fog. --Beth Bessmer ... Read more

Reviews (38)

One of the great albums
Like all great artists Ride rediscovered the obvious and transformed it into something totally new. Effects pedals have been around almost as long the electric guitar itself, but mostly have only been used as incidental embellishments; a bit of wah wah on a solo, some discrete phasing on a rhythm guitar part, the ubiquitous yet mostly predictable use of distortion. Ride took these basic elements and pushed them to the nth degree, creating a wild, glorious soundscape of such intensity and emotion that one runs out of superlatives trying to describe it. From the chaotic "Seagull", through the melodic perfection of "In a different place" and "Vapour Trail", to the glacial textures of "Polar Bear", Ride reinvented what it was possible for a guitar band to do. Their experiments with the aural possibilities of the electric guitar reached its apogee on the epic "Dreams Burn Down", alas a prophetic title as Ride's ability to maintain this level of creativity turned out to be short lived. Ride came and went while other artists (liked the astonishingly overrated Radiohead) more profitably expoited the genre they invented. The best album of the 90's.

After Nowhere
Nowhere is one of the greatest extended statements of melodic guitar and band to rise out of the shoegazing movement. "Guitar" is the word most used in describing Ride, and this it is true that this was a guitar band, but what makes the lyrical work of Andy Bell and gang so great is that it worked as a whole. I find it difficult to separate the guitars from the rhythm section as is possible with other guitar dominated bands. This is to say that the cymbal and bass line throughout the opening track, Seagull, make the guitar solo 3 minutes into the song possible, as do the vocals. This ability to approach the symphonic is what makes this a great set of music that is able to sustain the impressionistic intent from beginning to end.
In the re-issue with the Today Forever ep the soundscapes of Nowhere are embellished in ways that can only be followed by a few moments of silence.
Seagull, Polar Bear, Vapour Trail, and Beneath stand out, and yet the CD is as seamless as My Bloody Valentine's masterpiece, Loveless. The music of each band is quite different, but as companions to a time period, and a genre (and this is a genre, shoegazing) they do stand the test of time. If a person were to have only one Ride CD then the re-issue of Nowhere would be the one, followed by Going Blank Again Re-Issue.

He he he
If heroin has a sound it would sound exactly like this band.

A nice "Ride".
I'm not going to say that this is the essential album of the genre, but it is one of the better ones. I think it takes a few listens to get into, and no particuliar songs really stand out, but as a whole it's very good. I like the cover art, because it really does reflect the sound of the band. In short, if you're into the "shoegazing" sound at all, you should enjoy this. It could be 4 stars.

Great First LP
This was a great debut LP by Ride. Probably their best although 2nd LP "going blank again" comes close.
This was Ride's greatest sound by a band that could and should have achieved more, in the sense of popularity.Although it may be better like this, so that only a select few can keep these gems to themselves, making it more personal. They were the best shoegaze band, even though many turn to MBV, however, Ride were more accessable. Shoegaze died mainly because of the music media backlash (especially NME). However, the current return of this genre may get this fabulous LP reviewed again and looked at without the biased opinion of the anti-shoegaze press. Then it will be seen for what it is rather than have a label on it. This is a great sounding, bright, fuzzing, melancholic and powerful record with a youthful energy that overwhelmes the listener if he has what it takes to feel it. Take the test!!! ... Read more

Reviews (42)

I Just Can't Stop Loving It
When The English Beat burst onto the musical two-tone scene with Ranking Full Stop and Tears of a Clown, everyone knew they were great. This album merely confirms it. Every song is a jam fest with toe-tapping magic and a crisp sound. Mirror in the Bathroom, Big Shot, Whine and Grind/Stand Down Margaret, and Best Friend are the "hits" as it were, but Two Swords, Hands Off...She's Mine, Twist and Crawl and Click Click make this album for me. The rhythm section for this band cannot be "beat" as they are fantastic. This is an excellent look at the two-tone influenced music of the early 1980s and what an excellent sound it was. Sadly, the English Beat could not sustain it after this album; but this is one pure, shining, fun moment in time. If you buy it, it will be one of your favorites. I was thrilled when they re-released it, and I thought of docking it a star because Tears of a Clown and Ranking Full Stop are not included, but one can suppose contract/royalties type of something or other has only allowed this version. You can find those songs on the Two-Tone Collection, A Checkered Past--which you should own anyway. Realistically, I Just Can't Stop It is still an excellent CD. Buy it for the kids today who think they know what SKA is. The English Beat puts all of the rest to shame.

Make no mistake
Make no mistake, the Beat was a great band and this release is a testament to that!

If you're looking for something to get you to snapping your fingers and tapping your toes, you've found it.

Not a bad track here!

unity
this was some mean unity music im like yaa you know how it goes you know im like yaa this awesome i mean awesome just awsome fantastic even it was the complete aposite of baah i mean it was yaa i mean the song rough rider is so awsome just awsome fantastic even every time i listen to it im blow away im just goin yaa

Can't Stop Playing It.
I can't be as generous as some reviewers who gave this cd the full five stars, even though it lacks "Ranking Full Stop" and "Tears of A Clown". But I can't condemn it entirely either. This is still a great collection of beautifully crafted tunes. I keep coming back to this cd and I never tire of it. I don't think it's for nostalgic reasons: I have other cd's for that. Plainly, these are gorgeous tunes, better than most that came out that year. Atmospheric, alternating between the energetic ("Mirror in the Bathroom", "Twist and Crawl") and the moody (Dave Wakeling doing a beautiful [and underrated] version of Andy Williams' "Can't Get Used to Losing You"), these songs remain as vital as they were twenty-odd years ago. And Saxa... not enough can be said about his ability to fit his horn into any arrangement.

I would argue that English Beat was NOT the best ska band ever, only because they didn't really limit themselves to it. Too much is going on in these melodies. And if you were lucky enough to see them live, their improvisations were extremely complex. This is not to imply that ska is "simple", but it is a singular, distinct sound. English Beat had way too many sounds.

Ah -hem.......
What box o' rocks left off two of the best songs on this album? I would not buy this just out of spite to show WEA what a group of fools we are NOT.

This was THE "ska" album of it's time! It rocked my college campus for months & months on end. I LOVED it, and still do! Timeless! But not when some do-do does a hatchet job on it.

BIG sigh... ... Read more

Album Description

Classic 1977 debut album for British punk act. Includes 2bonus tracks 'Dot Dash' & 'Options R'. ... Read more

Reviews (34)

Punk? What's Punk?
Greil Marcus wrote that Pink Flag owed more to Jean-Luc Godard's New Wave than to the Sex Pistols, or something like that. Cryptic though it may be, he's on the right track: Pink Flag takes Malcolm MacLaren's idea of pumping rock songs full of Situationist manifestoes the next natural step: the songs themselves play like Situationist "moments," bite-sized Impressions rather than fully-realized Ideas. I'd include it in the (always paradoxical) Punk canon because of the sense of dread that most of these songs manage to convey. Wire didn't suffer from the same kind of paranois you find on the Pistols' "Holidays in the Sun" or SLF's "Suspect Device; where tracks like those convey an Us-against-Them-but-we're-Them-too mentality, Wire relies on terse, direct songs with vague, abstract lyrics to give the sense that "There's something going on that's not quite right." And the fact that they never give you enough information to figure out exactly what that something is makes Pink Flag a creepy listen. Highlights for me include "Reuters;" "Lowdown" for its insistence on jackhammering a single riff for 2 and a half minutes; "Strange" for parodying Punk's buzzsaw guitar with a sound like the bloaded corpse of Steve Jones; and "Champs," just for rockin'.

start here with Wire
Wire's 1977 album PINK FLAG has been unmatched since, by Wire or anyone. Short, odd, angular, sarcastic songs, 22 in all, remind the listener that punk rock can be simultaneously smart, detached, and visceral. PINK FLAG is an essential punk rock album, standing alongside THE CLASH, NEVERMIND THE BOLLOCKS, THE RAMONES, and THE UNDERTONES as the best of that era.

Note: r.e.m. covered the track "Strange" on their 1987 album Document. The original is here on Pink Flag, and it sounds great.

New to Wire? Check out Pink Flag, then Chairs Missing and 154. A compilation entitled "1985-1990: The A-list" is a good summary of that stage of their career, and it also makes a good compliment to Pink Flag.

Do you have Wire CDs already? Pink Flag is the best of their pre-1980 releases, and their best overall. Don't miss it.

ken32

the smartest post-punk record to ever come out in the '70s..
... or ever. the popular post-punk band Wire has released greats such as "Chairs missing, "154", and their masterpeice "Pink Flag". running twenty two songs (option R* bonus track) in only 37 minutes. i dunno if Pink Flag is truely Wire's best, because Chairs Missing offers twenty more minutes with about the same amount of songs. but if you are starting to want to get into Wire, this is the album to start on. the tracks are put in order by a God, i tell you. minus the bonus track, "12XU" is the actual ending. the album gets more amazing by each track. when it hits near "Strange" it gets amazing streaming guitars, drums, and bass. its pure brilliance.

usually, i'll be writing more about something than this. but you should have heard of this album. popular by the punk fans of the 1970s, if you haven't read some reviews. that should encourage you to buy it. and really, you don't have to even like punk to enjoy this album. i don't even enjoy punk that much, all i really enjoy from that genre is Joy Division, Elvis Costello, the Clash, and... this. you're collection is ten times better having Wire's "Pink Flag" in there.

not just a great punk record- one of the best ever made
this album is amazing and while this band is highly under rated and not well known, i think they've been extremely influencial to a lot of bands. their musical influence is equivalent to the aesthetic/attitude influence of the (...)pistols. the best band of the late seventies "punk explosion" (...).

Still amazing twenty-five years later
Wire's "Pink Flag" is an explosion of minimalist punk with no equal. The songs are two minutes or less and chock full of energy, vitality and intelligence. No other band sounds like Wire- in fact Wire never sounded like this again. This album influenced bands from REM to Nirvana and is an important one to have in any serious rock collection.

Also recommended and almost as influential are Wire's follow-up albums "Chairs Missing" and "154" also great albumns but totally different sounds.

A must have album and without a doubt one of the great rock albums of all time. ... Read more

Amazon.com

The Invisible Band marks no major change in directionfor Travis, but this is no bad thing. That Travis are the mostsimplistic of thepost-Radiohead groups maynot sound like the heartiest of compliments, but it undoubtedly accounts fortheir massive appeal. The ManWho became one of the most popular indie-rock records of the1990s by virtue of its cheery accessibility and its way with a simpleweather metaphor, and judging by the lyrics of "Side"--"The grass isalways greener on the other side / The neighbor's got a new car that youwanna drive"--it's immediately obvious that come their thirdfull-length album, Travis have figured out that their fans are not waiting for abrave sonic crusade. Which doesn't matter a bit, because TheInvisible Band is such a natural, instantly lovable, and thoroughlyunforced record, it seems completely churlish to knock it. The opening"Sing" sounds like, since their inception, all Travis have been missingis a banjo; the florid "Flowers in the Window" harks back toMcCartney's finest Beatlescompositions; and the synth-led "Humpty Dumpty Love Song" lays Travis'ssentimental heart bare. "I'd pray to God if there were heaven," singsFran Healy on "Pipe Dreams," "But heaven sounds so very far fromhere..." And that's exactly why Travis are so popular; they're thehumble down-to-earth boys from next door, still singing the simplestsongs, still making the mundane sound beautiful. --LouisPattison ... Read more

Reviews (155)

Pure, Perfect, Priceless
With R.E.M. and Radiohead both releasing stellar albums within the month, the idea of releasing a new Travis album may have seem mis-timed, due to the lack of available attention. I see now that this collection of twelve tracks (and two quality bonus tracks) would have been appropriate at any time, for the sound used on The Invisible Band is priceless.

Highlights include the single "Sing", the John Denver-positive "Flowers In The Window", and the unfortunately-titled, yet incredibley powerful "Humpty Dumpty Love Song". But the fact of the matter is, every song stands out and is pleasing to the ears. Travis' actual musical abilities aren't exactly revolutionary or even unique, but the formulas and cliches that they do use are used in a proper manner and tend to add to the tracks, not diminish them.

Calling Travis Radiohead-lite is unfair to both bands, because (though they share a producer) their ambitions are not at all similar. Whereas Radiohead is out to challenge the boundaries of musical acceptance, Travis justs wants to sing, sing, sing, sing. And they're damn good at it.

fantastic britpop
I have to admit that I'm a britpop snob...I listen to Pulp, Supergrass, Belle & Sebastian, Black Box Recorder, etc. almost to exclusion. So when Travis came out to such acclaim with The Man Who, I really wanted to like them. Unfortunately, I found that album to be a bit too moody and depressing and ultimately it didn't get much play on my stereo. After hearing Sing, the first single off of The Invisible Band, I decided to give Travis another shot and I'm so happy that I did. This album is light years better than their previous offering. Pipe Dreams, Safe, and Last Train all have an eerily haunting quality which is superbly mixed with the more upbeat songs like Sing, Side, Flowers in the Window, and Follow the Light. I've been unable to stop listening to this album for the last 2 weeks. Buy it - you won't regret it.

Another Outstanding Album!
While it was nearly impossible to top their previous album "The Man Who," Travis has succeeded on a number of counts to do just that. It's true that as a whole the album doesn't quite attain the greatness of its predicessor; however, the strength of the album's best songs by-in-large outshines anything Travis has done before. Just a few of the instant classics here are Sing, Side, Follow the Light, and possibly the best song written by anyone since the Beatles--Flowers in the Window. With songs so richly beautiful, it's no wonder that the band quickly became a favorite of mine and my family's--buy it and I'm sure they will become one of yours too!

Really moving and beautifull music
i knew travis before from many great videos ("Turn","Why does it always rain on me") that were shown often on Mtv and some other channels,and from few songs that got some airplay on radio.i liked htat kind of music but never really wanted to buy their albums.once i saw "Invisible band" in some local store and i suddenly bought it...i don't know why,propably because adding something more freshs into my collection.i even didn't care much about hit singles from here like "Side" or "Sing".
while i switched on the album i was getting more and more excited and after 41 minutes while the album was ending i said to myself - this is it...
Travis combines beautifull melodies with excellent guitars,Fran Healy's touching vocals and a lot of melancholy.just listen to "Pipe Dreams"...it is one of these songs that will make you cry each time you listen to it when you are sad.More Up-beat sogns like "Flowers in the window" or "Follow the light" are very cheerfull and they can make you feel even better...what can i add more - Buy this album and feel it.simple but emotional,beautifull and passionate music.i am listening to it almost all the time since i bought it...

Brilliant Scotsmen Beautiful Music
This is one of those compilations that got into my head and heart right away. I'm so grateful to have heard this band, I think they are the next Radiohead. ... Read more

Amazon.com

Recorded in the north of England in a cold garage by a batch of 20-year-olds before they'd ever played a lick live, Bring It On displays a remarkable maturity, quoting from a musical source that only folks twice their age are privy to. The insularity of the remote garage removes these lads from the territory of their bombastic Brit-rock peers, freeing them to seek inspiration beyond the shores of their isle. Strains of American groove rock (think Little Feat or Dr. John) run throughout: the opening track, "Get Miles," lopes along on a bourbon-infused jam and Ben Ottewell's deep, gravelly voice, and "78 Stone Wobble" sounds like a long-lost Doobie Brothers hit. But Gomez aren't mere revivalists. Their take on American boogie provides a stale genre with youthful verve. --Tod Nelson ... Read more

Reviews (83)

If you're ready...
"Bring It On" resonates with honesty and purity. Recorded in a cold garage in the U.K., Gomez sound as if they're having a great time coming up with new sounds and lo-fi effects. "Get Miles" opens the album with a sizzling, evil bass pulse that turns into Ben Ottwell's earnest, throaty vocals. Highlights include "78 Stone Wobble", "Here Comes the Breeze", "Get Myself Arrested" and "Free to Run". The album is a bizarre combination of blues, reggae, folk, and rock. The guitar sounds are earthy and funky, the drums are understated, the vocals are right up front. You can tell it's really something special after one listen.

This is not music for everyone, but if you feel like today's music is bland and heartless, pick up "Bring it On" and enjoy.

By the way, they are phenomenal live...truely a great young band from whom we will surely see great hings in the future.

BEST ALBUM IN A WHILE
I heard about these guys when i was in England in the summer of '99, a good friend of mine let me listen to this cd, at first, i questioned their music talent, but after listening to it 3 or so times, i was amazed at all the effort, the sounds the backdrops that tingle the ear for a few moments and leave, i fell in love, i am in fact going to their conert in March, ne ways, this album shocked me, the simplicity and of some of the songs amazed me me, and the intenisity of others also amazed me, this is definately the best album of '98, liquid skin(their new album) is also pretty good, but this is definatley a turning in rock history, its just to bad not every one has heard of them and they dont get much air play, unless your in the tristate area, tune in to 90.7 and listen, they play some songs of theres from time to time, but this is a great album, buy it now

Really cool psychedelic sound mixed with a bluesy sound
This CD has flavors of the late 60s/early 70s psychedelic sound incorporated into some modern alternative music. The first track Get Miles reminds me a little of the sound of Strawberry Alarm Clock's Incense & Peppermints, while Make No Sound, The Come Back and 78 Stone Wobble could have been extra songs from Sgt. Pepper's Lonely Hearts Club Band. Tijuana Lady and Bubble Gum Years reminds me a little of the old Pink Floyd sound when Syd Barrett was the lead signer. Tracks like Get Myself Arrested, Free To Run, and Rie's Wagon have a bluesy sound to them.

And finally, Whippin' Picadilly is just plain cool.

I am beginning to wonder if we are about to have another British/U.K. Invasion (I wasn't alive for the first one, but I do know my music history), as there is a lot of cool music coming from England again. Gomez is definitely included in that statement, as are bands like South London's The Koreans, Jem Coldplay, Supergrass, Snow Patrol, etc.

OK, but nothing like Liquid Skin
This album shows the potential that Gomez has, and Liquid Skin shows Gomez fullfilling that potential. It's not that this album is horible, it's just average. I would recomend anyone interested in Gomez to by Liquid Skin, than once your a fan, go back to this album and prepare to be disapointed. I was atleast.

Gomez= Beautiful
Bring it On was the 2nd album I heard from Gomez despite it being their debut. I first listened to their Liquid Skin album. I had bought it because of a song I heard on the radio but after hearing the entire album once, or even twice, I wasnt impressed so back on the shelf it went. Three years later, which is recently, I decided to play it out of boredom, and I was completely floored by the beauty of their music and little did I expect that they would become my favorite band. So out I went and bought this album. It is just as beautiful. The music is as smart, as organic, as rich, as soulful and as open-minded as I would like my music to be. Being an avid listener of all genres of music, I have never found such a perfect combination of music before. And this precious rediscovery, made me realize that patience with music, and with Gomez the band, is essential if you want to love what you hear...So Go and experience Gomez, maybe start with liquid skin, and then this one, and maybe youll have to go through the rediscovery experience that I did, but I promise with patience, the payoff of what you get from this music is worht it. ... Read more

Album Description

'Stars And Topsoil, A Collection (1982-1990)' is the first 'best of' retrospective to span the entire period Scotland's ethereal alternative trio recorded for 4AD. 18 track overview of their first eight years together. Featured are tracks from their acclaimed albums as well as choice tunes from select singles. A perfect introduction to what is generally considered their best era. All tracks have been remastered as well. 2000 release. Standard jewel case. ... Read more

Reviews (18)

Blissfully broken and never forgotten
The album title aside, this is a must-have for any Cocteau fan, and a primer on one of the '80s most original and influential "gloom and doom" bands for those who are not yet fans. A comprehensive collection spanning the height of the Cocteaus career, Stars and Topsoil gathers 18 slices of beauty and serves them up fresh (and chronologically to boot) for your listening pleasure. Hearing the songs chronologically helps the listener to evolve with the Cocteaus, from the bass-heavy goth tune Blind Dumb Deaf (1982's Garlands), through the height of their "swirly-girl" beauty (Lorelei and Pandora from 1984's penultimate Treasure), to the last masterpiece from this one-of-a-kind band (1990's Iceblink Luck and Heaven or Las Vegas). Although this cd doesn't contain any unreleased tracks or alternate versions (like last year's BBC Sessions), it still succeeds in celebrating the Cocteaus, and spares the listener any of the less-than-beautiful new age pap that scarred their final two studio albums Four Calendar Cafe and Milk and Kisses. The Cocteau Twins and 4AD helped to build each other, and this collection represents both at their very finest. The omission of Ivo or From The Flagstones aside, this is perfect listening for those cold stormy nights ahead in the upcoming months....

Collection of beautiful songs, but not the best intro to CTs
I've been a rabid Cocteau Twins fan for many years and have all of their albums and EPs. When I heard about STARS AND TOPSOIL, this compilation put together by 4AD to summarize their superb eight years on that label, I immediately added it to my collection. Thinking about the release, though, I think that getting STARS AND TOPSOIL would probably not be the best introduction to this wonderful band for someone who had never heard them before. There are simply too many styles put together on this album and, although it does show the progression in the band's sound during the 4AD years, it is confusingly uneven for the newbie. I would simply recommend picking up HEAVEN OR LAS VEGAS or TREASURE to learn about the band. Leave STARS AND TOPSOIL alone until you've become familiar with the band and already have most of their albums.

But this caveat is only for people unfamiliar with the Twins. If you enjoy the gorgeous music of the Cocteau Twins, STARS AND TOPSOIL features 8 years of some of their best songs on a single disc. It's worth picking up.

It's another world.
I can't say I know enough about The Cocteau Twins to go into their history, or point out what's missing, so I wont. I will say this though. It's mostly the best of their 80's material, 18 tracks, all remastered, and every song more beautiful than the last. What's not to love. Perfect for one who just wants the best of this group on one album/cd. If your tired of radio and whatever the current fads are of the time, put this in and enjoy. It's timeless. And though you don't always know what she's singing about, I think it adds to it all, keeps your imagination going. This may appeal to fans of Curve, The Ocean Blue, or even Enya. I also think the best of Lush is as good, just a bit more pop/rock. Enjoy.

Where's the rest??
The Cocteau Twins are an amazing band, do not get me wrong, but 4AD's new let's-sell-best-ofs-to-make-money scheme really failed here (as it did with Lush's Ciao!). Numerous shining moment of the band's career are absent and some of the choices are just bad! Not including Ivo and Musette and Drums or more disdainfully substituting Wax and Wane for Blind Deaf Dumb (clearly the bands more break out track from Garlands) is just preposterous! Here's a great opportunity to throw the NME version of Ivo to the public, or the Red Tape version of Pitch The Baby rather than just using 50/50 clown as filler. The liner notes are just laughable. The remaster is quite good, but there is just something magical amiss in this collection. It's worth it for the remaster, and to have all of these songs in one place (especially Watchlar, one of my personal favorite tunes ever), but they could have done a much better job.

Bizarre Yet Beautiful!
The Cocteau Twins are one of the most underappreciated acts of all time. They succeeded in creating a very distinctive and innovative sound that makes much of what is labeled "alternative" music seem like Top 40. What I find most fascinating about this band is that while on the surface their work is very avant-garde, after closer investigation one finds that it has very strong Scottish national roots to it, just as much as a band like U2 (who are considered "alternative") has a very distinctive "Irish" sound. Though I do not currently have any other of the band's albums, I am certain that this compilation is a superb introduction. There is quite a bit of material here, and while it is not all equally superb, none of it is bad. "Aikea Guinea" has to be the most beautiful tune ever composed in the alternative music genre. Other great tracks are "Pearly Dewdrops-drops," "Lazy Calm," "Carolyn's Fingers," "Iceblink Luck", and plenty more! This is music that is to be EXPERIENCED, not something you sing along to. Yet how memorable it all is... ... Read more

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Pulp has suffered the twin misfortunes of releasing an era-defining pop hit in 1995's "Common People" and a boasting a gangly, instantly recognizable frontman in Jarvis Cocker who is better known than his songs. The years spent as an indie land produced some fine (and not-so-fine) songs. It's easy to forget just how brilliant the band can be, as witnessed by the shimmering, slow-burning beauty of "Last Day of the Miners' Strike." With a dignity that few of his contemporaries could muster, Cocker sings "Some joker with a headband is getting chicks for free" and name-checks kids spitting on the town hall and frightening old ladies. "The future's ours for the taking now, if we just stick together." Let's hope for the future of guitar pop that they do. --Ben Johncock ... Read more

Reviews (3)

...as long as you save a piece for me
You know you'd give it up for Jarvis Cocker. Without question. The way he can sneer right through a song while coasting on his smooth, white-soul voice inspires a host of dirty thoughts. Amazingly, this is a a 'best of' that manages to avoid glaring errors and ommissions. Don't even try not to shake yer hips to the first half of the album- songs such as 'Babies' and 'Common People' (the massive hit that pitted working class against upper crust with it's tale of a poor little rich girl) are laced with campy synths and have driving beats lifted straight from the Discoteque. And of course, it's all loaded with the kind of cheeky bantor that would make anyone but Jarvis blush. After all, how many bands could make you sympathize with a man who cheats on his girlfriend with her sister? As the pace slows the music segues into a series of slow-burn croons like the sentimental a "Little Soul," never losing the uniquely British character that Pulp refused to water down for marketability outside the Commonwealth.

Hopefully not Pulp's epitaph
On this evidence, Pulp may be the so-called "Britpop" act that has best weathered the '90's. They've been able to subtly alter their sound without retreating into obtuse "experimentalism" while also avoiding the trap of becoming one's own cover band. Older tracks like 1993's fantastic "Babies" still sound fresh, and the tracks from 2001's neglected "We Love Life" are easily on a par with the band's best work. In a rarity for compilations, even the new track is good!
Despite sagging sales, Pulp is still very much on top of its game. Let's hope that their current hiatus is not permanent.

They had it all
Its such a shame Pulp have faded from our lives. In 1995 they were megastars in the UK with their release 'Different Class' which typified the indiekid/britpop movement and beat all the other bands that were part of it (and yes that includes YOU Oasis and Blur) to, quite literally, a Pulp. But unlike the many other bands who have had one successful album amid a fog of underachieving ones, Different Class isn't actually that far ahead of other Pulp albums. Its just that Pulp were so part of that particular moment that, as its fashionability passed, and 'indiekids' became no longer 'kids', they lost their limelight.

While the singles from Different Class remain brilliant (their best known, the classic 'Common People', and also 'Sorted Out For E's and Whizz' and their best track ever, 'Disco 2000'), there's plenty more on offer in Pulp's Hits album. There's the pop charm of the singles from the earlier 'His n Hers' album (particularly the album's opener, the fantastic 'Babies'), the harder work of the 'This Is Hardcore' albuim the rockiest of which is 'Party Hard' and the later commercial failure but artistic success of the 'We Love Life' album, particularly 'Bad Cover Version'.

There's also a decent, slow-burning new track, 'Last Day of the Miner's Track'. RIP Pulp ... Read more

Reviews (42)

What a discovery
I had heard about DCD for some time and heard that those with my musical taste might like them. Well, this was the first album of theirs which I purchased and I put it on as kind of background music as I was doing some work at home. Within the first minute, I had stopped what I was doing and just started listening. I have heard a lot of music over my 40+ years, but I cannot recall being grabbed so thoroughly from the first listen. This CD highlights their knack for merging primal beat, folk, medieval, and almost operatic grandeur in a most unique way. Lisa Gerrard's voice is extraordinary, as is the band's wonderful capacity for merging some eclectic instrumentation. I have since purchased many other DCD CD's with mixed results, and find this one to be the best, by far. I have played it as background before some adult classes I teach in, and many students have been drawn to it enough to ask that wonderful question which all of us music lovers like to hear: "Who is this?" If you are curious about this band, this would be the one CD to try first.

Dead Can Dance can do no wrong
I'm astounded by the haunting beauty of Dead Can Dance. They truly were, and still are, one of the greatest bands around! Although Lisa Gerrard has been successful at her work on solo projects and movie soundtracks since the demise of DCD, I wish they would join forces one last time to create another breathtaking album. Of course I don't yet own their entire catalogue so I'll be patient for that hopeful day to arrive...

I admit to liking the faster world songs with upbeat percussion, which usually feature the vocals of Brendan Perry, over the slower more somber pieces that LG tends to sing but they balance it out so well on 'Toward The Within' - a record filled with live performances taken from their concert in Santa Monica, California - that it flows without notice as every track keeps you captive. Plus they both have such enticing voices that run deep with emotion and, despite how different they are, it wouldn't be the same without one or the other.

The fact that this isn't a studio album but something given straight up and raw makes the experience of listening to this that much more personal. If they messed up they messed up but the musicians played impeccably and in turn made a masterpiece that just might be deemed as the best work they ever did. That will always be an argument never settled, though, as every fan has their own opinion for the darkly lavished 'Within The Realm of a Dying Sun' along with the renaissance fair of 'Aion' were also very good and those two were later released.

Point is, whether you have all these songs or not, this is an album worth having for the sheer unraveling of talent unfolding.

Every track is great with A+ production quality but my absolute favorites include "Rakim", "Desert Song", "Yulunga (Spirit Dance)", "American Dreaming", "Cantara" and "Oman".

{Also check out the VHS version}

"What's that music???"
Every SINGLE time I play this CD on friends reunions or whatever, I always get the same: "What's that music?? It's Fantastic!!!"

You wont regret it. This CD must be a part of your collection, it can be placed in the MASTERPIECES rack of your house... No doubt about that!

Smooth, deep... This CD holds the perfection of rythm, sounds and voices.

If you believe that this CD will go make you go to sleep, You are TOTALLY wrong. Won't make you sleep at anytime, but will make you FADE AWAY...

A Natural High!

Their best work
Toward The Within is the high point of Dead Can Dance's catalog, IMHO. I discovered DCD with the video from which this soundtrack was taken. Discovered is an understatement. It was more like knocked on my backside by a bolt of lightning.

I have not heard anything like this mixture of music before or since. This band would be equally at home in ancient Egypt, on Babylon 5, or in Vahalla. The way they weave Celtic, Germanic, Turkish, Egyptian, African, and who knows what other influences and instruments with synthesizers and electric bass is unique beyond verbal description.

Lisa Girrard's voice is unbelievable. You really have to see the video because they do closeups while she is singing, and it is quite powerful to see her actually producing these sounds. Her voice is like one would imagine a valkyrie - the power of a tsunami with the delicacy of a hummingbird all at the same time. When you hear some female singers, like Kate Bush, Tori Amos, Enya, etc., you see goddess archetypes like Diana or Isis. With Lisa it is more like Kali. This is feminine energy, but it hits you like a freight train in the chest. Which is not to say it is harsh or ragged. Quite the contrary, she exhibits a control over her voice that is remarkable. She weaves soft Celtic lilting notes with deep, powerful tones, modulated by a Turkish or Berber-style vibrato that is amazing. Think German opera blended with belly dancing music and you will be in the ballpark, although that description really misses the true power and beauty of the songs. This is a woman who makes you feel the goddess in your gut as well as your heart, like Ann Wilson, Tina Turner, Janis Joplin, etc., but with a decidedly surreal twist. Lisa often sings in a language she creates herself, which adds to the mystique of their music. In some ways, she reminds me of Nina Hagen, although Hagen went from opera to more average punk rock. The power and control of their voices seems similar to me.

I don't care for the more traditional folksongs, although they are very well done. The quality of the other musicians is superb, and again, watching them in the video gives you an added perspective to the way all the different influences weave together.

If you like world music with a touch of other-worldliness, try out this CD. It is not for the faint of heart or those who like common, run-of-the-mill music of any flavor. This is very different stuff indeed.

Awesome. Just awesome.
I don't know if words can truly describe what I heard when I first put "Toward The Within" in my CD player and pressed play. This CD shows the true beauty and eclecticism that music truly is and should be. It shows Middle Eastern and Celtic influences, mainly but the overall feel of it is like you went back to the caveman days because the beat of all the songs, especially in "Oman," is seductive and gets in your blood, making you want to dance all night long. Then you get to some songs like, "I Can See Now," "American Dreaming," and "Don't Fade Away." They are simple songs, just Brendan Perry and a guitar but they are probably the most beautiful songs on the whole album! They are TRUE love songs, simple melodies with the most BEAUTIFUL lyrics probably ever written and Brendan Perry's soothing voice, making them soar. These songs are for when you are laying in the arms of your significant other with candles all around you, just cuddling and relaxing all night. Lisa Gerrard isn't on here as much as Brendan but her presence is still felt on this album. Especially on "The Wind That Shakes The Barley." Overall, a must buy! Soft, eclectic, soothing melodies with exquisite lyrics....who could possibly ask for more? ... Read more

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Super Furry Animals are not a band for the frail hearted. Sure, they might have an adorable name and endearingly shaggy manes. Some of their songs even start out sounding a little bit soft and gentle like Coldplay. But then singer Ghruff Rhys throws on an astronaut helmet, starts waving around a light sabre (literally) and soon the whole thing goes ballistic. The psychedelic Welsh quintet has made a career of taking perfectly good pop songs and inverting them violins, horns and magic dust. Songbook: The