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Coldplay required a lifetime to make their wonderfully assured debut,Parachutes. But it tookless than two years for the moody British quartet to deliver a masterful follow-up. As a band Coldplay have advanced to a stage where they outshine nearly every oneof their rivals in terms of imagination and emotional pull. A Rush of Bloodto the Head is a soulful, exhilarating journey, moving from the catharticrock of "Politik" to the hushed tones of "Green Eyes" without once breaking itsmesmerizing spell. Singer Chris Martin takes his voice on soaring flights,reaching places only JeffBuckley previously dared to go. And the music is nearly flawless, apersuasive cross between PinkFloyd and the Verve.Even if they haven't come up with another "Yellow," you would be hard-pressed tocare. This is exquisite stuff. --Aidin Vaziri ... Read more

Reviews (854)

What more can you say?
This sophomore effort by Coldplay shows the music development of the band. They still talk about heartache and hope. These lyrics are complimented with infectious bass hooks and guitar riffs, interspersed with soft or loud piano and drum harmonies. "Parachutes" gave a glimpse of what the band can do, much like "Pablo Honey" did with Radiohead. And like Radiohead's "The Bends," "A Rush of Blood to the Head" shows Will, Gerry, Jon and Chris, with their different music stylings and influences, come together as four strong individuals with much to say while proving they have amazing talent.

From the loud and somewhat dischorded harmony of "Politik" progressing to the quiet and subtle "Amsterdam," "A Rush of Blood to the Head" shows Coldplay's musical range--we see the eastern influence in "Daylight" and the folk-country inspired "Green Eyes"--all the while maintaing their signature lyric ballad ("Scientist," "In My Place," "Warning Sign").

Why 4 stars? Even with the strength of all of the songs, the album still gives a hint of their potential. I'll leave the five stars until then.

A Rush of Blood to My Head
After winning one Grammy award (Best Alternative Music Album), two Brit awards (Best Group and Best Album), two VH1 awards (Best Kept Secret and "Big in Japan") and selling 1.2 million copies of their debut album Parachutes, Coldplay would have to do something miraculous to overcome the sophomore slump. With their newest release A Rush of Blood to the Head, they show the world that they aren't going down without a fight. When the album opens, with the heavy and resounding drums and guitars of "Politik", you notice the change that has occurred between albums. Coldplay abandons much of the love and loss theme that was prevalent in their early work and its place is a slightly more joyful and upbeat sound. The radio single "In My Place" follows this with equal strength, as does the entire album. Not one ounce of energy is lost as the album takes you on its spiraling journey through the mind of a musical genius. In a pop-culture music scene that is dominated by artists like Nelly, Eminem, and Linkin Park, a rock record emerges that gives hope to those of us who long for more. The standout track is definitely "Scientist", where Chris sings in earnest, "Nobody said it was easy, No one ever said it would be this hard." The raw emotion that he puts into his music gives Coldplay that unique edge over most musicians in the genre. My only complaint about this album is the tendency of some songs to sound similar. However, with the caliber of songs that are on this record, monotony can sometimes be welcome and even intensify the musical power. Finally the CD closes with "Amsterdam", where you are confuident that Chris Martin's vocals and energy have retained their strength and that Coldplay has once again delivered a near-masterpiece.

They are still kicking it!
The sophomore effort from Coldplay is in no way a "sophomore jynx". It is not an extension from Parachutes either. It is totally different; not so much as a radiohead record but never-the-less different. Instead of coming off as indieish and a complete band effort, it sounds more mature and like a showcase for Chris Martin. This is due to the seemingly more emphasis put on the lyrics and vocals. Both of which are improved from their last outting. Also, their seems to be more keyboard used here especially on the two hit singles "clocks" and "scientist". It is difernet also in that it is much longer than thier debut; by over twelve minutes.

This record excels on many levels along with the aforementioned. It works more as a pop record and therefore seems more appealing to the casual listener. It also contains the groups strongest songs to date. However, despite its brillience, it is not perfect by any means. Among its flaws lie within lyrics. The greater emphasis draws people in. And on a couple songs, like the title track, the lyrics try to be way too philisophical and fail to accomplish their goal. Also, the record contains a couple straight forward rock songs. They are not bad but not what Coldplay excels at.

All of the flaws seem to make this record feel less complete, inviting track skipping and quick boredom. These are not qualities that Parachutes had and therefore AROBTTH is a slightly inferior record. I must urge people to pick this up though since it is still very very good. Don't expect the utter brillience from the first album to carry over however.

TRACK RUN-THREW
Politik- good opener despite werey lyrics.
In my place- pure pop
God put a smile upon my face- best rock song on the record
The scientist- sweet piano and lyrics
Clocks- captivatingly brilliant piano play
Daylight- worst track but listenable
Green eyes- good range of vocals and lyrics
Warning sign- beautiful
A wisper- driving guitar
A rush of blood to the head- too philisophical but still good/great
Amsterdam- best track

Hmmm...
I bought this album after it won a Grammy for record of the year for "Clocks," a song that I loved. I was hoping that the Cd would measure up as well, as I had heard "The Scientist" and liked that too, but I was a little disappointed. I thought a few of the songs were dull and mediocre, but maybe because this isn't my favorite style of music?
Overall, its an alright CD... I wish I had borrowed it from a friend before I bought it though, not sure I would have bought it.

alright you got me...
this band is pretty awesome. Ordinarily you'll find me listening to music genres like grunge, punk, metal and all that but this is the one band I cross into the mainstream/emo vibe. I first heard the song Yellow and was hooked, then after I heard clocks thats when I really started liking the band more and more and now as much as I hate mainstream stuff usually I find myself a fan of coldplay, the guys are great musicians and have a simplistic vibe about them that makes this just calm, sorta chill out music. So to finish; good album, worth picking up. ... Read more

Amazon.com

In the three years between this album and its epic-scaled predecessor, The Last Broadcast, Manchester trio Doves were obviously doing something more artistically rewarding than mere touring. It's not that their sense of ambitious scale has waned. It's that it has been refocused inward here toward personal matters and the state of their Northern UK homeland. The title track and thumping, soul-inflected single "Black and White Town" state as much early on. But much more than Doves' subject matter has evolved as well. The album's sonically intriguing mix of influences fuse singer Jimi Goodwin's unabashed hook jones with bottom-heavy club rhythms and the restless, expansive instincts of multi-instrumentalist twins Andy and Jez Williams. Then, all is channeled through the fuzzy aura of too many youthful 3am's at Manchester's famed Hacienda nightspot.

The gorgeous moodiness of "Snowden" and string-drenched, mouth-harp seasoned "The Storm" show how far the band has evolved from its early Sub Sub incarnation/Manchester heritage, even as the bigger-than-life "Walk in Fire" shows just how deep those roots go. It's a magnificent record, one whose sense of scale belies its innate efficiency, and arguably Doves' most wholly satisfying to date. --Jerry McCulley ... Read more

Reviews (49)

Whirlwind of Talent
Emiliana Torrini's album, "Love in the Time of Science", essentially gives us what the titles beckons. Ms. Torrini certainly follows in Bjork's footsteps, blending in a haunting voice of echoes and a compilation of electonica beats and orchestral compositions. Though, Torrini does not possess the wide style range of Bjork, her voice seems more trained, focused and confident - proof that Torrini is good at what she does, singing about simple interactions with the world around her.

"Dead Things" is a brilliant song, the one I flaunt everytime I visit friends who have not experienced the album. The song has a smokey jazz club feel, despite the electronic sounds, as Emiliana drones on about a desperate relationship. One seems almost spell bound by the gentle mysterious music until a wild instrumental is unleashed in the middle, then abruptly haulting back into the soothing tones.
The rest of the album keeps a good mixture of both extremes. Emiliana delivers a wonderfully charged serenade in "Unemployed in Summertime" - the sound is upbeat and playful, reminding us all of that last summer between childhood and adulthood.

The album plays itself off quite well - Emiliana loves to bring out music the hippi's can swing and sway to, with a background of chimes and buzzers. If anything, "Love in a Time of Science" is perfect background music for small intimate gatherings or to hold a seance. Which ever you prefer.

A must have album for those who appreciate Bjork or ethereal songstresses.

downtempo triphop pop with no comparison to bjork
What can I say about Emiliana Torrini? She's so dreamy that I need to replace my gus gus 'polydistortion' disc because I don't remember her singing on two of the tracks. Emiliana is an incredible singer albeit slightly commercial in places. Her tracks range from incredible triphop moments to saccharine pop, which isn't a bad thing. overall it pleasantly comes together as a whole creating a lovely collection of what I would call downtempo triphop pop. The only similarities between Emiliana and bjork are they're both from Iceland. There are times when her vocal stylings or pronunciations sound similar to bjork and on 'telepathy' and especially 'sea people' it sounds like bjork growling in your ear, but make no mistake it's emiliana you're listening to and that's where the comparisons should end.

my top three favorite tracks are: 'umemployed in the summertime' because it's such a lovely, upbeat optimistic pop song; 'telepathy' because it is one of those beautiful bjork-like moments with slow beats, rising strings and an aggressive bassline and 'tuna fish' because it's just a cool triphop track. I get goosebumps when she sings: "Do you know that tuna fish float up to the surface, bellies to the moonlight just to cool their hearts down." She's really amazing.

If you're looking for something refreshing then buy 'love in the time of science' but don't buy it if you're expecting a bjork sound-alike.

A gorgeous delight
Though her voice may be similar to Björk's, her musical approach is of a different nature, and just as spellbindingly virtuosic.
There isn't a dull song on the entire album, and her whimsical outlook on serious events, or mundane ones, fill the listener with a twinkly, yet realistic sense of wonderment.
From the driving tale of isolation that is "To Be Free", to the carefree amusement of "Unemployed In Summertime", to the giddy introspection of "Tuna Fish", this album is a stellar collection of immaculately crafted tunes, lyrics and trip-hoppish arangements.
One my personal favourite albums I have ever purchased. And to think I bought it with only knowledge of two songs :)

You'll love this one. Trust me.

Pretty, interesting music
Others have offered fine descriptions of Torrini's voice and music. Let me just add that this record was produced by Tears For Fears' Roland Orzabal, who also co-wrote "Wednesday's Child." The production is smart, streamlined, and at times quite innovative, and I think the album would appeal to people who like TFF's "melodic but edgy" sensibility.

absolutamente deliciosa
este album de emiliana torrini, es una joya, es su primer gran album en solitario y combina, con belleza y sencilles la electronica, el jazz y un pop muy suave y sofisticado.

es cierto, suena algo simil a bjork, pero es muy diferente a ella, emiliana suena mas serena, y como lo afirme antes mas sofisticada.

respecto a cada cancion, ninguna es simil a la otra, son diferentes, melodiosas y ese extraña pronunciacion de emiliana hace de oirla una experiencia relajante. ... Read more

Album Description

"Home alone and happy / Nothing brings me down" So opens Emiliana Torrini’s second album, a soft-yet-searing collection of twelve intimate and atmospheric songs that will whisper their way into your bloodstream. Back in 1999, when the singer released the critically acclaimed Love In The Time Of Science, Emiliana came out with a gorgeous, electronic trippoppin’ vision of endless summer and moonlit nights out. Following her departure from One Little Indian, there’s a new introspection, closer to Nick Drake or Jolie Holland than Portishead or Goldfrapp. The 27-year-old singer and writer has nonetheless been busy since Love In The Time Of Science. She moved to Brighton, joined the cast of Lord Of The Rings: The Two Towers to perform the enchanting ‘Gollum Song’ wrote and toured with Thievery Corporation, and wrote a Number One Hit for Kylie Minogue in the shape of huge-selling pop smash "Slow." ... Read more

Reviews (6)

Beautiful voice but disappointed.
When I purchased this album I expected something much more similar to "Love in the Time of Science" her 1st album.This is too mellow even for my wife.It reminds me of when Natalie Merchant left the 10,000 Maniacs.She had a cool voice too but it needed some good musical accompaniment.I realize recording artists have to change their sound here and there but this was too much.

*sigh*
acoustic, intimate and breathily soft, a non-jazzy-blues-ish version of norah jones. quite different from her previous album, which triphoppily falls under the electronica genre. i first heard her in "crazy/beautiful" (song entitled "to be free"), remembered her name, found this album last week at a nearby music cafe, bought it, and have been listening to it eversince. icelandic like bjork, and reviewed as a bjorkish artist (it's funny though--i can't stand bjork's music. i appreciate her lyrics, though).

From Scientist to a "Fisherman's Woman"
Making her American debut in 1999 with the flawless and intense "Love in the Time of Science", Emiliana Torrini established herself as one of trip-hop's finest and a muscician to watch for years to come.After a six year hiatus, along with a song on the "Lord of the Rings: The Two Towers" soundtrack ("Gollum's Song"), collaborations with Thievery Corporation, and writing a #1 dance hit for Kylie Minogue ("Slow"), she is back--and with a new sound strumming from her fingers."Fisherman's Woman" is a complete revolution from "Love in the Time oc Science", drenched in melancholy folk music.Ms. Torrini has incorporated so much nature into this album, focusing on hurt and recuperation, that it sometimes sound as if her and her production team fled into the remote forests and lakes of Iceland, recorded music and came back to see what had come into the mix.Some beatiful things include the creaking of a boat, the lovely way in which Torrini strums her guitar and, of course, that voice.She cooes and swoons her way through her music, allowing listeners to feel her pain and happiness, then relies on her guitar to do the rest, which does quite well.What is amazing about this album is how she has gone from hard-core trip-hop ("Love....") to folky acoustic music.In all, it is an amazing sophmore album and a great step in her creativity.Fitted for a lazy afternoon or an hour of creativity, "Fisherman's Woman" is bound to make you want to be that very fisherman of which she speaks.

Emiliana Torrini's Most Accomplished Yet (4.5)
Emiliana Torrini emerged around 1999, at least in the US and most of Europe, heralded as a voice belonging to Bjork's coven, a comparison I always found more related to their common homeland, Iceland, than a deeply strong sisterhood of sound.
Although 'Love In The Time Of Science" did bring to mind some of Bjork's occasional lullaby-like phrasings, and the album's arrangements did rely on subtle and timely Electronica, Torrini was already promising to be her own person, someone with something genuine and personal to say.
The thought that came to mind -please allow an unexpected metaphor here- is that the songs follow each other like geese migrating toward warmth, each of them distinct yet flying at the same altitude and with a common destination.
"Fisherman's Woman," her new album, is that promise fulfilled. Her voice, in this new album, is more confident, more decisive while never raising beyond a tender hush, a perfect tone to deliver lyrics that are at once revelatory, thoughtful and yet innocent and uncomplicated.
But don't let the sweetness of these tunes confuse you about the strength of their confessional power. Whether it is the short title song, the painful and beautiful "Today Has Been OK," or the gorgeous melody of the album's first single, "Sunnyroad," Emiliana weaves images into stories that you may feel she's only singing to you.
Equally worthy of recognition are the melodies and the band, particularly Dan Carey -who plays some unassumingly beautiful and intelligent guitar, as well as bass and pedal steel- and the subtle piano of Julian Joseph. This and the intimacy that Emiliana's voice is capable of, also shows decisively in "Snow," and "Lifesaver" with its bewitching cadence and the brilliant sample of the creaking wood of a boat swaying.
If you come to Torrini for the first time, I can't imagine you not finding enough to remain near, for repeated listenings. And if you were already touched by Emiliana's earlier releases, I predict that you will be elated with this album. She has become her own self yet more deeply, an old skin has shed and made space for a new one.
This is a brilliant album, confirming a voice and a sound that has much more offer to new singers than it owes to the ones that precede her.

different performance, same sublime beauty
*This is the same review I posted for the import version of this album.The two versions contain the exact same content, so I thought my review might also be useful here*

Torrini's sophmore album bares little resemblance to her first masterpiece, "Love in the Time of Science." "Fisherman's Woman" is strictly a light, acoustical production with none of the deep bass lines or trip-hop flare of her previous work. What Torrini preserves, however, is her wonderful gift of poetic songwriting.

As one can infer by the album's title, "Fisherman's Woman" evokes feelings of a simplier life and times. Arrangements are beautifully minimalistic, assembled with great care to accentuate Torrini's breezy voice and laymen's lyrics. In "Love in the Science of Space," her voice often seemed to play second fiddle to the wondrously rich music. In "Fisherman's Woman," however, Torrini's voice clearly takes center stage, with sparse stringed and percussive instruments serving as accompaniment.

Like her previous album, I don't believe there are any particular standouts simply because I find every song wonderfully engaging (I suppose if I had to pick, track #6, "The day has been okay," is very endearing). Torrini's two albums serve as a strong testament to her consistent skills as a lyricist and songwriter. For whatever reason, many musical artists disappear after their second showing. I pray Torrini does not join their ranks. It would be an utter shame to lose a bonafide creative talent in today's sea of mediocre performers pretending to be true artists. ... Read more

Amazon.com

Dan Snaith's Manitoba project is back with a new name but his hypnotic music hasn't changed. Caribou, like Manitoba, is still heavy on electronic jam sessions, with peculiar swirls of sound and stoned instrumental wanderings leading you who-knows-where. The Milk of Human Kindness also has that faint whisp of ‘60s bubblegum pop (see "Bees") and Stereolab-like drone present on Manitoba records like Up In Flames. Such reference points provide welcome toeholds in the midst of all the laptop anarchy, preventing the whole thing from drifting off into the ether. Snaith puts a few other twists on Milk, with mixed success. On the plus side, the sharp opener "Yeti" is a quick burst of fun, while "Lord Leopard" knocks up the beat a notch toward hip-hop territory. The lamentable "A Final Warning," however, falls off the deep end into an almost comedic dead-end. Still, Snaith continues to show off boundless creativity, and when he conjures the right mix of chaos and cohesion like he does on "Brahminy Kite," the result is a glorious noise all his own. –Matthew Cooke ... Read more

Reviews (2)

This disc rocks.
The smooth lounge-like electronics of Manitoba's first album, "Start Breaking My Heart" gave way to beats with a harder edge and more potential dance-floor use on the accompanying EP, "Give'r".The shift was an exciting one, but didn't foreshadow the complete revision in sound that the next album "Up in Flames" was.While the influence of psychedelic rock was heavy, it was laced with the laborious attention of the laptop artist/producer, producing a beautiful piece of ear-candy.(I initially gave "Up in Flames" a tepid review that I now regret posting, FYI.)

With this new album, Snaith has closed the circle, bringing back the hip-hop and dance aspects of "Give'r" while reinvigorating the folk-rock with clearer vocals and more live instrumentation.One of the things that I was disappointed with in the previous record was the lack of variation throughout the album, but here that problem has disappeared.The presence of some pretty damn funky interludes helps to split apart the spaced-out folk tunes into more discreet chunks.While there is still plenty of sprawling wall-of-sound rock, the mix is tighter and the song structures more focused.I've compared this band to the Beta Band and Beck before, but now it is clear that the torch that those two have dropped has been picked up by Caribou.This is his best album, yet, in my opinion.

By the way, the live show that this band puts on is blistering.I mean BLISTERING, they rock out and have great animations.That's why I listen to this record very loudly.

Awesome
I am truly amazed at what Dan Snaith has put down. He is one brilliant man. Up In Flames may have been a rock meets electronica affair but Milk of Human Kindness is electronica that's got a bit of funk, folk and FM.

This album starts off with a fast moving romp that will probably be the closest thing Dan will actually get to recording a dance track. If Madonna had done some experimental drugs when she was recording Ray of Light, it might have sounded like this. It then takes some bends and turns touching on 50's and 60's doo-wop, 70's funk, 80's hip-hop.... It's really a journey through a lot of musical styles. It puts a really interesting spin on the music as does his hypnotic Beck-like vocals.

This is definitely one of the best this year. All the songs are great but the standout tracks are YETI, LORD LEOPARD, BEES, DRUMHELLER (a small town in the heart of the Alberta badlands where the dinosaurs roamed - very cool landscape up there) and PELICAN NARROWS.
... Read more

Amazon.com

As these dimpled moptops from Oklahoma grow pepper-bearded and transform into wizened elder statesmen of sonic adventuring, the heartfelt candy of their loving bubblegum stretches ever longer into echoing soundscapes. If Radiohead are halfway to becoming U2, the Flaming Lips are nine-tenths of the way to pop nirvana. Hardly a song on Yoshimi isn't resonated, echoed, and reverberated--floating the listener higher until they have the ultimate bird's-eye view of what makes a great band tick. As with any album by the band, it's hard not to imagine parades and a sky filled with helium balloons while you listen to any of it--in this case, the party is enhanced brilliantly by digital filters and silver shimmering asides. The most immediate songs, like "One More Robot (3000-21)," are digital (almost trip-hop) dance numbers that lift the band out of the cornfields and into the loopy land of Björk. Little surprise, then, that the band are already following up this majestic splash of gummy bear brilliance by recording a CD with kids' TV show host Steve from Blue's Clues. It's like Woodstock meets Snoopy! --Ian Christe ... Read more

Reviews (285)

Her name is Yoshimi; she's a black belt in karate...
And so it begins.

I had never listened to a Flaming Lips album before, but I kept seeing "Yoshimi Battles the Pink Robots" on some of last years "best albums" lists, so I thought I'd take a chance and check it out. It took about three listens before I was hooked on this cd. I can't help smiling when I listen to it, and I listen to it at work, while I'm driving, and at home. While not usually a fan of the concept-album per-se, this one has really stuck to me. It has a hint of Pink Floyd, with almost dreamy, ethereal, qualities. It is full of some wonderful bass lines, creative percussion, and thoughtful lyrics. My favorite songs are "Flight Test", "Yoshimi Battles the Pink Robots Pt. 1", "Ego Tripping at the Gates of Hell", and "Are you a Hypnotist", but "Do You Realize" is my stand-out favorite, just a beautiful song, and it sickens me to now hear it on a television car commercial.

If you have eclectic tastes in music, and don't limit yourself to pop radio, I think you will enjoy "Yoshimi Battles the Pink Robots".

Perfect pop songs about robots, Mars, love, and death
The Flaming Lips followed their masterpiece, 'The Soft Bulletin,' with this, a concept album EP linked to a collection of beautiful, strange songs about love and death. The first four tracks refer to the title of the album. Yoshimi battles pink robots to a 'kitchen sink' soundtrack --- the band combines everything from techno-pop to acoustic dirges into a vague story.

Then the album opens up. 'In the Morning of the Magicians' and 'Ego Tripping at the Gates of Hell' are the high points of the disc. They transmit you from Yoshimi to the super-bright pop songs that close the CD. The final four are simple, introspective ballads that sound a lot like Beck's 'Sea Change.' The whole thing ends with a fantastic instrumental about ballooning across Mars.

In a perfect world, this album would win every Grammy and be played over and over on the radio. But I guess I can settle for owning it and listening to it all day at home. After this CD and 'The Soft Bulletin,' the Lips are on a roll. I can't wait to hear what they'll do next.

5 STARS BABY!!
This album is off the hook. I love the flaming lips and would definitely buy this album.

I love it...
I absolutely love this cd... It's at least 4 Gold Star material...

->Ego Tripping at the Gates of Hell
my fave song/title on it

My friend gave me a copy and as they say better late than never... The music is superb and the lyrics are eccentrically interesting... As well as the vocals smooth nicely over the music...

Pick it up and give it a try... You'll like it even if your name isn't Mikey - a Flaming Fan - Savannah Skye...

its gotta be my favorite cd of all time
wow. ok,i can't say this is my favorite band... but i love listening to this cd... and i lost the damn thing. but till i can scrape up some money to buy it again, i just keep listening to the 30 second samples on amazon. yeah i know pathetic. when i first heard flaming lips, i was really suprised at how unique their music was. some of there songs remind me of an addictive video game beat you can't get out of your head while others are more melodic... the weird thing about this cd is that i can put it on low and go to sleep with it on or put it on high and get all "pumped up". the only other cd i've heard from the flaming lips is soft bulletin which is good too but in no way does it compare to yoshimi battles the pink robots. my favorite song is "yoshimi battles the pink robot part 2" i think it's called (sorry, remember i haven't listened to the cd in a while)i love it when yoshimi screams at the top of her lungs... i get chills all over... get it or regret it ... Read more

Amazon.com Music Reviews

People tend to confuse the band Mazzy Star with it's singer Hope Sandoval. Truth be told, they've been right all along. Sandoval's languid, weeping willow voice is Mazzy Star; the name is a mere formality. With nods to Nico and the Velvet Underground, So Tonight that I Might See is vintage Mazzy. Remarkably, the recording produced a strikingly undanceable single, "Fade into You,"that ascended to respectable rotation on college and AAA radio. The rest of the album sticks close to the single's plaintive, retro balladry. Though Sandoval rarely raises her voice above a sultry whisper, it's bright enough to hold your attention all night. --Nick Heil ... Read more

Reviews (74)

A Stunningly Beautiful Album!
This album has been in constant rotation in my cd player for years and years now. It really is a beautiful album. I never understood the people who said that all Mazzy Star songs all sound alike. I never thought that in any sense at all. they all are so subtle and subdued but yet all have their own personality. The album really coheres in a sense, but each song tells it's own story. It isn't simply a collection of random songs but more a book of short stories held together by a common thread.

From the first track, Fade Into You, a sort of surprise hit single on the radio with its country tinged, folk psychadelia to the grand finale, So Tonight That I Might See, a Doors inspired stream of conscious masterpiece, the entire album shimmers with emotion and feeling and dreamy landscapes. David Robacks sweet guitar playing and lush arrangements provide the perfect backdrop to Hope Sandovals detached but angelic voice and an almost faceless backing band provides the perfect foil for the dark, laid back duo who are fronting the show.

Fade Into You is a beautiful tune, filled with desertlike folk country-ish sounds, that never seems to wear thin. Bells Ring which is next, keeps the same spirit as Fade Into You, albiet with a more heavy, electrified spirit and then Mary of Silence And Five String Serenade bring the band closer to a funeral type atmosphere, but it's Blue Light, the fifth track that lifts the band out of it's misery. This almost tone poem, is filled with an aquatic organ sound that is perfect, almost with it giving you the feeling of a soft, blueish light shining through the window on a what was rainy afternoon during a hot summer's day.

She's My Baby is nice and is next, but it's the seventh track, Unreflected that has consistantly moved me and been one of my favorite songs of all time. It's gently ringing acoustic guitars, soft shaker and echoey vocals by Sandoval remind me of lying in a field in the desert on a clear summer's night with the brightest stars against the darkest backdrop circling above. This is a song that could simply be called cosmic... something which not many songs truly are.

The album then shifts gears with the coarse and tripped out "Wasted" only to find it's way back to dreamy folk on "Into Dust," which gives way the powerful closing track, So Tonight That I Might See. In similar fashion to The Doors, "The End," Sandoval sings with detached fashion almost unceasing string of words whih sound almost like an uninterupted thought from beginning to end.

So Tonight is a fantastic album. You may have heard Fade Into You on the radio at some point. Give it a try if you haven't already. It isn't music that you want to race cars to (effectively atleast) but it is a great cd. The playing by the band (except Roback) is nothing to run to the store about, but they do managed to create a dreamy atmosphere which is unbroken throughout the show. Highly Recommended.

So tonight that I might see
"So Tonight That I Might See" is another cd I haven't listened to in a few years that I thought I would throw into my stereo. I have always loved the haunting ballad "Fade into You". I guess Mazzy Star is what a lot of people would consider to be shoegazer. The music is mellow and soothing to relax to. Now that I am listening to the cd for the first time in 2-3 years, I find myself completely enjoying the music much more than I initially did. Hope Sandoval has that little girl voice which isn't a bad thing. She obviously left an influence in music, namely with Allison Shaw of the band Cranes and maybe a little with Sharin Foo of The Raveonettes. I still don't care for the tracks "Mary of Silence" and "Five String Serenade". Maybe because of the lack of melody and Hope Sandoval's monotonous vocals is what turns me off from the song. I love the acoustic guitar on the latter track but there isn't a real sense of melody or emotions in either song. I still think that the best tracks on the cd are "Fade Into You", "Bells Ring", and "Blue Light". I particularly enjoyed the gospel influence in "Blue Light". Hope's vocals actually doesn't sound so monotonous on this track. Although not perfect, "So Tonight That I Might See" is still a solid album to chill out to after a long day at the office.

Really Good, But Not The Best
"Among My Swan" is the best Mazzy Star album, but this is well worth your time. Hope Sandavol is an amazing talent and you won't be disappointed.

the epitome of beauty
I first heard the song "fade into you" in the movie Angus during the scene where Angus and Melissa shared their first dance. I remember being struck and thinking how beautiful the song was. Years later when my taste in music began to mature I stumbled upon Mazzy again and rediscovered the song. Hope's voice is in my opinion the most beautiful and ethereal voice in rock and roll. "Blue light", and "Five String Serenade" are both hauntingly beautiful songs and whenever I hear "Into Dust" I feel as if I could cry. "So Tonight That I Might See" is a nice little psychedelic number with a cool Celtic feel. Not ever song is perfect though, "Wasted" seems a little misplaced. I own every Mazzy album and there's just something about this one, like a certain tone in her voice that puts this album just a step above the rest. If I had to pick three cd's to save this would easily be my #1. A must have for any true fan.

brooding power
this is an awesome cd!I'd compare hope sandoval(mazzy star's singer)to julee cruise or kim gordon(at times),and the music is definatly reminicent of the first two julee cruise albums.it has a subtle "misting" effect that sweeps through you and makes you feel what she feels.my favorite track is the one with the slide guitar on it.fans of dark tones and affectionate vocals should eat this right up! ... Read more

Amazon.com

What's the meaning of this double-disc anthology? Literalists will note that it's called Prisoners of Love, and while songs like "Our Way to Fall" and "The Summer" are pretty enough little ditties, neither "Drug Test" nor their cover of Sun Ra's "Nuclear War" are liable to be featured in a Meg Ryan romance anytime soon. Those handy with a calendar will note that the album was released to coincide with the band's twentieth anniversary, and while it's not explicitly stated anywhere on the cover, this is most likely the reason for this lovely little mix tape of the best band to ever spring forth from the Garden State. They may have the snobbiest record collections around, but Yo La Tengo's dreamy drones, garage funk, country pop and wailing jams somehow comprise the most utterly compelling and literate pop music of the past two decades. Don't believe me? Dude, just press play. This version includes a separate bonus disc with unreleased demo and acoustic versions of songs as well as limited-edition 7" and EP tracks, including Kevin Shields' brillian remix of "Autumn Sweater."--Mike McGonigal ... Read more

Reviews (5)

A great overview of a brilliant and dynamic band
Yo La Tengo is my favorite band. I own their first LP, Ride the Tiger, on vinyl (the rest of my collection is on CD). I've also seen them live about six times, and each show is different from the other (one show, in fact, was of them playing improvisational background music for a psychedelic light show). In fact, with Yo La Tengo, while some things - like the overall quality of their music, well demonstrated on Prisoners of Love, stays constant, other things - particularly their pioneering and experimentation-prone spirit - show constant growth and dynamism. Great musicians - be they the Who, Bob Dylan, the Beatles, Miles Davis, the Kinks, and Elvis Costello - all showed this dualistic quality. Just like Yo La Tengo.

What to say about this compilation? Essentially, it represents all the different phases of the band's career, from their start in the mid 80s as a slightly folky, sort of bouncy and quirky post new-wave rock act, to the bliss of their early 80s shoegazer phase (somewhat reminiscent of My Bloody Valentine and others), to various later melodic/sound experiments. What's also cool is that the songs are in no particular stylistic or chronological order. They're just there, and if the listener doesn't necessarily like the order, s/he can rearrange it (for me, though, it works just fine). Anyway, listening to these tracks, one hears various songs (Sugarcube, Big Day Coming, Lewis) in which the band rocks out. Others (Did I Tell You, our Way to Fall, Autumn Sweater, etc.) are softer and quieter, and nicely balance things out.

As far as the Title - Prisoners of Love - I've thought about what it means, and I think that it is quite apt. It shows the kind of quirky, ironic humor the band is known for (their very name - associated with the haplessness and miscommunication of the 1962 NY Mets - is another example of this). However, there is also something more serious. Yo La Tengo is very much about love - for one another, for music, and for life. They must then see themselves as "prisoners" to this love, i.e., simply accepting it, warts and all, and going with it, allowing themselves to see where it takes them.

One last comment; The outtakes and rarities disk is really worth having. Much of it is of alternate takes on various songs they've recorded and released elsewhere, and in listening to these, one gets an even further sense of the pioneering and experimental spirit of a truly dynamic band. It also shows their willingness to cover everything from well known rock icons (like Stevie Nicks) to bands much more obscure than themselves (the Dead C anyone?) and to give their coverage that unique Yo La Tengo touch.

May they keep leading a path for indie rock for 20 more years!

Great Intro to Band / Better Liner Notes Would Help
For a newbie to YLT (myself included), this Collection is a great sampler (at a Great Price!) of the Band's Indie-Rock genius. However, given Ira's well documented Music Critic/Record Geek credentials, how come there's no notes in the accompanying booklet as to which tracks belong to which Lp's? Surely the folks at MATADOR could've kidnapped some slovenly Intern from Sub-Pop or Drag City to help out with some more Fleshed-Out Background Info for us, the uninitiated.

Worth it for the bonus disk alone!
Worth it for the bonus disk alone!The third disk of rarities plays as good as any of Yo La Tengo's best albums (do we still call them albums anymore?).It flows from one song to the next, each song a standout on their own, the sum of it's parts (tunes, instrumentation, slow songs, fast songs, and a large dose of guitar blasts) works so well.My only complaint is the cardboard slipcase enclosing the three disks is so tight I could barely get the CD cases out, even more difficult to get the CD's back in the darned thing!The two CD best of plays just as well - this could be as much a contender for Desert Island Disk as Hear The Sound of Two Hearts Beating.

great compilation from NJ's greatest band
I bought this collection mainly for the disc of outtakes and rarities, being a long time fan of the band.That disc alone made it worth the price for me. For me it's great to hear alternate version of songs that I already know and love ("Big Day Coming", "Decora"), as well as outtakes and covers I hadn't heard.

What is great about the 2 disc retrospective is that songs from the begining of their career ("Lewis", "Barnaby Hardly Working", "Drug Test") sit along side songs that were released in the past few years with out sounding dated or out of place.That to me is the mark of a great band.

This is a great introduction to the band, and while there are a few songs I would have liked to have seen included, this is a great place to start if you're interested in yo la tengo.

Yo La Tengo are the best band in the world
Listening to this collection it's amazing to hear tracks from 1985 sitting comfortably beside tracks from 2002.Every song projects the warmth and orginality that is so prevelant in everything they've done.They just might be the quintessential indie rock band.Pick it up and see why they've been able to hold such a devoted fan base for 20 years.This is music that will be loved for years to come, if you've been missing out on Yo La Tengo it's time to do yourself a favor and check them out. ... Read more

Reviews (2)

A wonderful treat for Coldplay fans......
.....who are waiting for their 3rd album. I stumbled across this last night at the store, and it has Coldplay's early work. The first track, 'Brothers and Sisters,' is wonderful, and so is 'Only Superstition,' but I loved 'Easy to Please.' It's a dreamy Parachutes-like song. The piano is such a beautiful addition to the song. It makes you leave whatever troubles you and go into Coldplay's world, led by Chris' soft trance-like voice. The song, and the other two songs, are gems. A must for any true Coldplay fan.

Coldplay's First Release Ever
In 1998, Coldplay was toiling away in London pubs when they got noticed by someone from Fierce Panda Records, which offered the band a one single release contract. In March 1999 the label released this 3 track single, which immediately attracked great buzz, leading to a bidding war among bigger labels and some months later the band signed a "major label" deal with Capitol.

"Brothers & Sisters" (3 tracks; 11 min.) is a fascinating look into early-Coldplay. The title track is quite good, and the band later re-recorded the track as a B side for the "Trouble" single in 2000. "Easy to Please" is a dreamy track, with Chris Martin crooning away over sparse instruments. "Only Superstition" finds the band rocking harder, a nice track.

In all, a very welcome re-release of Coldplay's earliest recording. Definitely highly recommended for those of you who (like me) are charmed by the "Parachutes" sound. ... Read more

Amazon.com

On their seventh album, the Duluth, Minnesota-based trio Low have sped their songs up considerably so that now, they’re at normal pace. The album was cleverly produced by Dave Fridmann (Mercury Rev, the Flaming Lips, Wheat), and there are many fine songs here, like the upbeat anthem "California," the soundtrack-ish dirge "Pissing" and the gorgeous "Cue The Strings." Low has yet to make a bad album, but this is what you might call a "transitional" album. And speaking of transitions, there seems to be little glue to link these varied songs together. "Step" sounds like a song the Partridge Family threw away, while "Everybody’s Song" shows that when you speed up repetitive dynamics that worked well at a glacial pace it’s not always such a good thing. Tempo isn’t everything by any means, but the self-imposed limitations of their former working methods, which produced such striking songs before, has yet to be replaced by an approach of equal value. At times, they don’t even sound like Low, but rather just another indie-pop band--not a bad one by any means, but not a sublime one either. It’ll be very interesting to see where they go next. --Mike McGonigal ... Read more

Reviews (16)

Review from the Synthesis
As I'm sure groups like the Flaming Lips, Mercury Rev and even Phantom Planet could attest, Dave Fridmann seems to be the man to enlist for bands looking to reinvent their sound. However, unlike those just mentioned, Low has used Fridmann's technical prowess to simply bolster their established sound rather than drastically alter it. The inclusion of this sonic depth only strengthens the material on The Great Destroyer, adding solid amounts of backbone to this collection of concise indie pop nuggets propelled by beautiful Yo La Tengo-style boy/girl harmonies courtesy of Alan Sparhawk and Mimi Parker. The group still remains equally powerful in the quieter moments, however, such as on the acoustic mid-life crisis yarn "Death of a Salesman."

- Landon Moblad
Synthesis.net

Low reviewed on ThreeImaginaryGirls.com
While The Great Destroyer certainly shifts away from the meek and lowly station that this band has long been identified with, it is not necessarily an abrupt shift. True, this record is louder. True, this record is faster. But the essential elements remain the same: the long-winded vocal harmonies, the slow rising chord progressions and the "la-la-la's" are all still intact. But, despite the slow and steady hand that has raised Low to just-under-celebrity status, there has always been three sides to this band: the pop side, the dark side, and the just plain silly side. This record explores all three, which is why it may be the most honest Low release to date. Not that I buy into all of it. Tracks like "Everybody's Song" and "Just Stand Back" have an awkwardly conventional feel to them 151; almost as if Alan is proving to us that he can "rock out." While lines such as "It's a hit/It's got soul/Steal the show/With your rock-n-roll" have been getting a lot of press...it's simply not Low. At least, it's not the Low that I fell in love with. It's more New Order than Joy Division, if you get the drift. Then again, who am I to define them?

The truth is, if they had released a record that sounded anything like their first four, we writers would likely be bitching about that just as much. But for the love of Parley P. Pratt, don't we have enough rock music out there? And wasn't Low supposed to be our refuge from it all?

One thing glaringly obvious is that being hailed the "Kings of Slo-Core" was never a crown that rested comfortably upon their collective heads.

Read the entire review: http://www.threeimaginarygirls.com/low05apr.asp

Fine, but... fine
This is an album that grows on you like cancer. But you might want to quit smoking those death sticks of yours and have a peek at Low's seventh installment. It works quite like a puzzle, a fragile, yet dense construct. Layer after layer, most of the songs which are just efficient indie/pop songs, at first glance, reveal a depth that you have to scratch to unveil. The darkness that emanates from some of their songs (Monkey, On the Edge of,...) takes you on a road paved with light. A yellow brick road going through a thick, dark forest. You know what I'm talking about. I don't.
The Great Destroyer is a great album. It grows on you like the sweetest of cancers.

lazy music for lazy people
Low is one of the great con jobs of the century (young as it is). Their low-fi "gimmick" seems to be enough for their fans, who obviously celebrate amateurish playing and junior-high poetry class lyrics. Making it louder only amplifies their weaknesses. Only in Minnesota...

"Great" Is Right
After 11 years of a slow motion rock that was the aural equivalent of decomposition, it seemed that Low would take their brand of "slowcore" to its logical end:brain death.But a strange thing happens on The Great Destroyer, Low's seventh studio release:they remove their heads from their collective ass, take a long hard look at the world and decide that they both love and hate what they see.Then they rock.Perhaps it's been the long slog of some truly lugubrious past releases, or the kind of brisk thaw after a cold harsh winter that makes you overrate the first nice day of spring, but The Great Destroyer is bracing, easily the best thing Low has done.From the suicide ride of opener "Monkey", to the compromised lure of sunny "California", to the happy death closer "Walk Into the Sea", singers Alan Sparhawk and Mimi Parker, along with bassist John Nichols, feel both the sting and the warmth of the sun on their faces, and react accordingly.And just so they don't alienate their depressed fans, the best song here -"Silver Rider" - does the slowcore thing to perfection, condensing all their themes into one gorgeous, slow, sad song about the passing of time, the decaying of the body, and the final triumph of "the great destroyer". ... Read more

Amazon.com

The Last Broadcast sees Doves frontman Jimi Goodwin and multi-instrumentalist brothers Andy and Jez Williams soaring to new if perhaps grandiose heights. The thundering opening beat and spiraling guitars of "Words" are reminiscent of Ride at their bombastic peak, and "There Goes the Fear" has relentlessly reverberating Latin rhythms, New Order-influenced guitars, and sweeping vocals that are nothing less than breathtaking. Quiet reprieve comes with "M62," a delicate haunting reworking of King Crimson's "Moonchild," bizarrely recorded under the M62 flyover in Manchester, and its desolate atmospherics are juxtaposed against the remainder of the album. With the thrusting onslaught of "Pounding," the obligatory earthy rock of "N.Y.," and the joyous pastoral acoustic-led splendor of "Caught by the River," the Doves have crafted a liberating sophomore album that happily combines the uplifting anthemic essence of dance with good old rock & roll.--Christopher Barret ... Read more

Reviews (106)

Takes them to the next level
Doves are a unique band. Coming from a background in dance music (as the band Sub Sub), they applied their sensibilities in that genre to create a wholly original sound as a rock and roll band. They're compared to bands like Radiohead and Coldplay much too often, and Last Broadcast is proof of why.

Doves know how to make moody, ambient music. But what they've become masters at is taking their soundscapes and turning them into warm, full rock songs. Their debut, Lost Souls, was the beginning of Doves honing their sound. Here, on Last Broadcast, the band is tighter and more focused. A killer intro preps you for something astonishing, and when "Words" blasts in, it delivers. A clever riff enhanced by lush, rich production and a disctinct tone of optimism, "Words" leaves most gloomy Britpop bands in the dust (Travis and Starsailor, pack your things).

Following the reggae-tinged "There Goes the Fear," the haunting King Crimson rework "M62 Song" drifts in as if from an ancient AM radio. Beautiful in every way, it echoes the work of Nick Drake and other long gone troubadours without feeling out of place within The Last Broadcast's greater framework.

Some songs miss ("Satellites" is too long and meandering), but the last four songs are as good as it gets, particularly "Pounding," a pulsing, driving anthem sure to be playing on a movie soundtrack sometime in the near future. Where Lost Sould petered out as an album, Last Broadcast ends with "The Sulphur Man" and "Caught by the River," both powerful, atmospheric arrangements that leave you wanting more.

Fortunately, for some customers, there is more. Some editions of Last Broadcast contain a bonus disc with four extra songs. Seek it out. While the four extra songs are fittingly not included on the album, they are fun on their own, particularly "Hit the Ground Running," which is a Doves rehash of "Werewolves of London." Already big in England, Doves deserve a larger following here in the US. The Last Broadcast could be, and should be, their big breakthrough.

An individually brilliant album for the Doves
The Doves sophmore release, The Last Broadcast, bucks the traditional sophmore slump and takes it's place as a stunning version of Brit-pop. While not as dramatic, moody and brooding as the debut album, The Last Broadcast is definitely the Doves' chance to shine as songwriters and as musicians.

In comparison to their earlier release, Lost Souls, The Last Broadcast is definitely a happier and more accessible album. What the album lacks in dark honesty, it makes over tenfold in perfect songwriting.It almost reeks with pop motifs and has definite brit pop sound. A song like "N.Y." feels like a Blur song with Oasis pop, and "Satellites" is just riddled with gospel-influences, which instantly reminds me of Sting's last album. Those are just a few examples, at least. This doesn't detract from any of the songs (all of these influences are good), but it's not as groundbreaking or mood-setting as the debut. A song like "Pounding," which is my favorite track, has fairly basic guitar playing and musicality, yet has all the perfect hooks to draw the listener closer into the music.

While I am a devouted fan to their debut, The Last Broadcast is an ideal follow up and a perfect way for the Doves to become one of the focal points of the new brit-pop movement. Their songwriting and lyricism is still up to par, and any appreciator of just good rock and roll would immensely enjoy this CD.

what you stole my queen margaret stamp!!!!
this four is based entirelly on a few of the songs(words,satellites,pounding,last broadcast). this is probably because i am normally a fan of death, black, and doom metal (with a bit of rock thrown in because its good and to avoid being totally hated by scum who think they're better than me because they like things that lots of other people like as well). there are however a few CDs such as this which i like for no apparent reason that i or anyone else could ever explain. i don't know why i like it but if I do there is no good reason for anyone else in the world to not like it.

A Major Album
This is the second record by the much loved Doves. They are the greatest thing to come out of Manchester. Their first record Lost Souls was brilliant but often uneven. This time they went into the studio with the idea "Every song's got to be a killer." They were tired of being labelled as a dark and depressive band. They wanted to do music that was positive and upbeat, since now being miserable such a cop out. There's a new enthusiasm and confidence on the new record. The Last Broadcast is mostly self-produced. After the strange "Intro" the album moves into "Words" and that's where The Big Music starts. Even though it uses a U2 guitar riff, it goes on to something else. This is wake up and face the day music. This record makes you think about you life and hardly any music does that anymore.

Songs like "There Goes The Fear" and "M62 song" show their more folk side with a knowledge of prog rock. The first song sounds like coming off drugs and trying to enjoy life with them. Doves are great at creating distinct sounds that come to mean something over time and repeated listens. Mostly recorded in Manchester and Bath, "M62 Song" was recorded under a flyover and sounds like some of the weird songs Vincent Gallo did for Warp Records. Just as things get spaced out and mellow, Doves get loud and big again on "N.Y." that sounds like driving in the country music. Doves define their true sound here early on. It is a real mix of modern and the past, and there's no looking back now. The American release also comes with a bonus disc of four songs that includes a funny take on a Warren Zevon song.

The Second part of the album starts for me with "Satellites" that is a heartfelt ballad that is like a round. "Friday's Dust" is an even more impressive ballad. This is widescreen music for people who can look past the obvious. "Pounding" reinforces one of the main themes of the album: "Seize the time because it won't last forever...." This is done with a lot of building power. The title track is lighthearted ditty that becomes psychedelic at times. "The Sulphur Man" begins as a sort of religious song that could be played in a church. It is about this mysterious figure than seems as hard to put your finger on as this album is. This record is a great journey. It is a little deeper than something like Oasis. A song like the final track "Caught By The River" is like a little story about life itself. You are reminded that a lot has happened on this CD. Doves are finally a rock band that balances emotion and intelligence in a way that most of Britpop bands never could.

(www.freewilliamsburg.com)

Very good, but not as much as their debut
As much as their debut album was one of those rare jewels with practically no weak songs, this work by the Manchester band was not as solid all through it. However, it must be said it has several brilliant moments that make you think that their outstanding debut was beyond beginner's luck.

The album's three best moments are, literally, at the beginning (following the intro, with "Words" their more Coldplay-like track), midway through the album (with the beautiful "Satellites", followed by the tripping "Friday's Dust") and wrapping it all up, with "Caught by the river". Looking forward to their upcoming album, which they are recording at the time of this writing. For now, I leave them with four stars and recommend their "Lost Souls" and its counterpart B-sides album "Lost Sides" before this one. ... Read more

Amazon.com

Shirley Manson (now of Garbage) could be the perkier kid sister of Siouxsie Sioux on, "Suffocate Me," then masquerade as vintage Deborah Harry on, "King of the World."Producers (and Talking Heads alumni) Chris Frantz and Tina Weymouth are along for extra period authenticity.--Jeff Bateman ... Read more

Reviews (32)

Shirley was just as good before Garbage!
I love Garbage and now I love Angelfish though they only have one album out and have broken up. I first found about Angelfish on this cool site about Shirley Manson (go to yahoo.com and in the search space type "Shirley Manson" the site will be called Greenday vs. Shirley Manson). I must admire Shirley's talent to sound like Deborah Harry of Blondie on "King of the World". And she just sounds plain cool on "Suffocate Me". Her ability to sound different shows on this album. If you like Garbage just one bit, you should get this album Note: I don't think the album's sold in any music stores any more. It's best to get it over the I-net if your interested.

It's Shirley Manson Like you've never heard her before...
This is a good, solid pop album. It lacks the super sheen of Garbage which in some ways is a relief, I would have been dissapointed if this had been a carbon copy of manson's present band. All the songs on Angelfish are easy to listen to and lack the supersonic punches of Garbage, which is pretty good and makes for happy listening. Standout tracks are 'Dogs in a Cage' 'mummy can't drive' and 'The sun won't shine'. A very pleasing album, kinda like a chocolate liquor- very sweet but you know it's got to be bad for you.

Great album
Angelfish sounds alot like Garbage (actually, Garbage sounds like Angelfish, right?), however is doesn't have a massive production upon it. This is exactly what makes it great. The songs are simple and very melodious. Besides the obvious hit "Suffocate Me", the best songs in my opinion are "Sun Won't Shine" and "Sleep With Me" -- beautiful and subtle. Since I'm a huge Garbage fan, I recommend this CD for everyone.

A wonderful album & band before Shirley took out the Garbage
When one singer leaves their original band to join another & wind up having much larger success than before, it can leave that previous group in the dust to be forgotten for all time. But in the case of Garbage lead singer Shirley Manson, her old band Angelfish had just as much potential and talent to make it on their own before Garbage's future members saw the band's video on MTV, and at last found their frontwoman. As Shirley went on to multiplatinum glories with Garbage, Angelfish's self-titled 1993 debut (and only album) still stands alone as its own singularly fine work.

Stylistically, ANGELFISH leans more towards Garbage's 1995 self-titled debut with its more guitar-based rock textures than the highly-polished techno flourishes of 1998's VERSION 2.0 & 2001's BEAUTIFULGARBAGE. This is mostly thanks to the producership of husband-and-wife duo Chris Frantz & Tina Weymouth (both formerly of Talking Heads). In fact, ANGELFISH could be in the vein of the Heads' first album from before Brian Eno was brought into commercialize them. In any event, ANGELFISH is a rocking good time displaying all the qualities that would help make Shirley's work with Garbage such a rousing success.

Charging out of the gates at the beginning is the sexy, glam-rock come-on of "Dogs In A Cage". David Bowie would have given his eyeteeth for a song like this in his DIAMOND DOGS days, but Shirley is just as alluring in her come-on. Who knew that such a dark, yet strangely inviting Scottish lass like Shirley could be so seductive?

The rock continues on a cover of Holly & The Italians' "You Can Love Her" (love that drum intro), "King Of The World" (who said a female singer has to use "queen" in the title), and "Mummy Can't Drive" (this is a woman you may not want to bring home to the parents). While Shirley may have been the obvious breakout star of the group, Angelfish the band are given ample opportunities to shine on these revved-up ditties. Frantz & Weymouth must have told the group to just play live & not let overdubs get in the way, hence the raw, ballsy performance they give to these tunes.

However, ANGELFISH is mostly an album somber in mood & slinky in its instrumentation. "Suffocate Me" is another song that is so flat-out sexy, it's a wonder that it can come off that way in the cool & detached (but no so much to forsake all emotion) voice of Shirley. "Heartbreak To Hate", "Tomorrow Forever" & "The End" have her & Angelfish turning out goodbye ballads that even at their most Bic-lighter-waving moments have enough volume to place them above sappiness. On the other hand, my favorite song off the album "Sleep With Me" follows that method of slow-and-steady-wins-the-race, but with a much happier outcome in the end. Deep down inside, Shirley just might look an ice queen on the outside, but it doesn't take much to melt her facade to get to the heart of gold.

ANGELFISH may not have set the charts on fire with its release, but it apparently did well enough for a video to reach MTV & catch the eyes of the members of Garbage, in need of an eyecatching frontperson to take them to the top. Better yet, while most famous musicians' pre-fame groups may worth mentioning for curiosity issues, Shirley Manson & Angelfish happily turned out an album that had all the potential to being a breakout success in itself.

Hopefully, those music fans who have been won over by Garbage's body of work will seek out Angelfish's lone album to see that Shirley Manson not only had talent to spare beforehand, but with a group that could best be described as Garbage with an extra dose of testosterone (apologies to Shirley). A liberal amount of production gloss may have boosted Garbage into the stratosphere, but Angelfish shows it could have succeeded on its raw talent alone had the public had wider-open ears.

Not Garbage....
Like many who have already reviewed this album, I too was interested in this album due to Shirley Manson's part in it.

At first, I must say, I wasn't much into the music of Angelfish; but after a few listens I definately started to latch onto it. I'd actually have to say, that some of these songs remind me of Blondie.

The lyrics are morbidly up-beat, and the music itself is quite catchy. I'd give this album a try... ... Read more

Amazon.com

Perhaps you weren't convinced of the Verve's staying power until recently. Before the release of Urban Hymns, skeptics wondered if they could ever match the explosive power of their earlier dedications. In 1995, most critics dismissed their offerings of the time as vapid, romantic excursions. To their credit, the Verve have sustained their shadow rock legitimacy while introducing string arrangements, piano fills, and slide guitar. Nowhere are these stirring traits more obvious than in the epic single "Bitter Sweet Symphony." Laying it on thick throughout the rest of the album with painfully engaging ballads, the Verve have crafted their most accomplished album to date, proving the longevity of their cultural resonance. --Lucas Hilbert ... Read more

Reviews (218)

When The Drugs Don't Work Try This Album
This is undoubtedly one of the best albums of the 90's. It contains two megahits - Bitter Sweet Symphony and The Drugs Don't Work. The latter I consider to be one of the best love songs ever recorded. Few other songs also rate very high - Sonet, Lucky Man, Space and Time and Velvet Morning.

The album is very consistent with an excellent sound, brilliant lead vocal by Richard Ashcroft and gentle and often psychedelic guitar by Nick McCabe. Ashcroft, an author of most of the songs, is at its peak as a songwriter. His songs at Urban Hymns are better than on the two previous Verve albums. He can write the most passionate and tender lyrics and then deliver them in his original way.

The Verve only recorded three albums, each of them better than the previous one. Urban Hymns is the last one after which the band broke up. If you like Urban Hymns then I recommend to go back and listen to the previous one called A Northern Soul (the song History itself is worth the money). Ashcroft's solo album from 2000 - Alone With Everybody is a good work too.

All Time Favourite
There are no words to describe "Urban Hymns"--all I can say is that it's the soundtrack to my life. When I first heard "Bittersweet Symphony" nearly five years ago, I almost fainted in rejoice, trying to imagine how any band was capable of such artistic beauty and lyrical perfection. Soon enough, the song became ubiquitous on both radio and TV, and its soaring melody of strings and double-whack beats will always remind me of that glorious time in music and in my life.

Beyond "Bittersweet Symphony," Richard Ashcroft and company craft a perfect, wondrous pop album that clearly outshines anything done by either Blur or Oasis. The songs here are so diverse, so perfect, so melodic, so touching, that they are inescapable after several listens--whether it's the soft acoustics of "Sonnet," the gritty rock of "The Rolling People," or the wah-wah funk of "Weeping Willow," The Verve paint a loose musical portrait with their psychedelic guitars, funky keyboards, and jazzy rhythm section.

To top it all, Richard Ashcroft adds his brilliant, emotionally extravagant lyrics. These are not the empty, meaningless meadenerings of Oasis or the pretenious, distopian musings of latter-day Radiohead, these are the bittersweet stories of Richard Ashcroft's life, his past drug use, and his rediscovery of spirituality and the fragility of life. He sings in a voice that is saturated with emotion and echoing of truth--never before have I heard lyrics that reflect any better the feelings of their writer.

"Urban Hymns" is phenomenal, and its fittingly bittersweet. It's an album that plays more like a giant oil painting, swimming in its color, perfect in its imagery, and undying in its message.

The best in my collection.
I got this CD two weeks ago, and it hasn't come out of CD player since. After I first heard Bitter Sweet Symphony, I knew I had to get it... that song is great on so many levels.

1. Bitter Sweet Symphony (10/10)- The violin music in the beginning sets the tone for the entire piece, and I love it. This has no competition- it's my favorite song.

2. Sonnet (9/10) I think I might be a little prejudiced with this song, because you can see what comes before it... it's a sweet song, but it doesn't really compare...

3. The Rolling People (10/10) I love this song, as well. It shows a different side of The Verve, and it's great, too. This one isn't slow... good contrast.

4. The Drugs Don't Work (9/10)- Very soulful.

5. Catching the Butterfly (10/10) 'I'm gonna keep catching that butterfly in that dream of mine...' great melody, and I love the lyrics...

6. Neon Wilderness (7/10) This song sounds like it wasn't finished... my least favorite. I usually skip through this one.

7. Space and Time (10/10) I love the 'I just can't make it alone' part of this song... makes my want to sing... or perhaps jump up and dance. Either one.

8. Weeping Willow (10/10) You never hear the lyrics 'weeping willow' in this song until the very end, but when you do, they really mean something. Not quite sure WHAT, but something...

9. Lucky Man (10/10)- I love this one, as well.

10. One Day (10/10) The lyrics and the song are both so sweet in this song...

11. This Time (8/10)- I like this one, but not quite as much as the others.

12. Velvet Morning (10/10) I love when the music changes from soft and slow to loud and a bit wilder... It's like, 'dumdumdumdumdum- ANOTHER VELVET MORNING FOR ME.' Kinda takes you by surprise. :)

13. Come On (10/10)- Perfect ending... 'Come along with our sound'. Fabulous.

End rating (drum roll, please): 123 stars out of 130. That's a pretty good percentage. Get this CD... I loved it. And, once you hear Bitter Sweet Symphony, you're pretty much sold already...

Urban CRAP.
Boring typical british new romantic crap. To say this album can stand the test of time is a joke! There are plenty of copies in the second hand record shops already! Anybody into this trash should get a life.

This Will Stand the Test of Time
This is one of those timeless albums that you can listen to now (six years after its initial release) and still enjoy it. Each of the songs still sound as fresh as today as they did back in 1997. With this album, the Verve hit a homerun.

I remember I was browsing through a CD store when I first heard "Bittersweet Symphony." It immediately caught my attention, and I stood rooted on the spot just listening. Very few times has an album jolted me like that, but this was one of those times. I asked the clerk who this was and he said that it was from the new album by The Verve. After "Bittersweet" was over, he told me to hold on and listen to "Lucky Man." It was after that I was sold -- I had to buy the album.

On this album, you get 13 little masterpieces -- there's not a filler track in the bunch. Besides the excellent songwriting, the production is outstanding. I haven't heard such a good mix of strings since Tony Visconti's work with T. Rex -- just listen to "Lucky Man," "Bittersweet Symphony," or "Sonnet" for proof.

The only downside is that the group broke up after this -- their finest moment! Of all the dumb luck. While Richard Ashcroft has gone on to do a couple of solo albums, they don't seem to capitalize on what The Verve had done on this album. Yes, he's the voice, the did much of the writing, but as the old saying goes: the whole is greater than the sum of its parts.

Best album of the 1990's? This one, no question about it. After the Britney's, the Justin's, and all the other drivel from that era fades, this will be one of the albums people look back upon fondly. Rating: A+ ... Read more

Amazon.com

Riding high on the phenomenal success of A Rush of Blood to the Head, Coldplay is in peak form on Coldplay Live 2003. This CD/DVD two-pack was filmed (on Super-16mm film) and recorded in Sydney's Horden Pavilion on July 21 and 22, 2003, during an exhaustive year-long world tour, and the medium-sized arena provides a fitting stage for the London-based rock quartet, not so grand as to overwhelm the music, but large enough to indicate their large and loyal following, which includes enthusiastic fans of either gender. Especially when played in DTS 5.1 surround, this 90-minute concert is richer, thicker, and (of course) louder than Coldplay's studio recordings, lending a wall-of-sound expansiveness to the band's signature sound, which draws from such diverse influences as Genesis, Pink Floyd, The Verve, U2, and their own unique sonic landscape. "Politik" gets the gig off to a rousing start, and other impressive!highlights include "Daylight," "Yellow," the as-yet-unreleased new song "Moses," and the popular hits "In My Place," "Clocks," and "The Scientist." And while the concert visuals are slick and professional (perhaps placing a bit too much emphasis on singer/frontman Chris Martin), this DVD and CD--the latter containing a truncated 70-minute version of the same performance--are best appreciated for their pristine audio quality. Culled from 400 hours of home video, the 40-minute "concert diary" represents a wasted opportunity, enjoyable for hardcore fans but offering no insight into the band or its individual members. Much better, then, to play the concert at healthy high volume, and appreciate Coldplay in the prime of their young career. --Jeff Shannon ... Read more

Reviews (67)

Coldplay on top
I am a HUGE Coldplay fan and found this DVD to be well worth the money. For those who were unfortunate to miss out on seeing them live (like me) this does make you feel like you are in the audience watching them. And even though most of the members stayed relatively stationary throughout the songs(except when Chris thrashes around on stage to 'yellow'- when perhaps he should have stayed seated), the energetic lighting and multiple camera angles, not to mention Chris's passionate vocals, keep the mood vibrant and energised. Visually the concert is very good, and the music is excellent with some of the songs sounding better than they did in the studio recordings.

The only thing that was dissapointing was the tour diary. I am a huge fan of coldplay's music, but also their personalities. From the small amount of footage i have seen of them in interviews they all seemed like really funny and charismatic guys- especially Chris. So when i found out that there would be a behind the scenes documentary included in the DVD i waited with baited breath, desperate to get greater insight into their individual personalities and the way that they live. However,this documentary fails to do that. One of the most frustrating things about the diary is probably the fact that there is a lot of footage of them on stage, and considering that we already have access to a full concert i found this to be unneccessary and the time should have been used to showcase who they were as people. Also watch out for Gwyneth Paltrows blink and you'll miss it appearance on the documetnary (she was on tour with them at the time)

pale
Coldplay, like most English bands, doesn't really deviate from the studio version when playing live. This makes for a predictably likable set. With only two CDs it's too early for Coldplay to release a live recording. In the documentary (included on the DVD) you get the feeling that Chris Martin doesn't think his band will last. The U2 influence is undeniable especially considering how far the band has come in America in such a short time. It's also a testament to how bad the music scene is today.

The bonus CD is tracks from the same concert as the DVD and offers noting new.

For completists only.

-DW

Decent, but not nearly as good as other concerts
I am very picky about the concert CDs I buy, and this was no exception. I was a bit disappointed after having downloaded a handful of prior Coldplay concerts (as well as attending one). The songs add a little variety to the recorded versions, but not really enough to justify buying this set. Other groups (Dave Matthews comes to mind) have set the bar very high on producing variations on the originals, and Coldplay tends to stick to the studio formulas pretty closely. If you can ever find a recording of their 2002 concert at The Forum in London, it is a fine example of what this album should have been. The band is capable of a lot more, I'm just not sure why the label decided to use these particular tracks.

Left me wanting more
As a recent convert to all things Coldplay, I was hoping for more insight into the band beyond what I've heard on the album. What I got was a great live performance, with a couple new songs -- but it did not rise above. Don't get me wrong - I love the album - but I expect to hear a different side of the band on a live album. And I want to hear MORE of them. 40 minutes of audio? C'mon people, throw us a bone? Love the music, just want more of it.

Awesome!!!
I am a new fan and just love this CD/DVD. Haven't had a chance to view the DVD yet, but I have been playing the CD in SUV every day. ... Read more

Reviews (20)

One of 2004's Very Best Albums!
The debut album from the Secret Machines is amazingly assured and confident. They do not fall into the trap of 2 minute 30 second rock songs. They take their time to develop mood and meaning and and do not rush anything. The album is basically made up of nine tracks segued into two long songs. Of course, this is reminiscent of Pink Floyd, but besides that and the unhurried approach, there is not much compare between the two. The highlights of the album are the monterous opening and closing tracks, but the middle sections have much to offer as well. In particular Nowhere Again, You are Chains, and Leaves are Gone. All in all, this is one of the best debut albums in recent years, on par with The Stills debut album Logic Will Break Your Heart.

Blowin' All The Other Kids Away
This is far and away the best album released in the last year. Nothing else even comes close. "Now Here Is Nowhere" is The Secret Machines first major label release after releasing the six song EP "September 000" in March of 2002. The production value and song craft are noticably improved on this album.

The comparrisons to Pink Floyd are logical if only because so few bands approach the sonic tightness and spatial ambience so blissfully associated with early Floyd. I think a better modern day comparison would be to the music of Spiritualized particularly "Ladies & Gentlemen We Are Floating In Space". Like Floyd and Spiritualized, The Secret Machines reach out, grab you by your spine and take you on a sonic journey only fully realized at its conclusion. The entire album has a cohesive quality to it that remains evocative without becoming repetative.

The album opens with "First Wave Intact". Immediately the listener is pulled into TSM's world with a catchy drum beat followed by a dark guitar riff. As the lyrics begin you are immediately struck by the desperate quality of Brandon Curtis' vocals. He is both haunting and hypnotic. The song is long by modern standards (which I hate) but essential. As the synths and feedback kick in at the end of the song the listner is left hungry for more.

"Sad and Lonely" doesn't dissappoint. The second track is more of a rock song, something you might hear on the radio if the radio ever played something worth listening to. There is plenty of sonic brillance to marvel at as well. The song builds and builds keeping you on the edge of your seat before segueing into the mellowest song on the album, "Leaves Are Gone".

Track 4, "Nowhere Again" and track 5 "Road Leads Where It's Led" are quite possibly two of the best indie/psychedelic rock songs of the last 10 years. "Nowhere Again" simply rocks out. It will be stuck in your head for weeks. Track 5 is my personal favorite. It almost sounds like a British rock song. TSM's are definitley "Blowin' All The Other Kids Away" with this track.

"Pharaoh's Daughter" is more of a journey. It starts out slow and builds its hypnotic ambience until you literally feel like you are floating in space. There have been a few times where I've been listening to this song in my car at a red light with my eyes closed and been awaken to honks from impatient cars behind me obviously not listening to TSM's.

"You Are Chains" starts off slow but quickly rocks out. It is almost two songs in one. When they do bring the beat in it catches you off gaurd. You just don't expect such an extreme transition to be so smooth. They pull it off with such ease that it is hard to believe that this is their first major release.

"Light's On" is a pretty dark song about not knowing who your friends are and not knowing who you can trust.

The final song, "Now Here Is Nowhere" is basically a reprise of "Nowhere Again" at least musically. It really ties the album together.

This truly is one of the best albums I have heard in the last 10 years. I bought it off their website 2 months ago after reading about them in Guitar Player magazine. Since then it has barely left my CD changer. I've turned dozens of people on to them and everyone has been equally impressed. This album is an instant classic. I imagine that we'll see big things from these guys before it is all said and done. Get it now!!!

Buy this now!
This album, and more importantly, this band, lives up to its well-deserved hype. "Now Here is Nowhere" is comprised of spacey, neo-psychedelic rock ala Pink Floyd, Led Zep, later-day Flaming Lips, with a dash of the early Verve. The songs were written to flow, and the CD harkens back to a time when bands made LP's, not just singles. If you have a chance, see these guys live; they will blow you away! I've seen them twice at the Black Cat in D.C., and cannot wait to see them again. Live, they are on par with Sonic Youth, if not better. I would not be going out on a limb by saying that they are akin to a modern version of Cream. If you were to buy this album now, and see them live, you would make two choices you will not regret. The members are great guys, and they make intense and exciting music. Enjoy-

Excellent album, if a bit repetitive
Secret Machines can definitely rock. 'Sad and Lonely' ROCKS and is one of the better songs I've heard recently. Tracks 1-7 are all very good... yes, a couple of songs have the same melody/harmony arrangement, but at least it sounds great!

The reviewer comparing them to every other junk band out there is on crack.

Not Good
Was looking forward to hearing this on the back of their impressive EP & the globs of press they are garnering right now. To say this album is a disappointment is an understatement. This album goes absolutely nowhere from start to finish. It is just flat out boring & the same riff/bass line/melody are used on three of the same songs. They attempt to ape The Flaming Lips & Interpol but it all ends up sounding forced and just plain amateurish. ... Read more

Amazon.com's Best of 1999

The crazed genius of the Lips comes to full flower on the sonically massive and majestic The Soft Bulletin. Head Lip Wayne Coyne compounds the band's penchant for psychedelic freak-outs with a symphonic extravaganza. The result is nothing short of magnificent, not only the best rock album of the year, but among the best recordings of the decade. In 30 years, your grandkids are going to think you're pretty damned cool for having The Soft Bulletin in your collection. --Tod Nelson ... Read more

Reviews (316)

A Dream Menu (within a bulletin)
Just like it's successor, the brilliantly titled "Yoshimi Battles The Pink Robots", "The Soft Bulletin" has a sound fans of The Flaming Lips will immediately enjoy, but one that is not so accessible with those not so familiar with the group. The Flaming Lips makes albums that reward the listener over time, because of complex, interesting lyrics, and layered, though not convoluted, symphonic soundscapes. What makes this album exceptional, and worth buying is simple really... quality. "The Soft Bulletin" song for song, is one of the most exceptionally crafted albums I've ever listened to.

I've only heard two Flaming Lips albums, this one, and "Yoshimi", and they both strike me like haunting dreams. If you've ever had one of those strange dreams, and woke up finding yourself wanting to go back there, then you know what I'm talking about. The group's song writing is among the most unique in music. Songs like "Race For the Prize" have a sweeping ambition to them, as they deal with the complexities of human longing, and potential. There is one quality that is prevalent throughout all of The Flaming Lips recent work....courage, and the words come straight out at you, as the warm dream tinted melodies surround them.

This is one album that I wont give an abridged song by song synopsis to, because it's one of those albums that functions better when listed to, and experienced in it's entirety. The Flaming Lips represents a very small minority of groups that have been making music ten years or more, they actually get better with time. I would recommend this album, and other albums by this group, to anyone looking to build an interesting, dynamic music collection. The cover alone is worth the consideration.

Lovely Music, Shame About The Vocals
Progressive Rock, then. Huge orchestral sounds, experimental song structures, waves of emotion and long, drawn-out instrumental passages. The indie kids who spent so long laughing at this stuff have for some reason taken it over since the mid-90's, with every year yielding a *classic album* (see Radiohead, Spiritualized, Grandaddy, Mercury Rev...and of course The Flaming Lips).

"The Soft Bulletin" is pure Yes. People who say it sounds like nothing else ought to just bop on down to "The Yes Album", which contains similar vocal harmonies, adventurous use of piano, and an identical guitar style. But this is no bad thing AT ALL. On a musical level, "The Soft Bulletin" is faultless. It contains the most moving string arrangements, the most interesting chord changes, and the most adventurous everything-including-the-kitchen-sink production values I've heard in a long, long while.

My only problem (which is the same gripe I have with Mercury Rev a lot of the time) is the awful, lazy, weak, grating vocal lines. Take the song "Suddenly Everything Has Changed". Surely I can't be the only person frustrated by the complete disparity between voice and music? The instrumental sections are beautiful, heart-rending and nothing short of breathtaking. Then the singer's annoying Neil Young-isms tear through the beauty in the most infuriatingly fey, indie way...singing about vegetables from the grocery store, no less.

If you're into these sorts of vocals, "The Soft Bulletin" will change your life. If you have yet to be converted to the American-indie obsession with tuneless Neil Young impersonations, it won't. But I have given this album four stars for the music alone, which is absolutely legendary.

I really think it's a matter of taste. Personally, I think if these songs were played on acoustic guitar nobody would like them. And to rely on production just to make your songs good... I don't know, smacks a bit of dishonesty to me.

The Flaming Lips Best.. well maybe...
The Flaming Lips have made an interesting career of changing it up on each album. If you listened to "Clouds Taste Metallic" (their album before this one) than listen to "Yoshimi" (their album after this one) you wouldn't know it was the same band. "The Soft Bulletin" isn't their most ambitious work (that would be Zaireeka) and it's not the most drastic change from their original works (that would be Yoshimi), but it was simply the next step that connects the growth of the band from "Clouds" to "Yoshimi."

So why is it their best? It's not the most ambitious, the most different, the most rocking or anything like that. Instead each track is a treasure in it's own way. The songs aren't very tied together but instead present a different sound with every new endeavor. From the happy go lucky love on "Buggin'" to the almost, dare I say, dance feel you get from the drums on "What is the Light." "Suddenly Everything Has Changed" presents a transformation of fast to slow over and over again. Even the two "remixes" present quite different sounds from the "unremixed" versions of the same songs. Rather than being "remixed" it seems to me the Lips just couldn't decide which version was better and decided to present them both. Each track is incredible in its own way. And while you could argue "Yoshimi" is a better album based on how the fact that each Lips album seems to be better than the next, "The Soft Bulletin" presents the Lips in a way that is familiar to all of their other works but still very different, and comes out, at least to me, as their best work to date.

Wayne Coyne is Annoying...
or that's what one would gather from listening to this album. Really, Coyne can be a truly outstanding and remarkable frontman or he can be absolutely awful as shown in the Soft Bulletin. Now the Lips have some great works, such as Yoshimi and Transmissions From The Satellite Heart but this isn't one of them. All of the indie kids seem to love this album though, but from what I gather they just jumped on the Flaming Lips bandwagon a little too late and ended up loving the next album they made which happened to be this. Coyne essentially tears away all of the grinding, loud guitars from the earlier albums and all that is left is adult alternative, contemporary music that people in their fifties will love, merely for the fact that the music sounds pleasant enough. Coyne's never really had all that great of a voice to begin with but he's at his worst here. He's damn near unbearable in A Spoonful Weigh's A Ton. The whole album just sounds hollow, and the production values aren't anything to revel at, which is remarkable considering the Lips were aiming for a bombastic sound. There is some good stuff on here though including Buggin', Suddenly Everything Has Changed, and The Spiderbite Song. I'm really quite frustrated from the acclaim that this album gets when in reality their earlier albums are much more worty of it...

One of the best albums of the 90s
The Soft Bulletin is certainly one of the Flaming Lips best works. The soundscape on this album is incredibly vibrant, and detailed. It's clear that they know their way around a recording studio, but they never force recording tricks. They show a lot of restraint, every orchestra swell, or drum flourish flows and feels like it should be there.
Conceptually the album is tight. They take on some real issues here. Stuff that anyone can relate to, the songs are about human nature, death, love, and eternal struggle. The album kicks off with "Race for the Prize", an upbeat number about two scientists making the ultimate sacrifice to come up with The Cure. It's slightly silly, and playful on the surface, but its ultimately about 2 guys willing to die to save some lives. There's many songs that dwell on this subject. The second song "A Spoonful Weighs a Ton" alternates between an extremely sweet orchestra section, and a deep funky bass section. "The Gash"(my personal favorite) is a real freak out, with incredibly layered vocals of all different pitches singing again about the eternal struggle that scientists have, and how you have to march on no matter what, all over an offbeat piano riff, with an orchestra and electronic whirring. This song represents the band the best, it is silly and incredibly eccentric but still charming and meaningful.
Other songs go into more about mortality such as "Suddenly Everything has Changed" about how during everyday events your mind drifts to morbid thoughts or on "Waitin' for a Superman" where singer and chief songwriter Wayne Coyne deals with the burden of his father's death.
People complaining that this album means nothing and its about drummers who lost their arms, superman, headwounds, mosquito bites quite frankly missed the point. The songwriting here is meaningful, and poignant. Every song has a deeper meaning, but not so deep that you can't find it.
The Soft Bulletin is a great album that delivers on all levels. People looking for sheer joyful noise will find it, people looking for something with deep lyrics will find it, people looking distinct, catchy and great melodies will find them on every song. The album stands as a great pop album, and an extremely deep, artistic thinkpiece. It is definitely one of the best albums of the 90s and one of my favorites of all time. I think anyone that gives it a little time will find that every song is a gem. The Soft Bulletin is top-notch ... Read more

Reviews (43)

.............WOW!
I loved Dream to Make Believe and I've got to tell you I think this cd WAS BETTER! They tried something that bands these days wont even think about doing. And they did an amazing, fabulious job. They did something diffrent and pulled it off with an awsome sound. This has got to be one of the best if not the best cd I have ever owned and I have a LOT of diffrent cds of all sorts of bands.

Awesome cd
This cd is amaazing.from start to finish.its like going into another world. this one and their first one are both so good. GET 'EM!!

Impressive
I don't know whats with the one-star-happy people but I was very impressed with this CD. I do not own their first CD (Dream to Believe)yet so I can't compare. Maybe this is a good thing because I can't judge on past performance. These songs contained lots of emotional depth and conveyed their message to the listener with energy and grace coupled with an unpredictable edge. These guys did a kick ass job producing a great album with addicting songs that will keep you pressing the repeat button on more than a few occasions. Five stars is a must.

Casper's favorite cd!
Some of you may be considering the purchase of this album, that I would strongly caution you against.While you may be able to make a case for this album, I just couldn't allow myself to let you make this purchase without a fair warning, I feel morally obligated.As I was saying, this is one of the most boring albums I have ever heard in my life and trust me I've heard a LOT of crappy bands.I mean I thought this would be a little sweet cause it had a concept (well actually concept albums are usually lame), you know maybe the band was taking a bit of a creative turn on this album.Well... oh boy... I was strongly mistaken.Luckily I did not buy this album, for I was fortunate to get a copy onto my ipod, and if I did buy this album I'd probably cut up my debit card in disgust over such wanton wastefulness.Anyways this is the boringest album you can listen to, all the lyrics are the same (something about a dude commiting suicide... wow that hasn't been treated before) and the worst part is they try to play the album super slow and it JUST DOESN'T WORK.I mean the whole album is basically a bad movie about a ghost who follows an ex around wishing that he could be with her, oh and shes the reason he died... RIDICALOUS!If I was a ghost I'd be hanging out Alyssa Milano's shower, now that would be what my concept album would be about, not sayind "yeah girl you can hear me in your basement, I the biggest loser ghost in the world even Casper makes funny of me."This is probably what Casper 3 is about, wow LAME.AND HE NEVER TOLD ME THE TRUTH ABOUT HEAVEN!!!AGH!!!!You tried guys, but I think you could have done a much better job, I mean come on I was expecting a creative twist on the Divine Comedy not "My Boyfriends Back".If I was a ghost... forget it, skip this my friend there is much better listens out in this world of ours.

mediocre emo/rock? actually its even worse...
the aesthetics are so far gone on this album.

the first album was a coherent, decent batch of songs, but this album is like a bird with no wings, no matter how hard it tries to fly, it just can't.

none of the musical elements here work together, all of the instruments including the vocals seem to fight each other, causing something that sounds horrendous to the human ear. it really is that bad... i cant even call it mediocre, it just isnt listenable, one or two songs are listenable.... which is why i have the album on my ipod... but i havent even listened to the album on my ipod yet, everything else on there is better.

decide for yourself, but i am telling you, there is so much better out there. ... Read more

Amazon.com

In an about-face that could alienate technophiles, this group of dance revisionists celebrate guitars and "real instruments" in the face of processed music. The Williams brothers and their mate Jim Goodwin first had a hit with the disco-charged "Ain't No Love (Ain't No Use)," but they became disillusioned with the Manchester scene, picked up guitars, and formed the Doves--a band determined to infuse raw emotion into their music. From instrumental opener "Firesuite," which showcases their rumbling, restrained guitar firepower, to the tumbling acoustic shanty "Sea Song" to the balmy Technique-era New Order rocker "Catch the Sun," none of the album's 11 tracks bears any real resemblance to any other (and, in this rare instance, that's a positive). The Doves have produced an outstanding debut album in Lost Souls, alternately melancholy and uplifting, sparkling darkly with charged atmospherics. --Mike Pattenden ... Read more

Reviews (113)

Best rock album of 2000...
Why The Doves haven't received more exposure in the States is beyond me. Songs of this quality are the ones that should be playing on your local alternative radio station. As with all good rock music, "Lost Souls" really effects one's emotions. The songs both musically and lyrically are epic. To give you an idea of their original sound, I would take The Verve, Radiohead, Spiritualized, and maybe a dash of Travis - put them in a container and shake it up. If I had to pick the stand-out tracks (which I wouldn't want to do because every single one of these songs is worth listening to repeatedly), I would say: Sea Song, Rise, The Cedar Room, and my personal favorite - The Man Who Told Everything. I have had this album for 7 months now and I still listen to it about two or three times a week. Highly recommended to those who love rock, but have been bummed by the recent contributions of popular bands.

Great Eclectic Music
Dove's Lost Souls is a mix of various music sounds and styles that are each unique from start to finish. The moods of the songs are very different as well, one could probably call this album an emotional buffet. The result? One eclectic CD that oozes talent.
I'm not going to describe each song (how can you capture the essence of a great song in a couple of sentences? You can't...) but I can tell you that I think the second half of the CD is much better than the first, particularly the bonus tracks. They are without a doubt the best set of bonus tracks I've ever heard on any album...period. In fairness, while I don't think Amazon picked the best song samples for this album, the reader should get a fair idea of Dove's sound from the tracks they provided.
Here's the part where I try to say something bad about the album, as the only people who tend to take the time to write these reviews are the fans, who not surprisingly, tend to leave extremely biased reviews (and why not?). I do this to play devil's advocate and give the reader a small rain-cloud amid the brilliant sun-filled sky of glowing reviews, but I just can't find it in me to do it this time around. This CD is just that good.

Glorious retro pyschedelic debut
No doubt that this one hits all the right notes. Sorrow, wonder, ecstasy, disappointment and even love. I happen to catch these guys on their first American tour and they did not disappoint. Their live show was enhanced by a continuous slide show and psychedelic lights. They even played some numbers before they had yet been released such as Pounding and Hit the ground running, which is their take on Warren Zevon's Werewolves of London. Very good show and even surpassed the studio versions of their songs. One song in particular had a very different texture and tone to it and surprised me how much better it was live and that's the song Lost Souls. An incredible song in the studio made even more impressive live with images of Nico on the slidescreen behind the band. Inspiring and breathtaking, all I could do was stand and soak in the sound and rhythms of this incredible group. Well worth the effort to hear and experience the depth and texture of this cd. If you don't like it at first, stay with it, it will become one of your faves. If you like all the aforementioned Britpop bands or if you prefer Pink Floyd, or some other mid-seventies hard rock or prog rock you will definitely dig these guys. I've never grown tired of several tracks on this well played cd. Seasong, cedar room and lost souls are but three of them.

Feel the Dove
Lost Souls is easily the best brit pop album to come out in a long time. Coldplay, Travis and the ilk have nothing on this. The band flexes it's brooding cinematic soundscape right from the start with the noirish instrumental "firesuite". Other songs such as "Sea song", "catch the sun" and "the cedar room" are irresistably good peices of dream pop. Don't be a fool, be a Dove and set yourself free!

Wildly Overrated
There is one--ONE--outstanding song on this CD, and it is over 7 minutes long (and lets face it, only the Stone Roses and Janes Addiction can pull that off). This labum is wildly, wildly overrated. Beware tyhe astroturf. ... Read more

Reviews (30)

Over the Rhine is Back!
When people ask me, "What is that music you're playing? I love it." I say, "That is Over the Rhine. That music is from their album called 'Good Dog Bad Dog.'" For now on the answer to that question will more often be "That music is from their album 'Ohio.'"

Although the texture and mood of OtR's latest release, "Ohio", most closely resembles their "Good Dog Bad Dog" project, "Ohio" borrows the feel from all their early projects: "'Til We Have Faces", "Eve", and "Patience". Ironically, it least resembles their previous release "Films for Radio" with its more commercial--but sill excellent--slant.

There are twenty-one songs on this double album, but OtR fans need not fear that quantity has watered down the quality. Plenty of memorable tunes and immediately catchy songs are packaged into "Ohio." Most of all OtR fans will enjoy hearing songs that resemble material from the band's earliest days, "Ohio", "Suitcase" and "Show Me" for example. "How Long Have You Been Stoned" could have been from their "Films for Radio" project and is probably the catchest tune. Everyone will have their favorites.

I have bought OtR CDs as gifts for people, and they are never disappointed. "Good Dog Bad Dog" has been my standard, but "Ohio" is going to be the OtR project I give out for now on--and the two CD release is at a one CD price. Over the Rhine is back!

4.5 Stars.... "Ohio" shines even better in live setting
It's been almost a year since "Ohio" (21 tracks, including 1 "hidden" track; 91 min.) was released, and I'm still not tired of the album. It seems to me as well that "Ohio", and not "Film for Radios", is the album Karen and Linford were bound and destined to make. FFR is in my opinion a more adventurous album, but too much of a departure of the "classic" OtR sound. My favorite tracks on "Ohio" include "Lifelong Fling", "When You Say Love" "Nobody Number One", "How Long" and "Cruel and Pretty". And while I understand when Linford says they simply HAD to make a double CD album, unfortunately there are a few too many "just average" songs on here that keep "Ohio" from being a 5 star album.

Anyone who had the opportunity to see OtR tour behind "Ohio" knows that they rock much harder live than what "Ohio" the album might lead you to believe or expect. OtR has just self-released "Changes Come" (13 tracks, 74 min.), a live album recorded on the "Ohio" tour last Fall. (This album is available only from OtR's website www.overtherhine.com.) All but 3 of the 13 tracks are from the "Ohio" album, and in a sense, this is a better album than "Ohio". Karen and Linford are awsome, but guitarist Paul Moak (unfortunately since departed from OtR) really smokes here. Best track is "Lifelong Sunshine", which is really "Lifelong Fling" interlocked with Bill Withers' "Ain't No Sunshine", just superb! I rate "Changes Come" 4.5 stars. Most assuredly worth a visit to the OtR website.

Lush
This is a staggeringly beautiful record. If you like relaxed, human, deep, mellow music then buy this. Most songs are piona driven. Karin's voice is super. One of the finest CD's in my collection from the last five years. I might even put it into my top 10 favourite records of the last ten years. Its simply that good.

Heck, I don't know how to review this beautiful thing...
I'm new to Over the Rhine. I don't have much in the way of context to review them. I happened to be lucky enough to hear them on radioparadise(dotcom), an online radio station that plays some really incredible music. I owe them a great deal, not the least of which is an empty wallet from all the new music that I've purchased in the last couple of months.

Hmmm... how to describe them. Superb musicianship, an incredible vocalist, lyrics that put most other bands to shame, a band that drifts effortlessly from country to R&B to gospel. I don't know what to do with these guys. I'm a fan of what the 4AD label used to be, and if OTR had been around ten to fifteen years ago, they should have been on that label. To me, that's a compliment - others may think differently.

I'm almost afraid of checking into their backcatalog for fear of disappointment, this album is so good.

The title track makes me cry. A song about how home is where home is, no matter where it is or how pretty it is or otherwise. The last time I cried at any type of music was "song to the siren" from This Mortal Coil. Ten plus years ago. These guys are for real, packing a lyrical punch that hits you right HERE.

I can't do these guys justice, but it is really wonderful music. I can't recommend it highly enough.

love it
What a great cd. I never get tired of listening to it. ... Read more

Reviews (32)

Great tracks all in one cd
This is a great grouping. If you love the most popular tracks last year that attracted the most attention and you are not up for buying every nominated cd get this. I love the mix of artists and love almost every song on this compilation. Not much to do but pick the best and put them all in one cd but this one is awesome because there were so many interesting musically aesthetic releases last year.
My favorites:
Crazy in Love - Beyoncé
Clocks - Coldplay
Going Under - Evanescence
Cry Me a River - Justin Timberlake
Beautiful - Christina Aguilera
I'm With You - Avril Lavigne
Dance With My Father - Luther Vandross
Keep Me in Your Heart - Warren Zevon
Stacy's Mom - Fountains of Wayne
Any Road - George Harrison
Ain't No Mountain High Enough - Michael McDonald
Send Your Love - Sting
Hole in the World - The Eagles
Unwell - matchbox twenty

Great Grammy's
Beyonce Featuring Jay-Z:Crazy in love. I don't like Beyonce, but this was a pretty good. 5/10

The Black Eyed Peas & Justin Timberlake:Where is the love?
Second best song. That's it. 9/10

Coldplay:Clocks. This is an ok, but it might get boring after a while. 7/10

Eminem:Lose Yourself. This is the best mother
f[family website]en song on the CD. 10/10

Missy Eliot:Work it. This song is gross. I hate it. 1/10

Evanescence:Going Under. I realy think that this song is good. 8/10

Outkast:The way You move. Bottom line, good song. 7/10

Justin Timberlake:Cry me a River. Justin was better when he was with *Nsync.

Christina Aguilera:Beautiful. I don't like it. 1/10

Avril Lavinge:I'm with you. Its a d[family website]n good song.
8/10

Luther Vandross:Dance with my father. This song is weird. 2/10

Warren Zevon:Keep me in your heart. No comment. 3/10

50 cent:in da club. Go, Go, Go Charolette its ya birthday. 8/10

Fountains of Wayne:Stacy's Mom. Funny song, good song. 8/10

Heather Hadley:I wish i wasn't. I don't like it. 1/10

Sean Paul:Gimme the light. I know i keep saying this but, it's a good song. 7/10

George Harrison:Any Road. I didn't listen to this one, but there are plenty of other good songs. ?/10

Michael Mcdonald:Ain't no mountain high enough. I'll let you decide. ?/10

Sing:Send your love. Its ok. 5/10

Eagles:Hole in the world. Its ok. 4/10

Matchbox 20:Unwell. Its an original song. 7/10

anything from 7/10 or higher is a good song.

5/10 or higher is ok.

4/10 or below is bad.

Remember, that this is my opinion.

Good Overview of 2003's Biggest Songs
1. Crazy In Love - Who could forget Beyonce's first hit by herself. Actually Beyonce's first #1 by herself. Yay Beyonce!

2. Where Is The Love? - Well, not only is it Black Eyed Peas's first #1, but Justin's first #1 by himself. Yay them! THE #1 SONG OF 2003!!!

3. Clocks - Coldplay was nominated for best record. This is a good song, but I don't think this should be here. It's too old.

4. Lose Yourself - From Eminem's #1 movie 8 Mile comes Lose Yourself. This song is good, but again, it's too old. I think the Grammy's are more focused on a good songs and not hits of 2003. I don't care, but please don't make the whole CD like this.

5. Work It - From Missy's #1 album Under Construction, comes Work It. I think it's too old, but this is nominated for album, not the song.

6. Going Under - From Evanescence's Fallen, comes Going Under. I think they should of used Bring Me to Life. It was a bigger hit.

7. The Way You Move - OutKast's first #1 hit from Speakerboxxx/The Love Below. I think this was an excellent choice.

8. Cry Me A River - Ok, this is kind of a problem. Cry Me A River is a horrible song. Not a good choice, but a good album.

9. Beautiful - Another great song, but it's too old. They should have used Can't Hold Us Down. That was the 2nd biggest hit.

10. I'm With You - Avril's 2nd #1 hit. It's an awesome song!

11. Dance With My Father - Not a big hit, but who can forget Luther's incredible lyrics.

12. Keep Me In Your Heart - I've never heard this before Grammy Nominees 2004. It's ok. A little to slow and boring. I don't think this was a hit anyway.

13. In Da Club - 50 Cent's first appearance on pop radio stations. IN DA CLUB WAS THE #2 SONG OF 2003! IN DA CLUB IS AWESOME!

14. Stacy's Mom - Fountains of Wayne's first top 10 hit. This song is excellent. It's a little gross though. " Stacy's mom has got it going on. She's all I want, and I've waited so long. Stacy can't you see? You're just not the girl for me. I know it might be wrong but, I'm in love with Stacy's Mom. "

15. I Wish I Wasn't - Wasn't a big hit. It's a good RnB song though.

16. Gimme the Light - Good dance song. Sean Paul's first appearance in the top 100.

17. Any Road - Never heard this before this CD. This is the other problem. Why was this nominatted for best POP performance?

18. Ain't No Mountain High Enough - (see Any Road)

19. Send Your Love - A good dance song. Wasn't a big hit.

20. Hole in the World - A big hit on Adult Contemparary radio stations.

21. Unwell - A big hit. #1 played on Adult Contemparary radio stations in 2003. A good choice.

Overall, a good mix of 2003's biggest songs. (Amazon, I wasn't using a word count so it could be over 1,000 words. Sorry!)

GRAMMYS 2004
BEYONCE’ FEATURING JAY-Z "Crazy In Love" Record Of The Year

THE BLACK EYED PEAS & JUSTIN TIMBERLAKE "Where Is The Love?" Record Of The Year

COLDPLAY "Clocks" Record Of The Year

EMINEM "Lose Yourself" Record Of The Year Song Of The Year

MISSY "MISDEMEANOR" ELLIOTT "Work It" Album Of The Year

EVANESCENCE "Going Under" Album Of The Year Best New Artist

OUTKAST "The Way You Move" Featuring Sleepy Brown Album Of The Year

JUSTIN TIMBERLAKE "Cry Me A River" Album Of The Year Best Male Pop Vocal Performance

CHRISTINA AGUILERA "Beautiful" Song Of The Year

AVRIL LAVIGNE "I'm With You" Song Of The Year

LUTHER VANDROSS "Dance With My Father" Song Of The Year

WARREN ZEVON "Keep Me In Your Heart" Song Of The Year Best Male Pop Vocal Performance

50 CENT "In Da Club" Best New Artist

FOUNTAINS OF WAYNE "Stacy's Mom" Best New Artist Best Pop Performance By A Duo Or Group With Vocal

HEATHER HEADLEY "I Wish I Wasn't" Best New Artist

SEAN PAUL "Gimme The Light" Best New Artist

GEORGE HARRISON "Any Road" Best Male Pop Vocal Performance

MICHAEL MCDONALD "Ain’t No Mountain High Enough" Best Male Pop Vocal Performance

STING "Send Your Love" Best Male Pop Vocal Performance

EAGLES "Hole In The World" Best Pop Performance By A Duo Or Group With Vocal

MATCHBOX TWENTY "Unwell" Best Pop Performance By A Duo or Group With Vocal

Grammy nominees 2004
1.Crazy in Love (Jay-Z /Beyonce)
A good song by beyonce and Jay-Z. A song that i will not get sick of. 5/5

2.Where Is the Love? - 4:05 (Black Eyed Peas / Timberlake, Justin)
This is an ok song gets annoying after a while. 3/5

3.Clocks - (Coldplay)
Excellent song by coldplay one of the best on the albumn. Has a great beat and great lyrics. 5/5

4.Lose Yourself - (Eminem)
Eminiem proves on this song why hes the best rapper around. 5/5

5.Work It - (Elliott, Missy 'Misdemeanor')

One of Missy Elliots best songs to date. 5/5

6.Going Under - (Evanescence)
One of the best new artists of 2003. Their debut albumn is also one of the best selling albumns of the year. 5/5

7.The Way You Move - (OutKast / Brown, Sleepy)
This song has a catchy tune and good rapping in it. 4/5

8.Cry Me a River - (Timberlake, Justin)
One of the worst songs on this albumn. Cry me a river for having to actually listen to it. 1/5

9.Beautiful - (Aguilera, Christina)
This song lives up to its name it is absolutely beautiful and has a good message in it. 5/5

10.I'm With You - (Lavigne, Avril)
This song is good but not great. 4/5

11.Dance With My Father - (Vandross, Luther)
Excellent and heart touching song. if this song doesn't touch your heart, there is something wrong with you. 5/5

12.Keep Me in Your Heart - (Zevon, Warren)
I didn't particularly care for this song. 3/5

13.In da Club - (50 Cent)
One of the best rap songs of 2003. 5/5

14.Stacy's Mom-(Fountains of Wayne)
At first i didn't like this song, but after a while this song quickly became one of my favorites of 2003. 5/5

15.I Wish I Wasn't - (Headley, Heather)
This song is ok, not the greatest though. 3/5

16.Gimme the Light -(Paul, Sean)
One of Sean Paul's most annoying songs ever. 2/5

17.Any Road - (Harrison, George [1])
Abouslete Excellent song from former Beatle George Harrison. 5/5

18.Ain't No Mountain High Enough - (McDonald, Michael [Vocals/Keys])
I absouletely can't stand this song for some reason. 1/5

19.Send Your Love - (Sting [1])
Great song from Sting. 5/5

20.Hole in the World -(Eagles [1])
The Eagles prove that they still got it with this song. 5/5

21.Unwell -(Matchbox Twenty)
Excellent song from my favorite band. Glad to see that they were nominated at the Grammys. 5/5 ... Read more