Reviews (10)

1/3 REAL + 1/3 UNREAL + 1/3 SURREAL
What an amazing LIVE album!

You get an entire LIVE version of Misplaced Childhood on disc 2, along with 12 LIVE tracks, mostly from Clutching At Straws, on disc 1.

This LIVE album captures the technical precision of the studio versions, with the added emotional intensity of a LIVE atmosphere. In fact, this LIVE album makes the studio versions sound contrived and cheesy by comparison. This album simply sounds too good to be LIVE, but also way too good to have been recorded in some studio!

The Thieving Magpie is Marillion's best album, period.

It's a shame that people new to Marillion most often start with the albums Misplaced Childhood, Clutching At Straws, Afraid of Sunlight, and Brave. While these are all very good albums, none of them compares to The Thieving Magpie.

It's worth the money. If you're thinking about buying it, just buy it.

Truly, a great album and a great concert experience...
As a farewell present for fans, the double CD live collection of The Thieving Magpie is perhaps the closest to a Fish-era Marillion concert you'll ever be. This is the band during their heyday (at least in their peak album selling years) just as Fish was about to leave (or be dismissed, depending on who you ask). Here's a band known for its proximity to fans back when they performed to packed arenas. It is, without a doubt, a testament to a great band who, after releasing this album, went in two different directions with two very different results.

The two CDs are divided into a full live version of Misplaced Childhood (the band's greates achievement) and a collection of tracks from their three other albums. The results can also be divided into two groups: awesome and lacking.

Being able to enjoy Misplaced Childhood in its enterity is a true gift that the lads gave to us fans. This is one of those classic albums that transcends time and taste, and that should be around forever. It is also proof of the band's musical talents, both as composers and as performers. This is a 42+ minute track if you think about it!

The first disc starts off with an intro of Rossini's 'La Gazza Ladra' that segues into one of the bands best loved tracks, Slainte Mhath and then visits a varied collection of hits that are taken from different concerts. This disc could have been somewhat better, not because of the quality of the tracks presented, but because of the tracks missing from it. Granted, the band had already released Real to Reel and Brief Encounter, so a few of the better known pieces of Marillion's music was already out in live versions, but still, a better way to say goodbye and thanks to the fans would have been to include Forgotten sons, Assassing, Garden Party and/or Market Square Heroes.

Still, this is an album that should be owned not only by Marillion fans, but also by every and anyone who loves great music.

Energizing live performance!
I have always admired Marillion's live albums because of their intensity, and among them The Thieving Magpie is probably the best. It shows how a band can transform studio music into a true expression of the human soul. It shows that it is possible to enhance perfection.
All of the bands member perform at their best, seamlessly adding strength and warmth to the music. Their level of energy and coordination is untypical of live performances. I particularly enjoy Ian Mosley's faster and unrestrained drumming, as well as Fish's voice which adds tremendous sensuality to the music. I have to admit that because the album is a compilation of several performances there are some discrepancies in the sound quality. However I don't think this is reason enough not to give this masterpiece a five star rating.
The selection of songs in the first disc contains some of Marillion's best. My personal favorites are Slainte Mhath, Fugazi and Script for a Jester's Tear. If you are already familiar with the studio songs you will undoubtedly be blown away by their emotional live versions. The second disc contains an equally intense and complete live performance of Misplaced Childhood that sounds even more natural than the original album.
The Thieving Magpie was Fish's last performance with the band. They were never the same after that and probably never will. It's a farewell to one of music's finest bands and as such is hard to listen to it and not feel that they have left and empty space that may never be filled again.

A great tribute to the Jester`s epoque!
...One of my favorites musical hobbies is buying live albums because at stage you can judge the quality of the musicians without any chance of further corrections. The Thieving Magpie is a great tribute to FISH when he was Marillion`s main vocalist. CD number one contains great performances of Slainte Mhath, Chasea Monday, Jigsaw, Punch + Judy and Sugar Mice. Script for a Jester`s tear is good but not good enough like Hogarth version included in the offcial bootleg Live in Caracas,1992. CD 2 is the live version of Misplaced Childhood that I consider suverb and uncomparable,better than the studio vertion. This CD covers one of the greatest moments of this megagroup.

Great for live Misplaced Childhood, but....
Considering this could have been the ultimate live experience (Marillion being one of my favorite bands), I think I may have set standards too high for The Thieving Magpie. La Gazza Ladra is a two-disc set featuring many fabulous songs from Fish-era Marillion, and a second disc sporting a complete, uninterrupted performance of the entire album, Misplaced Childhood.

My complaints fall squarely on the first disc. Since it was assembled from a number of different shows, there are major inconsistencies in sound quality, ambience, and musical energy from the band. Without the feel of Fish's onstage charisma and the tense chemistry between the band members, many of the songs feel like flat recitals of the studio versions. Live albums must do their best to try and preserve the experience of being at the show, but for much of disc 1 that experience is lost. However, _some_ of the songs here slay the studio originals. "Script for a Jester's Tear," which is one of my favorites, is tremendously more intense here, as is "Incommunicado," the big single from Clutching At Straws. "Chelsea Monday" feels a bit slower so the band can better explore the elaborate emotional textures of the song, and it's better as a result. "White Russian" also gains a great deal of power in the live delivery. Parts of "Fugazi" are likewise more intense, especially the ending.

Why a Marillion fan should really want to own this is to have disc 2, where Misplaced Childhood is performed. What is already an intensely emotional work of music is in some ways more so thanks to the added vivacity of the live setting. They capture the feeling of the studio version, support it with topnotch technical precision, and slightly increased power on Fish's behalf. Rothery's solos are sometimes embellished, which is good. More of Rothery's guitar playing can only be a good thing.

A good live release, but it's no replacement for the real thing. ... Read more

Album Description

Digitally remastered U.K. reissue of the British indie rockgroup's second album from 1992 with four bonus tracks added: "Going Blank Again", "Howard Hughes", "Stampede" & the incredible 11 minute long instrumental "Grasshopper". The bonus tracks all stem from the two singles released from the album at the time, "Leave Them All Behind" & "Twisterella". ... Read more

Reviews (2)

My favorite album of the 90s
Looking back on the 90s, there were many great albums. Some folks loved Nevermind while others preferred OK Computer or even Deserter's Songs (Mercury Rev). While those are all great albums, Ride's Going Blank Again would be my choice for the proverbial desert island disc.

Leave Them All Behind, the epic 8:17 opening track, opens with a keyboard sequence that sounds reminiscent of the Who, and the song lives up to the comparison with lots of noise, drumming that Keith Moon would be proud of and layers of swirling guitars built on top of the drums. Cool Your Boots is another great track with really inventive rhythms and effects-laden guitar. Every song on the album has something to offer and is still a joy to listen to more than 10 years later.

The 2001 Ignition reissue/remaster version features four bonus tracks recorded during the album sessions (and originally released as b-sides): Going Blank Again, Howard Hughes, Stampede and Grasshopper. All four tracks are strong enough that they could have made the album. In fact, this is one of those rare albums where there just isn't a weak song.

If you're not already a Ride fan, start with this album. It will leave you wanting more. If you aleady had the Creation/Sire version of this album - buy the Ignition release. The sound quality is improved from the remastering and the extra tracks really add to the album experience.

Remastered, no REALLY!
If you're skeptical about purchasing remastered CDs, you should be. But don't worry about this one! THIS REMASTER IS INCREDIBLE! Not only does it sound ten times better, you also get extra tracks from eps released arround the same time. It really sounds incredible! If you're a fan of Ride, you have to have this! ... Read more

Amazon.com

Musician, heal thyself. Having lived with advanced sideman syndrome ever since his glory days in the Smiths, Johnny Marr finally steps into the spotlight with his full-length frontman debut. So how do Marr and the Healers stack up against alma maters the Smiths, The The, and Electronic? Boomslang is a rock-solid collection of dreamy, droning, sublimely melodic pop offerings. Marr makes little attempt to match the languid solipsism of Morrissey, the existential dread of Matt Johnson, or the enigmatic electro-pop of Bernard Sumner. Instead, from the hypnotic rock of "The Last Ride" to the reflectively pastoral "Something to Shout About," Marr's songs are as unaffected, his singing as mellifluous, as the tastefully expressive guitar work that's earned him a place among rock's most acclaimed instrumentalists. Already together for three years, Marr, Zak Starkey, and Alonza Bevan form a tight rock trio that knows when to loosen up, not least on the seven-minute "You Are the Magic." While cohort Sumner's career trajectory from Joy Division guitarist to New Order frontman was decidedly faster, the cofounder of Manchester's other best known band has made a two-decade journey from codependency to creative control that, in its own unassuming way, is no less satisfying. --Bill Forman ... Read more

Reviews (35)

Johnny Marr steps out from the shadows
The Smiths were a great band that was clearly greater than the sum of its parts, but whereas Morrissey gets a little too much credit for their success, Johnny Marr doesn't get enough. If you listen to the last couple of Smiths albums, the melodies and production of the songs stand out tremendously and that can be (mostly) attributed to Marr. Since he was more or less a glorified side man, Marr continued in that role with Bryan Ferry, The Pretenders, The The, and Electronic before finally putting together his own solo effort.

As a fan, I've been waiting for this for a long, long time. Yes, it could have been a little better but it's far better than a lot of the stuff being released these days. Marr's vocal ability is not the strongest, but he acquits himself well for the most part and comes across a little like Noel Gallagher. The songs are, for the most part, very catchy and emblematic of Marr's work with the Smiths. He, I think, captures a mood through music better than almost any other songwriter out there. Down On The Corner and Last Ride are both quality songs, as are Something To Shout About, Inbetweens, and You Are The Magic.

Smiths albums were a great combination of melancholy and pop and while there is no equal here to a song like How Soon Is Now or Paint A Vulgar Picture, there are some very likable tracks. Marr also again proves himself a good instrumentalist and the band he's assembled shows some muscle as well as technique. A worthy purchase for the CD collection and here's hoping there's more to come.

Johnny just lets it rock...for better or worse
Boomslang is, plain and simple, a no-nonsense rock n roll album. And this may or may not help your opinion of the music. I myself had high expectations for this CD. The Smiths were, well, frankly awesome and Electronic was great. So I guess you can say I set the bar high for Marr. Maybe too high.

But that's not only a rough standard, but an awkward one as well. In fact, it's hard to believe this was the same guy who co-wrote all those Smiths tunes.

Johnny's strengths shine just as brightly as do his weaknesses. For one thing, the man can sure come up with an interesting riff. But they all rely on distortion, which is really atypical of his crisp-clear style from the 1980s. His singing voice is good, but his lyrics are laughable. He has enough varying hooks in songs, but only some of them go beyond good and into great territory. There really are no bad songs here (well, Headland is pretty worthless).

Fortunately, Marr employs one of his best talents here: layering. The whole idea that the Healers are merely a trio does not limit them on what they do. Rather than sticking to the same boring formula that makes some of us uninterested in trios (Urge Overkill), Marr understands how albums work and he reaches out to the listener with extra guitars here, some extra keyboard there, whatever he can do to get your attention and wake you up.

An impressive thing about this album is You Are The Magic. Johnny Marr, unlike Bernard Butler, can take a seven minute song that is purely based on repetition and make it interesting. One of the more laid back songs on the CD, this is the Healers using studio magic for the powers of good.

You Are The Magic and Bangin On are probably the best songs here. But I keep getting the nagging feeling that there is room for improvement.

Proof that Morrissey was the REAL talent behind the Smiths.
While Morrissey has managed to carve a successful solo career for himself, in spite of being hounded by the ghost of the Smiths, Johnny Marr, whom some people tend to deify, turned into little more than a second-rate session musician, playing with other bands for an album or two and then moving on, never releasing anything all his own. After more than a decade, Boomslang finally came out, and . . .

. . . it's a bad, bad album. There are a couple of good songs, but the rest of it sounds like the boring, uninspired crap-rock that you hear from aging musicians who are long past their prime. Perhaps if Marr had released an album shortly after he left the Smiths instead of wasting his time with that Electronic nonsense, he might have established a solo career. This is just too little, way too late.

Smiths fans sometimes like to argue over who was the real driving force behind the Smiths, Morrissey or Marr? Given the very different paths these two have taken post-Smiths, it's clear that Morrissey was the real talent behind the Smiths.

Stone Roses B-sides
What a shocking dissapointment. Love the man and his former work, but this is.........really..........weak.

OK for first solo effort - but not by any means great
I agree with most of the reviews I've seen on here. Frankly, I was pretty disappointed with this effort. I think it's weakness is due mostly to merely average lyrics and vocals. Further, there doesn't seem to be a consistent sound ... some of it reminds me of early Oasis and some of it sounds kind of retro 70's rock and roll. I loved Johnny Marr's guitar work when he was with the Smiths, and although his solo playing style is different, it's pretty good ... although I personally prefer his work with the Smiths. I guess I was hoping for more of a Smiths sound without the often annoying whining of Morrisey ... this is definitely not what I was hoping for. ... Read more

Album Description

The second single from 1997's 'OK Computer'. Pt.2 is backed with two non-album tracks, mixes of 'Climbing Up The Walls' (Zero 7 Mix & Fila Brazillia Mix). Paper sleeve. ... Read more

Reviews (6)

A reasonable single, but not great
This single was a bit of a disappointment. The track karma police is of course an excellent track beyond comparison. the zero 7 mix of climbing up the walls is not bad. i would give it four stars. the fila brazilia mix is listenable and enjoyable, but really not such a great remix at all. it does not change the order of the vocals at all, only the music, stripping it down completely and too drasically. the original is far better. if you are a collector, this single is worth getting. otherwise, stick with karma police cd1.

For a moment there I lost myself...
Karma Police has got to be one the best Radiohead songs ever recorded and so having it on songle is great. Plus you also get 2 other remixes of Climbing Up the Walls which is also a superb song, with 2 great remixes. If you like this single then you may well like the work of Mike Ladd who is a musical genius. Go and check him out on Amazon today!

[good]-Remixes!
Buy this CD for the 2 remixes of "Climbing Up the Walls". They are spectacularly hypnotic. As great as the "OK Computer" version of the song is, these remixes are even better! I'm not generally into buying CD singles and remixes, but if you're a Radiohead fan you gotta get this!

He buzzes like a fridge
Karma Police was a great song, but I think the B-Side versions of "Climbing Up the Walls" are much better.

The Zero 7 Mix is superb. Quite jazzy and the bass and beat are really very neat. The keyboars sound lovely and the guitars sound very very cool. I really like this song.

The Fila Brazilla Mix is nice, has a real percussion feel to it. Thom's singing is much slower than in any other version. Very light, not heavy at all. Airy almost. Not the best, but still quite good.

Excellent for the Radiohead collector.

Its only got 3 tracks but...
Its has 2 brilliant remixes on the album just as scary as the original 'climbing up the walls' especially with the zero 7 mix. if your a radiohead fan this is definatly one of the singles you should get. ... Read more

Amazon.com

This 1986 collaboration between Harold Budd, the master ambient minimalist, and the Cocteau Twins, the original purveyors of ethereal pop, delicately balances the former's hypnotic atmospheres with the latter's soft grooves and cryptic female voices. While both artists are known for their romantic sounds, the moodier, darker tones that frequently inhabit Budd's ambient works are subverted here for a generally upbeat feeling. Nevertheless, the natural symbiosis between Budd and the Cocteaus makes for a charming, low-key musical marriage. These eight songs are split between light and airy instrumental compositions and groove-oriented vocal tracks. In the former style, "Why Do You Love Me?" is the most memorable, matching Budd's cascading, aqueous keyboard runs with guitarist Simon Raymonde's graceful feedback washes. The latter style is exemplified by "She Will Destroy You," which sounds like a Cocteau Twins tune with romantic keyboard and saxophone accompaniment. Some might argue that not every track feels like a true collaboration, but The Moon and the Melodies has no exalted aspirations, rather it is designed as pretty, relaxing music, and it succeeds on its own terms. --Bryan Reesman ... Read more

Reviews (13)

Not so much a collaboration...
Years ago when I first heard of this release I thought that
a collaboration between Budd and the Cocteaus had lots of
potential, but upon actually hearing it I was a bit disappointed
to find that nothing here really sounds like a meeting of the
minds. Some tracks sound like Harold Budd, some sound like
the Cocteau Twins, end of story. That's not to say it's not
beautiful music with Robin Guthrie's always pristine production
work, but it doesn't feel like a project that was given the

proper attention.

unusual way to tiltle the band
this is my first review for Amazon. I bought this album when neither Amazon nor the Internet eexisted, I have been a fan of the Cocteaus for 14 years, and I just loved the idea of not using the name Cocteau Twins. Some tracks like "Memory Gongs" sound as if they had been played under the water. A perfect soundtrack for being lost in a pinus forest amidst a dense fog, barely being able to see the blurry shape of the trees. The last track has the most inventive and senseless name ever, and it grows and grows until it explodes. One can barely hear Harold Budd in the Cocteau Tracks, but can surely here Robin Guthrie's guitar sliding through Harold Budd's tracks. One of my best cds. I would like to take it to my grave.

Audio Zen/5 stars is not sufficient for this Album
In a music collection that spans over many genres and over serveral thousand. It would be hard to imagine not having this album in my collection. In the fifteen years since its release it has been one of the most played albums in my collection. This perenial favorite brings a calm to those living in the temporal world. Time,place, and space have no meaning when listening to this album. I take this album on long trips, flights to releave tension and camping for looking at the stars as an enhancement to the isolation of the wilderness. This album will musical and spritually take you to place you have never been before or dream about for that matter. I have been a Cocteau Twins fan as well as a Harold Budd Fan even before the collaboration. Though there are two distinct styles here there is continuity and harmony overall. Words really can't do justice here. This is one of a few albums you can buy and not feel cheated or your time/money was wasted. Like Neo seeing the Oracle in the Matrix. This album is for you and you ALONE. By that, I mean what you get from listening to it will be you own experience. You should though, share this with as many as possible but; listening to this album is best as private/intimate experience.

Budding with Magic
To those already Cocteau Twins fans, this is pure delight. Harold Budd's collaboration with Cocteau Twins remains to this day one of my favorite pieces of music. The lush soundscapes of Guthrie, Raymonde & Fraser blend perfectly with Budd's light touches of atmosphere, delivering a music unlike anything I have ever heard. It's as if someone bottled sunlight and moonbeams. I'm usually a skeptic but albums like these make me believe in magic. "Memory Gongs" might just be what I'd like to hear on my deathbed. This is one of music's best kept secrets.

Harold Budd meets the Cocteau Twins...
...and the results are a spellbinding, lovely collection of songs which are alternately haunting and powerful. The combination of Liz Fraser's gorgeous vocals, the unmistakeable Twins melodies of Simon Raymonde and Robin Guthrie, and Harold Budd's swirling, otherworldly piano, is flawless.

Some have thought that this album is divided into 4 Cocteau Twins songs and 4 Harold Budd songs, but they have not listened closely enough. The songs to which Liz lends her irreproachable voice have a different feel because of it, but the songs are all collaborative, each an exceptional mixture of the talents of these four musicians.

"She Will Destroy You" is a flawless song. The vocals and instrumentation are perfectly performed, producing a dark and brooding mood. "Sea, Swallow Me" is lighter in tone but just as impressively rendered.

This is one of the few CD's I would recommend to just about anyone; regardless of their musical tastes, they will love the Moon & the Melodies. ... Read more

Reviews (19)

Ronny Moorings=Genius
Yes, Ronny Moorings is a musical genius. He has an allure to his music that will have me buying everything that his band Clan of Xymox releases. (and I have them all) I particulary like his vocal style and presentation and synth/guitar melodies albeit most of them "dark to depressing" on the Xymox CD's. That is what disappointed me about this new release. His vocals seem to be lost in the mix and the songs have lost that melodic dark trait of previous Xymox gems. However, Some of the songs are great. If the fabuous "At your Mercy" would have been the formula of this CD, it would have received 5 stars. A good CD for completists of the artists works, but for beginners, pick up their best record "Medusa".

Internal darkness
I recently discovered Clan of Xymox from a friend. After hearing a couple of their songs, I was automatically hooked. My first Clan of Xymox purchase was their live album. That really got me hooked on the dark, tortured sounds of the Clan. Over the weekend, I was able to find a used a copy of the band's recent album "Notes From the Underground". I bought it of course. "Notes From the Underground" is everything that goth music ought to sound today, instead of being misrepresented by idiotic metal bands like Marilyn Manson and Korn (who are definitely NOT goth!!!!). If The Sisters of Mercy was to ever had passed on their legacy of dark, haunting goth music, Clan of Xymox is definitely the ideal band to represent the legendary goth band. Tracks like "At Your Mercy" and "Internal Darkness" definitely captures the same dark, haunting melodies that The Sisters created. Of course Clan of Xymox has to be signed on my favorite record label, Metropolis Records. The last track on this album "The Same Dream" definitely captures that same sound that I hear in the band's fellow labelmates VNV Nation and Apoptygma Berzerk. I myself was not disappointed with "Notes From the Underground". Yeah maybe they do sound like The Sisters of Mercy but I would rather have them sound like SOM than Marilyn Manson.

Soon-To-Be Classic for a new generation (my generation!)
All in all, I feel as though "notes from the underground" will be more appreciated in the future, as it will hopefully rank in the same status of classic "Gothic" albums such as Dead Can Dances' "Within the Realm of a Dying Sun", among many others. I like it slightly more than "Farewell", since, in my opinion, "notes" has more feeling and more intelligent song-writing than it's predecessors.

she said shed always love me
the clan always and i repeat always put out good records under the full name clan of xymox this album is beautiful i drive at night through the arizona desert with this album playing. it resembles the lost love that many of us encounter. his voice is deep and sultry and can evoke intense memories of life. the harsh electronics are not quite industrial but they play along withe lyrics and the mood like what the doors did for jim morrison. its poetic, timeless, and almost belongs to the listener exclusively. still has the desperate love loss of medusa its perfect for watching the moon at 3am and letting your imagination go

the worst!!!!!!
no no no it's the worst album by clan of xymox, j know Ronny from '85 and this album it's so bored,without soul and his voice don't come out like he knows.Usually he does songs subgestives originally,but in this album is all so empty.
j hope that he will come back to do something special. ... Read more

Album Description

The first single from their 1997 & third album, 'OK Computer'. Pt.1 is backed with 'Polyethylene (Pts. 1 & 2)' and 'Pearly'. Paper sleeve. ... Read more

Reviews (7)

Definitely one of the greatest Radiohead singles
This single surpasses many of Radiohead's (and other artist's) singles. Not only is Paranoid Android an unforgettable alternative rock song, but the bsides are fantastic as well.

Polyethylene (Parts 1 And 2)--such a great track. this could have definitely been on OK computer. it begins with an acoustic, calm snippet (part 1). but then, it breaks into an all out rock song (part 2). the track has great, meaningful lyrics and such an incomparable tune. one of their very best bsides ever.

Pearly*--also a great bside. it has a different sound to it, like it could fit into OK computer in some ways, but not completely. it does have great repeat listenablity value and an addictive theme.

I dont often say wow but......
WOW! No matter if you are a new fan, old fan, if you like amnesiac best, or pablo honey... you really need to get this single. Paranoid Android could be not only the best radiohead song on ok computer, but maybe their best song ever. To put this song on a single accompanied by two b-sides that will leave you speachless makes this purchase totally worthwile.

Ok, so heres what the songs are like... Paranoid Android is just such a good song. Once you hear the 4 beeps in the beginning of this song you'd better take a seat. It has such an unbelievable feel to it created by possibly thom's best ever singing, and a guitar riff that gives you the chills. The background sound effects and such make the song all the more breath-taking. It goes into an electric guitar hardcore part towards the end proving the variety and talent involved in the making of this song. If there is one song that will leave a lasting impression on you from the OK computer cd it will be this.

Polyethylene (parts 1 & 2) comes next on the single. It begins with a nice little accoustic guitar and voice piece (part 1), that would do fine as a song on its own. But then you hear 2..3.. and the electric guitar comes in adding so much to this song. Thoms singing in this part is quite powerful and meaningful, it has a cool kind of off-beat to it. Would definitely go well on the ok computer cd.

Pearly* is the next and final song on this great single. As if they needed another great song after the first two, but hey, we're talkin about radiohead here... This song sounds somewhat beatles-esque in a way but with a great radiohead twist to it. I would buy the cd for this song alone. Interesting crashing of cymbals and bells lead the way in this song accompanied by a harmony of singing and guitar. Outstanding song for an outstanding cd.

The best single?
It was because of this song that I and many others got into Radiohead in the first place and it remains a pure, complicated gem. But it's not just Paranoid Android - Polyethylene could quite easily have made it onto Ok Computer and Pearly* rates as one of the better guiter-driven B-sides of recent years. Together they make a perfect monument to a great song.

Listen and Learn
Quite simply this is the greatest record of all-time.
To hear this work of genius in your living room played very loud after a hard days graft is special. To have heard it played very loud with 45,000 other people in Oxford one rainy Saturday was the one of the highlights of my life.

Forget music listen to this.

Demon of Wet Sawdust...
THIS IS NOT A "NO SURPRISES CD-SINGLE" THIS IS PARANOID ANDROID PT. 1!!! Please make sure you know that, I did, and this is much better. Track listing- 1. Paranoid Android 2. Polythylene (Parts 1 & 2) 3. Pearly*

"Paranoid Android" is such a great Radiohead single, and quite an essential song to OK Computer. This is one of the songs that really got Radiohead's fame going.

"Polythylene" is an awesome B-Side, the first part is a nice Thom solo singing a guitar savvy song that moves into this full blown out piece with great guitars and some of the best Radiohead vocals. This is really a wonderful B-Side. A lot like all those great OK Computer songs that they became famous for. Not quite up to Kid A nor down to the Bends. REALLY A GREAT SONG!

"Pearly*" is another great Radiohead song. Another OK Computer-like song. Very cool song, sounds a little like futuristic 80s rock or something, if thats at all possible. I really like it, and Thom performed it recently as an acoustic solo. Its a really powerful song, I dont know how else to explain it.

These songs are great company to "Paranoid Android" and are excellent B-Sides. This is really one of the best Radiohead Singles I have, and Im a collector... that says a lot. ... Read more

Reviews (1)

to save suspense- not as good as vol. 1
i don't think that this collection can hold a candle to 'complete works vol. 1.' i may be a bit biased though, as i'd never heard 'feel so sad' before i owned it. the 'ladies and gentlemen...' b-sides are kind of weak. it's fascinating to hear how much work jason pierce put into getting 'broken heart' where it is on the album. it's also kind of fascinating to hear 'stay with me' bleed into 'the individual' even though it works better with 'home of the brave.' but for god's sake can we please stop it with the 'lay back in the sun' alternate versions?! that said disc two is much better and puts a better spin on the 'let it come down' songs. the live versions are quite nice, there is even evidence of where a few tracks from 'amazing grace' originated ('the power and the glory' can be heard in the intro to the live version of 'on fire' and 'hold on's main parts can be heard in 'amazing grace'). 'going down slow' is a nice completely new track. 'rock and roll' is... well, you can tell why he left it off the album... ... Read more

Amazon.com

Distancing himself still further from the howling guitars and shoegazer drones of his old band, the Verve, on his second solo effort, Richard Ashcroft maintains the stripped-down, introspective aesthetic of 2000's Alone with Everybody. Human Conditions focuses on the same spiritual battle of religion and love versus desperation and disillusionment—it's a conflict Ashcroft has been waging with himself and the world since the Verve's intensely sad 1995 release, A Northern Soul. Whether he's winning or losing these psychic skirmishes is still in question, but songs like "Paradise" ("How long can I stay here? How long can I pray here?") and "Lord I've Been Trying" indicate a deepening spiritual inspiration. Listening to Ashcroft work out his demons used to be a lot more fun; many former Verve fans undoubtedly miss the band's fire and theatricality, as well as the thematic counterpoint once provided by guitarist Nick McCabe. Undeniably though, the deeper he digs, the more interesting and mature he sounds, even without a bolt of electrified angst to drive the point home. --Matthew Cooke ... Read more

Reviews (16)

Please listen
Richard Ashcroft has proved with his solo work that he is on a serious spritual quest. It's not really sure whether if this is a religious awakening as much as a general search for a deeper meaning in life. This is conveyed by the pain and ache in Ashcroft's voice. This happens when you get to be thirty. The songwriting is stronger if not more convincing of his own preoccupations on this second solo record. Songs like "Check The Meaning" and "Science of Silence" are improvements from "Alone With Everybody" two years ago. He has moved on artistically with the help of the great Brian Wilson (ex-Beach Boys) and Talvin Singh. The albums with The Verve offered a lot of promise, and by 1998, they were England's biggest rock and roll band. Recently, Ashcroft's work with The Chemical Brothers or DJ Shadow haven't colored his own solo work though. It is firmly rooted in folk music and soul music: He is a true songwriter in the modern world. In songs like "Bright Lights" he deals with the allure of urban myths, but turns away, and searches for something greater. This embrace of the receding beauty of life and nature may continue over many albums to come. Let us all hope so.

An even better sophmore effort.
I loved The Verve, repeat, I loved The Verve. I, like most, found Richard's first solo disc a bit, well, disappointing. It did have it's moments, I thought "Brave New World", "C'Mon People" and You On My Mind In My Sleep" were all great tunes. But no, it really wasn't Urban Hymns was it. It is just now that I feel that is OK. Let's all face it, Richard is in a much different place now... wife, baby, freedom, those things make a big difference in one's life.

With Human Conditions, he continues on the same sort of road. The songs are very well thought out, very personal and very good. I think this is a stronger post Verve effort than "Alone With Everbody".

He starts the album off again with the first single, "Check The Meaning", it is quite good. The best part of the song is the moment that familar voice kicks right in with a hook that is very catchy. The rest of the record follows suit, again a more serious affair, but that doesn't make it too heavy on the soul. I esp. like the uplifting track, "Science of Silence", it is a nice string heavy tune with a nice message. I also enjoy, "Buy It In Bottles", it is one of the best things his done on his own for sure.

All in all, "Human Conditions" is a great record. Just don't think of it as a return of The Verve, If you still want it to be a Verve record, think of it more like Urban Hymns, without the drugs, and fighting of course.

A tremendous effort in its own right
Like any heralded lead figure of a cult phenomenon, Richard Ashcroft is going to shoulder the expectations of his "old band" for a good long while, and as long as people hold the brilliance of his former band's flawless catalog above his head, expecting another masterpiece, he'll always appear short of that goal. But removing The Verve/Nick McCabe from consideration, Human Conditions is a mature, stately, triumphant album. The overall sonic feel and mood to each track doesn't hit you in the chest as "Gravity Grave" or "Come On", but in their own way, these songs creep up and linger long after the thing is finished (a sign of a great record nonetheless). The sort of effect this record has on me is not gauged in a 30-second clip you can download here at Amazon; I found it better if taken in big chunks and sweeping, drowning occeans of sound. The placement of string arrangements and particularly the songwriting are vastly improved over his last album, and replacing his world-weary sensibility is a perspective that is fresh, appealing, travelled, and (gasp) hopeful.

I saw the Verve's last proper tour with Nick McCabe and I was stunned. It seemed like this "band of the moment" could go no other place but up, and I was so thrilled to be a part of that. Having the rug ripped out from under me after their final break-up wasn't good, because I could have watched them forever that night, and I had astronomical expectations for Ashcroft's solo career as did everyone. But in his own way, he has made a go of things rather nicely. His music is so full and thick, in a "restless swagger" as he says in "Nature Is the Law". I for one am pleased where he's going.

Sheer intelligence...
Richard Ashcroft - Johnny Cash - both have a lot in common, more than you think. Both are brilliant songwriters. Both are the voice, not the music. Urban Hymns is long gone everyone, let it go... or, listen to it as a completely different experience. Richard Ashcroft is Richard Ashcroft, not the Verve. He has grown up - shoegazing days over? Probably not.
I enjoy Richard Ashcroft because he is the most down to earth singer I have ever heard (besides Johnny Cash and Roy Orbison).
There are no pretentious lyrics or song titles like "2 + 2 = 5".
He definitely wears his heart on his sleeve. If you enjoyed his last album then it only gets better - and, as some critics have said, if he is so hopeless without his band to back him up then what the hell was "The Shining"? More like his OLD band is helpless without him.

A kicked-back, musical convocation of soul-searching
Yep, I like this CD.

It is a significant improvement over Richard's solo debut. Most of the songs on Alone With Everybody suffered lack of direction in the arrangements, with excessive "rambling". But now, he's gone from the self-indulgent chanting, to percolating. Thankfully, the incessant mantra syndrome has been overcome, as here on Human Conditions, one finds well-balanced ballads again.

If you enjoy some of the old Verve's softer tunes (including nonalbum tracks), I think you'll have no problem enjoying this CD. The melodies, while initially distinct (rather than blurred into oblivion), grow over and hug on you over time. Not soothing on the eyelids; rather, soothing on the spirit.

The lyrical themes are clear reflections of Ashcroft's personality. Personally, because of his agnostic proclamations in the midst of religious lyrical motifs, this CD could be renamed "In Search of Grace". Threads of puzzled ruminations over his quest for God and spiritual certainty dominate. Tangled within that, the focus dances from humanitarian/social observations, to bubbling sentiments borne only of an intensely personal, intimate love. The only track that feels out of place in this collection is the subtly bawdy "City Lights".

Unlike most music, this CD is brimming with sincerity, honesty, and feeling. In regards to his vision-questing, I hope Richard finds what he's looking for. ... Read more

Album Description

The second single from 1997's 'OK Computer'. Pt.1 is backed with two non-album tracks, 'Meeting In The Aisle' and 'Lull'. Paper sleeve. ... Read more

Reviews (3)

outstanding single all around
Ok, well here's my deal i am a somewhat new Radiohead fan but i have heard almost all of what they have so u can take my word for it... They took an absolutley great song in Karma Police and added two of the best b-sides ever to be made onto this single. For those of you who havent heard the song Karma Police, you should be ashamed of yourselves, haha, no im only kidding, but it is a beautiful song begun by a nice piano/guitar intro. Once the voice and drums come in you will be amazed by the whole experience of the song... "phew for a minute there i lost myself" are the words sung by thom's powerful voice accompanied by uncanny background music.

Anyway, Meeting in the aisle is the next song on this cd. It is a "cool" sounding instrumental with a "cool" beat and a very interesting sound to it... Maybe not the greatest song in the world but there is no way you cant like it.

The next song, Lull, begins in a Bends/Pablo Honey-esque way with a solo guitar tune, but don't be worried, once the singing and drums come in the song changes to a more complicated sound more like a kid a or ok computer type. I like this song very much and would defintiely consider it one of their better songs.

This single is a must have if you are a radiohead fan OR if youre not. This cd is a great way to be introduced to radioheads talent and style past and present.

Her Hitler hairdo, is making me feel ill
Karma Police is a great single, and quite the spirit of Ok Computer. This single includes two great B-sides as well. One thing to clear up is that this isnt a different version than any other Kamra Police, whether single or album.

The first B-side on here is "Meeting in the Aisle" which is a very pretty electronica tinged instrumental, thats quite Kid A. The thing that I find the most interesting of these OK Computer singles is that they reflect whats to come for Radiohead, now that we know.

"Lull" is much like what we saw on The Bends, only fresher. I thought that the Bends was very similar to much other stuff by not nearly as good bands. They must've copied, but "Lull" is quite a good song.

Again, this is an excellent single to have and to hold, till death do you part. Excellent intro to Radiohead or excellent way to continue with them.

Karma Police arrest this man
This is what you get when you mess with us.Not that i love this song very much i suggest you go get the album.No need for the single to be bought first.But so sure i am that you ll feel the urge to get this one as soon as you hear the album.phew, for a minute there i lost myself. ... Read more

Reviews (27)

New progressive rock - beautiful without all the hallmarks
For my general views on the "new" Marillion (that is, Marillion without their erstwhile lead singer, Fish), please read my review of "Afraid of Sunlight".

I shan't repeat everything hear. Suffice it to say that "Afraid" took me by surprise, becoming one of my favorite albums in spite of the fact that I bought it on a whim and was totally prepared - even perhaps looking forward - to disliking every second of it.

"Engine" is, in many ways, similar to "Afraid". If you like the one, you should like the other (and, yes, and you should like the one AND the other; they're both excellent!) However, there are a few points which should be made.

Firstly, "Engine" is not as homogenous as "Afraid". The title track of "Engine", for example, lasts about 16 minutes and is utterly wonderfull; set against this, however, are the quite staid world music inclinations of Hope for the Future, which in comparison seem quite innocuous.

Having said that, though, I've run out of steam. I simply can't fault the rest of the album. It's not world-shattering, it's nothing like (for example) the sheer, determinedly vituoso performances of King Crimson. But why should it be? This isn't a rehash of Crimson, or Yes, or even Genesis, the group Marillion obviously felt bound to during their first years.

This is Marillion, the "new" Marilion. And they're to be enjoyed and liked. And admired.

Like "Afraid", "Engine" is a great album. Thought-provoking, beautiful, reflective and occasionally intense, it is worth every penny you spend on it.

Buy this album!

SOME MARILLION UNIQUE MOMENTS
Released in 1997, this album is not at the top of my Marillion preferences. Being them my favorite band since 1987, I consider "Season's End" (1989, 1st without Fish) or "Afraid Of Sunlight" (1995, the previous to this one) more homogenous (regarding only the band's discography with Steve Hogarth as lead singer).

But 6 years have passed since I bought it, and I keep on listening to it pretty often. So where's the explanation? Well, especially in 2 great tracks: Estonia (lovely lyrics) and This Strange Engine (a pure Marillion song). These 2 songs would be reason enough for me to rate this album 4 stars instead of 3. Man Of A Thousand Faces (played on the 2001 live tour) or An Accidental Man are also good quality songs. The rest of the album is well listened but I don't find any other track at the same level as those.

Almost Perfect
The album is really great! But "Hope for the Future" is the WORST Marillion song ever!!!!!!!!!!!!!!!!!!!

One of the better Hogarth albums
The albums recorded with singer Steve Hogarth are a jumbled bunch. Though none are better than the Fish-era albums, some come close to being fairly good. Besides "Holidays in Eden", I'd put "This Strange Engine" up there as being one of the best. It captures some of the energy and fire of the Fish days, as well as containing some beautiful melodies. All the songs are strong and well-written. And the title track goes as far as being a modern progressive rock song. The CD artwork is interesting and a nice bonus.

Great title track, forget the rest.
Most of this album is rather disappointing and not very memorable. True, there's not a lot technically wrong with the music - Marillion are consistently good in this regard - but the songs, especially "Estonia", are rather boring.

The title track, by far the longest song on the album, is also by far the least boring. There is some great and innovative instrumental work here, and the emotion so sadly lacking in the rest of the album is here in abundance. This is the best thing Marillion have sone since Steve Hogarth has been singing.

It's a hard call to say whether or not to recommend this album. If you are new to Marillion, I suggest that you start elsewhere. ... Read more

Album Description

Debut album by U.K. indie pop/ rock trio comprised of Luke Haines of The Auteurs, one-time Jesus And Mary Chain member John Moore and female vocalist Sarah Nixey. Includes the singles 'England Made Me' and 'Child Psychology'. 11 tracks total. 1998 Chrysalis Records release. ... Read more

Reviews (17)

BBR: The Real Deal
This album is superb. If you don't buy it, you're an idiot. What? Oh, sorry. What's my point? Mmm, well, if you don't believe me, click on one of those sound clip thingies and check out "New Baby Boom" or "Child Psychology." Black Box Recorder (BBR to their friends) embodies the same kind of creative musical sophistication that gives British rock/pop such a distinguished reputation: think, for example, back to the '60's without the Beatles or Stones or Cream, the '70's without Roxy Music or Bowie or Kate Bush, the '80's without New Order or The Smiths or Depeche Mode, or the '90's without Elastica or Electronic (okay, okay, so it's a bit of a mixed bag, but I'm riffing here and besides, you gets the idea). I mean, when British rock/pop is good, it is very, very good. Revolutionary, in fact. BBR, like all great bards, are the voice of a place, a generation, a mood: in this case, England on the brink of the 21st century. Evoking a kind of scintillating ennui with spare guitars and driving backbeat, BBR showcases Sarah Nixley's smoky/ sultry and veddy Britishist voice to give expression to the kind of wittily romantic despair (Bowie's "Diamond Dogs" meets Ferry's "Boys and Girls" with a lot less overdubbing)that makes the Brits so much better than us at being world-weary: they're just so damn stylish when they're in despair, you know? Anyway, this is creative, fresh and original stuff, the kind of thing you just don't hear on American radio. You might as well get on the bandwagon now, 'cause you'll be hearing plenty about them later. They're the real deal.

Auteurs Mainman in Pygmalion Mode
Not content with the krautfunk of Baader Meinhof or the magpie appropriations of his main band, Luke Haines here plays Svengali, muse, and puppetmaster to ventriloquist's dummy Sarah Nixey. Sounds bad, but it isn't. BBR has all the unsettling lyrical panache of an Auteurs album, but is set against a monochrome musical backdrop that ups the intensity quite fetchingly. Girl Singing in the Wreckage, It's Only the End of the World, and the title track are all masterworks, while Althea and Donna's old Joe-Gibbs reggae classic Uptown Top Ranking loses its sass and comes over all threat and menace instead.

The US release adds five tracks to the original UK version, all good and one (Lord Lucan is Missing) superb. Unfortunately, it replaces the scary circus monstrosity cover art of the UK original with an anodyne little-girl illustration, thereby undermining Haines' real message: England makes you a carnival freak.

Twisted Nursery Rhymes with a Pixiesque Backdrop
Black Box Recorder is a hidden treasure and their first album, "England Made Me", is by far their best work. A hauntingly shy voice, behind the low tones of a variety of instruments, make up the collection, harvesting and provoking the silly thoughts of morbid children: Life is Unfair, Kill Yourself or Get Over it ("Child Psychology").

Each song on the album, possesses its own charisma, sometimes playing on the ideas of death and decay and other times relishing is mischevious childhood fantasies. "Girl Singing In the Wreckage" is a ballad of a young woman examining her very state of being, acknowledging the sad normality of her existance and at the same time, inventing a sense of mystery about herself. The track "England Made Me", weaves a tale of a disturbing characters who admits to 'sleeping with the enemy before betraying both sides'.

For the poet in all of us, the lyrics are infactuating. For the musician in all of us, the tunes are somber and delightful. One can expect Black Box Recorder to take you from your bedroom in the attic to an enchanted pixie-garden, where the faeries read H.P. Lovecraft, steal cars and smoke cigarettes until dawn.
- Jonathan H.

An album of acquired taste
In an ideal world music like this would be the mainstream whereas N'Sync would be constantly rejected as they try to get a recorddeal. Then again, in an ideal world I wouldn't be single... But I digress. What I really wanna say is that this album is unique. It's unique because it is lowkey, understated and thoroughly devoid of pathos:- & quite honestly, when a certain band actually manages to remind me that I can enjoy music which focuses on these very three traits I just have to applaud them. When I first put the album in my stereo I expected a diverse collection of styles & sounds. Instead, I was taken aback by the album's simplicity, by the fact that it doesn't take more than a really great female singer (Sarah Nixey), an undistorted electric guitar & occasional drumbeats/bellchimes to make enchanting music. Admittedly, the single "Child Psychology"'s stark message feels a little out of place within Luke Haines & John Moore's lyrical subtleties that:- Along with their melodies:- create a pensive & often eerie atmosphere as symbolically depicted by the English beach photographed in the sleeve. As most good albums this one also works best when taken in one piece as it truly sets a contemplative mood, like when you take a really long drive to the sunset but the feeling isn't romantic but rather bittersweet. Unsurprisingly, the bonus songs actually add to the album & save it from its only minus:- Brevity. That & the fact that it contains no less than three (!) coverversions ("Up Town Top Ranking" just doesn't work, sorry) but other than that it's a winner. For an acquired taste, that is.

Debut
Like the 2nd album which is Facts Of Life,this US release has a diff. sleeve and some bsides as bonus tracks.A must have and a wonderful debut. ... Read more

Reviews (4)

Probably h's best so far...
This is, in my opinion, the best Marillion album to include h (Steve Hogarth) on vocals. It's also one of their most consistent albums in the sense that only 'Beyond you' could be labeled as sub-par in comparison with the rest of the tracks.

Most of the tracks are *monster* pieces, some of the very best the band has penned so far, including 'Gazpacho', 'Beautiful' (the feel good, slow-ish track of the album), 'Afraid of sunlight' and 'King'. I believe that in no other tracks have h's lyrics and the lads' music merged so well as in the above list.

Completing the album is 'Cannibal surf babe' (the *required* weird track) and 'Afraid of sunrise', both of which are also quite, quite good.

As for the second CD, it contains mostly demos and outtakes, as well as 'Icon' and 'Live forever', two b-sides from the album's singles. There's also a different version of 'Beautiful' (with it's working title 'Second chance').

Don't be Afraid!
If you looking for a Marillion Album; get this one! With Steve H. truly integrated into the band; they have produced a great range of tracks [showing the wide range of influences on the members].
From the great intro track of Gazpacho, into the California [Cannibal] Surf babe, followed by Beautiful [a number one in Brazil] and the two tracks I really love; Afraid of Sunrise & Afraid of Sunlight.
This is Marillion at their very Best!

Their best work with Steve Hogarth
The departure of Fish from Marillion back in 1988 left me sad at the time. His lyrics, voice and presence on stage were unique. The remaining members of the band knew that better that anyone, at it took them some time to find a proper substitute. But they ended up choosing well, as the quality of Marillion's music remained untouchable after more than 2 decades of existence.

This was the 4th album released with Steve Hogarth. On the previous 3, his influence on the band's direction grew gradually. In Seasons End was still reduced (naturally...), in Holidays In Eden we saw him introducing new sounds and different writing themes, and in Brave his integration on the band (and vice versa) was completed. Although I adore The Great Escape/Falling from the Moon & Made Again (from Brave), I prefer the first 2 works.

From this point of view, I think this was the moment were all contribution from the new member were best combined with Marillion trademark sounding. After this, they started searching for new directions, and I think they are being well succeeded (Marillion.com is a good example of that).

It's one of the few albums I listen from start to finish without having to advance a single song. Gazpacho and Cannibal Surf Babe open the album in a promising way and are followed by Beautiful. Each time I listen to this last track I get the feeling that, with proper promotion, it would have been Top10 in several charts (but that doesn't make a difference, does it?). The remaining songs are all quality pieces, specially the last 3 ones (title track, Beyond You and King). The final section of King is my highlight of the album.

For starters or old aficionados who lost contact with the band after the big poet's departure, this album has lots of chances to become a really good surprise.

Marillion create yet another gem
Marillion are Steve Hogarth (vocals, keyboards, percussion), Steve Rothery (guitars), Mark Kelly (keyboards), Ian Mosley (drums and percussion), and Pete Trewavas (bass). This is the band's 8th studio album. All I can say about this album is that if you do not have it....then you don't own a cd. ... Read more

Album Description

24 bit digitally remastered with a bonus disc never before released in the U.S. with over 40 minutes of music of alternate versions of album tracks, B sides, studio takes and demos. Deluxe 28 page booklet featuring full lyrics and detailed accounts from the band. Booklet also features never before seen photographs. First time domestically available since 1991. ... Read more

Reviews (46)

A masterpiece; one of my favorite albums ever
I have owned this album since it was originally released. I have owned it in vinyl, cassette, and now CD. Why do I continue to buy it when my old version wears out? Because "Misplaced Childhood" is simply one of my very favorite albums ever.

This is a concept album, composed after the progressive rock style. This is intelligent, variable, engaging music. The musicianship is superb; the songwriting is oustanding; and the lyrics are mesmerizing. I own many (if not all) Marillion albums, and "Misplaced Childhood" stands out far above the rest, in my opinion. This album is simply brilliant.

All the songs flow together so that they sound like one continuous piece of music. The moods range from gentle introspection to agressive defiance.

Fish passionately sings lyrics that are often cryptic but allow the listener to conjure up his/her own individual interpretation or images of what each song is about. Other songs, such as "Kayleigh," are more straight forward lyrically, dealing with more obvious themes. And the band adds beautifully to Fish's words, creating a variable and always appropriate musical ambience.

You simply have to listen to all songs on this album in order in their entirety to get the full magnitude of Marillion's work. Every song is unique. Every song is majestically performed. Every song contributes to the magnificence of this album.

I cannot say enough good about this disc. I LOVE IT! Definitely a recommended pick for you Amazon.com listeners!

A masterpiece; one of my favorite albums ever
I have owned this album since it was originally released. I have owned it in vinyl, cassette, and now CD. Why do I continue to buy it when my old version wears out? Because "Misplaced Childhood" is simply one of my very favorite albums ever.

This is a concept album, composed after the progressive rock style. This is a intelligent, variable, engaging music. The musicianship is superb; the songwriting is oustanding; and the lyrics are mesmerizing. I own many (if not all) Marillion albums, and "Misplaced Childhood" stands out far above the rest, in my opinion. This album is simply brilliant.

All the songs flow together so that they sound like one continuous piece of music. The moods range from gentle introspection to agressive defiance. Fish passionately sings lyrics that are often cryptic but allow the listener to conjure up his/her own individual interpretation or images of what each song is about. Other songs, such as "Kayleigh," are more straight forward lyrically, dealing with more obvious themes. And the band adds beautifully to Fish's words, creating a variable and always appropriate musical ambience.

You simply have to listen to all songs on this album in order in their entirety to get the full magnitude of Marillion's work. Every song is unique. Every song is majestically performed. Every song contributes to the magnificence of this album.

I cannot say enough good about this disc. I LOVE IT!

great progressive rock
marillion were a great progressive rock band in the vein of yes,elp,elo and king crimson and this is a great double album from these guys.get this gem if you like similar music.get this album along with tarkus from elp and red from king crimson also.very highly recommended.

great progressive rock
marillion were a talented british progressive rock band who made some great music and i like them a lot along with similar bands like king crimson,elp, yes and elo.get this album if you like progressive rock music. this is a delightful album which you will enjoy.very highly recommended.

absolutely stunning
every marillion fan should have this album in collection.a must. ... Read more

Album Description

3 track single, their first lifted from 'Amnesiac' features 'Pyramid Song' & two non-LP tracks, 'Kinetic' and'Fast-Track' which is unavailable on the 4 track edition.Cardboard sleeve. 2001 release. ... Read more

Reviews (5)

Radiohead is capable of so much better!!!
I love Radiohead. I collect their Cds. My friends are all sick of hearing about them. Then, I heard Fast Track. Pyramid Song was great. Kinetic was brilliant. Fast Track was horrible. It starts out with some odd sounds and percussion, which was actually pretty good. Then enters this UNGODLY sampled noise that goes on through most of the song. At points, it quiets down and get distorted enough that it sounds decent, but then it comes back at full volume. You can hardly hear Thom song over it. This is one the most frustrating songs i've heard in my life. I'm giving this cd three stars for the other two, but the reason i haven't mentioned them is they're available on a different Pyramid Song single which includes two of Radiohead's best songs on it as well. Get the other one. ...well, someone had to say it.

2/3 great...
I actually own the import cd-single which only features "pyramid song" and "fast track," but i also own "kinetic" on the maxi cd single.

"Fast Track" interesting song out of all the b-sides from the "amnesiac/kid a" sessions it features some offtempo singing that increases and decreases its tempo alongside the bass and percussions. Its nice to hear, but not exactly great, but once you add up that it also includes "Kinetic," this cd is woth it. This song is great, fairly electronic dealing in a gloomy atmosphere with great chanting.
And of course, pyramid song, the great jazzy downbeat song with its amazing lyrics and incredible tune. This cd is worth it if you are a true fan, but if you are not really into Radiohead, you could be better off buying the Pyramid Song single that features 3 b-sides instead of this one. I still like it alot though-

The Pyramid, Part 2 (Nothing to Doubt)
The first single from Amnesiac and the first commercially available single from Radiohead in nearly four years.

PYRAMID SONG: (Difer to review written on Part 1)

FAST-TRACK: Vocal manipulations laced with percussion that is both confident (steady bass drum and hi-hat) and choatic (sounds like a snare turned beanbag and it's on the left speaker) and guitars that echo in a sea of speed and confusion.

KINETIC: Synth "ahhs" or "ooohs" are cliché in the world of music but this song puts it into new light. With a jazz drum pattern, meandering keyboards and Thom's pleas to "let's keep moving" and "Don't fall asleep at the wheel," the song moves and yet stalls in the middle of the road [this is not suppose to be a negative criticism but rather an attempt to describe the song]

OVERALL: Along with Part 1, this compliments Amnesiac, bridges it with Kid A and proves that B-sides are hidden treasures.

Nothing remains constant except change...
Ok, so you've heard Radiohead's last two studio albums ('Kid A' and 'Amnesiac') and you're thinking "This is *not* the Radiohead we all know and love", right? Well, perhaps not... and yet....

The important thing to try to remember is that for many bands now-a-days, changing your style or musical direction can be a very difficult undertaking. Record companies and producers want more of the same stuff that sold successfully in the past and try to position or move artists into neat pigeonholes that they think will sell within a given market segment. If you are confused by radiohead's change of direction, rest assured that this is there way or finding their own little patch of self determination within the corporate monoliths that are today's music industry.

As a band, I believe Yorke and Co. had to find another way to keep their creative processes alive. They needed new inspiration. Their songwriting process had become an assembly line and I think they needed to reinvent themselves (and their sound) in order to remain creatively interested in the band. The beauty of the past two albums is in their treatment of sound itself as the instrument. Radiohead have started to use the studio (whether it's a small portable hard disc multitracker or a full-blown 'recording studio') as the instrument.

'Pyramid Song' upon first listen, is a bit like looking at a fractal. You are aware of the pattern and colors but it requires a little time to closely examine the work before it's delicate beauty really becomes apparent. A large part of it's beauty (as well as the whole of Amnesiac ) is in it's feel. The subtle chord shifts (ala Monk). The tone of Thom's voice. It's the choices they've made as a band about the overall sound that make these album collections of work that should be listened to and applauded as well as Radiohead's courage and determination to stay true to an artistic vision and process.

Will Radiohead ever return to being a great 'guitar driven' band? I'm sure they will...afterall, let's face it, bashing away on loud guitars is a heck of a lot of fun :-) But in the meantime, sit back and enjoy the sound of a different trip. Trust in the intention behind the music and allow yourself to be taken in by it... your patience and open mindedness will be richly rewarded!

good tune
Radiohead is far from the norm in popular music. I think this is why many can't accept the "post-Bends" Radiohead. All their preconceptions of Radiohead have been turned upside down, as tunes like Pyramid Song appear as the first single off a new album. Radiohead are so far ahead of the game (as evident in Pyramid Song) that many listeners just don't understand it. It is a great song, but nothing like the single's you are used to hearing, even from Radiohead. Great video too. ... Read more

Reviews (4)

great for beginners
This is the album that got me hooked on Marillion. I highly recomend it to anyone with a need for something formilliar yet different. Great for anyone on a budget who wants to expand there musical taste.

Contains Good Songwriting And Musicianship.
I just recently bought this greatest hit's package and can say that I'm quite impressed.Strange enough, through the years I don't ever remember hearing any of these songs.I'd always heard of Marillion and the singernamed Fish, but that was as far as it went.There's no doubt that theseguys are very talented musicians.They're in the same vein as bands likeGenesis and Alan Parson's Project.I really can't distinguish between thetwo different singers on this album, but the singing (whoever is singing)is all pretty good.Of all the songs, "Dry Land" would have tobe my favorite--it's just one of the best songs I've heard in a longtime--very well played and moving.I like the fact that Marillion infusesa nice progressive touch to a lot of the tunes on here--listenable but alsochallenging.The guitar and keyboard playing is also exceptional.Othergood songs are "Kayleigh," "Assassing," and"Easter."This is a good introduction to this talented band andI'll probably get somemore of their stuff.I'm glad I bought this--give ita listen, it's a cut above the rest and is not disappointing.

Good introduction to this outstanding innovative band
Marillion have been a long time favorite band of mine - so this review will be biased.This album is good for those who want to sample some of Marillion's best tunes.If you like rich, challenging melodies contrastedagainst a backdrop of variations then this album is worth buying.If youlike this - try "Misplaced Childhood","Brave" and thelatest release "Radiation" ."This Strange Engine","Seasons End" and "Fugazzi"are all 4 star efforts. Ifyou like Marillion, other suggested listening: - Simple Minds ("RealLife", Sparkle in the rain") - Yes ("Fragile","Close to the Edge") - Styx ("Paradise Theater") -Peter Gabriel ("So") - Genisis (earlier material) - Alan Parsons("Tales of Mystery and Imagination", "Eye in the sky","Stereotomy")

A great sampling from a great band - spans a decade!
This is an interesting collection, as half of the songs have originalvocalist/lyricist Fish and half have "new" vocalist SteveHogarth.Fish split the band in 1988, and the differences in songstructure and lyrical direction are obvious - though neither is superior.Marillion is an album band, and taking songs out of context with the timeand space of the album isolates them - but they still stand on their own. US Prog fans will know the song Kayleigh - but little else.To go from theprog bombast of Assassing to the pure power pop of Hooks in You providesthe listener with a wild, challenging trip.If you want to sample thisgreat band, I recommend this collection.I think you'll find that you'llwant to get the albums.I recommend "Clutching at Straws" fromthe Fish era and "This Strange Engine" and "Brave" fromthe current era. ... Read more

Album Description

Japanese edition of the band's first hit single from 1993,backed with three non-album tracks: 'Yes I Am', 'Blow Out'(Remix) and a live version of 'Inside My Head' recorded atthe Cabaret Metro in Chicago. Standard jewel case. EMIrelease. ... Read more

Reviews (4)

do you need to ask???
trulu if your buying this one your probably collecting...well its vital--even the live inside my head is nice and the blow otu remix makes it nice to know--"thank goodness they didn't put that mix on the cd!!" but its worth the repeat spin then and again...and finally the art--pre s. donwood and almost as good--the relationship shows just how close the visual obscurity to the aural...enjoy!

The most essential Pablo Honey-era single.
This Creep CD single is essential for two reasons: the Blow Out remix, which is a great alternate take of the album version, and Yes I Am, which is probably the best of the PH b-sides.

Blow Out, on album, is a very good mix, but there's not the sense of buildup that's highlighted in this version. Note that it's not a remix as the term is used now; it's an honest-to-goodness different version, remixed from the original recording tapes.

Yes I Am isn't mindblowing, as some of the Bends-era b-sides were. It's a competent song, with decent development, and some interesting lyrics, but it's about as good as they left off the album. I prefer Million $ Question, but Yes I Am is good.

The live version of Inside My Head improves on the original, with the vocals delivered far more passionately. It's a catchy little song, and fun to sing along with, but it just feels lacking in some way.

The ostensible lead track of the single can be safely disregarded. It's not a radio edit, for what it's worth, but I hope nobody would buy this single for Creep.

i love it
Anything by Radiohead is superb and this is one of those things. I actually don't own the single itself, but I have all the songs in mp3 format. Each song is great, especially 'Yes I Am.' The song 'Inside My Head' is great live and studio. This would be a great buy if it was cheaper.

Wow...
This is an item any true Radiohead fan must have, if not for anything else, get it for Yes I Am, It's a great song... ... Read more

Amazon.com

Future Songs is the seventh album from the Cranes, probably one of the most misinterpreted bands on the planet. The Cranes have often been portrayed as industrial noise merchants, more often as simple goths. One reviewer described singer Alison Shaw as "a baby trapped in a toolbox"; this was intended as a blithe putdown, yet, taken from a different perspective, it's strangely accurate. Deliberately juxtaposing her vocals--her plaintive, unearthly voice delivering painfully open songs of love and loss--with her brother Jim's often punishing soundscapes, the Cranes were always primarily concerned with the way innocents are bruised and broken by life's hard, cold machinery. With Future Songs, they continue along the same path, with Alison still clinging to childlike hopes of happiness, despite the collapse of her relationships, and again producing a heart-wrenching set of melodies. And Jim Shaw, no longer intent upon bludgeoning his audience into submission, creates an ingenious and deeply moving backdrop, ranging from the dubby ambience of "Don't Wake Me Up" to the delicate acoustic guitar of "Even When." Future Songs is another superb collection from a laudably diligent, gloriously idiosyncratic, and tremendously gifted band. --Dominic Wills ... Read more

Reviews (7)

don't wake me up
I have always wanted to check out Cranes' music for awhile now. I was intrigued by an interview with the brother/sister act in an issue of OUTBURN from last year. I came across "Future Songs" today in the used bins and thought this was a good time for me to check them out. The second I put this cd into my stereo I must admit that I was a bit put off by the childlike vocals of Ali Shaw. She reminded me a bit of Mazzy Star's Hope Sandoval. In fact this entire cd reminded me a lot of Mazzy Star, The Jesus and Mary Chain, and a smidgeon of The Cocteau Twins. After I listened more into the cd, Ali's vocals became less and less grating on me. I became more accustomed to her child-like vocals. The music was a bit more mellower than I expected which for me can be a slight problem since I like my music loud and fast. Nevertheless I found the Cranes' music very relaxing to listen. I particularly enjoyed songs such as "Sunrise" and "The Maker of Heavenly Trousers" (which I thought was the stand out track for me on the entire album). I don't know if the bonus remixes were that necessary to include on the album. To be honest, the remix for "Don't Wake Me Up" didn't sound any more different than the original version. For all its flaws, I immensely enjoyed "Future Songs". I found the music to be very soothing to listen to, and it will especially be very soothing to listen to after a hard day's work at the office.

so close...
The Cranes have long been one of my all time favorite bands. Albums like "loved" and "winged of joy" are truely good albums, with Alison Shaws "little girl lost vocals" driving probably the best "shoegazer/goth" sounds around. If you have heard none of these albums, its kind of a Cocteau Twins meets Slowdive meets My Bloody valentine. There has been a long gap between albums, but the Cranes have continued to tour, and continue to entrall their cult and fanatical fan base ( check out their unofficial web site to get an idea).

The last studio album , Population Four, was a disappointment, with a much more radio friendly and acessable sound. All in all it was very average as the very best points about the Cranes - eerie etheral vocals, wal of sound guitars, subtle yet pounding bass, were lost.

This album is a road to recovery- it is far less radio friendly than "Population Four" but is still a long way removed from the earlier sounds.There are hints though- the first track "Future Sougs" is pure Classical Cranes. A standout track, while the rest still just does not rely heavily enough on the Cranes great strengths. This is still a very good album, gentle listener, but just does not have the punch of earlier days. If you are new to the Cranes, I recommend this AND "loved" to give you the full gamut. I look forward to the next installment with some anticipation.

Recommended.

Almost But Not Quite
We all love The Cranes, admit it. The childlike vocals and ambient sounds are mesermizing. But don't expect another Wings of Joy. Sure Loved was a fine effort, probably their best since Wings of Joy. But this latest effort lacks the melodic originality of either of their best albums. Granted, there are a few choice enjoyable tracks that make this album worth owning, so long as you don't expect another mind-blowing album.

Audio crack!
This is my first Cranes album and I've been turned into a junkie. I've had it for 2 weeks and can't stop listening to it. Every time I loan it out I have to go ask for it back the next day to get a fix. I swear to god they've put something subliminal on it to get me hooked this bad. I would say you would like this album if you like Massive Attack, Cocteau Twins and Violet Indiana.

Hauntingly beautiful music
Forever is a strange and beautiful album that combines restlessness and calm, like a river in the moonlight. Absolutely must-have! ... Read more

Reviews (2)

DIFFERENT DIRECTION, QUALITY UNTOUCHED.
At the time when it came out (1989) I was still recovering from Fish's departure, and it took me a quite a while to finally decide to have the album. In fact, I only bought it after seeing them live in Lisbon on the Holidays in Eden Tour. But even with this attitude I remember enjoying songs that came out as singles (Hooks in You or The Uninvited Guest) since the very first listening.
The sounding was still there, the lyrics were different but maintained their quality, and the new seemed to be pretty comfortable playing live. Well, the rest of the album turned out to be irresistible! The King of Sunset Town is one of the greatest Marillion overtures, the title track or Easter are both beautiful, Rothery's guitar play on Berlin is magnificent (his "presence" in this album is very significant, that's one of the main reasons why I like so much this album).
Yeah, a different style through many points of view, I agree with that. But the quality remained at the same high level.
As for the 2nd CD of this special edition, I don't recommend it so strongly as the ones of Fugazi, Brave or Clutching at Straws. On this last one, you'll find some very interesting experiences: songs from Season's End with Fish's voice and lyrics used on his first solo effort.

The Transition Album plus bonus....
This album marked the debut of Steve Hogarth as vocalist. Most of the music was written before he entered the band so musically it isn't a great departure from previous albums. I love this album from start to finish H sings his butt off and the band really shows how good they were at this point in blending it all together. The bonus disc has some extra songs that did not make the album plus some different mixes of songs on the album a great deal. A must for fans of both eras of the band and people who just love good music. Definetly not as experimental as the albums after it but a good place to start. ... Read more

Album Description

The third single from 'Be Here Now'. It's backed with threenew non-album tracks: 'Flashbax', 'The Fame' and a cover ofthe Rolling Stones' 'Street Fighting Man'. Slimlinejewel case. 1998 Creation Records release. ... Read more

Reviews (9)

The best single off the Be Here Now album.
Just when I was starting to think the b-sides off of the Be Here Now singles only had one great song("Going Nowhere", "Stay Young") on each single and the other b-sides were average, Oasis release their last single off BHN "All Around The World" and we get a classic Oasis single.

"All Around The World"-like "Champagne Supernova" and "The Masterplan"-is an epic over the top glorius piece of music. From its sing along lyrics to its lushious strings to it's top of the peak ending with Liam simply singing "na na na na". "All Around The World" was one of the best songs off of BHN. It is just pure magic that Noel Gallagher holds in his hand.

The b-sides on this single are: "The Fame", "Flashbax", and a cover of The Rolling Stones' "Street Fighting Man". "The Fame" shows us Noel Gallagher's thoughts on fame while Oasis were on the top of the world. The song feautres loud guitars and an upbeat tone that you can even dance to. "Flashbax" transports us from the present moment of Oasis to memory lane. The tune is laid back and is like part 2 of "D'yer Wanna Be A Spaceman?". Last is the cover of The Rolling Stones hit "Street Fighting Man", the track opens with a fight between The Gallagher brothers(How perfect!) and the cover is pure Rolling Stones. They even record the song with the same sound quality as the orginal(The static, vocals etc..).

"All Around The World" is an Oasis single essential.

Powerful and insiring
The most ludicrously overproduced single of the 90s is also one of the best. In the hands of anyone but the brothers Gallagher it would have been turned to treacly schlock, but All Around the World is triumphant, glorious, and powerful. The B-sides - none of which appear on The Masterplan - are also excellent, especially the soaring The Fame. The cover of Street Fighting Man is also a highlight.

"In My Well Paid Opinion" (Just Kidding)!
The above title is a quoted lyric from Noel Gallagher on the song "Flashbax," which is featured on this excellent 4-song disc. And what can you say about this short disc? It's sparkling, these are really great tunes, actually much better than anything on the underachieving "Standing on the Shoulder of Giants." At any rate, "The Fame" was written (and sounds like) when Noel Gallagher was blitzkrieging through his haze of cocaine and other various substances, and the lyrics definitely reflect it. His voice sounds great, however, as do the guitars and drowned-out drums. The aforementioned "Flashbax" is seriously one of the best Oasis songs I've heard, amidst a flurry of many. Again, Noel is belting out the words, and despite its slower tempo, it's nothing like the wretchedly maudlin ballads placed upon "Standing on the Shoulders." "Street Fighting Man" is absolutely blistering, way, way overproduced, purposely and proudly, as it triumphantly closes out this mini-masterpiece. There's just a heavy, distorted, overdone feel to this short CD that makes for great music. Funny enough, the single "All Around the World," which leads off the album (obviously), is almost forgettable when compared to the following three tracks. Do yourself a favor and support Oasis! Buy their killer B-sides! It's great music.

Another Gem!
Amazing! How do these guys do it. Three great albums (plus the b-sides album 'the masterplan' which is one of the best pieces of music ever), and 14 great singles. This is possibly the best in terms of a-side and b-side content. Street fighting man is a classic song and this is a fine cover but 'the fame' and 'flashbax' are easily worthy of being a-sides. I just hope 'standing on the shoulders of giants' is as good. Oasis- the greatest band ever!

A really good masterpiece by Oasis
I bought this single and I was very anxious to have it. Now that I do have it, I am very pleased with it. It's the best single I have ever heard! The Fame, Street Fighting Man, Flashbax and of course All Around the World are really good tunes, of the kind that you'll find yourself whistling them at every moment! ... Read more