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

Reviews (21)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (18)

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

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

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

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

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

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

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

Reviews (26)

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

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

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

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

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

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

Reviews (34)

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (49)

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

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

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

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

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

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

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

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

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

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

Amazon.com

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

Reviews (22)

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

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

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

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

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

Reviews (15)

Loveless part 2
On Tremolo My Bloody Valentine create a mini-album that would be played right after Loveless and sound like a contiuation more than anything. Tremolo also is a great record all by itself, it grooves and moves in all the right places, and sounds like it was recorded through the same hazy druggy sensualness that graced Loveless. However at times the drums seem even lower in the mix than on Loveless, which adds to its' dreaminess, which I guess is the point, but really I think the drums should have been more prominent, but hey wahtever, it still sounds great. All in all I highly suggest picking this up if you're a MBV fan and already have Loveless and Isn't Anything.

A mini-Loveless
Any MBV fan will kick himself for discovering this album so late as I did. It's like finding a lost section of Loveless. Although it's an EP, Tremolo was clearly concieved of like an album; it's coherent, connected, organic. Other reviewers below have noted the transitions between songs (as on Loveless), but what they haven't noted is that "To Here Knows When," a song already on the aformentioned album, actually gets a different ending/transition here. The other three songs not only stand up to anything on Loveless, but actually surpass many of those excellent tunes. The creative process and decision making that went into this EP would likely be intriguing; however, MBV's relative prolificness in 1991 now makes one wonder if Shields simply shot his bolt and had little else to say after; this as opposed to the idea that he's an obsessive perfectionist (yea, that holds a lot of weight after 10 years without a new cd!). Apparently he scraped an entire album after bankrupting a label! But no matter: Shields and MBV have given us enduring works and all of the following are essential: Isn't Anything, Glider EP, Tremolo EP, and Loveless.

Tremolo will send chills through your spine.

A My Bloody MUST!
Opens from a track from LOVELESS, widely considered to be their masterpiece. "To Here Knows When" is an etheral song with guitars that sound like they're phasing in and out of our plane of existence. Features a fantastically surrealistic ending that doesn't appear on the album. ****1/2

"Swallow" - is a B-side quality track but sweet and enjoyable nonetheless. Interesting percussion and a sound similar to modern (Eastern) Indian music. Like "To Here Knows When," its ending undergoes a radical transformation that serves as a segueway to the next song and sounds like working your way through a maze of clouds. ****

"Honey Power" - cool song from My Bloody honey Belinda Butcher. Features the kind of guitars I went crazy for on ISN'T ANYTHING. Instantly evolves into a stunning segue. *****

The ending of "Honey Power" brilliantly becomes the woozy "Moon Song," which is drunk on its own feedback. ****1/2

Good stuff! Fans will definitely want to get this one!

Music to worship God with.
This is spiritual! This can be considered the long awaited follow up to Loveless. I can say being owner of more than 600 CD's that there is only a handful of bands who've left a long lasting impression on me like MBV. Today, the only band who are still together that has left this kind of impression on me is Sigur Ros. (not radiohead)

Music to worship God too.
This is spiritual! This can be considered the long awaited follow up to Loveless. I can say being owner of more than 600 CD's that there is only a handful of bands who've left a long lasting impression on me like MBV. Today, the only band who are still together that has left this kind of impression on me is Sigur Ros. (not radiohead) ... Read more

Amazon.com

Lisa Gerrard, the former voice of Dead Can Dance, returns with a soundtrack following on her acclaimed scores to Gladiator (with Hans Zimmer) and The Insider (with Pieter Bourke). Those hoping for another glimpse into ecstasy through Gerrard's magnificent voice will be disappointed. This score to the New Zealand-set film relies more on texture and mood, with Gerrard's voice planted in a slowly undulating drift of synthesizers and sustained guitar lines. It's not until "Biking Home" that you might even recognize Gerrard's voice in this quietly joyful mood piece. She only gives herself full, if understated, voice on the symphonic closing track, "Go Forward" which echoes Gladiator's "Now We Are Free," but with Maori chanting. Though there is some compelling music on Whale Rider, much of it sounds bereft without the accompanying images. --John Diliberto ... Read more

Reviews (26)

Breathtaking, beautiful
Two of my favorite artists are Dead Can Dance and Eric Serra (for his work on "The Big Blue", mainly). With the OST to Whalerider, Dead Can Dance former lead singer, Lisa Gerrard, put together the best of the two. The music that accompanies New Zealand's most succesful and touching movie ever (don't miss it: it's one of the best movies in a long time) carries an atmosphere that I can only compare with the experience of diving... but without the scuba gear. With her unmistakeable angelical voice, Gerrard, who also composed, arranged and performed the music in the album, perfectly fills the air behind the performance of young actress, Keisha Castle-Hughesa, playing a Maori girl that descends from a mythical lineage, and is determined to challenge some of her people's deepest rooted traditions.

Though there are inevitable moments when certain themes remind of Gladiator (Gerrard also brilliantly sang alongside Hans Zimmer for the score of that movie), the work she put together for Whale Rider will be more welcome than the former among both, longtime Dead Can Dance fans (listen to track #2 in particular) and perhaps more, followers of her earlier two solo works from the nineties ("Mirror Pool" and "Duality"). If you are a lover of the sea and its sounds (including the siren-like sounds of whales), I cannot emphasize this enough: get yourself a copy of this beautiful production. You will enjoy it.

The Silence of the Whales
Every Lisa Gerrard record is an event worth waiting for, and 'Whale Rider' is no exception. However, be cautious in your approach toward it as it is indeed a 'soundtrack album'. In this case that term works against it. Never in history has Lisa sounded so marginalized - most of her vocals are strictly background-only, and shes completely missing on some tracks.

'Whale Rider' has its moments of beauty but they are not even remotely comparable to the wonder of 'The Mirror Pool' and 'Duality', Lisa's older works. This is a 'different' piece of work in the sense that it is very much the score to a film. However, this is no 'Gladiator'. Much of the work here sounds more related to Dead Can Dance's last days than any of Lisa's solo performances. There is a lot of instrumentation and a lesser use of vocals, which will delight people looking for the perfect accompaniment to the film, but it will also disappoint Gerrard fans who have been patiently waiting for some new solo work.

Three tracks - 'Biking Home', 'Journey Away', and 'They came to die' stand out due to their impeccable production values and use of instruments. The rest of the album reek of the filler syndrome - tracks could be merely interchangeable and it still would not make any difference. This is indeed a sorry commentary because it is clear that Lisa is capable of stupendous solo work. It only baffles the New Age listener as to why she would lend her talents to dreary soundtracks to Hollywood productions after making so many beautiful albums with DCD. Shes done 'Gladiator' and even the Bruce Willis war drama 'Tears of the Sun', which is not really a compliment to her musical direction.

'Whale Rider' is a curious animal because it defies any place in your collection. Its not a solo album, and its not typically a soundtrack that you would enjoy if you haven't watched the film. Unlike 'Duality', the album also lacks repeat value, an asset that every New Age or experimental album has to possess if it wants to endear itself to a wider audience. I recommend this album to viewers of the film who wish to be reminded of that particular cinematic experience. As a whole CD by itself though, 'Whale Rider' is hardly an achievement, and if you're a Lisa Gerrard fan you may want to pass on this one and wait for her next 'real' album.

Recommend it!
After seeing the movie several times, and loving it, I finally purchased the soundtrack today. It is haunting, calming, stirring, ethereal, evocative and beautiful. Appreciate that it includes the voice over of the Maori chants. Can't recommend it enough.

Whale rider - original score? - I'm not so sure.
I recently rented the movie Whale Rider, and shortly into it became aware that the main atmospheric motif, (a kind of ambient piano riff) was in fact lifted hook line and sinker from track four of an album entitled 'Waiting for Cousteau' that was released in 1990 by Jean Michel Jarre.

The instrumentation, production and melody are identical, and unsurprisingly the interview with Lisa Gerrard on the DVD failed to include any reference to the earlier recording as an influence.

The other tracks on the Whale Rider CD/DVD bear no such resemblance and are nice evocative pieces of the subject of the movie. It's a nice easy listen, but any owners of Waiting for Cousteau out there might lift their eyebrows a little when the main theme comes over the stereo.....

disappointing
If you're a fan of Lisa Gerard's "Duality" or Dead can Dance, save your money because you won't get your fix here. I found this CD unmemorable and disappointing. ... Read more

Amazon.com

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

Reviews (97)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Album Description

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

Reviews (8)

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

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

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

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

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

Amazon.com

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

Reviews (47)

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

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

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

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

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

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

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

Impressive enough yet far from stunning.

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

Primal Scream has gone on to produce wonderful music over the past 10 years- stretching their themes and artistry to new heights while keeping one foot planted on their roots. Before exploring these other options, however, experience Screamadelica and understand where they came from and why so many listeners rave ... Read more

Amazon.com

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

Reviews (267)

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

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

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

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

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

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

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

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

Album Description

Unavailable in the U.S., this is the Scottish trio's 1985compilation of rarities and cuts then available only on 7in&12 singles. An excellent overview of their early works, itincludes an exclusive remix of 'Wax And Wane', plus thecult favorites 'The Spangle Maker', 'Aikea-Guinea' and'Lorelei'. 10 tracks total. ... Read more

Reviews (12)

Scanty overview of the band's work from 1982-85
This compilation of earlier tracks could be a nice addition to your CT collection. It's not a comprehensive compilation and it's not entirely satisfying for old fans like me, but it's a good place to start. You should get this album for this reasons: "Mille.." once was featured on a compilation tape of the British pop magazine NME in 1984. The remix of "Wax and wane" is exclusive to this album. "The spangle maker", "Pearly.." and "Pepper tree" are all taken from their fantastic EP release "The spangle maker". Unfortunately, "Pink opaque" also contains their worst track ever, "Musette and drums", and there are very few songs from their first three albums. It's perhaps true to say that a double-disc retrospective would've been a more appropriate affair, because the Twins had several changes in sound during their first years. But "Pink opaque" is quite an o.k. album, because it contains some very good songs.

Really cool compilation
A bunch of early 80's Cocteau Twins works compiled on this album. I have a copy on cassette, that amazingly, still works, which is how I have this album. I think all of the songs are great, in particular The Spangle Maker (one of the best CT songs ever), Aikea-Guinea, Pepper Tree, and Musette and Drums. This also includes the rare Millimillenary, which is a pretty cool listen, and a mix of Wax and Wane. This is a cool album to have for the Cocteau Twins fan.

Beautiful, beautiful, beautiful...
I love this album for turning me on to the Cocteau Twins when I was 17 (back in 1987). It just keeps going from there! My favorite here has got to be "Pearly Dewdrops Drops" which is just gorgeous...I still listen and get excited to this day. Somewhat different from their later stuff as other reviewers have mentioned, but still wonderful.

Perfectly half-formed
This compilation has apparently been deleted and replaced by "Stars and Topsoil", which is unfortunate as the latter album seems to over-emphasise the "more accessible" ambient-tinged side of the band. "The Pink Opaque", though short (even for the LP era), better reflects the diversity of the Cocteau Twins' music.

Tracks like "The Spanglemaker", "Wax and Wane", "Hitherto", "Lorelei" and "Musette and Drums" proved influential on the goth movement, whilst other tracks, especially "Aikea-Guinea", could be said to anticipate shoegazing/dreampop. And then there's the genuine rarity - "Millemillenary" - otherwise only available on the increasingly rare CD Singles Box Set (and a lovely song, too!)

While it's a slight exaggeration to say that "Stars and Topsoil" may leave newcomers wondering what all the fuss was about, the fact is "The Pink Opaque" best explains why they generated so much excitement and acclaim in the first half of the '80s.

(Please Note: I am in fact ghengisadonis, aged twenty-something, using the Kids Review form due to a technical mishap that has deleted the regular form).

the soundtrack to life of exstacy
It was for me back in the 80's when this was the dreamiest neverland in existence. This was one of the first groups I've heard that strove to create a palpable atmosphere in their music.
Never had I heard alternative rock with such shimmering beauty. Elizabeth Fraser has an operatic voice which she uses like no other. ... Read more

Reviews (42)

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

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

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

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

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

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

{Also check out the VHS version}

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

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

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

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

A Natural High!

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

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

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

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

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

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

Album Description

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

Reviews (18)

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

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

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

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

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

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

Album Description

Out of print in the U.S., this is the debut album by the highly acclaimed British pop vocalist. Contains all 13 of the tracks from when EMI first released it for her in 1978, including the international smash 'Wuthering Heights' and the U.S. chart hit 'Man With The Child In His Eyes'. Also contains the original European cover art. The All-Music Guide gave 'The Kick Inside' four & a half stars (out of five possible). An EMI release. ... Read more

Reviews (66)

Beautiful and Warm
"The Kick Inside" is really a beautiful album. What makes it more unique and special, is that the album was created by a girl of 17 years of age. This was Kate Bush's debut, and it was a stunning and extremely literate debut. Kate's voice soars over an eight octave range to songs that can be sexual, romantic, and spiritual. "Wuthering Heights" (maybe to the annoyance of Kate)is her signature tune in some countries. The song is amazing, and is delivered in a theatrical manner, showing off Kate's beautiful and unorthodox voice and songwriting.

This album has one of the best songs written about a one night stand ("L'Amour Looks Something About You") and the orgasmic ("Feel It"). Despite its positive and romantic vibe, it ends with a suicide note in "The Kick Inside". Stark and beautiful stuff.

Kate's Kick
With 'The Kick Inside' Kate Bush burst onto the music scene in the late seventies of the former century. A truly original artist had emerged and she would have a lasting influence on other performers. Her songs were so different from other artists works, that she became actually a law unto herself. Personally I love this album, 'Lionheart' and 'Never for ever' the best of all of her works. Although her fourth album 'The Dreaming' was certainly very interesting. But I digress. On her first album Kate Bush showed clearly what constitutes a good or even memorable song. From her songs and haunting melodies we got to know her poetic, romantic and dreamy side (she had already written many poems before releasing this album and her family was very artistic). Her strong musical personality is evident throughout.

As for my favourites: First and foremost her unforgettable, beautiful classics 'The man with the child in his eyes' and 'Wuthering Heights' by which she turned Emily Bronte's literary classic into a truly memorable song. In my opinion those songs are true masterpieces, everything is perfect there, haunting lyrics and music. I also like the romantic/dreamy mood she creates in 'Moving stranger', 'The saxophone song', 'Oh to be in love'. Or intimate songs like 'Feel it' and 'The kick inside' where accompanies herself on piano. Her philosophical side is shown in 'Them heavy people'. In my opinion 'James and the cold gun' was over the top and 'L'ámour looks something like you' left me unmoved. With 'The kick inside' Kate Bush contributed significantly to popular music. She would continue to grow as an artist also in terms of vocal usage. But she certainly knew already how to use her versatile and distinctive soprano (she also always provided the background vocals for her songs). Not everyone is enamoured of her voice, but I am one of those people who loves it.

In the end it's the Kate Bush of 'The kick inside', 'Lionheart' and 'Never for ever' whom I cherish as an artist.

27 years old and still beautiful
Hard to believe this gem is 27 years old. For you Kate collectors, the cover art of this CD (not illustrated by Amazon) is the "Red Socks" or "Kate in a crate" cover that was used on the first EMI-U.S. release (not the Harvest "Vogue" cover). Buy this CD! Kate is a creative genius. [This review is only for the Amazon listing; if it is bounced to other sites the cover art comment may not apply.]

Haunting...
I heard the song "Moving" when I was only 8 years old, and it
burned into my heart for nearly 20 years. I'd downloaded it
once, and the indescribably solitary beauty let me bought this
CD last week irresistibly. It doesn't disappoint me, it's great!
I play this CD almost everyday.

This is what I call CLASSIC.

Fun, Quirky & Twee Debut
Fun, quirky and maybe just a little too twee, Kate Bush's debut is full of starry eyed romantic wonder. Given that the album doesn't get even close to the complex maturity of later albums, there are some quite humerous and even insightful observations within her lyrics here. Her music is unlike anything heard before or since: a sort of cross between modern musical theatrics and traditional folk presented with a late 70s rock vibe. Once being accustomed to the unusual stylings, there are some very catchy and infectuous offerings here.
Best Tracks: Moving, Wuthering Heights, The Kick Inside. ... Read more

Reviews (15)

To nkroachment: Yarbles!
A raucous, rough and ready riot of garage rock from start to finish, 'This Nation' veers between the brash, unfinished amateurism of 'Bombast' and 'Spoilt Victorian child' to the highly produced and polished sound of 'LA' and 'Petty (thief) lout'. This is without doubt The Fall's finest sixty minutes, with Mark E Smith's vivid, twisted take on the everyday in overdrive (cf 'Couldn't get ahead's strange rant about queuing up for an aeroplane toilet; one of the few tracks with easily discernible lyrics).

Every song here is up to scratch, with none of the sloppy filler tracks of later albums. This nation's saving grace? Well, with this album The Fall come damn close.

Another Fall classic from one of their finest periods!
Originally from 1985, this LP is now available on CD with extra tracks from the two twelve-inch singles COULDN'T GET AHEAD and the commercial-sounding, punky but still abrasive and funny CRUISER'S CREEK, a surreal tale of an office party. Vocalist Mark E. Smith is in fine form here, ranting about everything from Japanese minimalist synthesiser legends(I AM DAMO SUZUKI) inspiring him, to the record industry(WHAT YOU NEED and GUT OF THE QUANTIFIER with its spoof Motown/soul beat!) and the band even steal a guitar riff from The Monkees' 'Valerie' on BARMY for added fun. The band were a six-piece during 1985, so a chaotic but tight Spectoresque wall of noise manages to work in perfect disharmony with the ranting vocals. Brix Smith, Craig Scanlon and Simon Rogers give us some pounding, chugging and simple-but effective guitar riffs(SPOILT VICTORIAN CHILD and the weirded-out, trippy PAINT WORK are the best examples), Steve Hanley gives us his usual manic bass guitar playing and here PIL's Karl Burns is on drums, and I have to say he gives Rush's Neil Peart, a world-renowned drummer, a run for his money! To top it all, you get a rockabilly cover of the old Gene Vincent song ROLLIN' DANY! Overall, if you love The Fall as much as I still do after 18 odd years, then don't be without this CD.

Good, but I can't remember what any of the songs sound like.
Generalized description of what this album sounds like:

The band will be playing some music, kinda sloppy at times, but always interesting to listen to. A nasal, British guy will start singing lyrics that don't necessarily go along with the music. You will not be able to make out any words he sings.

I really like this album, but all of the songs, with the exception of "I Am Damo Suzuki", sound alike.

By the way, I saw these guys live very recently in Detroit. It was killer. Lots of older people were there. Tamion 12 Inch opened, which was also killer.

Another brilliant album!
This album definitely preserves the post-punky simplicity of early Fall. The album would be worth buying just to hear "Could'nt Get Ahead" and "Gut of the Quantifier", but there's even more up this sleeve! Mark Smith, once again, proves to be one of the most bizzare human beings on the planet!

classic
this album rocks. possibly one of my favorite punk albums ever. i can see where other bands such as sonic youth looked to for inspiration. ... Read more

Album Description

2003 4AD reissue of 1983 album remastered by guitaristRobin Guthrie. ... Read more

Reviews (4)

Genuine soul - beautiful and eerie soundscapes
"Head Over Heels" was the second album from Scottish group The Cocteau Twins and marked the beginning of their trademark ethereal "dream-pop" sound. However, to some degree at least, the sound was less atmospheric and more rhythmic than on later releases, especially on the techno-ish "The Tinderbox (Of A Heart)" and the amazingly hot funk of "Glass Candle Grenades" a song which showed this band's roots, like those of Jane Siberry, to lie just as much if not more in soul and jazz than experimental rock.

Liz Fraser's hymnal vocal style was already at the forefront here, though it is more comprehensible than on their fabled "Victorialand". On the opener "When Mama Was Moth", Fraser's voice was low-key and Guthrie's electronics backed by an oboe took us through a slow, gothic, soundscape that was remarkably hypnotic (especially on the outro "mother and chain"). Then, on the beautiful "Five Ten Fiftyfold", Fraser's voice came into the forefront and her soul-like harmonies and wonderful embellishments to the acoustic guitars, thus creating a feast of melody never seen before. "Five Ten Fiftyfold"'s beautifully spare saxophone just shows the listener how this band could keep continuity with itself on "Victorialand" (compare "Lazy Calm").

"Sugar Hiccup" was a continuation of this, but Fraser's magical singing was even better, whilst the brilliant "In Our Angelhood", with its lightning, danceable rhythm, was a highlight of the album, as was the almost-exuberant "In The Gold Dust Rush", and the haunting "Multifoiled". "My Love Paramour" showed Fraser's voice take on a new dimension from traditional folk and soul spirituals with her glossolalial tone in the intro of the song, whilst "Musette and Drums" was the rocking closer that most subsequent Cocteau albums were to have.

An acquired taste like all feminine music, but the most essential Cocteau Twins album. Though the Twins were to delve even deeper into ecstatic atmospherics, they never bettered the power of this collection

Yes.
This is without a doubt the greatest Cocteau Twins effort, in my opinion(even Liz has said she favors this album). If you're just now hearing about them and looking for a good place to start, this would definitely be it. The full range of moods contained in this 10 track album will give you a pretty good idea of what you might find in the others, and yet not one is like the other. It may take time to warm up to their music and Liz's other worldly vocals, but once you settle into the sound its hard to escape. This album alone has gotten me through many a dark times and it continues to be one of my very favorite recordings to date. Listen to it. Take a chance. Forget about music you know. And let yourself slip into the sounds. You'll enter into another world all together. Also, try Victorialand. Incredible sounscapes... like snow drifting in the sun.

Final Decision
I have listened to Cocteau Twins since 1986. I have gone thru so many phases , trying to decided my favorite CT album. I can say, that i truely love all of them, but for some reason, i keep leaning toward this album. I think this album appitamized the darker time of their music career.. Garlands seems to be the known "dark" album to most CT fans, but this one i think is a little deeper. I think this album set the tone for CT in the next few albums to come. "Mussette and Drums" is probalby one of the most powerful songs they have ever written. "Tinderbox of the Heart", to me, is probably one of their most beautifuly depressing songs . "Suger Hickup" took a while to grow on me, but finally, i saw the light. "My Love Paramor" is truely one of the songs that punishes my heart time and time again. I can say this, if you are a TRUE Cocteau Twins fan, you might agree with me. Some might not ( and i can understand why).

Head Over Heals is total punishment for the soul. If like to torture yourself to depressing, dark music, THIS IS IT!!

Head Over Heals (Import)
If you like Cocteau Twins, you'll love this album. If you're a fan of their music, this would be yet another amazing addition to your collection. If you're not aware of Cocteau Twins, this album would be as good as any to begin your musical journey with. My all time favorite band, Cocteau Twins make the most imaginative and beautifully dark music I've ever heard. This album is just one of the many chapters in their almost 20 years of creating unbelievable music. ... Read more