Amazon.com

While the cocktail lounge fad has seen more than a few musicians climbaboard as a career move, the members of Pink Martini are no bandwagon-ridingaficionados. Fronted by pianist Thomas Lauderdale, Pink Martini is the real article--aband that approaches the music with unwavering seriousness yet never forgets the fun atthe heart of it.Sympathique, the band's debut album reveals an incrediblydiverse musical vocabulary on the part of frontman Lauderdale. And what singer ChinaForbes lacks in range and dynamics, she more than compensates for in attack, approach,and a clear understanding of the material. While most of the songs are upbeat, in thehands of Lauderdale and Forbes, "Qué será será," with its dark atmospherics should berechristened "Qué será noir." --Wayne Pernu ... Read more

Reviews (132)

Sympathique, Fantastique!
Pink Martini is a Portland based band and therefore, I am already biased. However, if you enjoy truly great music by truly talented people, this CD is for you. Do you like old French clasics or just music that gets your soul moving? Then listend to some tracks and place your order!
"Bolero" is absolutely beautiful! You can tell it's the original song, but their added and updated alternations of this piece makes it a new classic of their own. The cello intro is deep and throaty and when the piano moves in, you actually FEEL like you're in a different country, touring the vinyard hillsides...
The lead female vocalist (China Forbes) has a wonderful voice and allows songs like "Amando Mio" to ring out and demand attention...again, listening to Thomas Lauderdale's fingers work magic on the piano allows this song to be one of their top pieces. And if that's not enough, both of these musicians graduated cum laude from Harvard University.
This CD is almost 5 years old and their 2nd CD has been postponed for a couple years, sending the Portland crowd into a frenzy on the much anticipated next albulm due spring of 2003. The male lead vocalist is no longer with the band (Pepe Raphael on "Donde Estas Yolanda"), but his first solo albulm is excellent, respectively as well (Pepe and the Bottle Blondes) which turns out some great Spanish influenced songs that make you want to jump up and yell "Cha-Cha!!!"

Still one of my favorites!
I bought this CD when it came out years ago -- frontman Thomas Lauderdale is an old friend of mine. Call me biased, but this CD is still one of my favorites! The music has universal appeal, blending big band, latin beats, campy lounge-lizard music, and classical pieces into a groovy and infectious package. I would have expected nothing less from Thomas. These songs have popped up as background music on the "Sopranos," in a Lexus commercial, and in several coffeehouses I've visited -- it's so cool to see Pink Martini getting the exposure and raves they so richly deserve!

I just saw them live the other night, and they are even better in person. Unfortunately, CDs just can't record the sheer joie de vivre this group has -- they love what they do, and it shows. They opened with "Bolero," which was amazing, powerful, and breathtaking, and closed their encore with "Acuarela de Brazil," which brought people to their feet (it's hard to sit still to this music!)

Those who love this CD would be happy to hear that the next CD is anticipated next year (one of the band members told me it was 2/3 in the can). They busted out a few new songs at the concert I attended, and, like "Sympathique," they ranged from lush classical renditions to clever tongue-in-cheek ditties. Pink Martini throws in a generous splash of international flavoring to create refreshingly original material (over the course of the night, lead singer China Forbes sang in Japanese, French, Spanish, Portuguese, and Croatian), and finds inspiration in unexpected places. The "Song of the Black Lizard" was an homage to a Japanese drag queen; one new tune performed at the concert was inspired by a classic Heinz ketchup ad.

Get this CD -- and try to see them live if you can!

Without a doubt, my favorite CD in my collection
Simply put, this graceful compellation of sounds is my most favorite in my collection of over 600 albums. These Oregonians reach to all ends of the earth for musical inspiration and then brilliantly synthesize it into something entirely fresh. This CD is perfect for pleasing all generations of listeners, and if you get the chance, Pink Martini is fantastic in concert...nothing is done to their sound in a studio...all of the talent on all of the instruments is God given.

Simply Fantastic
Went to Oregon for a friend's wedding and discovered this CD (they used part of the music at their reception) and immediately fell in love with it--cannot stop playing it! The title track is simplly fantastic, as are the other tracks on this album. Some are upbeat, others haunting, still others evoke a sense of poignant wistfulness that is irresistible. And the reinterpretation of Que Sera Sera is brilliant. If Pink Martini is reading this PLEASE--put out another album--your fans are waiting!

It's all been said
So many people have written reviews on this cd that describe just how infectious it is, that I need say no more. My only comment is WHEN oh, WHEN is Pink Martini going to put out another album?!!! I'm beginning to lose hope. Thankfully I will probably never tire of this one. ... Read more

Amazon.com

After Scarlet's Walk, Tori Amos' 2002 ambitious sonic travelogue that took her to all 50 states, penning love letters to America along the way, the fiery earth-sprite has fashioned another high-minded concept album, tying her 19 songs--and one not-so-hidden track--into a garden motif that's part a retelling of Alice In Wonderland, another A Little Shop of Horrors. The Beekeeper chronicles her rather autobiographical protagonist's journey through what seems to be an overgrown labyrinth of the subconscious as she experiences a series of life-altering events and emotions. In addition, living in Cornwall for the past decade has certainly had an effect on Amos, she even takes inspiration from Daphne Du Maurier's classic novel Jamaica Inn, which takes place on that rugged seacoast, but the greatest change is the grit in her voice; on a song like "Hoochie Woman," she sounds like she's channeling Chrissie Hynde--a welcome change from some of the preciousness of her earlier work. She also surprises with the steely, eloquent resolve on a song like "Goodbye Pisces" one of the better break-up songs in recent memory.The Beekeeper returns the quirky singer to the same whimsical terrain of 1992's Little Earthquakes, but with much stronger storylines, and a much more assured and nuanced voice. Her best yet. --Jaan Uhelszki

Recommended Tori-phernalia

Tori Amos: Piece by Piece	Tori Amos - Welcome to Sunny Florida	Little Earthquakes
Under the Pink	Tales of a Librarian	Scarlet's Walk

... Read more

Reviews (248)

Can't get enough of Tori!
I love Tori. What more can I say? Seriously, though, it's not my favorite ablbum, but a great one none-the-less.

Consider it her 'stagnet' genius.
Tori 'n' I go back...
Sunset Blvd.. Gazarris.. Selma...
This record disapoints.
Complaintaincy? Husband? Tash...
Is it the end?
Remember the hardwood floor my friend,
Sprout an earthquake again!

Devon

One of Tori's Best.
The CD starts with 'Parasol,' a straight forward track that doesn't waste anytime in showing what the album is about, in most cases the album seems, to me, more upbeat than her previous records. Almost every track is performed with a full band - in fact the beautiful 'Original Sinsuality' is the only song to just feature Tori and a borsfendor.

Each song the album is different, though one can see the logic for Tori's Garden categorizations upon hearing the tracks. There are many moods represented here on the album. One can bop along to tracks like 'General Joy' and 'Cars and Guitars' or be entranced by the blissful serenity of 'The Beekeeper' and yet still not have full grasp of what can be found on the rest of the Album.

This album is a great addition to the Tori catalogue especially as a parallel to her earlier, sometimes down-trotten (but brilliant) albums. Another exciting progression is Tori's use of the Organ, which lends a new energy not explored on many of her previous albums. (I had the honour of seeing Tori in concert a few weeks ago - just her a Piano, a keyboard and and Organ. Brilliant.) Tori has made a brilliant album that has taken progressive steps in her sound while maintaining the songwritings standard that had made her one of my favourite artists.

Lacking passion, but full of quirk
As has been thoroughly noted, "The Beekeeper" as a whole lacks punch. Tori's words sounds angry, but her music sounds subdued. A woman scorned does not sing like that. Her voice is generally lacking passion on this CD.

It's often lyrically and musically predictable. Take this line from the first single, Sleeps with Butterflies: "Are you having regrets about last night? I'm not." Do you want more lyrics from other songs? Are you sure? Okay, how about "Take a walk down memory lane, past a watermelon stand on the way" or "The sexiest thing is trust." I cringed at many of the lyrics, which were repetitive and obvious.

Musically, it's got a little jazz, a little funk, a little gospel, which shows that she's not done taking risks. I'm not sure if all the risks worked out for her this time, though. "Sweet the Sting" is a gorgeous, groovy song, one of the best on the album. But on other songs like "Cars and Guitars" and "Ireland" she makes some weird noises like she's impersonating musical instruments like ,"ch ch ch cha" and "shnanana." It's a little awkward. Both those songs could easily be put in a car or travel commercial.

Other songs are completely forgettable, like "Mother Revolution" and "Ribbons Undone." She could have made this 19-track album a little more tolerable with a little editing. Many songs were also overproduced - and Tori is best straight-forward and raw.

Still, those who are ready to toss her out because she's no longer the feminist icon that she was in the early 90's are really missing something. She's matured, changed, yes, but her songs are still weird and at times mesmorizing. The title track, "The Beekeeper," is a complete masterpiece. For those unsure whether to invest in this album, I would recommend downloading the title song and "Sweet the Sting." If you 'get' the songs, try "Parasol," "Marys of the Sea" and "Witness." If you're feeling particularly weird, try "The Power of Orange Knickers," which despite its odd title is pretty smart.

Anything else I need to say? Hm... the album is divided up in six parts from "elixirs and herbs" to "rock garden." I have no idea what that means. I guess that's why it's a concept album, though it screams pretentious to me. I also heard that the six parts represent the six sides of a honeycomb and six parts of femininity. Huh? She's still in her own world, that's for sure.

Pages From A Cornish Scholar's Diary
Feb. 27th [2005]. Gretchen came down. Brought The Beekeeper with the supplies from London. Fresh salmon frying and the tide rolling in.

Feb 28th. Sat up late with The Beekeeper. Quite pleasant, you know. 'Barons of Suburbia' a bit like 'Carbon,' isn't it? 'Toast' a bit like 'Gold Dust,' isn't it?

March 2nd. While at darts last evening, the boys at the Umber Lion [were] all over The Beekeeper. Bertie says Amos has "lost her poignancy." Davy tried to convinced Old Simon that The Beekeeper is among Amos' best. I concurred.

Too much ale. Hammering from the tin mines kept us awake until dawn.

March 4th. A puffin defecated on my head while [I was] bringing in the mail. Father Callaghan says it brings luck. Rain all day. Wrote for five hours without interruption.

March 5th. 'The Power of Orange Knickers,' 'Ireland.' Each different from anything Amos has previously done. Therein lie their appeal.

Biddy Early stopped in to listen to 'Garlands' on my DVD. Proclaimed it the best thing on [The] Beekeeper. Said it's typical Amos--keeping the best tracks off the albums. Had me play it over and over until she could confidently hum the melody. I watched her from the doorway until she disappeared over the hill, her vegetable basket swinging on her arm.

The well dry again. Shall I get a bird to keep Bishop and me company? A parrot, a pair of finches, a myra bird?

March 10th. Colin and Martin shouting "Who knew the Middle of the Road was located in Cornwall?" while walking through the village. Laughter, astonished looks. A man I didn't recognize yelled after them in Gaelic, "Cornish waters are not that shallow!"

'Jamaica Inn' a bit like 'Martha's Foolish Ginger,' isn't it?

March 13th. Played The Beekeeper for Mrs. O'Casey, the charwoman. Somber reflections on better days as the peat crackled. Christina, Mrs. O'Casey's young daughter, quoted an Amazon reviewer: "The Beekeeper sounds like a CD you'd find in your mother's SUV."I said, "Oh, no, not at all, not at all." But the three of us fell asleep during 'Ribbons Undone.' When we awoke, it was after three a.m. Mrs. O'Casey was embarrassed no end.

March 17th.Stopped in at Mawnan Churchyard at twilight. Copious notetaking. John Curtin, the sexton, has a theory. He says that seven of The Beekeeper tracks sound like children's songs, more or less. Thinks Amos is unconsciously writing for children, due to her daughter's presence in her life. Aleister, the grave digger, shouted over, "Frothy and accessible pop songs are not what Amos' constituency require. Look what happened to Joni Mitchell after Mingus." During confession, elderly Father Dwyer whispered through the screen, "The Beekeeper has no teeth."

Trying to put my mind on other things. The hammer [has] gone missing again. In a dream I asked for cabbage, and the clerk said, "Sir, it's sold out." What could it mean?

March 19th.Another tourist believes he has spotted Mowgawr off the coast. Craning necks aplenty. The chimney's blocked up [for] the third time this season.

Bishop caught a hare by the rocks.

Little Christina playing Candy Land in the courtyard with the local urchins. "The songs on The Beekeeper hopscotch all over the place like the squares on this game board," I heard her say as we passed. I found myself staring down at the linear path of colored cubes, entranced.

March 20th. Finished the chapter on piskies while playing Bach, Satie, and Wizz Jones. The Beekeeper. No catharsis. Johnny Kelly the sheep herder calls it "formulaic." There is not one thing in life to make it bearable.

March 22nd. Gretchen here. I said, "I am convinced The Beekeeper has already surrendered all its secrets." Gretchen: "They were few, anyway."

I ran into old Michael Barrett down by the culvert. He called 'Sweet The Sting,' 'Witness,' and 'Hoochie Woman' "pastiches." He predicts a late spring.

I thought Thomas would get a mug of ale thrown in his face when he called 'Goodbye Pisces' "merely pretty" at the Lion last night. But Kate Cloran only yawned, and Mary Creevy said she still had a morning's washing to do.

March 24th. A sense of coitus interruptus in 'Sweet The Sting,' when surely a sense of inflagrante delecto is what's required? The climax of 'Barons of Suburbia' falls flat--why does the narrator say she "is piecing a potion"? And concerning "she is risen"--has "she" risen because the potion has been pieced? It's a muddle.

Played Under The Pink and Boys For Pele through. Instantly transported. Then 'Cooling,' 'Purple People,' 'Playboy Mommy,' 'Lust,' 'Strange,' 'Indian Summer.' Gretchen asked for 'Tombigbee.' We made love on the hard wood floor.

March 26th. The stained-glass widow on the north side has a substantial crack in one pane. The wind coming in. Thatch in my corn flakes this morning. Positive word from Thames and Hudson. 'Parasol' a bit like 'Amber Waves,' isn't it?

Something in The Times about Amos and "granola feminism." Gretchen got a jolly laugh over that. Bishop did his business over the thing before I was able to finish [it].

I dreamed I climbed the ladder to the attic and found "Come back, Kate, all is forgiven" scrawled across the east wall. What could it mean?

March 27th. Patrick O'Hagan borrowed the Saab for a trip to Ireland while the Beekeeper was in the deck. Shall I have Gretchen send down another [copy]? No. I can hum the better tracks, and I still have 'Garlands' in the DVD, which sounds a bit like 'Yes, Anastasia,' doesn't it?

There was some kind of a ruckus in the village. Gretchen passed some of the locals burning a figure in effigy. Nasty business.

Sat up late reading Strindberg's Ghost Sonata. So good, some parts.

[Here the record ends]
... Read more

Amazon.com

The Daredevil soundtrack provided a nice boost for this previously unknown quartet from Little Rock, Arkansas. Evanescence’s songs "My Immortal" and the imposing "Bring Me to Life" are clear standouts in the film, mainly because they work so well with the dramatic, eerie undertones of the storyline. They reappear here on the band’s debut, alongside a selection of similarly brooding tracks that evoke pensive artists like Tori Amos and the Cranberries. Vocalist Amy Lee has the kind of voice that can cause weeks of insomnia, but on songs like "Tourniquet" and "Haunted" she belies the music’s sinister mood with evenhanded spirituality, thoughtfully letting some light shine through the tempest. --Aidin Vaziri ... Read more

Reviews (2018)

Something for Everyone...I guess. (4.5 Stars)
I'm bad at headers, please forgive me.

Evanescence was arguably the biggest breakout band of 2003. Now they're sold-out hitmakers that are loved by gothic teenagers, middle-aged women and music critics alike. (I'm naming these from personal experiences) ..now how does Evanescence measure up?

You've already heard the most worthy songs on the CD. "Bring Me To Life" "Going Under" and "My Immortal" are the three best songs on the CD, so if you expect a CD full of beautiful "My Immortals" please search elsewhere.

The rest of the CD is woven with pretty much alternating faster and slower songs. As far as standouts go? Aside from the singles, we also have "Everybody's Fool" which is lacking in lyrics but makes up for that in melody, and "Torniquet" which is full circle above-average but nothing spectacular. For lyrical depth, try "Hello" ..

Amy Lee's voice is tolerable at worst. Her fashion sense may be a bit off-key, but her voice remains lovely and distinctive, and always matches the background (or vice versa, who knows where manufacturing may be lurking..?)

If no one you know is buying this CD, you A) Live in a Ghost Town or B) Know nobody!..
This album remains in the top 5 on the album charts after a year of being on it, selling upwards of 100,000 a week. Nice, right? One of those customers includes my lovely mother. Way to go Mom, you saved me fifteen bucks.

I enjoyed it. It's worthy of removing forty minutes of your life.

BOTTOM LINE: Good. Something everyone would enjoy.
GRADE: A-

Blew me away....
I just recently discovered Evanescence by mistake after visiting a friend's web site and clicking a link for Evanescence - Hello. I absolutely LOVED the track and, having friends who were obsessed with the album and the band, naturally decided to borrow/buy the album. A friend lent it to me, and here I am, listening, several days after becoming obsessed with it myself. I just cannot stop listening to it... Amy Lee's voice is so much more polished and mature than anyone else in her age group of singers, such as Avril Lavigne, Brittany Spears, etc. It's like an angel from heaven has come down to bless us with her talent, and it's no wonder why the song "Bring Me To Life" attracted so many fans to this small Arkansas band and singer! And, without further ado, onto the ratings... Going Under - This song is not my favorite, but nonetheless, it is a great song. The rock beat really strikes my fancy, and the lyrics are well-polished. 9.5/10 Bring Me To Life - The song that inspired Evanescence's fan base, and it's really easy to see why! The lyrics are great, the tune is wonderful, and it's really easy to pick up. It's haunting and rocking at the same time, and overall a great song. It has its shortcomings, however, as it will become really repetetive after a while of listening to it because it is so awesome! 9.5/10 Everybody's Fool - A great song, but it's basically repeating the same thing, merely in different words, through the entire song. 9.5/10 My Immortal - After listening to all of the album and Hello before it, this was my new favorite song. As another reviewer put it, it may be what heaven really sounds like. This is one of the band's songs that you hear everywhere, like Avril Lavigne's Sk8er Boi, and you just instantly love it, but you just never know who the artist is... then you find out, get the album, listen to the song and the rest of it, and become obsessesed instantaneously! Its haunting lyrics and beautiful piano make this an instant classic, not to be missed. 10/10 Haunted - Amy Lee sang the heck out of this one, and because of it, it's great. It's not quite at bloody as Tourniquet, but creepy all the same, and in this reviewer's eyes, creepy = good. 10/10 Touniquet- This song really makes you brood over death. Amy really convinces you that she's in serious pain when she sings so soulfully, and it makes you so sorry for her, that you just can't help but like the song. However, I'm not really one for the morbid-type, so marks down for the gruesome details. Don't get me wrong though; this song is still great. 9/10 Imaginary - Amy describes how she retreats into her own world to escape the horrors of this one, but she can't decide which one she likes better. Very soulful, just like all of the other songs on the album, and one of my personal favorites. 10/10 Taking Over Me - It seems like Amy is willing to drop everything and find her true love, who has taken over her soul and now is morunful for him because he left. The lyrics are great, and the entire song has a very catchy beat. 9.5/10 Hello - This is the song that got me hooked on Evanescence. Haunting and beautiful lyrics, Amy's beautiful voice that will keep you awake (and slightly insane because of sadness and other factors) for weeks to come, and absolutely haunting melody on the piano, this is my personal favorite song on this album. It maintains the sad note of Haunted and Tourniquet, but with much less violence. She doesn't know if she's sleeping or not, and then she realizes that death really does exist, and that nothing will ever be the same. Let me scream for a moment: I LOVE THIS SONG!! 10/10 My Last Breath - When I listened to this, the first time, I got the lyrics stuck in my head because Amy sung them so beautifully! The beat is catchy and fun, and the lyrics are great. Overall, a great song. 9.5/10 Whisper - This song is probably the worst one on the CD, though don't get me wrong; I still love it, but it just isn't up to par with the others. I do, however, love the Latin at the end; Amy translated it roughly to "Save us from danger, save us from evil," and it really fits the mood of the song. It gets pretty slow at the end, so that turned me off of it a little bit. Still a good song nonetheless. 8.5/10 Overall, this album is one of the most polished I've ever heard in years, and it really got me hooked on the goth/rocky genre. I simply can't wait for the next one! Keep up the good work guys!

Blew me away...
I just recently discovered Evanescence by mistake after visiting a friend's web site and clicking a link for Evanescence - Hello. I absolutely LOVED the track and, having friends who were obsessed with the album and the band, naturally decided to borrow/buy the album. A friend lent it to me, and here I am, listening, several days after becoming obsessed with it myself. I just cannot stop listening to it... Amy Lee's voice is so much more polished and mature than anyone else in her age group of singers, such as Avril Lavigne, Brittany Spears, etc. It's like an angel from heaven has come down to bless us with her talent, and it's no wonder why the song "Bring Me To Life" attracted so many fans to this small Arkansas band and singer! And, without further ado, onto the ratings... Going Under - This song is not my favorite, but nonetheless, it is a great song. The rock beat really strikes my fancy, and the lyrics are well-polished. 9.5/10 Bring Me To Life - The song that inspired Evanescence's fan base, and it's really easy to see why! The lyrics are great, the tune is wonderful, and it's really easy to pick up. It's haunting and rocking at the same time, and overall a great song. It has its shortcomings, however, as it will become really repetetive after a while of listening to it because it is so awesome! 9.5/10 Everybody's Fool - A great song, but it's basically repeating the same thing, merely in different words, through the entire song. 9.5/10 My Immortal - After listening to all of the album and Hello before it, this was my new favorite song. As another reviewer put it, it may be what heaven really sounds like. This is one of the band's songs that you hear everywhere, like Avril Lavigne's Sk8er Boi, and you just instantly love it, but you just never know who the artist is... then you find out, get the album, listen to the song and the rest of it, and become obsessesed instantaneously! Its haunting lyrics and beautiful piano make this an instant classic, not to be missed. 10/10 Haunted - Amy Lee sang the heck out of this one, and because of it, it's great. It's not quite at bloody as Tourniquet, but creepy all the same, and in this reviewer's eyes, creepy = good. 9/10 Touniquet- This song really makes you brood over death. Amy really convinces you that she's in serious pain when she sings so soulfully, and it makes you so sorry for her, that you just can't help but like the song. However, I'm not really one for the morbid-type, so marks down for the gruesome details. Don't get me wrong though; this song is still great. 9/10 Imaginary - Amy describes how she retreats into her own world to escape the horrors of this one, but she can't decide which one she likes better. Very soulful, just like all of the other songs on the album. 9/10 Taking Over Me - It seems like Amy is willing to drop everything and find her true love, who has taken over her soul and now is morunful for him because he left. The lyrics are great, and the entire song has a very catchy beat. 9.5/10 Hello - This is the song that got me hooked on Evanescence. Haunting and beautiful lyrics, Amy's beautiful voice that will keep you awake (and slightly insane because of sadness and other factors) for weeks to come, and absolutely haunting melody on the piano, this is my personal favorite song on this album. It maintains the sad note of Haunted and Tourniquet, but with much less violence. She doesn't know if she's sleeping or not, and then she realizes that death really does exist, and that nothing will ever be the same. Let me scream for a moment: I LOVE THIS SONG!! 10/10 My Last Breath - When I listened to this, the first time, I got the lyrics stuck in my head because Amy sung them so beautifully! The beat is catchy and fun, and the lyrics are great. Overall, a great song. 9.5/10 Whisper - This song is probably the worst one on the CD, though don't get me wrong; I still love it, but it just isn't up to par with the others. I do, however, love the Latin at the end; Amy translated it roughly to "Save us from danger, save us from evil," and it really fits the mood of the song. It gets pretty slow at the end, so that turned me off of it a little bit. Still a good song nonetheless. Overall, this album is one of the most polished I've ever heard in years, and it really got me hooked on the goth/rocky genre. I simply can't wait for the next one! Keep up the good work guys!

Hmm
a music fan from hawaii must of been singing along to the songs again. I only got it for the first 3 songs and I ended up listening to the rest of it later. all of the songs except for track 10 or 11 I think are good. My copy was stolen earlier this year so I'm going to pick up another. Amy Lee's voice is very smooth and very high, which is why the music fan from hawaii must of heard something dying..he/she/it couldnt reach the high notes. Anyways This CD owns.

Cool band with a cool cd
The best song on the album is "My Immortal" and Amy Lee sings the hell outta every song on the cd. ... Read more

Amazon.com

Oasis albums have always prompted flashbacks--Was that a Beatles melody? Is that chorus on loan from T. Rex? Wait, wasn't that a Crowded House song once? But the mouthy British group's latest really sounds like a pop artifact. Both in production and execution, Don't Believe The Truth feels like an album better suited to 1965 than 2005. From the tambourines and jangling guitars that chime in opening track "Turn Up To The Sun" to the tinny pre-hippie philosophizing of "Keep The Dream Alive," it's an album that thinks the way forward is by looking back. First single "Lyla" borrows its opening swagger from the Rolling Stones' "Street Fighting Man," while "The Meaning of Soul" lifts the Small Faces' mod jitters wholesale. But hack through the clichéd lyrics and worn riffs and the most important element on the follow up to 2002's Heathen Chemistry remains distinctly Oasis' own: Attitude. And in such wonderful abundance, "No one could break us/ No one could take us," they sing. --Aidin Vaziri ... Read more

Reviews (1)

BEST ALBUM SINCE WHATS THE STORY MORNING GLORY
Well... just heard it as a promo adn i must say Oasis have gone back to their roots and now have turned up with the their best album since Whats the Story Morning Glory.A def. buyand must have item for the summer and its always good to album that will be a piece of music history. ... Read more

Album Description

The first single to be lifted from the 2005 album,'White Teeth'. This UK limited edition includes three versions of the title track,Album Version, Photek Straight Remix and Photek Dub. Interscope. ... Read more

Reviews (25)

the hand of the artist should have been in this
rockin' song with great energy dampered only by the limited number of versions. Why go to the trouble of cutting a disc like this without giving the consumer 5 or 6 versions of the song? Trent should know better, being the music fan that he is.

I think it's solid.
Remember all that garbage social music you've heard for years now?Please let it go.Don't call that music 'pop music', call it 'Disney Dollars'.

What do I mean?I might know...

I've been a NIN fan all the long.Trent's certain breed of music has always had a bitter aftertaste.I think there's a point there.

Let's talk about 'The Hand That Feeds'.Musicaly, any other time than now, this would be wrong.I thought a long time ago that once computer screen resolutions where so high that no normal person could see individual pixels... at that time, at this time...the mosiac effect is effective artisticaly.So, that in mind along with what everybody really has noticed these last 10 years... 'The Hand That Feeds' is the best song I've heard in a long time....and it's all done in that walking talk the talk in NIN style; acceptable now for a social setting.

The lyrics in 'The Hand That Feeds' has the most clever double meaning contained in there.I don't think anybody is catching it.

So, I'm a little disturbed that everybody misses the point.If this isn't an original song... what is?I wonder what the kids would say to answer that question?Maybe something about Incubus or... uh... Jay Z...

Lastly, if you don't know who Photek is... You probably won't get the remixes.You don't listen to something extendedly titled [Dub Mix] and be disgusted when it's the type of thing to play in club that's not too busy playing irresponsible dry-hump music that has spoken lyrics about killing gangstas.Yeeeaaah!

Nobody wants to change it.

There've Been Better, But There've Been Worse
ALBUM MIX: I'm not going to bother much with this; we've all heard it, it's a great song, let's hear it for Nine Inch Nails, yay.

STRAIGHT MIX: Interesting extended take on the original, and well-done.There's not much actual remixing - other than the techno beat, the "whispering" and the "horror movie synths" near the bridge (which were great), it stays mostly true to the album version - but that doesn't stop it from being a good listen, and it's just as catchy as the album version.I especially liked when the music mostly drops out in favour of the vocals at 3:53; it was a nice touch, one that probably should've been part of the album cut.Either way, not bad.

DUB MIX: It's a house version.What can be said about that, really?Trent's occasional voice adds something, and the beat and guitar/synth loops are infectious enough with this mix that it doesn't fall COMPLETELY flat... but you're probably not going to want to listen to it too often.Decent.

OVERALL: I'd rather spend my money on Things Falling Apart or Further Down The Spiral, of course... but this was supposed to be a single, not a remix album, and as such, it's not bad.Worth a few quid, but don't bump it to the top of your list.

SIDE NOTE: Trent is SO not fat; my bandmate Aeon and I saw him a few days ago, and he's as ripped as he ever was.

For diehards only.
Let me start by putting out a couple of my biases before getting into this review-- first, I relaly don't care for remixes as a rule, unless they're dramatic and severely restructure a song, I generally find they add little.Second, I really don't care for "The Hand That Feeds".

Having said that, the piece is presented in three mixes, the album version, the Straight mix, and the Dub mix.The album version has a catchy, circular guitar line and a straightahead drum beat that's actually decent until the bridge with this bizarrely irritating spoken wordish section.Just doesn't work.

The remixes fare no better-- the Straight mix adds different rock beats and an extended introduction that eventually becomes tedious, the dub mix layers a grating sustained guitar note over a beat and a mumbled repeated take on the chorus.

If you're a fan, get it.If not, skip this one, there's good reasons it wasn't released in the U.S.

SAD.Pathetic.Lame.Desperate.
Trent, sweetie, we know you want another radio single and to sell a TON of merch on your new tour.

Good luck, baby cakes.

This song sounds like a fourth-rate Utah band with a CD rack full of Halos.

Really sad.Without a doubt, the lamest of all NIN singles.

Silly, sad, fat Trent doesn't understand that he owes his "fame" to Mark Romanek and the catchphrase "I want to BLEEP you like an animal."

NIN is dead.At least we still have The Downward Spiral and Broken.

This single is too stupid for a single star. ... Read more

Amazon.com

John Mayer's big label debut was a multi-platinum breakthrough success whose sensual anthem "Your Body is a Wonderland" scored him an unlikely Grammy for Best Pop Vocal. That out-of-the-box success–and more than a few critics grousing that Mayer's muse was cloned from Dave Matthews–primed him for the typical sophomore slump. Instead, Mayer delivers an album whose tone and title suggests a gentle, tongue-in-cheek rebuke to his naysayers. Propelled by the subtle ambitions of an expanded pop-jazz framework (largely courtesy of Sheryl Crow/No Doubt/Jellyfish producer Jack Joseph Puig), Mayer's breathy vocal tack now suggests a detached, conflicted, and significantly less precious incarnation of Michael Franks. But the way he weds fluid pop hooks to lyrical concerns whose self-obsessions are undercut by telling dollops of self-deprecation should clearly draw listeners in, from the my-spirit's-too-big/smart-for-my-body laments of "Clarity," upbeat single "Bigger Than My Body," and bluesy plea "Come Back to Bed" to the cautionary, melodically-rich "Daughters" and even the anti-materialist agitprop of "Something's Missing." --Jerry McCulley ... Read more

Reviews (541)

A Very Hot/Cold Follow-up to 2001 Room For Squares
I was very anxious to hear the latest from John Mayer. After listening to 2001's sublime "Room For Squares", I was curious to see in what direction this soft-spoken acoustic strummer would go next. Upon listening to the lead-off single, "Bigger Than My Body", my expectations immediately rose. With it's stadium-sized chorus, and mystifying guitar texture's, "Bigger..." truly made me believe that Mayer just may top "Room For Squares". Sadly, however, the rest of the album does not quite stand up as well. The album kicks off with "Clarity", which boils down to Dave Matthews on his worst day. "Bigger..." redeems the false start immediately, and is followed by "Something's Missing"- Mayer's best track to date. "New Deep", a synth-laden self-proclamation of change, is a decent track, but is quickly followed up by the lame, and truly unnecessary...-anthem, "Come Back to Bed"- basically the morning after to "Your Body is a Wonderland". "Homelife" is just plain insipid, but "Spilt-Screen Sadness" is a creative new song with strong lyrics and a grooveable beat. "Daughters" is a truly standout track in a sea of mediocrity- a message of love to the daughters of the world, and a warning to everyone who takes them for granted. "Only Heart" is yet another strong track, although by this point, we are starting to see a trend of ballads geared towards a female audience. It comes to a less than satisfying close with "Wheel", a good track of filler, but nothing more. All in all, it is much better as whole than most albums out there. Still, fans of his more personal and introspective earlier works will be left disappointed at the lack of nostalgia and urgency in his music. But, hey, you can always outdo an amazing prior work. (i.e. Oasis, Barenaked Ladies, Fastball, The Counting Crows, etc.) Four stars for effort, though. Cheers.

A totally different approach from John Mayer; I'm impressed.
John Mayer is my favorite artist anyway, so I knew I'd like this album. But I like it in for a reason I didn't expect, something I was initially worried about: it's different.

I read enough about the album ahead of time to know it was not "Room For Squares: Part II". John decided to utilize his band and write an album that has a completely different sound from his acoustic setting.

As a result, I can tell you that this album accomplishes the same depth and soul that John Mayer's previous releases have expressed, but provides a different mood and atmosphere for his expressions.

If I had been told to compare it to "Room For Squares", I couldn't. "Room For Squares" is my favorite album, and this is certainly not Room For Squares. The two albums stand independently, not connected at all. This album has a great electric sound while still possessing the depth of the expected John Mayer lyrics. It's a bluesy, southern rock style album overall, but has a lot of interesting twists.

"Split Screen Sadness" will get you wondering if you bought the wrong album. "Daughters" returns to the John Mayer acoustic feel, and it's a great, sweet song. "Something's Missing" is birthed in studio form after appearing on "Any Given Thursday" as a live track, and the version is very good, although quite different (more mellow) than the hard, guitar-driven live version.

John Mayer did a good thing with this album --- he didn't attempt to top "Room For Squares". He didn't attempt to write a new album to replace the old one. R4S is phenomenal.

John has allowed that album to remain in my CD player alongside the new album. You don't have to throw out your old John Mayer to make room for the new...the different albums operate on totally different moods, so there's the best songwriter available to sing you the best songs anytime, and each album does a phenomenal job of catering to its particular mood.

This is definitely worth your purchase. I won't let my friends burn it from me...they have to go buy it too. :)

A great listen
The thing I noticed about this album is how different it is than Mayer's debut "Room for Squares". There's not as much acoustic. This isn't a bad thing, because Mayer still does a great job. John Mayer is probably my favorite artist in this genre of music. His vocals, lyric work, music, everything is just astounding.

Mayer makes music worth listening to
I don't know what rock I've been hiding under, but I have never heard John Mayer's music until I recently bought this cd. I don't listen to the radio...ever, but was recommended Mayer's music by two different friends, so I went ahead and bought it.

Loved it instantly. The combination of acoustic rock and roll with new aged pop and a smooth sound. He has a knack for a nonchalant, cool guy delivery that's very effective. His music is so refreshing and creative, not to mention the amazingly clever linear notes in the cd insert booklet. Favorite songs include: "Daughters," "Clarity," "Homelife," and my favorite "Come Back To Bed."

I still have yet to hear his other cds, mainly "Room for Squares" but that is next on my agenda!

Very disappointing
This CD was a huge letdown.

I liked a few songs on his "Room for Squares" but was completely unaffected by everything on this album save for "Charity," a great song.

He's at the forefront of the male singer/songwriter thing right now in terms of popularity, but others are producing much better CDs. Try Patrick Park's "Loneliness Knows my Name," Joseph Arthur's "Redemption's Son," or Gavin DeGraw's "Chariot" instead. ... Read more

Amazon.com

After its most prolonged absence from the recording studio, Sleater-Kinney has reloaded with a smoldering rock and roll record that rivals John Lennon’s Plastic Ono Band and Nirvana’s In Utero in terms of unexpectedness. It is a 180-degree proclamation to the album which came before it. Producer David Fridmann (Weezer, Flaming Lips) coaxed the Portland, OR trio to retool its approach to making music. The results are startling and far and away the most collaborative, experimental and risky in the band’s seven-record career. Corin Tucker’s supreme guttural form is on display from the lead-off track "The Fox"--a would-be children’s tale overridden by crunching power chords and drummer Janet Weiss’s battering percussion. The Woods tugs on your ear musically and stabs at your heart lyrically on riff-wielding jaunts "Wilderness," "Modern Girl" and "Rollercoaster." The live-in-one-take, 11-minute blockbuster "Let’s Call It Love" unleashes Carrie Brownstein’s foray into guitar-solo psychedelic. Haven’t heard Sleater-Kinney yet? Try Dig Me Out and work your way forward. Already on board? Find a steady chair, feel your ears bleed and watch your speakers disintegrate. --Scott Holter ... Read more

Reviews (22)

THE WOODS?MORE LIKE ENTRACE TO THE WILDERNESS OF GREATNESS
HEAVIER, LOUDER, UNCUT.ACTUALLY ITS CUT BUT IT IS HEAVIER.I MEAN THE ACTUAL ALBUM ART ITSELF WEIGHS IT DOWN BY A GOOD 6-7 GRAMS, NO JOKE.

FIVE STARS.

A new and improved (in ways!) Sleater-Kinney
My initial reaction to the first few seconds of the album was, "How can this fit in Sleater-Kinney's arsenal?" These seconds are filled with raw, grungy, distorted guitars and pounding, bass-heavy drums. This helps me, a devoted fan even in self-titled days, understand why after four relatively successful albums on Kill Rock Stars they would switch to Sub Pop, the label that put out some of the early Soundgarden and Nirvana albums.

When the vocals entered in the first track, "Fox," I was taken back to Sleater-Kinney's world. Corin's vocals are just as simultaneously wild and controlled as ever. As she sang the words, "land-ho!" I imagined she must have been sitting on a vibrating chair in the recording studio.

The second track, "Wilderness," is typical Sleater-Kinney with Hot Rock guitars and Carrie and Corin doing what seems like vocal impressions of each other. "Jumpers" has the classic-to-Sleater-Kinney desperate feel. "Modern Girl" is cheesy at best. "Rollercoaster" has a fun, almost go-go feel to it. "Let's Call it Love," in its eleven minutes, reminds me of the type of humor in which the joke gets so monotonous and annoying that you hate it, and just then, it gets hilarious again. Track placement should have called for "Let's Call it Love" as an ender instead of "Everything," which would be a better song if they weren't putting the album-ender pressure on it.

Very good. 4.5 stars
My impressions: Sleater Kinney listeners will be taken by the freshness of the sound, the different mix. I was wowed! It sounds like the songs were recorded on one track -- it's very organic, yet mature. Underneath all the excitement surrounding a new album though, I'd say this album's quality is about the same as One Beat. I LOVE One Beat; there's not really a weak song on it. The Woods has moments of sheer brilliance and Mrs. Carrie Brownstein's six string investigates new territory not explored by SK previously. The drums are savage and complex. And I got chills once or twice at Corin's wail (love that passionate voice). "Laaaand ho!" Overall, SK remain head and shoulders above most acts today. Definitely worth the money.

The Woods
Mostly very good, though in many places the guitars are mixed way above the vocals, maybe too much. "Modern Girl" is a production disaster, though--a distorted harmonica track? Ugh. "Entertain" falls into that marching-band-drummer thing that Janet Weiss sometimes seems to get stuck in. The bonus DVD was rockin', though the last track could have been recorded better.

Seven albums strong.....
This album is a must-have for any music lover who chooses to see past the blights of American Idol and Britney Spears. For new fans, the band often takes a couple listens but they are worth it. For old fans, get ready to rock with Carrie's stellar guitar and a Sonic Youth-esque jam on "Let's Call it Love".

I have been a fan for about 6 years now and I can honestly say "The Woods" blows everything else out of the water. The lyrics have changed drastically from "One Beat's" overt (though justified) finger-flipping towards Bush. Instead, they come back with nuanced poetry that is far more venomous and subtle.
"The Woods" proves that Sleater-Kinney has that rare ability (ala Sonic Youth and Beck) to always sound like themselves whilst releasing dynamic new albums. Definitely worthy of the title "Rock Album". ... Read more

Amazon.com

It's hard to pinpoint the exact moment Modest Mouse started sounding like a real band. For the longest time, singer-songwriter Isaac Brock seemed to exist solely to defy the established rules, forging forward on sheer momentum and ingenuity. Even Pavement looked relatively ordinary in comparison to the band's early releases like 1996's This Is A Long Drive For Someone With Nothing To Think About and 1997's The Lonesome Crowded West. But on Good News For People Who Love Bad News, the front man sounds like he's finally touching the earth, and the band--minus founding member and drummer Jeremiah Green--follows suit. A relaxed mood prevails, not so much in volume but in attitude. On the follow-up to the group's 2000 major label debut, The Moon & Antarctica, big sloppy melodies battle it out with brass on punky epics like "Float On" and "The Ocean Breathes Salty." The lyrics are simpler, the arrangements tamer, but the vitality remains. The prevailing mood is that Modest Mouse has pulled off something extraordinary here: a well-rounded, lovable record that doesn't sound anything like David Gray. --Aidin Vaziri ... Read more

Reviews (317)

Good News is a Mediocre Album
If you were hoping to a return to roots for Modest Mouse, this isn't the album. This album builds on the direction they were heading with the marginal "Moon and Antarctica" without moving quite far enough away from it. The album doesn't sound formulaic but at the same time, there are no surprises.

"Good News..." starts with a whimper but manages to work it's way into a block of good songs before the album closes out with the flute laden "The Good Times are Killing Me." "Float On" was the obvious up tempo single and the sole bright spot on the first quarter of the album. "Dance Hall" and "Bukowski" start to turn it around but things don't really get going until "The View." Longtime Modest Mouse fans will probably enjoy the last few tracks of the album more than anything else.

The engineering also leaves a lot to be desired. Drum sounds are occasionally tinny, vocals are mixed loud and just like "Moon..." there's an overkill of annoying overdubs and effects. Modest Mouse seems to have lost or abandoned the expansiveness of their earlier work and with it a good portion of their soul. Compared to "Moon" though, "Good News" is warm and highly enjoyable.

Good news...
Good news for people who love Modest Mouse: their new album is a thumbs-up disc. Though the tone isn't really changed from their 2000 hit, "Good News For People Who Love Bad News" is a fluid, haunting branch-out, with wonderful instrumentation and a sort of vaguely mellow feel.

The subtle "World At Large" opens "Good News...", soaked with restlessness and resignation, followed by the magnificent "Float On" and solid "Ocean Breathes Salty." The album stumbles a bit with the frenetic "Dance Hall," but picks itself up with literate lament "Bukowski," wall-smashing rocker "Black Cadillacs," and bouncing "Bury Me With It."

When a band's lineup changes, fans have a right to be nervous. But despite changes in the guitar and percussion sections (they switched drummers in mid-album), Modest Mouse keeps its unique, sweeping sound more or less intact without getting stagnant. It doesn't really move too far in a new direction (except being happier), but it's not a rehash of "Moon and Antarctica" either.

Death and pondering what's next are still the centerpieces of Modest Mouse's creations, from the very catchy "The View" to the searing "Satin In A Coffin." "Are you dead or are you sleeping?" Isaac Brock asks repeatedly in his very quirky (and very fitting) voice. Oddly enough, it's more upbeat than some of their past releases -- which is not very upbeat, but there's a sort of lighter undercurrent to the music.

"Good News..." also benefits from a bit of new blood: drummer Benjamind Weikel is new to the group. He doesn't try to imitate ex-band-member Jeremiah Green, but instead uses his own strong drumming to good effect. Synthesizers, versatile guitars and strong bass are backed up by atmospheric additions like banjos, violins, horns and organs.

Poetry-rock group Modest Mouse is still going strong in "Good News For People Who Love Bad News." While it's not the strongest they've done, it keeps the mood pensive and melancholy without turning it into a pose. Good news!

And it took me this long to buy this CD?
It takes a lot for me to BUY music. I tend to borrow and dl more than anything else, but Good News For People Who Like Bad News is one of the rare CDs that I thought was good enough to spend 10 bucks on. The music is addictive. The World At Large is a lot of fun; Float On, as much as it's the song that introduced me to Modest Mouse, is somewhat eclipsed by other tracks; Ocean Breathless Salty is by FAR my favorite on the album; Bury Me With It reminds me of some other song that I can't put my name on, which is nice; Dance Hall is, surprisingly, the only song that actually got me dancing when I first heard it; Bukowski is my second favorite song... lots of fun, tres memorable; This Devil's Workday is SUCH a good song, it seems like an old old song that hasn't lost it's meaning; The View, I don't particularly care for... it just doesn't fit; Satin In A Coffin is a good enough song, but it doesn't stay with me; Blame It On The Tetons is a very close #3 for me, very relaxing and is closer to most of the other music I usually listen to; Black Cadillacs is eh, sort of iffy; One Chance is something I would expect to be in a sappy teen movie or something; The Good Times Are Killing Me was an excellent end to an excellent CD. Overall, well worth your time and well worth your money.

tragedy strikes
Modest Mouse is one of my all time favorite bands. It was Isaac's raw sound on earlier albums like Lonesome Crowded West and Sad Sappy Sucker that made the band unique and to me and pulsating with energy. Yes, this album is polished, but it is also watered down and much more boring compared to their older, jagged melodies that were throbbing with pain and electric. One would hope that when a band makes it big they're not selling out, but I feel like Modest Mouse just got dumb with their melodies. I for one shed a tear :(

ALRIGHT!
After being let down by Modest Mouse's prior independent releases, I decided to give Good News a shot. I was not let down this time around. Mouse finds the perfect blend of weird and catchiness. Although the weirdness takes the cd off track here and there, as a whole it is pretty good. Standouts for me are the hit "Float On" and "The World at Large" and the rest is slowly growing on me. If you're looking for something fresh in the alternative rock scene, look no further. It's fun and slightly bizarre. Their best album yet. ... Read more

Amazon.com

Florida’s brilliant singer-songwriter Sam Beam expands Iron & Wine from solo project to a gaggle of friends and family on slide guitar, percussion, and backing vocals on his second album. Fans need not worry--the hushed immediacy and rich melodies remain the focus--but new flavors abound. For instance, the strange "Cinder And Smoke" sounds like a collaboration (with banjos of course) between America, Robert Wyatt and Low. Meanwhile, "On Your Wings," "Free Until They Cut Me Down," and "Teeth in the Grass" showcase a brooding, earthy, Southern-rock-on-laudanum side that the band had previously only demonstrated in concert. It's rare when an artist who's become known for bedroom recordings makes the transition to the studio to produce work that's better--Daniel Johnston, Lou Barlow, and Liz Phair all made their defining moments crouched above a cassette recorder at home. But Beam is the exception to the rule, as he has easily bested himself on the second Iron & Wine album. --Mike McGonigal ... Read more

Reviews (48)

Different and Brilliant
2002's 'The Creek Drank the Cradle' was my favorite album of the year. Brilliant, hushed, personal music. Wonderful lyrics, beautiful, understated guitar work. 2003's EP 'The Sea and the Rhythm' was more of the same. 'Our Endless Numbered Days', finds Miami native Sam Beam expanding his repertoire. It's different this time around. It's less spectral, less muted. Most of the songs feature sparse accompaniment (drums, banjo, background vox). Prior releases were composed solely of layered guitar and voice. This recording is cleaner and much more professional sounding. However, part of the appeal of the first two albums was the murky, basement-style recording quality. Sam's voice is more pronounced this time around. His sister provides beautiful harmonization on several tracks. It's not all new territory though. 'Naked as we Came' and 'Sunset Soon Forgotten' bear that trademark Iron and Wine sound. And, consequently, are two of my favorites on the album. All in all, I'm more than satisified. The recording quality is excellent, the lyrics are, of course, brilliant and touching, and the instrumentation is superb.

Soul Searching with Sam Beam
When I read that Iron and Wine's new CD "Our Endless Numbered Days" was recorded in a studio with instrumentals, I wasn't sure whether I liked that idea or not. I was afraid it would lack that certain intimacy we all know Sam's first effort, "The Creek Drank the Cradle," layered on due to it having been recorded in his home on a four-track, with no backing band. However, my fears were quelled after my first listen and, I can gladly say, I might even like this album more than "The Creek." What the studio enabled Sam to do was to make a cleaner, sharper sounding album, without sacrificing the personal qualities we all love. His voice/lyrics and guitar are still the focus of all the songs; the sound of the record remains to be very intimate and simple, with only light instrumental arrangements in the background along with beautiful harmonies which help to add some variety to the album, including chants at the end of "Cinder and Smoke" and drums and tambourine on the bluesy "Free Until They Cut Me Down." All the songs are as beautiful and memorable as ever, with some standouts including: "Naked As We Came" with backing vocals by his sister; the beautiful "Each Coming Night"; the acoustic ballad "Fever Dream"; along with many others. "Our Endless Numbered Days" is a beautiful, thought-provoking album that lives up to the Iron and Wine name with a new sound that seems to be just a natural progression rather than a sudden shift in values. The bonus CD also features a few really nice tracks that have a lo-fi sound which should make fans of "Creek" very happy. Strongly recommended for established fans and newcomers alike.

My kind of music
not much that hasn't already been said about this- without a doubt one of the top albums of the year. Sam is amazing in so many ways. Practically every song is terrific... what a follow up to another album that was a revalation.

See Sam and co. in concert if possible, such a good show.

come on, harold
quiet is the new loud, don't you know.

A chunk of pre-plunged vomit lodged in the throat of God
I don't know who this guy is. I don't care. What I do know is that he's trendy, that trendy people listen to him even though they might not like him, and that his hip, trendy music has apparently made a great impression on the dozen or so fanzines and indie-rock websites that are written by, read by, and purchased by the same 200 or so people who go to his concerts, buy his records, and shop for clothing and other material goods while listening to his trendy music play. That makes him a cult band. If he is a band at all.

I don't think he's a band, I think he's a talentless joke. He strums obtuse chords on a guitar, breathes deeply into the microphone, ripping off Mojave 3 at every turn, praying they either think this is flattering or don't have a lawyer, and looks depressed and ugly in all of his press photo shoots, each of which basically shows him in the same pose, clothing, background scenario, and facial expression. His music tries pretty hard to be important, but ends up being supremely annoying and irrelevant. Unfortunately, this guy and his army of imitators (we're talking fifth-generation Nick Drake wanna-bees by now) have hijacked the entire moribund "singer-songwriter" genre and turned it into a sad theatrical display, a boiling cauldron of musical diarrhea with trite and oh-so-forlorn lyrics to match.

If you have purchased this album and actually like it, then I do not ever want anything to do with you for the rest of my life, and I sincerely home I never have to encounter you in any way for eternity. ... Read more

Amazon.com essential recording

This plunge into blues and roots Americana stands with This Year's Model and Imperial Bedroom as Costello's greatest work. Ryko's repackaging is immaculate, natch, and this time Elvis contributes a fascinating 3,000-word essay about the recording and its dismal fate at Columbia's hands. --Jeff Bateman ... Read more

Reviews (3)

The Place Were I Made My Best Mistakes
Without a doubt, KING OF AMERICA was one of Costello's strongest releases in the 1980's. And that's saying alot in light of albums like GET HAPPY, IMPERIAL BEDROOM & the underrated TRUST.Next to ALMOST BLUE (& now DELIVERY MAN) this is Costello's most Country & Folk oriented album. It's also his most acoustic. Though The Attractions play on a few cuts, they basically sat this one out. Suffice it to say, they were less than thrilled to be blown off in favor of the stellar line-up assembled here. It's enough to make your jaw drop. Legends like James Burton, Jim Keltner, Earl Palmer & Ray Brown. Just as stellar are the songs. "Indoor Fireworks" & "Poisoned Rose" are among the finest he's ever penned. Right up there with classics like, "Almost Blue". The bleak majesty of "Little Palaces" & "Sleep Of The Just" will haunt you in your sleep. And things don't get any more scathing than the likes of "I'll Wear It Proudly" or "Suit Of Lights". As for the rest, "Brilliant Mistake", "Jack Of All Parades" & "Big Light" all go to show there really isn't a dud on the album. I suppose Costello best sums it up in "Our Little Angel"---"this is the place where I made my best mistakes". He also does well on his choice of covers. His raspy take on "Don't Let Me Be Misunderstood" is as brooding & menacing as it gets. On "Eisenhower" he wisely lets his guest stars blow off some much needed steam. Of course, the real clincher for fans is the bonus disc. "Having It All", "Suffering Face" & "Deportee" capture Costello at his maudlin best. "Shoes Without Heels" & "King Of Confidence" would have only improved the original album. His covers of "True Love Ways" & "End Of The Rainbow" are priceless. As for the live cuts, things like "Tears Me Up" are gut wrenching to say the least. For those who found SPIKE's "Tramp The Dirt Down" a bit too preachy, meet the Pop version,"Betrayal". Sadly, this is reputed to be the last of the Rhino reissues. Well, on KING they give you the royal treatment.

Crown jewel in Costello's 80's releases comes to CD again
"King of America" stands as the crown jewel in Costello's late 80's output. Rhino has finally issued this stellar gem in a deluxe edition that puts the previous version released by Ryko to shame. Although the first edition had a bonus disc with a handful of live tracks and bonus tracks, it lacked the deluxe grandeur of what this reissue deserved. This edition has all those bonus tracks, live cuts plus 14 previously unreleased tracks. The bonus tracks have all been relocated to the second disc (like all the re-releases)presenting the original album on the first disc alone.

Personally, I would have loved to see this released as a 3 CD deluxe set with a disc devoted to most of the concert the live tracks are drawn from. I always felt that the live tracks were little more than a teaser for a much bigger, better album that was never released. Since this is the last in the Rhino remasters that's going to be released (unless they put out the limited edition 5 CD live album that was put out in the 90's), I would have loved to see a limited edition 3 or 4 CD set not unlike the Rhino Handmade releases of this terrific album with additional outtakes and live tracks. Oh well, one can always dream. At least we have this fine album finally in a deluxe edition the way it should have been released in the first place. One of Costello's least appreciated but finest albums finally gets its due.

Loaded with a great set of liner notes discussing the making of the album and the bonus tracks, Rhino and Costello have done a great job at putting this classic album together for re-release. The remastered sound does sound better than the previous versions although some of that could just be the way this remastered version was tweaked. My only complaint is that, unlike some of the other notes for the other releases, it seems like we get less information about the additional bonus tracks here compared to some of the other remasters. Oh, and more importantly for Costello fans, we do get the complete lyrics for all the songs written by Costello.

saving the best for last
As all Elvis Costello fans know, this is the last of his works to be reissued by Rhino with an extra disc of demos. outtakes and live tracks.It is also the very best, both because the original album is so good and because the extra disc is brilliant.The Ryko reissue had only a handful of extra tracks.This version, by contrast, has over 77 minutes of additional music.However, it is more the quality, not simply the quantity, of the music that makes this disc special.The solo acoustic demos which open the new disc are some of Elvis' very best work.They almost make up an album in themselves, and make one wish that Elvis would record more solo material.The Coward Brothers material is excellent, but not new.The disc closes with an exceptional live set, which ranks among the best ever live recordings Elvis has released.Buy this record! ... Read more

Reviews (165)

Bridging the Weezers
Most fans agree that Weezer's first two albums were the band's greatest contributions to modern music.Personally, I feel the exit of Matt Sharp cost the band too dearly to continue under the name Weezer.Consequentially, after much anticipation, the "green album" and "Maladroit" lacked the substance and replay value of their predecessors.Now, many are calling "Make Believe" Weezer's grand return to their original glory.I can't say the songs on this album have the sheer fun of "Buddy Holly" and "El Scorcho" or the emotional strength of "Say It Ain't So" and "No Other One," but there is a distinctive reach back to the band's roots.I disagree that "Make Believe" is on par with the original "Weezer" or "Pinkerton," but it makes a nice bridge between the two bands.

In short, if you loved the original albums but lost a taste for the band's later releases, then you won't find the "old" Weezer here.On the other hand, if you have enjoyed hearing the band evolve, "Make Believe" is a necessary addition to your collection.

Make Belive... that this is a good album...
Granted, Blue Album, Pinkerton, Green Album (although a little too poppy and generic), and most of Maladroit are some of my favorite, and the best albums ever made, however Make Believe fails to strike a chord in my heart. Basically this album's songs just don't match up to the old ones and are maybe, so to speak, too crooneresque? Weezer needs the heavy guitar (Tired of Sex) to really come out, not speaking the same cliche phrase over and over again (Beverly Hills, the epitome of horrible).
Since it's Weezer, I cannot give them 1 star, they're just too amazing. I will definitly see the Make Belive tour, just to hear the old stuff, however I do not recommend Make Believe

As expected, yet another golden album
I thought it'd be a good idea to listen to this album while I reviewed it, but as I'm so enthralled with each and every iota and intricacy of Make Believe, I find myself losing focus. From the opening drum roll of the first track, Beverly Hills, to the closing bars of Haunt You Every Day, I'm enraptured. Every song on this, Weezer's fith album, has its unique brand of wonderful. From the catchy piano chords copmlimenting perfectly Rivers' vocal melody in Perfect Situation, to the eirily identifiable lyrics of Peace, to the mellow bliss that is Freak Me Out, (Which also happens to contain one of my favorite moments on the album. It's one of those so typical of Weezer, where Rivers is singing, and the melody is climbing and building, and just when you think it's at its peak, Rivers takes it up a couple of notes, thereby forcing you to melt in your chair.) every song is just what you need. Anyway, I could write until I was blue in the face, but I suppose I've said enough. I strongly recommend the purchase of this (and of every other Weezer) album.

incredible
At first the album wasn't a hit with me. Maybe it was built up expectations or maybe it's just one of those things. Pinkerton was the same way with me and is now my favorite Weezer album. After listening to this over and over again, it has clicked and gets better every time. Who knows, mabye after a few more listens it will be competing with Pinkerton. Anyways, awesome album and a definite recommendation to buy. My standouts are "Hold Me", "My Best Friend," and "Haunt you Every Day"

All Gorwn Up but still a child at heart
Make Believe is a combination of all four previous Weezer albums. With the catchy fun songs like Beverly Hills and We are all on Drugs showing hints of both the "blue" album and the "green" album. Songs like Haunt you Everyday and Perfect Situation have the honesty and emotional sincerity of Pinkerton; yet this isn't for 13 year emo girls. There is a new style of lyrics with the quality guitar, drums and bass that Weezer fans have come to know and love. The three year wait is over and the product is something that I don't think anyone could have expected. Make Believe made me fall in love all over again seeing the growth and individual style that they've emerged with. My hat goes off to the entire band. I would encourage everyone to check it out you won't be disappointed. It's on vinyl too! ... Read more

Amazon.com

One need hear only the first notes of this collection--the Edge's ringing guitar notes ushering in "Pride (In the Name of Love)"-to be taken back to 1984: Ronald Reagan and Maggie Thatcher rule the Western world, the L.A. Olympics is the top sports story, and Ms. Pac-Man reigns at arcades. In rock & roll, there's U2 growing in stature with each new title. Even doubters of the Irish lads have to concede that together they formed the one '80s band with the skill and sense of scale to take over the airwaves and concert stages in a decade of diminished expectations. This 15-song '80s best-of assortment (stick around for the hidden track) spans the decade, reaching back to 1980's "I Will Follow," when Bono and company were peach-fuzzy and earnest as choirboys, and tracking their path through their most glaring misstep, 1988's overblown Rattle and Hum. --Steven Stolder ... Read more

Reviews (196)

You can't give a "Greatest Hits" CD 5 stars...
I was introduced to U2 with their song, 'With or Without You', so I bought the Joshua Tree. I got "The Best of 1980-1990" for a Christmas present, and of course, it's a great album. The reason I didn't give it 5 stars is because, of course, this isn't anything new! If you have over five or six U2 CDs, don't buy this! It's common sense. You might as well buy the other albums, because full length albums are better than compilcations. If you know someone who really likes U2's 80s singles, get this as a gift. There's absoultely no reason to buy this if you already have a few U2 CDs.

Other than that, it's a great CD, that takes you through their early days of rage, through their experiments with sounds, and ending with their hard driving America Rock of "Rattle and Hum." There are some things missing here, however, such as 'Gloria,' 'Two Hearts Beat as One,' and 'In God's Country.'

So, overall, if you're a die hard U2 fan, don't buy this. For the rest of you, get this if you'd like U2's hits without getting all their albums.

A solid, although uneven, collection...
Although one could argue that this isn't a "Best Of" as much as it is a "Most Well Known" collection of U2's eighties work, as a fan, I couldn't help but pick it up if only for the remastered tracks and remade version of "Sweetest Thing", originally the b-side to "Where the Streets Have No Name" (if you can still find the version of this compilation with the b-side disc, it's definitely worth the inflated price). Most of their earlier work is neglected...Boy has one track present, October has none (sacrilege!), and War has two. I can understand the lack of their lesser known singles like "Fire" and "A Celebration," but the absence of "11 O'Clock Tick Tock," "Gloria," and "Two Hearts Beat As One" is downright blasphemous.

"The Unforgettable Fire" is well-represented, with not only the definitive U2 anthem "Pride" ringing in the album, but the title track and the live favorite "Bad," which is the only track on the collection that was not released as a single. The three obvious picks off "The Joshua Tree" are here as well, but are somewhat more skippable in this setting.

The track list is rather good, if you excuse that the four Rattle and Hum selections (and as much as I adore "Angel of Harlem" and "When Love Comes To Town," they're a bit unnecessary here) that were just thrown on the end of the disc. The entire section from "Bad" to "Sweetest Thing" works surprisingly well.

It's not a bad place to start if you're new to the band, although you may as well just pick up "The Joshua Tree" and "Achtung Baby," which are far more rewarding experiences. There is only one new track (the live versions of "Bad" and "Bullet the Blue Sky" that the Edge once said would make it didn't), so it's a little light, and the edited versions of "New Year's Day" and "Bad" are just plain annoying, but the track order makes it very listenable regardless.

A 15 year search completed!
Ok, I'm not a rock fan and I definitely don't like that goth, misogynist stuff that rock is ruined with. Then I heard "With or Without You" some 15 years ago while scanning the radio dial and was captured. The lyrics and that guitar haunted me forever and crept up on me when I least expected it - was it Slash or was it Clapton, you see I knew nothing.

It was only after years of listening to classic rock radio that I became somewhat skilled at figuring it out for myself (no thanks to those radio jocks who NEVER tell you the names of the songs they play).

My first rock purchase was this CD and yes I am a green rocker but this compilation, for me, has it all - powerful lyrics and haunting riffs. I've worn out two of them already. Now with online help - website playlists, discographies and MP3s - I'm on my way!

Good, but...
How did 'Sort of Homecoming' and 'Two Hearts Beat As One' (among others) get left off of this? Disappointing...

Purposeless compilation of played-out FM radio fodder
The beginning drum cracks of "Sunday Bloody Sunday"... the sight of Bono walking down Las Vegas' Main Street with that ridiculous hat... the white flag at Red Rocks... how much longer do citizens of this great nation have to be tortured with such images (and their associated sounds) so that we can pad these guys' bank accounts? Enough of karaoke-era U2.

Give me "A Celebration", in its entirety, on CD, for good, RIGHT NOW.

I mean it.

You do NOT need to buy this CD. ... Read more

Amazon.com

The Shins' sophomore album is a joy from start to finish, though it's rather different from their 2001 leftfield pop genius stunner Oh, Inverted World. That album was like a warm embrace from a long-lost pal. True to its title, all of the songs were of a piece, seeming to inhabit one landscape, with an invitingly similar sound throughout. Chutes is more far-reaching and decidedly eclectic. Each song is essentially its own genre exercise. There's singer-songwriter James Mercer's surprisingly Perry Farrell-ish wail on the almost indie-metal opener, "Kissing the Lipless"; the lovely pedal steel lilt to "Gone for Good"; the moody folktronica of "Those to Come"; and the Cars-gone-rockabilly riffing on "Turn a Square." The strongest song, the acoustic "Young Pilgrims," is stripped-down and brilliant. On every tune, Mercer packs more hooks and melodic invention than most bands do on one album. As a whole, it's an even better record than Inverted World. --Mike McGonigal ... Read more

Reviews (198)

Surpasses their debut "Inverted World"
I am a big fan of the debut Shins album "Oh, Inverted World." It's got a warm, fuzzy feel and the lyrics are leaps and bounds above many indie bands on the scene today. The follow up, "Chutes Too Narrow", is a nice step forward for the band. James Mercer's vocals are on full display, no longer hidden inside reverb and multiple backing tracks. It's just him, singing his heart out, and he does a great job. This album is about the same length as their first, barely surpassing the thirty minute mark. Ten tightly focused tracks take you on a joyous ride through Mercer's remarkable lyrics. The standout tracks, "Kissing The Lipless", "Saint Simon", and "Gone For Good" are spread evenly across the album. Genres are across the board. Gently strummed acoustics are traded often for walloping guitars. "Turn A Sqaure" sounds uncannily like a Beatles tune. The only real let down is the album closer, which is a little bland in my opinion. Overall, an impressive sophmore effort from one of the best band's around. If you want the exact same sound as their debut, you'd best look elsewhere. These guys are growing by leaps and bounds.

How do the Shins do it?
I love the Shins, so this review may be a little biased, but I don't care. Everyone should listen to this band. Their sound is like nothing I've ever experienced before. "Chutes too Narrow" is different from their debut, "Oh, Inverted World," but in a good, no great, way. If you liked that cd, then you will definitely like this one also. It's almost impossible to find anything wrong with it! The songs on this album are great from start to finish and after listening to it, you can't help but feel that much happier about anything.

The chords and melodies are so beautiful (i.e. Saint Simon, Pink Bullets). So, Says I is my favorite track and I can honestly say that it is one of my favorite songs of the last few years. And believe me, that is saying something. It's just that good, jeez...this album renders me speechless. I go to bed to it every night, I just cannot get enough of James Mercer's magical vocals and the riffs. Oh, the riffs. This is an example of great music that is completely creative and unique.

If you consider yourself a fan of good music, then you need to get this cd and "Oh, Inverted World." If you've never heard of the Shins, then it's time to be awakened. Your life will be changed for the better, trust me. Get ready to be amazed by the originality and perfect display of music that you are about to be graced with.

This is really, really good
Ok, when I picked this cd up, I knew absolutely nothing about it. It's possible that I'd read a review for it in Rolling Stone, but the point is that I bought this cd on vague curiosity alone. If vague curiosity has ever been rewarded, it was that day.
If I had to choose a genre in which to place this album, I'd have to think about it for a long time and then throw up my hands and say "the really good music genre." Each song seems to have some kind of formula -- there's always an acoustic guitar, and almost always some drums, and every once in a while a new instrument will make a cameo. Other than that, every song is easily discernable from the others on the album, somewhat of a rarity in my experience.
The real treat here is James Mercer's lyricism, which does a brilliant job of not only providing each song with its own mood and story, but also serving the song as an instrument in itself -- the sounds of the words he sings are just important to the song as the pitch of Mercer's voice.
All in all, Chutes Too Narrow is an excellent cd that exceeds all expectations -- it did for me, anyway.

Best album i've bought since Yankee Hotel Foxtrot
I can't even describe how great this album is. You just have to buy it, put it in your CD player, and be blown away - just like I was.

My new favorite
I was skeptical about this band at first but have grown to love this album. There is not a single song that I don't like. The lyrics are excellent and the tunes are very catchy, yet not too popish. I can't understand where people are coming from who write bad reviews for this CD, and usually when I buy a CD I can see the jist of both the good and bad.

Sure these type of songs have been done before, but the way that they're done make the best set of tracks I've heard in a while, and it still sounds fresh even if it sounds familiar. It is a very fun album to listen to, especially after the second or third time. Like I said there is not a single bad track on the album. I would give it 4-1/2 stars though for being so short (which disappointed me the first time). What is better though, short and sweet or long and boring?

I won't name any bands but I have bought a series of bad CDs in 2004 from major artists and then this one from a previously unknown band (at least to me) finally broke the string. It's refreshing, to say the least, and has renewed my faith in modern music. Maybe that's saying too much but I honestly think it deserves it and is not overhyped.

Who should avoid buying this album? People who don't like independent bands that explore different genres, don't like catchy tunes, or people who simply hate the SUB-POP label and everything it stands for. ... Read more

Amazon.com

Radiohead's third album got compared to Pink Floyd a lot when it came out, and its slow drama and conceptual sweep certainly put it in that category. OK Computer, though, is a complicated and difficult record: an album about the way machines dehumanize people that's almost entirely un-electronic; an album by a British "new wave of new wave" band that rejects speed and hooks in favor of languorous texture and morose details; a sad and humanist record whose central moment is Thom Yorke crooning "We hope that you choke." Sluggish, understated, and hard to get a grip on, OK Computer takes a few listens to appreciate, but its entirety means more than any one song. --Douglas Wolk ... Read more

Reviews (1469)

The Best Album of the 1990s
From someone with very broad, eclectic, and rather dubious tastes, its not a small thing to name an album the Best of an entire decade. But even giving due consideration to the greats that emerged from the 1990's, there is -still- no doubt in my mind that this is the album, alright. THE BENDS hinted at good things to come, but OK COMPUTER is quite simply a tour de force that blows away all expectations.

This is a slow and deliciously textured album, every song building up a collage of eerie noises, merging without warning into schizophrenic mayhem, dancing on the dark side of the moon for a while, and suddenly being swallowed by a cascade of little blipping computer noises. The music is superbly melodic, expressive and - a wonder in modern rock - above all, new. Instead of regressing to techno cliches, Radiohead opted to build a monolithic, surrealistic masterpiece out of a cross between DJ Shadow-style cut-paste and the dreamy little licks Johnny Greenwood spins off his guitar. This is not to say OK COMPUTER is a wholly lightweight piece of work. Many of the songs still feature the deliriously loud, fuzzed riffs that were so prominent in Radiohead's earlier efforts. But the raw, energetic pieces and the slow, moody pieces don't fight each other. Instead, they stand out, each offering a foil to the preceeding. The overall effect is - dare I say? - psychedelic.

OK COMPUTER has been called a DARK SIDE OF THE MOON for the 90's. While the similarities are striking - both are landmark progressive albums for their decade, of consistent quality and staying power - Radiohead does not -sound- like Pink Floyd, per se. The kinship lies more in the attitude which frontman Thom Yorke seems to share with Roger Waters, a kind of morbid humanism that is at once romantic and cynical. Perhaps the starkest illustration of this is "Fitter Happier," a concept piece midway through the album in which a computerized voice reads a litany about the yuppie lifestyle, to a background of slow, mournful piano and an array of horror-movie sound effects. When the robot's speech is over, it segues seamlessly into "Electioneering," an anthemic rocker condemning modern politics.

As if the sheer art of this album weren't enough to impress, it's also blessedly listenable. OK COMPUTER is one of the few albums that does not become tiresome with repeated listenings, and indeed, you'll find yourself with a new favorite track every week. Quite simply, if you don't own this album, you should. Like THE DARK SIDE OF THE MOON and like SGT. PEPPER'S, it is a landmark in music. When, three decades from now, another generation discovers the 1990's, this is the album future music fans will be digging up to spin.

A Tricky Task To Review
Every possible opinion in existence has been had by somebody with regards to Radiohead. Still, larger than the loyal demographic who actually purchases (and proactively listens to) their albums is the demographic which holds Radiohead with a substantial amount of respect in their minds. "They do their own thing with integrity, never sell out, and make good music."

So here's just another person's shot at objectifying one of their most "artistically accomplished" recordings. Be forewarned, there will be some - gasp - opinions...albeit educated opinions...in my opinion.

"Ok Computer", and Radiohead in general, is not prog rock. This is what's so frustrating when trying to "categorize" (all the hardcore fans can now raise their glasses)their music. Why categorize? Pigeonholing is by no means the ultimate goal, but even when developing one's own convictions about this music so he or she can encapsulize it into a review, it IS a head-scratcher that Radiohead is more or less a rock band - and you better damn well call them progressive.

But I found a way to crack the case. Think back to music 101 - the basic elements of ALL music are melody, harmony, pitch, volume, rhythm, spatial placement, - and TIMBRE (the particular characteristic of a sound that distinguishes a trombone from a clarinet). It is this latter characteristic that has been Radiohead's primary tool for shaping their music, bascially starting from this 1997 recording. From the beginning fluid line of "Airbag" to the closing strains of "The Tourist," people have been drawn to this album - and Radiohead - for the band's talents at sprinkling so much electronica over their "rock and roll" and yet maintaining a mind-boggling human emotion aesthetic. It's as if two poles that should normally resist each other somehow defy the laws of physics. Now we can start giving the album some stars.

"Let Down" and "No Surprises" are the moments when all of the stars align. These songs feature a marriage of sensitive songwriting, harmonic innovation, and stellar atmospheric paintings. Along with crafty compositions like the well known "Paranoid Android" and "Karma Police",the soul from years gone by has stayed alive in rock and roll, but it is moving onward at the same time. That is what a great album SHOULD do, and the fact that most of the other songs are just as good (and the pace of the album has an uncanny flow to it) makes me start thinking "historically significant recording."

But hold on there - those that want to analyze no further and accept Radiohead as the "best band ever" are blindly still getting sucked into the mainstream of the underground. This album gets much praise for artistically forging ahead - in a time where it's either Thom Yorke or the teeny bopper bands - but there's a whole lot of music out there that deserves the fight for the 5th star much more than these guys. I would plead for you to hold back from the negativity until you really check into what I'm talking about. Porcupine Tree, OSI, and Chroma Key, as examples, all have quite a bit up on Radiohead. Those bands are REALLY good, also trying to pave new ground while never veering from what they strongly believe in. But unlike Radiohead, they also have TREMENDOUS musicianship. And I'm sorry. But if you have the sound of the future, AND you can really play, you're going to keep my attention longer. "Paranoid Android" goes off into some jamming, and there are some very intersting musical ideas in "Subterranean Homesick Alien" and "Exit Music". But all in all, if you are really hungry and are given the choice of a lonely chicken wing or an entire chicken, what in your right mind will you choose? Only problem is, you never really considered looking to eat a whole chicken. (I can see it now, 'reviewer tries to compare Radiohead to a wing'). Don't get lost in the metaphors - just know that if you think Radiohead is really that great, you've probably never even heard of Chroma Key. Probably because regardless of who you are, popularity (nomatter how big or how small) will ALWAYS be an ingredient in the music choices people make. And I'm no less guilty than anyone else.

The bottom line is, I listen to this album over and over, having to try too hard to get into it. It speaks to me, but not nearly as strongly as I'd like. It's a shame, because one whisper from Mr. Yorke can be worth a thousand piece choir. And the lyrics are SOOOO amazing. The album IS really good, but it leaves me wanting. I need more. And so do many others out there.

It's not a bad thing, but Radiohead is not prog rock. It's just with their style of music, they would be better if they were, and too many people out there are trying to unfairly blur the line (isn't it blurred enough?). There are much better musicians out there with comparable hearts and ambitions. If you look elsewhere, you don't lose a Radiohead; rather, you gain some more awareness. And if you like this album, that means that you do not consider awareness an irrelevent factor.

"Ok Computer" belongs in anyone's cd collection. Given that you're reading about Radiohead, that means there's a hell of a lot of worse things you can be doing with your time. Peace.

Genius.
This is the exception to the rule that the music on the radio from my generation sucks. This is purely wonderful music, of genius caliber. Radiohead, with each song and album that the release, will simply put you into a state of awe. This are five seriously talented musicians. Thom Yorke(lead singer) is a modern musical genius, and his other four bandmates (Colin Greenwood, Johnny Greenwood, Ed O'Brien, Phil Selway) work together to produce a sound that no other group of musicians has ever done. Radiohead is a band that will be remembered for generations to come, and OK computer is the pinnacle of their work. Radiohead is a name that will be remembered along with the likes of The Beatles and Pink Floyd.

THE BEST RADIOHEAD ALBUM EVER
When one is looking for an album to satify all tastes of the tounge, OK Computer delivers, and with style. This album is haunting and yet beatiful when the graceful chords of No Suprises or Exit Music (For a Film) fill one's ears. But then blasts out a pure rock song such as Electioneering (which in a way does not have the same lyrics as a regular rock song). Then there is obviously the fear and depression of looking into the mind of a mental patient in Climing up the Walls (Thom got the idea for this one by working in a mental instiution). And of course who could forget the song that takes this whole album and encapsulates it in a 6 minute epic by the name of Paraniod Android.
Yes, this may be the best album of the '90s, and I believe that it is just the begining of the praise this album will receive.

OK....They have been plugged straight into the mains
Radiohead have always created complex and exciting rock. OK Computer now defining the laws of rock and roll and giving us more complex melodies and structures. This is very fitting for Radiohead because they have always tried to push their songs just that little bit further. Its very different from Pablo Honey and The Bends.
'Ok Computer' is packed with beautiful and melodic songs. Thom expressed himself that he tried to be a different person on every track, it shows. For example, the tortured torment he portrays on 'Climbing up the walls' is very different to the lulling 'No Surprises' - an instant classic.
The whole album is very varied in styles but not in quality, as all tracks stand out as strong and intricate 'art-rock'. Any one of them could have been a single.

1) Airbag - Brilliant introduction into the album, the song that reveals the wonderful way in which 'an airbag saved my life'. Very strong and some brilliant phasering effects.

2) Paranoid Android - The best song i have heard for some time now. Radiohead melt art-rock, solemn acoustics and hard rock, all into 6 and a half minutes of pure genius. Definitely one of the best songs ever written.

3) Subterranean Homesick Alien - One of my favourite tracks on the album. A mixture of calming rhodes piano with mystifying guitar effects to give you the feeling you have really been abducted by aliens.

4) Exit Music (For a film) - This song is played at the end credits of the film 'Romeo and Juliet'. Beautiful, almost baroque style. Strong, with haunting keyboard effects and a strong pulse until the end.

5) Let Down - A soft and wonderful mellow piece with the mention of squashing bugs and transport. Beautiful.

6) Karma Police - The trade mark 'the karma police will get you' track. A very Radiohead-like song. Brilliant hook-line, 'this is what you get, when you mess with us'.

7) Fitter Happier - A joke track Thom did on a Mac. Features the Macs monotone voice explaining a better way of life. Very funny.

8) Electioneering - Powerful political rock, a raging riff with furious guitars. One to play full blast!

9) Climbing up the Walls - Somewhat gothic and tortured as Thom's voice is distorted, which to me fits the song superbly. Strong yet elegant piece which includes some of Jonny's radio tuning at the beginning.

10) No Surprises - Swaying and lulling track, beautiful in every way. 'No alarms and no surprises please'

11) Lucky - Superb rock track with brilliant rhythmic guitar and a great riff by Jonny. Another of their classic songs.

12) The Tourist - Written by Jonny. A very slow tempo song with a beautiful melodic feel, almost the same feel you get from listening to No Surprises. Thom's vocals are persistent and continuously gorgeous.

THIS ALBUM IS A MUST FOR ANY MUSIC FAN. IF YOU ARE A RADIOHEAD FAN, YOU MUST OWN THIS ALBUM, THERE ARE NO WORDS TO DESCRIBE IT YOU HAVE THE LISTEN TO IT YOURSELF. 10/10 ... Read more

Album Description

The follow-up to their mega-successful debut is no less brooding and intense, but charged with flashes of color and romance. "Antics" infuses Interpol's dark musical landscapes with new optimism. ... Read more

Amazon.com essential recording

Having nearly exhausted their capacity for pop-song politics on War and The Unforgettable Fire, U2 turned toward themes of personal identity and complex relationships on The Joshua Tree. Not that the group was willing to come down off the barricades entirely: "Mothers of the Disappeared" and "Bullet the Blue Sky" turned a jaundiced eye toward Central America and the United States' role there. But the predominant mood here is one of self-discovery and the hunger for something more on tracks like the pulsating "Where the Streets Have No Name" and the gospel-ish "I Still Haven't Found What I'm Looking For." The album's masterstroke, however, is "With or Without You," a nasty love song dressed up as an ode of devotion and care. It ranks with the Police's "Every Breath You Take" as the most misread smash hit of the '80s. --Daniel Durchholz ... Read more

Reviews (323)

U2's Joshua Tree is essential listening!
In 1987, a Rolling Stone reviewer called this album, "unforgettable" and certainly if it is not just that, it comes damn close. U2's "Joshua Tree" is a modern rock classic.

That said, it is a bit difficult to put a finger on what makes this album so spectacular because it is not groundbreaking, it didn't introduce a new sound to the masses, and it was done by a band that was already getting some notice for its previous works, War, October, and Boy, respectively. Likewise, from such a definition, there seems nothing atypical or notable about this recording that would make it stand out from the rest.

The reason this album is spectacular is because it is so cohesive, honest, and beautiful. The album yielded four singles that blew up on album-oriented rock radio ("Where the Streets Have No Name", "I Still Haven't Found What I'm Looking For", "With or Without You", and "In God's Country") but in truth, this was not a singles album at all. U2 got it right on this one, and wrote eleven spectacular songs that flow easily from one track to another, and are all pristine and notable in their own right. Specifically, "Bullet the Blue Sky" features a soaring 55 second guitar solo courtesy of the Edge, "Running to Stand Still" features some plaintive Bono crooning, and final track, "Mothers of the Disappeared" is simple, subtle, and beautiful.

Spiritual, uplifting, dark, introspective, and honest all at once, U2's "Joshua Tree" is in many ways the group's swan song, the album that brought their music and politics to the masses to stay for good. It is an unquestionably a modern rock classic, and an album that belongs in everyone's music collection.

It Has Grown On Me
A while back I had written a scathing review on this CD as at the time, I really found many of these songs to be overplayed and the instrumental stylings to be quite bland. At that point, I thought of U2 as the most overratted band on the plannet.

After listening to the entire CD a few times, I admit that my initial assessment was way off. Some of the less commercial tracks on this CD are quite touching most notably One Tree Hill, Running To Stand Still, and Red Hill Mining Town. The harmonies on the chorus on the later piece are the highlight of the album.

Then of course, there is the intense soloing by the Edge on Bullet In The Blue Sky and the eerie mood on Exit. Bono's vocals are pretty cool on these tracks as well. I even admire the fine crafting of the hit singles With or Without You and I Still Haven't Found What I'm Looking For.

U2's political somewhat angry tone is not always totally pleasing to me over the course of an album on a relgular basis. However, I can certainly appreciate the beauty within many of their songs and would recommend this and Achtung Baby as two prime U2 recordings.

A Timeless Classic
"The Joshua Tree was the album U2 HAD to make, the only one they COULD make"

Those are the words of Eamon Dunphy, author of "Unforgettable Fire - The Definitive Biography of U2", on U2's process of making a new record in 1986 and early 1987. That might sound like an over-dramatization for a rock record, but once you've heard the record, that thought goes out the window. This record, U2's exploration of America, is one of the quintessential rock records ever recorded. It is, varying with opinion, U2's masterpiece of masterpieces. Since this album was recorded back when it was still 'ok' to talk about records in the context of 'sides', I will say that every song on the first 'side' of this record is a classic. 'Where The Streets Have No Name' with an intro that ranks with the best of all time, 'I Still Haven't Found What I'm Looking For' with a theme of longing that anyone can relate to, 'With Or Without You'(my favorite U2 track), one of the most popular breakup songs ever, 'Bullet The Blue Sky' with its hypnotic talk/chant at the end at Edge's furious and passionate solos, and 'Running To Stand Still' with its atmosphere of deep pain being held in. The second 'side' was comprised of lesser-known but no less mesmerizing songs: 'Red Hill Mining Town', 'In God's Country', 'Trip Through Your Wires', 'One Tree Hill', which was written for roadie Greg Carroll, who died in a motercycle wreck running an errand for U2, the dark and moody 'Exit', and the mournful and haunting ballad closer, 'Mothers Of The Disappeared'.

This record catapaulted U2 in a realm of superstardom seldom seen by any band. They were not expecting it and they were taken by surprise a bit. I own this record on vinyl, cassette, and CD, and I even have the 'Classic Albums' DVD for it. This album has that quality about it, that sets it apart from from all other albums that don't pocess it. What quality is that? This was the first U2 record I ever heard, and I remember listening to it for the first time at age 13, and thinking to myself, before the album was even half over, 'hey, whoa, this band is one of the best ever'. That's the quality. Just like when you listen to 'Revolver' or 'Abbey Road' or any record of that quality, before it is even finished, you know the band is one of the best ever. I was completely blown away. It is a draining experience, one that will leave you exhausted when the album reaches its conclusion.

Spiritually, emotionally, lyrically, musically, commercially, U2 reached their peak with this record, and it was a peak they would remain on for a while to come, starting with the "Joshua Tree Tour", their biggest tour to date at the time. And not only did U2 reach their peak, but it is also important to note that on this record, Bono reached his peak as a singer. For U2's whole career up to this point, he had progressively improved as a singer with each outing. On this record he made the leap from being a very good rock singer to being one of the great rock singers of all time. I submit he is still the best, most emotional, most evocative rock singer of his time.

And though that tour would eventually lead to U2 being sick and tired of their current form, and to the brink of a breakdown, that was still a good two and a half years away. At this point U2 were excited to be as popular and relevant as they would ever be, which, incidentally gave them the leverage to pull stunts like the now legendary liquor-shop-roof-quasi-show during which the 'Where The Streets Have No Name' video was shot. U2 had arrived.

Their Last Irish Album
My four-star rating for U2's "The Joshua Tree" is indicative not of my opinion for the whole album but of five songs in particular. While most of the tracks on this album are good, there are five particular songs that are outstanding. They are: 1) "Where the Streets Have No Name", 2) "I Still Haven't Found What I'm Looking For", 3) "With or Without You", 4) "Bullet the Blue Sky", and 5) "In God's Country". These comprise one of the best pentuplets of songs ever recorded on one album.

"The Joshua Tree" was the last Irish U2 album. On their next offering, "Rattle and Hum", U2 embraced the bluesier American sound that they have exhibited ever since. "The Joshua Tree" offers the sound that U2 had before making it big in America. This album is about as far as U2 could have gone with their old sound also.

There are of course the many political songs that U2 is famous for on this recording but which they (thankfully) have not recorded much of since. They are at their best however when dealing with common everyday emotions. Bono is better at being a rocking politico than he is at being a political rocker.

Classic!
U2's 1987 Masterpiece is simply that. Great songs written and performed with real passion and talent. U2 are one-of-a-kind! If you don't have this or haven't heard it before, do yourself a huge favor before it's too late because any music fan won't want to miss this great band and incredible album. One of the few bands that can make an entire album of good songs rather than a few hit singles. A must own for every U2/music fan! ... Read more

Amazon.com

Math wiz and multi-instrumentalist John Ondrasik's third album under his rather misleading Five For Fighting rubric shows that he's lost little of the cranky ire that he unleashed on American Town,but this time his targets are a little closer to home. He skews faithless friends and bad habits on the tetchy opening track "NYC Weather report," oddly borrowing from both Guns N' Rose's"Paradise City," and Barbara Streisand's "People" to hammer his ornery point home, before training his sights on the human life span, fleeting relationships, and even Disneyland. But it isn't until "Girlfriends and Angels," that he shows his real brilliance, imagination and grit; Ondrasik finds the exact place where the Beach Boys intersects with the Velvet Underground and plants himself in that spot, spewing out his own hard won romantic philosophies, proving once again that the hunter does indeed get captured by the game. More ribald, sonically inventive, and lyrically edgy, The Battle For Everything, shows that Ondrasik's combative days may be behind him. --Jaan Uhelszki ... Read more

Reviews (113)

Quite an unexpected surprise!
Before buying this CD, my exposure to Five For Fighting consisted solely of the single "Superman (It's Not Easy)," an earnest and irresistible song that became a hit long after it was released in 2000. Based on that song, and having heard the first single of this release, I decided to give it a shot. It is also priced to sell and I hope that this pricing strategy is a sign of things to come as this release is from Columbia Records, which seems to be following the on the footsteps of Universal. Everyone wins.

This release is quite powerful and if there is one uniting element to be found is that John Ondrasik (the main force behind FFF) carries his heart on his sleeve. Many critics despise this type of sentiment and they have clobbered them in their reviews. Some have taken easy potshots and called Ondrasik's voice a more annoying version of Chris Martin from Coldplay, but it seems that Amazon.com reviewers as well as the CD buying public has embraced what I think is a very good release that gets better with each listen.

Although its hard and sometimes unfair to compare artists, most songs here are sung in a fragile growl that to me sound a little like Dave Matthews meets Eddie Vedder meets Adam Duritz from Counting Crows. The arrangements are mostly backed with some very straightforward acoustic guitar and some great piano work that some called Elton-esque.

The release starts out with the gorgeous "NYC Weather Report" which sounds like a second single waiting to happen with its infectious arrangement and melodic yearnings. Other highlights include "The Devil In The Wishing Well." "If God Made You" is gorgeous and one of FFF's most optimistic songs. The first single "100 Years" starts out with a gorgeous piano arrangement (a little Bruce Hornsby) and takes off. It's almost as good as "Superman." "Angels And Girlfriends" goes through several changes and has a Beach Boys like sound with some echoes that sound great. Not a huge message song, but just fun. I love "Dying" and it's probably my favorite song on this release. "Infidel" picks up with a hard riff and presents a definite change of pace from the previous songs and adds a Black Crowes feel to the repertoire. The melody on "Disneyland" is awesome. The 2 songs that follow don't do much for me, although it should be highlighted that FFF has greatly expanded its musical menu. "One More For Love" is another of my favorites; notwithstanding that Rolling Stone magazine compares it to Air Supply-like cheesiness. My only response is that this is coming from a magazine that now used to have Bruce Sprinsteen and other originals on its cover, while these days it's either Hillary Duff or the Olsen twins. Nothing against these girls, but Rolling Stone should not throw stones when it lives in a THIN glass house. I love the strings on "Nobody."

One could argue that FFF sounds a little too much like Counting Crows or other recently successful groups and I can't argue with those who say that, but ultimately I just like it and at worst it's the work of musicians and not a media-created product. Some have criticized the lyrics and although they are not the deepest lyrics on earth, their simplicity or lack of depth (in some instances) does not make it a deal breaker.

I know that my review has focused on some of the similarities that FFF has with so many other contemporaries, but ultimately my thinking is that this release just sounds great and yes, it might remind me of others in parts, but it is certainly not a deal-breaker but rather a solid 4 star effort that keeps growing on me more and more.

The Taste for Five
My favorite track on "The Battle for Everything" is the rock explosion "The Taste." Ondrasik changes time signatures, uses strings percussively, and builds to such a raging emotional guitar storm that the track is unforgettable, "I will be a happy man if you're my sacred son; I could be a dividend if you're my only one." Most of the other tracks are also excellent, revealing new levels with repeated listenings. "NYC Weather Report" sports one of Ondrasik's soaring melodies in a slap-in-the-face reference to the Barbra Streisand signature song "People," "Got to get away from all these people who need people... You know it really makes me sick." "If God Made You" is a melodic track that may err by sticking a bit too fast to the middle of the road but has an intriguing lyric that celebrates the wondrous glory of being in love, "I can't say what I might believe, but if God made you, He's in love with me." "100 Years" most closely resembles the melody of the "Superman" hit and cleverly tracks emotions through different ages. "Disneyland" is another Five for Fighting melodic track, "There I was somewhere West of Tomorrow Land, flying through the stars just like Peter Pan." "Maybe I" is one of the tracks that has grown on me and makes me reach for the repeat button with its dreamy melody, "I never stood before, What's better left unsaid is done, buried & dead; and you're alive." "One More for Love" is another great romantic love ballad. The closer "Nobody" offers one of John O's most passionate vocal performances, occasionally flitting off into a higher register then coming suddenly back to Earth. "The Battle for Everything" has great classic moments and is consistently good throughout. Enjoy!

Please don't ride the iguana
this is a cool album. john osomethingorother is a cool dude homiez. he has more talent than anyoneon mtv(thedevilstation)will ever have. the best song is devil in the wishing well.
See you later, and remember, don't tickle any platypus.

Good music
I have heard about this group while watching NHL hockey throughout their season.
I listened to the album and was suprised in that it has a GREAT vibe to it and it sounds like early Dave Matthews Band.
You will not displeased with it.
It is very good music.

Five for Fighting wins the battle
This CD is great, like all the other FfF albums. Once again there is a lot of great vocals and lyrics, and much piano. I would reccomend this to the alternitive and easy listening people. Probably the best song on this CD is 100 Years, it is probably one of their more "popular" songs, next to Superman. 100 Years is the song FfF is known for, and is on the radio all the time. Another great song that might make you want to buy this is Nobody. It is the longest track on the CD at 5:11. It is a great song about friends. Another good song is The Devil in the Wishing Well. I don't get some of the lyrics on it, but that is a multiple occurence when you are listening to FfF. All of the lyrics are deep and mysterious on some of the songs.

You should definetly by this CD. Its worth the good price. I got it a Wal-Mart for $9.00! ... Read more

Amazon.com

Hitch up your I-Pods, egg-headed hipsters of the future: They Might Be Giants, the out-there band that files its sound under the banner of "Can't We All Just Get Along" is speaking your language. What they're saying is No!, but in a way that's weirdly welcoming, especially to anybody who's over 3 and has a hard drive. No!'s computer enhancements (animation, games, and a sing-along scroll bar) don't assign the strictly audio experience to the so-what pile, but at certain moments they seem necessary--how else are you supposed to decipher a song ("Violin") whose only words are "violin," "hippo," and the ticking off of fractional segments of George Washington's head? Of course, to try to make sense of the 17 tunes contained here may be to miss the point. While TMBG's lyrical and vocal hijinks can be off-putting to grownups prone to self-consciousness about not getting the joke, the generation No! takes aim at needs nothing in the way of validation. Thus the brilliance of baggage-free ditties like "Fibber Island," where the natives strum rubber guitars and sew buttons on cars, "John Lee Supertaster," a rock & roll fantasy following a hero with heightened senses of sweet and sour, and "I Am a Grocery Bag," detailing what's bumping around in brown paper after a trip to the market. With their triumph over the tube (TMBG took home a Grammy for the theme to Malcolm in the Middle and perform and wrote the intro to The Daily Show with Jon Stewart), frontmen John Linnell and John Flansburgh have already infiltrated the family market, sort of. No! finds the band bending to a level lots of other giants might overlook, but without cramping up. Given the right reach, They Could Be Kiddie Icons. -Tammy La Gorce ... Read more

Reviews (106)

Dont cross the street In The middle of NO!
No! is a great kids album. I have all their cds, and even though i'm 11, this is still a great album. They don't have to be Raffi with songs about cute whales, but they have to be Johns, with songs about grocery bags and hippos.Great animations also!

1.FIBBER ISLAND
A good opening. Almost like a folk song.One of the best kids songs about imagination. One of the best flash games also on the
CD.

2. FOUR OF TWO
Another good {yet older} song. TMBG can sing about loving girls and dating, while still making it appropiate {and a bit confusing when they sing about bugs and flying cars} for kids. Great song.

3. ROBOT PARADE
On the "Working Undercover For The Man" they had an hard rock, fast version of this song. On No! it's softer, and more understandable, even though the game gets boring.

4. NO!
The title track. You get to change No blocks to Yes blocks! A good use of electric guitars.{!}

5. WHERE DO THEY MAKE BALLOONS?
One of the best. Sung by their drummer, I think, this song teaches about other countries and their products while asking the age-old question, "Where DO they make balloons?"

6.IN THE MIDDLE, IN THE MIDDLE, IN THE MIDDLE
An old cheesy 60's song, I think. Sorta dull.

7.VIOLIN
Even though the songs consists of the words "Violin-lin-lin","Hippo", "Mop!" and "Speck of dus-dus-dust" and a fraction lesson using George Washington's head {You'll get a presidential surprise!}, it is one of the best songs on the album.

8.JOHN LEE SUPERTASTER
My personal favorite. A rocking tune about a guy that is a supertaster. Has a hilarious intro by John Flansburgh.

9.EDISON MUSEUM
Originally on "Long Tall Weekend", this is still a great, spooky, educational song.The flash thing has the ghost of Thomas Alva telling you about phonographs and stuff.

10.HOUSE AT THE TOP OF THE TREE
My 2nd favorite, and the best game, where you try to save a treehouse by feeding a disturbing,fat mouse thats eating the house. If you dont feed him, the house falls down. The creepy little guy still pops his head out the window and waves at you.

The next four songs are all under one minute long, and, in my opinion, the worst. Anyway, CLAP YOUR HANDS makes you want to dance, I AM NOT YOUR BROOM is about what happens when your broom runs away, while the WAKE UP CALL song is a bit boring because the only words are Bo Bo Do Bo Bo. I AM A GROCERY BAG is about half a minute long, but you get to play with food in the interactive thing.

The last three songs are about sleeping and lullabies. LAZYHEAD AND SLEEPYBONES is a rather beautiful song that can actually somehom make you fall asleep. BED BED BED is a fast, energetic Beastles-esque type song about...you guessed it, BED!
And SLEEPWALKERS is a med-tempo song about people who roam across the nation while they sleep.

In all, this is a good album and I recommend it to everyone.
{Try to find the bonus song on the CD-ROM!!}

-Thomas Neufeld

all sorts of TMBG goodness
For those TMBG fans that were disappointed with Mink Car, I'd definitely not give up on they might be giants, but rather, pick up a copy of No! Sure, that'll mean getting over your pride and buying a childrens' album, but I think you can manage. Yes, No! is made for kids to enjoy, too, but that definitely does not mean that it's bad. Quite the opposite, actually. Almost all of these songs could easily go on a regular TMBG album, and everyone would be more than satisfied. I absolutely adore "Bed, Bed, Bed", "John Lee Supertaster", and "Four of Two", but they're really all great. The animations and games are wonderful, too. "The House at the Top of the Tree" is bunches of fun, and "I am Not Your Broom" is hilarious. Another interesting track is "Where Do They Make Balloons?" sung by Danny Weinkauf, the band's bassist. It's surprisingly very good; a nice variation.
In summation, a very cohesive TMBG album, extremely fun and educational for kids, great songs live, and TMBG goodness all around. I DEFINITELY RECOMMEND BUYING THIS ALBUM. if you're a tmbg fan, you should already have it!

Great for all ages
We bought this to have kids music in the house for my new son, but my husband and I love it!

Attuned to the mind of a child
This album captures the triumphant exuberance of childhood in a way that few other children's albums do. Songs such as "Fibber Island" and "Robot Parade" encourage children to exercise imagination and creativity. In "Bed, Bed, Bed," watching TV is but one of many activities in a full day that includes meeting friends, riding bikes, and playing the guitar. Even better, some of the songs are educational ("Where Do They Make Balloons?", "The Edison Museum") with the spirit of play, not lectures. But best of all, the songs have both simplicity and sophistication to their goofiness to appeal to children and older listeners alike. "Violin" and "John Lee Superstar" are good examples of this.

This album contains no bad language, violence, or encouragement of such, so most parents would not object to the material in this album. While some of the songs ("I Am Not Your Broom") may be interpreted as encouraging rebellion in children, I do not feel they are any more subversive than say, the poetry of Shel Silverstein.

The whimsical interactive sequences mostly require only that you run your mouse over the images, so children who can't click the buttons can still enjoy them. My one-year-old nephew insisted on going to listen to the CD on the computer first thing in the morning for quite a while. I also bought this album for my TMBG fan friends who were soon to be parents, and they were delighted.

Hooray for No!
My little sister got this for her birthday a few years back, and I must admit that I listen to it as much, if not more than her. A friend of our family is a hard-core TMBG fan, so we get a new CD pretty much every birthday or Christmas, or whatever. This is a totally awesome CD! I love the enhancement-you can plug it into your computer and it does all sorts of cool stuff. I admit that I brought it on the way to a sports championship and a few of the guys laughed, but soon found themselves singing along as well. Overall, a HOORAY FOR NO! ... Read more

Amazon.com

The infectious twang and pop hooks of Wilco's former efforts may be fading fast, but A Ghost Is Born is still a rewarding effort that demands repeated listening. The group's fifth album extends upon the experimentalism of Yankee Hotel Foxtrot with angular, blues-soaked guitar riffs ("At Least That's What You Said," "Hell Is Chrome"), a handful of sparse, yet catchy tunes (smack dab in the middle of the disc) that will surely keep college radio stations smiling, and a lengthy track that descends into mere static ("Less Than You Think"). Frontman Jeff Tweedy's songwriting continues to evolve: "Hummingbird" is a dreamy Randy Newman-styled love song; "The Late Greats" is a sly ode to the world of pop tacked onto the end of the album (as if using such a fun song on this understated disc was an afterthought). Meanwhile, producer extraordinaire Jim O'Rourke manages to make the most complicated arrangements here sound minimalist and laid-back. All told, it's another great addition to the Wilco canon. --Jason Verlinde ... Read more

Reviews (142)

Been Waiting Too Long
I'd give it four stars in the LP era, where I'd have to listen through the 15 minute static noises of "Less Than You Think". This is a John Cage 4'33-esque commentary on what can be considered music. I won't get into that now, but it's good to listen to it at least once in context of the whole album. Especially since it contrasts very starkly with the straightforward track "The Late Greats," which is probably the closest thing you'll get to Alt-Country on this album. Anyway, luckily we have the skip track button for casual listening. The rest of the album is incredible.
If you like climaxes, this is your album. Several songs start off slow and progress into some pretty hard hitting rock and dissolve into distortion. There are less dings and pings on Ghost than YHF. Ghost is more minimalist, relying more on primal baselines and rythmic sequences that make you sort of lose time within the song, often before hitting you hard with a jam. "Spiders" is the eiptome of this, and probably is the musical version of Tweedy's well-publicized migraines.
Bottom line; the alt-country fans hoping for Another A&M, the pop fans hoping for another Summerteeth, those in between hoping for another Being There, and everyone else who came on board with YHF hoping for more of the same didn't get your wishes. But that's what I love about Wilco, each album is distinctively Tweedy, but there's always something new to keep you interested.

Don't Judge Too Soon
It's a classic mistake -- a big name band comes out with a new album, and critics and fans alike step in immediately to give their first impressions. If there's one band for which that approach is a consistent a mistake, it's Wilco. Like many, I'm frightened of albums that I instantly like; they invariably begin to fade away sooner than later.

"A Ghost is Born" will leave many bumfuzzled out of the starting gate. Similar in overall style and structure to its controversial predecessor "Yankee Hotel Foxtrot", this record depends heavily on brooding atmospherics which envelope the rather conventional melodies. This is Jeff Tweedy's niche; the basic pop song format shadowed and subverted by dissonant, disquieting counter-themes. For those willing to submit to Wilco's own (admittedly wry) internal logic, the rewards will come; doubt will fade like Smarty Jones in the final leg of the Belmont, and the patient listener will be overtaken and surprised by a work of unexpected depth.

Among the better tracks are "Hell is Chrome", which sounds like Paul Simon backed by Dark Side-era Pink Floyd; the breezy yet bittersweet "Wishful Thinking"; and "Theologians," a blue-collar manifesto that supplies the album's thesis with cleverly employed Biblical analogies. But the song that stands out most is "Muzzle of Bees," and astonishingly schizoidal piece whose delicate acoustic elements are trampled by wailing electric histrionics. "Muzzle" best demonstrates Wilco's disparate musical interests while showing off their latently strong musicianship.

Give this one a chance. Odds are it will make regular rounds in your CD changer well into the future.

what are you people thinking?!
This is not going to be so much a cd review as it is a rebuttal to all those who write reviews for this site...including you, Amazon.com.

Okay, forget that Wilco is one of (if not the) most innovative rock (yes, rock) bands that exists today..."Ghost" is simply a very brave and very, very amazing album that any band would sell its soul to even have conceived of, let alone create. What Wilco accomplishes on this album, even more so than YHF, is emotion - hard, raw emotion without allowing the incredible success of said YHF to interfere. Wilco (Tweedy specifically, though not exclusively) is fast proving itself a creative force which relies not on jingles and soon-to-be-radio-slough to sell its albums...in fact, Wilco couldn't care less if it sells albums or not (research your YHF history to see what I mean). Wilco proves to all us earlier non-believers that there still are those artists out there who believe in their music as an extension of themselves, as a reflection of who they truly are, not who their so-called fans wish them to be. They are artists in every sense of the word, meaning they toss critisism to the wayside as the simple opinions of those who can't...or, in the very least, won't. Art does not demand critism to exist, only the critic. So, so-called fans, save all your critisms for the next J-Lo album or whatever piece of trash you're currently reviewing. Wilco is above you all.

Now, on to the achievements of "Ghost" - amazing, spectacular, artistic, and true. That is all.

Okay, this is the Wilco cd I've waited for
I came to Wilco as a fan of the 90's band, Son Volt (and if you haven't heard of them, you are in for treat). After falling in love with those records, I followed Farrar and Tweedy in their musical travels, but Tweedy's records just never quite made it for me. Yankee Hotel Foxtrot was okay, but nothing special.

This cd is great. It takes a song or two really get going, but man, it's worth it. The songs are beautiful and dream-like. The lyrics are lovely. The long musical interludes are hypnotic. For me, this is the best Wilco cd by far. Get this one.

Great Music to Fall Asleep to
We have all heard the story before and you will hear it again, about a band that hit it big by being spurned by their record company over what was one of the better albums of the last decade. Problem is that if they had turned this album instead of YHF, I am not sure that anyone would really be complaining all that mcuh.

A Ghost is Born reminds me of the inferior B-Side Yankee Hotel Foxtrot album. While I am not one of those Alt-Country Snobs that wishes Wilco would do alt-country again or pine for the days of Uncle Tupelo, I do pine for the Jeff Tweedy/Jay Bennett songwriting and stage presence that is missing on this album. The best three albums by Wilco are Being There, Summerteeth and, Yankee Hotel Foxtrot and its no coincidence on each of those albums, Jay plays a crucial role in the music writing process. The problem with this album is that it becomes Jeff Tweedy and the Wilcos. More Guitar strung out guitar solos and ridiculous droning that someone will argue as being some artistic masterpiece. Well Jeff Tweedy is trying to prove something, but you know I just want an album that I can listen to over and over again and not get tired of it.

There are some great songs on this album. Hummingbird is a great song and shows once again that they do still have it in them to write a great pop song. Handshake Drugs sounds like later Velvet Underground material. While I always loved the song it had already been released before (Albeit a different mix). Theologians has also grown on me.

There are a lot of forgettable songs on this album as well. Muzzle of Bees and Wishful thinking just don't really do much for me. Spiders was turned into a huge mistake by making it 10 minutes and do we really need endless nonstop sounds on Less than You think. Maybe you like to listen to bells and whistles nonstop but I surely do not. Im a Wheel is probably one of the worst songs that Wilco has ever written. I rolled my eyes the first time I heard this song live and I was just hoping that they would realize their mistake and make this some odd B-Side.

If you never have bought a wilco album this is not the one to start off with. This band has pretty much done no wrong coming into this album. Each one of their albums they have grown as a band but what we notice more on this album is maybe the dismantling of Wilco. The bands makeup is changing more than Menudo and that has to be worrysome. You cannot have any type of growth when you only have two original members and the others have either been kicked out, fired or just sick and tired of it. ... Read more

Amazon.com

While Radiohead saw its stock rising in 1994, it wasn't until 1995's The Bends that it really became a blue chip band. And for good reason. The quintet honed its talent for bombastic Brit Rock, yet still preserved an edge of unpredictability. Even singles like the title track didn't give in to the kind of swooning guitar clichés usually embraced by commercial radio. If the CD proved anything, it was that Radiohead could find solid ground between pop experimentation and the tradition of born-in-the-bone, balls-out rock. --Nick Heil ... Read more

Reviews (432)

Good Music and the Misery of Radiohead
One of the better songs on this album is the very first one, "Planet Telex." It begins with a cold electronic wind sweeping in, then vibrating pianos that few bands would attempt. It turns out "Planet Telex" is dry, heavily layered, somewhat mysterious, very melodic, and overall, quite depressing, with lyrics like "everything is broken" at the chorus. Though "Planet Telex" may not dish out inspiration by the bucketload, it does make for thoughtful, reflective music, indispensible in my own cd collection. Welcome to the world of Radiohead, welcome to the "The Bends."

"The Bends" the song somewhat contradicts the icy opener, sounding nearly classic rock, less robotic, and giving these guys some needed humanity. The two released songs, "High and Dry" and the hopeless "Fake Plastic Trees" begin the cycle of hard and soft songs throughout the album. The high energy "Bones" gets things moving again in a HUGE way. If you haven't heard this massive Radiohead tune, don't let it pass you by. Listen for Thom Yorke hitting the high notes at the chorus and the grinding riff that completely rocks out. "Bones," along with "Planet Telex," are practically worth the price of the cd alone. But there's much more on "The Bends," of course. "My Iron Lung" floats by on a high pitched guitar lick that sounds half sick and anemic compared to the rip-roaring portion of the song that later kicks in. That's a definite technique with these guys on this album. In a different style than Nirvana, Radiohead love to begin quiet and lulling, only to tear things apart later on in the songs. You could call them an electronic Nirvana or aspiring Smashing Pumpkins, though many would call them much better than the Pumpkins.

The last four or five songs definitely bear mentioning, due to their subtle, melodious effects. "Bullet Proof" is a slow and nice sounding song with delicate, behind-the-scenes guitars. "Black Star" follows, fading in with guitars of the same variety, but picking up sonically in a big way; it turns out to be one of the highlights of the entire album. Luckily, Radiohead refuse to rest on their laurels as the album winds down. "Sulk" keeps up the work of the great chiming guitars, nearly like bells ringing to announce the near end of the record. "Street Spirit (Fade Out)" ends "The Bends" on a predictably sour, strange note, with those same tickling guitars.

Though "The Bends" is music for the masses, Thom Yorke's high-pitched voice may not please everybody. Indisputably, however, the music is ultra-catchy and enjoyable, if not hugely downtrodden in parts, especially lyrically. Overall, this is just a well put together album which rocks when it needs to, slows down at precisely the right moments, and places the background and foreground distortion in all the apt places. It's only a little puzzling why Radiohead didn't release some of the more dynamic tunes on this record. This is both easy listening - due to all the hooks in every song - and difficult, due to the depressing aura that infiltrates everywhere. Either way, Radiohead put a lot of effort into this record, finding a way to hold listeners rapt all the way through.

my baby's got the bends
If you're chronically depressed and would like to stay that way, this could be the album for you. For whatever reason, the mood is extremely sullen this time around, and there is not an uplifting song anywhere. But it doesn't matter, because all of the songs are consistently good! That seems to be rare these days, where you buy an album and it turns out that the three hit singles were all it had going for it. Believe the hype: Radiohead probably is the best thing to happen to rock music in the '90s.

"High and Dry" and "Fake Plastic Trees" are slow-moving and depressed, but the mope-rock shtick never gets mushy, and there are some songs that rely on sudden dynamics changes to keep the energy going ("Just," "Bones"). Singer Thom Yorke has become one of my favorite male vocalists, the way he can sound desperate and pleading, then incredibly angry, and his voice stays so beautiful. The rest of the band is rather understated, but they're great, not to mention gritty and experimental. They've got a really amazing grip on dynamics, their sophisticated chord progressions make the catchy tunes durable, and their artistic integrity is almost unsurpassed. No snotty superstar whining about these guys!

In my eyes, Radiohead and their two best albums, The Bends and OK Computer, are a very good reason to hold out any hope for rock music in the coming few years.

Modern Rock Masterpiece!
Radiohead truly prove themselves to be masters of their craft and thoroughly proficient musicians with this release. They do an extremely effective job of creating a sort of mental/emotionally melancholy mood that lasts throughout the album. The highly effective tone of this album is especially personified by the songs 'Fake Plastic Trees' and 'Street Spirit'. These songs have a very melancholy feel to them, yet the album does not feel heavy at all in its texture. Radiohead somehow manages to make truly melancholy songs that feel really light. Basically, listening to this album is a highly impressive intense cerebral experience. The band keeps things thoughtful, creative, and fresh all throughout. One technique that they use to do this is to basically incorporate several stark changes into several songs all while keeping the overall feel of the song consistent. I was turned onto this album around six months ago and I've really grown to respect and appreciate Radiohead as a group since then. I've heard all of their albums after this one and this one is definitely the least experimental, but that also makes it the most accessible to those who are new to the group. This album and "O.K. Computer" are both amazing modern rock masterpieces, but I feel that "O.K. Computer" is slightly greater, even though this is the album that I listen to most often. They are both two of the greatest and most intricate rock albums to be released in the past fifteen years. This is truly thoughtful and intelligent music here that works well as a whole and complete concept from beginning to end, and I encourage you all to take a listen.

Just Beautiful!
I know it's a shame that I just bought this album almost a decade after it came out, but fortunately I did buy it. I can't really say that I am a true Radiohead fan since I don't have all their albums and am fairly ignorant when it comes to their songs, but The Bends is truly a beautiful piece of work. I rarely listen to CDs from beginning to end, but this one is a rare exception. I can actually listen to the whole CD and not be bored with certain songs.The album is filled with absolutely fantastic music and very profound messages.
I must say that I am having a difficult time believing that many people state that O.K. computer is better than The Bends. Maybe I am wrong. Maybe O.K. computer is better, but it will require me to listen to that album for long periods of time before it can, in my humble opinion, equal the beauty and complexity of The Bends.

Radiohead's Best ???
Well... if you haven't heard Ok Computer (shame on you), this would easily be considered their best. But then, ok, so "Ok" probably is their best work, but The Bends is an amazing work on its own. If you like any of Radohead's other albums you will like this one. Undoubtably. No question. Just an amazing album. Nuff Said. ... Read more