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