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A hit single can be a bit of a mixed blessing for new bands, especially if said song gets you firmly lumped into the "novelty band" category. Such was the case with Weezer, whose runaway hit "Buddy Holly" touched a global nerve upon its release, then got on everyone's nerves after months of radio saturation. However, it did ensure that they sold millions of copies of their self-titled debut. Which is why it's so strange that their second album, Pinkerton, was ignored. Perhaps the cold shoulder was due to the willfully noncommercial first single, "El Scorcho," which crashed and burned. Whatever the reason, Pinkerton soon disappeared, which is a shame because it's a great album. Whereas Weezer reveled in the band's geek-rock image, Pinkerton saw Rivers Cuomo maturing as a lyricist. From the opening, "Tired of Sex," which rants about the frustrating easiness of groupies, to the new wave pop of "Getchoo" to the epic genius of "The Good Life," there's much more diversity here than the Pixies-influenced bouncy grunge of their debut. With the closing solo, the acoustic lament "Butterfly," Cuomo demonstrates a pop mastery that promises great things from this reformed geek. --Robert Burrow ... Read more

Reviews (424)

One last great hurrah.
After buying bothe the Green and Blue albums, this cd kind of surprised me. In the best way possible. The way Rivers has matured so much in his writing for this album just sort of leaves you in awe. Its hard to explain the quality that eminates throughout the album. Its almost magical, transforming the Weezer we all know and love into something much more meaningful. From the brilliant, rather edgy opener Tired of Sex, to the almost Buddy Holly catchy-ness of The Good Life, and the good ol Weezer humor of El Scorcho and Pink Triangle, this album manages to keep the Weezer we all know and love, while still giving Rivers his last hurrah before going back with DGC. And I dig that freaky guitar sound in the first couple of songs. The finale, Butterfly, an acoustic solo, is absolutely beautiful. At least it seems that way after listening to the rest of the album. Which is one of its strong points, that you can listen to the whole cd straight. And you should, it adds to the effect. Bottom line, buy the album. You hear that alot on amazon, but its true this time. It shant disapoint.

Beautiful and ingenious
To understand this record you have to give it multiple listens. After a while it begins to stick on you. You'll love the songs so much you can't stop listening to them. And much like the debut, you'll memorize the track numbers pretty quick.

1. Tired Of Sex-Great guitar distortion, catchy tune 2. Getchoo-Best damn lyrics, and it would be really cool to play this song. 3. No Other One-A song about the length guys will go to for girls, brilliance. 4. Why Bother-Nice catchy tune 5. Across The Sea-A great song, just takes a while to get into. 6. The Good Life-My favorite on here as a little kid, kind of sillly but kind of true. 7. El Scorcho-You'll sing this one in the shower. 8. Pink Triangle-Weezer having a little fun, writing a kind of comedic and kind of sad song. 9. Falling For You-Reprise of el scorcho, nice song. 10. Butterfly-An excellent closer to a classic album.

So if you like music, at all, you need this cd and Weezer's debut. If you look up good music in a dictionary there should be a picture of Weezer, Weezer are the epitomy of all that is good and this record is brilliant.

Almost flawless...
Pinkerton is not only Rivers Cuomo's (mostly cycnical)realization that he is going to get old, but it's Weezer's best album, start to finish. From "Tired of Sex," in which he laments meaningless sex to "Why Bother?" where he wonders what the point is, when "...why bother, it's gonna hurt me...it's gonna kill when you desert me..." to "Across the Sea," where he wonders about a young Japanese fan to "The Good Life," which is an amazing song about feeling old and removed (and my favorite), the raw production makes this album sound great.
The only way this album could have been better would be if Weezer had waited and put "Only In Dreams" instead of "Butterfly" on Pinkerton.
To any potential new Weezer fan (are there folks out there that aren't already fans?), this is their best work, although maybe slightly less polished (and sadly, less successful) than the self-titled debut.
Just quit reading about it and own it.

Best Weezer Album
People seem to be upset with this work of weezer because it is so different than its predecessor, the blue album. Well, it's not the blue album. But it is still obviously Weezer. They make a huge statement here through Pinkerton. They aren't your everyday band where every song, every album sounds exactly the same. Pinkerton is so different from their previous album, but that's what makes it great. Honestly, i didnt like it the first time i listened through it. why? because it wasnt blue and i was so narrow minded i rejected it. but after listening to it more and more, it has become by far the best weezer cd, if not my favorite cd of all time. it is one of those rare cds where you can listen to the whole album straight through and enjoy every minute of it. It made me a fan of weezer. I would recommend this cd to anyone, and would advise to accept it for what it is, not reject it simply because its not a remix of weezer blue.

HOW PINKERTON CHANGED MY LIFE
"Pinkerton" is the greatest album ever made! Alright, don't let the being rated "worst album of 96'" by Rolling Stone scare you. They have people who love rap reviewing Weezer albums for Jeff's sake! I have owned "Pinkerton" for about 4 years now and still listen to it at least once a day. Every song is an immaculately crafted piece of emotion and feeling on Rivers Coumo's part. You are not a Weezer fan unless you own and love "Pinkerton". The best songs are "Across the Sea" and "Pink Triangle". It's true, Pinkerton was before its time. Unfortunately, Weezer got a lot of flack for it just because the general public wanted another Blue Album which was also a great c.d. but not in the same class as "Pinkerton". Music should be for the fans, not the public. Pinkerton was for the fans, but mainly for Rivers. If a musician has enough guts to put himself on the line for a c.d. he believes in, that is worth something, when he makes an album like "Pinkerton", that is magic. "Pinkerton" is a new generation's "Catcher in the Rye". I'm not a fan of whiny loser teenage rock, basically, I hate any song that has the lyric "back in high school" in it. Pinkerton has no songs with that oh so dragon slaying phrase in it, yet, it stills delivers emotion without being whiny and assenine. There is not enough I can say about Pinkerton besides you should buy this album and listen to it as frequently as possible. Even if you don't like it at first, it will grow on you. Here you me, this is true. ... Read more

Album Description

Originally released in 1994, Trent Reznor created THE DOWNWARD SPIRAL as both a concept album and modern day classic. This influential 90’s classic is Trent Reznor’s industrial cum-tragic opera view of the world and the soul’s sonically detailed fall from grace. The Downward Spiral delves into despair and anger with hard guitars and brutal beats.

This SACD/Hybrid DELUXE EDITION of THE DOWNWARD SPIRAL celebrates the 10 Anniversary of the modern masterpiece.

DELUXE EDITION includeds 2 hybrid SACD/CDs:Disc One - The original album in SACD Surround Sound (remixed by Trent Reznor), and newly remastered SACD Stereo and CD Stereo program.Disc Two - Bonus material (13 B-Sides, Remixes, and Rarities) in SACD Stereo and CD Stereo. ... Read more

Amazon.com essential recording

The third full-length release from Massive Attack is a taste of the future of pop music--a future where precisely engineered events can be seamlessly partnered with the subtle complexities of a human voice. Since their first album, Blue Lines, they've been making similar magic happen with any one of several guest vocalists, but nothing like the way it happens on Mezzanine. This time they take the union further, moving it into a darker space in which the individual elements become less discernable. Guest vocalists are Sara Jay, Horace Andy (who also appeared on their debut), and Elizabeth Fraser (of Cocteau Twins), whose amazingly articulate and distinctive voice works so very well with the music of Massive Attack. --Paul Clark ... Read more

Reviews (310)

simply unbelievable
its now the year 2000, and two years after this album's release, it still remains the first and foremost in musical innovation and just downright grooviness. i am a big fan of complicated music. when a sound, riff or melody seeps into my listening experience even after hearing it numerous times before, i think it is the mark of true music genius. and this ablum does seep, crawl, stalk, flow, seethe, and pulse with sounds, vocals and beats blended into a never before accomplished masterpiece. the music is as layered and complicated as the new NIN cd, but with a groove known only as trip hop. this music is cool, cutting edge, dark, erotic and hypnotic. play it loud at a party for its sheer sound, or low in the middle of the night with your siginificant other. a few of the songs with the female vocalist remind me much of the gothic sound of switchblade symphony, only with sexier, less dated musical support. this album never stops, it'll never leave your cd player. be prepared. leave the boy boy bands and all the mtv trash behind, and come into a world of intelligent, sexy, and challenging music known as massive attack.........

Massive Attack Outstands Trip Hop Genre
Year after year of the same music, artists copying of one another, some artists try changing their taste for music. But there's one group that outstands them all. The group is called "Massive Attack". Massive Attack is a Trip Hop group that has been around for years. The Mezzanine era ranges from deep Trip Hop "Risingson", to classical, jazzy, trip hop "Teardrop".
The album contains 11 tracks, one bonus on the Japanese Edition. The top hit singles were "Risingson", "Teardrop" "Inertia Creeps", and "Angel". This tpe of music is good for strolling in your car driving, or in a dim sun room with your shades on drinking and talking with friends.

Introducing this album in 1998, it seems that the 90s were only for pop artists such as "Madonna", "Janet Jackson" and "Britney Spears". Massive Attack broke the ring of the pop, making Trip Hop the best, outstanding from every other genre there is.
That's why I believe why Massive Attack, and Trip Hop is so popular today. So from reading this review, I HIGHLY suggest you purchase the Mezzanine album. If you are a TRUE fan of Massive Attack, buy the Japanese Edition. It's worth the extra money.

Groundbreaking and breathtaking
I guess I just need to put in my two cents in this sea of reviews (most of them good, obviously) for this album. I fell in love with this album in the summer of 1998. I listened to it while reading the 4th book in the Dark Tower series by Stephen King. They meshed perfectly. The dark, haunting synths, downbeat droning guitar, and spine tingling vocals on this album are simply amazing. I had never heard anything quite like it before, or since. Massive's earlier works are not as dark and moody, and their later work is a little too innaccessible for most people (though I absolutely loved it!). Buy this album! Dont hesitate! Do it NOW!!! SPEND, YOU AVID CONSUMER YOU!!!!

Whew! 'Nuff said. Bye!

too good!
This is by far the best album ever released, not only by massive attack, but i'm talking about the best album ever released in the music world. angel, rising son, mezzanine, I couldn't stop listening, it crabs you and doesn't let you go until the last sound. it's just hypnotising. God, I wish I could listen the album for the first time again!!forget blue lines, this is the album you should get!

I Wish I Could Use More Stars...
This is, flat out, (in my opinion) the best album ever released. Massive Attack is an utterly awesome group, and by far the best Trip-Hop band out there.
The album begins with some of the best songs ever created by any artist of any kind, starting with "Angel", sung by Massive Attack's honorary member, Horace Andy. With his wonderfully haunting voice and the song's slow beats and humming bass, the song becomes dark, desolate, and completely otherworldly.
The second song, "Risingson" is probably the best song Massive Attack has created. It's yet another dark song, filled with paranoia and doubt. I love it.
The third track, "Teardrop" is one of my personal favorites. The song is sung by guest vocalist, Elizabeth Fraser of the Cocteau Twins. It's Ethereal, dreamy, and utterly wonderful.
And, of course, there is "Inertia Creeps". A truly great song and one of Massive Attack's bests. Eerie, paranoid, and hypnotic: it's a great song to lose yourself in.
The rest of the album cannot quite keep up with its first four epic tracks, but none the less, it's other half beats out most albums without ever even trying. A truly wonderful album. I highly recommend it. ... Read more

Amazon.com

Interpol create literate, atmospheric, moody, trashy post-punk music that recalls '80s faves the Psychedelic Furs. And this is definitely a good thing. While most young bands are content to rhyme "make it" with "fake it," Interpol pens melodramatic tales of tortured and tortuous urban relationships that are truly refreshing. Like their peers the Strokes, they're bright, sophisticated, and meticulous enough to build stirring soundscapes. Turn On the Bright Lights is a must for anyone who missed Echo & the Bunnymen, the Furs, and Joy Division the first time around.--Dominic Wills ... Read more

Reviews (377)

Avant-Garde Teen Reviews a Classic
Shall we say a more happier well lets not say that a more mellon-collie Joy Division.Yes, while the New York Based Art rock band Interpol Borrows sounds from Post-Punk Pioneers Joy Division,The Fall,The Smiths and The Chameoleons somehow they have managed to develope there own sound,create there own Identity in the anals of rock history.While Interpol is busy building there own Sonic Cathedral in Hell alongside Goth rock pioneers Joy Division lets take a look similarities of the two.The Voice of Paul Banks the lead vocalist for Interpol Manages to conjure up the Ghost of late Joy Division Singer Ian Curtis(God Rest His Soul).Well lets just say this if Ian Curtis had been a happier man he would have sounded like Paul Banks.Yes,Artistic/Gothic People Interpol have manage to revive a once dead scene.Well this Album in my opinion is a true classic i didn't think that when i first bought it,I Remember hearing about Interpol Back in August from the Internet i did'nt think to much about them until I saw the Video for PDA,I was amased at how it looked and sounded so I went Out and bought the album.When I first Heard I thought it was okay but after listening to it for a while I got up and Said this was a Masterpiece,a true artistic gem.and since then It has been one of my favorite albums(and I own alot of Albums too).The Best songs on here in my opinion are "PDA" "Say hello to the angles" "Hands Away" "Obstacle2""Stella was diver and she's always Down" and basically all of them are good.Yes,In Time my Generaration which is Generation Y will look at Interpol the same way Generation X looks at Joy Division and The Smiths.The Album "Turn on the bright lights" will Someday years from now will be viewed as a Classic and Possibly Ground-Breaking like the Joy Division's "Unkown Pleasures",and "Closer" maybe even the smiths "Meat Is Murder" or shall we even say The 1967 ahead of its Time Masterpiece"The Velvet Undergroun&Nico",Hell this album's already a classic.Well In Conclusion This DARK AVANT-GARDE TEENAGER from Oklahoma gives this an A+, A MELLON-COLLIE JOY DIVISION IN MY OPINION BUT MAN IT SURE SOUNDS GREAT!

this is a weird album...
i definitely think that interpol are one of the most over-hyped (and least deserving of said hype) of any new york city band today. i'm also really getting sick of hearing them compared to joy division. they sound practically nothing like joy division. who could really? the singer's voice is way closer to ian mcculloch's and they probably sound a lot more like echo and the bunnymen appropriately enough. for what it is it's not bad- the first half of the album is really pretty good (except the shameless smiths rip-off 'say hello to the angels'), but if you want something 'dark' that has swelling music building up to 'tragic choruses' (or whatever else journalists have been saying about interpol) listen to calla. they're way better and more innovative than interpol could ever be. i think in a perfect world people would go as nuts for calla as they have about interpol, but then this really isn't a perfect world. i don't know- if this is good enough for you then buy it, but don't go praising it to the stars because it's just not anywhere near as good as people have been saying. if the hype has piqued your curiosity you'd probably be better off just staying away from this album.

A solid album, but not perfect.
I'm a bit of a dilettante when it comes to Interpol. I've had this album for ages, but the production and overly long song lengths have always kept me from really getting into it. The first four songs are obviously fantastic, but by then my tolerance has usually worn out and I'm unable to appreciate those which follow. Like so many of my fickle, reactionary peers, I too was forced to reassess the band in light of the recent leak of "Antics", their forthcoming second album. Fortunately, those problems I have with "Bright Lights" have been addressed on "Antics", and my enthusiasm for that album is such that I think I'm finally able to see some of the better aspects of this one. Surely, you don't need me to enumerate everything that the fans and critics have repeated at length for the last several years. Most of it is needless hyperbole anyway, but simply know that beneath the reverb is music of often remarkable beauty and passionate expression.

Debut Masterpiece
On Interpol's debut attempt "Turn On the Bright Lights" you hear wonders. The first song, which is untitled, is a beautiful dreamy melody with a flowing bassline and and entrancing guitars and drums, and dreamy vocals. Almost makes you fall in love. Then it really takes off with good creative post-punk/rock music and ends beautifully. Meloncholic music has never been so damn catchy. The next album is coming out soon, and hopefully, it won't be a bomb. This band deserves more airplay on the snobby independent radio stations that play overrated (but worth mentioning) bands like the Strokes or Franz Ferdinand. This album is a masterpiece from start to finish. 5 stars without hesitation. I was stunned.

Promising debut
This is a promising debut, more so than albums like "Pablo Honey" or "Boys Don't Cry" were.

The coolest things about Interpol's songs is that they tend to develop and progress into nice endings. Obstacle 1, 2 and PDA are good examples of this.

I can sort of understand the Joy Division comparisons since these songs have atmosphere, but I don't think there is the same level of innovation and synergy among the members of Interpol. This album is solid but not an "Unknown Pleasures," which definitely doesn't mean it isn't good. Fans of "Turn on the Bright Lights" should definitely check out that album.

Hopefully these guys will stay together, continue to experiment and expand their ideas and instrumentation, and try out some interesting producers to work with on their next albums.

I thought "Leif Erikson" was impressive and "Stella" very atmospheric and nice. ... Read more

Amazon.com

Cool, calculating, and Euro-trashy in the grand tradition of Roxy Music and the Eurythmics. --Jeff Bateman ... Read more

Reviews (203)

The Kings (And Queen) Of Modern Rock
One of my all-time favorite albums is the 1995 debut disc by Garbage, who, in my opinion, are the world's greatest modern rock band. The group came together when guitarists' Duke Erikson & Steve Marker wanted to form a band with their friend, drummer/producer Butch Vig (who produced Nirvana's classic, "Nevermind"). But they still needed a singer. One evening the guys are watching MTV, and they see a music video by a band named Angelfish, fronted by a Scottish lass named Shirley Manson. Impressed with Shirley, the Garbage men immediately contact her, and the rest, as they say, is history. Their 1995 self-titled debut album is a fabulous whirlpool blend of bone-crunching rock and shimmering pop, with classy euro-trash production, samples and effects, capped off by Shirley's seductive voice. It arguably remains their best album to date (though I certainly love "Version 2.0" and "beautifulgarbage" just fine).There's not a dull track anywhere on "Garbage." Whether tearing up the joint on rockers like "Supervixen," "As Heaven Is Wide," "Vow," and "My Lover's Box," pumping up the pop on "Only Happy When It Rains," "Fix Me Now," and the big hit "Stupid Girl," or soaring through the atmosphere on songs like "Queer," "A Stroke Of Luck" and "Milk," Shirley & the boys are a superb musical force to be reckoned with. They are original, intelligent, crafty, and just plain genius. To my ears, there's no other modern rock band these days that comes close to them. I sure hope that there will be more music to come from Garbage in the near future, 'cause they're that good. "Garbage" is a stunning album by the kings (and queen) of modern rock. Long may they reign!

One of the greatest
Great lyrics, Great music, it's all here. If you want to experience songs of dark and haunting nature this is the album for you. One of the best songs on the album has to be "Vow", a song about true revenge, "I came to cut you up, I came to drag you down, I came around to tear your little world apart and break your soul apart", sings Shirley convincingly. If you can relate to only smiling in the dark then you'll love track 3, "only happy when it rains", a song with affectious bass. Garbage is one of the only bands still around that can portray dark nature with such beauty.

1.Supervixen 7/10
2. Queer 9/10 (The song is not actually about queers, it's about a father forcing his son to embark on a sexual journey [...], I think so anway)
3. Only happy when it rains 10/10
4. As heaven is wide 7/10 (A song for all you atheists out there)
5. Not my idea 8/10
6. A stroke of luck 10/10 (A haunting rock ballad about confusion in a relationship; "You said that you'd be there to catch me or will you only try to drown me")
7. Vow 10/10
8. Stupid girl 6/10
9. Dog new tricks 5/10
10. My lover's box 10/10 ("Send me an angel to love, I need to feel a little piece of heaven, send me an angel to love cause I'm afraid I'll never get to heaven")
11. Fix me now 10/10
12. Milk 7/10

A breath of fresh, accessible air
The fall of grunge was a difficult period for popular music to face. No sweat for Garbage, who confronted the industry head-on with this, their alt-pop/rock debut, in 1995. We hadn't heard much of this genre after the Golden Age of Grunge struck, and when this genre struck back, it was a hell of a ride. While not altogether separated from grunge stylings, Garbage was infinitely more universal and definitely more accessible than most of the grunge acts of their time.

The album opens with the punky, spiteful "Supervixen" -- a grand first impression of catty frontwoman Shirley Manson, who was all fluoresecent red hair and skin-tight leather. The song's herky-jerky, stop-go style is immediately engaging, and the ripping guitar riffs recall peak-era 80s new wave. Manson shows a more introspective lyrical and vocal style on the second track, "Queer," and even concots an immortal anthem while begging for antidepressants on "Only Happy When It Rains." She emulates pre-"Eat to the Beat" Debbie Harry on the metallic "Not My Idea" and mimics the wailing pensiveness of the Cranberries Dolores O'Riordan [now Burton] on "Fix Me Now" while still sounding like herself: a gothic, artsy chick. She even performs a self-exorcism in the rueful, brilliant "Stupid Girl."

Garbage truly covers all the bases here, and their to-and-fro musical style doesn't sound dated, even today, 9 years later. They still carry the same spark and playful attitude they did years ago, and cross the line of rock to pop so often and so smoothly (and so much better than the crossover bands of today) that it's almost dizzying. Always familiar, always sarcastic, and always effective, Garbage will prove to be one of the greatest rock and roll bands of all time.

Style with substance and gritty brilliance
To me, one of my all time favourites by this stellar band, their debut showcases their raw engery that would later be channelled into avenues down the road of techno, that would be still more captivating.
The beginning song starts off the album perfectly with lyrics about obsession, ego, and cyncical self-awareness...then follows into endless highlights such as the smoothy penetrating "Queer"...and continues on and on to form an album you might never have imagined could be so consistantly, jaw-droppingly brilliant in its edge, wit, and melodic span.
Songs like "Stupid Girl", "Stroke of Luck", and "As Heaven Is Wide" are unstoppable and just as satisfying with repeated listening.
At the end of this tale of self-deprication, self-examination and sly remarks on the state of society's conciousness as a whole, is a touching song, "Milk", filled with the culmination of the fragility, tenderness and sensitivity barely in sight all along. In it are knowing apologies and a call for redemption.
I can continually relate to this effort, and I reccomend each successive album for taking this sort of brilliance in a new direction.

Love Gabage....
...love this CD. Strong thoughout. Unique blend of rock and techno/pop elements. Probably my favorite Garage CD, but I dig them All. Shirley has a sexy mid range voice that reminds me of Viagra in Bazooka Jones or Christine Amphlett of The Divynals....very nice textures....dig it!!! ... Read more

Amazon.com

Transistor Radio may be bookmarked by instrumentals, but M. Ward’s cracked, jazzy croon is the true star of all his work. The sixteen tunes here all sound like sketches that became songs on the spot, and we all know the well-crafted illusion of spontaneity is a very difficult thing to pull off repeatedly. His most consistently enjoyable album to date, Transistor offers breezy, smart, poppy music very much in the American folk tradition, from country blues to bleary-eyed bedroom strums. This is the soundtrack to a lazy Sunday when you sleep in, read the Times in bed, cuddle with a friend, then finally leave the house for cheese grits. "I’ll Be Yr Bird" sounds like the Fruit Bats collaborating with Vic Chesnutt, while Ward recalls Stew on "Hi Fi," the deadpan lyrics over lazy, lovely sounds: "Why burn your bridges when you can blow your bridges up?" The laudanum-like charms of Ward’s music are tough to resist. --Mike McGonigal ... Read more

Reviews (14)

Keep your overhyped, manufactured dreck. . .
M. . . Matthew. . . has soul.My wife and I saw him a few weeks ago in a venue that you can only describe as a tool shed in a parking lot, really. (Kilby Court, SLC)He was absolutely stunning.

I could not disagree more with the "Pseudo Dave Matthews vibe"comment made by wm "wordmule"Uh. . . Pseudo means fake.I can only assume that the comment was an attempted complement, as you gave him 5 stars, BUT. . . As Dave Matthews is the music industry sell-out poster child, and has not even been interesting for a decade, his "vibe" does not approach m.ward's purity.End of Amnesia is also a VERY good album.And, if you can get your hands on his cover of Daniel Johnston's Story of an Artist- you will be amazed.

Review From The Synthesis
M. Ward's latest offering to the world of music, and his latest LP, Transistor Radio, pays tribute to independent radio and those who still appreciate it. While this album probably won't get much play outside of the dying open format realm, it is, without a doubt, worth your attention. If you've heard Matthew Ward before let me just say this is his best work yet. If you haven't, then imagine Neil Young about to sing himself to sleep with a lullaby composed of the softest melodies and most poetic lyrics imaginable. These songs have the unique quality of catering to your current state. If you're sad they feel sad, and if you're happy they somehow change tone to fit your mood. There is truly nothing bad about this album.

- Chris Acosta
Synthesis.net

Warm, earthy, haunting and sooo dang gorgeous!
Wow, so well worth the wait! This highly anticipated M. Ward album has finally surfaced, and it's f'ing fantastic!! Oooh sorry, shhh, maybe that was much too loud and boisterous an exclamation for such a beautiful work, but hopefully that gives you an ample impression of my enthusiasm for this release!

It was recorded at a number of different studios around the country with a number of different awesome performin' and producin' participants (such as Howe Gelb, Vic Chesnutt, John Parish, Jenny Lewis of Rilo Kiley, My Morning Jacket's Jim James, and The Old Joe Clarks), and it traverses as much of the mood and folk music spectrums as those of the geographic and personnel.
The first impression that struck me was that Transistor Radio sounds as though Mr. Ward has brought his songbook a lot closer to that of Ms Jolie Holland (or vice versa... expect much more cross-pollination between the fan camps of both artists). The recordings have that brittle old tyme-y feel but the vocal performances are overflowing with heartfelt gusto.

The addition of Ms Lewis' vocals on songs such as "Big Boat") do much to reinforce this sonic kinship. Also materializing in a few of the songs is a fevered twang akin to Howe Gelb, Giant Sand or Calexico which makes sense when you find out that some of these songs were recorded at Wavelab Studios in Arizona (where those artists all record).

Warm, earthy, haunting and sooo dang gorgeous! Definitely an album for sharing! Very very recommended!

Best Disc of the Year
No matter what else gets released, I already know that this is hands down my favorite disc of the year.Heart-stoppingly good, it's perfect regardless of your mood or musical tastes, so buy it and become enthralled; your life will be that much the better for it!

M WARD RULES AND THAT'S ALL THERE IS TO IT
M. Ward rules and that's all there is to it.This boy is going places!If you buy only one record this year, this is the one.
I suppose nothing is "authentic" nowadays, but Matt Ward comes awfully close.5 STARS!! ... Read more

Amazon.com

Even after 15 years of releasing albums on her own Righteous Babe imprint, it's hard to know what to make of Ani DiFranco. Some see her as a folkie-punk-bisexual-feminist-radical-crap-kicker, while others reckon she's merely Alanis Morissette with better lyrics. On her 15th studio album the truth just might be somewhere in between. She does dysfunctional family portraits ("Studying Stones") and broken affairs ("Lag Time") just fine, but she also manages to leave room for rambling, autobiographical beat poetry ("Parameters"). And then there is the music. Matching acoustic guitars with earthy funk rhythms and soft moonlight moods with out-of-leftfield song arrangements, it reconfirms the one label everyone can agree upon: fiercely original. --Aidin Vaziri

Recommended Ani DiFranco Discography

Out of Range	Not a Pretty Girl	So Much Shouting, So Much Laughter
Little Plastic Castle	Revelling/Reckoning	Living in Clip

... Read more

Reviews (26)

Ani's still great, and that Kevin guy who gave her 1 star?
This isn't my favorite Ani album, but, like all of her albums, each song has it's moment and application to my own life.I shaved my head once (although, sadly, it I don't have the head for it), found myself wanting to angrily lash out at unrequited love (which is why I absolutely love Dilate), and am now growing a bit older and wiser, which I see happening in her work.And I love the fact that she's still giving the man the finger; it reminds me that I need to give up a bit of comfort for honesty, too.

And, as for Kevin, the fellow who gave the album 1 star.Well, I'm sure he didn't even listen to it as, if you check out his record of reviews, all he does is write reviews with one star.This indicates to me that he is either a bitter, lonely man sitting in his basement blindly raging against some unknown enemy (could it be his own stunning inadequacy?) or he's just a hack who thinks he's being witty by trashing other people.Either way, I do feel sorry for him and hope that he finds some joy in life, before he bites the big one and the only thing proving his pitiful existence will be some pithy amazon.com reviews.So, Kevin, if you're reading this, take a shower, get dressed, and go meet some people.Or take up a hobby.Do something.You need to find some joy in life.

The Fine Ani As Always
Over the last fifteen years, the politically outspoken Ani DiFranco has made a name for herself as a fiercely independant artist.She's created a large cult audience that have followed her every move.Through everything, she's received rave reviews for her music including a Grammy award (2003's "Evolve").Her poetry and her melodies have always stood beyond the test of time despite little radio airplay.This folk-rock artist has often experimented with other genres with her signature sound: punk, funk, jazz, blues, and others.She's never recorded anything below her top potential.Therefore, she's maintained the respect as an artist and as a person.This has influenced many artists who have come after her (Pink, Dar Williams).

In 2005, she changed some traditions with her album "Knuckles Down".Surprisingly, she hired a producer, Joe Henry, to assist in her music.This collaboration resulted in a more folk-pop sound with quality that continues her run as a phenomenal artist.This album shows a more mellow side of Ani.Yet, she never loses her signature musical edge.The melodies and the rhythms flow greatly through the instruments, namely her guitar.The various instrumental line-up keeps this album interesting; yet, the album flows smoothly.Her poetry continues expressing her deep thoughts.This album expresses more of her recent personal turbulances in a less outspoken fashion.Despite, her artistic stance never loses itself.Such quality shows great artistic evolution that makes this album shine.

This allows her performances to remain expressive.As always, her musical talents give her music the heart and soul it deserves.Her performances show her poetic side greatly.Her expressed sadness never loses its emotion.This album shows a more mature side that has never been heard previously.Her passion leaves listeners in a trance.In every song, she slides her listeners to a deeper sense of her theme.Her indistinguishable performances leave a longlasting impact on everybody.All her songs stand out in the modern folk industry.

Through the dying mainstream music, Ani DiFranco always prevails.Her music defines true music."Knuckle Down" is no exception.This album is a great escape from the often-selling-out mainstream music heard too often on the radio.She has never sold out.She remains true to herself and everyone else.Therefore, this album is sure to please new and old fans.

***Expect Ani DiFranco to receive at least two 2005 Grammy nominations: Best Contemporary Folk Album and Best Recording Package.

Knuckle Down is a must-have..
'Knuckle Down' was my first foray into the musical world of Ani DiFranco, and has quickly become one of my favourite albums of all-time.If you're tired of the generic, manufactured music so common to modern network air waves, this disc is for you.The songwriting is developed and well-thought out, and the tonality of the album is warm and inviting.Do yourself a favour, buy this album.

Back To the Fold
I've read several of the reviews below, and some are very good.My review of this album won't be quite as technical and thorough as those I've read, but I'll give you my honest opinion.This is a great cd.I've been listening to Ani for about 11 years now....I came in around the "Out of Range" and "Not a Pretty Girl" days.I was a very "devoted" fan (read crazed) for much of my late teens and into my early twenties...sometimes driving as long as 10 hours for a concert.I've loved several of her cd's along the way....Dilate, Little Plastic Castle, To the Teeth, Revelling/Reckoning, Evolve.But as life kept on going, and I got older, I became less and less crazed.Not because of her music, but because I had more going on.....more important things to worry about.I didn't even buy Educated Guess (I didn't even *gasp* realize that she had released it!)But after seeing her perform "Studying Stones" on, of all places, the CBS Saturday Early Show, I was intrigued about "Knuckle Down."So I got the cd, and expected to go through my usual Ani routine.Listen to it, think "hmmmm this isn't anything like Little Plastic Castle or To the Teeth or Evolve....I'm not sure I like it," and then a few weeks or months later listen to it and think "OH!I get it, this is awesome!"But I haven't been able to stop listening to it since it arrived in the mail.This cd has snapped me back to that old place.I'm not sure how, and I'm not sure why....but that's what's happened.I absolutely love this disc.It's really hard pick a favorite song (okay, maybe I like "Studying Stones", "Paradigm", and "Sunday Morning" a little more than the rest.)I'm not saying everyone will love this as much as I do.But if you've kept listening to Ani through the years, through all the different bands and styles and personal experiences, I think you'll dig this cd.

not good
This effort, I have to say, is simply not good. I used to like Difranco's stuff quite a bit, but something's missing here, and it's a substantial enough problem that it compromises the entire work.

On a side note, I must defend porterhouse from lucibuis' attack. First, it's not like porterhouse is off the mark. The comments about the music notwithstanding (with which I happen to agree, at least concerning this album, but that's beside the point), all porterhouse did was call it like he or she saw it. Honestly, any objective observer couldn't really disagree. But what is truly absurd is Lucibuis' hypocrisy. Lucibuis purports to give us all a lesson about what makes a great American citizen and why Difranco is just that, right after calling for Amazon to censor porterhouse. Nice. I guess it's good old fashioned stuff like liberty and free speech, but only for those with whom you agree, right Lucibuis? Twisted. ... Read more

Amazon.com's Best of 1998

Just from the opening seconds of Neutral Milk Hotel's second album, you know it's going to be special: the acoustic guitar strum is catchy beyond belief, and Jeff Magnum's intonation lends credibility even to a line like "When you were young, you were the King of Carrot Flowers." Listening to In the Aeroplane is like stepping through Alice's looking glass; you enter a fantastic new universe that, while it doesn't always make sense logically, feels like the home you never had. --Randy Silver ... Read more

Reviews (272)

"Holy (...)!"
That's what you can hear someone in the studio shouting as Jeff Mangum finishes the centerpiece of this album, 'Oh Comely'. That pretty much sums up what I feel too. This is one of those albums that hits you like a ton of bricks. If you're here you probably already have a good idea of what NMH sounds like (Elephant 6 and all that) but what you might not know if you haven't heard the album is that Magnum is -much- better than his E6 counterparts.

While some of his friends in bands like Apples (In Stereo) or Olivia Tremor Control dabbled in pretensious sound collages or 60's throwback songs, Magnum released one of the classic albums of the '90s. It's a collection of arresting solo accoustic songs and horn-filled "fuzz folk" tunes. Sounds wierd I know. But the strange thing is how well the diverse sounds of this album flow together. A quiet accoustic number like "2-Headed Boy" flows into a beautiful horn instrumental which morphs into the up-tempo lo-fi masterpiece "Holland, 1945."

The lyrics hold everything together. Mangum has created something resembling a theme album revolving around World War II, Anne Frank and his own childhood. You get the feeling that this guy has a tenous grasp of reality, since the two subjects seem to blend together in his mind. The songs, taken as a whole, evoke a feel of dreamlike sadness. And if you're reading this thinking, "Ugh, a concept album about Anne Frank, how pretensious" it really isn't. Jeff is so heartfelt and honest, but not in an 'emo' way -- no weepy self-pity here. It's hard to believe an album of such maturity and honesty came from a man in his mid 20s.

I know I'm rambling here but there's a lot I have to say about this album. It's not all good. People tend to overreact about "Aeroplane", I think because they feel such a strong emotional connection to Jeff's lyrics. Even though the things he sings about are very cryptic and surreal, you feel empathy and unity with the guy. But this often makes exaggerate how good it is. "Aeroplane" is not the best album of the 90's, Jeff Mangum is not the best musician today. That said, it's still an almost unbelievably emotionally arresting and intimate collection of songs that retain an E6 style accessability and catchiness. Be prepared for this album to effect your mood and also your musical taste. When I first bought it it was the only thing I listened to for at least a week. I'm stunned that this album just came out of the wood-work. While it might not be the best album of the '90's, its definitely one of the most interesting. Everyone who likes music should own it.

amazingly haunting, hauntingly amazing
i can't say enough good things about this album. the main thing i can say is that if you don't own it, buy it. this is an album that will change your life. i'm blown away by the fact that people still listen to fake music like britney spears, or meaningless punk like sum41, when this kind of music is being produced. this is, simply, magic.

tracks:

the king of carrot flowers pt 1- the song that got me hooked on NMH. the song reminds me of a fantasy land; it 's about an escape from reality, something we all need. the lyrics are heartbreaking and beautiful, as is the guitar.

the king of carrot flowers pts 2 and 3- starts about with jeff crooning about jesus, and you can't be sure if he's serious or not... then the song breaks into hard, beautiful rock and fuzz guitar. uplifting, breaktaking, moving.

the aeroplane over the sea- a song about a wonderful relationship. the lyrics are true and don't try to gloss over the harder aspects of life. great acoustic guitar.

two headed boy- this song is, in a word, amazing. jeff magnum's voice soaring over the beautiful lyrics just takes me away to another place. this is how life is. this song is incredible. worth the entire price of the album alone.

the fool- perfect followup to two headed boy. instrumental, wonderful horns and drums.

holland 1945- i love this song! the lyrics are beautiful, telling a story of a girl in the holocaust. they are accented with heavy fuzz guitar and drums. this song is so upbeat, guarranteed to lift your mood. heartbreaking lyrics, but disguised by the music.

communist daughter- simply breaks my heart.

oh comely- seems to tell the heartbreaking story of a relationship in the holocaust. some of the most beautiful lyrics i've ever heard. in this song, sex is the most wonderful act on earth ("soft silly music is meaningful magical/the movements were beautiful/all in your ovaries)>. this song ends with the most moving line i've ever heard.

ghost- like holland 1945, very uplifting, with fuzz guitar, horns, drums, and guitar. wonderful singalong. makes me happy!

untitled (#10)- if you like bagpipes, this is for you. an automatic mood lifter.

two headed boy pt 2- this song has some of the most beautiful lyrics i've ever heard. they hit home, hard. beautiful, haunting, moving... breaks my heart.

get. this. album. change your life.

Impossible to describe
This is a cd that no one should live without...no matter what music you listen to you will MOST LIKELY love it. i am a hardcore punk, deathmetal and ska fan yet this cd is my love..
TWO HEADED BOY is a greeaaaaaat song rules all..thank you and goodnight

Statement of.........
Perhaps best likened to a marching band on an acid trip, Neutral Milk Hotel's second album is another quixotic sonic parade; lo-fi yet lush, impenetrable yet wholly accessible, In the Aeroplane Over the Sea is either the work of a genius or an utter crackpot, with the truth probably falling somewhere in between. Again teaming with producer Robert Schneider, Jeff Mangum invests the material here with new maturity and clarity; while the songs run continuously together, as they did on the previous On Avery Island, there is a much clearer sense of shifting dynamics from track to track, with a greater emphasis on structure and texture. Mangum's vocals are far more emotive as well; whether caught in the rush of spiritual epiphany ("The King of Carrot Flowers Pts. Two and Three") or in the grip of sexual anxiety ("Two-Headed Boy"), he sings with a new fervor, composed in equal measure of ecstasy and anguish. However, as his musical concepts continue to come into sharper focus, one hopes his stream-of-consciousness lyrical ideas soon begin to do the same; while Mangum spins his words with the rapid-fire intensity of a young Dylan, the songs are far too cryptic and abstract to fully sink in - In the Aeroplane Over the Sea is undoubtedly a major statement, but just what it's saying is anyone's guess.

Greatest Album Ever
This is my favorite album of all time. Better that Chiastic Slide, better than the Mollusk. This is it. I bought it on a whim having only heard the Amazon clips. I was hooked. This is the album that I put on less then an hour after my first and only girlfriend broke up with me less then two hours ago in my apartment. This is one of the few things in life that actually makes it worth living. Thank you Jeff. ... Read more

Amazon.com

How do you condense 15 years of music down to 76 minutes? In the case of this survey of the second phase of R.E.M.'s career, the answer is: Exceptionally well. The dangling carrot for diehards is two new songs; the rapid fire "Bad Day" hurtles along like the kissing cousin of "It's the End of the World as We Know It," while "Animal" is anchored by a majestic drone reminiscent of the Beatles' "Tomorrow Never Knows." In a surprising, but gratifying move, the rest of the program shortchanges the band's breakthrough, Out of Time (no "Shiny Happy People"), to better accommodate movie soundtrack contributions, and spotlight gems from the less commercial, post-Bill Berry albums Reveal and Up; with its baroque piano and multi-tracked vocal harmonies, the Beach Boys homage "At My Most Beautiful" is particularly gorgeous, while the burbling keyboards and slightly dazed singing of "All the Way to Reno" will appeal to Flaming Lips fans. --Kurt B. Reighley ... Read more

Reviews (122)

Not a true "Greatest Hits" package...
I will still say this collection is indeed a great collection, but I feel it falls short of what a true "greatest" collection consists of...which is usually all their hits. Perhaps they didn't have 18 hits...so they added a few unreleased tracks and few soundtrack songs instead. I know this is a collection taken from a certain period of time...I still would have rather had seen a complete "greatest hits" collection. If I had done it, it would look something like this...
1. Pop Song '89
2. Crush With Eyeliner
3. Radio Free Europe
4. Bang and Blame
5. So. Central Rain
6. Stand
7. Everybody Hurts
8. Man on the Moon
9. The Sidewinder Sleeps Tonight
10. The One I love
11. Nightswimming
12. Orange Crush
13. Its the End of the World as We Know It.
14. Shiny Happy People
15. Drive
16. Radio Song
17. Whats The Frequency, Kenneth?
18. Losing My Religion
In my opinion my playlist is more accurate as a "greatest" collection...but again..this collection is still damn good.

If R.E.M Can Lighten Up, So Can You...
Unless you're talking about a band that's clearly singles-based rather than album-oriented, almost any best-of album is bound to disappoint someone. When it's for a band like R.E.M., who have released seven albums and numerous non-album songs in 15 year period covered, it's almost inevitable that some fans would be disappointed. For my own part, I'm surprised at some of what's here and what's not. I wonder why "Automatic For the People" is represented by four songs, when "Out of Time" and "Monster" are limited to one each.

That said, a review should turn on what's there more so than what's not, and what's here is really quite good. Kicking off with their twin Andy Kaufman tributes ("Man on the Moon" and "Great Beyond"), "In Time" maintains a high-level of quality all the way through, making a strong case for R.E.M.'s already secured place in the rock pantheon.

Is it a perfect collection? This reviewer would say, no. This is not just because of missing personal favorites ("Half a World Away" and "World Leader Pretend") but also for the aforementioned lack of balance between how albums are represented here. It's hard to argue that "Up" or even "Automatic for the People" are really that much better than "Monster" or "Out of Time."

Then again, any compilation reflects the bias of its makers, just as a listener's reaction to it reflects theirs. By any objective standard, though, "In Time" is a good attempt to give a feel of what post-IRS Records R.E.M. is about. Plus, it sounds really good with the volume up.

REM's unimaginative best
REM is one of the greatest bands ever, OK? I will never deny that. I have all of their albums and have seen them many times in concert. However, there are two kinds of REM fans. There are the ones that have been with them all along and still like listening to "Murmur" and "Lifes Rich Pagent." Then there are those fans that love "Out of Time" and "Automatic For the People." Now, i will give you that Austomatic was a great album, Out of Time was not. However, the differences between the two groups are demonstrated by a love of the early, non-commercial stuff and the mid '90s commercial stuff. The compilation is all about the mindless singles that gave REM mainstream success. Excluding "Electrolite," none of these songs really needed to be included for a "best of" album. It was an attempt by REM to pick up a paycheck because their most recent albums were not selling well. Sad but true.

Yawn
I like R.E.M. I liked them in the late 80's and in the 90's. This is a good collection of hits. No more exciting than that.

This is a really excellent collection!
I've been an off and on fan of R.E.M. for a very long time but was really interested in this CD after it came out and I have to say that it does not dissapoint and really compiles a lot of the best stuff of their's from 1988 through 2003 from their "Green" album to two subpar tracks that were solely for this CD. All of my favorite songs are from this time period with songs like "Everybody Hurts", "Orange Crush", "Losing My Religion" and even "What's the Frequency Kenneth". This CD would've been a little better if it included "It's The End of the World As We Know it And I Feel Fine" but that track came out in 1987 and thus isn't included on here. Oh Well. For what it is though "In Time" is a wonderful collection and is certainly a CD worth buying. ... Read more

Amazon.com essential recording

The final album of U2's early period, before the group broadened its sonic palette and lyrical vision, War is a brilliantly conflicted album, sounding martial and majestic while its very purpose is to tear down false idols propped up by politics. "Sunday Bloody Sunday" and "40" take the subject of Ireland's troubles head-on, while it's the subtext of "New Year's Day," which is about a sundered love relationship symbolic of a greater division. "Torn in two, we can be one," Bono pleads, as Edge's guitar scratches and snarls behind him. Songs such as "Two Hearts Beat as One" and the delicate "Drowning Man" take a back seat here, but they help make War a compelling and well-rounded album. --Daniel Durchholz ... Read more

Reviews (113)

The power and the fury.
I was never a big U2 fan, especially not in its present form. Bono's ceaseless and irrelevent politicking has worn out its welcome, and so did the band after The Joshua Tree. Their latest album deserves to be thrown into the pop-rock bonfire.

..And yet, I can still pop War into my stereo and enjoy it for the great album that it is. U2's finest album shows an angry and energized band, pounding away with passion, demanding change and at the same time pleading for peace. Opening with the fiery percussion and Edge's snarling guitar on Sunday Bloody Sunday and New Year's Day (U2's best songs), and ending with the relative calm of the Psalm-based "40," War is a powerful political and religious statement without ever resorting to self-righteous excesses.

Aside from the aforementioned tracks, other highlights include The Refugee, Seconds, and Two Hearts Beat As One. The only track that is a bit weak might be Surrender, which runs a bit long for what it is. Still, any one of the 10 cuts on War is better than anything on The Joshua Tree by a country mile.

This is the only U2 album I can reccommend. I didn't like Joshua Tree or Achtung Baby!, they are dull pop rock records. War is anything but--it's stinging, intense, and engaging. Even if you can't stand U2 in its present incarnation, this album deserves your ear.

One of U2's Greatest!!!
'War' is U2's third major album and it is reknowned as the album which made the band's presence known in America. In 'War' U2 has regained most of the vigor of 'Boy' (their debut record and most energetic), retained the complexity of their second album, 'October' while adding thoughtfullness and rage. As a result, 'War' is U2's most pensive album to date.

Each song on the record reminds us of the self-destructiveness of society. The first song, 'Sunday, Bloody Sunday' borrows its name from two Irish massacres, and it is frequently mistaken as a 'rebel' song. Yet, when one analyzes the lyrics, it delivers a plea for the end of the continuous violence in Northern Ireland, and the world. The following song, 'Seconds' (Bono rests his voice here and The Edge takes the lead on this one.), sings of the horrors of nuclear warfare and acknowledges how quickly it could all end - literally in 'seconds'. 'New Years Day' emphasizes the grim circumstances of war and hope's rapid rate of deterioration. 'Like A Song...' contains allusions to the Irish Civil War and reflects the reluctance to participate in another conflict again. 'Drowing Man' is the tale of a dying man struggling to reunite with his love. The fast-paced 'The Refugee' tells two stories of a young woman ready to leave her homeland and of a young man enthusiastic about fighting although not knowing exactly why.

Despite the preceeding melancholy songs, 'Two Hearts Beat as One' talks of the bewilderment of love and 'Red Light' speaks of the confused nature of a relationship. 'Surrender' sings of giving into change and the album ends on a rather optomistic note with "40" (based on Psalm 40).

In the eyes of any U2 fanatic 'War' would be considered one of the finest masterpieces they have ever produced. Bono's singing, The Edges signature guitar method, Adam Clayton's bass technique and Larry Mullen Jr.'s militant styled drumming are all at one of their heights in 'War'. No U2 collection is complete without the! edition of 'War'.

Early, edgy U2 lash out
I've been listening to U2 for nearly ten years now, so it's fun to take a look back and possibly help someone else make the right album purchase.

"War" is an album which takes U2's anger at the fighting in their homeland of Ireland and turns it into music. It's quite good if you're in the mood for some edgy rock! This album, particularly "Sunday, Bloody Sunday", is mostly very serious. If you're not the kind of person who likes really hard, serious rock, and you don't already know much U2, you might not warm up to this very quickly. Any other U2 album will be a lot easier on you if you're a beginner. If you're a huge fan, though, get it anyhow. It's a must-listen for a U2 buff, no matter what! Also, if you even like any rock music at all, you're sure to find a few tracks you like even if you don't like the whole album. I can't imagine anyone not liking at least two or three songs!

If you ever see U2 labelled as "Christian Rock", it's because of some of the material on this album. Rest assured all you non-Christians, that is a misrepresentation and a misunderstanding of the material. The religious overtones of this album come from the nature of the conflicts that U2 are singing about here. The bombings in Ireland that made U2 so angry were all because of religious fighting. The song "40" is actually just a psalm, I think. From Psalm 40! If you want more information on this stuff you can simply do a search for something like: Ireland bombings. You're sure to get all kinds of information on it. There's nothing to be afraid of here with regard to lyrics. It's all very relevant to things which continue to go on in the world today; one of U2's strong points has always been the ability of their music to remain relevant well beyond the date of it!

Now, if you're still not quite sure whether or not to get this album, I'd suggest trying to get ahold of the songs "Two Hearts Beat as One" and "The Refugee". I find that these are the two most accessable songs, and if you get accustomed to the sound of them then you ought to be able to get used to and like the whole album.

Verdict: A very good album which does exactly what it sets out to do. If you like U2 or edgy rock music, get it immediately.

Classic, Passionate Rock.
Listening to "War" today is listening to band finding it's voice and identity, maturing and tackling deeper, edgier issues through their music. It's also surprising to realize just how stripped down and raw this material sounds compared to what the band recorded in the 90's when they began experimenting with various different flavors. Their previous album, "October," had been a more harmonious type of work with an almost religious fervor (some call U2 the greatest Christian band ever). "War" is a cry of ideas and frustrations with issues of the day, especially in Ireland (in fact, many of those issues are still burning red hot in the band's native country). And yet, the album transcends the 80's because U2 was talking about war in general and obviously today in 2004 war is a hot topic. The sound of the album is focused and passionate. Bono's words and vocals sound like someone trying to make an expression instead of just trying to sing a tune. The Edge's guitars glide and fly through-out the album, creating an intricate wall of melody. Larry Mullen Jr.'s drumming is sporadic and skillfull and stands out especially in "Sunday Bloody Sunday," a classic U2 anthem that still sounds full of urgency. "Seconds" is catchy and has entertaining word play in the lyrics. One of the stand out tracks remains "New Year's Day," an almost epic venture with an atmospheric piano, soaring vocals and a great rock vibe that makes it timeless. "Like A Song" is full of emotion and raw energy. Obviously some of the material sounds very much from the 80's, "Two Hearts Beat As One," written during Bono's honeymoon, sounds like it couldn't come from any other decade. The closing track, "40," is a wonderfully passive moment with lyrics taken from the Pslams. "War" still sounds good because it's performed by a band that really had and still has things to say. U2 are truly classic because what they play and sing about not only never goes out of style, but mostly touches our hearts and while most new artists like to rap and scream about sex, drugs and thongs (of course some bands like the Rolling Stones and Led Zeppelin knew how to touch upon those subjects and still produce real rock n' roll), U2's songs are about things we DO care about.

The Battle's Just Begun
U2's first two albums were both very good records in their own right, while similtaniously showing vast potential for something greater. That potential was confirmed as reality with their third LP, "War".

This is, generally speaking, where the "U2" the general public is familiar with, begins. On this record, U2 found both their musical niche and their political voice, with such classics as 'Sunday Bloody Sunday' and 'New Year's Day'. This was, and still is, U2's angriest record, and it shows, with songs like the previously mentioned ones, as well as the lesser-known hits, 'Two Hearts Beat As One' and 'Surrender', the unheralded classics 'Like A Song' and 'Drowning Man', and the song that would go on to close U2's shows in the 80s, '"40"'. This was a young, energetic, angry, rebel group, stripped of the innocence of "Boy".

This was U2's first masterpiece, which is saying something since, as only their third record, is a better record than some bands ever make, and it really opened the door for them to become even bigger, even greater. For, make no mistake, this was also STILL a very hungry band as well. ... Read more

Amazon.com's Best of 2001

Weezer, those geek rockers who topped mid-'90s charts with those oh-so-precious pop fables "Undone (The Sweater Song)" and "Buddy Holly," were almost undone by 1997's bombastic Pinkerton. Their sophomore release turned its back on the band's clean-cut debut, with a thrash approach more influenced by Sabbath and Kiss than the Beach Boys. On their third album (self-titled, like their first, but referred to as the "Green Album"), the band makes a concentrated effort to return to anthemic '60s punky pop, demonstrating that, for Weezer at least, it's rather easy being green. In fact, one could say they're almost as green as Green Day, especially on "Knockdown Dragout." At their best, Weezer show such boundless energy and gleeful aplomb that you'd swear you were listening to a lost Badfinger album. Conversely, Rivers Cuomo's twisted genius makes its way onto the anxious and paranoid "Hash Pipe" and the jittery "Glorious Days," making the "Green Album" the most absorbing and rounded vision from these pop masters yet. --Jaan Uhelszki ... Read more

Reviews (687)

Weezer treading water on their comeback
Question time. When is a return to form by one of rock's smartest bands not necessarily a good thing? The answer is when it's Weezer's new Weezer. By no means is the album bad, just a bit of a letdown following the genius of Pinkerton. An argument could be made that this is the record that Weezer wanted to make following their debut, but Rivers Cuomo's personal demons wouldn't let them. It's a return to the poppy, new wave sound that fans initially fell in love with following the less well-received, raw emotion that was Pinkerton. If you loved their debut, chances are you'll love this as well since it's ultimately the same album. If you loved Pinkerton, you'll probably see this record as a step down. Again, while it's a bit of disappointment, there are highlights. "Island In the Sun" may be one of the best songs the band has ever put to tape. It is a perfect (underline perfect) single and has a brilliant 80's vibe to it. While "Island in the Sun" sounds like the best song Weezer has ever recorded, "Photograph" sounds like the best song the Cars never recorded with its new wave hand claps and singalong chorus. "Don't Let Go" and "O Girlfriend" would have been at home on the self-titled debut, but they somehow feel like rehashes. "Smile" and "Hash Pipe" sound like an attempt to match the excellence of Pinkerton, yet they're are unable to recreate the sheer emotion of that album. Weezer's comeback with this album was welcomed with open arms (as it should have been) but let's hope that we see them take a step forward with their next album, instead of merely treading water.

Sounds like Weezer
Weezer return after five years. I disagree with the band claiming the record is somewhere "between Pinkterton and the blue album", though I wish it were true. Production-wise, it's extremely sharp, very similar to the blue album. Musically, the songs on the green album are half as complex (as Pinkterton, at least). The solos (almost all of them) are simply the vocal melody churned out on guitar. Rivers can shred on guitar, but he totally opted not to on this album. Lyrically, it seems practically without meaning. Considering it's Weezer, and their prior song topics and lyrics, this album is weak by comparison. Not that they are BAD lyrics, they are simply pop lyrics. (Rivers himself is quoted saying that "the lyrics suck"...) HOWEVER... despite all of this, you're still left with an amazingly infectious power pop rock album that I don't think should disappoint many people. It's not groundbreaking, but it's just good rockin music that few bands create like this.

tony moore is a dooshbag
This record isnt pinkerton or the blue record but I'd rather listen to this record than any of the fake,emotionless crap that dominates the commercial music world at this point...(staind,limpbizkit,lincoln park,creed,nicklebackt,ect or whatever...Hey tony lets hear one that u wrote,cause u sound like a musician without the chops who cant make it...

Un gran album - A great album
El primer disco de Weezer, me parece bueno. Realmente. Punto. No me parece un GRAN ALBUM. El 2do.....en fin....flojito...pero el 3ro....!! Qué gran álbum el Album Verde. Corto, efectivo, apasionante, delicioso...No da respiro, pega y pega, un gran tema al lado del otro. Genial.

The First Weezer record is a fine one.Really is. Period. Not a GREAT ONE. The 2nd, well.....not too good...but the 3rd one....What a grat album is the Green Album! A short one, passionate, delightful...Breathless, hit and hit, one great song after another great song. A work of genius.

Hash Pipe, More like ReHash
So Weezer for several years sat around in each of their own computer rooms writing love letters via instant messenger to japnese women in of all places Japan, whom they would most likely never meet. Now Rivers being the smart guy he is, mentioned that he was from the band Weezer in order to score a date with one of them. The problem was, none of the Japanese girls remembered Weezer, so he had a dilemma. Should he not make another album that would sound stale and contrived compared to all his other material or make another album so he could, maybe, pick up chicks. Rivers hadn't had a date for like five years so he decided to make another album. Now Rivers couldn't get his original bassist to come along, Matt Sharp, who was off making better music with The Rentals. So Rivers replaced him with another nerd so no one would notice. They sat down and were wondering what course they would take with the new album, but Rivers, being the God he is among his fans, interrupted and said they should make a word for word ripoff of their fan favorite original album, lots of people would buy it and it would rock the house.

Rivers was partly right, it did sell lots and lots of copies that were soon sold to used record stores across the country, for good reason too. There are two good songs on here, Oh Girlfriend! and Island In The Sun, but neither come close to comparing with anything off the blue album or Pinkerton for that matter. The album sounds all pleasant too, which sounds all fake and stuff because you know Weezer can't be happy because their nerds and there is no way. They're supposed to be all gloomy and doomy. Then they have all these lame RAWK songs like Hash Pipe which again aren't Weezer's forte. Yeah, Weezer from here on out suck. ... Read more

Album Description

Vocalist Tracy Thorn and multi-instrumentalist Ben Watt began making music together as Everything But the Girl in the early '80s while students at Hull University in the U.K. By the '90s their spare-yet-sensual, jazz-inflected tunes evolved nito a richly textured fusion of pop and electronica-"Pop-Tronica"-that shimmered with diverse musical idioms. A favorite both in the clubs and with critics and aficionados, the duo's innovative sound has become iconic to the genre. ... Read more

Reviews (9)

Stay on Topic
I really hate it when people don't review the CDs. Bartender "metropic1"'s review was completely useless because he did not say anything about the CD.If he is angry because Everything But The Girl has not released any new music in years, he should post on their website, ebtg.com. He knew it was a remix CD."Remix" means no new material.This is not the place to vent over a lack of new music.

Remix/Rehash
It is pathetic that a duo as talented as EBTG keeps releasing the same old stuff with slightly different twist. They should take a page from PSB and release new stuff as well as old. Purchase "Like the deserts miss the rain" instead of this. Ben can run a label, why not create new stuff and release it on Buzzin'Fly. Trust me, I know, you can do both, or(and I hope not)is it just over for these two musically?

Another Outstanding Album
"Adapt Or Die" collects Everything But The Girl's remixes over the past 10 years, and is an excellent companion piece to their recent hits compilation "Like The Deserts Miss The Rain", since it adds several tracks from their 1999 LP "Temperamental" that were not included in the former. Besides the signature tunes ("Missing", "Wrong", "Walking Wounded"), there are some pleasant surprises along the way, like the Jazzy Jeff remix of "Mirrorball", which stands as one of EBTG's best remixes ever. "Before Today" is given a new lease of life by Adam F, incorporating a harder drum n bass beat than in the original. The remixes for "Single", "Lullaby of Clubland", "Downhill Racer" and "Corcovado" are also outstanding. The inclusion (at the end) of the 1990 acoustic mix of "Driving" is a nice touch, since it gives release to the relentless dance beats that occupied the last 13 songs on the record. Overall, this is one remix album you can actually listen to from beginning to end, because it is very consistent and compelling, just like anything EBTG has ever put out. If you like innovative, intelligent dance music with heart, you should definitely pick this up. HIGHLY RECOMMENDED!

Decent, at times good, but not, as is typical, great.
Adapt Or Die is a compilation of recordings made over the last 10 years (although there are some tracks older than that on here?).For longtime followers of EBTG, this is a welcome gift from the understandably reclusive group (made up principally of vocalist Tracy Thorn and husband/producer Ben Watt); they are new parents, and have made the rare decision to tether themselves to family first, and let their musical momentum subordinate.Refreshing indeed.

I've been anticipating this album since they mentioned it on their fan site some number of months ago (yes, I'm that big of an EBTG psycho, keep that in mind when I get a bit course here soon), I have great respect for Ben Watt's musical talent.I was certain he'd shepard a world-class mix.Well, after a few listens, this certainly isn't that.It's an "ok" mix.There are, in my opinion, only a couple of songs that are better than their original productions (Corcovado, and Mirrorball).Then there are a handful of songs that'll freshen-up interest in the EBTG playlist, but regrettably, not for long.

However, there are some unbelievable stinkers on this CD.I couldn't believe how bad the Tempermental remix is.It's...well, listen to it yourself before you get all worked up.It sounds like they forced Tracy by gunpoint to do a cover for that weird costume scene in Eyes Wide Shut.Disturbing.Also, the remix for Single is like...well, it's like the same song, only with some kind of Casio-watch-style beeping in the background.Maybe some people, like fans of Casio watches will be like "wow, some beeping at intervals, just what this track needed".I however am offended by what I consider needless tampering.

Which should be the title of this CD:Needless Tampering With Perfection.But that wouldn't move many units would it?

I'm obviously dissapointed.If you care to look up my reviews, you'll see that I'm a consistent 5 star reviewer of EBTG, I'm always the one strongly advising you to go buy the album.This time however, I can't in good conscience advise you to do anything but steer clear.

Sadly,

Christian Hunter
Santa Barbara, California

More than what you may expect
Beyond just a remix album, this is an overhaul of most of these ebtg classics. Admittedly biased-I am a die-hard ebtg fan, but this one impressed me none-the-less. The total reworking of great songs with fun results! Although I admit I don't like the Tempermental redo, it is certainly creative, and fits a certain mood and theme within the song. Whilst I would of course prefer new ebtg stuff, as Tracey is playing house (in a good way), this is an awesome alternative.
If you are new to ebtg or a long-time fan, this is a very worthy investment. Ben & Tracey have so much to say, in so many ways. I thank them for the latest in over twenty years of stellar releases. ... Read more

Amazon.com's Best of 1999

Trent Reznor took five years to record this monstrous double-CD set, wielding a perfectionist's touch in the production and the subtlety of a chainsaw in the musicianship. The result is uncompromising, full of hysterical noise and yet utterly accessible. Somehow, someway, this is one of the best pop records of the year. --Matthew Cooke ... Read more

Reviews (963)

Did the music grow up with the fans?
I was 15 when The Downward Spiral was released, now I'm 21. When I first heard about the new album I wondered if Trent's rage would still be applicable to me six years later. Well, it isn't really - but Reznor's musical ability can make almost any statement applicable to me.

The first song on this CD absolutely blew my socks off. It sounded like a mixture of Korn and an angry Tom Waits. As I continued through the CD I noticed the mass amount of time and effort put in to each track. Some almost sounded influenced by PJ Harvey, while other tracks were straight up rock and roll out of NIN's history. Now I see why this is an album that took a long time to assemble. As much as I love this CD - already - it has its downfalls just like any other. The biggest being its overwhelming size. 1 CD of Trent can be a lot to take, 2 can just be mind boggling. Also, much like in the past, sometimes Trent can leave the impression of being overly whiney when most of the material deals with how other people constantly dissatisfy him. But, over all I think this is going to be one of the last "most important records of the 90's."

I just hope future installments are a little more timely.

Beautifully Crafted Soundscapes From Mastermind Reznor
It took Trent Reznor five years to craft and touch up the double disc THE FRAGILE. When you play the whole 2-CD set from start to finish, you can't help but appreciate the results with uncompromising validity.

There are angry rockers on here like the in-your-face scathing of "No, You Don't", the subdued tempest of "Into The Void" with it's hopeless theme, and the ferocious snap at NIN imitators that is "Starfucker's Inc.", with its easy-to-remember chorus. Contrasting these moments are pleasant interludes like the gorgeous piano instrumental "The Frail", the haunting but slow-charging title track, the love song thrash of first single "We're In This Together", and the atmospheric and hauntingly melodic and memorable rocker "The Day The World Went Away".

The instrumentals on this double disc treat range from the sinister apocalyptic "Pilgrimage", to the haunting and deadly "Ripe With Decay", the aforementioned beauty "The Frail", and the haunting "La Mer" with it's absolutely catchy beat.

There are also tracks reminiscent of earlier Reznor works, like the opening caustic "Somewhat Damaged" and the fragile anger of "The Wretched", which reminds me of the seething "Reptile".

All in all, THE FRAGILE only continues what THE DOWNWARD SPIRAL began, and Trent Reznor shows us over the course of 100 minutes and 23 songs why he remains an important figure in the realm of industrial rock music. He's a genius, and THE FRAGILE proves that even at wit's end, Reznor is here to stay.

a musical masterpeice
Trent Reznor is an extremely talented singer and song writer. His writing is perfect, music is mezmerizing and wonderfully crafted. He has a message that should be heard: the world is not all daisys and fairytales. In my opinion, his music is not intended for the mainstream pop culture. It is simply intended to tell a story that in in is mind. The music has an appeal to the deepest parts of the soul. In my opinion, this is the perfect album to sit back and reassess the thoughts and views of such a horrible time we live in.

The end of the nineties dream...
I was amazed at how many people didn't buy this album because they said it wasn't nine inch nails... This album was Trent showing how human he really was, as with evidence in the lyrics and song titles referring to a piece of fruit (ie opening with Somewhat Damaged and ending with Ripe (with Decay)). Experimental, heartfelt, and totally dreamy. Despite all the hype that predated this album, i think it stood up to it. In a musical world of mediocrity this album stands the test of time. Especially now in 2004 where everyone whines exactly the same about how great high school was and other emotional barren themes, people need to discover the truth and vitology that thrives within this album. Listen to it from beginning to end... It may speak to your heart as it did to mine.

A gem.
There is nothing wrong with The Fragile. The problem with the critics and fans is that they were expecting another, The Downward Spiral from Reznor. Every artist, upon each new release, no matter how great they are, mature a little more. Reznor is no exception. His music is more melodic rather than a bunch of noise clashed together, which is what they call industrial. I loved The Downward Spiral, but there's something about The Fragile that's just so great. It took Reznor five years to write, record, and produce this monsterous LP. Reznor is releasing another album in 2004, title pending as "Bleedthrough". I am anticipating this release because I know that it'll be yet another masterpiece from Reznor. ... Read more

Album Description

"THIS IS MY FAVOURITE NICK CAVE & THE BAD SEEDS ALBUM." - NICK CAVE

Spanning the full twenty-one years of Nick Cave And The Bad Seeds illustrious career, this comprehensive three CD set, entitled B-Sides & Rarities, presents a thrilling and eclectic retrospective collection of material by the band, some of which has been deleted, featured on a disparate number of soundtrack albums or has never been officially released before. From the menacing 'The Six Strings That Drew Blood', through the distraught 'The Girl At The Bottom Of My Glass', the fragile beauty of 'Little Empty Boat', the outlaw romance of '(I'll Love You) Till The End Of The World', the plaintive 'Bluebird' through to the murderous attack of 'The Ballad Of Robert Moore & Betty Coltrane', long term Bad Seeds aficionados, recent converts or the merely curious will find much to appreciate and enjoy in this landmark 56 track compilation. ... Read more

Reviews (10)

Full of Tasty Surprises
And I thought I had it all! I've become a fairly rabid fan of Nick Cave over the past several years and have eagerly bought and listened to almost everything I am aware that he's done. Then along comes B-Sides and Rarities and I find that there was all kinds of Nick Cave music out there I had no idea about.
There's lots to like, so I'll give a disc by disc rundown on what I like best.
Disc I contains mostly B-sides, but also alternate versions of songs that can be found on his regularly issued CDs. My favorites are: a spare and barren take on Mercy Seat, a hilarious version of Scum, a raucous The Girl At The Bottom Of My Glass, a plaintive rendition of Neil Young's Helpless, the rollicking God's Hotel and what I think is the best song on this disc, Cave's take on Rye Whiskey.
Disc II gets even better than the first. Standouts are Rainy Night in Soho, the hilarious There's No Night Out In The Jail, Where the Wild Roses Grow, a madman's rendition of the epic slaughterfest O'Malley's Bar, and the Scream 3 version of Red Right Hand on which you can immediately identify former bandmate Barry Adamson's involvement. But, the best song is a haunting, mystical, violin-led and Van Morrison-like stunner Time Jesum Transeuntum Et Non Riverentum. If you like Van Morrison and the Nick Cave of his No More Shall We Part period, you will want to hear that one over and over.
Disc III contains more songs in the style developed by Cave from The Boatman's Call and No More Shall We Part to the present. My favorites are Right Now I'm A Roaming; Babe, I Got You Bad; Sheep May Safely Graze; Opium Tea; Everything Must Converge; and the riotous She's Leaving You. While those are excellent, the best song musically and lyrically is Little Empty Boat.
If you are new to Nick Cave, this is an excellent starter set as it covers a wide variety of styles spanning his career with the Bad Seeds. If you are an old fan, then this should bind you to Cave's music even more, even if you are like the reviewer from Slovenia that found this compilation to be old hat. At around twenty bucks almost any place you can find it, its truly a bargain, so order it while its still cheap. I highly recommend it!

Fantastic
One man's refuse is another's gold. This vast and fulfilling collection reveals an inspired artist who mines gems in his sleep. While others are struggling to sell out to the highest bidder, Cave refuses to compromise while constantly blazing new trails of audible ambrosia.

a collection of gems
I believe this truly holds some of Cave's best efforts. Definately for the die-hard fan, perhaps a few songs for a curious listener. The packaging is unique, and has all sorts of goodies inside.

Much a fan of Disc 1.

An Extraordinary Collection
Usually, when a record label released a boxed set, I expect -when it comes to an artist I revere- to spend a large amount of money for those few songs that were unreleased or belonging to EPs I did not buy. In general, I am resigned to the fact that the rarities and occasional collaborations will be few and varying in quality, And I if buy these collections is due to my heart being hostage to my passion for having the complete works of someone I respect.
This could not be farther from the truth, when it comes to this collection. The material selected throughout this 3CD set -by the band's Mick Harvey, by the way- finds Cave and his esteemed Bad Seeds show a wealth of great songs. The quality of what's goes from very good and interesting to superb. Actually, some of these songs are inexplicable exclusions from his albums, given their depth and beauty.
On Disc 1, you get a thorough sample of Cave's fiercer output, when a certain "literate Punk" spirit reigned over the Bad Seeds' material. Selections like "The Moon Is In The Gutter," "Rye Whiskey" -which sways like you might, if you ever drank the stuff- or "The Girl At The Bottom Of My Glass, are great examples of such period.
In addition, there are some rare beauties like the stunning acoustic version of "The Mercy Seat," the tender melody of "The Train Song," the somber "Blue Bird." Also noteworthy are his version of Neil Young's "Helpless" and "Cassiel's Song" from the movie "Faraway, So Close."
Disc 2, in my opinion, is dominated by the mood, if not the songs, from Cave's "Murder Ballads" period, in which the acoustic rendition of "Jack The Ripper," the raucous multi-part "O'Malley's Bar," and "The Willow Garden" and the gorgeous "Where The Wild Roses Grow" with the original guide vocals by Herr Bargeld.
And then comes, to my taste, the best of the three CDs which is infused of Cave's most recent material, ranging from the "The Boatman's Call"s atmosphere of "Little Empty Boat," "Right Now I'm A-Roaming," and the band version of "Black Hair," to the moving outtake of "Sheep May Safely Grace," anticipating the hymn-like ballads of No More Shall We Part."
Speaking of this last mentioned album, if you've been moved by the work contained in it as much as I have, you are in for an abundance of gems. Both, "Grief Came Riding" and "Bless His Ever Loving Heart," are Cave's poetry and melodies at their dramatic peak ("where beauty lies exhausted on the streets").
The great songs don't end there, with Nocturama being represented through the B-sides of several singles. Actually, if you already like Cave's most recent album, you may be further enthralled with it when listening to these songs. "Shoot Me Down" is stunning, and "Everything Must Converge" is the band at their most hopeful, a call to hope that has always been part of Cave's vision side by side with his dark denunciations.
All in all this is superb collection of songs that, to many, weren't known nor recognized. It is a tribute to a great band that three CDs worth of more obscure material can hold such depth of graces.
Whether you are a faithful worshipper already or a curious beginner, this collection is an excellent retrospective of an artist who has written some of the most remarkable material recorded over the last twenty years.
Cave's name does not only deserve to be mentioned along Tom Waits, or even Leonard Cohen -both obvious musical comparisons- but also it must be included in any list you may compile of those singer-songwriters whose music may shape your life.
I can't imagine any other future releases this year that can surpass this one, for reissue of the year.

Hard Core fans - hallo!
If you are a really hard-core NC&BS' fan (as I was until recently) you already have all those songs spread over tens of compilations and singles.
If you don't have them, you never were a NC&BS fan. That is the fact.
My opinion about this record is, that is released just for milking of some newborn fans. A shame on you, Mr. Cave. ... Read more

Amazon.com essential recording

Nimrod came along two years after 1995's Insomniac and was the first indication of Green Day's willingness to stretch the boundaries of punk rock. The fullness of the record is first hinted at on "Hitchin' a Ride," which starts out chug-a-lugging and then breaks into a raging rocker."Redundant" is accented with some psyched-out guitar work and has Billie Joe Armstrong singing a good deal more than usual. The wonderful "Platypus (I Hate You)" speed-rocks with abandon and recalls the early days of L.A. punk (a little Dickies here, a little Descendents there). The biting "Take it Back" is a snarling throwback to hard punk, and "Prosthetic Head" is an infectious ditty that counts among the very best on the album. Most surprising is "Last Ride In," an instrumental nod to the sensual surf-and-sun life. Of course, the crown jewel of the collection is the sentimental, acoustic "Good Riddance (Time of Your Life)," which seemed nearly inescapable when it was released. Beyond these standouts, even the "usual" Green Day fare here has punch. --Lorry Fleming ... Read more

Reviews (371)

NIMROD IS THE BEST!
Very possibly the best album ever created, Nimrod is just another example of Green Day's talent and versatility. Billie Joe Armstrong's lyrics just keep getting better and better, Mike Dirnt's bass playing is just amazing, and of course, Tre Cool's drumming, ever changing, is a great part of the album.
Nimrod is a great cd that really led the transition from Insomniac to Warning well. It is so versatile, with ballads, a surf type song, hard metal type songs, typical Green Day music, and much more. Aside from different subgenres of the music, many different instruments are used such as harmonica, the bongos, and of course, the baseball bat. ^_^ Green Day has really matured with this album.
There is not a single bad song on this cd, each one gets a 10 from me.

Nice Guys Finish Last-a great song to start the cd out with, was one of the first songs that really got me into Green Day. Mike Dirnt does extremely well on the bass in this one.

Hitchin A Ride-incredible, excellent song, one of their best. Although it takes a while to get used to, it is really incredible. The drumming in this is very VERY good, I know from playing it on my drums that it takes a lot of skill to get it right.

The Grouch-hilarious lyrics, it's a really good, driven song, explicit, but humorous. Also has a very catchy tune.

Redundant-can't say anything about it except that it's a masterpiece. It's a really beautiful song with really beautiful lyrics. You can tell what a good songwriter and guitarist Billie Joe is, what a good bassist Mike Dirnt is, and what an INCREDIBLE drummer Tre Cool is from just this one song.

Scattered-just another one of Green Day's incredible songs. Possibly one of the best tunes, Billie Joe's voice really stands out in this song. One lyric that I really liked was "Story to tell and I am listening." You can tell they've grown up, because since when is Green Day listening?

All The Time-I know not many people really like this song, but I'm hooked on it. It's not as catchy a tune as some others, but when you get used to it, it's really great. It's one of those songs that you'll be singing for days and days after hearing it just once.

Worry Rock-Beautiful, BEAUTIFUL LYRICS! I love it, it's a really sweet song and it's incredible. Another song in which Billie Joe's voice really stands out.

Platypus (I hate you)--A very good song, it is very hard core and although you can barely understand a word of what Billie Joe is screaming out, it's worth it. You can really tell his emotions through the lyrics.

Uptight-Possibly one of the greatest songs on the cd, the ending is incredible. The beginning verses are also very good, but what really stands out is the ending choruses, the "Uptight, I'm a nag with a gun, All night...." part. It makes a very good transition from Uptight to Last Ride In.

Last Ride In-my favorite instrumental by any band. Sure, not many people are into it because it is sort of slow and instrumental, but it's the one instrumental I can listen to the whole thing through. The guitar and bass really shines, but the main thing to me (thenagain, being a drummer, it would be the main thing) that shines through is Tre Cool's drumming. He strays from the normal "punk rock boundaries" in drumming and really goes to the extra by using more latin drumming. I've heard tons of that drumming in Latin music, believe me.

Jinx-an awesome tune, awesome guitar, awesome song in general. I really like the lyrics in this one, and once more, the vocals are incredible in this song. The tune is very different than many other songs you would find, and it makes a nice transition to Haushinka.

Haushinka-not such a liked song by many people, but after listening to it for a while it can really grow on you and you can see what a great song it is. It is more old style Green Day, as it was written during the time of 1039 Slappy Hours, yet not placed on the Kerplunk cd. Very good song.

Walking Alone-this could very well be one of my favorites, it's got an incredible tune, very relatable lyrics, and harmonica! well, the harmonica is very fun and it is always great to see bands going the extra mile to use different things rather than the normal, set instruments. Green Day makes their own rules.

Reject-this song was written about a person who wrote a hate letter to Green Day, you can really see the emotion in it and the anger through the lyrics. Another harder song on the cd, it's a good one.

Take Back-not really one of my favorite Green Day songs, yet it is pretty good to. A nice job on the harder, metallic rock that's very enjoyable.

King For A Day-even if the song isn't as catchy as others, the lyrics and the horns really make up for it. A hilarious song, a sort of ska song, even if it is about drag queens, it's just way too funny to pass up!

Time Of Your Life-well, everyone knows this one. The classic Green Day song that led them into even being played in soft music radio stations like Warm 106.9 (I've heard them on it), it's a masterpiece. It's very very pretty, I also like the violin in the back.

Prosthetic Head-a wonderful closing song, Prosthetic Head's tune is very good and very catchy. It's a song I got stuck in my head the whole day and ended up writing the chorus lyrics on every paper and wall I could find in a craft store I was dragged into.....

Anyway, in closing, this is an EXCELLENT cd, and passing it up would be...a crime.

An incredible album that shows all sides of Green Day.
This truly is a great CD, not only becuase every single song on it is strong and original in its own sense, but also that it features such a wide variety of alternative music! Green Day's other albums (Dookie, Insomniac, etc.) are all great, but the variation of the musical content on them is not nearly as wide as on Nimrod. There are great punk and rock songs, fast, furious, and to-the-point, such as "Nice Guys Finish Last," "The Grouch" (an extremely funny song), "Platypus (I Hate You)," and "Reject," to name a few. If you like slower stuff, then there are several slower tracks, like "Redundant," "Worry Rock," "Uptight" and "Prosthetic Head." Other notable songs include the hilarious, hord-driven song "King For A Day," the moody instrumental "Last Ride In," and the widely popular acoustic ballad "Good Riddance (Time of Your Life)." For both music lovers and Green Day fans alike, this album is a must-own.

A Refined Green Day
I owned this album, but it got stolen, and I have regretted that ever since. I'll probably get it again some day, when I have spare cash. I remember I really liked it, and it spent a lot of time in my CD player. I liked every song on the album, some more than others, obviously, but I don't ermember skipping any tracks. My favorites were:

2. Hitchin' a Ride
3. Grouch
4. Redundant
7. Worry Rock
8. Platypus (I Hate You)
9. Uptight
12. Haushinka
13. Walking Alone
14. Reject
16. King for a Day
17. Good Riddance (Time of Your Life)
18. Prosthetic Head

Now I know why it got stolen! LOL

Not bad, but could have been better
As Green Day progresses, their mean sound improves, though their really good ones are no better or worse than they always have been. A big difference on this CD from the norm, is that their popular songs are not always good. Their skippable songs have decreased in number from the beginning, and they have the same number of really good ones, so I'd say this CD is overall better than one like Dookie.

The only songs that I skip regularly are "Walking Alone," "Take Back," and "Last Ride In." Walking Alone just doesn't excite me much, it's not really bad or anything, just not anything special. Last Ride In is boring the first few times you hear it, but it's so freakin catchy, now I listen to it almost every time I get to it. Take back is probably the worst song on the CD. Green Day isn't all that great at screaming songs.

The songs from the CD that most people will recognize easily are "Good Riddance," "Nice Guys Finish Last," "Hitchin' A Ride," and "Redundant." The first two are good; Good Riddance isn't as great as the first time I heard it, but when you hear a song 6 billion times, that happens. Nice Guys Finish Last is one of the best songs on the CD. Check out the video on their website, it's almost as good as the song is. As for the other two, they really aren't anything special. I don't know why they're so popular. Redundant is catchy, but its only real redeaming quality is a good video. Hitchin A Ride isn't as catchy, maybe a little better song though. Neither are anything worth talking about. However, as I said earlier, their "not worth talking about" songs are still not half bad, not as skippable as their subpar efforts on Dookie were. Other mediocre songs are "Scattered," Uptight," and "King for a Day" (which is a bit ska).

The songs worth talking about, other than the two mentioned earlier, are these. "The Grouch," is easily one of the top songs on the CD, I don't really like the language, but it makes it pretty funny. "Life's a bitch and so am I. The world owes me so f*** you." Not sure why I like "All the Time," and it isn't awesome, but it is a cut above the other mediocre songs. "Worry Rock" I think is the best song on the CD. A bit slow, though not as slow as Good Riddance, and short, but completely awesome. Another great one is "Platypus." The only problem with that one is the language. Incredibly speedy, hard to understand lyrics, punk at its finest. "Jinx" is another fast punk song, though not as much as Playtpus, and is another favorite of mine. "Haushinka" flows from Jinx, as Jaded does from Brain Stew, but is not nearly as good. The only good part is the bridge, the rest of it is pretty mediocre. "Reject" is typical Green Day pop-punk, but is a pretty good song nonetheless. "prosthetic Head" I originally thought was the worst song; actually, I treated it as filler, not even as a real song. However, the more you listen to it, the catchier it gets, and I love the lyrics; not one of the greats, but not bad.

By the way, why are Green Day's hateful songs always some of the best, from "Playtpus" to "FOD" to "Ha Ha, You're Dead."

The Best CD of all time!!!!
Nimrod is my favorite Green day album.It is a great record which everyone oughtta have. ... Read more

Album Description

Formed in NYC in the mid-'70s by David Byrne, Chris Franz, Tina Weymouth, and ex-Modern Lover Jerry Harrison, the Talking Heads evolved out of their now-legendary humble beginnings at CBGB's to become one of the most adventurous and influential bands ever. Inducted into the Rock and Roll Hall of Fame in 2002, the Heads' visionary, polyrhythmic sound daringly combined funk and punk, African beats, avant-garde minimalism, and pure pop. From their 1977 debut through their Brian Eno-produced classics to their '88 farewell, Naked, they both pushed artistic boundaries and delivered indelible radio hits like "Once In A Lifetime" and "Burning Down The House." ... Read more

Album Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure's signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band's early catalog-newly remastered and expanded wtih a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. ... Read more

Reviews (7)

Not a good follow up
The perfect minimalism of Seventeen Seconds was a hard act to follow. Robert Smith's answer to that was to write a pretentious about religion. I guess back then one had to deal with the demons of Catholicism. Now England is very secular and this theistic world seems very remote. When I first heard this album I probably only liked the U.K. hit "Primary" which they used to play a lot on KROQ too. I liked the emotion of the songs "The Holy Hour" and "All Cats Are Grey." But now listening to them this stuff seems childish and them just trying to hard. I remember at the time Crass and Public Image Limited tried to make statements about religion, and although they seemed powerful at the time, they are laughable now. While this album is a whole just as all their albums are, it yielded another standout track "Other Voices." The Cure also started wearing more makeup and hairspray at this time. Their new discovery of the funereal had an outward manifestation. Albums used to be short back in those days, so this CD offers the original, eight-song album on the first disc, along with "Carnage Visors," originally the B-side for the cassette version of Faith, on CD for the first time. The 15-song bonus disc includes four previously unreleased songs, and live performances from 1980-1981. Most of this stuff is rough. The live tracks from Faith are worthwhile. One of their best early songs "Charlotte Sometimes" was left off the album. That was a mistake.

Utter Perfection
Sleek. Streamlined. Minimalist. Incredibly beautiful and surprisingly varied. Faith manages to capture the Cure at their creative peak. From start to finish, this album is nothing short of perfection. The words and vocals, the music, the production and engineering - they all fall right into place. Nearly all these songs can be considered Cure classics ( for the fans of the band who prefer the darker, more serious Cure to the upbeat, more pop oriented side). Primary. Other Voices. The Funeral Party. And my personal favourite The Drowning Man. All incredible.This remastered and expanded edition sounds terrific as well, which is icing on the cake. The original cd issue on the Elektra label just didn't sound quite right. There was distortion in many of the basslines, and the keyboards sounded hollow and tinny. This version corrects those mastering mistakes. The synths are warm and rich in tone, and the highs and lows in the mix are much easier on the ear. Granted, the subject matter isn't exactly "upbeat" but the messages areimportant, and certainly open to interpretation. Listen to the final, title track. The last words - "there's nothing left but faith" - can be seen as a sign of defeat or of hope, depending on how it is taken. The extras on the bonus disc are a revelation, tracking the evolution of the songs on Faith, from listening to the demos, the songs in their rawest form,to hearing the live versions, where they are performed with complete conviction, if not total technical proficiency. My favourite here has to be the often bootlegged, 10 minute version of the title cut "Faith" performed in Australia and originally featured on the b-side to the Charlotte Sometimes 12" single. "This is the last song it's called Faith" Robert says. Turn the volume up very loud and you can here one lone female scream, then the count-off "one, two, three, four" and the familiar beat kicks in, the mourful bassline, and Robert's signature guitar playing. This IS the Cure.

VERY GOOD
Excellent Re-master. The first 5 tracks on CD 2 are really for those fans that are the most-obsessed. They give a very raw look at what these songs were to become. Boring for those who just want the ironed-out or live versions. I loved them as you can trace the raw elements to the finished works.

Early Masterpiece
No doubt the Cure is an essantial British band, which was responsible for at least a handful of chart hits everyone remembers like

Headlong dive into grey.
Often considered the middle of a trilogy of albums progressively darker in mood, "Faith" is an album about just that, about faith, or lack thereof.It is a stark, almost minimalist album, with Robert Smith handling keyboard as well as well as guitar duties and joined by bassist Simon Gallup and drummer Lol Tolhurst, the album is hushed, almost minimalist-- stretches where notes ring out over the light percussion background, there's little in the way of the ringing guitars that dominated the previous record, and the album is largely unaggressive in its presentation.This actually works quite to the strengths of Gallup and Tolhurst-- with the guitars and keyboards assuming a passive role, the bass is as aggressively voiced and Tolhurst's somewhat limited and minimalist technique match the music beautifully.

In fact, its a dark, funereal tone that drives the majority of this material, songs like "Holy Hour", "All Cats are Grey" and the bizarrely uplifting "The Funeral Party" don't rise in aggression above a sort of dark hazy swell, and even somewhat more aggressive pieces like the fantastic "Primary" and the title track maintain a despondent tone and a sort of hushed feel.The result is largely an album of delicate, fragile beauty, where the rare extroverted moments (the positively jangly "Doubt" and the much more aggressive "The Drowning Man") are somewhat shocking and almost out of place.

For this reissue, the remastering has, if anything added to the album a great deal-- while the record deals in hushed tones and quiet synths, there's no sense of fuzziness throughout the album courtesy of the crisp remastered sound.Again, the liner notes detail the creation of the album (in rather candid tone at that), and the reissue is filled with extra material-- the dark and bubbling (and seemingly endless at 27+ minutes) "Carnage Visors" and the great single "Charlotte Sometimes" are the gems this time around,with again a number of great live takes on material from the album and a series of demos that are interesting but ultimately unfulfilling on their own.

"Faith" is in many ways the musical equivalent of its cover-- a sort of grey album.It has a number of powerful moments, and while it can be a bit overwhelming due to its endlessly dark quality, it is a fine album.Recommended. ... Read more

Album Description

Originally a Goth-flavored post-punk outfit, the Cure evolved into one of the truly seminal bands of the '80s, and ultimately one of modern rock's most celebrated and influential acts. Guided by creative visionary Robert Smith, the Cure's signature sound balances a dreamy pop savvy with a dark, brooding majesty and fuses superbly crafted, literate songs with a feverish emotional intensity. The band's early catalog-newly remastered and expanded wtih a wealth of rarities-is a series of masterpieces that laid the groundwork for their phenomenal and enduring popularity. ... Read more

Reviews (8)

This is really the best of their early stuff
IN the early 1980s The Cure released three albums that would define their musical career. Most of the ideas of all their records are contained on SEVENTEEN SECONDS (1980), FAITH (1981) and PORNOGRAPHY (1982). Every though they created a conventional album, Three Imaginary Boys (1979), Robert Smith changed the course of the band's career with the stark minimal sound of Seventeen Seconds. On bass-driven songs like "Play For Today" and "Secrets" there are barely any guitar sounds. The Cure has created a lot of space and avoided any pop clichÎs. The guitar arpeggios on "In Your House" influenced many Goth bands to follow. There are plenty of instrumentals and ghastly sounds on this record. At the time it was odd to hear and like nothing out there. This record is mostly known for the radio hit "A Forest" which sounds as fresh as ever. This music has aged well. "M" is almost like folk music in a Dylanesque way. It would almost probably be better with vocals and acoustic guitar. A sign of a great album is that there is a great song on it that wasn't a single. For this album it's "At Night." Distorted guitar was never so evocative of a mood. This re-release also includes some live performances from 1979-1980 as well as "I'm a Cult Hero" and "I Dig You," originally released under the pseudonym Cult Hero. This stuff is okay but not necessary. This might be the Cure most successful album. There is a lot of mystery and personal emotion on this record, but it's not really that Goth.

When Rhino puts out a deluxe edition, they always deliver
What's the 4-1-1?
Rhino Records have gone into The Cure vaults along with Robert Smith to bring you Deluxe Editions of two of their most memorable releases. Both are remastered and appear on CD for the first time. In addition to the complete albums, each disc comes with a bonus disc of rarities and unreleased material. Seventeen Seconds contains rarities from 1979-1980 and Faith contains rarities from 1980-1981.

Genre
Post-punk / alternative / gothic / rock

The Good
Highlights from Seventeen Seconds
Drab and dreary piano set the tone of the album on the opening instrumental cut "A Reflection". Eerie background tones help underscore the track. "Play for Today is made up of an up-tempo drum beat, glassine-like keyboards, and watery guitar tones. An infectious little guitar hook goes a long way on "In Your House". I would liken the tone of the song to a hazy dream. "A Forest" employs haunting tones and melodies, backed by thought-provoking lyrics. Fuzzy guitar tones and creepy synths dominate "At Night". Seventeen Seconds" sums up the last moments of your life after committing suicide.

The rarities disc contains "I'm a Cult Hero" and "I Dig You" from Robert Smith's side project Cult Hero. It's more hopeful than any of the tracks Smith penned for The Cure. There are two rough home demos, an alternate mix for Three, and live tracks for every song that appears on the album; even a live version of "I'm a Cult Hero".

Highlights from Faith
" The Holy Hour" begins with a rather indulgent bass line. Robert Smith blends in nicely with his clean guitar tones and his trademark tortured vocals. Driving rhythms run rampant on "Primary". The track is more up-tempo than the usual Cure track, but the story being told is no much on the up-side. Percussion accented by warm keyboard tones prevail on "All Cats are Grey". Smith seems off in the distance as he inflicts his eerie vocals. I wasn't really surprised that church organ tones could be heard throughout "Funeral Party". To keep the mood going, Robert sings like his delivering a eulogy.

The rarities disc contains the unreleased tracks "Drowning", "Going Home Time", "The Violin Song", and "A Normal Story", two raw instrumental demos of "Faith", "The Holy Hour" and "Doubt", live tracks of songs from the Faith album to include a ten minute version of "Faith" and a nine minute version of "Forever", the rare single "Charlotte Sometimes, and an alternate version of "Primary" among it's fifteen tracks.

The Bad
Nothing

The Verdict
When Rhino Records puts together a Deluxe Edition, they always deliver the goods. Not only are you getting rare and unreleased material, which is always a plus, but you're also getting to hear the songs at their best possible quality. It's fun to hear how they went to rough demo to final composition. All of the depressing, sad, and heart-broken moments of your youth can be summed up by the latest remasters by The Cure.

Did You Know?
Rhino has also released The Cure's Pornography as a two CD deluxe addition. I would have reviewed it but after listening to these two, I was ready to slit my wrists.

Rapid evolution, emotional minimalism
The difference between their first album and their second is amazing, and the band's decision to ignore "marketing" concepts in favor of the art itself really paid off. Don't believe the reviews out there that say "A Forest" is the only memorable track; this album has a lot of other strong tracks that I've come to know through their live versions, recorded years later on Show and Paris.

This album makes excellent use of emotional minimalism, similar perhaps to groups like old-school Goth groups like Bauhaus and Joy Division, though aiming more for a subdued and introspective result. Again I think of the music put out by The Police around the same time, particularly Regatta de Blanc. Both albums were significant leaps out of punk rock origins, moving towards more esoteric, psychological, and metaphysical pieces to come.

I just got the album today, so I'm still making my way through the bonus tracks. They are interesting as development pieces; some of them are fairly bootleg-like in sound quality, but they are worth having, as they show the evolution of the songs and give you an appreciation of the band's creative process.

Wrapped up in perfect cover art
This is an awesome, moody little album that fits right in today with the slew of bands going after the early-80s 'post-punk' sound.This disc marks the first of a masterful trilogy that continues with Faith and Pornography.

The Cure are famous for being gloomy, and this album backs it up, but it's not heavy or depressing and it never gets to be too much.Quite the opposite.Some songs are slower, like In Your House, while other like Play For Today (the first track after the instrumental opening) open up with an electronic calling in the back and a punchy little rhythm, immediately catchy, and the perfect length.Three, meanwhile, has the feeling of a dark jingle.At Night has a slow, fuzzy opening and a steady beat, sounding a little like a dark Police.The classic track A Forest sounds even richer in the remastered format.There's the classic Cure guitar, the bobbing basslines, some swishy help from the keyboards in the background to lend that gray atmosphere...it sounds like 1980, it's spot-on.This and Faith and complimented by absolutey appropriate cover art--they just sound like the covers, frankly, a wash of muted colors here, followed by the mysterious gray and faint scribbling of Faith.

Just an addictive album of good songs, with Smith's voice never overbearing, never too much whining, and some very fine singing.Pornography would bring the band to a darker place, with its far more depressed quality.Seventeen Seconds is getting there, but it's minor-key poppy with some very good production.Cure addicts may break it down more in terms of band lineups, but I find the whole release an excellent effort.

Quite frankly, better than most of the bands out there who were in diapers when this was released, you may as well check out the original thing.And at 30-odd minutes, it's the old style of complete, quality beginning-to-end albums perfect for a slow day at home, preferably in the middle of the week when it's raining.

The new Cure remastereds are excellent, a real value for fans.For one, the sound is vastly improved--just compare any track on here, but especially 'A Forest', with your old AAD disc--big difference.The bass is bigger, punchier, the sounds are all clearer and brought up front.The older, unremastered rock albums really do suffer with the original CD format--everything is flattened right out to the middle, while the new discs bring much-needed oomph to everything.The second disc is full of goodies, from demos to live versions of nearly the entire album in great sound quality.And of course, nice liner notes with actual notes, old pictures, the whole job.Quality re-release in this era of downloading, however, it must be said that these sets are BIT on the pricey side, but will likely be a must for fans of this album (and the following two).

A beginning.
With the exit of bassist Michael Dempsey and his replacement by Simon Gallup and the addition of a keyboard player (Matthieu Hartley), Robert Smith finally had the pieces he needed to begin developing his sound.While since hampered by the technically limited Lol Tolhurst (drums), "Seventeen Seconds" surrenders the jaunty off kilter punk-pop of the band's debut for a more melancholy sound, easily evidenced by the guitar and piano duet instrumental that opens the album ("A Reflection").While the album is probably not as strong as either the debut or the material that would come after, it stands well enough on its own.

The impact of Simon Gallup on the Cure cannot be expressed clearly enough, his presence is easily noted throughout the record, and the best material on the album (the haunting "Play For Today", the unnervingly brilliant "A Forest") all is pushed from behind by Gallup's assertive and confident basslines.

One of the problems with the album though is that it tends to fall into a sort of mid-tempo malaise (the superb "M" being the most notable exception), with mechanical drumming ("In Your House", "Three"), often inaudible vocals ("Secrets"), and abrupt and unnerving cut offs ("The Final Sound", "Seventeen Seconds").Still, even with its flaws, the record is really a dramatic shift and a great signpost for the future.

As with the rest of this series of reissues, the sound is fantastic-- "Seventeen Seconds" really benefits from the cleaned up sound.The bonus disc is full of interesting material, I could take or leave the Cult Hero stuff, I'm happy to have it, but quite honestly, it sounds like its sung by a postman (which it is), the demos again are very intriguing (much more guitar driven) and interesting from a historical perspective, but not really the kind of thing you'd sit and listen to.The live material fares better, with many pieces getting readings far superior to the album versions ("Seventeen Seconds" stands out in particular).

Like "Three Imaginary Boys", this is a beginning for the band-- they'd do better things in the future, but this is a good album and well worth investigating. ... Read more

Amazon.com

Ska music has been deeply ingrained in the punk rock culture since the Clash adopted their rude boy stance near the end of the British punk invasion and the 2-Tone label put ska on the map. Suddenly, punks stopped kicking the crap out of each other long enough to dance. The debut release by Orange County, California's Sublime is a positively infectious record that marries varied styles of dub, reggae, rap, sampling, scratching, and badass dancehall ska with old-school punk overtones. Musicianship on this record is exceptionally tight, featuring Brad Nowell's innovative guitar work and bright, soulful voice.Packed with 40 oz. of rock (21 tracks) including the ultimate pot-smoking anthem "Smoke Two Joints" and the novelty hit "Date Rape." --Gail Worley ... Read more

Reviews (234)

The Genius of Sublime esp. Brad Nowell
40oz is without a doubt one of the best albums I have heard to date. The brilliant Nowell and company incorporates several genres of music - punk, ska, reggae, hip-hop (and even a bit of folk in the bonus track rivers of babylon.)to put him in genre all of his own. You can not define what Sublime is, it simply is what it is- incredible music. The fact that they can't be categorized is what you have to respect, they transcend barriers. Beyond the rhythm there are the lyrics which prove Brad's adeptness as a modern day poet. In my opinion Sublime is one of the best if not the best band to come out of this decade.Bradley Nowell's life was a beautifully gifted one cut tragically short. I urge all newcomers to Sublime to buy this cd (their debut) first here you get the truly ecclectic mix and you know what Brad was about in the end where he thanks everyone he can possibly think of at the end of the album -he was always about his music and that is what makes this album the best it has the raw intensity, drive, and most importantly passion that a lot of artists seem to lose later on in their careers. I can not think of an album that even compares to this one. However being the devoted Sublime fan I am their self titled and robbin' the hood are also must haves for any cd collection. I hope the spirit and genius of bradley lives on for a long time to come. Rest in peace Bradley.

Boodha-Bai!
As most people have said, this is quite possibly the best rock album ever. In my collection of around 100 cd's ranging from The Beatles to Jimi Hendrix to Led Zeppelin to Dave Matthews, Sublime blows them all out of the water (not that they aren't amazing bands themselves). 40 oz may not have the pop singles like the self titled so it doesn't get the radio play but as an entire album to listen to straight through it's abosulte perfection. The diversity of music, from rap to punk to funk all in one song. It blows me away every time. This cd has not left my 6 disc changer in years. I've listened to it probably 1000 times or more and it doesn't get old. I can't say enough good things about this album. If you're a Sublime addict and especially if you like to get irie, I suggest you buy Stand By Your Van. It's a live cd and gives you the feeling of what it was like to watch them play and listen to Brad innovate off the top of his head. It's a close 2nd to 40 oz. as my favorite album. The only thing I don't like about listening to Sublime is when I realize Brad's been dead for 4 years now and their musical magic will never be seen again. The rhythm, the lyrics, the bass, the drums, the guitar just all fit together so perfectly I can't even stand it sometimes. The only band that can consistently make me shudder in pleasure from such amazing music. crank up the song, and let Sublime take you to heaven.

hot damn
You already know I'm rocking this and copping this album, why the hell wouldn't I? Think about it friend, this is a great album that just solidly encapsulates the whole mood and sound of Sublime. Sublime is a great band it really has a sort of sound that just touches on everything, but has such a solid consistancy that you would be damned to say that these guys suffer an identity crisis. Unlike many of the numerous (NUMEROUS) bands to bite sublimes style (Authority Zero I point my finger squarely at you!) there is a solid consistancy that comes from Sublime. I wish death on bands that bite their style, no there will never EVER be another band like Sublime so imatators... please stop! Anyways I'm feeling like talking about every song on this album... aight 1 2 3 here I go!

Waiting For My Ruca- what a great song! I just love the dum dum sort of beat on this. It is slow and it is dreamy, a quality song indeed.
40 Oz. To Freedom- mmmmmm good. The begining just kicks and you get into the hook as soon as you hear. Then comes the bangin' chorus with the charged guitar, oh it makes my body sweat.
Smoke Two Joints- is the worst song Sublime ever sang. I hate this song I think it is so annoying, I don't even have the faintest idea why all you pot heads think it's such a great song. Way too gimmicky.
We Are Only Going to Die For Our Own Ignorance- this song rocks em real tight boy. I likes it, it just has a punkish feeling to yet it stays with that sort of ska riff that... oh it just sounds good. This was when Bad Religion didn't suck.
Don't Push- a great reggae soundin' song. I like it much you can just chill back and rock ya head back and fourth, maybe even do something that involves ummmm well you know what I'm talking about.
5447/ball and chain- awfullly enjoyable I think this is the best song on the album... just about my friends
Badfish- a great song with just a kickin' chorus, the lyrics are tottally boss.
Let's Get Stoned- I enjoy the ending of this song with the jam atmosphere, though I usually don't like hearing bands "jam" this sort of hits the spot.
New Thrash- hell yeah! I love thrash, punk rawk!
Scarlet Begonias- yawn, kind of a weak song. I love Sublime but I just can't get into this song.
Live at E's- this is a really really good song. It has such a dreamy quality to it, you can just sit back and enjoy. One of the best things about Sublime is that you can just chill back and enjoy, they aren't trying to shake you and say "ENJOY THIS" like many bands try to do. They just let thier natural flava hit ya.
D.Js- I like this song, a little bit of a hip hop flava that is just right, oh don't forget dance hall!
Chipa Me Tipo- suck my tip, ha funny. Anyways yeah Brad speaks spanish, I don't know if I'm too hot on that but I kinda like it.
Right Back- I love this song. It just has that same chill back flava that I just savor. Oh this song has great lyrics, I can't ever write anything when I tweak (which is much at all, I've only done it like five times) so I'm glad Brad was able to.
What Happened- humorous and rockin', me like.
New Song- good, enough said my friends.
Ebin- this song is enjoyable, the tales of a friend who chose to go the wrong way. In fact this song rocks.
Date Rape- the single off this album. I dug this song a lot back in 7th grade. I still like it, though it makes me reminensce way too much.
Hope- I like this song a lot. It just captures that sort of skate punk that was around back in the day, it even has a sort of Descendants flavor to it. I really like this song.
KRS-One- tribute to a dope MC. Good song
Rivers of Babylon- it's aight, it is live so a good flava.
Thanx- I like this song cuz' they can fit more lyrics and stuff into the linear notes instead of annoying thank you's.

R.I.P. Brad thanks for the music!

and there he wept when he remembered Zion...
Ever wanted to know where 311 got most of their inspiration in their revolutionary sound, then look no further then Sublime. Sublime is the epitomy of the music movement apptly titled "ska," in which they combined their many influences which included reggae, hip hop, rock, and good old punk and dancehall fused together to form what we all know as ska. But Sublime really can't be holed into a catagory like ska because they really were just too original to be of a small part of a whole. They were the voice of the LBC and the voice of everyone that loves to party and have a good time. They had a couragous singer in Bradley Knowell, with his smooth and haunting voice, and guitar skills to boot there was no way of doubting this bands sucess and well, some saw the untimely end come sooner then we all expected (RIP).

40 oz's is by far their masterpiece, and if you're new to the ska scene, it would be a shame for you not to buy this album first and foremost before any others. Every song is a definate listen and though it takes time for some people to hook onto them, it will be definately worth the time and effort to listen to this whole cd. Even the shoutout track at the end is great! This album is the soul of Bradley and it shows the struggles he dealt with, and the heart and soul he poured into getting his band off the ground and into history.

Best Sublime Album
This Sublime album started it all! It has some cool old school stuff with ska/reggae and actually not obnoxious punk rock on it. Two thumbs up,i love it ... Read more

Amazon.com essential recording

An appreciable leap forward in almost every fashion from the group's first trio of albums, The Unforgettable Fire is its first with the production team of Brian Eno and Daniel Lanois. And while they take a strong hand in wrestling U2's music out of the mainstream and into a more individualistic area, it's the songs themselves that demand a more subtle approach. Moody gems such as "A Sort of Homecoming" and the entrancing "Bad" set the table for more explosive fare such as "Pride," "Wire," and the title track. This is the album that made U2 a career act, showing that their music could grow by leaps and bounds, even at the hand of another, without sacrificing its soul. --Daniel Durchholz ... Read more

Reviews (138)

U2's new sounds here lifted them to new heights
U2 in the 1980's evolved in a way that many bands don't , or won't - they matured in a questing, yearning sort of way and progressed from adolescent ingenues in 1979-80 (Boy era) to highly-skilled artisans and richly-experienced globetrotters before the decade was out. 1984's The Unforgettable Fire album was the midpoint of this process, where the band tried more experimental soundscapes and semi-obscure imagery than before. True, they had often included half-realised ideas on previous LP's, but here they mixed "ambient sounds" in with unusual , passionate rockers that did not conform to the usual hit single style of many of their 80's chart rivals. The obvious high point of this set is Pride. I will never forget seeing the B&W video of this on a TV pop countdown in October 1984 when I was fourteen- my first knowledge of U2 - and being struck by the burning intensity of this song. It remains one of my top 20 all-time favourite songs. The other fantastic song is Bad, which evokes struggle, adversity and pain , but which is a song of rare beauty. A Sort Of Homecoming is a song I also love- it has taken many listens to fully appreciate this passionate tune. I believe MLK , though more a quiet, elegiac chorus than a "song" as such, is a restful companion piece to Pride (they both pay respect to the late Dr. Martin Luther King jr).The title tune is also very fine indeed. The remaining tracks are more experimental pieces. Wire is more uptempo and interesting.

The Unforgettable Fire still sounds excellent today, and I do not believe this music will date. Highly Recommended!!

Setting the Stage from the Broken Castles in Ireland
i was five or six when i heard this album from my father's vinyl collection. at that age, you are easily drawn into anything that makes sounds (usually). for me, the unforgettable fire is an album that built on sounds as well as songs. but more than that... it has atmosphere.

there is of course the trademark songs: "pride (in the name of love)" is great (except i personally find it too overplayed) and the title track is heart wrenching (especially when i found out later that it was inspired by an art exhibit of paintings from survivors of hiroshima). "bad" is also great as well. not there's the issue of the so-called "filler" songs.

the rest of the songs provide a buttress for the major songs. "a sort of homecoming" is atmospheric and poetic (like early Joyce... chamber music i'm thinking). "wire" is intense, angry and probably an early precursor to "until the end of the world" thematically. "promenade" is airy and idyllic. "4th of july" is airy and bleak (reminds me a lot of godspeed you black emperor in terms of atmospherics and a connection of apocalyptic ends). "indian summer sky" is similar to "a sort of homecoming." "elvis presley and america" - even if the lyrics are difficult to depicher (bono was under stress and strain becoming up with lyrics) - is an ambient piece that uses effectively a drum set (it's "a sort of homecoming" played at half-speed). then "mlk" is a great closer and one of the best tributary songs i've heard (non-cliché, simple, haunting and appropriate).

it is not an album for everyone. it is an album that enjoys creating atmosphere and whole complex universes upon listening as oppose to have something passively to listen to or to sing to every song. i like this album both then and now. and yes i really believe this sets the stage for their future endeavours.

Their Best Album
I just want to concur with the reviewer below. This is their best period and best album. The Amazon.com reviewer that said 4th of July and Elvis Presley and America were bad songs obviously did not listen to those songs to completion. The thing about Presley's melody is that it is understated. The beauty of the melody is brought out by Edge's guitar work at times. It's far from a bad song and maybe my favorite on "Fire". U2 never sounded better. Enjoy the whole album!

Most unique and easy to listen to U2 CD.
Most of the songs on this recording still have passion and deep meaning, yet the signature U2 sound of early days is left behind. I enjoy the departure from the anthems and marches we have gotten used to in the past. The Eno influence is noticeable and provides a new direction for the band. Different melodies are experimented with and work very well.

Unforgettable Indeed
In their offtime between the 'War Tour' and the recording of "The Unforgettable Fire", U2 saw an exhibit in Japan about Hiroshima, which subsequently led to many of the ideas and images throughout this album. For this album, U2 let go of producer Steve Lillywhite, who had been at the helm of the group's first three records, and hired duo Brian Eno and Daniel Lanois(pronounced Len-Wa), a move that would pay off in more ways than U2 ever could have imagined when they made it. Eno and Lanios created a much more polished, atmospheric sound for and with the band, and it was quite apparent right from the opening chords of the record. To quote bassist Adam Clayton, on the transition between the end of the previous tour and this record, "It was either the end of something, or the beginning of something else...and The Unforgettable Fire was that new beginning".

The castle on the record's cover(NOT, contrary to popular belief, Slane Castle) is very indicitive of the relaxed and wintry feel of this record. It's very quiet yet very loud at the same time. Highlights include anthem classic "Pride(In The Name Of Love)", the title track(which also happens to be one of the more orchestral tracks in U2's catalog), "The Unforgettable Fire", live classic "Bad", the opener, "A Sort Of Homecoming", "Indian Summer Sky", and the closer, "MLK", which is a rather comforting yet heartbreaking song about death(MLK's in particular). This is a great and even magical record in its own right, it went perhaps deeper musically, it was perhaps more sophisticated, than anything U2 had done before it, U2's second masterpiece if you ask me, yet it is still only a prelude, by most standards, to what comes next. ... Read more