Amazon.com

Mercury Rev’s sixth album Secret Migration is a high flying psychedelic concept record filled with paeans to Mother Nature. Singer Jonathan Donahue has never been so in touch with his inner hobbit as he is here. Dave Fridmann remains the band’s producer, which is excellent as he’s the most interesting part of the band, and a great deal of the reason that the band’s best album, ‘98’s Deserter’s Songs, is as good as it is. M. Rev has never been a wildly original band--they’ve been aesthetically joined-at-the-hip with the Flaming Lips for much of their career, and "Diamonds" almost sounds like a parody of Wayne Coyne and crew. But there’s something beguiling about the band, a childlike simplicity that runs through their modern-day prog anthems. On "My Love," Donahue sings "Ain’t it amazing when the seasons begin to change/Someone behind the scenes just seems pull some strings," and as daft as that sounds, well, he’s right! As ecological stoner anthems go, these are righteous.--Mike McGonigal ... Read more

Reviews (5)

The Perfect Evolution
Six albums into their career and Buffalo, NY's Mercury Rev sound exactly like a perfect symphonic art rock band should.

The Secret Migration starts out perfectly with "Secret For A Song" -Dreamy Vocals, haunting piano, spacey guitar and great bass playing make this the standout cut on the record.It doesn't take long though before another great track appears #2 "Across Yer Ocean" is pushed by another great bass line and a very confident vocal.And while the lyrics can be quite "dreamy & fantasy-like" the vocal delivery makes it real easy to buy into them.

Other stand-out cuts include "Black Forest", "Vermillion", "Arise" & "In A Funny Way" the lead track which is bound to end up on a television commercial in the very near future, if it hasn't already.

Over the past several years Mercury Rev have been lumped into the Dave Fridmann world of alternative dream pop along with The Flaming Lips & Sparklehorse, all great bands.IMO, "The Secret Migration" is now the standard for all those other bands.

Lush, dreamy, epic, grandoise and at times veering towards prog, this isn't your older brother's Mercury Rev.And while I've liked just about all of Mercury Rev's works, this new sound- more fleshed out and slightly more progressive is their best yet.

A Summer Night's Masterpiece
For reasons unclear to me, Mercury Rev have always been far bigger in the UK than here. Their new one is a lush, richly produced slow-burner that reminds me of the Flaming Lips with better singing and less conceptual lyrics. The songs, nearly all of which are exquisite, sound like they originated on a vintage piano with the echo pedal held down. The other analog and digital instruments augment the spacey, dreamy, overall effect. In sum, the Secret Migration is just too good to remain a secret.

Unpredictable approach to latent beauty
I have to start by saying that any comparison between The Secret Migration and Mercury Rev's two previous albums is useless: While the fantastic tone of the lyrics and the beauty of the musical composition remains, this album corresponds to a different stage in a developing process that Jonathan has built over the years. If we see him as the narrator of a fable, we would agree that he portrays the joy for the mere existence of a journey that might lead him to the happy ending. The claustrophobic sense of despair and loss from "Deserter's songs" and "All is dream" has given place to a brighter mood surrounded with allusions of apologetical fantasy (Vermillion) and even optimism (Moving on) and hope (Arise). It does take, however, some time to get used to this little masterpiece presented as it is: a conjunction of sparks of light and dots of shadows, but in the end shinning with a subtle warmth through melancholy pianos and alien guitar riffs. It is more than we can ask for a secret migration.

Different kind of album, but still as excellent as always
I have been seriously listening to Mercury Rev since "Yerself Is Steam", and I enjoy the direction this band has taken.They started to gel with "Deserter's Songs", a highly evocative album of soundscapes, often bleak yet still hopeful."All Is Dream" brought a more lush sound, characterized by the earlier open spaces in the music becoming filled in somewhat, and "The Secret Migration" continues in this direction.I like the quirkiness of their earlier material, but this band is good even when they aren't as quirky.

"The Secret Migration" doesn't sound as psychedelic to my ears as Mercury Rev's earlier albums.While there are certainly some trippy passages in which a listener can find themselves dreaming, these songs should be accessible to a fairly wide range of tastes.Jonathan Donahue's vocals are delicate, sweet and heartfelt, and the production and arrangements are exquisite.Some of the songs, particularly "My Love", and "Moving On" have a timeless quality.

This is music that should be taken on its own merits and not compared with previous Mercury Rev albums.If one can get past the differences between this effort and earlier efforts by Mercury Rev, the high quality of this musical experience will transport the listener to a place of optimism, magic and light.For me, this album evokes more emotions than most other CDs I own.It is a mature, fully realized work.

I highly recommend this one, whether or not you are a Mercury Rev fan.In times like these, I think we all need good doses of magic, nature and sunshine.

Passable and secret
It takes awhile to figure out just what is wrong with "Secret Migration," the latest by lush-prog rock band Mercury Rev. But eventually it becomes obvious what the problem is: It's not grounded enough. Their sleepy, lush latest album is truly lovely, in the vein of their previous "All Is Dream," but their songwriting goes off into fantasyland too often.

The past releases by Mercury Rev have been on par with stuff like the Flaming Lips and Sparklehorse -- brilliant, otherworldly and deeply yearning. Here, the fairy-tale motif takes over, with that edge of orchestral pop and psychedelic rock. I suppose you could call it Ye Olde Renaissance Rock'n'Rolle, with all those mentions of "morning stars," white horses, sinister forests, silver oceans and fairy rides.

Musically, the band is still in solid form -- lots of epic soundscapes and rich instrumentation. Sure, they have wandered all over the musical palette, but they never fail to sound lush and interesting, with plenty of deep synth washed over slow, gritty melodies. The one flaw is that they lost that folksy edge -- especially the bowed saws -- that characterized their sound in "Deserter's Songs."

It starts off with a series of very grand, rich songs, which are sent up in the air by piano and organ, and only rooted by some very solid basslines. But with "Vermillion," the soft piano revs up into a faster tempo that carries over until the final round of songs, which are airy but surprisingly powerful. Synths and soft bass are what carry the songs into that pretty, if less intense, sound. Musically, it's lovely -- some excellent work here.

The songwriting is the weakest point. A few like "In The Wilderness" have the spare, grounded sound, but often the lyrics are dressed up in Ye Olde Rock'n'Rolle descriptions: "See how the rain, captured by the leaves,/Shimmers and falls, and lives on in diamond balls,/Like a necklace hung, over limb and branch,/For me to show to you, like gifts." It's extremely pretty, but it doesn't have that fearful, yearning note that their earlier albums had.

Mercury Rev still sounds excellent in "Secret Migration," but it's just a little too fairy-tale-ish for its own good. Were they to ride dragonflies less often, they would sound close to perfect. ... Read more

Amazon.com

The collaboration of studio whiz Geoff Barrow and singer Beth Gibbons, Dummy was made at the same time as a short film noir called "To Kill a Dead Man," and the same approach--gloomy, tormented, and wildly melodramatic--permeates the album. "Sour Times" (the hit in which Gibbons cries, again and again, "Nobody loves me, it's true") and the more cryptic "Glory Box" are the linchpins of the album, defining its sound: dark flashes of old soul and film music, dehumanized electronic bleeps, Gibbons emoting like she's consumed by shame, and a bass-and-beat pulse derived from the slow bump and grind of the Bristol scene that spawned Barrow's old collaborators, Massive Attack. --Douglas Wolk ... Read more

Reviews (216)

If you like Hip Hop, then you'll like the Trip Hop genre
The scenario: It's 1994 and I'm stationed overseas in the military and a friend of mine says to me "Yo man, listen to this group from England called Portishead." "Since you're a hip hop fan, you'll probably like this stuff." He pops it into the stereo and plays "Strangers". Instantly the sampled breakbeat and lingering bassline overwelms me. It was the first time I heard of such a thing as "Trip Hop". Since I was already a fan of rap music and breakbeats, I became infatuated with Portishead from that point forward. This is perfect head noddin' music while your're driving down the road on a summer evening, winding down after a hard day's work, having candlelight dinner with your girlfriend, or just coming home from a club/rave. Beth Gibbons's vocals compliment the beats with perfection. This music isn't meant to get you worked up and ready for battle like a Mobb Deep or DMX album. It's downtempo/chillout music with a blend of hip hop beats, vocals, and dark sometimes eerie melodies. Would I recommend it? Of course I would.

No "Dummy"
Trip-hop was never so dark and magnificently despairing as it is here. Portishead draws listeners into a velvety abyss in debut album "Dummy," a glorious blend of jazzy instrumentation, subtle electronica, and Beth Gibbons' sweet moaning vocals.

"Mysterons" opens with an chilly, ghostly air, followed by the exotic despair of "Sour Times" and the jazzy, eerie "Strangers" and "Wandering Star." Portishead delves into pure trip-hop in the pulsing "It Could Be Sweet" and "Numb," then synthesizes strings and stately organ in "It's A Fire," before wrapping things up with the steady lament "Glory Box," with its undulating riffs.

A noir feel permeates "Dummy," giving a grounded feel to the spacier edges of the music. It's easy to imagine trenchcoats, smoky offices, rainy days and femme fatales set to this music. It's soaked in melancholy and dreamy depression, set to music.

The blend of lounge music and trip-hop could have been awkward, but it blends seamlessly. The Rhodes and magnificent Hammond organ are the core of the silky unearthly sound, adding an epic feel to many of the songs. At the same time, the flexible guitar riffs and jazzy percussion bring it down to earth. And the Hammond does double-time as a jazz instrument as well, even when paired with strings.

Beth Gibbons's vocals are outstanding: high and clear and sweet, except in "Strangers," where she sounds like her voice is being filtered through an old radio. She pours plenty of emotion into the despairing lyrics. The songs themselves are simple and evocative, with loneliness and regret dripping from them. ("The salvation I desire/Keeps getting me down")

Jazz and trip-hop blend seamlessly into the beautiful haunting whole that is "Dummy." A beautiful experience, and one of the best albums of the 1990s.

10 years old and still hasn't aged a day.
The sublime, noir beauty of Portishead's debut hasn't been replicated since its '94 release. No other British trip-hop act comes close, save maybe Massive Attack (and I find their work to be somewhat uneven over the course of their four albums--Mezzanine is genius, Blue Lines is good but dated, and Protection and 100th Window are merely so-so). Vocalist Beth Gibbons and studio artist Geoff Barrow really tapped into something brilliant here.

While most trip-hop strives to sound dark and downtempo, Dummy is the only trip-hop album that feels like it could be incorporated seamlessly into a '40s noir flick while sounding perfectly distinctive on its own. There are traces of jazz, hip-hop scratches and beats, acoustic guitar flourishes, chiming percussion, and some clever, low-key sampling. Sometimes the crackly sounds and pops of an old 45 can be heard. It establishes a perfect atmosphere, one in which smoking a filterless cigarette and wearing a trenchcoat would not be out of place; and I haven't even begun to describe the vocals yet.

Beth Gibbons' melancholic wail just oozes soul out of every pore; on the hit single, the James Bond-esque Sour Times her sorrowful voice runs a chill up my spine. In other songs like Glory Box, she recalls the stylings of Billy Holiday, and on It Could Be Sweet her smoky, low-key singing is downright sexy. Overall, Gibbons is one of the finest voices in trip-hop, up there with contemporaries Elizabeth Fraser and Tracy Thorn.

There's not a single out-of-place track here, just an excellent unified sense of moodiness and sorrow, not feeling too bleak but not insincere either. If you've come looking for the perfect music for rolling down the sparsely populated city streets in the rain at 3 am--you've just found it. Dummy is absolutely essential.

A timeless masterpiece
There are few albums in this world that I have ever regretted selling, one of them is Portishead's amazing debut album "Dummy". I sold my copy a couple of years ago because I was short on cash but since then I had come to regret selling my copy of this stellar masterpiece in downtempo music. I was fortunate to find a used copy at my favorite record store today so I bought it. Along with Massive Attack, Portishead has helped to forge a new sub-genre of music in the dance genre most people know as 'trip hop' music. "Dummy" personifies the laid back grooves that fuses hip hop beats, jazz melodies, and sensual female vocals that helped influenced later trip hop acts like Olive, Zero 7, and Supreme Beings of Leisure. "Dummy" definitely was ahead of its time when it came out ten years ago. Beth Gibbons' plaintive wail and the laid back grooves was nothing that I heard of at the time. It was the break through single "Sour Times" that attracted me to Portishead. I could imagine hearing it play in the background in a James Bond film. It had that sensuous, mysterious sound that would have been ideal for a James Bond film. One of my favorite songs on the album is the ballad "Roads". It is one of the most beautiful songs that Portishead had ever created. I also love the opening track "Mysterons". I am so glad that I bought "Dummy" again. Next time I will know better than to sell it. It is one of those albums that should not be sold. One more thing, contrary to what a reviewer wrote, Beth Gibbons has only released one solo album as herself. The artist known as "Poe" is a completely different artist and is not Beth Gibbons herself. Poe is an American artist while Beth is from England.

Give Me A Reason To Hate This
This album is very interesting. If you've heard it before, then you know what I mean. The songs are pretty long but that really shouldn't be a factor in anything, because the songs are classics.

1.Mysterons-There is this one part in the song (I think it's after the chorus) and it's just this really cool instrumental. Onto the song, I think they were smart to have this song as the opener.

2. Sour Times- "Nobody loves meeeeeee, it's true." wails Beth. This song is a very good song, and, with msot of their songs, there are some creepy instrumentals.

3. Strangers- Not a personal favorite of mine, but I think that this song is an excellent song in terms of jsut vocals.

4. It Could Be Sweet- A rather unforgettable song, with the singer going "I don't wanna loooose what we had...."

5.Wandering Star- This is a very good song, one of my favorites. I don't know exactly why, but it's just a good song.

6.It's A Fire- Not as good as the upcoming song, but it's still a pretty good song...

7. Numb- Probably my favorite song. There is just something eerie about how she goes "Still feeling lonely, feeling so unholy"

8.Roads- This song is a little slower (well none of the songs are exactly fast paced, but this is almsot like a "ballad", if there is such a thing in Portishead Trip Hop.

9.Pedestal- I can't seem to make it through this song, it just seems a little too boring.

10. Biscuit-Good, but you can tell that this album is almsot over.

11. Glory Box- I like it, but it doesn't seem to be an appropriate closing song, but maybe it's just me. ... Read more

Amazon.com

Though one of rock's most influential figures, David Bowie's accomplishments are pocked by some distinct ironies. His willful efforts at being a musical and visual chameleon spurred triumphs in genres as diverse as folk, glam, new wave, and electronica. Given the dizzying range and success of his '70s incarnations--from Ziggy to the Thin White Duke to the gaunt, goth-cypher of Low and Heroes--he seemed the artist most well-equipped to weather the changing tides of taste and trend, yet saw his career essentially shrink to cult status after scoring his biggest triumphs when he reshaped the soulless, dance-oriented club music of the early '80s into his own image. This 20-track compilation does little to address the Chinese puzzle that has been Bowie's post-'85 career, but it does deliver an artistically dizzying slate of hits as it skips from one early peak to the next, from evocative cabaret ("Space Oddity," "Changes") through muscular glam-rock ("Suffragette City," "The Jean Genie") to R&B ("Young Americans," "Fame") and post-punk flirtations ("Ashes to Ashes," "Fashion") to the dance-club hits ("Let's Dance," "China Girl," "Modern Love") and '80s one-off duets ("Under Pressure" with Queen, "Dancing in the Streets" with Mick Jagger) that essentially marked the end of his superstar reign. Whole eras and at least one classic '70s album (Low) go completely unaddressed, but all of Bowie's signature hits are here, as well as Earthling's powerful, underappreciated "I'm Afraid of Americans." --Jerry McCulley ... Read more

Reviews (55)

Excellent compilation for an excellent musical artist
For over three decades now, David Bowie has been releasing music. And his music is nothing short of excellent. A number of popular artists have named him as one of their major influences, and with good reason. Classic/Alternative rock artists don't get a whole lot better than this. In late 2002, a retrospective of Bowie's career was released, in both one disc and two disc form. Read on for more information.

First of all, here's the tracklist for the two disc version:

Disc: 1
1. Space Oddity
2. The Man Who Sold The World
3. Changes
4. Life On Mars?
5. Moonage Daydream
6. Suffragette City
7. Ziggy Stardust
8. All The Young Dudes
9. The Jean Genie
10. Panic In Detroit
11. Rebel, Rebel
12. Diamond Dogs
13. Young Americans
14. Fame
15. Golden Years
16. TVC15
17. Sound and Vision
18. Heroes
19. D.J.

Disc: 2
1. Ashes To Ashes
2. Fashion
3. Scary Monsters (And Super Creeps)
4. Under Pressure
5. Cat People (Putting Out Fire)
6. Let's Dance
7. China Girl
8. Modern Love
9. Blue Jean
10. This is Not America
11. Dancing In The Streets
12. Absolute Beginners
13. Time Will Crawl
14. Under The God
15. Jump They Say
16. The Heart's Filthy Lesson
17. I'm Afraid Of Americans
18. Thursday's Child
19. Slow Burn

As you can see, you'll get all of Bowie's biggest hits on here. (Space Oddity, Changes, Under Pressure, Let's Dance, China Girl, Fame, and the fairly recent hit I'm Afraid Of Americans.) Perhaps one of the finest things about these songs is the musicians who co-wrote or made guest appearances on them. Under Pressure was a collaboration with Queen, Let's Dance and China Girl feature the late Stevie Ray Vaughan on guitar, Fame was co-written by the late John Lennon, and the cover of Dancing In The Street is a duet with Rolling Stones vocalist Mick Jagger. Twenty tracks of pure excellence. Just about every excellent track that was omitted from the one disc version of this compilation can be found here. These include Cat People, The Man Who Sold The World (later covered by Nirvana) and All The Young Dudes (later covered by Bruce Dickinson.) But even though this is many times better than its one disc counterpart, I have a major complaint - NO TRACKS FROM PINUPS! Bowie's covers of the Who's I Can't Explain and the Easy Beats Friday On My Mind must be heard to be appreciated, and sadly, they aren't here. This makes me mad, because I Can't Explain WILL fit on the first disc.

David Bowie is an excellent musician, but as I stressed above, make extra sure you are buying this two disc version so you can get everything the one disc version omits. The two versions have identical covers, so be sure to check the tracklist on the back to be sure you're getting this one.

Bowie for Absolute Beginners? And everyone else!
I find it very depressing that Amazon still hasn't put up the tracklisting for this album (the double CD version "Best Of Bowie" for America) so I guess I'm gonna have to do it.

Disc 1
1. Space Oddity 2. The Man Who Sold The World 3. Changes 4. Life On Mars? 5. Moonage Daydream 6. Suffragette City 7. Ziggy Stardust 8. All The Young Dudes 9, The Jean Genie 10. Panic In Detroit 11. Rebel, Rebel 12. Diamond Dogs 13. Young Americans 14. Fame 15. Golden Years 16. TVC15 17. Sound and Vision 18. "Heroes" 19. D.J.
Disc 2
1.Ashes To Ashes 2. Fashion 3. Scary Monsters (And Super Creeps) 4. Under Pressure 5. Cat People (Putting Out Fire) 6. Let's Dance 7. China Girl 8. Modern Love 9. Blue Jean 10. This is Not America 11. Dancing In The Streets 12. Absolute Beginners 13. Time Will Crawl 14. Under The God 15. Jump They Say 16. The Heart's Filthy Lesson 17. I'm Afraid Of Americans 18. Thursday's Child 19. Slow Burn

This listing is very unique because it includes the big pop hits (the poppy R&B meets rock guitar "Let's Dance"), culturally significant songs (revolutionary singer-songwriter moments like "Changes" and "All The Young Dudes") and excellent singles that didn't get the attention they deserved the first time (the industrial rocker "Heart's Filthy Lesson"). The fact that "Best Of Bowie" takes songs form nearly every Bowie studio album (except for the cover packed "Pin Ups" and "Buddha Of Suburbia", which in all fairness was a soundtrack) shows all the levels that the man works on musically. The seventies are where Bowie shines with everything from the edgy alien hard rock of "Ziggy Stardust" to the glam rock perfection of "Rebel, Rebel". "Diamond Dogs" (only live track and the longest in length at over 6 minutes) should have been a shorter track, especially since they cut down the stellar cynical lyric with an R&B beat of "Young Americans" to a single edit. The Berlin tracks are a great way to end the first disc. "Low" is represented well by the dancy "Sound And Vision" while "Heroes" is tragic and wonderful. Then there is the eighties heyday from disco flavored new wave of "Fashion" to horn blasting "Modern Love" (which I viewed as a sardonic joke about yuppie culture, right?) to that poppy Motown cover "Dancing In The Streets" (with Mick Jagger adding his swagger). Then there was the nineties peak of creativity of the bleeping drum machine pop "Jump They Say" to the moody introspective AC of "Thursday's Child" to the techno rock dance of "I'm Afraid Of Americans" (the Trent mix) and closing with the passionate soul rock of "Soul Burn".

The unfortunate thing is that it misses with some track placement. I don't understand why "Time Will Crawl" represents "Never Let Me Down" and the obvious not "Day In, Day Out". Also, some tracks take getting used to like the collaboration with the Pat Methany Group with the world music with a dance groove "This is Not America". And now I understand why people dislike Tin Machine with the c-rocker blah bombast of "Under The God", but it shows an interesting side of Bowie. These very few questionable tracks (which I can live with) don't change my overall impression of the set being very strong. Slight omissions (why not "Rock And Roll Suicide" from "Ziggy Stardust..."?) and edits (or non-edits in some cases) doesn't change the fact that this album is filled with some of the greatest transformations from the rock chameleon that Bowie is. He has rocked us in a variety of ways and this album is needed for those who have adored him for years and is superb for those just starting out. Keep in mind that there are about 22 verisons of this CD, most single discs. This is the American double CD verison.

Skip this one... and go to the good records instead...
Bowie probably just had three our four phases in his carrer. The first was up to Stardust and Diamond Dogs (Hunky, The Man Who Sold Space Oddity, can be included into that phase), made up of nice songs and catchy ballads, interspersed with some elegantyl rocking tunes. Then what?... some kind of re-orientation release, Young Americans, doesn't sound or taste like anything in particular, and you wouldn't be worse off if you just forgot all about this record.

And then came an interesting phases in his career, in my view the most interesting one, where he consecutively released a stack of good records, starting with Station To Station, followed by Low and Heroes. Lodger is patchy at most, and doesn't taste like anything peculiar. He then somehow finishes off this great phase of his career with Scary Monsters, a nice reverence and look-back at his past years and early career. And what of Let's Dance, you may ask? Mhh... trendy but a bit in-between... you could well place it in this phase, although it already has a definitively different look-out on things. Let's Dance is definitively already an eighties album, but offers a rather good transition to the preceding decade's collection of works.

What then came, the third and last phase, is altogether different, some good things, and some things not that good. David definitively became an artistic Lodger, but who cares, he had already delivered his best (the first or second phases of his career, depending on your taste.)

All in all, if you want to know the man, I'd recommend you just skip this Best of collection and just get the Station, Low, Heroes albums, and maybe also the Monsters and Let's Dance releases. These were definitely his best and most mature albums. The rest is at times interesting but, in the end, just fills up space...

Mesmerizing Bowie
This is a great album. David Bowie himself might be a little odd. However, I've all ways liked his taste of music.
From Space Oddity to Ziggy Stardust. You'll get allot of good use from this set.
I have several of his CD's. However, this is one of my favorites. It has allot of his good songs on it.
There are just a tun of great choices hear.

Disc: 1

1. Space Oddity
2. The Man Who Sold The World
3. Changes
4. Life On Mars?
5. Moonage Daydream
6. Suffragette City    

7. Ziggy Stardust    
8. All The Young Dudes    
9. The Jean Genie    

10. Panic In Detroit    
11. Rebel, Rebel    
12. Diamond Dogs    
13. Young Americans    
14. Fame    
15. Golden Years    
16. TVC15    
17. Sound and Vision    
18. Heroes    
19. D.J.    
Disc: 2

1. Ashes To Ashes    
2. Fashion    
3. Scary Monsters (And Super Creeps)    
4. Under Pressure    
5. Cat People (Putting Out Fire)    
6. Let's Dance    
7. China Girl    
8. Modern Love    

great!
i bought this cd not know many songs from bowie, just wantin a cd that had some good songs. i never knew he did t hat "lets dance" song, which is now constantly stuck in my head. ... Read more

Amazon.com

It's not that Garbage is doing anything particularly new. At times, singer Shirley Manson borrows Chrissie Hynde's phrasing, Patti Smith's rock beat poetry, and Brian Wilson's chorus from "Don't Worry Baby." But producer Butch Vig provides a modern sheen to Version 2.0 that makes it sound fresh and distinctly modern. Purists may blanch--the album is a hybrid of rock guitars, dance rhythms, and pop choruses--but songs such as "I Think I'm Paranoid" (a rip of Elastica) and "The Trick Is to Keep Breathing" (Depeche Mode, without the chill) sound great no matter what they're called. --Keith Moerer ... Read more

Reviews (504)

What a pleasant addiction...
Having recieved my first Garbage album from a friend, I fell in love with an album who's name evaded me as did the formal song titles. I did some research to find out that I had been passed on Version 2.0, Garbage's wildly electric and delectably addictive second album. Shirley Manson's sultry vocals joined with the heart pumping rock-techno-dance fusion make this a must have CD. A well-rounded and commendable second album, Version 2.0 harbors a wide range of edgy styles, from the upbeat, catchy Temptation Waits, Special and When I Grow Up, which give us a more pop look at the album, we also find songs like Hammering In My Head, and Sleep Together which show us a provocative, sexy flash of stylistic gnius on Garbage's part. The heavy ballad Medication is every angsty teen's super anthem, and You Look So Fine and The Trick is To Keep Breathing present a sort of yearning feeling. Just what the doctor ordered, I say. Garbage's Version 2.0 has it all.

Garbage needs more recognition in the mainstream
This is possibly the best Alternative-rock album of 1998, althugh it did not get as much recognition of it's predisesors. It came out the day after The Smashing Pumpkins latest effort "Adore" (which is also an excellent album) which could have caused somewhat of race for record sales since they are equaly matched groups that attract the same gener of fans. Being nominated for Grammys and MTV music video awards was an excellent achievement and proves Garbage's staying point with their fans."Push It" (their frequently nominated high quality special affects video and 1st single), "I Think I'm Paranoid" (featured in the "Mod Squad" Sndtrk. and extemely sexy video), "Special" (most popular top 40 hit and TRL video), and finally "When I Grow Up" (featured on the "Big Daddy" Sndtrk. and latest video) have been the released singles and have so far came out with a somewhat satisfying approval by today's mainstream teen America but even more so with persons ages 20-30. If you really liked Garbage's 1st self titled album but your ready for some really deep techno inspired beats and soothing sexy vocals flowing from Shirley's mouth, you should really go out and by this album. DO IT NOW!

Garbage does what no other 90's bands could do
Garbage's self-titled debut was a critically hailed triumph. It was a combination of sleek neo-feminism, gothic undertones, and alt-pop rhythms. Vocalist Shirley Manson could do it all -- she was Debbie Harry of Blondie, Dolores O'Riordan of the Cranberries, she was Chrissy Hynde of the Pretenders -- but she was still a leather-clad skanking flirt with a mean growl and a playful attitude. Her familiar yet simultaneously unique personality helped usher in the new era of alt-rock that dominated the late 90s. Despite Manson's in-your-face affectations, their first effort, while remarkable and refreshing, wasn't altogether groundbreaking. After nearly 3 years of intense recording and polishing, Garbage returned with a newer, glossier, and more catty version of their former selves.

Sidelining -- although not totally adbandoning -- their grittier roots was a shrewd choice in the 90s, when a long attention span was hard to find. Garbage is still in all of their glory here -- the insane guitar riffs and acidic lyrics are intact. Here, it's just done better. They take the guitar riffs and skewer them until they're nearly indistinguishable, they take Manson's growl and strecth it out to elastic proportions. Such intense experimentation is usually suicidal -- here, it's more like a steroid shot to an ailing genre. Perhaps the most effective revelation on 2.0 was the full-on implementation of technopop. It's everywhere here -- in between the beats of the punk chorus in "I Think I'm Paranoid," backing the ingeniously distorted guitars of "Push It." Garbage didn't only write the book on crossover alternative pop/rock, they have it memorized and, for all intents and purposes, copywritten.

Garbage is sugared up on romps like "When I Grow Up" and the double-entendre laden "Hammering In My Head" -- they're echoic and icily profound on "The Trick Is To Keep Breathing" and "You Look So Fine" -- they even manage to combine caustic wit and catty come-on with "Sleep Together." Manson and Co. know no limitations when it comes to musical stylings, and this sort of unpredictability is what rock was meant to sound like.

Genius...oh yes
To think that, at first, I didn't particularly care for this one...but one day, the brilliance struck me, and this has become one of my favourite albums ever. I can always find solace in its statements, its insecurities, and its loves.

Each song is done in a sort of techno-centered spirit, but is filled with a strong sense of passion...often vitriolic but always gripping.

Some people think they were influenced by the equally amazing band Curve, but Garbage has always made music distinctly in their own spirit.

Songs like "Temptation Waits", "Wicked Ways", "Hammering In My Head", and "When I Grow Up" are only the tip of the ice berg for this spectacular feat.

If you don't have this, I feel sorry for you...

But remember...you can always change that ;)

Version 2.0
Version 2.0~ Garbage is just irreverant as the first album. However, the songs are better and a bit varied compared to the first album. Shirley sounds better on this album. The lyrics are a tad better yet nothing earth shattering. ... Read more

Amazon.com Music Reviews

Blessed with the voice of a wispy angel, Elliott Smith creates sad little pop songs, which, like the work of Nick Drake (to whom he's been compared) threaten to disappear into the night air. Several of the tracks here were featured in Gus Van Zant's movie Good Will Hunting, and they're among the album's best (though "Miss Misery," nominated for an Academy Award is only available on the soundtrack album). "Angeles" and "Say Yes" are bittersweet laments that feature Smith's idiosyncratic guitar picking, which is well served by the album's decidedly low-fi production. --Rob O'Connor ... Read more

Reviews (96)

Where Have I Been?
I have to thank Spin magazine for my purchase of Elliot Smith's Either/Or. I saw the album located as one of the best albums of the 90s and decided to go purchase the album. SPIN WAS COMPLETELY WRONG. This album should have been way farther up than the rating it got. Where have I been? How come I had never heard of Elliot Smith before this? I love every song on this album. Beautiful melodies and flowing intelligent lyrics - Either/Or is one of the most haunting and elegant albums I have ever heard. Speed Trials is glorious and so is Alameda. Ballad of Big Nothing is without a doubt the highlight of the album. Between the Bars, Pictures of Me, No Name No.5, Rose Parade, Punch and Judy, Cupid's Trick, 2:45 AM - all GREAT songs. Say Yes and Angeles are other highlights. Elliot Smith has a ethereal voice and combined with his guitar- creates an experience that can only be heard. I haven't heard XO or his self-titled. But from some people I've talked to - they say XO or the self-titled is better. How can you top this? I can't wait to find out.

elliott smith's best album!
i didn't know a whole lot of background information about elliott smith when i first heard his music, and i still haven't seen good will hunting, but after a friend introduced me to his incredible music he has become my favorite musician! his voice is just plain beautiful! i can't describe it any other way.

either/or was the first cd i heard by elliott smith, and is probably my favorite out of all the elliott smith albums. every song is pretty emotional and full of feeling. the tone is really mellow, and not abrasive like most of the music of today. i personally love "depressing" emotional music, and it makes me feel good. either/or is perfectly blended between sad and beautiful music. this is one of the few albums that i can listen to the whole cd straight through. my personal favorite tracks are: "between the bars", "angeles", "2:45", "speed trials", no name no. 5", etc. i love every track!

this is somewhat sad music, but it doesn't really make you sad. i am really amazed that this truly gifted artist exists! really, this is beautiful music that everyone can appreciate!!!

Hauntingly Beautiful
Elliott Smith's music is so sincere and brutally honest that just him and his acoustic beat all those mainstream fishooks out there today. The acoustic fingerstyle does conjure up the ghost of Nick Drake. The album has great dual layered vocals on songs like Angeles and Between the Bars which are reminiscent of the best harmonies from Simon and Garfunkel. This truely is the work of a fine musician and will make a nice addition to your collection.

love, love, love this record.
i highly recommend this album if you like the honesty and passion of artists like john lennon, kurt cobain, or leonard cohen. you know what i'm talking about. elliot smith is one of the few that can touch me on such a deep level. this record has a sound of its own and it's truly haunting - even more so now that elliot is gone.

Own this now
I love this cd and have listened to it at least once every day since I bought it. One of those great albums you never forget. Everyone needs to own a copy of this. I dont think I oculd find one person who can honestly say they dont like it (people that do are just lying). ... Read more

Amazon.com

There's little risk of confusing Tom Waits with the gentle pop folk who have covered his songs--Rod Stewart, Sarah McLachlan, Everything But the Girl, just to name a few. That's because even though the eccentric songwriter is capable of summoning the most tender sentiments, his preferred method of delivery is through carnival melodies, crackpot instruments, and a bourbon-soaked bark. Real Gone continues the dark experimental streak of not just its predecessors like Alice and Blood Money, but the past 30 years. Yes, the percussion is sharper, the arrangements stranger, and the voice more ghost-like than ever, but at the center of all the chaos remains an uncanny storyteller--capable of ripping down governments ("Sins of My Father") and building up tears ("Day After Tomorrow"). --Aidin Vaziri ... Read more

Amazon.com essential recording

The last Nirvana collection recorded before the untimely death of Kurt Cobain, Unplugged caught many by surprise with its stripped down, neo-acoustic offerings with a bridled fury. When Cobain sings, "I swear I don't have a gun, I don't have a gun" with clenched teeth (instead of an open howl) and when the haunting strains of "About a Girl"--from their earliest LP--chills even with quieted guitars, you discover a new appreciation for the nuances of one of the greatest bands of recent times. Highlights include covers of three Meat Puppets tracks (featuring special guests Curt and Kris Kirkwood of that influential "college rock" band), the weepy cello on the Vaselines' "Jesus Doesn't Want Me for a Sunbeam," and their cover of David Bowie's "The Man Who Sold the World." --Lorry Fleming ... Read more

Reviews (320)

God, how i wish i could've been there...
This is one of the weridest albums i own, in a way. Nirvana, a band which set the whole grunge scene going, and arguably one of the best in the genre, decided to make a live unplugged show for MTV. Nirvana, you know. Fat distortions, atonal riffs, raging vocals, powerful shows. Nirvana.

That they did *THIS* good is a surprise, and should change more than one peoples' mind about the artistic merits of the band (and Kurt Cobain in particular). Forget what you thought of this Nirvana; the way they morphed their songs (and others too) into mellow accoustic tunes is remarkable, and against all odds, worked great. I mean, my dad, who can't stand 99.9% of grunge, loves this record. It's easy to listen, but not because the songs are cheezy, it's just the complete album is incredibly good.

From start to finish, it transports you first row to this (unique) performance. Like i said, the whole record is excellent, but tracks like "Plateau", "Oh me", "On a plain", "Jesus don't want me for a sunbeam", "Where did you sleep last night?", and "All apologies" are so deeply moving i prefer to listen them by myself, wearing headphones. I can only imagine, closing my eyes, what have it felt to be there.

This is hands down one of the best albums of the 90's, and easily one of the top 10 live recordings of all history. It's hard to say this things without sounding like a fanboy, but the truth is that it simply is. Whatever your musical cup-of-tea is, you deserve to give this record a listen. People argue about how much they like this album - i dare you find someone who doesn't.

Live albums don't get any better than this!
It's ironic how a band who is mainly known for rocking hard pulled something like this off- an UNPLUGGED record, to top it off, a live one at that. Kurt showcased his musical capabilities even further, and proved a versatility that changed people's perception of what Nirvana was all about. Listening to this CD or watching the accompanying TV special is most fans' most intimate encounter with the band we'll ever get. Not just the performance of the songs, but the dialogue in between the songs- Kurt may have been depressed in some aspects, but he still had a good heart, modesty, charisma, and a great sense of humour. Sadly, this was the last album recorded before his untimely death. Even people with a strict taste of music who normally wouldn't consider listening to Nirvana should be able to rethink things and make room to enjoy Nirvana Unplugged, because this is simply good music that transcends any genre. Acoustic interpretations of the following songs- a collection of Nirvana originals and covers were performed:

1. "About A Girl" From their debut record Bleach.
2. "Come As You Are" From their legendary sophomore release Nevermind. This version is outstanding, I think I may like it even more than the original!
3. "Jesus Doesn't Want Me For A Sunbeam" Nice pop-rock renendition of an old Christian folk song.
4. "The Man Who Sold The World" Cover of David Bowie song.
5. "Pennyroyal Tea" Taken from their final studio record "In Utero". This one sounds way less dark and not quite as extended as the studio version.
6. "Dumb" The studio version from In Utero was already acoustic-sounding so there is not much of a difference here. Still sounds great the second time around.
7. "Polly" My favourite Nevermind song next to "Come As You Are".
8. "On A Plain" Taken from Nevermind. What I didn't like about this unplugged version was that it somewhat defeated the purpose of why I love "On A Plain" so much- it rocks! Kurt still pulled it off and it sounded almost as pleasing.
9. "Something In The Way" A quiet, even darker-sounding version than the already melancholy-toned tune from Nevermind.
10. "Plateau" I love to sing along to this song; it's penned by another famous Kurt- Curt Kirkwood of the Meat Puppets.
11. "Oh Me" What do you know, another Meat Puppets cover! And there's more where that came from...
12. My favourite track on the whole record- a cover of the Meat Puppets' already-awesome hit "Lake Of Fire", which I cannot describe other than dyn-o-MITE! Only Nirvana can make even an acoustic recording ROCK!
13. "All Apologies" Performance of the In Utero hit, without a doubt the highest-rated song on this CD- it even replaced the original on the Nirvana hits compilation.
14. "Where Did You Sleep Last Night" Huddie Ledbetter-penned song; if I'm not mistaken I think it's an old Kentucky folk song, an unlikely encore.

NIRVANA
If u love nirvana u should check this band out all their influences include nirvana their name is cannibal garden their site is http://www.cannibalgarden.cjb.net/ you should spread the word around about them.

Wow!!!! I wish i could of seen this in person.
Ok Hi. my name is alyssa and i love nirvana. This is my favorite cd. I love how the acustic guitar is used instead of the normal electric guitar. Kurt Cobain's vocals fall nothing short of amazing. If u do get this or u already have this, then listen to the last song, "Where Did You Sleep Last Night", Kurts voice goes from sad, dreary, weak, then all the way to screaming. I can always feel his emotions every time i hear this album. Dave Grohl.....he is awesome on this cd. The drums are phenominal.Krist bass is sooo good too.well, i hope that u will be open minded when u listen to this. It definetly gives me the chills at how u can imagine yourself sitting in the audience, being captivated by this miraculous group.

Kurt Cobain is a musical genius.
Kurt Cobain is a legend.You know why?Because his lyrics,his music,his everything.This is musical perfection.Enough said just buy it. ... Read more

Album Details

Oasis Return with the First Single from their Long Awaited Album ‘don't Believe the Truth'. As Noel Gallahger Says, the Sound Approximates "The Soundtrack of Our Lives Doing the who on Skol in a Psychedelic City in the Sky (Or Something!)". 'lyla' is Backed by Two Non Album Tracks: 'eyeball Tickler' and 'won't Let You Down'. ... Read more

Reviews (13)

Great song but haven't I heard this same bashing before!
The more I listen to this song the more I like it. The b-sides are excellent and remind me of Oasis 1994. I don't understand why people want to constantly bash Oasis for ripping off riffs from other bands. Led Zeppelin, arguably the greatest rock band of all time, constantly ripped off riffs from Robert Johnson, example "Whole Lotta Love." This practice has been going on for the last forty years. The bottom line is that this is a good song.

lyla lyla lyla
ok..... although the song "lyla" has the feeling of street fighting man.... it is quite good, one of my oasis fav by now.

and the true reason to buy this single are the b-sides, wich are very good

eyeball tickler is a simple but amazing rock songs

wont let you down, after a few listenings you will love it: simple and direct lyrics and good sound... love it

oasis never left us, so i cant say its their return.... but
GREAT SINGLE, this songs blew my out my mind

HEYYYY LYLA!!!
I'm loving it! What a great single. The b sides go extremely well with it.

Don't listen to apple pie and tea
I bought the single 2 days ago and its great! I already heard the whole album and I think it's their best since WTSMG. The boys never left us, they've always been where they are now.

MMMAD FER IT!!!

Their worst song ever! If not the worst song ever!
What ever happened to Oasis.
While some say they lost it, what did they lose?
Maybe they lost the songs that made Definitley Maybe and Whats the story morning glory so huge and, madethem such a huge band when they first came out.

Adn following that were three albums between 1997 and 2002.
Be Here Now, Standing On the Shoulder of giants and Heathen Chemistry (which featured some nice come backs) were slated as being huge dissapointments, while I'm sure many sensible people could quite clearly see they were brilliant in a musical sense and although the songs did'nt match up to "Wonderwall" "Don't Look Back In Anger" in the like, they were all great albums.
Although Heathen Chemistry was a bit bland and over produced at times. It consisted of some of the first Oasis classic songs in a long time "The Hindu Times" "Little By Little" and "Stop Crying Your Heart Out" and the should of been single "Born on a different cloud".

If you have'nt heard "Don't Beleive the truth" your lucky because its awful.
Never before have Oasis sounded so washed up and fake, sounding like an album thats meant to be thrown straight into the charts and thrown out again in a few weeks.

Oasis originally planning to record an album with "Death in vegas" producers. It was an album meant to be full of rockers with no ballads. The recording sessions did'nt work out though, and were scrapped - "god" only knows why! Probably cause it was sounding like "real" music. Instead they went ot LA to record a pop, beatles sounding fancy old and unmodern record with a sh*t album cover.

A huge dissapointment. ... Read more

Amazon.com

As Greatest Hits--and particularly the busking pavement jazz of"Lovecats"--reminds us, the best Cure singles were very often tangentialexercises; they offered a goth-free playtime divergence from some of theweightier studiousness of those early albums. Or, as smudged frontman RobertSmith says of this 18-track collection, "Songs that are sung with a smile." Thiswasn't always true--witness the refrigerated fogginess of the classic "AForest," the Blair Witch Project of its day. What this compilation doesis focus attention on the Cure's perennial unpredictability--the breathlessclaustrophobia of "Close to Me," the New Order-lite of "The Walk," the brass- section embellished thrust of "Why Can't I Be You." Oddly, chart-wise, theCure's lost weekend began immediately after "Friday I'm in Love," their mostebullient melodic moment and the ultimate "clocking-off to kick those heels"anthem. But at least the inclusion of two new songs, "Cut Here" and "Just SayYes" (with Saffron from Republica), indicate that the Cure remain a healthy,ongoing concern.--Kevin Maidment ... Read more

Reviews (56)

What's the point???
The Cure have already put out one of the most celebrated best-of's of the rock era, "Staring At The Sea", covering all the singles from their 1979-1985 period (definitely the fans' favorite era). They followed it up a few years back with an admirable companion, "Galore", which picked up where the previous volume left off. Those two CD's give you every single the Cure released up through 1997. I would suggest picking those two up and leaving this one (which only scrapes together a few choice selections from those albums and throws in two new songs) in the dust. If "Greatest Hits" at least contained two of their biggest breakthrough hits from "Disintegration" ("Fascination Street" and "Pictures of You"), I could recommend it for an ultra-casual fan, but without those two songs it barely merits mention. It doesn't even contain anything from "Bloodflowers", their last stuido album, the only one not covered on "Staring At The Sea" or "Galore". The completist will want it for the two new songs (what a [bad move] move by the band and the record company), but for the casual fan, get the previous two compilations and enjoy!

THE POINT TO THIS GREATEST HITS ALBUM BEING RELEASED....
In August, 2004 - the Cure will be coming out with remastered versions of 'Pornography', 'Faith', 'Seventeen Seconds', & then they will possibly move on to remastering their latter albums

This greatest hits album, is remastered - Robert Smith knew he wanted his Cure albums remastered, which is why he decided to come out with another greatest hits album to kick off the remastered versions of the Cure's albums, everything more clear now?

Now if you're actually looking for a review on the album - get it, pick it up , awesome music... of course, it's from one of the greatest bands ever

please!
The reason for my low grade is that they already released two greatest hits albums which are both better than this one. Besides, The Cure's appeal isn't just amazing melodies, it's that dreamy, beautiful layered sound they have, and creating a certain mood. Perhaps it's better for the casual listener to get a greatest hits thing just to get a feel for the styles and evolution of the band before they get something like, say Seventeen Seconds which requires some patience before that "cure understanding" sinks in...but there's not even anything from Pornography on here, so you might as well get Staring at the Sea first, like I did. When I got that one, my first taste of the Cure, I loved every song on it but I still found it kind of an awkward listen, because all the different styles sounded wierd together. Still love it though, because it depicted the Cure as they were and still are, a creative, versatile band who aren't afraid to experiment with a vast array of styles and moods. But anyway, Greatest hits albums aside (it really doesn't matter that much which one you get...it's just preference), to me The Cure has always been an album-band. Their individual albums are probably the reason they have such a huge following. Some of them, like Disintegration are like a spiritual experience of some kind, and I know I'm not alone in my feelings about this. The acoustic disc is pretty cool though.

Average
There are some songs that do deserve to make the cut of greatest hits on that cd but tell me here where is "The Kiss" and "The Hanging Garden" tow ultimate deserving songs. Dissppointing over all

"Fascination Street" should have been on here!
I was wondering why would they put a Greatest Hits album four years after they already did one in 1997. But this album goes back to 1979 and moves forward to 2001. Very dynamic album all the way through and I like "A Forest" from 1980 just as well as the songs I've heard from them since 1987. "Lullaby" has such a funky beat that I'm sure some hip-hop artist will sample it for a song. I still love "Love Song" to this day, even 311's recent remake is no contest to the original. It has that '60s feel to it, but keeps a modern 1989 feel all throughout. I wished that they'd put "Fascination Street" on here--that rumbling bass guitar just drives that song and it would have fit on the album. "Just Like Heaven" and "Friday I'm In Love" have nearly the same identical sound and pace. "Wrong Number" shows that they could ride on that electronica sound quite well. They can do dark-themed songs so well, yet make them seem upbeat without that depression feel that Depeche Mode does. They got experimental on the later releases, but their knack for catchy songs, strong guitar leads, and dramatic rhythm sections are what have made them a superb band. Robert Smith's singing had lots of range to it and he delivered on all of the band's songs. The Cure are going to be talked about for a very long time! ... Read more

Amazon.com

There's little in U2's 1980 debut to suggest that this was a band bent on world domination. Indeed, there's a charming, if naive, coming-of-age urgency in songs such as "I Will Follow," "Stories for Boys" and "Out of Control" that may startle listeners more familiar with U2's latter-day bombast and stadium-scale theatrics. Bono's viewpoint, still tantalizingly vague and wide-eyed, showed that his penchant for strident polemics hadn't yet gotten the best of him; his anthems are those of a yearning Dubliner barely out of his teens rather than those of a world-weary multimillionaire. The band's sometimes-ragged musical chops work in its favor here, gently burnished to then-fresh new-wave sheen by producer Steve Lillywhite. If the Edge's dense, effects-laden guitar work seems overly familiar, it's only because this album was such a key influence on the whole "rock of the '80s" sound.Though not quite as moody or musically accomplished as October, arguably the band's first masterpiece, Boy still ranks as one of U2's best albums. --Jerry McCulley ... Read more

Reviews (63)

Strong Debut by U2- worth owning
"Boy" is of course, the album that started it all for U2. It is a raw sampling from the band when they first hit the music scene. If you really want to get a sense of what this Irish band sounded like back in the early 1980s, this is the album to buy. We are talking vintage, Dublin U2.

Overall, the album is good, but not quite great. Greatness would not come for the band until they released "War". Overall, the music is excellent, and you can tell that Bono is just starting to find his voice and lyrics. As far as the songs go, I like about half of them. The best ones are "I Will Follow", "A Day Without Me", "Electric Co,", and "Stories for Boys". Edge's guitar playing really comes out on all of these songs. The other songs are all pretty good, but nothing worth remembering, based on the fact that U2s best music was a few years down the road.

I recommend this album to any U2 fan who does not own it. If you want to gain an appreciation of the band's musical journey, this is the starting point. If you are not a big U2, I would not recommend this album, unless you are looking for early 1980s albums which helped change the rock scene, and put alternative (known as new wave back then) on the map.

Their first album and a great one
"Boy" takes a bit of getting used to if you grew up on mid-period U2 stuff like "The Joshua Tree," but their debut album kicks major ... -- it's a shimmering, glorious piece of work, filled with The Edge's soon-to-become-famous chiming guitars and Bono's gutsy (not to mention indecipherable) singing. Adam Clayton and Larry Mullen Jr. leap into the music with incredible authority, establishing themselves as one of the best rhythm sections anywhere.

Best songs: "I Will Follow," "An Cat Dubh," "Into the Heart" (check the bass!), the extraordinary "Out of Control," "Stories for Boys," and "The Ocean."

It's early U2, but that doesn't mean it's bad.
I have been a long time listener of U2. They were the first band I got into really seriously when I was a teenager. Hopefully, because of this, I can help you decide whether or not to purchase Boy.

Most musicians and bands start off with an album of songs which either are relatively bad or very hit and miss. U2's first album Boy, while not their best, is extremely solid for a debut. If U2 had never released another album, this would still be worth owning.

That being said, I'll get my criticism over with right off the bat: this album as a whole can be tough to warm up to. Each song hits you with a really cool guitar riff, and some of the songs are just completely phenomenal. However, other songs can seem to drag on if you're not patient with the music. When I was young, I would often skip parts because I was thirsting to hear the next exciting guitar part and chorus. You could say that the pacing is a bit off sometimes. While this may sound like a harsh criticism, it's the ONLY big criticism I have.

Conceptually, this album is very good. From what I make of it, it's basically about growing up. Hence the title! The lyrics, while not mind-blowing, are very well done. They're vague enough so that almost anyone who listens can associate their own growing-up experiences with what's being said. Bono's delivery is excellent, leaving you with certain powerful lines echoing in your head.

Now, I am sure there are a few people out there who will never warm up to this album as a whole work. If you like anything else by U2, though, you ought to at least love "I Will Follow", "Out of Control and "A Day Without Me". I promise that if you like other U2 albums, you'll at least find a few real good songs here. That's the most sinister thing about U2: No matter what people think about each album as a whole, there's never an album without at least a few really really great songs that make the album worth getting. For my part, I also think that "Shadows and Tall Trees" could have been a hit single under the right circumstances.

Basically, if you own some U2 and like what you have, you won't go wrong with Boy. If you're a newcomer to U2, you'll probably still like the album if you're a fan of guitar rock. It's from 1980, it's U2's first album and it's still good regardless of U2's stardom.

U2 Before They Were "U2"
The 1960s were a great decade for rock music. The 1970s were not so great, but they did have one upside: punk music. This scene included such bands as The Ramones, The Clash, and The Cure. In the mid-to-late 70s, a new Irish band called U2 were majorly influenced by this music, and aspired to be a "punk band". It is important to note that U2 were not always "U2", and that there WAS a time when they couldn't play their instruments very well. Because of this they were sort of forced to write their own music to play, because they didn't know HOW to play anybody else's. As a result of this, they didn't quite make the kind of music those punk bands made, but instead a similar, yet distinctly different sound, created during the writing and recording process for this debut, "Boy", which for all intents and purposes started a full three or four years before it was even released. It was a unique sound, and it was their sound, the sound they would keep for three decades, the sound on which they would ride the waves of new artists, rock superstars, and legends of the music business.

The songs on this record flow in and out of each other, as if they were one whole. In fact, tracks 3 and 4, 'An Cat Dubh' and 'Into The Heart' were originally one song, even played live as a single entity. It was split in two for the record because as one song, it was too long. Incidentally, it's one of the high points of the record. Other highlights include the anthemic 'I Will Follow', the angsty 'Out Of Control', 'A Day Without Me' in which Bono was singing about child neglect and abuse over a decade before Eddie Vedder sang about a boy named Jeremy, 'Another Time Another Place', and the haunting closer, 'Shadows And Tall Trees', the title of which was taken from the title of chapter from the literary classic, 'The Lord Of The Flies'. All in all, this is one of great rock debuts I've ever heard, it pocesses an innocence that perhaps U2 never had again after this record. In closing, I would be remiss not to mention a b-side from this record, called '11 O'Clock Tick Tock'. Its significance is that it was one of the earliest live fan favorites, and it remains so to this day. In fact, at a typical U2 show, the crowd usually emits some of its loudest and most enthusiastic cheers when the opening chords to 11 O'Clock or I Will Follow or Out Of Control are played. It gives the feeling of being a true fan, for being familiar with the REALLY old stuff, the music of U2 before they were "U2".

The album that started it all
Boy, U2's first studio album is not just good, it's promising, uplifting, inspiring and cutting "Edge." Indeed, this album established that anthemic sound that has been the framework for most U2 songs since: the shimmering effects-laden guitar, Bono's rampant, moving vocals, and Adam's and Larry's driving rhythm section. This is U2 in their purest form. Steve Lillywhite's production is excellent and so is the raw sound of the band. Highlights on the album are: "I Will Follow," "Out of Control," "A Day Without Me," and "Twilight." The album deals with many issues, predominantly the difficulty of turning from a boy into a man. "In the shadow, boy meets man," Bono sings on "Twilight." Indeed this album is a spectacular display of what U2 would go on to become - one of the greatest rock bands ever. It is a must have for any U2 fan, or anyone still sitting on the fence. After hearing "Boy," it's no wonder to me that U2 have gone on to become the greatest anthemic rock band in history. Leave your computer, go to the store, and buy it. ... Read more

Amazon.com essential recording

One of the earliest things that we learned about Annie Lennox and Dave Stewart was that the duo had style. In their first few MTV videos, including "Sweet Dreams" and "Love Is a Stranger," they were just as notable for their androgynous suits and rubber utility coverall, as they were for their ice box synthetic dance beats. But as Eurythmics continued to churn out one hit after another, something else became refreshingly apparent: In the midst of all of the impersonal drum machines and frozen electronics, Lennox displayed both rhythm and soul. With a voice powerful enough to hold its own against genre queen Aretha Franklin ("Sisters Are Doing It for Themselves"), Lennox added another dimension to the haunting moodiness of "Who's That Girl" and "Here Comes the Rain Again." Changing personas and musical stylings with every release, Eurythmics blasted out horn-infused rockers ("Would I Lie to You"), country-fied twangers ("Thorn in My Side"), and melodic brilliance ("When Tomorrow Comes"). Greatest Hits captures the band's most inspired moments and justifies all of the original fuss. --Steve Gdula ... Read more

Reviews (55)

Sweet Dreams (are made of this)
If I had to name my favorite decade for music, it would have to be the '80s with all the new wave bands like Erasure, Depeche Mode, and the Eurythmics. Annie Lennox is definitely one of the greatest female vocalists I have ever heard. I was definitely offended when shock rocker Marilyn Manson massacred "Sweet Dreams (are made of this)". I absolutely loved Annie's androgynous look she had in her music videos like in "Sweet Dreams (are made of this)". Although I knew quite a few of the songs on this cd, there were quite a few songs that I wasn't really familiar like the guitar-driven "When Tomorrow Comes" which I immediately fell in love with, with both the melodies, guitar riffs, and the optimistic lyrics. "Thorn in My Side" is also another personal favorite track. That is one of those songs where I can't help but sing along to when I listen to the cd. I love the empowering lyrics of "Sisters Are Doin' It For Themselves", a timeless classic. Pairing Annie with another legendary singer Aretha Franklin was a brilliant idea. And of course I can't mention other faves such as "Here Comes the Rain Again" and "Missionary Man". There was not one song on this cd I did not skip over. This cd is simply a great collection of songs that made the '80s so great.

"Don't Ask Me Why", just get it.
Everytime I listen to "Eurythmics", I'm reminded of why they're one of the better groups of the 80's. They crafted some of the best pop songs, with a soul and style that not many others had. I'm amazed at how well some of these songs are put together. This includes the hits "Here Comes The Rain Again", "Would I Lie To You?", "Missionary Man", and the huge "Sweet Dreams (are made of this)". My favorites on here would have to be "Thorn In My Side", and the excellent "Love Is A Stranger". "There Must Be An Angel (playing with my heart)" is pretty great too. This whole disc is easy to play straight through. By the end of it, you just might find yourself wanting an orange crew-cut.

Greatest Hits (1991)
The Eurythmics were one of the best 80s synthesized pop bands ever. Their unique sound and style combined with Annie's soothing vocals were nothing short of amazing. In their short span of time, starting with their first album, In The Garden in 1981, they have proven themselves to be official Icons over our generation and the next. This greatest hits compilation is their way of showing just how amazing they were.

SWEET DREAMS (ARE MADE OF THIS)
From the album Sweet Dreams (Are Made Of This) (1982). First of all, this is not the album and single version, this is an extended version. The album and single version run to 3 and a half minutes, while this one runs to 4 minutes and 50 seconds. No matter which version they put on this compilation, this will always be one of their best songs. Although, the album is not all that impressive. If you buy Marilyn Manson's 1995 album Smells Like Children, you can hear his rendition of this song and it's unbelievable. I mean, it's not a gothic-heavy metal type song, but his rendition is incredible and it can also be heard in the 1999 remake House On Haunted Hill, starring Geoffrey Rush as Stephen Price, Famke Jansan as Evelyn Price, Ali Larter as Sara Wolfe, Taye Diggs as Eddie Baker, Bridgette Wilson as Melissa Marr, Peter Gallagher as Donald Blackburn, and Chris Kattan as Watson Prichett.

WHEN TOMORROW COMES
From the album Revenge (1986). This is another great song, with a great sound. This song originally came off of the album, Revenge (1986). That album, an amazing album I might add, also includes the 12" remix of this song as the bonus track.

HERE COMES THE RAIN AGAIN
From the album Touch (1983). The album and single version run up to 4 minutes and 50 seconds, while this one runs 13 seconds longer, making it a 5 minute and 3 second song. This is another classic hit. I recently seen the video on VH1 Classic's All Star Jams. It is a very strange video, but yet amazing, just like the song.

WHO'S THAT GIRL?
From the album Touch (1983). No, Madonna did not re-record this song in 1987. Madonna had a completely different song, only with the same title as this. But both are incredible.

WOULD I LIE TO YOU?
From the album Be Yourself Tonight (1985). The album, Be Yourself Tonight (1985), which is Eurythmics' fourth album, did not get as much recognition because of it's R&B sound. But the album did have three major singles and this is one of them, although, I don't really care for this song as much.

SISTERS ARE DOIN' IT FOR THEMSELVES (with Aretha Franklin)
From the album Be Yourself Tonight (1985). Now this is more like it. For years, I never knew who the other vocalist was, until about four years ago. I finally figured that the voice of the dueting vocalist belonged to Aretha Franklin. Although, I do not like Aretha Franklin, I do love this song. Somehow, I only like Aretha Franklin when she duets with other people, like this song, for example, and her duet with George Michael, which would be I Knew You Were Waiting (For Me). This is a classic song. Back in September of 1998, when the Spice Girls (when the lineup was left with Victoria 'Posh Spice Adams-Beckham, Emma 'Baby Spice' Bunton, Melanie B. 'Scary Spice' Brown, & Melanie C. 'Sporty Spice' Chisholm) toured Europe, they performed this song and their live version can be found on their US single, Good-Bye.

THERE MUST BE AN ANGEL (PLAYING WITH MY HEART)
From the album Be Yourself Tonight (1985). A lot better than Would I Lie To You?, but not as good as Sisters Are Doin' It For Themselves.

MISSIONARY MAN
From the album Revenge (1986). The beginning is cut short, but still a great song. The video is creepy, but it's incredible.

DON'T ASK ME WHY
From the album We Too Are One (1989). An okay song.

I NEED A MAN
From the album Savage (1987). The album Savage (1987) is my favorite album from the Eurythmics and this is the only hit that made it onto this collection. There were many other great songs from that album like Beethoven (I Love To Listen To), You Have Placed A Chill In My Heart, Savage, I've Got A Lover (Back In Japan), Do You Want To Break Up?, etc. But this is a great song, with an incredible rock and roll beat.

LOVE IS A STRANGER
From the album Sweet Dreams (Are Made Of This) (1982). A good song, but not as good as Sweet Dreams (Are Made Of This).

THORN IN MY SIDE
From the album Revenge (1986). Another awesome song from the Revenge (1986) album. That acoustic guitar in the beginning sounds unbelievable.

THE KING & QUEEN OF AMERICA
From the album We Too Are One (1989). This is a great song to begin with and it certainly is much better than Don't Ask Me Why.

ANGEL
From the album We Too Are One (1989). A romantic ballad.

The Eurythmics have shown us that they were one of the best acts of the 80s. They tried to do it again in 1999, by releasing their tenth album, Peace, but it didn't get anywhere. But their older material will always have them remembered.

A rare "hits" antholgy that is actually essential
Throughout the eighties, Dave Stewart and Annie Lennox made consistently great songs and often great albums. Their main influence as Eurythmics was to prove that the genre that based itself primarily in electronics was not without a soul. By the time they evolved into the band that was recording their terrific "Be Yourself Tonight" album, they had transcended whatever limits the genre had initially imposed and began blending all sorts of styles.

That kind of stylistic cross cutting made for an amazing batch of singles. Even the breakthrough hit, "Sweet Dreams," holds up today, and there's a lot of soul to "Here Comes The Rain Again." By now, Annie had grown so much as a vocalist that she could hold her own with Aretha as a singer and Stevie Wonder as a musician, and Stewart had hit stride as a musician/composer/arranger. It was also amazing that, when the time came, Eurythmics could also rock as hard as the best of them ("Missionary Man," "Would I Lie To You").

Even the later stuff, like "Angel" and "Thorn In My Side" gave the duo plenty of room to expand their range. "Angel" is an obvious stepping stone to Annie's solo career, and even without the benefit of it actually being a huge "hit," belongs here. So what you finally receive is a hits package that flows evenly, doesn't skimp on the songs, doesn't contain any dregs, "bonus remixes" or annoying demos. An actual five star recommendable album from a band that rarely slouched on their full length recordings, and for that alone, worth getting.

Great 80's Duo
The Eurythmics are one of my favorite duos. Ever. They have those fun, catchy pop rhythms that only the 1980's could show ya. I never really heard of this band until I heard Marylin Manson's Sweet Dreams remake, and I liked that song when it was out, so I decided to get the original. They became one of my favorite bands. Get this, if you like 80's pop/rock or new wave. ... Read more

Album Description

This top selling New Age/World beat CD is smooth, silky, calming and peaceful. Featuring Deva Premal's transcendant voice, ambient grooves, keyboard and hand percussion, THE ESSENCE invokes the heart healing power of ancient chants and mantras. The Gayatri Mantra, the oldest known to mankind, is the centerpiece of this truly meditative CD. Ideal for yoga, healing work, meditation and dancing.

"This is the music of Earth Angels, listen with your 3rd ear!" Gabrielle Roth ... Read more

Reviews (22)

Pleasant, Feminine, New Age Music
This CD is delicate and pleasing. The instrumentation is light. Deva Premal's voice is pure, fluid, and joyful, though not as "passionate" as the cover art might suggest.

Track 6 is a standout. It is mostly instrumental, with a light, jazzy texture, and for Deva it is evocative of a rainforest retreat she and her partner attended. It is one of the sunniest pieces of music I've heard in a long time; just try not smiling while you're listening to it. Track 7 is also delightful, a lovely African folk song celebrating the mother of all Goddesses. Track 7 highlights the positive feminine energy which Deva projects throughout the CD.

For me, this CD has an eclectic, New Age flavor, the kind of CD Enya might record if she were a Brazilian living in Denmark. Even though some of the lyrics are sacred chants, the music does not seem to be deeply rooted in the yogic traditions -- in contrast, say, to the music of Krishna Das and Jai Uttal. (I mention those two artists in many reviews; I'm sorry if that's tedious to anyone!) I was a little disappointed by what I perceived to be a lack of spiritual passion, but nevertheless, this CD is definitely pleasant music which will lower your blood pressure and put a smile on your face.

I never get tired of this one...
I have a large CD collection, including many, many New Age-type CDs. This is one that I come back to, again and again, in a hundred different situations. It soothes me on a plane, it makes wonderful background music for almost anything except housecleaning, and just generally makes me feel good.

A diverse collection of people have heard this and loved it, from my mother-in-law to neighbor kids. I played it continuously when my grandmother was ill and dying, and while I'm not sure what it did for Grandma, all the car