Amazon.com

Manchester's pivotal post-punk quartet offer a 16-track opus that skips obscurities and early material in favor of their greatest singles. Highlights include "Blue Monday," "Thieves Like Us" and "The Perfect Kiss" and sparkling Stephen Hague remixes of "True Faith" and "Bizarre Love Triangle." --Jeff Bateman ... Read more

Reviews (47)

The Best of New Order? Not Exactly.
Putting together a single disc anthology of the best of New Order would be a difficult undertaking in any circumstances. The band had no easily identifiable hits, and many of their most popular songs were dance mixes (like "Bizare Love Triange") radically different from the original versions that appeared on the original albums.

Having said all of that, "The Best of New Order" is still a strangely programmed attempt. One of their most popular dance tracks, "Blue Monday" is not even included. Also left out are other first rate songs like "Love Vigilantes" and "All Day Long." And yet, strangely, the CD contains three tracks from their last and weakest CD (before their recent reunion) "Republic." Other oddities are included, like an updated version of the rare track "1963" from the B-sides disc of "Substance" and the previous non-CD released "Touched by the Hand of God," which is not one of their better songs.

Overall, this best of collection shows only intermittantly what made New Order the best-ever synthesizer rock band. Ardent fans may want it to fill in some missing gaps. But casual fans will be disserved by it. They should go with the far superior anthology "Substance" instead.

Goodish
Although a decent enough 'best of', this is patchy in comparison to the minimalist simplicity of 'Substance 1987'. Instead of simply compiling all the singles and b-sides from 1987 onwards (a process which would, admittedly, have resulted in a fairly short album), this is an odd overview of their career from 'Power, Corruption and Lies' onwards. It's nice to have 'World in Motion' on CD, and although fans might moan at the inclusion of remixed versions of 'True Faith', '1963' and 'Bizarre Love Triangle' the songs don't really suffer for it. On the other hand, it's criminal that either of the versions of 'Confusion' aren't on the CD, and quite why the excellent early singles 'Everything's Gone Green' or 'Temptation' have been omitted is a mystery. The ultra-obscure 'Murder' would have been nice to have, too. That said, it seems as if this compilation was intended as a way of introducing the group to non-fans, and as such it works very well - the songs from 'Technique' and 'Republic' haven't dated much, and sound fresh today. Furthermore, it must have been a way for London records to justify buying the group, as, after extricating them from the corpse of Factory records and releasing 'Republic', they promptly went on haitus.

The UK version has a slightly different track listing, omitting the first four songs from this US pressing. There's a companion-piece, 'The Rest of', which is fairly bad, and contains lots of undistinguished modern remixes of their old songs, most of which sound like totally new tracks.

the rest of..
this album doesn't even remotely do this band justice. The renditions of the songs they have selected are often weaker(i.e perfect kiss,blue monday,bizarre love triangle), because these are the radio versions, but no one is a buying the cd because they want the radio dammit, they want the best of new order. bottom line: great band, but this disc is waste of time. check out substance instead and wait patiently until someone actually compiles a real best of collection. Also note this album completely neglect power corruption, and lies, my favourite new order album and the turning point in their career.

Misleading Title
Fusing rock with dance, New Order has, for almost a quarter of a century, been producing music that has been a hit with the public, critics, and peers. New Order started out as Joy Division, part of that explosion in the United Kingdom in the late '70s early '80s that gave birth to experimental synthesizer-based acts like Gary Numan, The Human League, Orchestral Manoeuvres In the Dark, Depeche Mode, and Yaz.

New Order's Peter Hook's melodic bass and Bernard Sumner's unemotional singing--copied by the Pet Shop Boys' Neil Tennant?--and subtle lyrics help set this group apart from other artists. Their albums, for the most part, are stark in design, provide no pictures of the band members, and do not even mention their names. In the early part of their career, they rarely gave interviews--they preferred to let their music do the talking--gave short sets during their live performances--about an hour--and no encores. No wonder a mystique built up.

New Order can rock with the best as "Run 2" demonstrates; this is danceable, but you will get a better idea of the dance gods they have become with "Touched by the Hand of God" and "Blue Monday--88"--a shorter and different version of "Blue Monday" that is the biggest selling twelve-inch ever; these are three of New Order's best songs, but it is debatable whether the rest of the material on this album is among their best.

"World in Motion" is not in any of their studio albums, so it is a welcome addition here. "True Faith--94," "Bizarre Love Triangle--94," "1963--94," and "Round & Round--94" are pleasant but no huge improvement over the versions that appear in their studio albums and _Substance_. Similarly, "Fine Time," "The Perfect Kiss," and "Shell Shock" are shorter versions. "Regret," "Vanishing Point," and "World (Price of Love)" are, like the previously mentioned, all good songs, but, again, it is debatable whether they are New Order's best.

What happened to songs like "Dreams Never End," "Your Silent Face," "Love Vigilantes," the album version of "Sub-Culture," "Temptation," and "All the Way"? Other songs that should have been included would be a selection from "Age of Consent," "The Village," "586," "Ceremony," "Everything's Gone Green," "In a Lonely Place," "Mesh," "Hurt," and "Confused Instrumental." The early version of "586" on _The John Peel Sessions_ is also outstanding. If you have nothing by New Order, this is an excellent recording to get you familiar with the band's sound. Just do not think that you are getting anything close to their best.

If you like this recording, you should also buy their double-CD set, _Substance_. After that, buy, in this order, their albums, _Technique_, _Low-Life_, _Power, Corruption & Lies_, _Get Ready_, _Brotherhood_, and _The John Peel Sessions_. If you enjoy _Peel_, you may also want to buy Joy Division's _Closer_. Joy Division has a much different sound--darker and less melodic, less poppy, and less danceable.

Great Collection
When I bought this CD I was only familir with some of the New Order singles so I love this album mainly because this is where I heard the rest of the singles. For that fact I recommend this album but I'm not sure how the tracks compare to the album cuts since I'm not as familiar with their albums so I can't say if this is just a collection of the album versions of songs. Great collection though, highly recommended if you're new to this group. ... Read more

Reviews (239)

Beautiful album by one of the last great bands.
The first time I heard this album, it made me cry; such was a taken aback by how absolutely wonderful it was. Every song, regardless of how heavy the subject matter, has beautiful melodies and heart-wrenching lyrics. The album opens with "Round Here", quite a claustrophobic, repressed song: "She says she's tired of life. She must be tired of something, Round here." So powerful, it makes you want to break free and sing, or better, scream along. "Mr Jones", the commercial hit will make you smile, and think, and is incredibly catchy. My favourite, "Anna Begins" is the song about relationships that everyone can relate to. It sounds like everyone has been trying to write this song for years, and finally Adam Duritz has managed it, and it just takes you over. Everyone who listens to Counting Crows loves them. I assure you: this is worth the buy.

Just terrific music
Despite the accusations of this group's lack of originality, and on the flipside the massive acclaim this album received, when it comes down to it this is frankly one of the most inspired pieces of music coming out of the '90's. The more obscure tracks, such as "Perfect Blue Buildings" and "Raining in Baltimore" are what really help flesh out this album and its dark, almost mournful overtones. Lost love and bitter breakups form the meat of this record, alongside such other themes as religion ("Rain King") and perseverance ("A Murder of One"). Though it channels much of the past, mostly in the form of Bob Dylan-style vocal stylings from Adamn Duritz, it's still more than fresh and honest enough to repay for what it borrowed. Every single song on this record is immaculate and perfectly placed. Even for a hit single that would usually drive people mad or make them sick, "Mr. Jones" is still spellbinding and engaging, with quite sublime lyrics on fame, hope, lust, and loss. It sums up nicely the various explorations and themes of the rest of the record. Overall, one of the essential discs of the 90's, and don't shun it just because it's "pop."

"Round Here" Will Fascinate You
Ever since I got a promotional copy of "Round Here" I became fascinated with this song. The lyrics, the voice, it just makes such a perfect ballad to move anybody's heart.
"She has trouble acting normal when she's nervous..."
"She's always on my mind..."
I don't know why this song never reached the popularity it deserves (people will always see this album as the "Mister Jones'") but hey, just give it a chance!

relax, absorb
The first time I sat down to listen to this album, the first song pulled me in. Through the whole CD, I was kind of in this reverie, and enjoyed every minute of it. If I ever sit down and try to work with this album on at the same time, I slowly am pulled away from my work to contemplate the music. What can I say, the music is great, the guitars are great, the vocals are great ( a little on the whiny side, but not whiny), the lyrics are phenomenal, and everything together is inspiring. My favorite track is Round Here, "round here, ...she's...slippin through my hands". What can compare to that line? I highly recommend this CD, or Films about ghosts, since it has many of this CD's songs, except for Raining In Baltimore :(

More Than Just Mr Jones
I bought this CD because of the single "Mr Jones" which has everything a great rock single needs - a catchy melody, great lyrics, a lead singer to perform them and of course a fine production. This song alone is worth the whole album.

I must admit it took me some time to get into the other songs, ( I guess they were a little overshadowed by "Mr Jones" ) but eventually the other songs began to stand out on their own ; "Round Here" ( great song and thought-provoking lyrics ), "Omaha" ( great melody - could have been a Neil Young song), "Perfect Blue Buildings" ( for the beautiful melody and gloomy lyrics ), "Time and Time Again" ( a Rolling Stones type ballad ) and "Rain King" ( catchy chorus - REM inspiration? ); in fact there are no weak tracks on the album.

Great that classic rock acts like REM and Counting Crows are still here. ... Read more

Reviews (21)

My Kind of Poison
After listening to the latest from Alkaline Trio I must say I am terribly impressed.There is a bit of maturity going on with this one.This is not lacking heart, it is gaining life experience and growing up.Yes the dark imagery is here but being that both Matt and Derek are members of The Church of Satan (good for them), I don't think they are really faking it.Some of the best songs include Sadie, Burn, Mercy Me, Time To Waste but all are a great listen.And the vocals are terrific, probably the best they have ever sounded.

An improvement over their last album
Crimson is an improvement over Alkaline Trio's last album, Good Mourning but still lacks the elements that made their older records so appealing. Musically, Crimson comes off as far too over-produced and mechanical sounding. The songs often seem anti-climatic and even boring. However, the saving factor of this album are the vocals. The vocal patterns of these songs are catchy, well structured and save the album from monotony. Lyrically, this album lacks almost as much as Good Mourning. The lyrics come off as though they have little meaning and continue the attempt to create a "dark image" which this band has tried hard as of late to captialize upon. If you are a fan of Alkaline Trio's older work (Goddamnit, Maybe I'll Catch Fire, etc.) don't expect to find anything like that here. Crimson lacks the passion, energy and sense of personal connection that made the work of this band so appealing in the past. Alkaline Trio has succeeded in making a listenable pop album with Crimson, but severely lacks the elements of humanity that made their older albums stand out as something original.

MTV Here We Come!
Over produced and artificial sounding outing by this band. A few songs were catchy at first but then i read the lyrics and sensed a band thats writing has been tapped and is reaching to just fit in to their little goth-punk genre now.This album will undoubtedly satisfy their legions of shallow died black hair teeny boppers who are looking for someone to tell how them to feel. Doesn't replicate the greatness of Good Mourning in the least bit. The song Sadie stands out but that's not a new song anyway, it's just filler since they had a hard time coming up with enough material they felt album worthy.Congratulations, you're now in the Good Charlotte club. A comparison to The Cure is insane.

A whamma whamma ding dong
Let's me get something out first here: I am not a fan of either pop-punk or it's irksome off shoot emo. These two things are handy here when evaluating Alkaline Trio's newest record "Crimson" because it, in one or another, has ties to both. The sound is that of pop-punk, with melodic yet aggresive tunes just safe enough for Hot Topic but loud enough to piss off that John Tesh loving parent, and it's released by emo label Vagrent, and if you even share a label with Dashboard Confessional, then by God it's a tough label to shake off.
But a funny thing happened on the way to the mortiurary and Alkaline Trio went out of their way to make yet another good record. Indeed it shares many of the same elements that make other bands---pretty much any group of Vagrant, Drive Thru or their ilk--- sound boring and insipid, but Alkaline Trio are smart enough to not blindly follow a formula because it's easy. This formula jsut works for these guys.
What exactly does "Crimson" sound like exactly? Well, it sounds like the last couple of Alkaline Trio records. The songs are still melodic punk songs but this time the goth flavor has been upped higher then it has on previous records(in a few records time these guys could easily morph into the Cure or something like that). Piano and keyboards play heavily on a couple of songs, most notably the records two strongest tracks "Time to Waste" and the West Memphis 3 inspired "Prevent this Tragedy", but they are used more to compliment the songs as opposed to taking them over. Besides that, it pretty much just sounds like the next stage in these guys evolution.
There really is no problem with "Crimson", ecspecially if you liked the bands two previous records "From Here to Infirmary" and "Good Mourning". And although I don't think this record has as many great songs as the former did("This Could Be Love", "We've Had Enough", "All on Black", "Blue in the Face") the record is stronger all around because the songs by bass player Daniel Andriano, though not even in the same ballpark as guitarist Matt Skiba's numbers, which only get stronger with each passing record, are more coherant to the overall record this time, though his last contribution "Smoke" is sadly anti-climatic.
But overall "Crimson" is another strong record from a group that is actually refining and perfecting it's style with each new record. This record does not fall into the typical flaws on the genres that it's most often associated with(in fact, this group shares more in common with the excellent Tiger Army and A.F.I. then it does A Simple Plan and New Found Glory). And who knows, a record or two down the line these guys could deliver the GREAT record that they seem to be getting closer and closer to making.

REALLY GOOD!
This band is one of my favorite bands. This record will offer some new elements while not straying from familiar territory. Good Mourning was my favorite record and I can't say that this record tops it, but still fares well in its comparison. Poppy/catchy hooks while still neither predictable or "sugary". Duel vocals both with distinct voices. If you're looking for the emo thing, keep searching. These guys know thier range and thier sound. Its a cheap sell to call it pop punk but the unatentive ear may think it is. The simplicity in arrangements can sometimes be too evident and leave something to be desired, be it another guitarist or drum fills. However, i think its the melodies that make this band. and lyrics. This time around I gave 4 stars only cause I think the lyrics sometimes tread cheesy territory... but just barely. Again, Good Mourning had some great lyrics. I imagine trying to top it would have been pointless. So they do take some different directions, but thats just me. There's some great songs on here with a little darkness and a little sarcasm, a lot of heart and some new ideas that i think maybe perhaps could have further been discovered and made this a great record. Nonetheless, if you ask me, this is worth the cash and you won't have a hard time enjoying it. ... Read more

Amazon.com essential recording

Nine Inch Nails are a pretty amazing phenomenon when one considers what they--um, he--have done with just a few studio recordings. The Downward Spiral, NIN's second full-length album, is just as packed with vitriol as Pretty Hate Machine and the EP Broken--and has just as solid a base of pop hooks that go a long way toward explaining NIN's popularity. Most recognizable is the down-tempo single "Closer," which remains a staple of dance clubs everywhere. But for the most part, the album is all heavy beats and aggressive guitars--industrial music with a pop angle. That winning combination is what makes Trent Reznor a law unto himself, becoming insanely popular while the main body of industrial music retains its subculture status. --Genevieve Williams ... Read more

Reviews (471)

One of essential 90s records
Trent Reznor's Nine Inch Nails is something of a cultural phenomenon. While being a fairly abrasive industrial act with a touch of underground flavor, it still had all the attention of the masses (that is, until Marylin Manson showed up on stage), and gained popularity that most other bands will never see even in their dreams. This album is NIN's best so far, it represents Reznor's creativity well and shows what this is all about.

Having both feet planted firmly in the legacy of industrial gods Ministry, Nine Inch Nails managed to add all the popular influences of the era to this timeless classic. One thing that's clearly audible is a bow towards grunge. I'll even go as far as calling this record "Nirvana plays in a steels factory".

Describing this album is pointless. It has to be heard. It combines angst, sadness, frustration, fun and violence, all in one. These feelings aren't in the lyrics alone, they also shine through every instrumental track and sample out there. Playing, programming and overall execution is superb, absolute perfection. This is a top-notch industrial metal album, one of the 4 CDs that define the genre (also included Ministry "Psalm 69", Fear Factory "Demanufacture" and White Zombie "Astro Creep 2000"). Unless you are allergic to hard-hitting music, or grunge-styled lyrics, you'll want to buy this record.

And in case you were wondering, yes, I think this Trent Reznor's record alone is by far superior to anything Marylin Manson (Reznor's creation, by the way) ever put out.

Not music, ART
This album is truly life-changing! One of the most uncompromising albums ever, it took me over a year of constant listening (i just didn't get it the first time i heard it) until i finally realized its genius. I hated it, i was truly offended by the lyrics and evil-sounding music, but in the end discovered that these are what makes the album great. i have yet to hear anything so angry and full of despair and pure pain (next in line would be BROKEN, also by nin). this leaves no doubt in my mind that trent is crazy or really (mad), not just faking it. it still disturbs and provokes me, and i hear some new sounds every time i listen to it. so deep and intricate. unlike a typical electronic album, nin doesn't abandon guitars (the amazing solo on "ruiner") or bass (good basslines throughout, including "piggy", "mr. self destruct", etc) OR even drums (half the songs have significant percussion intros or elsewhere, especially the fantastic work at the end of "piggy"). some of the most genuinely creepy and abrasive sounds you will ever hear. every song is different, every song is important, and as most know its a concept album which takes the listener on a sick twisted journey through the spiral of hell! every song is like its own demented world that creates unbearable tension and a variety of feelings. the ONLY time i ever listen to it is at night, all the lights off, laying in bed just really hearing it... it actually doesn't sound that good in the daytime as a "car album" or something... TRY IT, it actually left me scared at night when i first did it! anyways, THE FRAGILE is fantastic but trent will never outdo this. this album stands as a masterpiece that captured the purest of all the most loathable creepy-crawly feelings wrapped into genius songwriting talent and a sonic explosion that has yet to be paralleled! good listening!

hot topic ??? the nirvana of industrial music
you call this crap music, my grandma makes better... get into real music with real guitars not this satanic techno crap... try children of bodom, pink floyd, or the cars if you want nice keyboard

Don't expect anything.
This is not an industrial CD. This is not a rock CD. This is not a pop CD. Those who would hate TDS do so because they listen to it expecting it to sound like something else. Read the reviews, either it's someone complaining that they only liked "Closer" and the rest sucked, or that NIN pales compared to "other" industrial groups.

If ever a CD could be considered an audio suicide note, this may very well be it. The lyrics are not always the most creative, but they will hit you harder than any others. I believe the strongest segment of the CD lies in three songs: Ruiner, The Becoming, and I Do Not Want This. These songs so fiercely cast the world away and place Trent deep in his mind that I found it actually difficult to listen to them at certain times.

Unlike so many other groups of ANY genre, Trent has no problem with using absolutely everything at his disposal to create a sound he wants. He won't limit himself to slow bass grooves, chorused pianos, or a distorted guitar when the mood calls for it. And therein lies the greatest strength of the CD as a whole: not only do the words perfectly capture his emotion, but the sounds as well. The blistering noise while he screams "Don't you tell me how I feel", the quiet vulnerability of the final notes of Hurt (I personally think the Quiet version is better, the final chords here are a little too harsh), every note and every sound is specificall engineered to put across EXACTLY the emotion Trent wants.

I believe "Closer" to be the dividing point of the CD. Those who prefer the more "predictable" songs will most likely listen to the first half only. From "Ruiner" onward, the CD takes on the tone of someone whose mind is falling apart, until the title track. "Hurt" itself is an epilogue to the story.

The other beautiful part of TDS is that unlike most "angst-rock" groups, Trent's anger is just as directed toward himself as the rest of the world, if not more so. As said, "Closer" is a confession to weakness, not a random misogynist club song. Read the lyrics. Much of the hatred felt here is toward the self, which is probably why it resonates so deeply with so many. And more so than that, it sounds genuine. Few artists create music that sounds like it was made with little concern for the fans and record sales, and when a CD sells this many copies it may be hard to believe that this could apply, but it does. Even fans of Burn and PHM found this to be a shock.

A masterpiece, and a story. Listen without any preconceived notions of what NIN is and you'll find yourself enthralled. 10/10

Not what you think
People always seem to not realize that this album is not something that you just listen to for "Closer". It is a concept album based on one's depression and his degredation through sex, drugs, rejection of religion, and other things where you see them. The whole album is just a novel of sorts...

mr self destruct- the table of contents, an epilogue of what's to come.

piggy- the real beginning IMO, the place where everything starts to come apart

heresy- ok, you must understand that this is part of the spiral and not a real f-you to religion, but the character is saying there can't be a God for all this to happen to him

march of the pigs- the character blows off society

closer-the character uses sex as a crutch to lift himself out of depression...he tries to get closer to God

ruiner-again the depression screws up everything that he picked up through "closer", and nothing can stop him now

the becoming-the character becomes someone else, not him...you can say he's finally posessed and powerless

i do not want this-just listen Trent and the depression are in dialogue with each other...again "he wants to do something that matters" as the lyrics quote...

then it gets crazy!!!

big man with a gun-about violation and overpowering through sex, shoot shoot shoot shoot shoot as the lyrics say

a warm place-the morning after "big man with a gun" he finds solace after the sexual assault in the previous track

eraser-basically about self-rejection

reptile-again degredation through sex though even more severe...relates to prostitution

the downward spiral-the character is fed up with his problems..he imagines what it would be like to kill himself..

hurt- the finally undoing, the only thing that's real is the pain he feels from the suicide...(if i could start again, a million miles away, i would keep myself, i would find a way)

i suggest reading the lyrics in the booklet while listening to the album on headphones....in the booklet the pictures gradually get more and more violent, then you'll see the overall point of the album..

in it's form, i really have to say that this is one of the best concept albums ever...that's why i have to give it 5 stars, listen it to it ALL the way through and you won't be disappointed ... Read more

Reviews (1)

Better than Ezra is better than ever!
Better then Ezra is one of my favorite bands. Not only because they don't need MTV or the radio to get out to people, but because they are truly a great band. Before the Robots is, without a doubt, the best CD that the band has made.

1. Burned- 5 stars. Great song, good beat, catchy lyrics
2. Daylight- 4 stars. A bit too slow for my taste, but great lyrics.
3. Lifetime- 4.5 stars. This is a remake of the original "Lifetime" from the CD "Closer". Way better than the original.
4. It's Only Natural- 3.5 stars. It's an okay song. A bit weird.
5. Overcome- 4 stars. Slow paced, but great.
6. Special- 4 stars. Good song and good lyrics although not the best on the CD.
7. American Dream- 5 stars. Great beat and wonderful lyrics. One of my favorites!
8. Our Last Night- 5 stars. Slow paced, but great lyics and beat. My favorite on the CD.
9. A Southern Thang. 5 stars. Great beat and odd lyrics.
10. Juciy- 4 stars. Totally different sound than the rest of the CD (plus a great beat). Sounds a bit like the Bee-Gees.
11. Hollow- 4.7 stars. Good lyrics and (again) great beat.
12. Our Finest Year- 3.8 stars. Slow paced, but lyrics aren't bad.
13. Breathless- 4 stars. Sweet lyrics. A great song to end the CD with.
... Read more

Amazon.com's Best of 2000

How is it that Kid A's opening track, laden with an electronic vocal stuttering "bleh, bluh-bleh bleh bluh" is the most fascinating statement made in rock & roll this year? Because somehow, even when Radiohead blathers and blips nonsense, it's profound. The band's future-perfect musical grammar may be hard to decipher, and the melody is even more subliminal, but the journey traveled with Radiohead reveals them to be not only rock music's greatest adventurers in 2000, but teachers as well.--Beth Massa ... Read more

Reviews (1878)

About 10 years behind the times...
I'll start off by saying that 'Kid A' is a good album. It is interesting enough to keep me from getting too bored. However, this music is not "groundbreaking". In fact, it's very derivitive. This is nothing that Tricky, Massive Attack, Bjork, PJ Harvey, (the list goes ON and ON....) weren't doing 10 years ago. I think that it is great that Radiohead are expanding their horizons, but to ditch the very elements that make them great in an attempt to become something they "would like to be" isn't going to cut it. (It's kind of like when Eric Clapton tried his hand at Reggae--Yeah, it sounded OK, but couldn't hold a candle to Bob Marley) It's obvious that Radiohead are big fans of the bands I listed previously. That's fine. But, 'Kid A' is basically a watered down Tricky album. Radiohead is an excellent rock band that has the ability to assimilate electronica into their brilliant songwriting. However, in this album, they have abandoned their brilliant songwriting in favor of becoming something that they just can't do as well as the real genre innovators. Do yourself a favor and listen to Tricky's 'Pre-Millenium Tension' or 'Maxinquaye', or even Massive Attack's 'Blue Lines' (Released in 1990, but still far more groundbreaking than Kid A. Kind of shows you that Radiohead are a little late jumping on the boat with this stuff) 'OK Computer' was great because it was Radiohead being "Radiohead influenced by electronica". 'Kid A' is Radiohead "wishing desperately that they were a trip-hop group because they are huge fans of the genre and thought they would give it a try." 'Kid A' is good, but not all that memorable. Definitely not a cornerstone in the history of rock, and DEFINITELY not original or groundbreaking. People who think it is groundbreaking only do so because they are fans of rock that have never been exposed to Tricky, Bjork, Massive Attack, PJ Harvey, Portishead, yada yada yada. The media needs to get out of bed with this group. By kissing their a$$es all the time, it is not inspiring them to be great. I have a feeling that if Thom Yorke took a Pi$$, recorded it, threw in a drum beat, with some violin-synth swelling, the press would say that it was the most inventive thing ever recorded. This is sad, because until this love affair is over, Radiohead will continue to spin it's wheels.

This will be considered to be their Magnum Opus in 10 years
After rejecting conventional pop song structure and seeking refuge in the detached sonic textures of ambient/electronic music, David Bowie confounded the general listening public while receiving a great deal of critical acclaim for his adventurousness. The result? Record sales plummeted. Bowie was dropped from his label and began making conventional, run-of-the-mill pop records for the entirety of the 1980s. Twenty years later, Bowie's most experimental albums are considered the work of pure musical genious while his stadium filling 80s work has been labeled "sell out'. Much like their influential musical godfather, Radiohead is yearning to grow. The Bends was fantastic, OK Computer was the seminal Rock opera bombast akin to early 70s Concept/Prog Rock. Although these albums were far from conventional alternative fair, they contained enough catchy hooks to impress the most cyncial of critics to the average brooding 20 year old. If one listens carefully to their first three full length albums, the content of KID A is not incredibly shocking. Although rather guitar-driven, the songs on OK are layered with swirling high-tech noises and songs move from a whispering lull to an ecstatic climax to a brooding dirge within the course of minutes. Yorke's vocals have never been completely coherent, yet the haunting power of his vocals is indisputable. Therefore,his decision to use his voice as a sort of instrument on several tracks is certainly not a total misuse of his talent. In short, Radiohead has created a beautiful sounding little record with moments of icy chilliness while retaining certain elements of their pop sensibility. It requires several intense listens and is by far their most aurally demanding work. Not for the casual rock fan. Unlike many reviewers that have posted, I am of the belief that this record does make a great deal of sense and I am excited to see what musical direction they will take next. In the spirit of the Beatles, Bowie and Roxy Music they have taken more than one risk and have, once again, created great art. 4 stars.

music for sheep who don't want to be sheep
Pointless, redundant, possibly the worst form of per capita matter that has ever taken up space on this earth. I was not a huge fan of OK Computer, but I liked it. I felt the same about the bends. But this album is just plain trash. How is it getting five star reviews you ask? I will tell you. The people who are giving this album five stars are people who call themselves "anti-corporate," hiding behind such facades as "if you like Kid A don't listen to Britany Spears" or "not for people who listen to corporate radio" or "this is a very deep and emotional album." To the contrary, I hate Britany Spears, I don't listen to the radio, and I can say this is not a deep emotional album. This is pure unadulterated crap. It is deep for the sake of being deep, and with this ideology comes the making of shallow people listening to "deep" music, or is "deep" people listening to shallow music? Either way, the record is crap. You think it's groundbreaking? The ground has been broken by bands like Rush and Sigur Ros. Why do overrated bands get to produce crap like this and sell millions of copies? Because the sheepish people who don't consider themselves sheep because they listen to "abstract" music buy it in order to get their "anti-normal points." Who keeps count anyway?

Anyone who actually has a sense of what it is to listen to music for the actual enjoyment of it should stay as far away from this album as possible.

my favorite
I'm not going to say that Kid A is the best radiohead cd, but it's my favorite. I decided this while I listened to it in its uninterrupted glory during a two hour late night walk through suburbia with my dog. It is an experience; this album and Amnesiac are the ones you have to hear all the way through in one go because it's hard to appreciate most of the tracks by themselves, because they don't really make sense in small pieces. If someone played you treefingers or in limbo by itself you might not remember what they sounded like afterwards at all.
But it's hard to describe the experience. Everything in its Right Place is probably my favorite radiohead song ever. It defines the mood. Verse chorus verse does not exist starting now; Thom Yorke will mumble into his vocoder or whatever and then repeat short lines over and over in the songs where you can understand him (besides national anthem and morning bell). The acoustic songs like national anthem, optimistic and limbo are kind of uneventful because they really just float in the air for a while. Kid A and Treefingers are little more than atmosphere pieces, and Idioteque is an atmosphere piece with an unexpected club beat. Morning Bell, possibly the only "real" song on the cd, is kind of quietly intense, even more intense than the screaming horns and raging bassline in national anthem. And just when you thought it was all over, Motion Picture Soundtrack confuses you beyond all rational limits (there are even harps and a long long silence in the middle) and does something indescribable to your soul if you're really immersed in the music. It probably makes more sense under the influence of illegal chemical substances, so i've heard, but it takes a lot of patience and almost no expectations to have the love for this music that I have.
But to clear things up this is NOT A ROCK ALBUM by any stretch of the imagination. There are NO HOOKS and NO SINGLES or anything. It is about as abtruse and intentionally inscrutable as anything radiohead has done up to this point, so tread carefully.

Brave New World
I can't help but think of a term thrown around in the seventies when I hear Kid A: Future Shock. The idea was that modern technology was transforming our society at such speed that the world one was born into would bear little resemblance to the one of his/her adulthood. While "OK Computer" outwardly attacked the homogenization of modern society, "Kid A" works its way inside-out from the belly of the beast; here, Radiohead captures the language of isolation, and expresses the apathy, the ennui, and, finally, the repressed violence of a lost generation.
"Kid A" is set in a very different context from "OK Computer," embracing keyboard sounds, filters, computer processing: this furthers the overall metaphor by placing more distance between the listener and the artist. "Soundscape" is a term thrown around when people refer to this CD. The songs are set into large, open musical spaces that give a drifting feeling to all the songs; this effect is brought foward in the instrumental "Treefingers" as a strong expression of helplessness.
"Treefingers" is a bridge between "Kid A's" primary section, which is more contemplative and complacent, and the secondary, dealing more with anger and violence aimlessly escaping into its evironment of complacency. "How to Dissapear Completely's" refrain "I'm not here, this isn't happening" is a disassociation from the world and from one's self. It's mirror image, "Idiotecque" rebels against this in its warning "We're not scaremongering, this is really happening;" the voice now looks with fear and hatred.
What begins in the lines of "Everything in its right place/yesterday I woke up sucking a lemon" (ie a good, organized life in which one feels a nagging sense of incompletion) later comes to terms in Morning Bell: "You can keep the furniture, A bump on the head...Where'd you park the car? Clothes are on the lawn..." A divorce scenario ("Cut the kids in half") describes the breakdown of and breakaway from modern institutions and societal pressures.
This might seem ridiculously analytical, but Kid A is that kind of CD. As "Everything..." concludes "There are two colors in my head:" the noise of modern society, of modern living, fills our minds all the time, and is often at odds with itself. Radiohead attempts to come to terms with this dichotomy, or, perhaps, decides, "I think you're crazy, maybe..." ... Read more

Reviews (870)

Bagudrocalongos2
APC's sophomore album Thirteen Step combines dark self reflective message with musical genious. But to fully appreciate the progression from their 2000 release Mer de Nom one must understand the dynamics of the band. Because of lead singer Maynard James Keenan's commitment to Tool the band began to split. Paz Lenchantin, bass and violin, left to join Zwan and soon after guitarist Troy van Leeuwen left APC to join Queens of the Stone Age(good band, worth a listen). With only a few tracks written lead guitarist Billy Howerdel, Josh Freese(drums) and vocalist Maynard James Keenan embarked on a search for replacements that would fit the band both in the studio and live. Jeordie White, formally of Marilyn Manson, was soon introduced to Howerdel and came aboard to play bass. Finding Van Leewen's replacement was more difficult, but finallly James Iha commited to the band. The result, a combination of four completely different yet incredibly powerful bands for APC's creator and mastermind Billy Howerdel to work with. Thirteen Step provides incredible depth as it changes from beautiful harmonies to powerful leads with a certain flow that entrances the listener. This is one of the best full albums i have ever heard and its even better live! One might think the combination of Tool(Keenan), Smashing Pumpkins(Iha),the Vandals(Freese), and Marylin Manson(White) would create an ego thriving sellout but in fact it is as cohesive as anything i've ever heard and there isn't a note out of place. Thirteen Step is a must have for anyone who enjoys quality music. And if you get the chance see them live.

Another beautiful APC album
Three years after the release of its debut MER DE NOMS, A Perfect Circle's THIRTEENTH STEP sees the light of day. By that time, Troy van Leeuwen and Paz Lenchantin had left and been replaced by bassist Jeordie Osborne White, formerly of Marilyn Manson, and guitarist James Iha, formerly of the Smashing Pumpkins (though he doe not appear on the album). While van Leeuwen appear on part of the set, guitarist Danny Lohner helped out after he departed.

Amazingly, despite the changes, the sound is still very much the creation of Billy Howerdel with the unmistakable vocal of Maynard Keenan from Tool. Produced by Howerdel and mixed by the inimitable Andy Wallace, THIRTEENTH STEP is a moodier, tenser, and more atmospheric (if that is possible) recording than its predecessor. Written mostly by Howerdel and Keenan, the songs traverse a particular associated with surrender, loss, having the nature of a person stripped away, and turning in the twilight of those feelings toward a kind of slow transformation into something that can only be called "other."

There are no easy outs and no easy answers, only hard questions throughout "Weak and Powerless," where surrender is necessary but far from desired. The title bitingly refers to the 12 Steps of Alcoholics Anonymous, but this is not your average recovery outing. Tracks like "Blue," "Vanishing," and "Lullaby" (one of two tracks featuring the amazing Jarboe on vocals) feature a kind of barely restrained menace caught in a trap by rock & roll vulnerability. The wide dynamic swathes that were so prominent on the band's debut are all but absent here. The squalling guitars have taken a backseat to carefully crafted melodies where atmospherics are maximized and pulled taut over the listener.

While not a radical departure from MER DE NOMS, there is a real progression here. However, the explosive, heavier-than-heavy rock-ism of A Perfect Circle is so well known for it is readily evidenced on cuts such as "The Outsider" and "Pet." As moods shapeshift from the sepia-toned murk of "The Package" and "The Noose," the over the top hard rock to the Baroquely scaled "The Nurse Who Loved Me" and "Gravity," with its beautiful guitar effects and crystalline bass line, the listener becomes aware of just how much water has traveled under A Perfect Circle's bridge. THIRTEENTH STEP is the sound of a musical and lyrical maturity that normally doesn't occur until a band's third or fourth albums. Lyrically, musically, sonically, the THIRTEENTH STEP is proof positive that mainstream rock has plenty of life and vision left in it.

A Perfect Album !
This is an Excellent Record ! Maynard James keenan sure has an Angelic Voice. its good tht hes singing tunefully rather than screaming ( Tool ). This album goes through a musical journey and exploring different sounds.
My favourites are The Noose.. which has a great piano tune.
Week and powerless..this song grows on you and is a good rocking number , Blue which has a superb guitar intro..and i think this intro matches somewht with the Godsmack acoustic song Touche !..but we all know tht godsmack r capable of copying tunes ! , The stranger is an Excellent Acoustic track and maynard delivers a great performance , The nurse who loved me has a nice Atmospheric tune to it and again maynard sings damn well ..and then lastly i love the track Gravity specially wen he mentions the words " gravity of the unknown " ! The package is good song as well !

Top 5 album of 2003
I'd like to start off by saying that, by my standards, a 5-star album must be perfect (i.e. perfect like "Who's Next" and not "Hybrid Theory"). So, my giving this album 5 stars is quite the complement considering how critical I am of music.

On to the album. What makes this album so good is not the fact that Maynard is singing (I'm not dissing him- I have a great respect for him, in fact) but his contributions to the overall mood of the album as a whole. The whole album is one giant drug record (think the Cure but about chemicals not women) and Maynard adds tension to the atmosphere by sounding haunted when he sings on "The Package" and "Pet".

Speaking of the former, I think that it's the centerpiece of this tremendous piece of music. The song begins with a simplistic drum beat, sludgy bass line and guitars that whisper in the background, all while Maynard sounds like he's in withdrawl. The song builds to a climax like a great suspense novel when the guitars kick in with a crunchy riff. Following the "novel" motif, the song then declines back into what it was in the beginning. All in all, a very quick 7 minute song.

"Pet," on the other hand jumps right in from the start with a 2-guitar riff: one low-end riff that sounds like it was written by Tony Iommi and the other guitar making this great accompanying wail. The verses and choruses have this soft-loud dynamic that is shared in "The Package" with the verses being very soft lulling you to sleep (like in the lyrics) and the chorus waking you back up like a punch in the face. All this, again, while Maynard sings about protecting someone from "the bogeyman" amongst other things.

But that's not the whole album, as evidenced by other reviews. There are some songs that resemble the Cure more closely ("Blue" and "The Noose") and Tool- how odd- ("The Outsider") "The Nurse Who Loved Me" is the one happy point in the album with strings, which comes as a nice break in the massive about of umcomfortability.

The one comlaint that I have is just a preference problem. I like the remix of "Weak and Powerless" better than the album version and I wish that they would've included in on the album itself (though it is on my version).

Great Albulm
Not exactly like tool. Maynards voice sounds the same but the background music is completely different. Here is a guide for you if youi don't like this albulm:

Want something heavier and darker with same vocal range: tool

Want something heavier but same meledic format: Stone Sour

Want something just as heavy but more screaming: Korn

Want something heavier crowd surfing stuff and headbanging: Slipknot

Want something more dark and just slighty heavier: Linkin Park ... Read more

Album Description

With over 6 million records sold and 2 Grammy’s under their belts, The Wallflowers have released their fifth album and first with producer Brendan O’Brien (Pearl Jam, Bruce Springsteen). Rebel, Sweetheart is the welcome re-introduction to a grown up rock & roll band with a renewed sense of purpose. The Wallflowers have created an album that yearns for clarity while reflecting the world’s complexity– these are songs written by a man and performed by a band that’s already lived a little. From the powerful expression of hope on the first single "The Beautiful Side Of Somewhere" to the moodily stunning "We’re Already There", Rebel, Sweetheart is poised to be the most focused and accomplished album of their career.

DUALDISC CONTENTS -

CD SIDE includes: • Rebel, Sweetheart CD Audio

DVD SIDE includes: • Entire album in 5.1 Surround Sound • Acoustic performances of: – "One Headlight" (Original version from the album, Bringing Down The Horse) – "6th Avenue Heartache" (Original version from the album, Bringing Down The Horse) – "Some Flowers Bloom Dead" (Original version from the album, Breach) – "Halo" (Unreleased) – "For The Life Of Me" (Unreleased) • A special profile from the band’s visit to the U.S.S. Stennis • A hilarious interview with The Wallflowers and SNL alumni Jon Lovitz

(Content Subject To Change) ... Read more

Reviews (5)

Probably The Wallflowers' Best Album Yet
Being quite familiar with The Wallflowers' previous albums, I looked forward to "Rebel, Sweetheart" with much pleasurable expectation. This collection of songs is astonishing! Each song and soundscape paints a lyrical picture in the form of The Wallflowers' best work. Jakob Dylan has produced lyrics encompassing all the richness of experience; some common observations are made especially profound, as in "God Says Nothing Back" where Dylan expresses a sense of assured wonder in his views on God, time, love and death. Each song on this album is especially unique in that sense. On "Rebel, Sweetheart" The Wallflowers take their influences and make something of their own better than so many other bands.

What is truly great about this collection, to an even greater degree than The Wallflowers' previous albums, is that each new listen allows you to explore ways of interpreting the lyrics while tapping your foot and moving to the music--a wonderfully seamless flow of great songs, filled with new possibility! And I can only imagine how "Rebel, Sweetheart" must sound in 5.1 Surround--another rewarding experience for listeners with those capabilities. Yes! Buy this album!

Quite possibly the strong of their career
The Wallflowers have undergone a number of changes over the years--most noticeably after their debut record when the entire band changed save Dylan and Jaffee. Ironically enough, the changes on this record (such as the inclusion of producer Brendan O'Brien as a guitarist) bring them back to their roots from Bringing Down the Horse.

This album is easily their most focused since the days of Horse. Breach is still arguably their best work, but it had a couple of weak points (the bonus track) and production mishaps (placing "Mourning Train" and "Up From Under" next to each other was foolish). This album, however, has instant classics that old Wallflowers fans will love--particularly "Here He Comes" and "Back to California"--the latter of which sounds like it could easily have been off of Horse.

Unfortunately, my greatest praise is also the biggest problem with this record. They really fail to cover any new ground, so they won't be converting any new fans on this recording. For dedicated fans who have been with them since day one, however, this is hardly a problem and more a blessing than a curse.

The inclusion of Brendan O'Brien is one of the more shocking things about the record. I'm familiar with O'Brien's older work such as producing Conspiracy of One for the Offspring and Spiritual Machines for Our Lady Peace. On both of those records and on O'Brien's other productions he tends to favor a more pop-centric flavor and sometimes adds more gloss than is necessary. After the production mistake that was Red Letter Days (don't get me wrong, it was still an incredible record, it was just horribly produced) seeing his name on the back gave me a bit of a start. I thought he'd continue the over-polished feel which so horribly contrasted with the Wallflowers rustic music, but O'Brien really pulled through for the band and gave them a more stripped-down rootsy feel that older fans will enjoy.

Anyway, aside from minor gripes such as the noticeable lack of many slower tracks, this album is sure to please any fans of the Wallflowers. I would have liked to hear more from Jaffee on the record, as I've been noticing he's been downplayed on every record post-Horse, but while he doesn't make a full comeback, he does make a partial one. Anyway, this album sounds more carefully crafted and put together than any of the Wallflowers past records, so make sure not to miss out.

The Wallflowers are back.
The Wallflowers are back in the game with their latest, "Rebel, Sweetheart."The album returns to the sound of Breach and BDTH, and the mix is decidely less "pop" than on Red Letter Days, their release from 2002.Lyrically, the CD is perhaps the Wallflowers' most powerful yet.The album is fairly straightfoward musically, many of the songs radio-friendly.The music is never compromised, however and the band isn't afraid to take chances with instrumentation, like the addition of timpani on "God Says Nothing Back".The Beautiful Side of Somewhere, the first single, is perhaps one of Jakob Dylan's most powerful songs, right behind "One Headlight" and his other hits.The brilliant guitar work of Brendan O'Brien is surely appreciated here within the group, as the record is saturated with good old fashioned rock n' roll licks.Fred Eltringham, the relatively new drummer lays down a solid foundation of the group.The songs are fresh, espescially in the case of "Here He Comes (Confessions of A Drunken Marionette).The album seems to be lacking on slower material, which was prevelant on BDTH and Breach with songs like "Invisible City", "Josephine", and "Mourning Train"But there is "From the Bottom of My Heart" one of the album's few slower acoustic numbers, which has a great organic quality in its paired-down arrangement.There is something here for every Wallfowers fan, and unlike previous records this has a great chance of opening up new listeners to the band.

More mellow
This long-awaited release is not what one would expect. Then that is the beauty of The Wallflowers, they are always bringing us something new.

Some of the songs on this release can be clearly classified as alt. country. Others have a very folksy feel. There are new rhythms (no raga--see video) evident most clearly in "God Says Nothing Back", creative lyrics ("From the Bottom of My Heart), and a spirtual feel to these songs (G-d makes an "appearance" in several). The significance of Rami's mastery of the keyboards is quite evident. The writing relies on his skills.

Wallflowers fans may be surprised, but not disappointed. Others who were not Wallflowers fans may want to give this CD a serious listen--you may discover something new.

The video portion of the dual disc is quite funny. This band is quirky (to say the least) and it is fun to see the lighter side of the "Boys." The video also includes new mixes of some songs, and "Halo" a song I had previously only as a bootleg. (Ooops did I just write that?)

SOLID
Suprisingly this album is very good. A lot of solid songs. This band is very mellow and thats why I like them a lot. Its not groundbreaking material here but its all always very good.
... Read more

Amazon.com

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

Recommended Tori-phernalia

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

... Read more

Reviews (248)

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

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

Devon

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bishop caught a hare by the rocks.

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

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

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

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

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

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

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

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

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

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

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

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

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

[Here the record ends]
... Read more

Amazon.com Music Reviews

People tend to confuse the band Mazzy Star with it's singer Hope Sandoval. Truth be told, they've been right all along. Sandoval's languid, weeping willow voice is Mazzy Star; the name is a mere formality. With nods to Nico and the Velvet Underground, So Tonight that I Might See is vintage Mazzy. Remarkably, the recording produced a strikingly undanceable single, "Fade into You,"that ascended to respectable rotation on college and AAA radio. The rest of the album sticks close to the single's plaintive, retro balladry. Though Sandoval rarely raises her voice above a sultry whisper, it's bright enough to hold your attention all night. --Nick Heil ... Read more

Reviews (74)

A Stunningly Beautiful Album!
This album has been in constant rotation in my cd player for years and years now. It really is a beautiful album. I never understood the people who said that all Mazzy Star songs all sound alike. I never thought that in any sense at all. they all are so subtle and subdued but yet all have their own personality. The album really coheres in a sense, but each song tells it's own story. It isn't simply a collection of random songs but more a book of short stories held together by a common thread.

From the first track, Fade Into You, a sort of surprise hit single on the radio with its country tinged, folk psychadelia to the grand finale, So Tonight That I Might See, a Doors inspired stream of conscious masterpiece, the entire album shimmers with emotion and feeling and dreamy landscapes. David Robacks sweet guitar playing and lush arrangements provide the perfect backdrop to Hope Sandovals detached but angelic voice and an almost faceless backing band provides the perfect foil for the dark, laid back duo who are fronting the show.

Fade Into You is a beautiful tune, filled with desertlike folk country-ish sounds, that never seems to wear thin. Bells Ring which is next, keeps the same spirit as Fade Into You, albiet with a more heavy, electrified spirit and then Mary of Silence And Five String Serenade bring the band closer to a funeral type atmosphere, but it's Blue Light, the fifth track that lifts the band out of it's misery. This almost tone poem, is filled with an aquatic organ sound that is perfect, almost with it giving you the feeling of a soft, blueish light shining through the window on a what was rainy afternoon during a hot summer's day.

She's My Baby is nice and is next, but it's the seventh track, Unreflected that has consistantly moved me and been one of my favorite songs of all time. It's gently ringing acoustic guitars, soft shaker and echoey vocals by Sandoval remind me of lying in a field in the desert on a clear summer's night with the brightest stars against the darkest backdrop circling above. This is a song that could simply be called cosmic... something which not many songs truly are.

The album then shifts gears with the coarse and tripped out "Wasted" only to find it's way back to dreamy folk on "Into Dust," which gives way the powerful closing track, So Tonight That I Might See. In similar fashion to The Doors, "The End," Sandoval sings with detached fashion almost unceasing string of words whih sound almost like an uninterupted thought from beginning to end.

So Tonight is a fantastic album. You may have heard Fade Into You on the radio at some point. Give it a try if you haven't already. It isn't music that you want to race cars to (effectively atleast) but it is a great cd. The playing by the band (except Roback) is nothing to run to the store about, but they do managed to create a dreamy atmosphere which is unbroken throughout the show. Highly Recommended.

So tonight that I might see
"So Tonight That I Might See" is another cd I haven't listened to in a few years that I thought I would throw into my stereo. I have always loved the haunting ballad "Fade into You". I guess Mazzy Star is what a lot of people would consider to be shoegazer. The music is mellow and soothing to relax to. Now that I am listening to the cd for the first time in 2-3 years, I find myself completely enjoying the music much more than I initially did. Hope Sandoval has that little girl voice which isn't a bad thing. She obviously left an influence in music, namely with Allison Shaw of the band Cranes and maybe a little with Sharin Foo of The Raveonettes. I still don't care for the tracks "Mary of Silence" and "Five String Serenade". Maybe because of the lack of melody and Hope Sandoval's monotonous vocals is what turns me off from the song. I love the acoustic guitar on the latter track but there isn't a real sense of melody or emotions in either song. I still think that the best tracks on the cd are "Fade Into You", "Bells Ring", and "Blue Light". I particularly enjoyed the gospel influence in "Blue Light". Hope's vocals actually doesn't sound so monotonous on this track. Although not perfect, "So Tonight That I Might See" is still a solid album to chill out to after a long day at the office.

Really Good, But Not The Best
"Among My Swan" is the best Mazzy Star album, but this is well worth your time. Hope Sandavol is an amazing talent and you won't be disappointed.

the epitome of beauty
I first heard the song "fade into you" in the movie Angus during the scene where Angus and Melissa shared their first dance. I remember being struck and thinking how beautiful the song was. Years later when my taste in music began to mature I stumbled upon Mazzy again and rediscovered the song. Hope's voice is in my opinion the most beautiful and ethereal voice in rock and roll. "Blue light", and "Five String Serenade" are both hauntingly beautiful songs and whenever I hear "Into Dust" I feel as if I could cry. "So Tonight That I Might See" is a nice little psychedelic number with a cool Celtic feel. Not ever song is perfect though, "Wasted" seems a little misplaced. I own every Mazzy album and there's just something about this one, like a certain tone in her voice that puts this album just a step above the rest. If I had to pick three cd's to save this would easily be my #1. A must have for any true fan.

brooding power
this is an awesome cd!I'd compare hope sandoval(mazzy star's singer)to julee cruise or kim gordon(at times),and the music is definatly reminicent of the first two julee cruise albums.it has a subtle "misting" effect that sweeps through you and makes you feel what she feels.my favorite track is the one with the slide guitar on it.fans of dark tones and affectionate vocals should eat this right up! ... Read more

Reviews (51)

I'm sinking in the quicksand of my thought
Before the arrival of the Thin White Duke or Ziggy Stardust, there was Bowie, just before the Spiders were about to take England and the world by storm. Hunky Dory came out the year before and to me, was the best album he put out in the 1970's.

"Changes" is classic Bowie from opening note to the closing saxophone, done by Bowie himself. It's a hand-up to the younger generation who have problems from the old fogies who look down on them with contempt and pity.

I'm also partial to the sauntering piano and vocal of "Oh! You Pretty Things." which comes alive with Mick Woodmansey's drums mid-song. The mellowness continues with "Eight Line Poem."

"Life On Mars?" is one of the biggest justifications for Bowie's existence. Well, that and "Space Oddity." Oh then there's "Time Will Crawl" and then, ... well, the symphonic wall and piano surrounding the chorus that break in beginning with "Sailors fighting in the dance hall..." The line about "the Lawmen beating up the wrong guy" brings to mind Rodney King.

It would've been interesting to have the kind of parents on the light-hearted "Kooks." A click or so away from conventionality, it seems. Classic line: "And if the homework brings you down/Then we'll throw it on the fire." Equally light is "Fill Your Heart" a quick jazz-swingy number of freeing one's heart with love and forgetting one's mind. Apart from Sgt Peppers, the people of Pepperland might accept this song heartily.

The reflective "Quicksand" is the opposite and presents a gloomy, dark vision, having the guitar of "Space Oddity." The piano and strings come into play effectively as in "Life On Mars?" especially when juxtaposed with the apocalyptic "Don't believe in yourself/Don't deceive with belief/Knowledge comes with death's release."

Sound bites: The acoustic guitar is really strong on rhythm in "Andy Warhol" With Mick Ronson's snarling glam-rock guitar, "Queen B-tch" can be considered the first volley by the Spiders. Compare this to "Suffragette City." And finally, "Song For Bob Dylan" is exactly what it sounds like, a nod to one of if not America's greatest songwriter and storyteller.

To say that his recent album 'hours' was close to this misses the mark, although there are overtones. Alternately upbeat and melancholy, with not too many traces of the Spiders invasion that would suddenly come the following year.

Let Me Make it Plain: Gotta Make Way for the Homo Superior!
Hunky Dory (1971) is David Bowie's second album--released after The Man Who Sold the World and prior to The Rise and Fall of Ziggy Stardust. Hunky Dory is the most enjoyable and entertaining of all of Bowie's albums to me--unlike most, every song is very entertaining and pleasant here. If you don't know any other of his records, I certainly recommend that you start with this one. Albeit this is the most commercial of all his works, it still possesses that guaranteed Bowie "edge." Even though Ziggy Stardust--the supreme concept album of the 1970s--is more purposeful and focused, Hunky Dory is more musically amusing and accessible than that one. While most of the tracks are not incredibly intellectual or may not require deep analysis, when it comes to writing great pop songs, Bowie is a genius. Although he doesn't usually write cheesily or with cliché, he [along with Bob Dylan] is one of the few people who can successfully pull it off when he decides to--"Kooks" is one of the silliest and funniest songs ever written, and even though it is ridiculous, it's without a question my favorite. I also really like, of course, the fittingly mournful "Song for Bob Dylan"--it's quite possibly the best tribute ever written! "Changes," the hit of the album, along with "Fill Your Heart," both integrate well and embellish the rest of Hunky Dory's childish animation and hopefulness. Directly following the release of Ziggy Stardust, David Bowie publicly announced his bisexuality, and Hunky Dory certainly has more than a few hints of this budding flamboyance. Though many of the songs are very light, many of them also expound upon Bowie's frustration with his bland society, especially "Oh! You Pretty Things:" "What are we coming to? ...Homo sapiens have outgrown their use... Gotta make way for the Homo Superior!" Bowie's style changes from album to album, but the songs on Hunky Dory are upbeat and extravagant, yet still very simple [if that's possible]. I really don't have much else to say, except that this album is very good and very nice and you should hear it as soon as you can.

3.5 stars - Still finding his way
Hunky Dory (1971.) David Bowie's fourth album.

David Bowie had only been making music for about half a decade when the seventies came around, but he had already shifted his sound more times than most artists do in their entire careers. He'd gone from an oldies-pop sound to more of an acoustic-style folk rock one. And come the new decade, and he was about to shift his stylings once again, in more of a rock-style direction. With guitarist Mick Ronson, he recorded his third album, The Man Who Sold The World. One year later, he recorded his fourth LP, Hunky Dory, also featuring Ronson. Read on for my review.

Let me start by saying that this album is a step up from Bowie's previous albums (I feel each one of the first five David Bowie albums is an improvement over its predecessor), but he still hadn't found his voice as a rock star yet (that wouldn't happened until 1972's Ziggy Stardust.) Despite this, Bowie serves up a pretty good album. Changes would become one of Bowie's biggest hits, and why not? It's seventies-style pop rock at its very best. The other tracks are hit and miss, but there are a few gems here. Life On Mars would become a fairly popular track, and the favorite of many Bowie fans. It's not my favorite, but solid nonetheless. The acoustic stylings of Quicksand are also excellent - you've gotta love the lyrics here. Andy Warhol, Song For Bob Dylan, and Queen Bitch are also very good. In the end, this album seems like a definite improvement over its predecessors, but at the same time, it leaves a lot to be desired - some of the tracks are subpar.

Like with the other David Bowie remasters, the foreign Ryko versions have bonus tracks that can't be found on the American reissues. If you're a Bowie maniac, I suggest shelling out the extra cash and getting the remasters; you may enjoy the extra tracks. However, if you're just a typical Bowie fan, the American reissues will do just fine.

In the end, this is a good album, but I remain confident that it could have been done better. I really only recommend this album to David Bowie die-hards - It may give his casual fans the wrong idea about his music, and we sure as hell don't want that happening (getting the wrong first impression of a musical artist is NEVER a good thing - and David Bowie is no exception.)

Classic
(...)All I can say is that I'm glad I gave this time the propper amount of time to really seep in because now I'm a full blown David Bowie convert. As far as this album goes this is the one where David Bowie really finds his sound. If you hear Space Oddity first that one has it's moments but it doesn't resonate as well as the next 4 albums. Also, I'd just like to add that Queen Bitch is one of the most underrated songs and I just gotta say that song is one of my all time favorite Bowie songs.

Bowie at his Best!
I was not alive during the highlights of David Bowie's career. My mom is a huge Bowie fan though, and I often listen to her cds. Hunky Dory caught my attention because of its title, but I finally listened to it when looking for quotes to put in my paper about Andy Warhol. I couldn't stop listening. It's fantastic. No one song on this is bad, although some I like better than others. This is a must have for the Bowie fanatic or anybody just interested in an introduction to the amazin David Bowie. ... Read more

Amazon.com's Best of 2000

Heartbreaker opens with an argument about a Morrissey song before the band kicks into the sloppy and rollicking "To Be Young (Is to Be Sad, Is to Be High)," and certainly the gloomster's self-referential sadness hangs over Ryan Adams's songs. But Adams, the notoriously raucous frontman for the defunct Whiskeytown, is a country boy at heart if not in attitude, so there is a lingering pastoral beauty that imbues the album with a happy sweetness as well. That, along with Ryan's expressive, gravelly voice (equal parts Paul Westerberg and Merle Haggard), gives Heartbreaker enduring power. --Tod Nelson ... Read more

Reviews (114)

Far More Intimate Than "Gold" but Equally Stunning
For anyone who is thinking that Ryan Adams's debut album is similar to "Gold", let me stop you right now: "Heartbreaker" is far more intimate, less radio-friendly than "Gold". Which doesn't mean of course it is any less good.

"Heartbreaker" is in general a toned-down album, simply Ryan with accoustic guitar telling stories of aching love gone wrong and other stories of life. "Oh My Sweet Carolina" is a superb example of that (with lyrics like "I went on to Cleveland and I ended up insane" haha, take that Cleveland!) Other essential tracks are "My Winding Wheel", the stunning "Come Pick Me Up" (a full-band ballad with Ryan on harmonica and piercing lyrics; by far the best track on the album and one Ryan thankfully continues to play live regularly on his current tour), and "To Be the One" (just Ryan's acoustic guitar and harmonica, reminiscent of early Dylan.)

The album does contain a couple "Gold"-like uptempo songs, such as "To Be Young (Is to Be Sad, Is to Be High)" and the mean-rocking "Shakedown on 9th Street". But other than that, it's mainly Ryan by himself and his guitar. Finally, don't miss the opening hilarious discussion about Morrisey! What a hoot!

Ryan Adams will save rock and roll!
Ryan Adams has never been an upbeat sort of guy.

I mean that in the kindest way possible. His music may be as raucous as his attitude, but layed over the jangly guitars and honkeytonk piano is the sneer of a broken heart, not a hearkbreaker.

This album is truly one of the most heartfelt and touching pieces of acoustic rock I have ever heard. Adams' voice cracks a little in pain during songs like "Amy" when he sings "Oh, I miss you, oh, I love you, Amy. Do you still love me?"

All the trappings of poppy "I love you" lyrics are there, but Adams avoids being typical because his lyrics are continuously detailed. For example, on "Winding Wheel" he sings of a "bed of steel" and on "Damn, Sam (I Love A Woman that Rains)" he speaks of being "calm as a fruit stand in New York and maybe as strange." What it all means is a mystery to the listening audience, but it's compelling poetry.

All the lyrical honesty is backed by genuine musical knowhow. Adams [rocks] with his guitar on songs like "Shakedown on 9th Street" when he sets the stage for a barfight with an angry guitar and some vocal tricks.

This is a MUST own album for every fan of rock. Ryan Adams (along with The Strokes) could save rock and roll yet.

It's amazing he USED to sound like this.
This album, along with Pneumonia, are Ryan Adams' two best accomplishments. Heartbreaker is one of the reasons alternative country is so popular today. The album does run a little long, and his best work is on the first half of the album. However, this barely takes away from its quality. My favorite songs on the album (if you're interested) are "Winding Wheel" and "Come Pick Me Up."

It's unfortunate that Ryan Adams' new albums are such rubbish. I guess some artists who "have it" can just "lose it."

AWESOME Recording
I totally dig this album and me thinks it sound fantastic. I heard its coming out on SACD by the ORIGINAL MASTER RECORDING label and I pumped to hear that too :)

Might be as good as Adams gets
This is not close to a perfect album, but its high points are as good as American popular music can get. And this just might be as good as Adams gets. There's no doubt that Adams is immensely talented. But harnessing that talent takes some discipline. Adams descent into generally jerky behavior and alcoholic numbness have taken their toll and his subsequent releases on Lost Highway seem attenuated in comparison to this fine album. Other songwriters have hit low points only to come back with remarkably clear-headed and inspired work. It just might be that Adams will do this as well. I hope so at any rate. ... Read more

Album Description

The original soundtrack album to the smash television show, Smallville. Artists include Five For Fighting, Eva Cassidy, Lifehouse, Ryan Adams, Sixpence None The Richer, Remy Zero, & more. Also includes several exclusive bonus features.Elektra. 2003. ... Read more

Reviews (53)

Like Cliff Notes for the Series...
If you want to relive the moments of Smallville, this CD will be an excellent companion for you "die-hard" fans. Most of the tracks emulate the mood of the show, with memorable songs like "Don't Dream It's Over" by Sixpence None The Richer, "Everything" by Lifehouse, "Time After Time" by Eva Cassidy, and of course, the "opening title" song, "Save Me" by Remy Zero, in which the band also appeared in the first season's cliffhanger finale. I was disappointed, however, that "Wherever you will go" by The Calling, didn't make the final 12 tracks. In my opinion, it set the tone for the "rollercoaster" relationship between Lana and Clark and makes you think of the times that made you say out loud, "Dammit, Clark!". Despite this, the 12 tracks and the bonus "enhanced" material (playable on a PC) are well worth the cost. If you are an avid fan, and you want to reminisce over the episodes of Smallville, this CD is a "must-buy"...

Big Time SMALLVILLE...
SMALLVILLE: The Talon Mix is great anthology of a Super Show's
moods and themes. The long version of Remy Zero's SOMEBODY SAVE ME is stirring anthem whose twelve string-backed rhythm and banshee lead vocal opens the album like a desperate prayer. EVA CASSIDY's "Time After Time" closes the disc with her beautiful ballade of consolation assuring listeners heroes "hear" and are, indeed,ready to save...

Songs--time in between--range from good to excellent. FIVE FOR FIGHTING's John Ondrasik's SUPERMAN(It's Not Easy)is SMALLVILLE centerpiece moveing from reflective ballade to anthem recalling John William's triumphal "Superman" opus. "Don't Dream It's Over" by Sixpence None the Richer wistfully complements hard-rocking pieces of Sound Track that work--like bands and artists who comprise it--independently or evoke episodes of the series well. Clark Kent goes "NUCLEAR" in season finale: defying command of Kryptonian Father Jor-El's Spirit summoning him to destiny as MAN of STEEL. Watching Clark head-out on the highway (motor cycle; black-leather jacket;shades)jacked on Jekyll-Hyde dose of Red Kryptonite into a James Dean Super Pique may not satisfy viewers with its "Born to Be Wild" rebellion everyone(except Kal-El)knows is ill-befitting and won't work. The SMALLVILLE sound track ...lyrically fine;technically proficient/good,without radical forays...works Big Time.It's the winner Clark Kent/Superman will soon be and--mythologically--remains.(4 & 1/2 stars)

Smallville fan here likes the music from the show
Hey, I'm a Smallville fan. This is the best tv to come along since Star Trek, and it's actually all I watch on television, which in our house stays dark except for Wednesday night and well, sometimes on Thursday if there's a good wrestling match on. (Ugh, not MY choice.)

WB makes no bones about featuring music to enhance its hit television show "Smallville." They promote the music after each show, but at least it's some of the best of the new "alternative rock."

My particular favorites are Five for Fighting's "Superman", the cut by Steadman, and of course the incomparable Eva Cassidy (Time after Time.) The funny thing is the theme by Remy Zero. Listen to their intro album "Remy Zero" and it's pretty lame. But the "Save Me" theme from Smallville is incredibly good. This is a must for Smallville fans to revel in.

Music better for younger crowd, CD enhanced in wierd way
I guess maybe I'm too old for the music on this CD, #1 "Save Me" by Remy Zero was just about my favorite tune. A couple of other tunes did all right, I think #11"Everything" by Lifehouse was one of those, but most didn't do much for me. Some people like #12 "Time after Time" by Eva Cassidy, I think the Cyndi Lauper version was better.
This CD has the strangest manner of enhancement I've run across, it appears that you can't listen to the music list on your PC the way I can with most if not all of my other enhanced CD's. You'll get a music video or two (but not Remy Zero's "Save Me", a short slide gallery & some other stuff. When I tried it out I found the online access to be very slow loading so the faster the connection you have the better. There's an interactive map with points of interest in Smallville (but not the Kent home & a few other bits I would expect), not the easiest thing to navigate, click on icons to bring up fake web pages for each. I tried the one for the Talon and the Luthor mansion, the Talon was OK - the Luthor mansion webpage included a slow loading, for me,but interresting looking Quicktime VR tour of the house.
I also noticed that the exclusive access weblink on the CD was smallville.net but that what you ended up arriving at was http://smallville.warnerbros.com, save that & you don't seem to need the CD for access.

Better than I expected.
As a casual fan of the show I decided to obtain this cd because I liked the song Superman (It's Not East). I have always felt and still do feel that this song would have made a better opening theme song for SMALLVILLE than Save Me. I never cared for that song. Except for Save Me I would have given this cd 5 stars as I like the remaining eleven songs included on this cd. I gather many people like Save Me so I guess I may be in a minority as far as this song is concerned.

I found some of the tracks to be truely wondrous. I don't usually go in for remakes but I have to admit that both Time After Time and Don't Dream It's Over are almost as good as the originals. Actually Time after Time is better than the original and how can something so sad be so beautiful as well? Also, the new more modern arrangement for these songs seems to fit the show better than if the tv shows producers had decided to play the 1980's originals. I'd also like to mention Island in the Sun and Everything. Island in the Sun is a nice slightly upbeat song that seems to improve the listeners mood. The romantic ballad Everything starts out soft and actually builds in sound and intensity during the final portion of the song.

All in all not a bad cd. the pc extras didn't appeal to me but then I bought the cd for the music and not the extra pc features. In general such features on a music cd hold little interest for me. I await a sequel cd but find it hard to believe it could be as good as this one. ... Read more

Amazon.com

Among the benefits of picking up the new Tears for Fears album--the band's first since 1989--maybe the least obvious is looking cool in front of friends. Flick it on over cocktails, say, and brows will furrow: Few would think to match the heaving, synth-heavy boys who lit up the '80s with "Head Over Heels" to this new material. Which is mostly a good thing. The vocals of lead singer Roland Orzabal, powered by some all-cylinders thing, still squash all traces of irony in their path, and there's a moodiness to the music, minus a lot of the old broodiness, that borders on the masterly. Yet the sound has changed completely. Old-school overproduction has fallen away in favor of real guitars, pounding pianos, and a melody-driven, Beatle-y sensibility. It's there on the title track and first single "Call Me Mellow," and only slightly eclipsed by something pleasantly Bacharach-ish on "Secret World." Everybody who loves a happy ending will find one here: Tears for Fears skirts the has-been trap impressively, translating years of experience into play-it-again, sophisticated modern pop worth paying attention to. --Tammy La Gorce ... Read more

Amazon.com essential recording

Part of the '90s Seattle grunge triumvirate completed by Nirvana and Soundgarden, Pearl Jam debuted with Ten, their most accessible, least self-conscious album. Over time, PJ's rep as a politically correct band just a little too above it all to prostitute its music on MTV has nearly superseded the music. But before that, they were a simply an in-your-face, in-your-head, loud, melodic rock band. And lead singer Eddie Vedder was known for his possessed stage presence and a primal growl that sounded like it required three vocal chords. The personal, narrative singles "Alive," "Jeremy," and "Even Flow" catapulted the reluctant band into the 10-million-plus-sales division. Subsequent albums are more intricate, subtle, thematically complex, and, in many ways, better than Ten. But the band may never repeat the stampede caused by this debut. --Beth Bessmer ... Read more

Reviews (538)

The beginnings of greatness
This album is the one that anyone knows no matter how big of a Pearl Jam fan they are (even if they aren't one at all). That is a little unfortunate, as they have since surpassed this all time great album with more incredible albums of diverse music. But Ten is where it began. This album went to #1 after Nirvana's Nevermind but spent more time there (just stating a fact, I like both bands and they shouldn't be compared). It has their radio staples Alive, Even Flow, and the smash Jeremy. But don't overlook any song on this album. Their classic rock influences and modern touches give Ten a unified sound all its own. The songwriting puts it over the top; the emotional eruption of Black, the catharsis of the closer Release, and just high quality throughout the album. You can hear the Clapton and Zeppelin influences in the guitar work (which Stone and Mike shred up awesomely), and Eddie Vedder's awe-inspiring vocals set them apart from anything else at the time. One of the all-time greatest singers in rock history, Eddie's emotions are left bare here in the lyrics (such as the dysfunctional family issues of Alive) and he delivers them passionately, providing ear-peeling screams when the music demands it but also sounding great when the singing is barely more than a whisper (the opening of Black). All in all, this is a seminal album from one of the greatest and most challenging (both to music and the music business) bands in history, and the results are ours to enjoy forever.

A great example of early Seattle rock
I tried Pearl Jam a few years ago when "No Code" was released, and I wasn't really impressed. But when I heard "Ten" from a friend last week, I immediately went out and bought it. This is an amazing album that combines great riffs with melodic tunes and is always characterized by Ed Vedder's anguished yet strangely touching lyrics. While "Jeremy" was the moneymaker, as well as the album's masterpiece, "Alive" is truly a spectacle, with that incredible two-minute ending guitar solo and the chorus that everyone wants to sing along to. One of the best lines is on "Black," where Vedder sings "I know someday you'll have a beautiful life/I know you'll be a star in somebody else's sky/But why, why, why, can't it be, can't it be mine?" Really well-conceived metaphor. Vedder is enchanting to listen to; he always sounds like he can't decide between killing himself and finishing the song. Other great cuts include "Once," "Even Flow," and "Why Go," showcasing Pearl Jam's louder, faster sound, which fades into the slower melodies as the album progresses. This album is less grunge than Nirvana or Soundgarden, with a cleaner sound that makes it that much more enjoyable. While their popularity may have waned with time as well as their self-imposed lack of MTV play, this album really shows why they were once America's most popular rock band, and deservedly so.

Fantastic music, great debut album
Not so often, have I seen and heard so much good music on one record. I got the album two years after it was released and it was like an explosion, literally, at least for me. I was a little bit sceptical at the beginning, especially not liking Nirvana, but so surprised after hearing it. It was nothing like anything I heard before. The music is absolutely absorbing, breathtaking and soulful at the same time, great guitar playing, good rock with still enough rhythm to be listened to by the crowd. Not to talk about Eddie Vedder's voice and his way of singing. The first time I heard Alive I couldn't believe anybody can have a voice like that and can sing a great and said story like Jeremy or deeply personal lyrics like Alive or Black so well. Truly amazing. I would recommend this album to absolutely everybody who appreciates good music, good lyrics, and great voice. Probaly the best voice....

Too Much Hype, BUT good Debut
Ten, is to me, by far, WAYYY overrated. WIth that said, I CAN say it was a great debut. I mean, the releases were awesome, and Once, and MAYBE Black, which I am sure was NOT a release is great too. The other songs didnt seem to approach me as good as the listed ones here. Yet, if they had to put Yellow Ledbetter and Footsteps on here, and took off some of the filler towards the end. Not bad, I wouldnt pay anything over $15.00 for it,
Try "VS" instead. Their Masterpiece

Great Album!
this album is the *&^% jeremy is an awesome song it's the best song in the world! This album is the ****ing best album ever! This album is totally the @#$in &%*! No #$%! I love this album! I recomend it! ... Read more

Amazon.com

Five for Fighting is actually just one guy with a rather substantial chip on his shoulder who's taken his name from the amount of time a hockey player spends in the penalty box for fighting. Los Angeles native and erstwhile prodigy John Ondrasik really knows his way around a melody, bolstering it with a dramatic sense of timing and rhythm like a more modern and hipper Elton John. And that defiant chip does makes for powerful poetry, although oftentimes he sacrifices logic and clarity for the sake of iambic pentameter. While "Superman" is a catchy affair about the restrictions of being superhuman and the desire to belong ("I'm only a man in a silly red sheet looking for special things inside me"), it's doubtful that anyone who ever read a DC comic would believe that Superman would ever be "digging for kryptonite on this one-way street," since a loose fragment from Superman's home planet might turn him into a blubbering infant or a giant ant. At best, Five for Fighting follows in the narrative-based path paved by Counting Crows. --Jaan Uhelszki ... Read more

Reviews (108)

Definitely a keeper!
I heard "Superman" once (that's right, ONCE) on the radio here in Baltimore and became instantly committed to buying this album. I think "Superman" is a fantastic tune, comprised of great songwriting and performance. Though I had never heard any music from Five for Fighting before, I guessed that the single song I heard on the radio was evidence of this band's potential for excellent music. My first listen to the album confirmed my speculations. Five for Fighting has compiled a set of great songs on America Town, all of which are accessible music on the softer side of rock. The songs on this disc were written with special attention to poetic lyrics, often poignant and moving, that combine with solid musicianship to deliver a highly entertaining musical experience. "Superman" continues to be one of my favorites on this disc, but a number of the other songs are also quite engrossing, including "Bloody Mary (A Note on Apathy)", "Jainy", and "Boat Parade". Interestingly, after I bought this disc here in Baltimore, I took a business trip to Salt Lake City, where I heard "Superman" played all over the radio! Quite different from Baltimore, but I was glad to see this band getting some radio play in another part of the country - they deserve it. I definitely recommend this album to you Amazon.com listeners!

ONE HIT WONDER
THE RETURN OF SINGER-SONGWRITERS?
Well,kinda.David Gray may be exceptional as a singer/songwriter,
so are Ryan Adams,Pete Yorn,and Rufus Wainwright.But how about
John Ondrasik a.k.a Five For Fighting(it's like a Nine Inch Nails suitation,folks)? Well,kinda...
"America Town",Ondrasik's major-label debut,went to #54
on the pop charts and went gold due to the lush lullaby "Superman
(It's Not Easy)"-a top 15 hit as of this writing.
But after listening to "America Town",I wonder if "Superman"
is the only quality song he can come up with.This album is
extremely underdelovoped.It's needs more stucure.With the exception of "Jainy",there's no other song on this album that
really soars.
So it's sad to say but it looks like after "Superman" runs its course,Ondsarik will be a well,one-hit-wonder.But that may change if he comes up with a better album,next time round.
For the meantime,I recommend:David Gray's "White Ladder",Ryan
Adams' "Gold",and Pete Yorn's "Songsforthemorningafter".

Solid songs...Wobbly CD
Like many others, I really liked the song "Superman" so I bought the CD.

The CD in and of itself is really...not solid. The CD as a whole isn't very good, however when a song is good...its GOOD.

Superman is such an example.
Love Song is amazing too. It's about a child's point of view when his parents are getting a divorce and everything about the song (lyrics and melody) are totally fresh.
I enjoyed the Last Great American and Easy Tonight was alright.
Jainy was pretty great too...

I'm not sure it was really worth my money to get the whole CD, but I'm glad I have it, and if you've got a couple bucks to spare and you REALLY liked superman, give it a try! maybe you'll like the stuff I didn't.

A great CD.
American Town is in my opinion one of the best CDs of this decade. A soulful reflection of the human heart that gives us a mirror of what we are as people. John Ondrasik's soulful tunes from Bloody Mary to the classic Superman goes through a montage of emotions from lost love to loneliness with a poignancy that really hits home. Superman, which was the first tune I heard from this CD is a prime example of John's understanding of the human heart, giving a sad and somber look at a perfect man who's deep down inside is just as human and as insecure as every one else. This is the first CD I brought from this group (or man if you know the truth, but it will not be the last.

Check it out.

It's Not Easy Tonight
This album is filled with some very emotional piano, acoustic guitar, and even a few tracks that have an elecyric guitar pieces. This is in no way a heavy band, so if your looking for some hard rock or metal look elsewhere. The piano and acoustic guitar are the primary instruments here.

There are songs about the insecureties (Superman (its not easy), and songs about relationships that don't work out (Easy Tonight, Bloody Mary), and other sad stuff. This is very emotional work, but this is not one of those whiny emo bands like Dashboard Confessional. This is a talented man just getting some stuff off of his chest in a non-whiny way that a lot of people can connect with and appreciate.

A+ stuff here baby. ... Read more

Amazon.com

This 1991 Seattle supergroup brought together Chris Cornell and Matt Cameron of Soundgarden with the surviving members of Mother Love Bone (Jeff Ament, Stone Gossard) and Eddie Vedder, later of Pearl Jam. The experiment worked. Cornell shines, seeming more comfortable here on this tribute to his former roommate and deceased MLB lead singer Andrew Wood than with his own band. "Hunger Strike" and "Say Hello 2 Heaven" combine glam and grunge better than anything in Love Bone's catalog, while "Wooden Jesus" is less didactic than anything in Pearl Jam's oeuvre. Most of the songs may be about loss and addiction, but this is compelling music for black days. --Charles R. Cross ... Read more

Reviews (87)

Cornell aint that bad
When I first heard the Vedder/Cornell colaboration on the song "Hunger Strike" I was quite enamered with the album. Im a huge Pearl Jam fan and not having heard any of the other tracks I made the assumption that Eddie Vedder did the vocals for the entire album. After I purchased the cd and listened to it all the way through I was upset to find that Cornell did the singing on the remainder of the album. Disheartened, I put the album on the shelf and forgot about it. Months later, bored, i put the cd in for another listen. After hearing the tracks a second time they didnt sound as bad. After the third listen they sounded pretty good and after the fourth try i actually enjoyed the c.d. My respect began to grow for Chris Cornell and the album spawned my future love for Soundgarden. Something about his screaming, impassioned vocals coupled with the heavy looping guitar work of the boys from PJ appealed to me. The cd is now one of my favorites from the alternative era. Check out the catchy hook from "Reach Down" and the off key guitar riffs from "Four Walled World." They will take you straight back to 1991.

Salvation
"Now I'm warm from the candle/ But I feel too cold to burn/ He came from an island/ And he died from the street/ He hurt so bad like a soul breaking/ But he never said nothing to me/ Say hello to heaven..."

Understand, Temple of the Dog was not meant to be a commodity. IT was a one time collaboration of several talented musicians to honor the memory of Andrew Wood, the late lead singer of Mother Love Bone. Chris Cornell, Mike McCready, Matt Cameron, Jeff Ament, and Stone Gossard joined their efforts to create this album. Eddie Vedder's voice is present in certain songs. All in all, this is an amazing collection of emotion-driven ballads, mellow yet powerful, representing a tough time.

The most recognizable song on here would probably be "Hunger Strike", in which Cornell and Vedder sing separately, then together. If you are a fan of Soundgarden, Pearl Jam, or Mother Love Bone, this should interest you. I think that anyone who appreciates the mellow side of grunge rock will like TOTD. Remember it was only meant to be a one-time thing and enjoy it for all it's worth.

Quite Possibly The Best Single Rock Album Ever Recorded
And I say that without the slightest shred of pretense or hype. I bought this CD the day it came out in 1991, and through the ensuing 13+ years it has just kept getting better.

I find it frankly mindboggling that anyone lacking the musical sense to appreciate this album would bother reviewing anything but their own reasons for continuing to live. Every single note is deeply emotive and powerful; I can't think of a single album I liked more since, and prior...I'd have to go back to Zeppelin at least, and maybe even to Sgt. Pepper.

Knowing the backstory of the album just makes it even more powerful. Those who dismiss it as pretentious or self-absorbed can be no more than emotionally crippled automatons living in a dull gray world of banality and mediocrity; nothing else could explain such an attitude toward this wonderful 55 minutes.

When the Stainds and Nicklebacks and Days of the News and Limp Bizkits and Creeds (*spit*) of the world are nothing more than long-forgotten and painful memories of a bad parody of real music, this genuine, heartfelt, quality rock, played from the soul and with ridiculous levels of talent to boot, will remain as the little unheard-of album that set the standard for decades to come.

Today's crop of corporate-constructed, mass-produced dreck don't even possess the presence of mind to know that they should pray to whatever diety they hold dear that maybe someday they might get lucky and create something with a thousandth of the power, talent, and value of this incredible album.

Cornell, Vedder, MLB.
they dont make em like this anymore. If you gave this classic cd anythin less than 4 stars youre a flaming homosexual (unless you really are a homosexual, then your just an idiot)

Wow, I can't believe no one reviewed it
This CD is a bit underground but definately a classic. Even if you don't like 'grunge' this CD still works. It's got a touch of emotion that is often lacking in SG. The melodies are beautiful, the lyrics match. This CD is better than most, if not all, PJ and SG CDs. It's just magical. Suggested tracks: All Night Long, Wooden Jesus, Say Hello 2 Heaven, Call Me a Dog. Solo fans will also like Reach Down. DO NOT BASE THE WHOLE CD ON HUNGER STRIKE! It's no where near the best song on here, it's one of my least favorites. It's practically the only song with Eddie. Actually, I think it the only song with him. Either way, in general, good CD to have. ... Read more

Amazon.com

Blame Tricky and Portishead. They started this whole Bristol sound thing, with sleepy techno beats overshadowed by the chirrupy vocals of some slumberland chanteuse. And--just when you think the approach has lost all its steam, all its relevance--along comes a new outfit to make the music a few degrees sleepier, the singing a tad more dreamy. And singers don't come any dreamier than Skye Edwards, whose lissome trill infuses every track on this sophomore outing with a tranquil ennui. You don't jump around to Morcheeba numbers like "The Sea." You sit back and let them creep up on you, as steady as the tides. --Tom Lanham ... Read more

Reviews (115)

Chill and smooth.
I've never been a techno fan. I was bred on 90s grunge and took to the gangly arty-rock like the Pumpkins and Tool. After randomly downloading some tracks from Luscious Jackson's first EP (In Search of Manny) the other day I started digging light female-driven hip-hop flavored stuff.. For some reason I then randomly found this album and "The Sea" instantly enthralled me, easily drawing me into the rest of the album. I think I found a new music genre to explore, which always kicks. From hearing a little Portishead years ago, I didn't really get a full feel for trip-hop. You can be chill without being depressing, as expertly evidenced on this disc.

Great, solid album, start to finish. Smooth musicianship with a nice breadth of everything from strings to mellow guitars to slow beats. The singer's voice is what truly makes this CD for me, though. Highly recommended.

Best album of 1998 by far!
This album and this band never stop to amaze me! Ross is a guitar god. Paul is a modern day Mozart and Skye is the most sweetest most amazing singer in decades! There is a track for everyone. Let Me See is kind of a jazzy melodie. Bulletproof is one of the best electronic instrumental songs I've heard since the Chemical Brothers. The title track is a gritty rap song. Friction is the best work of reggae I've heard a non-reggae band atempt...ever. Morcheeba has such an understanding of all music. All three of them are musicians at the top of their class. The lyrical themes stay true to the vibe Morcheeba produced on Who Can You Trust. Mostly greed and trust/mistrust relationships. But Big Calm portrays them in a sunnier light. A lot like the lyrics from Dave Matthews Band's Under the Table and Dreaming. It's a good turn for them. I you are the kind of person who is in love with all music, then buy Big Calm. By the way...I have a 2-tape set of remixes and b-sides of Morcheeba's. 31 songs. I'll make a copy for anyone who will send me blank tapes and postage to send them back.

One to Listen...Over and Over...
A better effort than Morcheeba`s debut "You Can You Trust?", "Big Calm" offers a smooth and hypnotic set of chill-out/trip-hop songs that provide a solid and compelling listen. Skye Edwards` vocals are one of the strong elements here, but the lush and sophisticated electronic landscapes are also gripping and delightful. Highlights include the superb ballad "Blinfold", the dreamy "Over and Over" and the contemplative opener "The Sea". "Big Calm" is a subtle, well-crafted and convincing pop record, and a pleasant example of late-nineties electronica. An album that deserves a place in CD shelves alongside Massive Attack, Portishead, Tricky, Gus Gus and Lamb.

Worthwile music.

BIG CALM. its makes u calm
This album is just very chill. When i have to do some designing or art, i pop this ceedee in and it creates that "atmosphere" for me. The vocal is great and overall, most songs on the album are nice to listen to. Its that ceedee where no song is realli a big STANDOUT but you dont ever get tired of the songs. Its an album you can pop in...and just....just listen to.

Trip Hop/Downtempo done correctly
After picking up the excellent "Charango" I was curious about the previous offerings of Morcheeba and so I decided to pick this CD up. I must say that it is a very pleasant surprise. Though the first track is undeniably the best, the other tracks offer similar delights. Even though they have been compared to Portishead, I don't really see the connection. Whereas Portishead is consistantly darker and understated, Morcheeba are rather uplifting and more aggressive. To me, this is the way downtemp should sound. The vocals are Morcheeba's strongest point. ... Read more

Amazon.com

Life has gotten so much easier for these guys ever since Pavement broke up. After all, how many flannel-shirt wearing, floppy-haired, Fall sound-alikes can the average person swallow? Oh well, now that the playing field is theirs alone, Spoon do not disappoint. Kill The Moonlight is their most melodically accomplished work to date, shimmying through the primal tambourine shakes of "Small Stakes," breaking a sweat with the spiky lo-fi swagger of "Stay Don't Go," and getting all starry-eyed on the three-and-a-half minute acoustic epic "Don't Let It Get You Down." So good, you'll even forgive them for blatantly Malkmus-derived song titles like "Paper Tiger" and "Vittorio E." --Aidin Vaziri ... Read more

Reviews (63)

Another dollop of excellence from tha Spoon
Not much to say that hasn't been said here. This album is more rhythmically-oriented than the previous "Girls Can Tell," and harmonically a little more spare. But that spareness is the essence of Spoon's genius: they are master arrangers of sonic space. There is not a drop of excess here, musically or lyrically. Often unremarked upon is Britt Daniel's ingeniously-timed phrasing, and it's no small feat that his always-pithy lyrics are custom fit to that phrasing.

There is nothing indie-rock about this band at this point; they are total pros. There are more R&B touches to this album than were hinted at on "Girls Can Tell." I can't help but think Thin Lizzy and Elvis Costello, though really that comparison is absurd and unfair. True, there is not quite as much melodic hookery as "The Agony of Lafitte" songs or many of the "GCT" tracks, but this record is much more about the rhythm. It's funny; I've been listening to Queens of the Stone Age, and all the elements of rock are there--huge drums, distorted guitars, etc., but in comparison to an outfit like Spoon, QOTSA can't hope to rock. Once again, Spoon outrocks the heavies.

Spoon the most underrated band of the modern age?
Ask most people what they think of Spoon and you will get 3 different responses. The vast majority of people will say who? A few people will dismiss them as being Pavement apeists, but a few will say one of the greatest bands ever. And "Kill Their Moon Light" is their best album. It is a punk r&b(real rhythm and blues not this modern crap) and a minamalistic masterpeace. This is the true spirit of punk. The thread bare instrumentation, the human beatbox noises on "Stay Don't Go", blues ballads (Paper Tiger). Think if The White Stripes were cool and didn't whine so much. Thats Spoon. I've seen them live which adds another dimension, best live band i've ever seen. But back to kill the moonlight, this is cool rock music. No posteruing(Rolling Stones) , no self agrandising(U2) not pretending to be avant garde aristes (Radiohead). Spoon are the essence of DIY rock, a bunch on friends pick up some instruments and have fun. Spoon don't push the boundaries of rock music, but no one really does. However if you want a record that you'll never get tired of playing pick this one.

Excellent example of minimalism
Pavement? Ok...
This is the album that actually introduced me to Spoon. I've listened to it for over a year now and I am positive that it is my favorite Spoon album and probably one of my all-time favorite albums period. Girls Can Tell is good. Really good. But this is better. The great melodic elements and slick production and layering of GCT return, but Spoon adventures into sonic experimentalism, seeing not only how stripped down and simple a song can be (which many punk bands, especially Wire, have already done) but also redefining what constitutes an instrument or even proper instrumentation. Hand claps, stomps, electronic beats, strings, backwards drums, beatbox, and odd overdubbed vocals flesh out entire songs driven by simple guitar or piano progressions, Jim Eno's clever drumming, and Britt Daniel's excellent vocals. All the songs are uniquely excellent, and thus it's nearly impossible for me to pick a favorite; the worst song is "Don't Let It Get You Down", but that's solely by comparison. It's a good song while the rest of the album is composed of awesome songs.

Yes, Girls Can Tell is awesome (especially the first half of it). But I've listened to both albums about a thousand times now and in my head there's no longer any debate. Kill the Moonlight is the better album. You should especially see it live...the live versions of tracks like 'Paper Tiger' and 'Small Stakes' are amazing.

spoon
i just saw this band live on lacl, they are a pretty good live band and i love their music so i givve this cd 4 stars.

The Opposite of Pavement...but still a good record
Ok, So why does anyone think this sounds remotely like pavement???I feel like it is the exact opposite. This is NOT a bad thing..since pavement is great and why would anyone want to hear a remake of a great indie rock band..thats just stupid. But to give a huge comparison: Spoon loves OPEN SPACE! like other reviews have noted. Pavement LOVES noise...yes its sparse but in a completely different way. Spoon loves to mix up lots of different styles of music and put it into one good disk. I've only had this album for..um..one listen..but i can tell that is one of those records that i will just put in at different times and it wont grow old. ... Read more