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| 121. The Best of New Order | |
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Amazon.com Reviews (47)
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.
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.
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.
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| 122. Greatest Hits (w/ Bonus DVD) | |
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| 123. August and Everything After | |
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Reviews (239)
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 | |
| 124. Crimson | |
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| 125. The Downward Spiral | |
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Amazon.com essential recording Reviews (471)
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.
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
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 | |
| 126. Before the Robots | |
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| 127. Kid A | |
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Amazon.com's Best of 2000 Reviews (1878)
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.
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| 128. Thirteenth Step | |
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Reviews (870)
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.
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).
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 | |
| 129. Rebel, Sweetheart [DualDisc] | |
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Album Description 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 bands visit to the U.S.S. Stennis A hilarious interview with The Wallflowers and SNL alumni Jon Lovitz (Content Subject To Change) Reviews (5)
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| 130. The Beekeeper (Special Limited Edition) | |||||||
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Amazon.com Recommended Tori-phernalia Reviews (248)
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| 131. So Tonight That I Might See | |
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Amazon.com Music Reviews Reviews (74)
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.
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| 132. Hunky Dory | |
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Reviews (51)
"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.
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.)
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| 133. Heartbreaker | |
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Amazon.com's Best of 2000 Reviews (114)
"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!
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 unfortunate that Ryan Adams' new albums are such rubbish. I guess some artists who "have it" can just "lose it."
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| 134. Smallville | |
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Album Description Reviews (53)
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)
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.
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 | |
| 135. Everybody Loves a Happy Ending | |
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Amazon.com | |
| 136. Ten | |
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Amazon.com essential recording Reviews (538)
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| 137. America Town | |
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Amazon.com Reviews (108)
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. 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.
Check it out.
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 | |
| 138. Temple of the Dog | |
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Amazon.com Reviews (87)
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.
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.
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| 139. Big Calm | |
![]() | list price: $13.98
our price: $8.99 (price subject to change: see help) Asin: B0000065JZ Catlog: Music Sales Rank: 3302 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
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Amazon.com Reviews (115)
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.
Worthwile music.
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| 140. Kill the Moonlight | |
![]() | list price: $15.98
our price: $13.99 (price subject to change: see help) Asin: B000069DOH Catlog: Music Sales Rank: 4702 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
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Amazon.com Reviews (63)
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.
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.
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