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"Hey Man, Nice Shot" may have been a fluke hit, but Filter's Richard Patrick has spent four years working on the follow-up album, mastering enough sonic variety to ensure that Filter stick around the moshpit. Programmer Brian Liesegang is gone, but Patrick continues on, picking up the slack and yielding nothing. Crowd reaction is impossible to anticipate, but at 70 minutes, Title of Record is an exhaustive collection of hyperkinetic guitars, subliminal melodies and thunderous dynamics--which is to say, it sports plenty of hard rock aggression, but is firmly rooted in the pop experience that keeps the songs in your head. "It's Gonna Kill Me" has a stalker's vibe in its techno-metal roots, while "Take a Picture" and "Captain Bligh" are radio-friendly unit shifters that suggest that underneath the technology rests a beating, and often bruised, human heart.--Rob O'Connor ... Read more

Reviews (222)

An Album Worth Buying
Filter's follow up to 1994's Short Bus is, in my opinion, a very enjoyable album. Simply put, Filter creates songs that one finds singing long after the disc has stopped spinning. If you enjoy good rock n' roll, buy this album, you may very well find yourself leaving this one on auto-repeat! Lead vocalist Richard Patrick, formerly of Nine Inch Nails, has a fantastic voice. When mingled with the talented Geno Lenardo's moody guitar playing, his music is no less than mesmerizing.

Among the more compelling of the tracks on the disc is the hit single, "Take a Picture." An upbeat and inspirational sound is combined with an interesting message: "Could you take my picture? 'Cuz I won't remember." "Could everyone agree that no one should be left alone?" "And I feel like a newborn, kicking and screaming." This song refers to an incident in which Patrick, while on a late flight, stripped naked and began wandering around the air craft, much to the shock and chagrin of the other passengers. When asked about this, Patrick claimed, "I was just really drunk!"

The spooky and disturbing "Cancer" is an angry, emotionally charged cry for reason. It talks about mankind, and its seemingly inevitable path of self-destruction, as the chorus pleads, "Hey, my children, what seems important won't last forever." Patrick seems to be reckoning with forces too big to be dealt with in any reasonable fashion, leaving him to merely watch with tears rolling down his face.

"Skinny" seems to reflect Patrick's feelings on the distorted view of what is considered beautiful in our society. He speaks to the models, the rock stars, the actors, and other such celebrities, repeating a show-biz mantra, "Don't ever let them see you cheat, don't ever let them see you bleed, don't ever let them see you cry, don't ever let them believe that scam."

With great lyrics, fantastic singing, and great musical accompaniment, Title of Record is sure to be included among the best rock albums of the late nineties.

Filter's "Record": A Gem
Here is a review I wrote for my school newspaper. I hope it is helpful.

Title Of Record, Filter's sophomore effort, is one of the best industrial/hard rock/aggro-pop CDs of the year. They broke through with the made-for-radio-overplay single "Hey Man, Nice Shot" three years ago, but the album, Short Bus, was nothing 'short' of a disappointment. However, the new album is infectious. Frontman Richard Patrick shows off his considerable vocal talent on tracks like "Welcome To The Fold" and "Skinny." These songs are laden with almost pop-like hooks, but Patrick manages to stay away from the sellout tunes of Bus. Lyrics are obviously not Patrick's specialty, with lines like "You think you're precious/I think you're sh**," giving some songs an almost laughable silliness. Filter also does not stray far from familiar rock and industrial Nine Inch Nails-esque self-deprecating lyrics such as "I am the scum of the earth/I am a cancer." However, some songs do suggest a little lyrical talent, for example in "I Will Lead You," ("Come along take a ride/Across the sky for an hour/Leave your mind/Take your soul/Fill the hole with flowers", but these moments are few and far between. Drummer Steven Gills displays his talent in songs like "Welcome To The Fold," "Captain Bligh," and "Cancer." The only other blemish on this record is Patrick's occasional efforts at creating power ballads like "Take A Picture" and "I'm Not The Only One." These embarrassing tracks sound like a hellish infusion of Elton John and Diana Ross and The Supremes. Overall, however, this album is bursting with hooks, originality, talent, and excellent replay value. If you liked: Nine Inch Nails' The Fragile, then you'll love Title Of Record.

In response to John
When I write a review, I "call 'em as I see 'em". There is no denying Trent Reznor is was very talented at what he's done. His songwriting was more impressive than Filter or Marilyn Manson and on that level I agree with you. However, NIN is not in a competition with Filter but rather with themselves to always top their previous work. For a band to release only once every 5 years is inexcusable.

In response to Matts Review
Filter will never surpass Nine Inch Nails. Richard Patrick has a good album here but it will never be a masterpiece like the Fragile or Downward Spiral. The Fragile is masterpiece that will be remembered longer the "The donward Spiral" It's sad your like the rest of the people and didn't listion to the album and just hoped for another "closer". Sorry your to blind to see the real meaning behind album.

In response to Mark for Illinios
Mark thought the record was bad because the rest of the songs weren't like "Take MY Picure", and that annoys me because that is just a music preferance. Anyone who clicks on the music clips can realize that Take my picture is the exception, not album's genre. For anyone who likes this type of music, this is a great album. Welcome to the fold is precious rareity, a true rocker that's intent isn't radio play time with a 3min. length and predictability, but a long song that spirals through great parts. All Marks seems to want is mainstream pop hits, but that's what makes this album so good, it refuses to mold to mainstream junk and remains unique heavy metal minus the satanic voice that so many heavy metal bands have these days, this is a band that I can still wait for a new album from since STP and smashing pumpkins both broke up. The review is suppose to be of the album, not the band, obviously if you don't like the band you'll hate the ablum. It's like going on to a Johny Cash album review and giving it bad marks for all the songs not being like "Hurt", the NIN cover he did that is the only song that younger listeners propable know of his. Don't judge a band by the one song you know of their's, and assume that that's what all their songs sound like, just because so many junky mainstream band do so. ... Read more

Album Description

On Ghost Of A Rose, Blackmore and Candice Night present afascinating combination of rock music, folk and melodiesfrom the 16th century that is interesting in every note.Blackmore sees his songs as an homage to renaissance music, and his band transpose the multi-faceted music of theMiddle Ages, which blends romanticism and mysticism,passion and enthusiasm, into their very own sound withacoustic and electric guitars, strings, renaissanceinstruments like hurdy-gurdy and bagpipe and CandiceNight's beguiling voice. Features 16 tracks including abonus video track of 'Way To Mandalay'. Minstrel Hall.2003. ... Read more

Reviews (21)

Ghost of a rose
Ghost of a Rose is the fourth album released under Blackmore's Night, and it seems apparent that Ritchie and Candace have now created their own genre apart from pop. The music contained reminds me of 16th century England with a blend of folk,rock and a hint of Gypsy intermingled.
This album, though similar to the others, definitely shows a maturity in style and performance. It possibly could be their best effort to date. Simply put, it pleases from the first to the last track. I am looking with aniticipation towards their next venture, and can say with certainty that I will buy it with confidence. There is something here for almost any taste.

Ghost of a Rose - The best BN release to date !
I thought their last release "Fires at Midnight" would be difficult to follow-up, because it is so awesome. Well, Blackmore's Night has exceeded all hopes and expectations with their newest release "Ghost of a Rose". This collection of 15 songs is masterfully written, with all the passion, romance, and medieval spirit that is the magic of Blackmore's Night. The production is superb, bringing the music alive without being overly slick. House Points to Candice Night, the lyric writing and singing is exceptional - You are a Bright shining star! And Ritchie, please never stop teaching us about this wonderful music!
Highlights: WAY TO MANDALAY- opening track & 1st single. Wonderful "mystic" paced song, the chorus is so well written you find yourself singing along without deciding to. Ritchie's use of the guitar synth set's the spirit of the song, as only he can do. Candice sings with such imagery you become part of the story. The song ends with an electric solo that is electrifying to say the least. DIAMONDS AND RUST - Superb ballad and obvious 2nd single. Excellent remake of the Joan Baez classic. Candice's singing is outstanding, and Ritchie's slide work brings tears to your eyes. CARTOUCHE - Uptempo, great combination of flutes, violin, guitar - gypsy style - just what the doctor ordered. QUEEN FOR A DAY - 2 Part song, very renaissance theme, perfectly woven melody, music and lyrics, takes you right back to the day - then part 2 kicks in and visits Ritchie's domain, awesome fast melody full of medieval charm and musical challenge. GHOST OF A ROSE - This song is destined for greatness! Only a master could write a song like this. Intense song of true love and passion, it grabs you by the heart and you can't stop thinking about it. Melody, lyrics, chorus, and great orchestration,exceptional cello part, it is all perfect. Ritchie and Candice have outdone themselves with this one, this song is significant! Candice's lyrics and the vocals calls right out to you, and you want to go wherever she takes you. With the right video, this song could break down musical barriers because it transcends styles - all can appreciate it - it is a masterpiece, pure gold. RAINBOW BLUES - Remake of Jethro Tull song, rock style song - what can one say? Only Ritchie can play like this. Great classic rock radio song (here that DJ's?) ALL FOR ONE - Superb remake of a popular German song. Electric guitar intro tugs at your soul and gives you goosebumps, great vocals, super song building - excellent live song.
This CD is the whole package. Candice Night's lyric writing is awesome, and singing is outstanding throughout. Full sound here, lot's of instruments woven together perfectly. The rest of the songs are all good, all are worth mentioning but there's only so much room in the review space.
BUY THIS CD, YOU WILL NOT BE DISSAPOINTED. US release also includes a video track to WAY TO MANDALAY on the CD.

Yech!
I bought this CD as my introduction to Blackmore's Night based on reviews from this site and Renaissance Magazine. What a mistake. Ritchie Blackmore's music composition skills and musicianship FAR outstrip Candace Night's lyric writing capabilities and the results are flat, insipid lyrics that detract from the gorgeous instrumentals. I applaud Blackmore for this foray into a totally different style of music, and his writing and playing is truly impressive in this new venue. But if he's going to continue with this experiment in renaissance pop, I recommend that he find someone who can compose more sophisticated lyrics to match his stellar music.

Awesome Modern Medieval Music
This cd is excellent and has become one of my favorite Blackmore's Night Cds and I have all of them. This cd is Modern Medieval music with a touch of rock,instead of Rock with a touch of Medieval which some rock artist tried to do but ultimately failed for fear of rejection from their fans. Ritchie Blackmore has taken rock music to a land where no other rock artist would dare tread. And he has done it very well and has earned my applause repeatedly. Ghost Of A Rose is simply brilliant and original. so what if they did their own versions of other songs, after all this is done in the rock world all too often as well, so why criticize him for it?
I love the addition of the buzzing Kazoo sounds on this cd, it gives the music and even more authentic feel of the medieval ages, and it is done very tastefully. There is not a sour song on the entire cd. Though i love all the songs on the cd, my favorites are Mr Peagram's Morris and Sword, Nur Eine Minute, Ghost Of A Rose, Queen For A Day Pt 1and2, Cartouche, 3 Black Crows and Way to Mandalay. The bonus video track is awesome as well. The visuals are a long awaited welcome. We want more Ritchie and Candice, How about a live DVD for our collections. I highly recommend this cd as well as all the rest of their cd's to anyone who likes Medieval/Renaissance type music.

Spectacular
This has got to be the best Blackmore's Night CD yet. I am partial toward music with a medieval or renaissance feel, and particularly music with magical and mystical themes, and this album has it all. While the styles vary from the fairy-tale like "Three Crows", to the magical "Way to Mandalay" and "Ivory Tower", to the electrified "All for One", throughout the album there is guitar like only Blackmore can play it, vocals like only Night can sing them, and the blend of intricacy and energy that only Blackmore's Night can perform. The only other thing to say is that the quality of production is superb; as with all Blackmore's Night albums, you hear each instrument clearly, and vocals so crisp you can understand every word. The quality is almost like a live performance. This one is a must have. ... Read more

Album Description

Reissue digitally remastered from the original masters with expanded artwork which includes new photos & liner notes.Beggars Banquet. ... Read more

Reviews (40)

Best Cult album
I was disappointed in reading the few bad reviews on this site from so-called Cult fans. I think their thinking is narrowminded, and not respecting the Cult in trying something different. I'm a huge Cult fan and even though I love their other albums, this one is my favorite. The songs totally rock with hard, crunching riffs with the boogie sound I love, sort of like AC/DC. There are hardly any bands that makes a rock album that totally boogies, and I'm glad the Cult made Electric the way it is. The only reason why I'm not rating this one five stars is the cover version of "Born to be Wild" is hideous; it should have been left off the album.

The essential Cult album
When 'Electric' came out, the 'Goth' followers of 'Love' and 'Dreamtime' were shocked and in rage. How could 'The Cult' release such a follow up to their classic hits like 'Rain' or 'She sells sanctuary' ? Almost 25 years later we finally know the answer by being able to hear, what this album was supposed to sound like, since the original mix is included in the 'Rare Cult' box set. Being able to compare these two versions proves even more the genious of Rick Rubin. 'Love Removal Machine' would have been a heavy, multi layered, dark eighties anthem while Rubin's production transferred this track to a timeless rock classic. This whole album is full of energy, thanks to Rick Rubin's production and the great songwriting of Billy Duffy and Ian Asburry. 'Li'l Devil' is pure adrenaline, 'Wild Flower' is the Cult at their best and 'Memphis Hip Shake' closes this album like there is no tomorrow. While America was considering the stadium rock of 'Bon Jovi' or 'Poison' as the future of rock, 'The Cult' together with Rick Rubin took a step back and created a classic British rock album. Unfortunately, 'The Cult' focused on the American market afterwards and released more mainstream oriented records like 'Sonic Temple' or 'Ceremony'.

Great post-70's rock, but this is NOT the Manor Sessions...
This is a true American Rock album, and you'd almost have to call it "neoclassical," in that it pays homage to an earlier era by imulating & incorporating elements/highlights of that era. I read a review here where someone credits the influence of "Zodiac Mindwarp." Brilliant! (as those 2 Guiness guys would say). This is true; the Cult really did shed their English Pop-Rock image, move to America, and release "Electric," the only post-70's rock album I ever listened to at the time. It made me think of Bad Company, Led Zeppelin, Steppenwolf, Deep Purple and Zodiac Mindwarp, most of all. Let's go back, though, to the year after the The Cult's album "Love" was released...

The guys began writing and recording for their next album, which was to be titled, "Peace." They recorded the bulk of the songs at a place called "The Manor." The recordings sounded like the "Love" sesions, except for one small difference--Billy Duffy perfected the art of "new" rock--every song had 3-5 guitar tracks. Every song sounded like there were 4 or 5 guitars playing at once. One playing a lead, one rhythm, and 1 or 2 overplaying harmonics, a catchy little 3 note riff, or a crunchy droning power chord. The song "Outlaw," for instance, is as loud and rocking as "The Phoenix," except there are MORE guitars...Billy plays solos right over top of Ian's vocals, like on "Phoenix." I could go on and on...I was blown away by the Manor Sessions, plain and simple. It was "Love" with no slow mellow songs! Ian and Billy weren't satisfied, had a falling out with the producer (who, unbelieveably, was giving Ian and Billy virtual free-reign in the studio) and after receiving advice that the newly recorded "Peace" (the Manor Sessions) was never going to be a big hit in the USA, they move their home base to America, and re-recorded every song under the direction of Def Jam psycho metal-head/rap producer Rick Rubin. EVERYTHING CHANGED! "Wild Flower" for example, became the American version of the song "Love" (listen to the music--it's the same notes, put to a different drum beat)...Aphrodisiac Jacket and Born to be Wild were composed (well, not BTBW) and recorded on the spot, mostly by Rubin, and many of the other songs were reduced (guitar-wise) to fit this new hollow, shallow, "70's rock" biker/Easy Rider sound. Thing was, 70-s rock songs didn't have very many guitar tracks--the technology was just not there! Rubin decided "Electric" would be a better record title. Rubin also added some of his own guitar tracks to the recording. I think Ian and Billy relied too heavily on others' advice (like they always do) and redid a perfect album to make it an American 70's rock album.

I love "Electric," but I prefer the Manor Sessions. If you are a fan of "Love" (one of the greatest CDs I've ever purchased) songs like "Phoenix," "Hollow Man," "Love," "Big Neon Glitter" and "She Sells Sanctuary," do yourself a favor and find the Manor Sessions. I guarantee you will be shocked to hear these earlier recordings: the wall of guitars, the fierce SINGING vocals of Ian (not the loud yelling he did for Rubin's recordings)...this is why I can only give "Electric," one of my favorite CDs, 4 Stars...I know what it was and where it came from. Anyone who owns this CD needs to get the earlier recordings, and vice versa.

Electric is magnetic
I cut my Cult teeth on the likes of "Fire Woman" (Sonic Temple) and Ceremony. In stark contrast to this is Electric, an earlier Cult offering permeated by songs that, if they had a certain gravelly-voiced vocalist, could easily be mistaken for AC/DC.

Make no mistake, though, Electric is magnetic. 'Wild Flower' is an instantly likeable song, as is the familiar 'Born to Be Wild' (a nice remake effort). 'Lil' Devil' is AC/DC bread and butter sound. 'Love Removal Machine' actually seemed like an early version of 'She Sells Sanctuary' to me, but I liked it nonetheless.

The debate will rage as to which Cult release is their best (personally, I would lean toward Sonic Temple), but Electric deserves to be in the running, even though it is somewhat unoriginal. The Cult does well to demonstrate an all-too formulaic 80's metal sound in Electric.

If you are a hardcore Cult fan, then you must own this CD. If you love AC/DC, this CD is for you. Otherwise, I'd recommend you go after something in the Sonic Temple or Love vein.

"plastic fantastic lobster telephone" = genius
Without getting analytical, I am 17 years older than I was the day I bought "Electric". Obviously, my life has changed in oh so many ways (as has the world in general), but I still find myself playing at least one song from this album on a weekly basis. This is simply timeless, great rock and roll, and the Cult's best album by miles. Every home should have one.
And whatever happened to Les Warner? ... Read more

Reviews (23)

One of the best albums of the year!
I've been addicted to this cd for more than a month now and simply can't take it out of my cd player.. Gorgeous, powerful, even brutal at times.. I can't really describe this band without gushing: Imagine tool without the metal pretentions ("hmm.. this song is going no where.. How about I just scream?), vast before Jon Crosby sold out, and a bit of the dead can dance thrown in as well.. Actually, comparing bands is just pointless.. Go on napster, get a song called Spiritual Fear (search for Rheas since 's doesn't work) and PLEASE buy this album if you like it.. These guys are not on a major label and should be supported.. peace

Supernatural Canadian Beauty.
Repeatedly critics were telling that this record was one of the best dark wave albums in 2000, and it was not in vain. Rhea's Obsession show us that they are not one-day band, and they know how to create real music. The human being is an animal by its nature (and by the way, 'nature' is the keyword for this record). And as an animal, human being needs genuine expanse, distant horizon and sense of unrestricted freedom. This statement is true in moral and spiritual meanings too. And Rhea's Obsession gives you that in "Between earth and sky": you can see beyond daily common things, you have your own world with wishful freedom and natural infinite space. The album is natural itself, like one live organism, and the aggregate of songs is like breathing: take for example the interchange of sinister "Mahakala", then following soothing "Spill Elixir" and again active "Matrika", and after that - measured "Delusion"; then you feel completely hypnotized by "Breakthrough". You can barely feel how awesome tension gives place for dreamy serenity. From one side this album is "ethereal", from another - "industrial", from the third it turns to pure "goth". I can count styles for several pages, because Rhea's Obsession are grounded on experimentation and used it without ceremony. But one interesting thing takes place: you can't fly up too high to "ethereal", to the Sky, because "goth" and "industrial" are trying to hold you on the Earth and in that way don't let you fall down to hit yourself badly with reality. The band itself can confirm it: Sue Hutton's sensual voice wants to bring you to the Sky, but Jim Field's irresistible guitar can't let you go, and this collaboration holds you in suspended condition directly Between Earth and Sky. The album begins with "Too Deep" and "Mortal Ground", lyrical ballads with competent guitar sound and soft bewitching vocals, making you relax. Then without any warnings you're getting into sharp and changeable "Spiritual Fear" and "Nightshade", songs with pronounced rock sounding. Stylish and beautiful song "Between Earth and Sky" is marking out opportune tablas contrasted with smooth guitar passages. "Mahakala" and "Spill Elixir" show Jim Field's great skills in playing music in all its ways, from professional guitar soundscapes to beat slides. And of course the pride of this album is Sue Hutton's voice, multi-leveled, powerful, with subtle Celtic notes, it can brilliantly express inner and outer chic beauty of its owner. In general, "Between earth and Sky" will always be an embellishment of dark wave scene, as it will touch hearts of the listeners.

OBSESSED BY RHEA'S OBSESSION !
Toronto musical duo, Rhea's Obsession, is the brainstorm of foxy (yeah, I know it's dated but I like it) muti-talented Sue Hutton who teamed up with Guitarist Jim Field in 1994 to form the Rhea's Obsession. When performing on stage the duo adds, Dave Klotz on keyboards and Mike Rosenthal on drums.

Rhea's Obsesion is the fourth review I've done on a duo and I know of at least 4 or 5 others, so I guess they're the wave of the future. I imagine duos save on expenses, arguments, egos and every other downside of larger groups. Additionally, I guess any income generated would go farther, too.

In this day and age of programed music it really doesn't matter how many band members you have, it's the music that matters. An example of this is Trent Reznor whose Nine Inch Nails and Martin Scherinc whose Hollenthon are basically solo operations but certainly sound like a fair sized group. Christopher Morris of Nicodemis also did his debut sans a band but he has since gotten associates.

The only trouble is solo and duo acts are not conducive to large elaborate concert appearances but I guess studio musicians could be brought in toward that purpose.

BETWEEN EARTH AND SKY

I know this is a very overused cliche but I just gotta use it again, "This music is really, very hard to categorize". There I've said it now I will try to categorize it. I read where some have said Rhea's Obsession has Bulgarian and east Indian influences (odd combination). I didn't even know they played music in the former Peoples Workers Paradise of Bulgaria. Whether they do or not and whether Sue Hutton gets her inspiration from there or not, the music is intriguing. It is darkwave, it is exotic, it is gothic, it is new age, it is folk, it is ethnic, it is intoxicating, it is atmospheric, it is ethereal, it is serious music! Did I leave anything out. Oh yeah, It is not pop, it is not alternative, it is not rock, it certainly is not hip hop, it is not redundant, it is not boring and it's not metal!

Many of you don't know this but after my beloved progressive metal, I like Folk / New age and between Earth and Sky fits nicely in there, It's not like, but, kind of, is like, Dead can Dance, Delerium, Loreena Mckinnitt, Kidney Thieves, Chandeen, Hungry Lucy, Black Tape for a Blue Girl, Cirque du Soleil. If you were to take an octagon and put each of these bands on a corner and draw a line from each to it's opposite, in the center where all the lines come together is Rhea's Obsession. I have described the five best songs below.

"Spiritual Fear" 3:19 is a medium paced Arabic influenced piece with Sue singing in what sounds like a mild echo chamber, while Jim plays an intricate acoustic guitar in the background.

"Dreaming Blade" 3:42 a definite industrial feel with pronounced drums and clinks and clanks mixed with violins in the background. Sue sounds a little Shirley Manson-ish on this song.

"Nightshade" 3:41 another song with a near east feel which in addition to Sue's captivating voice in duplicate has light congas and a full orchestra backing. probably the best song.

"Between Earth and Sky" 5:14 I take it back, this is the best song. Oh heck it's the co-best song. Another enchanting, near east influenced song of a nice easy going pace with heavy electric guitars and Sue again accompanying herself on vocals, much of which is chants.

"Mahakala" 5:15 on this one we combine a psychedelic sound with the eastern sound and some male chanting while Jim plays a wicked whining electric guitar in the background.

CONCLUSION

I wanted to give this Five Stars and it's very, very close. I just felt, while the great songs were marvelous, there were three or four songs that didn't do it for me. Hell, they might do it for you, there not bad.

At fiftyeight plus minutes this is a long album, so maybe the standout tracks, standout more and the lesser ones get diminished. Take the iffy tracks out and you have a forty-six minute five star album. Trouble is the other tracks are too good to lose. Quandary!!!!!!

Wonderfully Evocative. A Dark, Mysterious Journey.
It is typical in this day and age to pay little attention to bands who have been given the title of playing "darkwave" music. After all, darkwave or "Gothic" bands have nothing more to offer than solemn, sometimes Satanic outings that feel like dudes in leather trying to connect with the forces of evil through their amps (Electric Hellfire Club, even Marilyn Manson). But Rhea's Obsession proves you cannot judge a band by category, theoritically this band is a goth band, but their music is only gothic in the classical sense, in their sound and lyrics they are a band that strives for something more poetic and atmospheric than simple distortion. "Between Earth And Sky" is a wonderfully evocative album, a little gem of underground rock that mingles and mates with Middle Eastern textures and poetic flavors. Comparisons with Dead Can Dance are not out of order, indeed this band (who appears in the Dead Can Dance tribute album with a great cover of "Mesmerism") evokes the kind of other-worldly vibes Dead Can Dance achieved through their work. Some of the songs such as "Spiritual Fear" experiment a little and add techno flourishes, but not of the dance beat kind, they stand simply as musical brushstrokes. The married couple of vocalist Sue Hutton and guitarist Jim Field are an amazing team, together they create, invoke and bring to life music of the kind we wish more popular bands would experiment with. Take for example the track "Dreaming Blade," the wall of sound is hard rock with Field's guitars, but Hutton's vocals evoke Lisa Gerrard and take us to another place other than just the confines of normal music listening. The album's best cut is "Nightshade," a poetic, hypnotic experience that also boasts a Dead Can Dance vibe but also proves the band as an identity all it's own. Here Sutton's vocals really shine as well as the instrumentals, all combined with some enchanting lyrics create a song of great atmosphere. The song "Between Earth And Sky" is a myth-like little invocation that summons-up the spirit of Jim Morrison and "Spill Elixir" feels like something ancient and mystic. Rhea's Obsession is not an enormously popular band, indeed, this is the kind of group that is discovered by the listener seeking new sounds and flavors and who is willing to search in the underground, beneath the metropolis of MTV and VH1. Rhea's Obsession captures us and for a few songs manages to let us escape, which is what all great music does.

There are some good songs here
I'd easily give this album 4 stars but the fact remains there are not enough strong tracks. Still for what its worth they deffinately have promise. The first two songs are very unique with heavy bass lines that add a eletronica/rock hybrid in an orignal way, the rest of the music here tends to be in the shadow of persay.. Lacuna Coil and on several songs Loreena Mckennit perhaps. Anyway still they do have some great ideas and I will have a wacthful eye on them. ... Read more

Album Description

Remixers, DJs, and Bands from all over the world lend their passion and inspiration to further expand on the already diverse soumd of Collide.From chunky guitar versions, to slithering lounge stylings to delirium-esq versions that are sure to hit the dance floor.This CD also contains three new covers, including the very poinant "The Lunantics are taking over the Asylum" by Funboy 3.

Some very special guests including Charlie Clouser formally of NIN,Rhys Fulber of Conjure One/Delerium and Mike Fisher of Machines and Loving Grace/Amish Rake Fight, lend their talents to "VORTEX". COLLIDE performs an exotic hybrid ofDarkwave, Cyber-Dance, and Electronic, with crossover appeal which will appeal to fans of Evanescence, Massive Attack, Curve, Dead Can Dance, Portishead, and Delirium. ... Read more

Reviews (6)

What was better than a Collide release? Two new releases!
There are artists who grab you from the first moment you hear them, and never let go. For me, Collide was one of these artists. From first hearing Violet's Dance, I was capitvated by a blend of raw guitar power, dance rhythm, and etheral female vocals.

And, while many of us already reviewing here are Collide fans, don't just take our word for it. Listen to the band, see if you don't hear yourself enjoying every single release they've put out. The fact that the songs have been remixed only adds to the dimensions of songs that us fans already know and love.

The problem with most remixes, is they tend to sound redundant and don't bring anything new to the song; conversely, they also have a way of making the song lose all the reasons you came to love it. Not so here, trust me, a Collide CD is one that will always come into rotation time and again, remixes included. You will NOT go wrong with this or any CD by this band.

One song five times on a double disk...WTF!!
Ok dont get me wrong I love Collide I have all of thier cd's, I love remixes too. However when you can take and fill one cd with two songs for an avrage of five versions of one song on a two disc cd something isnt right. Crushed apears a total of 5 times (half a cd) Wing of steel a total of 4 ( One song half of a cd )Ok you could have maybe put two versions of these songs on the cd and remixed soem of the way older stuff.

Wow!
Ok, i'm not a big fan of remixes. But this is different. There is something that I can not describe that hooks you on the first song. I started listining to Collide about a year ago, and got hooked. So naturally I picked up Vortex. I was skeptical, for I have listened to some other "remixes" that other bands do. Not good. Collide pulls it off flawlessly. Every song is just as enjoyable as the original. From "Euphoria" to the hypnotic cover of Love and Rockets "Haunted When the Minutes Drag" this 2cd set is stunning. kaRIN and stATIK seem to be open to many different styles of music, judging from the variety on Vortex. That same variety entwines you to keep listining, for hours. Very hypnotic, sensual, intense. Ok you can throw superlatives at Vortex all day. In closing this is a must for all music lovers, not just collide fans. And I can not wait to see what Collide does next.

A Must-Have for Collide Fans!
For those of you who were either disappointed or only mildly impressed with the results of Collide's last remix excursion for 'Beneath The Skin', 'Distort', fear not for 'Vortex' gets it right! I'm always leery about remixes as they rarely ever reinvent or breathe new life into the original, and most of the DJs featured here are relatively unknown (or at least I've never heard of most of them), but these remixes are very well done! I honestly can't say there's one dud on this amazing 2-disc set.

The remixes include tracks taken from their 'Chasing The Ghost' (2000) and 'Some Kind Of Strange' (2002) releases. Collide, which is essentially kaRIN and Statik, have been creating neo-Goth for years now with powerful, exotic rhythms and sensual, tantalizing vocals that are breathy yet dynamic. However, these remixes often add more of a danceable feel to the songs and they're all extremely interesting as there's so many different influences heard throughout 'Vortex' that one never sounds identical to another. The "Antistatic Mix" by Remko Vander Spek of "Like You Want To Believe", for example, infuses heavy metal with crunching guitar layers while the "Conjure One Mix" by Rhys Fulber of "Tempted" is, as always, melodic and trancy. "Predator", which was actually a Front Line Assembly song kaRIN guest sung on, mixes a hybrid of Delerium-like beats and dark electronica that's trademark FLA, and the "Orchestral Mix" by Mark Walk of "Somewhere" showcases kaRIN's voice like never before with classical instruments such as strings and piano.

Aside from the many remixes there's also a few cover songs, which are all incredible - I just wish they would have done more of those and less remixes, despite how good they all are. I'm not familiar with any of the tracks they transformed into their own unique style but this makes me want to hunt down all the originals! I especially love the funky electro grooves of "The Lunatics Have Taken Over The Asylum", and "Haunted When The Minutes Drag" is also remarkable!

All in all this did not let me down.

Into The Vortex
Well, here we go with the installment of Remixes from Collide. Be prepared to be bombarded by some of the slickest and greatest remixes of any band's music that are done so well, you almost wonder...can a remix album get any better than this?

There is one remix in particular that seems to be the embodiment of what Collide is and what they do. The remix of Tempted (the song is listed at Tempted, Conjure One Remix) takes my breath away. I have always found that Collide is one of those bands that doesn't fit in any category and are sort of in a class all their own. When the Siren kaRIN starts to sing you feel compelled and drawn into the Vortex by the voice of Collide. The voice of Collide soothes you, and wraps you up much like a lover would. And once inside, you find, that there is Statik...pushing you sonically and guiding the listener down into the world that is Collide's. The twist on this album is that you have all sorts of others that were drawn in by the music of Collide and have now put forth their talents to remix the songs when the band called for remixes...the result...a conglomerate of creativity that is truly an orgasmic experience for the heart and the soul...your ears will be begging for more...Thanks Collide and all the remixers for giving us fans an awesome album...

Until next Time

Later Skaters...TK Flag, AZ ... Read more

Reviews (34)

One to choose
A word to NIN collectors: This disc contains the two "Down In It" remixes (shred and singe) from that song's single, and if you own Pretty Hate Machine, you've got the "skin" mix -- so don't feel obliged to pick up the "Down In It" CD. This HLH Maxi-Single also includes the demo version of "Down In It," which is a treat: utterly unpolished (sounds like Trent fiddling around on a 4-track with a beatbox and a couple of synths), but listenable -- a glimpse into the early development of an NIN song.

The "Head Like a Hole" remixes are worthwhile cousins of the original; some dancier, some more a pastiche of the source noises. "You Know Who You Are" is a solid dose of the latter.

One of the HLH remixes here (slate? clay? I forget) ends with an unadulterated fade of the synth riff that's mixed into the beginning of "Terrible Lie" on Pretty Hate Machine. Savvy mixmasters can splice that with the album version to get a start-to-finish pristine cut. ("Terrible Lie" itself gets a couple of remixes here. Not my favorite tracks, but they don't detract from the disc as a whole.)

What's REALLY missing from this disc is the Opal mix, available on the 3-track import single, which I recommend -- you'd never think HLH could funk like that. But even with that omission, this is a worthy halo, a good 60 minutes of variations in the vein of Pretty Hate Machine.

Trent is rich because of this crap
This is closest thing to an official Pretty Hate Machine remix album that you're going to find, unfortunately it only takes into account three songs from the album. This is useless for the most part and is only worth getting if you're a compulsive NIN-collector. The upside to this release is that it encompases what you get on the Down In It single and the Head Like A Hole Opal import single, so you don't have to waste the money on those by getting this. The remixes on this are horrible as far as creativity goes as compared to later remix albums around the Downward Spiral and The Fragile era remixes. This only exists because Trent Reznor wants your money so he can continue using it to go Jet-Skiing and wasting his time playing video games instead of working on a new album.

No negativity here!
It's sad that some individuals need to force their hateful opinions on everyone else. Music is something for everyone to enjoy.
This single, like all the others of NIN, is a must have for collectors and appreciators of nine inch nails. To the untrained ear, yes the songs all might sound the same, but to a true lover of nine inch nails, they are all excellent.
Spread your hate somewhere else.

second single, halo 3...2.5 stars
im not gonna spend a lot of time talkin about this, but its just remixes of 'head like a hole' 'down in it' 'terrible lie' they all basically sound the same , and its boring and not really worth it...the originals arent on here, so you should just buy pretty hate machine, cuz its worth it, and this single isnt

Best Single
This is the best NIN single in my opinion. and if your new to NIN then i can honestly say this would be the first cd to pick up to test them out. it has one of reznors biggest hits to date on it, head like a hole, along with a slew of remixes and even includes some remixes of down in it and terrbile lie. ... Read more

Reviews (27)

What are box sets for?
The point of box set compilations, like this one, is to provide the listener with an overview of a particular era or type of music. It's impossible to include everything everyone, especially completists would want or even expect. The questions to answer then are "Does this set provide you with a insightful look into 70's punk?" and "When I'm finished listening, have I learned something useful?" The answer is yes, resoundingly. If you were around in the 70's, you will hear and remember some old stuff that you have probably forgotten, and if you weren't around then, you can see how punk morphed into new wave and then devolved into the pop music that often passes as "punk" today. (Devo was right!)

If you like to show off your knowledge of obscure punk bands, or if you think hair gel and a trip to Hot Topic to get a Blink 182 shirt makes you a punker, then this box set isn't for you. It's for people who are interested in, not obsessed with the music and who at least know the difference between punk and "punk." Enough said.

Great Primer on Punk's roots, no Misfits.
This is a great intro. to early Punk Rock. Nearly every early act is represented, with a few notable exceptions.

The MC5 are right up there with the Iggy and the Stooges and The New York Dolls for paving the way. They aren't included. Though the stuff they recorded in the early 70s wasn't their best, the seminal "Kick Out the Jams" came out in 69'. It could've been included because afterall, Punk is about ignoring the rules.

The Misfits recorded plenty of material in the late 70s and are very deserving of a place here. "She" "Bullet" or "Teenagers from Mars" would've been good choices. Perhaps rights issues etc.(like with the Sex Pistols) prevented this?

Also, someone mentioned Social Distortion not being here. Though the band was together in the late 70s, their first single didn't come out 'till '81. Nitpicking aside, the collection gives you a better intro. to the roots of punk than anything else on the market. If you're thinking about getting this, Buy it. Also consider picking up the Sex Pistols "Nevermind the Bollocks" The Misfits "Static Age" and The MC5 "Kick out the Jams".

Stop hesitating
This is an excellent box set of an odd era. When music labelled as "punk" came out, it seemed kind of dangerous and anti-establishment. The loud guitars, short and fast songs, and dangerous band names like The Clash, The Jam, The Ramones, and Television were pretty scary. The funny thing is that many of the songs on this box set have memorable melodies, good harmonies, and fine instrumental work.

As with any box set from various artists, it is easy and fun to second guess the track selection. For example, I think LA punk is completely over-represented. Also I would have liked Plastic Bertrand's Ca Plan Pou Moi and something by the Bizzaros. And where are the Suicide Commandos?

Nonetheless, even if you own half of the songs, stop hesitating and buy the set. It's another quality Rhino product with great sound and a great book.

I Was A Punk Before You Were A Punk - Birthdate: 11/10/57
In choosing to document punk rock, whose very boundaries are still blurred nearly 30 years on, it's certainly forgivable to think that Rhino may well have embarked on a mission that was doomed to failure from the start, both from a philosophical and practical standpoint. Time constraints, licensing snafus (John Lydon purportedly refused to permit the inclusion of any Sex Pistols' tunes - Rhino rates the purchase of "Never Mind The Bollocks" as more essential than this one anyway), and a lot of hand wringing were all undoubtedly obstacles to be hurdled in compiling this four-disc box.

Despite such a daunting task, Rhino for the most part manages to come up all aces on "No Thanks! The '70s Punk Rebellion," dancing a razor's edge by adopting an approach which allows for the inclusion of bands that were originally tagged with the more palatable "new wave" label, crusty, true believers in the cause, and record collector geek-fodder alike. In order to buy into what Rhino is selling, you may have to suspend some of your beliefs as to what "punk" actually is/was.

It's inevitable that most of the attention is paid to the nerve centers of New York and London and except for the Sex Pistols, all of the usual suspects are present and accounted for. The Clash, Ramones, The Damned, The Heartbreakers, The Buzzcocks, Richard Hell, The Stranglers, Television, and Generation X all take a bow (or two) and rightfully so, but kudos to Rhino for looking to other places on the globe, like Ohio (Dead Boys, Devo, and Pere Ubu), Australia (The Saints), Ireland (Boomtown Rats, The Undertones, and Stiff Little Fingers), and Scotland (The Rezillos). Shame on them for including so many songs that were previously available on their "D.I.Y." series back in the early 90's.

"No Thanks!" also lifts a pint to bands without whom this compilation wouldn't even exist, like The Stooges, The New York Dolls, and yes, The Dictators. On the other hand (are you sitting down?), where's the MC5? Another sticking point, for me anyway, is the inclusion of Californians like Black Flag, Fear, Dead Kennedys, The Dils, and The Germs, all worthy of the "punk" brand, but their staunch nihilism is somehow out of place here. I say that disc space would have been better filled with Plastic Bertrand's "Ca Plane Pour Moi," The Professionals' "1-2-3" or "The Magnificent," Chelsea's "Right To Work," or anything by Radio Birdman. Of course I was also fooled by the first few Buster Poindexter albums, so proceed with caution.

Arguing over what rightfully qualifies or doesn't qualify as "punk" may be part of the attraction of a compendium like this. Obvious margin walkers would have to include Nick Lowe, Mink Deville, The Runaways, Blondie, Elvis Costello, The Pretenders, The Soft Boys, and Joe Jackson, all of whom made the cut due to either an abrasive attitude, enduring cult status, a snappy wardrobe, or the right haircut. As for the Talking Heads, I still say the world would have been a better place had they never entered a recording studio.

At the end of the day, though, we should all genuflect to Rhino for their single-minded and undying devotion to their subject matter. And when it comes to packaging and reissues, there is simply no one better. "No Thanks!" contains a 100-plus-page booklet crammed full of essays by producer Gary Stewart and Billboard's Chris Morris, quotes from several of the culprits responsible for the noise, photos galore, and a track-by-track analysis by Ira Robbins and Dave Schulps, whose Trouser Press took up the slack heroically and brilliantly in the late 70's when Creem was going down the tubes. Add to all of this the fact that this box contains tracks by the likes of the Rich Kids, Subway Sect, The Mekons, Alternative TV, and The Pop Group which are getting harder and harder to find stateside, and what you're left with is a no-brainer. At this point in my life, that's a godsend.

Filling In the Blank Generation
I'll keep this review succinct: while one can certainly quibble about the inclusion of this song or that band, "No Thanks" provides an admirable overview of early Punk that spans several continents and stylistic trends. More critically, this isn't some "Greatest Hits" compilation designed to sell CDs and little else -- whoever chose these songs knows the genre intimately. How else to explain the presence of such unknown but deserving artists as Alternative TV, the Mekons, the Dils, the Saints, and Johnny Thunders? If you never got around to picking up the 45s way back when, "No Thanks" will fill many gaps in your collection. And if you were too young to have made it past the bouncers at the Rat or the Mab or CBGBs, "No Thanks" gives a welcome feel for the three-chord catharsis that at the time could only be found in risk-taking dives like these or on a scattered handful of radio stations. For the rest of us: nostalgia for an age yet to come. ... Read more

Reviews (49)

"I love you my dirty one" (Agniezska Rybska to her Cello)
Oh Rasputina. My joy and my delight. An incredible, revolutionary band with a diverse and unique sound. They really do love their cellos, and it shows. This early album is not as good as 'How We Quit the Forest', being a little more airy, less intense as it were, but is still truly excellent. Highlights include 'Transylvanian Concubine' (on the 'Buffy' soundtrack), 'Brand New Key' which is a cover, and my personal absolute favourite 'Rusty the Skatemaker'. Melora's unusual sense of humour shines through in songs like 'Sister Sleep', 'The Donner Party', 'Five Fleas' and 'Howard Hughes'. Look out for a bonus track in German at the end. The German grammer leaves something to be desired, but it has a really mad sound. In fact, the same could be said of the whole album. I would recommend 'Forest' over this album, but it is definately worth your while. Buy it. That's an order.

I can't believe that Melora Creager isn't a superstar...
New bands spring up like mushrooms after a summer rain, but very rarely are any of those bands any good. Even fewer of them are true originals - bands that defy genre classification. Rasputina is one of those rarest of the rare. Every so often I hear from people that there's no good and original new music out there. I hand them a Rasputina or Death Cab for Cutie CD and prove them dead wrong.

Rasputina is the brainchild of Melora Creager, a talented cellist with a victorian era fetish and a twisted and playful sense of humor. This first album is the most "acoustic" of their output, but it still manages to rock. I admire Ms. Creager for writing songs with intelligent lyrics and humor for people with the same traits, although judging by record sales, most people don't "get it".

But for those who do, the rewards are many. I'd give anything to be invited to a tea party hosted by Ms. Creager, but I'd watch out for the brownies...

Essential listening
This is one of the most original and best bands ever. I got the pleasure of seeing them live just recently and it was great. They played "Howard Hughes" which just rocked totally which is also on this album. I cant say enough good things about this album and "Endomorph" is probably one oh the best songs ever recorded in my opinion. My guess is if your sick of the radio, and havent heard anything original lately, check this out. This is one of the best albums by Rasputina too.

Thank's For the Origanality!
My sister told me I'd like this band because I play the cello. So for my birthday a few years ago she bought me their debut album "Thanks For The Ether" and I wasn't sure what to think, but I listened to it and liked it. With a new group like this is that it takes some getting used to. Off and on I would go into these obsessive spurts of only listening to this cd and nothing else until it became one of my top five cds. It starts out incredibly and finishes off incredibly. The gothic tones and brilliant words are so well polished and the quality and complexity of the ladies cello playing is encaptivating. Rasputina is truely a miracle in these days of bands that don't seem to appreciate the art of learning their instruments and only want to get paid (I pray to God everyday those band's contracts are burned).

Rasputina's Debut cd "Thank's For The Ether" in a collage of several late 1800 early 1900 stories of people. Each song is a lyrical masterpiece and even the few "essay" songs are entertaining to listen to. The cd goes like this:

1- My Little Shirtwaist Fire: This song is more energetic and mysterious than most of the others on the album. The words slow down and speed up to help the song have a very eerie rythem almost like the flickering of a flame. Brilliant.

2- Stumpside: This song is amazing. It starts off enjoyable enough and when the chorus picks up it becomes one of the most beautiful pieces on the cd. Clever lyrics again, of course "By the side of the well where she told us these things, if you hear a bell ring you get some wings".

3- Nozzel: Ah, the first essay, regaurding "Miss Conney Pallop." I'm not sure who she is, but the lesson taught here is easier to speak of than it is to live by.

4- Transylvanian Concubine: The vampire song that got them known. This song was their first hit, featured on a Buffy The Vampire Slayer episode. It can also be found on the Buffy soundtrack.

5- Why Don't You Do Right?: This is a remake song from an oldies song, but it has such a new feel to it here, very forboading almost, but yet the words are so enjoyable you can't help but want to sing along.

6- Mr. E. Leon Ruis: This song is based off of a picture the band leader Melora has of a young man in the 1800's with a note attached that reads "Many thanks for your well wishes, believe me. Sincerely yours, Mr. E. Leon Ruis." She uses the imagery and the few words of his to create a very beautiful and haunting song about a dead man of whome no one knows about.

7- The Donner Party: This is the second essay on the album about the cannibalism of the early settlers. It's got a very twisted sense of humor to it, but thats how all of Rasputina's amusing songs are.

8- Endomorph: Another intriquing character painted through the amazing cello music and witty lyrics. This is a most enjoyable track that I constantly listen to.

9- Brand New Key: Another oldie remake. This one is a little more pop-cello, if that's possible and most entertaining. The clever words fit right along with Melora's style and humor.

10- Cry Babies: The story of two children lost in the snow. Imagine the results. A very creepy song, but this is a gothic band you know, I'm not sure what you were expecting.

11- Howard Hughes: Another portrait. I'm not sure if this one is based off of a real person or not, but I really hope not. It's a very good track, with very good cello.

12- Sister Sleep: "Wee Le-ike to smoke pohot. Wee Le-ike it a lohot." If you aren't frightened by the opening lines of this song, fine, I don't particulary care for this one myself.

13- Five Fleas: An essay done brilliantly. This is my favorite speaking track. The two voices speaking at different times add to the childishness of the idea, but yet if you listen to the words you can't help but stop and ponder.

14- Any Old Actress: I myself must say I like the first half of the song and the very end better than the main melody in the middle. I think it's the most average song on the cd.

15- Dig Ophelia: Another good song about a person (but, all of them seem to be, oh well). This one seems to be to deal with the Ophelia from Hamlet, if not, then I don't want to know.

16- Kate Moss: The weirdest song on the album also happens to be the shortest and an essay. I can only this song is really... odd, but worth a listen for the expierience.

17- Rusty the Skate Maker: By far my most beloved song of theirs ever. I cannot get enough of this song. It's got the saddest lyrics and the melody is so nostolgic and beautiful. Sigh.

18- Trust All Stars: This is more of a humorous track about an alien boyfriend. This is also a very poppy song... i guess. It's followed by a hidden track (a slower version in some strange drawl or hopefully another language).

All in all this album is a novelty amongst the mass marketed punk bands and what not. Sure it's got it's strange sides, but it's completely worth bearing through them if you're a new listener. This cd is worth all the money it's sold for, and I think it's only 10 bucks here, so what a deal! (I think my version was more expensive because it was purchased in a store. How sad).

Absolutely Gorgeous
This is the first album I've purchased from Rasputina, and I have to honestly say that I don't regret it for a minute. While I figured I'd listen to it once, find it tolerable, and inevitably sell it back to the CD store and find something else to listen to, but this album has me completely enraptured. The music contained herein is so beautiful that it's hard not to lose yourself in it. Although some of the lyrics aren't great, most of it fits in with the romantic/classic gothic era feel. I would liken this album to Tori Amos/Switchblade Symphony vocal treatments over the more haunting Kronos Quartet string arrangements. It hooked me from the first listen, and from this I hope to pursue other albums from Rasputina.

Key Songs: It's more of a "listen to the whole album by candlelight" kind of record. ... Read more

Reviews (60)

True Gothgirls: Beauty in Darkness
Switchblade Symphony is one of the goth bands that stand out on its own, for these reasons: The lyrics are decipherable, somehow child-like, but yet, hauntingly sexy. Rich with eerie keyboard effects, and not so intense with guitars, although, the guitar work does enhance the mood with the keyboards. I was fortunate be just walking into a CD store and hear this CD playing. The first track that sold me on this CD is the classic sounding, but yet, very original, Gothic Storyteller "Wrecking Yard" Nobody writes like this anymore! And then there's this piece called "Gutter Glitter" which reflects some of history's darkest children's poems. With Tina's sexy voice singing (for example) 'London Bridges Falling Down...' it's very clear that nobody else, no other Goth band, or generic pop singer, can pull off this episode of our past, so hauntingly and so beautiful. Also, on this CD: the short, but sweet track, "Cocoon" reminds me of The Beatles "Because" from Abbey Road. Serpentine Gallery is my most favorite CD of the 1990's. It's so unique. Too bad their follow up CD's "Bread and Jam for Frances" and "The Three Calamities" don't possess the same charm. I believe these two CD's lack the keyboards that make Serpentine Gallery so dark and wonderful. Anyway, if you like Switchblade Symphony's "Serpentine Gallery", some other great titles out there that I would like to recommend are "The Serpent's Egg" by Dead Can Dance, and "Dusk...and Her Embrace" by Cradle of Filth. Not for the vocals, but for the great Gothic keyboard work.

Quite simply, an absolute must-have
I had never heard of Switchblade Symphony when I bought Wired Injections, a Cleopatra various artists disc. The song of theirs on that disc, "Clown," had me completely entranced. It took me months to find the elusive disc that was mentioned in the liner notes on WI, and when I did finally see it, it was mine. While I was searching for it, I heard "Wallflower" on Gothic Rock 2, which only made me want the disc more. Since the day I got it, it has become one of my all-time favorite discs. If it were a tape or record album, it would be totally worn out by now. This is a disc that you can put in, turn the lights down low, sit back and just drift to. Even my fiance like them, and she doesn't like "goth" music. It's almost impossible for me to pick a single favorite from it, although I'm tempted to say "Clown." It was the one that first entranced me, and it continues to do so to this day. However, it has very strong contenders in "Sweet," "Gutter Glitter," "Mine Eyes," and "Dollhouse." The ending instrumental, "Bloody Knuckles," is the perfect way to end such a perfect album. Bravo, ladies. 5 out of 5.

Their best album
This is one of those rare CDs in which all songs sound brilliant and different. Sure I have my faviourites but there are honestly no songs that you can complain about on this CD. Who cares if it's goth or not stop complaining about the vocals, they suit this style of music and the lyrics are also well done and poetic.

The Gothest of them all
This is an amazing album by an amazing (now-extinct) band. I love Serpentine Gallery. It's Switchblade Symphony's most noticeable work, original, very dark, and beautiful.

Ear candy--not that there's anything wrong with that.
Calling goth music insincere or put-on is a bit like chiding Holly Near for not voting for Bush: it misses the point. The genre's artificiality is a big part of its appeal, much like that of grand opera. And as with grand opera, a moment's change of mood or lapse of attention can cause a beautifully crafted illusion to crumble into absurdity.

That's the main challenge with this CD, which has been called a "how-to" of goth music. The very professionalism of this seamlessly pretty and tight production risks making it repulsive. But goth culture is as much about surfaces as the tortured heart, and making real pain of whatever kind (adolescent growing pains count, OK?) more bearable by playing it off against deliberately exaggerated appearances. So it is not quite fair to fault "Serpentine Gallery" for being a crock--though at least on the first couple of listens, Tina Root's wailing on lyrics of run-of-the-mill anguish is more laughable, not to mention embarrassing, than haunting or melancholy. Horror and farce coexist, and the truth is best acknowledged by the artist before it is spotted by the audience.

But if love can be subjected to a thousand soulless pop treatments, so can pain, and this CD repays a few consecutive listens, which will reveal a sense of stagecraft fine enough to justify the melodrama, more vocal restraint than is immediately apparent, and most rewardingly, an awareness that in goth music (as in grand opera) the most successfully projected emotion is often lust. "Clown" is a gorgeous epic of stalker's lust that will indeed creep you out, wailing and all.

So melodrama isn't the problem; what is boils down to a lack of humor, deadly in a gothism of surfaces as opposed to deeply felt emotion, and so apparent on this CD that it is tantamount to a lack of real creativity, except for "Clown" and "Bloody Knuckles," a wonderful little instrumental reminiscent of background music for Nico. ("Clown" could make a splendid track for Deborah Harry, whose wit would cause it to creep you out for real.) Listeners who are looking for the above qualities of humor, felt emotion, and creativity should turn to this band's much-maligned sophomore effort, the excellent "Bread and Jam for Frances." Listeners who want to know what they're getting--some very pleasant late-night listening of crystalline technical finesse--and unwind from a long week of dissociated pain, might choose this instead. ... Read more

Amazon.com

This was the record that definitively turned Ministry from an electro-industrial dance band into a cutting-edge metal act. With distorted vocals, pounding drum machines, and ripping guitar chords, songs like "Thieves" and "Burning Inside" merged computer technology with metallic riffology, setting the pace for dozens of second-rate computer nerds to follow. --Jon Wiederhorn ... Read more

Reviews (53)

Ministry's "The Mind" Is A Menacing, Brilliant Album...
Ministry is one of the most definitive industrial-metal bands to ever grace the mainstream music scene. While LAND OF RAPE AND HONEY began the track towards great Ministry albums to come, THE MIND IS A TERRIBLE THING TO TASTE is a splendid album, complete with with a mix of electro, metal, and industrial rhythms.

"Thieves" burns with the best of them with it's staccato, machine gun-type guitar riff and Al's menacing vocals. It's a fitting beginning, opening into "Burning Inside", a fast-paced thrash rocker with a chorus that will blow you to bits. The next two songs, "Never Believe" and "Cannibal Song" are slower, darker, and the latter features vocals from Chris Connelly, who's evil vocal lace really gives "Cannibal Song" a chilling contrast.

And who could forget the 8-minute-plus "So What", one of the live favorites by many Ministry fans. Found on many of their live discs, it's one of the most influential songs in their catalog. "Dream Song" is quiet, moody, and sinister; "Test" is a neo-rap metal twister of a track; and "Breathe" is an angsty number with jagged guitar lines.

While PSALM 69 rivals which Ministry album is great, THE MIND IS A TERRIBLE THING TO TASTE really begins the industrial-metal fusion that Ministry helped to influence on many of today's popular industrial rock bands.

Has it's weak points, but it's good.
On "The Mind Is A Terrible Thing To Taste", Ministry increased the usage of heavy guitar chords and riffs which makes up a larger part of the album, but without completely abandoning their industrial roots with their use of programming and sampling. This combination is best heard on tracks such as "Thieves" which comes across sounding like a hellish cross between speed metal and techno, and "Never Believe" with it's heavy use of repetition, giving it a trance-like quality. The stand out track for me is "Burning Inside", a blitzkrieg of guitars and percussion and Al's blood-curdling vocals.

Unfortunately, despite the strong first half, the album loses some of it's drive and focus towards the last half with mediocre tracks such as "Faith Collapsing", "Breathe" and "Test". "Test" is an awful track, not because the music is bad but because of guest rapper K.Lite's weak lyrics and rapping. "Breath" has admirable lyrics about Al's disdain of environmental pollution but is musically uninteresting.

Fortunately, the good tracks are strong enough to carry the album and make it one of Ministry's classics.

Anger and Energy
This album is definately worthy of at least 4.5 stars. I don't think very many albums, if any at all since 1989, can match the pure anger and energy put out in this album. And that's just what it is, intense angry music. Not thrash metal, and certainly not smooth EBM like some groups nowadays. But this is just a great example of what Ministry was accomplishing during their best years in the late 80s. They have a style all their own.A style that seems to constantly change over the years (as if I had to point that out). I listened to this album many times as it kept growing on me like chest hair. Maybe some have to listen to this album more than once to get the effect. I know it sure became addictive to me.

Better than NIN? I think not!
People who complain that Nine Inch Nails isn't really an industrial band point to Ministry as an alternative--the Real Deal, if you will. Having recalled a fairly decent song off the Matrix soundtrack, I complied and rented this from the library.
Thank God I didn't pay for it.
I can't understand for the life of me why this band is worshipped. Every song is 4+ minutes of the exact same beat repeating over and over and OVER again, and the singer(s?) are completely incapable of changing pitch or actually creating some sort of melody--they just repeat the same techno-warped phrase in the same unbroken note throughout the CD. The only thing that actually changes from song to song is what message they're trying to pound into your brain. But there was potential for something greater, I'll give you that. Someday I will check out their other CDs and see if they get any better. But only after I dedicate my time to some more promising bands.
Ministry: Heavier than NIN? Probably. Does that necessarily mean better? Not a chance.

Ministry's best
This album is Ministry's artistic peak. To me there are 3 worthy Ministry albums, The Land of Rape and Honey, The Mind is a Terrible Thing to Taste, and Psalm 69. The three, when viewed together, show the steady evolution of a band from experimental industrial band that uses guitars, to speed metal band that uses drum machines. Where perhaps LoRaH is more ground breaking, and Psalm69 has more mainstream appeal, this disc gets the best of both worlds. Almost completely guitar driven, but also very much dancable, and with the aid of Ogre from skinny puppy and a concise song list, this muscular industrial-metal cd proves its worth again and again. ... Read more

Album Description

Digitally remastered reissue from the original masters with expanded artwork which includes new photos & liner notes.Beggars Banquet. ... Read more

Reviews (34)

The Cult are the real deal. Sonic Temple is FIVE STARS.
When I bought my first CD player in 1990, Sonic Temple was the first disc I bought. All these years later, The Cult is still one of the greatest (and most underappreciated) acts in modern music history.

The Cult -- and especially the album Sonic Temple -- are quality. They're the real deal. Tracks like Edie (Ciao Baby), Sweet Soul Sister and American Horse deserve to be modern classics. There were a thousand "hard rock" acts in the '80s but few if any produced real music that will stand the test of time and the scrutiny of educated music lovers.

While Guns 'N' Roses and Motley Crue can today be clearly seen as the adolescent lightweights they always were, The Cult has aged well. In hindsight, it is clear that The Cult were always more mature, more spiritual and far deeper musically than other '80s acts of the same genre. The Cult is destined to be remembered as one of the great hard rock acts along with the likes of Zeppein, Steppenwolf, The Doors, and [more recently] The Black Crowes and Soundgarden.

The Cult's Best Album Ever
Sonic Temple was produced when The Cult were in thier prime. Ian Astbury and Billy Duffy produce some all time greats on this album with a distinct Rock feel to it. This CD is a brilliant driving CD turned up loud with some wonderfull guitar work and vocals.

4 stars and loving it!
A five is nearly impossable to get .So with that in mind I have to say that any unbiased smart listener will know this cd to be what it is , And that happens to be ROCK!!!!!!!!!!! In your face!!!!!!a great listen!!!!!Who can ask for anything more ?To nick & pick an album like this is just plain stupid .Put it in and hit play .Thats all there is to it and have a good time .

Classic British Hard Rock
Hard rock at its fullest. While in the band's earlier years, they had sounded more post-punk, on 1989's Sonic Temple (as the title and cover suggest), the band turns into a full-fledged heavy metal band. The songs are well written and well played. Ian Astbury is a singer that can very well entertain you. The guitars are energetic, and have a sound that can make you want to bang your head. Some of the Cult's finest material is on here like Sun King, Fire Woman, and Edie. Some less heard of songs on here that are just as good are American Horse and New York City. Go buy this.

SONIC MASTERPIECE
In the summer of '88, a dozen of us went to see Metallica with special guests The Cult. Although I only knew "Fire Woman", I didn't hate them...but the croud did. Middle fingers, obscenities, and pure venom was thrown at them. And that's a shame, because I bought the album the following week to find out for myself why it was being praised to the skies in magazines, etc.
After one listen, I was hooked. Powerful and memorable riffs, Zeppelinesque tunes like AUTOMATIC BLUES and SWEET SOUL ASYLUM (BLACK DOG and KASHMIR), and great production by Bob Rock makes this the group's masterpiece. There's not one dog on this disc. The album really smokes when after SWEET SOUL ASYLUM, Ian Asburry launches into NEW YORK CITY (a blistering verbal scathing on the Big Apple) "...crashed the big apple...so I took a bite but she bit me back..." "Hell's Kitchen is a DMZ/I ain't never coming back." Next is the "Black Dog"-ish AUTOMATIC BLUES, and continues with the incredible SOLDIER BLUE that has a hook so powerful you'd have to be deaf not to tap your foot. Oh sure, this album was eclipsed by the Metallica phenomenon and the God-awful hair bands that now make up most of the discount bins. Yes, even lead singer Asburry was criticized for constant use of "Lil' Honey," "Sugar" and "Lil' Sista" (DO any of these women have names?) But those are pretty sorry criticisms for one of the best hard rock albums of the 80's. ... Read more

Album Description

Domestic reissue of alternative rock band's 1985 album.Digitally remastered from the original masters withexpanded artwork which includes new photos & liner notes.Beggars Banquet. ... Read more

Reviews (38)

An 80s landmark
While U2 often gets credit for creating some of the rare meaningful musical moments of the 80s (and rightfully so), Love by the Cult is perhaps the most overlooked album of greatness from that decade. But let's not be time-constricted. When this 1985 opus was produced, it was lightyears ahead of its time and still stands true to any test in the new century. The fact of the matter is, just about every rock interest has tried to lay claim to this album and this band. Alt rockers claim it, metal heads claim it, goths claim it. It's all testiment to the fact that no one has ever been able to pin down the Cult to any label and Love demonstrates that better than anything. She Sells Sanctuary and Rain obviously lean toward the alternative flair. Big Neon Glitter may have some Goth although I always thought the goths were out of line for claiming this album. Then there's The Phoenix... WOW! a molten deluge of psychadelia laced with incantations and mysticism. The title track of the album is clearly the defining moment. Enigmatic, hypnotic, powerful, Love, the song, cannot be dismissed by any true rock fan. Is it metal or alternative? Sabbath or Smitherines? The lyrics to the song Love are equally elusive, "Gonna drive away in a big fast car, gonna drive away won't get too far, gonna drive away don't know how far, gonna drive away in a big fast car... don't you love those sweet times..."
What the hell is lead singer Ian Astburry talking about? I don't know, but it sounds damn good. This album also launches and hallmarks the talents of guitar journeyman Billy Duffy. While Duffy has made strides and vaunted efforts since Love, he has yet to repeat the tight-wired sound and pin-point accuracy as has been captured on this work. Duffy is a guitar virtuoso who has been woefully overlooked in the random and subjective discussions among rock fans and critics alike.
Love, the album, also demonstrates the will to advance and evolve. The previous effort in album by the Cult, Dreamtime, is infantile in comparison. It's hard to believe this is the same band that spat out Dreamtime in some makeshift Duran Duran poser mistake only one year prior to the production of Love. Love lifts this band to levels few others have even thought about. It's a lofty level that even The Cult has not repeated. As Ian Astburry says in the title track, "I believe in love, I believe in my visions. I'll travel far." To not have this album in your collection is akin to having a missing link in the armour of any rock warrior.
Your most humble and loyal servant,
Dixonator
Adventurer/patriot extraordinaire

Grunge before Seattle
This album was grunge when the word still meant the sticky stuff you can't get off the bottom of your shoe. When alternative music was still mired in heavy keyboards and weird hair, this album by the Cult came out of nowhere and still ranks as one of the most powerful guitar-rock albums of all time. This is the album I had been waiting to hear all through my high school years in the early to mid-eighties. I had forgotten about it until I saw Ian Astbury singing lead for the Doors on VH-1 yesterday. "Love" was so good that even the Cult could never match up to it. There isn't a misstep on here musically. "Revolution," "Nirvana," and "She Sells Sanctuary" still send chills through me. Unlike the other ham-handed hair