Amazon.com's Best of 2000

Mermaid Avenue, Vol. II finds Billy Bragg & Wilco setting Woody Guthrie's words to their own music a second time. The result is more sonically diverse than the first installment, but just as rewarding. With guests Natalie Merchant and bluesman Corey Harris lending their voices to this new-century hootenanny, this 15-song disc manages to capture the collective spirit of both IWW and the WTO times. Woody would've been proud of the initial collection; he'd be prouder still of this one. --Steven Stolder ... Read more

Reviews (40)

a posthumous release you'll be proud to own
Posthumous releases usually reek of shoody workmanship, but this inter-generational collaboration between Woody's words and Billy Bragg & Wilco's music is one-of-a-kind.

Perhaps the greatest aspect of this album are the featured singers. Billy Bragg has made good with his connections. Wilco, one-half of the estranged Uncle Tupelo (the band that single-handedly jump-started the roots rock movement) makes for an exceptional back-up band, and Jeff Tweedy pushes some of the better songs, such as "Secrets of the Sea."

Corey Harris, emerging as the new king of the Delta blues, takes it home with "Against the Law". Natalie Merchant adds a song Woody probably sang for his kids, sweet and simple.

The gorgeous thing about this album (and Vol. I) is its beautiful simplicity. The best songs are stripped down. Bragg isn't afraid to use a banjo, mandolin, or anything else deemed "outdated" by modern music. It's classic without being pretentious. When Bragg wails "All you facists are bound to lose," it might as well be Woody singing it.

Best album I've heard this year
I bought this album, mostly out of obligation to the MA1 and Wilco. Man, was I floored! This is the best album I've heard this year. In ways, much better than MA1. It took me a little while to get into Wilco's "Summerteeth", but once I heard this one, I can see Wilco is still as prolific as ever. If you enjoy songs by Wilco like, "Casino Queen", "Kingpin" & "Nothingsevergonna...", you'll be all over this album. There are great tracks like "Secrets of the Sea", very much in the vain of "California Stars" on MA1. I was absolutley amazed by the opening tune, "Airline To Heaven". That is a song for the ages. Also, Billy Bragg is in top form with a great "murder" song, "Meanest Man" and the VERY dark, "Black Wind Blowing". Natalie Merchant & Corey Harris are great additions as well. MA1 & MA2 are a seamless pair of albums and should be appreicated and loved for years to come. A great triumph, Woody Guthrie would be proud.

I think these guys made one mistake:
Perhaps Bragg though he found some old Buddy Holly lyrics.

I stumbled upon a gem...
I was born and bred on rock and roll, but lately I've been more interested in jazz, world music and classical. I'm not really enthusiastic about folk music, but I listen to it from time to time. When I pulled this album from the bin at the library, it was because I had heard some Billy Bragg before and thought it was interesting. I knew nothing of Jeff Tweedy and Wilco. This disk blew me away- ecclectic, original, different yet familiar, I think every track is a winner, even though I like some better than others. Certainly if you are sick of listening to the same old stuff, this is a great mixture of rock, blues, bluegrass, folk, and musical styles that should just be filed under "other." I enjoyed this sequqal much more than the first "Mermaid Avenue" disk- but judging from the other reviews this is an issue of personal taste. Then again, isn't music like that to begin with? I appreciate Woody Guthrie a whole lot more now, and I think it's tremendous what modern independant musicians have done with material from a previous generation. Definately check this disk out- I think it belongs in any serious music lover's collection.

remember the mountain bed
remember the mountain bed!!!!!!!!!!!!!awesome!!!!!!!!say what you like, think what you will, but this song is worth the whole album. If there is such a thing as human, If it has soul, then that soul sounds like this!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ... Read more

Amazon.com

When the 1970s punk scene was washed away by the undertow of '80s new wave, few bands surfed the transition as well as the Go-Go's. These Valley grrrls dressed up their punk heritage with a sense of glamour so that their music was at once ballsy and fanciful. The peppery singles "We Got the Beat" and "Our Lips Are Sealed" were their debut's chart climbers and glossiest tracks. The rest of the album has a tougher crust. For example, the jittery "Can't Stop the World" would make the Ramones proud. And take a look at the lyrical content of "This Town": "Change the lines that were said before / We're all dreamers--we're all whores / Discarded stars / Like worn out cars / Litter the streets of this town." Hole's single "Celebrity Skin" is a '90s rendition of the same theme: "When I wake up with my makeup / Have you ever felt so used up as this? / It's all so sugarless / Hooker / Waitress / Model / Actress / Oh, just go nameless." Just as Courtney Love has made a career out of publicly displaying her glam-trash lifestyle, the Go-Go's song about the self-eroding lifestyles of Hollywood revealed that they, too, were more hard living than hard candy. --Beth Bessmer ... Read more

Reviews (30)

The original power pop girl group!
OK. Might as well go to the beginning. 1981 yielded the first album with the Go-Go's, with Belinda Carlisle, Jane Wiedlin, Charlotte Caffey, Kathy Valentine, and Gina Schock. Through three initial albums and the recent reunion album, they have spawned many female groups who have taken their cheery pop-evolved from punk style and zipped through the musical hyperspace byways with it. Beauty And The Beat is the album that started it, a soundtrack of the valley. It also legitimized power pop girl groups that continue today, albeit with a harder-edged punk sound.

The two singles proved beyond anything what they were capable of. I'm of course referring to "Our Lips Are Sealed," that positively gushing number against what we would today call haters. Lyrics include: "There's a weapon /We must use/In our defense/Silence/When you look at them/Look right through them/That's when they'll disappear/That's when you'll be feared." Something admirable to heeded, because if you rise to someone trying to get your goat, they win. Take Carlisle and company's advice, and you win! Remember, "Pay no mind to what they say. It doesn't matter anyway, hey hey hey."

The equally danceable "We Got The Beat" is a song about people who...well, you figure it out. High school students especially have the beat here, as they are leaving school to hang out late. Remember: "Everybody get on your feet/We know you can dance to the beat/Jumpin' - get down/Round and round and round."

A quick-paced energetic skiffle-like number, "How Much More" follows "Our Lips Are Sealed." Equally upbeat is "Tonite," which focuses on the night life in town.

Quick cuts: "Fading Fast" is a bit of melancholy, upbeat breakup tune. "Automatic," written by Jane Wiedlin, is the slow song here. I hesitate to call it a ballad in the traditional sense, as it's kind of minimalist with mechanical overtones.

"You Can't Walk In Your Sleep (If You Can't Sleep)" has that same skiffle-like sound as "How Much More," and is a song about insomnia.

"Skidmarks On My Heart", which starts out with the same drumming rat-tat-tat as "We Got The Beat," displays the classic conflict between boy and girl. The boy's too absorbed in his GTO, the girl simply wants more affection and attention, attention that he is giving to his car: "You sure know how to hurt a girl/Fewer hugs and no more kisses/Just water for your carburetor/And bearings for your pistons/Rev her engine for your pleasure/Caress and fondle her steering wheel/When you moan and hug her gear shift/Stop! Think how it makes me feel". Ouch! This is also complete with a surf guitar solo by Charlotte Caffey.

The album finishes with "Can't Stop The World" written by bassist Kathy Valentine, which has an initial defeatist attitude of being unable to fight the licks of life. However, after the chorus is repeated, Belinda then sings the hopeful coda thrice: "Don't let it stop you."

Quick note: most of the songs were written by either Charlotte Caffey or Jane Wiedlin, sometimes both. Belinda may have the voice, but those two have the pen.

The Donnas, Halo Friendlies, and Eyeliners would not have gotten where they are now without the Go-Go's, to whom they owe a massive debt. For a musical prerequisite, try this and Vacation, their two best albums.

Go-Go's Grrl Power
The Go-Go's combined a punk sensiblity with a pop sheen and road it all the way to the top of the charts. They had a public image as the sweet and innocent girls next door, but in reality were hard partying punk rockers. The music has the same enigmatic quality. On the surface, it sounds upbeat and bouncy, but underneath is a darker and harder meaning. They sing about about love triangles, unfaithful men and other travails with extremely catchy hooks. The pulsating beat in "We Got The Beat" just begs you to get up and dance and the jangling "Our Lips Are Sealed" is a perfect radio hit. "This Town", "Skidmarks On My Heart", "How Much More" and "Tonite" could have all been hits. There isn't a song on the album that you won't find yourself bobbing your head to and singing along with.

Their Absolute Best, None Others Need Apply!
"Beauty and the Beat....." nostalgia for forty-something guys like me (who thrived on groups like Fear, Black Flag, and Iron Maiden, but secretly loved this album!), old-school sugar-pop for today's generation.

This album is easily the best put out by the Go-Go's, so much that anything else they did ("Best Of" collections included) comes a VERY distant second. From the first track to the last, this is an excellent CD.

Plenty of the songs became prolific in the early 80s, and even the tunes that didn't hit are excellent. "How Much More" and "Fading Fast" are two of the greatest songs that are often overlooked from this album.

Overall, GREAT album!

Bring back Go-go's greatest!
Today has not been one of my favorite days, especially since one of my favorite cassette tapes, Go-Go's Greatest, got chewed up by my cheap boom box today!Even worse, I've called just about every music store in town (Fresno, CA) and found out that the CD is lo longer available.PLEASE, PLEASE, PLEASE BRING IT BACK!!! I'm desperate and don't want to have to shell out money for each of their seperate cd's.Somebody must beg the record company to reissue it!I gave stars for the songs I know and like. I'm sure the other's are great too, but their greatest is the one that I want.

Ghost in the Machine
This album came out when the first Sony Walkmans hit. The Go-Go's were the perfect compliment to orange sponge earphones, silver brushed player... as I slide the cassette slowly into the open and waiting player... it closes with precision around the fresh input... oh yeah, daddy likes!! Then the package disappears into light blue OP shorts pocket... topsiders with no socks tap down the street to the portable beat.... This album hit in the early 80's like no other: Great top 40 songs; great sound; new vibe and energy; women strong and beautiful... I mean really beautiful... no one had done it all before. (And I'll give Heart or Helen Reddy a *slight* nod - nod, okay... whatever). The Go-Go's, at least in Northern Cal, really inspired a cult or culture (difference?) of fashion, attitude, and mostly, again, energy. (I saw them at Berkeley's Greek Theater. The brightly dressed, beach ball bouncing crowd was going c-raazy!) Imagine if Doris Day wore really bright colors but was driven by visions of The Sex Pistols and LA punk: A fresh look for prime time, and late night energy to whip kids into a frenzy. In short, Beauty and the Beat represents the Go-Go's "B-vitamin injection" (wink) into the early 80's... or anytime. Kick A**!!! 4 stars for the Walkman (batteries kept running out). 5 stars for Beauty, the Energizer Bunny of iconic 80's albums. ... Read more

Amazon.com

Cute and perky, the Go-Go's bounced on the scene with "We Got the Beat" as if they were leading a new wave pep rally. As Greatest Hits documents, their energy was at its peak with their debut album, especially on its other hit, "Our Lips Are Sealed." Later hits like "Vacation" and "Head Over Heels" could still get 'em out on the dance floor, but also characterized a bit of a mood swing for the band. Troubled by their quick rise to fame, the Go-Go's couldn't sustain the pace because of pressures outside and within their band's structure (the subject of "Head Over Heels"). Regardless, Greatest Hits can manage to evoke more than just nostalgia with "This Town," "Lust to Love," and "Cool Jerk." --Steve Gdula ... Read more

Reviews (13)

Get up and go
Ever since I saw "Fahrenheit 9/11" last weekend, I have been on a Go Go's kick because Michael Moore uses the immortal classic "Vacation" in one scene of his film. Ever since the '80s, I have always adored the Go Go's music. I loved both them and The Bangles. Both bands were the best representative of the girl groups of the '80s. I really don't remember how I got into the Go Go's except maybe that I always enjoyed listening to their songs on the radio and taping it off the radio (now their's an outdated activity...making mix tapes from the radio). For some odd reason, I have never really cared for "We Got the Beat", the band's biggest hit however I have always loved "Our Lips Are Sealed" and always will. I think what stuck out for me about that particular song was the visual of the girls dancing in the water fountain. I'm not really wild about "This Town" either. I've heard much worse songs than that and "We Got the Beat". Personally I prefer VH1's collection of the Go Go's music over this greatest hits compilation. The mixing on that cd is a lot better. Nevertheless "Greatest" is a good Go Go's compilation. It is the perfect cd to throw into the cd player over the summer time. I wish music now was as fun as it was back in the '80s. There was an unspoken magic that I heard in the Go Go's music that I just don't hear in a lot of music today. Listening to "Greatest" is a nice trip down memory lane to a decade of cheesiness and excess (and I mean that in a good way :)).

Good compilation
One of the finest all-girl pop acts to emerge from the eighties was the Go-Gos. During the decade, these girls shelled out some of the finest hits in pop music history. Read on for my review of this compilation, one of the band's many Greatest Hits albums.

PROS:
-If you're a casual Go-Gos fan, and you just want the big hits you'll hear on the radio, this compilation is for you. We Got The Beat, Our Lips Are Sealed, Head Over Heels, and Vacation are all here for your listening pleasure.

-This compilation doesn't just rely on the hits; it has many underrated masterpieces as well.

CONS:
-My only real complaint about this compilation is the running time. It doesn't even come close to filling the eighty minutes you can fit on a CD. Any hits compilation that costs [that price]or more should fill the CD to its limit.
-Where's Speeding, the band's contribution to the Fast Times At Ridgemont High soundtrack?

OVERALL:
If you're a Go-Go's fan, I recommend buying this compilation, since it's the most readily available one in the States. Long live eighties music.

Too Long at 14 Songs
It's hard to review an album like this. If you're a Go-Go fanatic, it probably won't contain enough music to satisfy you. If you're a casual fan, however, you'll find it over long even at only 14 songs. The Go Go's were a band whose new wave style was defined by popular radio of the early 80s, and as a result their music sounds quite dated today.

At thier best, they produced some terrific singles ("Our Lips Are Sealed," "We Got the Beat," "Vacation," "Get Up and Go," "Head Over Heels"). The rest of the songs, however, lack the strong songwriting hooks of the singles and mostly range from bland to grating. As for the 1990 "reunion" track included on this collection, the less said the better. The CD also contains a very skimpy booklet, featuring a bare minimum of information about the songs and the band.

Overall, an adequate anthology from an early 80s equivilent of a 60s bubblegum band.

Delightful
Great compilation of the greatest hits of the first widely successful female rock band. Their punk rock roots are not directly obvious, but their corresponding intensity is still very sensible. The musicians show a delightful playfulness. My favorite songs are „Our Lips Are Sealed", „We Got The Beat", „Head Over Heals", „This Town" and „Turn To You". Actually I just could mention each one of the songs.

The Greatest Hits of the Go-Go's, the EARLY years...
This is a pretty good collection of the best of the Go-Go's. My only complaint would be "Forget That Day" from "Talk Show" should have been included and I would gladly have sacrificed one or two songs from their first two albums to make space (the song is also infamous in the group's breakup because when Jane Wiedlin wrote the song she had the audacity to want to sing it; of course Belinda Carlisle was the lead singer and she did it, and did it very nicely). But then I always thought it was obvious that "Talk Show" was better than those first two albums put together, showing remarkable growth in the Pop Punk band, a point proven by their reunion effort, "God Bless the Go-Go's," which is one of the best good old fashioned rock & roll albums I have ever heard. Just compare the simplicity of "Our Lips Are Sealed" and "Vacation" with the sophistication of "Head Over Heels," "You Thought," and "Turn To You." Interestingly enough, those last three tracks all represent different combinations of Go-Go's co-writing each song. There was some question when this collection came out if the Go-Go's were the greatest girl rock group of all-time (the key to the standard being writing the songs and playing the instruments in addition to doing the singing), but I think that has pretty much been settled now. ... Read more

Amazon.com essential recording

Technique is New Order's most fully realized dance album. Although other New Order albums have been mighty danceable, this recording contains a masterful use of the acid-house trends storming the club scene in 1989, when this album was released. New Order embraced the technology that was available at the time but never substituted brilliant song structures with prefabricated formats that sequencers, samplers, and other high-tech noisemakers can easily provide. They intelligently used these devices to incorporate elements of a broader genre beyond the "New Order sound," proving that even while experimenting with musical trends and other fleeting diversions, this accomplished group is capable of pulling off a genre-defining album without ever losing sight of their own identity. --Beth Bessmer ... Read more

Reviews (37)

New Order vs Acid House
In its day, this record was a contender. Although it had its Acid House detractors and New Order critics, the album was unique in what it tried to accomplish. At the tail-end of the Acid House craze (1989--the UK's "Summer of Love"), New Order tried to pump up the volume with "Fine Time" (the lead track) and "Round and Round". Both were massive 12"s at a time when remixes were scarce and 'techno' club tunes were just emerging.

The record's title, alluding to the emerging mastery of the turntable whilst maintaining a treasury of guitar + keyboard melodies and technofied electronic drums (Stephan Morris style) combined with the bass highs of Peter Hook's signature rhythm component, conveys an evolution of pop rock into club dance without getting too commercial or cheesey. Granted, the post Joy Division lyrics of New Order were always a bit unbearable, and this album's no exception; nonetheless, the overall melodic flow of the compositions and the hard-hitting dance rhythms generate an unforgettable assortment of classic tunes, especially for the '80s retro dancefloor afficionado.

In my opinion, this is the last great New Order album; further in my opinion, it should have been their last--it signifies what I believe to be the most genuine departure from earlier stylistic choices, and yet retains an honest wholeness. "Republic" and "Get Ready" to me seem to merely capitalize on where the band has already been and can't return to. Perhaps I'm simply nostalgic; there was a day when I would've claimed New Order could do no wrong. That day has passed, and "Technique" to me is the last great refuge of a warm, welcoming legacy of pop dance melody.

A must for New Order Fans
This album is my favorite new order album. (However this is not a 5 star album) I really don't consider substance a "real" album cos it wasn't. it's a collection of singles. If you like singing along to songs this is best new order album to sing along to. Right from the beginning when Bernard says, "you're much to youuuuuuung." you will think you are in heaven. There's something about "Technique" that the other records didn't have. You will definitely notice more dance-type songs than with the other releases. "Round and Round" is a standout track along with "Fine Time" and "Run". If you put this album up against "Republic" and "Low-Life" "Technique" will stand out as being the one u keep coming back to. I recommend Technique to anyone who is interested in new order. My second choice would be Brotherhood.

Technique
Technique~ New Order. Many people will say that I must have lost my mind. How can I like Visage, Depeche Mode and other 80's bands and not like New Order. The answer is quite simple. New Order, should have been called Self Love. They are a group semi tallent musicians that play prententious and often irritating music that sucks the life out of the listener. I hated this album and this supposed to be one of their better ones.

And the Beat Goes On
Pherhaps New Order`s more upbeat and danceable album, "Technique" stands as a good piece of late eighties pop. It shows that they were poignant percursors of the dance scene, delivering innovative and catchy songs that still have their appeal even if some years have passed already. It`s a dated record, sure, as one can easily identify the time period it came out, yet most of the songs are strong and still carry some freshness. The first track, "Fine Time", is a dazzling and addictive dance number, proving the band`s creativity and talent.
Bernard Summers` vocals are, as usual, one of the highpoints, making a perfect combination with the electronic-oriented soundscapes. Although it`s a worthwile record, "Technique" has a couple of moments that seem a bit too samey, so some diversity would be welcome.
A solid musical experience, nonetheless, and a fine effort from the MADchester dance scene.

Get the message
'Technique' is a phenomenal record by a phenomenal band. Eight years and four albums after rising from the ashes of the doom-laden Joy Division, New Order had evolved to create the best electronic rock crossover album that I can think of. Recorded in Ibiza, but charting the disintegration of a relationship, the album is a curious contradiction of infectious beats and wistful lyrics that nevertheless works brilliantly. From the bass-heavy dancefloor sleaze - with a nod to Barry White - of 'Fine Time' through to the euphoric menace of 'Dream Attack', 'Technique' is an immaculately cohesive whole with very few weak points - only 'Guilty Partner' seems surplus to requirements. All the trademark New Order idiosyncracies are here, Peter Hook's inimitable bass, Bernard Sumner's winsome vocals and a glorious collage of beats, synths and guitars. The highpoint of the album comes with 'Run', a gorgeous, acoustic-driven jangle shot through with ragged bursts of electric guitar and ethereal synth. From then on in, 'Technique's attack is relentless, the excellent 'Mr Disco' and 'Vanishing Point' paving the way for the epic closer 'Dream Attack'. 'Substance' may have all the hits on it, but for 45 minutes of sustained New Order brilliance, no other album can live with 'Technique'. Get the message. ... Read more

Amazon.com

At best, Boy George and his band Culture Club were a dizzy mix of camp, drag, dub, disco, reggae, and new wave. The androgynous George rhumba-ed his way through hits like "I'll Tumble 4 Ya" and crooned with white boy soul through their reggae classic "Do You Really Want to Hurt Me" as well as the Delta-inspired "Karma Chameleon." At worst, the band had trouble finding direction and the proper vehicles for his smooth voice, producing clunkers like "Church of the Poison Mind." "Move Away" and "Miss Me Blind"--which actually took its chorus from a Japanese whiskey commercial--were Culture Club at their most brilliant. The band knew it wasn't making fine art and rose to the task of crafting flawless pop gems. George's later work didn't have the sense of fun and abandon as his stint with Culture Club, but his remake of "The Crying Game" again demonstrated those soulful pipes. Also worthy of note from his later career is the Krishna-inspired club hit "Bow Dow Mister." --Steve Gdula ... Read more

Reviews (27)

The best of both worlds.
Since I once had the "Church Of The Poison Mind" 45, I guess that means I've been a fan for awhile. This is pretty much what it says it is, half "Culture Club", and half "Boy George". And though it's split between the two, it's all great. This really has every "Culture Club" track that's essential, like "Do You Really Want To Hurt Me", "Karma Chameleon", and "I'll Tumble 4 Ya", among other's. But what shocked me the most is how good "Boy George's" solo stuff was. Obviously not as 80's as the old songs, but very good. His better songs here are "Love Is Love", "Everything I Own", and the excellent "Crying Game". Another catchy track is "Bow Down Mister (a small portion 2B polite mix)". His voice is still in top form too. Overall this is a really fun collection, and will go great with your "Cyndi Lauper" and "George Michael" cd's.

Putting It All in Perspective
I'm not sure whose idea this album was (maybe Mr George's, maybe not), but its end result is to set up Boy George's career with Culture Club against his solo career. And Culture Club wins handily. I'm not a big fan of every Culture Club song ("Karma Chameleon" always irked me for some reason), but the sheer listenability and memorability of their songs easily overshadow the last half of this disk. Most of the BG solo stuff is serviceable (and quite unmemorable) generic dance music. The few standouts are all due to other people's involvement (the Pet Shop Boys' "Crying Game", PM Dawn's lovely "More Than Likely"). "After the Love" even managed to make me miss the Earth Wind & Fire ballad. Only "Bow Down Mister" (with its odd "Hare Krishna" refrain) moves anywhere beyond the facelessness of the other tracks. All my faves (excepting "More Than Likely") happen early on - "Miss Me Blind" (probably my favorite CC track), "Victims", "Time" and "Church of the Poison Mind". Pick up one of the cheap Culture Club Best-Of's instead.

It's a Miracle
I am definitely a product of the '80s when MTV first came out and was actually good, and new wave music had just exploded on to the scene thanks to MTV. Culture Club is my first pop band I got into as a pre-adolescent girl. Culture Club and Cyndi Lauper ruled my radio. I still enjoy listening to both Culture Club and Cyndi Lauper to this very day. Despite my obvious change in musical tastes, I will still always have a soft spot for Culture Club (and other '80s acts). "Colour By Numbers" was the first tape I got (or maybe it was Michael Jackson's "Thriller"), well it was one of my first pop albums I got as a child. I just flipped over the infectious melodies of "Karma Chameleon". No matter how many times I have heard that song over the years, I still love the song and think back fondly of listening to my copy of "Colour By Numbers" on my tape player. My other favorite Culture Club song definitely is "Church of the Poison Mind". I think it is that harmonica that makes the song so great. Although cheesy as velveeta, I love "It's a Miracle". How appropriate coming from a man who survived an heroin addiction. Aside from the Culture Club favorites on this cd, I actually enjoyed Boy George's solo material especially "Sweet Toxic Love" which has such a gritty sound to it (gritty for Boy George). "The Crying Game" is great too. Up until this cd, I hadn't heard any of Boy George's solo music which I thought was completely different from his days in Culture Club. Overall a great compilation. It definitely brings back a lot of memories for me.

Controversy Aside, The Music Is Pure Pop
On one occasion an interviewer asked Culture Club frontman Boy George the secret of the band's success in the United States. His response? Americans know a good drag queen when they see one. And even now, some twenty years after the band broke into the charts, it is best remembered for the controversy its lead singer caused with his ultra-feminine make-up and oddly pastel-punk unisex attire. But strange to say, there is absolutely nothing controversial about the music the band produced: it is pop pure and simple, and not even the fastidious Karen Carpenter would have been given pause by either the arrangements or lyrical content. Everything the band did was smooth, glossy, slick, and extremely typical of the mainstream pop that dominated the charts during the 1980s.

This compilation offers a collection of both Culture Club's best known hits and a number of recordings Boy George released in the wake of the band's inevitable self-destruction. In both cases, the main attraction is Boy George's voice, which is remarkably soulful and playful and extremely appealing. At its best, and particularly when set against an arrangement that mixes slick pop with tropical flourishes, Boy George's voice shines like a diamond on velvet. Unfortunately, the material itself is very hit or miss. Such songs as "Do You Really Want to Hurt Me" and "Time," and Boy George's covers of "Everything I Own" and "The Crying Game," are truly memorable pop gems--but while Boy George's voice is quite memorable, most of the songs themselves are not. And that is a pity, for the weakness of the material tends to undermine Boy George's obvious vocal gifts.

In the final analysis, this collection is most likely to appeal to listeners who liked Culture Club to begin with; others will likely find it completely inoffensive. I waver between giving this CD three or four stars--but I'll err on the side of generosity; the music is very well done for what it is. Trouble is, too often what it is isn't much...

Now, this was the original THE BOY band!
More than just a "flash in the pan", Culture Club was one of the 80's more memorable and influential groups. With albums and singles charting internationally, the English quartet (Boy George, Mikey Craig, Jon Moss and Roy Hay, ruled the airwaves during the middle years of the decade. The group's best, or worst as the tongue-in-cheek title suggests, as well as George's solo efforts, are found on this great compilation.

The only downside is the omission of two top-selling cuts: "Mistake No. 3" from "Waking Up with the House on Fire" and "Sexuality", found on "From Luxury to Heartache". The former is a beautiful ballad that charted high on Billboard's adult contemporary and hot R & B charts in 1985 and the latter was part of a popular dance remix in 1986. ... Read more

Album Description

Throughout his phenomenal, almost 30-year career, Elvis Costello has proved himself one of the most versatile and inventive stars in the pop music firmament. He first rose to fame as one of punk rock's breakthrough talents then went on to release innovative albums interpreting a truly diverse range of genres. Costello-originally Liverpool's own Declan McManus-has made an indelible mark on the pop music songbook, bringing unfettered passion and profound lyrical weight to his richly creative stylistic adventures. These three titles continue Rhino's Deluxe Edition restoration of his extraordinary catalogue. ... Read more

Reviews (11)

Like the girl groups of the 50s and 60s? You'll love this!
Purchased for the hit "They Don't Know About Us" (remember the great video with Paul McCartney?), this CD surprised me. I thought "They Don't Know" was a novelty song by a comedienne, but this woman can really sing. I would characterize this CD as mainly a tribute to the girl groups of yesteryear. Many songs are remakes of familiar tunes; "Bobby's Girl", "Life is a Rock But the Radio Rolled Me", etc. "I'm Always Touched by Your Presence Dear", made popular by Blondie, sounds great. Others are less familiar or written for/by Tracey and she does a fabulous job. If you like the sound and style of those great groups, this is a good buy.

They Don't Know About Tracey - Fun Pop Album
I fondly remember the video for Tracey Ullman's hit single "They Don't Know" with its cameo by Paul McCartney. I tracked down the record at the library and made a cassette copy. Now I have this CD and am the proverbial happy camper. I have always liked girl groups, mainly because I think their songs are usually in my vocal range, plus there is more of a tendency to harmony than you get with boy bands (e.g., "Beatles" versus "Rolling Stones"). "The Best of Tracey Ullman: You Broke My Heart in 17 Places" is something of a throwback to the 50s-60s.

For me this collection starts off a lot stronger than it finishes. In addition to "They Don't Know," the tracks that get the most play at my house are Tracey's cover song: Jackie DeShannon's "Breakaway," Marcie Blane's "Bobby's Girl," the Reunion's "(Life Is A Rock) But The Radio Rolled Me," and the Blondie classic "(I'm Always Touched By Your) Presence Dear." One thing you get with Tracey Ullman is high energy, which always reminds me of Bette Midler. The key difference is that with Ullman the songs are carried more by production values than by her voice, not that there is anything wrong with that. She's a fun singer and this is a fun album that can perk you up in the late afternoon at work.

Refreshing 80s pop
Tracey Ullman's brand of 1980s pop didn't extend the boundaries of music but they dusted off and gave new life to some old standards that deserved a new lease on life. With her perfect pop voice and her sense of humour, she made albums of great listening pleasure. Every track here is worth the effort. My favourites include Breakaway, Oh What A Night, Move Over Darling, Bobby's Girl, They Don't Know and especially her wonderful version of Blondie's (I'm Always Touched By Your) Presence Dear. The backing is superb, the production is perfect and her delivery is great with all the right vocal inflections. All in all an album of classy and enjoyable pop classics.

Sixties revivalist in the eighties
Various compilations have been released on CD with slightly different track listings. This review pertains to the Rhino Best of compilation, the first eleven tracks of which are a straight re-issue of Tracey's original debut album.

Tracey first achieved fame in her native Britain as a comedienne, then had a brief career as a pop singer before moving to America, where she resumed her career as a comedienne. The public are always suspicious of established celebrities becoming pop singers, but make no mistake, Tracey can sing, as this and other collections of her music show. She knew her limitations and worked within them effectively and well.

Tracey recorded two original albums on LP. The first, You broke my heart in 17 places, was pure magic. The second, You caught me out, was quite a good effort with some magic moments. A compilation album was released containing the best tracks from the first two plus some other songs, including My guy, that didn't appear on either.

Tracey's biggest hit, They don't know, was a cover of a song by the brilliant Kirsty MacColl, whose own version of the song had mysteriously flopped. Tracey took the song to number two in the UK and number eight in the USA. It went to number one in Norway and several other countries. After that Kirsty supplied Tracey with other songs - You broke my heart in 17 places, You caught me out, Terry

Tracey had other hits in the UK, all covers. Breakaway (Jackie De Shannon) peaked at four. Move over darling peaked at eight in Britain just as Doris Day's original had done although neither made the USA charts. Sunglasses was first recorded by Skeeter Davis but was quickly covered by Sandy Posey. My guy was originally written and recorded by Madness as My girl. The minor hit Helpless is a Motown song originally recorded by Kim Weston.

Tracey recorded many other covers of songs from the late fifties to the early eighties including Long live love (Sandie Shaw). Shattered (Sandy Posey), Oh what a night (the Dells), Bobby's girl (Marcie Blaine in the USA, Susan Maughan in the UK), Life is a rock but the radio rolled me (Reunion), I'm always touched by your presence dear (Blondie), I close my eyes and count to ten (Dusty Springfield), Baby I lied (Deborah Allen), I don't want our loving to die (the Herd) and Falling in and out of love (Sinceros).

As befitting a comedienne, Tracey's music is upbeat, fun, music not to be taken too seriously but Tracey is no mere novelty singer. This is great party music but can be enjoyed in any setting.

Fun-filled Pop
A wonderful collection of bouncy feel-good pop from the actor/singer/comedian Tracey Ullman. There's nothing deep here, just the kind of fun sing-along songs you used to hear on AM radio in the 60's and 70's. ... Read more

Reviews (77)

Waiting in vain (?) for the next Arcadia album!!!
Being a loyal Duran Duran fan since 1983, I bought this album the day it hit stores. I was hungry for new Duran material & couldn't wait to hear what Simon & Nick would come up with on their own (ok- Roger was there too, but he fled the scene as soon as the recording was done). I was ecstatic to discover that "So Red The Rose" was the Duran Duran album I had been waiting for. It's similar to "Seven & The Ragged Tiger," but is much more mature. The lyrics & melodies are better. The music is darker, edgier, and very atmospheric. The production is amazing, with it's multi-layered percussive & synthesizer effects. 17 years later, I still hear something new every time I play it.

Despite the album having 2 hit singles (and videos of course!), "Election Day" (w/ Grace Jones) and "Goodbye Is Forever," it has never received the attention it deserves. This album has aged incredibly well and with "Duran Fever" picking up again with their reunion tour, maybe more people will seek this out (it's getting hard to find in stores!). Get it now!!!

So Red the Rose..So Good the Music
In 1985 and following the release of their US No. 1 "A View to a Kill," Duran Duran split in half to venture into solo projects. Andy and John joined the Power Station, while Simon, Nick, and Roger formed Arcadia. While the Power Station's debut was a clear departure from Duran Duran's sound, Arcadia's debut, for all intents and purposes, sounds very much like a Duran Duran album, specifically "Seven and the Ragged Tiger." But so what? The material here is good stuff. "Election Day" gets things right with a welcome spoken bit from Grace Jones, "Goodbye is Forever" is a solid midtempo number with its funky guitar and nice synth touches from Nick. "The Promise" is a jazzed up gem featuring vocals by Sting, and "Lady Ice" is an out-there avant garde excursion that closes the disc. As with much else by Duran Duran, "So Red the Rose" got a pounding by the critics. But pay the cynics no mind. It's not too late to discover this treat from the 1980s.

O-N-E STAR
ONE STAR IS THE MAXIMUM ANYONE CAN GIVE THIS OVERPRICED COASTER.ONE AND ONLY ONE STAR.

An honest view on Arcadia
By the time this Duran Duran spin-off Arcadia(Simon Le Bon(pepe le pew), Nick Rhodekill(Rhodes) and Roger Taylor(not to confuse with Queen's drummer) released their album So Red the Rose in November of 1985, Duran-mania was slowly dying down, thank goodness. Earlier that year, The Powerstation(which featured John and Andrew Taylor) released an album of hard rock with a funk feel which sold huge before the band imploded over creative differences that lead to Robert Palmer's departure. I have heard both albums and The Powerstation showed that Andy was a hard rocker allowed to stretch out whereas in Duran he was underused. Arcadia, on the other hand, is boring. So Red only unleashed one hit with Election Day which featured Grace Jones and was the only hit single in the US. Not even Sting(who sings backup on one track) nor Pink Floyd's David Gilmour(whom played here only as a guest musician on three tracks) can save this disaster which barely scraped Platinum. This album is a largely forgotten relic of a bygone era.

about as avant garde as christina milian
i would plead with all lovers of good music to stay far away from this awful cd featuring arcadia a terrible band which featured one of the cheesiest songwriters and vocalists known to mankind ever simon le bon.the only saving grace on this album is the presence of david gilmour the guitarist of the greatest band pink floyd playing here only as a guest musician on three tracks.avoid this disaster which bombed badly at all costs.get pulse from pink floyd instead to hear gilmour at his best.half a star. ... Read more

Amazon.com

Released four years after the Talking Heads called it a day with 1988's Naked, Popular Favorites provides a thorough overview of one of the most important American bands of the '80s. From tightly wound early efforts such as "Psycho Killer" and "Don't Worry About the Government" to the seriously funky likes of "I Zimbra" and "Burning Down the House," David Byrne, Jerry Harrison, Tina Weymouth, and Chris Franz grew as musicians as they stretched the original concepts of the unit to the breaking point. Over the course of two discs and 32 selections, the anthology chronicles the Heads' development from Bowery art punks (albeit of the most civil stripe) to unlikely arena stars. A smattering of unreleased tracks and notes from the original quartet nicely flesh out the retrospective. --Steven Stolder ... Read more

Reviews (25)

Talking Heads Career Celebrated On 2CD Set
Few groups merged the disposable bubblegum pop of the Ohio Express with the hypnotic dance-funk of the Ohio Players. Talking Heads lead singer/ writer/guitarist David Byrne, who in the liner notes ranked the Jackson 5's "Get It Together" with the Beatles "Sgt. Pepper," saw New Wave as a synthesis of those styles. The Talking Heads, with cryptic lyrics and art-rock presentation, led that sound, and became one of the most influential bands of the last 20 years.

"Sand In The Vaseline" chronicles their career. Drummer Chris Frantz and bassist Tina Weymouth studied 70s funk albums like textbooks, giving it right back to George Clinton in rave-ups like "Wild, Wild Life," "Burning Down The House," and the hits from 1985's "Little Creatures." ("And She Was," "Stay Up Late").

Byrne's lyrics were often misunderstood; evangelical Christians bristled over his vision of heaven as "where nothing ever happens." (Wait 'till they read his liner notes on "Take Me To The River.")But his stories often shifted from dark ("Life During Wartime," "Psycho Killer," unleashed during 1977's Summer of Sam) to whimsical ("Nothin' But Flowers").

Not every experiment is successful ("Love For Sale" falls flat; Frantz found "City of Angels" "relaxing." You'll find it boring). But all of it intrigues, and hearing it again reminds you of rock and rap artists today influenced by the Heads, payback for the group's own roots. In her portion of the liner notes, Weymouth thanks her bandmates for "never, ever, being boring.") With rare exceptions, she was correct, and "Sand In The Vaseline" is highly musical, compelling proof. Recommended.

A very good overview of a seminal American group
The first (and not the last) posthumous Talking Heads release is a great overview of the band. This and 'Stop Making Sense' provide an excellent scope of the Heads' repertoire. Including hits suchas 'Psycho Killer,' 'Once In A Lifetime,' and 'Burning Down The House,' as well as a few unreleased songs. This is a great place for neophytes to start or seasoned Heads experts to collect. The second disc, however is slightly spotty (their last few albums weren't GREAT material, but still deserve recognition). If this is your first Talking Heads purchase, don't let it be your last...check out their albums, mainly their 1977-1984 material ('77,' 'More Songs About Buildings and Food,' 'Fear Of Music,' 'Remain In Light,' 'Speaking In Tongues').

What happened to real music?
So, I guess you would say I'm a jerk for saying this but what happened to music? I wasn't alive during the 80's and I have grown up with the "music" of the 90s and early 2000s. I don't really listen to it anymore because I have discovered that this is around. Honestly, find me a rap cd that has the contingency of "And she was", "Burning down the house", "Psycho Killer", or their cover of "Take me to the river". The talking heads are amazing. Their instruments sound GOOD together, not just like a heavy metal bang. Oh, and have you noticed there's actually a tune to the song, making it possible to whistle it? These two cds cover just about every category of loudness, some uprising, some moderate, and some that lull you to sleep. This is completely amazing that this one band is able to create such a beautiful, yes beautiful, mix of noise. do yourself a favor and buy this cd to save music!

Da Peace Dog hasn't got a clue
Well, Da Peace Dog gave me a splintering headache. He sounds like he never got past the second grade with his unnecessary point of David Byrne's brain. This collection of songs is great! I think it is a great retrospective from the nascent years of the Heads until they disbanded. Although, I would have liked to see "Pulled Up" from '77 on the disc, but it's not there. '77 is a greatest hits on it's own. This music is classic and colorful in it's art rock form. David Byrne's Rei Momo and Uh-Oh are my favorite solo albums. Amazing work. Unique. Groovy. Experimental. Solid.

The guy singing is kind of a twerp
Despite his nerdy appearance, David Byrne has a good sense of music and a broad-based knowledge of music diversity around the world. I base that on some of his geeky apperances he blessed us with as host on some lame PBS music session show a few years back that played at midnight on Saturdays. Anyway, I haven't heard all the cuts off this record album cd offering from the Talking Heads, but I'm betting a lot of it is pretty intellectual-sounding, which right away keeps me out of the loop. I may not be as bright as David "the nerd" Byrne, but I know a good guitar riff when I hear one, and these guys couldn't write a decent riff with hand-written instructions from Curt Kirkwood of the Meat Puppets. So anyway, I guess we're all doomed to listen to this new-wave garbage for the rest of our lives, as critics praise it and fans of true rock abhor it.

Oh well, for every cool Van Halen I suppose we must also endure the wimp rockers of the world, like the Talking Heads. Hey, by the way, is Roth getting back together with his old mates? I heard the "Halen Reunited" tour was supposed to be in full swing soon. Keep me updated, and thanks for your time on this message board!!!!!!!!!!!!!!! ... Read more

Album Description

UK 2002 remastered reissue of the British ska revivalist's1979 album. Includes ECD section containing 2 promotionalvideos 'Gangsters' & 'Too Much Too Young'. Produced byElvis Costello. ... Read more

Reviews (32)

A ska free-for-all
Even the absence of "Gangsters" can't deflate my joy in listening to this cd. (I can't say the same for the missing "Tears of a Clown" and "Ranking Full Stop" on the English Beat cd.)

I'll never forget when The Specials appeared on Saturday Night Live in 1981. They performed a searing, blistering "Gangsters" as they slam danced with the air around them. When they were through, the usually savvy New York audience was stunned. Dead silence. And I don't think it was because they were impressed: they just didn't know what they had just heard. But this Brooklyn boy was on his feet at home, jumping, and scrambling for pen and paper to remember this band's name so I could buy the album, which I did the next day.

I was in for more than I'd expected. Half this album's tunes are pure energy, the other half were more subtle reggae tunes. I thought The Specials were a tight, no-holds-barred, musically frenzied band. But there's something else: their songs carry incredibly intelligent, socially aware lyrics. Some songs are of the utmost seriousness. "It Doesn't Make It Alright" is a powerful indictment of racism. On the other hand, "Too Much Too Young" is a more witty, sarcastic look at teen pregnancy. There are strong messages in several songs, and this is an added plus. It is ska that is unafraid to approach any topic. It's fun, it's serious, it's damned good music.

Have you bought this cd yet?

An all time Classic
This is clearly the best Ska record ever made. Their debut album (the BBC had just aired The Specials John Peel Sessions, but it was not yet for sale. Also, their true debut was a 45rpm single of Gangsters whose B-side was titled The Selector and credited to The Selector, but in reality, The Selector was Jerry Dammers, John Bradbury, both from The Specials, and two of their roommates. I think it is the best song The Selector ever did).

If you listen to earlier versions of these songs available elsewhere, you can see how much they honed everything. The Specials had toured the U.K. supporting The Clash, and as a result you can hear more Clash-like-Grit on this album, and you can also see The Specials influence on Clash songs like Pressure Drop, very Ska.

I like everything about this album, every song. I still remember my high school English tutor in the 9th grade (I was really bad in school) who was more interested in shaping my musical tastes, and my sister, English was third on his list. He made me a tape of this album with the This Are Two Tone compilation on the second side. I listened to that tape for years, before they had tape-players that would flip the tape for you. I remember one time I accidentally hit "Record", so to this day I am surprised there is no gap at the beginning of "Concrete Jungle".

Not too long ago, I was invited to several Specials shows. My friend had gone to school with Mark Addams (keyboards) in Coventry and whenever they'd come to San Francisco my friend rob would arrange to have us on the list. They have altered the band since 1980 (when this album came out), a few new members, but they still have Neville Staples(who looks even cooler today), Horace Panter, Roddy Radiation, and Lynval Golding. They preformed these songs in a dizzying frenzy. After each show we'd go backstage with them (once to the Green-Room of the legendary Fillmore Auditorium!) and one time on their tour bus somewhere in Santa Cruz. My friends wife was blind, so she had a seeing-eye-Doberman with her. We were on this crowded bus, with the band, this huge dog and scattered other people. They were playing some old sixties Ska on the bus stereo, and Lynval Golding (guitarist) danced with the seeing-eye-dog, and I cracked a corny joke, which I began to regret as I was saying it. I said to Mr. Golding, "Do The Dog!" (referring to their song by the same name) then my ears began to turn red. He thought it was the funniest thing he'd ever heard and slapped his leg as he laughed. He put his rude-boy hat on my head, which was pathetically loose, and laughed his way to the ice-chest and he fetched two beers and brought one to me as his laughter died down. The joke seemed rather obvious to me. He took his hat back as he gave me the beer. It was all very weird.

Anyway, this is the album to have. I have many Specials albums, and would choose this one over all the rest, or any other Ska band, there is No Doubt about that. If you have never heard this album but are considering it, then trust the instincts that brought you this far and get it, if you remember this album from your youth but haven't gotten around to getting it on CD I suggest you drop everything and get it, and get Led Zeppelin IV another time. This album has aged very well.

awesome just awesome i mean fantastic even
this cd was great it was one of the best things ive heard in my entire life it was awesome just awesome you know the rest i love you specials you changed my life you know jerry dammers is the man with the amazing lyrics it just blew me away there awsome

Rock steady and rock solid
This album is permanently seared into my brain. I listened to this album too many times to even estimate, having discovered it in High School (when it came out - yes, I'm getting old), spun it endlessly in College, and have never really stopped listening to it. Now and then it kind of fades to the back of the old collection, but sounds as strong as ever every time I resurrect it from the stack. This is one of those albums that I've owned on vinyl, tape, CD and now resides in my Ipod. The infectious nature of this album is best related in a ridiculous story: We were on a business trip to make an advertising presentation for a client in Chicago about 5 years ago, My colleague and I both graduated college in the late 80's but we never really discussed music. While we were waiting to pitch our campaign outside the boardroom, we both noticed a framed 2-tone poster inside a nearby office. One by one we both ran through every song, every beat, every freestyle ranking from this album, each picking up seamlessly where the other would leave off. Sounds stupid, I know - but it's that kind of album. Just buy it - buy it now!

fantastic stuff
This is the best 2tone/ska album there is.Although the Specials introduced a raw,punky,English working class aspect to the ska sound, they retained much more of that original Jamican sound than any of the 3rd Wave American bands.The sounds of inner city England at the time were punk and reggae.The likes of Sex Pistols,The Clash along with reggae from the likes of Bob Marley and Dennis Brown were regularly in the top 5 in the UK charts.Unlike in the ghettoised projects in the United States,black and white working class kids in England shared the same housing estates and schools and so there were much greater opportunities for cultural hybrids.When punk appeared in 76 skinheads re emerged after disapearing from the scene for 5 years.The whole Specials idea was partly a calculated response by Jerry Dammers to remind the many skinheads who were flirting with nazism at the time that black cultural influences had been fundamental to the existence of the original skinhead movement.Anyhow it was a clever experiment that proved commercially succesful and this is an excellent album. ... Read more

Amazon.com

Gabriela "Nena" Kerner's American debut combines tracks from her first two European releases, including everyone's favorite antinuclear dance-pop single in both English and German. Likable as "99 Red Balloons" and "99 Luftballons" were, their international success was not to be repeated, even though tracks like "Kino" and "Just a Dream" have a similar just-this-side-of-kitsch appeal. "Leuchtturm" and "Uner Kannt Durch's Marchenland" are also strong, but the clumsy "Let Me Be Your Pirate" makes you wish Nena had stuck to her native tongue. Then again, it was that bilingual approach that allowed her to transcend her stateside status as a one-hit wonder--if only through a technicality. --Bill Forman ... Read more

Reviews (25)

A welcome respite from modern American popular music
I was just beginning to learn German when 99 Luftballoons came out. It was like a secret club; I could understand the lyrics but none of my friends could (then the English version came out). In fact, I have found that lyrical music is an easy way to learn the cadence and rhythm of a language. Nena is an exemplary performer who can temper her voice to the needs of the song. This album, her first (of only two) entries into the American market, contains some wonderful German songs prefaced by some (at times) very good English renditions of songs that were originally written in German as well. If you listen closely to the English lyrics you can tell that the cadence is off just a little; enough to tell you this was once a GERMAN song. By all means start with this album and work your way up to her '98 Live album... you can hear the development of her voice and the maturation of her style. You can also hear the beginnings of jazz influences in the form of a guest appearance by David Sanborn on a couple of tracks. This deveops over time into a blues influence by the late '90s. It all starts with this album; pop mixed with German jazz. Besides, it is SO enjoyable at stop lights to drown out the nearby cars blaring rap (that is, crap) with a song being sung in German! If you hate rap, BUY EVERY NENA ALBUM YOU CAN AND PLAY THEM AT TOP VOLUME! Start with this one, but remember: this is 80s rock, so be in an eighties frame of mind.

Wunderbar deutsche Musik!
Nena really gives us a top-notch album with this one. Chances are, if you are like me, you're only familiar with the title song "99 Red Balloons." This album is nice in that it gives both the English and German versions of this fun little song.

I really enjoyed the second side of this one (I have the cassette). All the songs there kept my interest, even though my German is not really all that strong. The great music was enough for me. It's too bad at least now that these songs aren't available for you to listen to. Hopefully Amazon will work to remedy that. There are some gems there.

Great voice, nice background, and it sure doesn't sound like it's over 15 years old.

awsome cd
This is a really awsome cd. Nena is a remarkable artist. I think she deserves more credit in the U.S then she got. I loved every single song. Even her bad english at times can be very attractive.

99 Luftballons
99 Luftballons~ Nena is a funny little album that tries so hard to be relevent that it becomes silly and prententious. Even so the album is good and deserves 5 stars.

"99 Luftballons" Is A Great Song BUT...
by Alan

The song "99 Luftballons" is magnificent in both its thematic scope and musical symmetry. It starts one way, moves into completely different zones and then finishes with yet another brilliant, triumphant stroke. Delivered on the album in both the original German and an English take, "99 Red Balloons," this classic, unique anti-war rock ballad is politically provocative, rapturously euphoric, enigmatic and perhaps tragically prophetic. For me, by itself this song is worth the price of the album.

The music by Uwe Fahrenkrog-Petersen, the entire orchestration...it just "takes you there," you know. All the members of the band play their parts to pop-music perfection. You can visualize all this stuff happening. And it's fantastic, surreal, mysterious and yet somehow frighteningly real and poignant at the same time. The metaphors, the layers of the song, are so powerful. It appeals to the child in me, the adult in me, it expresses anger, fear and fantasy, the whole works. It suggests beginnings and endings...

If you think about what balloons symbolize, the concept here is nothing short of ingenious. Balloons represent hope, dreams, happiness, freedom. There are often balloons at a "grand opening" to celebrate something new, great expectations.

The writer of the song, the now-deceased Nena band member Carlo Karges, was at a Rolling Stones concert in Berlin back in the '80s when the Berlin Wall was still up. At the end of the concert, they released all these balloons into the sky, and he wondered what would happen if the balloons floated over the Wall and were mistaken for something else, like UFO's. It really could be catastrophic.

What follows is a story about "little misunderstandings" that bring about a big battle over something small: nothing really but a bunch of balloons.

The lyrics to the original Teutonic version are closer-to-the-bone, more realistic. If you think of this Armageddon-level scuffle taking place in a city divided, it is more human-scaled. The English take--while still communicating the plot and point of the original--loses the appropriate vantage point, and therefore some of the rich flavor and subtext.

The "letting go" of the balloon at the song's finale, the end of the world perhaps, is also a rich metaphor for forgiveness and giving peace and freedom a chance.

However, I want to be honest with people who are about to purchase this CD. I think some of them may be disappointed.

Nena was--and still is--a major personality in Germany, Deutschland's earnest-if-edgy sweetheart--and a striking beauty as well. And she hasn't been without her share of ups and downs. Her first child was born in the late '80s with a terminal illness and died the same year. The next time she got pregnant she had a set of healthy twins, and the sweet lyrics of "Wunder gescheh'n" from the album of the same title talk about how miracles do still happen. There's another song from WUNDER GESCHEH'N called "Hero" which is soul-searching and rugged at once--and written by Nena Kerner in English.

But when I play Nena music for people who aren't die-hard fans--especially from this 99 LUFTBALLONS album--I usually get reactions like, "They all sound the same" or "I like The Balloon Song, but they're a little too poppy." Indeed, many of the songs on this CD are what we call "undeveloped." Ideas for songs that don't reach full potential: "Leuchtturm," "Kino" and even "Just A Dream"--they're a little pleasant but rather thoughtless and largely forgettable. They also tend to capture only one note. When I listen to "Leutchtturm" and I'm starting to get into it, I wait for there to be a crescendo after "la, la, la" but there are only more "la, la, la"'s to the point of nausea. So it doesn't even really move you to dance, if you know what I mean. Only move back and forth ever-so-slightly. David Sanborn's saxophone on "?" does liven things up a little.

Nena Kerner's voice is sweet and seductive and has a biting hard edge on occasion. She's a feisty kitten. And when she talks about taking me with her on all the seven seas in "Let Me Be Your Pirate," I do want to go with her. Unfortunately, her singing in English at this point is sometimes hard to understand, and she doesn't seem as connected emotionally as she does on the songs in her original German tongue. David Sanborn's saxophone on "Pirate" also enhances the would-be dreaminess of the piece, but the English narratives on 99 LUFTBALLONS tend to be a tad stilted and unpoetic.

When I'm "in the mood for Nena" and all the good-spirited silliness of movie theatres, elephants and lighthouses, all's well. I'll listen for hours. But that's not all the time. In fact, I have to say one of her most memorable ditties, "Anyplace, Anywhere, Anytime," a frolicking, space-age dance mix--is unfortunately not included on this ensemble.

I still recommend the CD because "99 Luftballons" is such a great song--and there are two versions of it here, one a remix. But don't be surprised if you don't fall in love with all the melodies. Much of the pop just doesn't live up to the capacity of the world-renowned Balloon Song. And they could have used on this album Lisa Dalbello--who later did the beautiful translation "Anyplace, Anywhere, Anytime"--to keep the Anglo-Saxon renderings sing-able and sophisticated.

So you've been warned.

"Achtung!" as they say in German.... ... Read more

Amazon.com

This nearly perfect debut album showcases both the extraordinary songs of Ohio-born singer Chrissie Hynde and the rhythmically complex performances of her U.K.-bred band, Pretenders. The band tramples through the sexual aggression of "Precious," "Up the Neck" and "Tattooed Love Boys"; the classic pop of "Kid" and "Brass in Pocket"; and a brilliant cover of the Kinks's "Stop Your Sobbing." Hynde's sneering vocals add resonance to these tales of sexual revenge, abuse, and longing appropriately fleshed out with blood, guts, and guitar. --Rob O'Connor ... Read more

Reviews (40)

Classic debut is a must!
What are the greatest debut albums in the punk / new wave genre? Well, Pretenders ranks right up there with "The Clash" and Elvis Costello's "My Aim Is True." Why? Simply put, Chrissie Hynde has balls!! That may be an odd way to describe a woman, but one spin through this album and you will agree. From the opening track "Precious," where Chrissie worries about being pregnant to the backdrop of killer crunching guitar, spitting out her disgust for whatever gets in her way, through the beauty and tenderness of "Kid" (a perfect pop song if there ever was one) to the classic cover of "Stop Your Sobbing" - this album just never lets up. Chrissie snarls and sneers with the best of them, but somehow never loses her sense of melody. James Honeyman-Scott's guitar is groundbreaking, and Martin Chambers pounds along like there is no tommorrow. They put out lots of great stuff after this one, but after a debut like this, it's just impossible to go anywhere but downhill. It's a true masterpiece that has inspired so many others, and a bonafide five star album.

The First & The Best. Possibly The Best Debut Album Ever.
The problem with the first Pretenders record was that it was so damn good it set expectations of the band incredibly high, and Scott & Farndon cracked under pressure.

In this album, you have the perfect mix of four musicians at a time when it was satori for them to get together.

First,Chrissie, who was at here cocky I'm-a-woman-of-the-world-and I'll-kick-your-ass-if-you-abuse-me-again best voice, sounds like a dominatrix with a hidden heart of gold & not the PETA militant we get now (although you can see it coming on this album, but it seems like it would be more). She has the perfect balance of rage AND sensitivity on this album. It's watching oragami fragile idealism wrapped in Kevlar armor with leather & studs over it. It's fascinating as to how the combo got wedded together. She sings tender-but-wary ballads ("Kid") along side of fever sex dreams that show that the mystery of sex still outweighs the mistrust ("Mystery Achievement", "Up The Neck", "The Wait") and tales of survival ("Tatooed Love Boys", "The Phone Call") & confidence ("Brass In Pocket", "Private Life").

Secondly, you have James-Honeyman Scott. Why, oh why, you a**hole did you have to O.D.? Didn't you know you were probably the greatest new wave guitar player this side of Tom Verlaine?
This album is rife with extrodinarily economic but blistering riffs. JHS was old enough to rock out melodically like guitarists of yore, but added enough punkish noise to the fuel like Nostradamus's match, predicting the coming of Sonic Youth & Nirvana. The use of the atmospheric harmonic line from "Tatooed Love Boys" is STILL brilliant. And, my god you played like a hot rod drives: foot on the floor to the end of the quarter whether you were going to explode or not. Maybe it's not a wonder that you flamed out...

Lastly, you had Farndon & Chambers. It's such a cliche to put the rythm section together, but they really did work as a unit. Like Scott, they mixed the best old school with a brave new edge of the new. Best of all, they were learned in the thump of R&B which kicked the Pretenders to the top of the heap in playing. Having been an O.P. (origional punker) in those days, let me tell you, it wasn't the snottiness or the aggression that made bands bad, it was the fact that they didn't GROOVE. These guys, however, had it in SPADES. Tragically, Petey decided to follow Jimmie & loaded the essence of poppy flower in his veins once too many times. So, after one more album, Chambers sounded lost without his groove mate.

One of the other reviewers was talking about the philosophy that old school punk was an attitude. This is SOOO true. This album was the first living proof that you could sell an album with it. It just took street smarts.

A classic.

Still powerful
One of the few New Wave records that stand the test of time and can be appreciated today as something more substantial than mere nostalgia. The band rocks hard with some very innovative arrangements on cuts like "Precious" and "Tattooed Love Boys." Then they turn around and deliver some great pop songs like "Kid" and "Stop Your Sobbing." It's a shame that half the band died after recording this music. The Pretenders never attained the same heights again.

Fresh and fantastic after a quarter of a century
This is the first album that I actually fell head over heals, madly, psychopathically in love with. Looking back on it, I can't understand why I felt that strongly about a piece of music, even though I still love to listen to it now and then.

Yet, whenever I do listen, it never fails to remind me just how strongly I felt as a college student. And I still love it today.

I wish there were more than five stars to give
I have been listening to (and loving, and rabidly recommending, and freaking out over, and obsessing over) this record for over twenty of my thirty-four years. What band's debut is better? What record is more packed full of brilliantly intense and intensely brilliant songwriting, playing, and singing?

If you're serious about learning the history of rock music, you should hear this record. If you want to hear one of the first records to offer a woman's perspective in the largely testosterone-choked legacy of punk rock, you should hear this record. If you love intelligent lyrics, incendiary musicianship, and flat-out brilliant songwriting, you should hear this record. If you want to hear music that makes you feel alive, you should hear this record!

Considering the six bucks I spent to buy it back in the 1980s, Chrissie Hynde and company have given me so much pleasure in the ensuing 20+ years that the entertainment value is beyond measure. To me, this ranks with the 1st Modern Lovers and Velvet Underground records and Marquee Moon in terms of flawless, timeless debut albums. This is one for the ages. ... Read more

Amazon.com

Ignoring the "Precious" side of Chrissie Hynde's rocking and writing, The Singles still captures a good bit of what was special about her in the '80s. Bopping assertions of strength ("Brass in Pocket"), wistful dreaminess ("Talk of the Town"), flat-out weepers ("2000 Miles"), her tough-mom attitude ("Middle of the Road")--the many sides of her seven-inches are generously surveyed herein. --Rickey Wright ... Read more

Reviews (19)

This is how it's done.
Thank god for Chrissie Hynde and "The Pretenders". The voice, the attitude, the hooks, they are fighting the good fight. They are simply, cool. This is a great 16 songs that includes everything it should, except for "My City Was Gone". It would also be nice to have "Night in my Veins" and "I'll Stand by You", but those were released after this. They can be found on the import "hits" though. Otherwise, this has the singles "Brass in Pocket", "Middle of the Road", and "Don't Get me Wrong", among others. One of the coolest songs is "Message of Love", it's so good. Another one that I love is "Hymn to Her". Overall it's an excellent 80's/classic rock collection, and will go great next to your "Cars" and "Pat Benetar" cd's.

The Pretenders Keep Us Informed
This album is nothing more than a compilation of hits that were popular in the 80's. Chrissie Hynde is a very versatile artist, giving us authority in her vocals ("Brass In Pocket" and "Don't Get Me Wrong"). Chrissie also gives us a sweet dose of metaphoric pleasure on "Back On The Chain Gang" and "Thin Line Between Love And Hate". Let's not forget to rock out with the toughness of "Middle of the Road", either. A good effort.

A Great Greatest Hits CD
If you have only heard "I'll Stand by You," then you know the sound of the Pretenders, but what you don't know YET is that this band has produced some of the greatest music I've ever heard. I love their sound -- the mark of a great group is that you can listen to a song you've never heard before and say, "That's the Pretenders." And yet, all of the songs are so different, exploring some interesting and thought-provoking themes to powerful, outstanding melodies.

This CD is full of awesome songs, and it's a CD you can play all the way through without skipping a single song. My favorites include "Hymn to Her," the haunting song, "I Go to Sleep," and "Thin Line Between Love and Hate" (listen to the piano music at the beginning of this song -- I love it!).

But who am I kidding? Each and every one of these songs is hum-worthy. And that's the Pretenders.

MELODIC ROCK AT ITS BEST
What a delicious dish of melodic rock and pop! From the opening number Stop Your Sobbing to their lovely interpretation of I Got You Babe that closes the album, this is a non-stop feast for the ears.

Chrissie Hynde is an expert vocalist, perfectly capturing the mood of every song with her nuanced vocals, whilst the rest of the band moves in perfect synth. The guitar playing is amongst the best you'll find in any rock music from the 1980s. Almost all of the songs are masterpieces, but my special favorites include Stop Your Sobbing, Kid, Brass In Pocket, Talk Of The Town, Message Of Love, Don't Get Me Wrong and I Got You Babe.

The music is tender and sensual at times, raucous and ebullient at others. Those who enjoy The Pretenders might also like their contemporaries Pat Benatar, The Cars or Joan Jet. This album should however appeal to a wide spectrum of people who appreciate tuneful and intelligent rock music that is still in touch with its roots.

Nice Filler
For awhile my fanatic love for the Pretenders stopped after the first three albums & EP, so I didn't catch up on any of the later albums. After Farndon & Honeyman-Scott died, I considered the band to be The Chrissie Hynde Band, or The Pretending Pretenders.

However, Chrissie is still a damn fine songstress in many ways even without the one-two punch of the first band, so I bought this just to catch up on some of the highlights of what was essentially a solo career. I especially like the poppy "Don't Get Me Wrong" alongside all the greats.

If you really, truly want a Pretenders "Best Of.." then buy the first two albums & throw in "Learning To Crawl" for good measure.

I would kick this album's rating up another notch if they included the long lost "Extended Play" EP with "Porcelain" & "Cuban Slide" on it. Why the hell hasn't anybody mastered that to digital yet? In the meantime, I have to use my old vinyl copy.

I've since heard good things about the recent Pretenders albums and may become a big fan again. 'Til then, this album helps keep the spirit alive ... Read more

Album Description

While Sire's U.S. collection 'The Singles' concisely represents the best from 1980-87 by Chrissie Hynde & co., this import-only retrospective is sure to be treasured by fans as it contains most of that discs cuts (13 of the 16), plus all of the group's best ever since, (including gems like 'I'll Stand By You', 'Night In My Veins' and 'Human' (Tin Tin Out Remix), PLUS Chrissie Hynde's smash collaboration 'Spiritual High (State Of Independence)' with Moodswings! Listeners are treated to a total of 20 classics from The Pretenders 20 year career with this set, which also includes favorites like 'Back On The Chain Gang', 'Don't Get Me Wrong', 'Brass In Pocket' and 'Middle Of The Road'.2000 release. Standard jewel case. ... Read more

Reviews (4)

The best Pretenders collection
If you like the Pretenders this is the collection for you.

No thanks, I'll... "WAIT"
Sorry, for me this collection doesn't do Chrisse Hynde and The Pretenders justice as the great ... rock n roll band that they are. I'm not surprised or anything. These "Greatest Hits" packages are almost always geared towards making a band look like easy going sellouts.
The hard facts are that THE PRETENDERS had enough kutzpah and swagger to hang with the likes of AC/DC and The Stones.
Unfortunately, this collection (although containg a number of fine songs), completely misses the point of THE PRETENDERS as the great ROCK band that they are.
Please, opt to buy the first few studio albums and listen to Chrissie's ... attitude on gems like "PRECIOUS", "THE WAIT", "MYSTERY ACHIEVEMENT", "MY CITY WAS GONE" or "THE ADULTRESS." These great songs not only feature Chrissie's bid as one of rock n roll's very finest female artists but they also feature some of the best angst riddled guitar riffs, energized melodies and pounding rhythms in rock history.
To anyone not familiar with THE PRETENDERS and who considers themselves a "ROCKER", please avoid this collection and purchase those wonderful studio albums: PRETENDERS, PRETENDERS II & LEARNING TO CRAWL. You'll have a much more clear picture of this great band after listening.
If you just want some nice, safe radio songs then I guess this collection is for you.
Personally, I would "WAIT" for a better set(one that really shows the band's swagger as well as their pop craft) and I think Chrissie would agree.
M.L.

If you ever liked a Pretenders song, You'll love this!
It would be impossible to make a collection with all good Pretenders songs on just one CD. They would need to make a Pretenders box. But this collection contains the biggest hits and almost every song is fantastic. The album starts with "Brass in Pocket", one of their very first hits, and ends with "I'll Stand by You", one of their biggest hits. On the way we have some fantastic songs, like "Kid", "Human", "Night In My Veins", "Hymn to Her", and "Back On the Chain Gang". I can almost guarantee that everybody who has ever liked a song by the Pretenders will LOVE this collection. If you haven't "discovered" them before, do it now!

Good, Good, Good ... Like Brigitte Bardot
I'm rating this CD with 5 stars for one reason: Pretenders. Chrissie Hynde is rock-and-roll. However, note the title of this collection : "Greatest Hits." This is definitely not "Best Songs" or even "Representative Songs." This is about the radio hits. Any Pretenders fan will tell you a true "Greatest" collection will include: "Mystery Achievement," "Tattooed Love Boys," "English Roses," "Bad Boys Get Spanked," "Louie Louie," "Pack it Up," "My City was Gone," "Thumbelina," "Roomful of Mirrors," "Cuban Slide," "Love Colors," "Dragway 42," and, most recently, the great cover of Neil Young's "Needle and the Damage Done." (Another recent cut also highly recommended: Chrissie Hynde and Pretenders guitarist Adam Seymour performing Bruce Springsteen's "Nebraska" on the tribute CD "Badlands.") All this being said, every Pretenders fanatic will need to add this to their collection. And hey, you will never get tired of hearing "Talk of the Town." ... Read more

Amazon.com

When Devo's debut album came out in 1978, nobody knew what to make of the mutant new-wave quintet from Akron, Ohio. With Brian Eno's skillful production, Mark and Bob Mothersbaugh, Jerry and Bob Casale, and Alan Myers emerged fully formed and outrageous with their razor-sharp social commentary and exhibition of subversive media savvy.Beyond their industrial uniforms and pseudo-devolved demeanor, Devo also happened to be a rocking little band. Classic rave-outs like "Mongoloid," "Jocko Homo," and "Uncontrollable Urge" illustrate the band's perky-jerky intensity. On their inimitable cover of the Rolling Stones' youth anthem, "Satisfaction," Devo's avant-garde robot funk takes the song to a new level of alienation and discontent. While the band went on to greater fame, this was the only album they made that truly mattered. --Mitch Meyers ... Read more

Reviews (41)

The Truth About DE-EVOLUTION
1978 was the height of the disco craze, with millions of Americans shaking their respective bootey's to such homogenized drivel as "Disco Duck." But alas, out of Akron OH came five Kent State neo-nerd types who with this one album basically called the bluff of a popular culture that was being force-fed to millions of unsuspecting spuds everywhere. Devo introduced "The sound of things falling apart," or devolution as their satiric theory as to why our "culture" seemed to be regressing backwards.

With incredible production by Brian Eno, Q: Are We Not Men/A: We Are Devo! provides a uniquely clever look at popular culture via 1978's crass commercialism that truly doesn't take itself too seriously.

With the tonge in cheek sentimentalism of "Come Back Jonie," to the over the top outrage of "Gut Feeling/Slap 'Yo Mammy," Devo rocks with a hypnotic urgency that made the New Wave movement so much fun. The listener felt that he/she was privy to someting that not everyone else new about. Also includeded is Devo's interpetation of The Stones' classic,"(I Can't Get No) Satisfaction," and of course their unofficial theme song "Jocko Homo." But what makes this CD so timeless is that Devo could rock! The runaway punk of "Uncontrolable Urge" and the energy-chocked guitar chaos of "Too Much Parinoia," make this stand up even two decades later. This album was more than a clever concept, it delivers the goods.

Yeah yeah yeah yeah yeah-yeah-yeah-yeah-yeah-yeah-yeah-yeah
At this point in their career, Devo's music was a strange combination of 1950's rock-and-roll with shouted, screamed lyrics about their peculiar, Church of the Subgenius-esque theory of 'De-Evolution', mixed in with a bit of punk and new wave. Probably their best album, this strikes a fine balance between being genuinely bizarre, and also being fun to listen to. Their later music, although sporadically brilliant, tended to become a bit like the B-52s, but with synthesisers. 'Q', on the other hand, is constantly interesting, containing one of two bizarre covers of the Rolling Stones' 'Satisfaction' (against their wishes, the Residents had released a similarly detached, alienated version a few months previously) to be released in the late 70's, the early singles 'Jocko Homo' and 'Mongoloid', and a clutch of catchy / disturbing rock-and-roll. Brian Eno's production is almost transparent, and makes you wonder whether he just turned up and switched the tape machines on. The album was also released as a picture disc, and the original cover was different to the one above, featuring an alarmed-looking man who appeared to have dropped a camera.

Great performance by robotic intelligence
OOooh ,yeah! Uncontrollable urge is surging.Every time I listen to this CD,I cannot help giggling over those guys who have fire inside them with all their might.They severely criticize and sing abot the modern civilization and corruption of our society.
That is, they have a cool perspective towards our way of living.
The sound they use is more punkish and violent and more intelligent with a distorted and twisted edge.They always whip our ears with their avant-garde taste futuristic sound texture.

No comparison!
O.K. I'd like to start off by pointing out that this record was the end result of DEVO's long and complicated de-evolution from multi-media project to major label "pop" band. The reviewer that wrote something about DEVO ripping off some idiotic Euro-dweebs has no idea that almost all of the songs on this perfect album were being developed since 1974-75. Lookie here spud, DEVO were WAY head of "new wave", "electro" or whatever pretentious label you wanna give it. Yeah, Kraftwerk were around before DEVO but man, those guys took themselves SO seriously! DEVO created a kind of glorious primitive futurism that is complex while being darkly funny. DEVO are part freak show, part futurist, part goon and 100% pure godhead. That said, "Are We Not Men" is a blistering manifesto and a great record.

THE BEST OF ALL 80's BANDS!
Except for They Might Be Giants, maybe.
I really like 80's music and listen to it a lot.
Now, pay attention.
This CD/tape/LP is NOTHING like those bands.
Spandau Ballet Is mellower
Human League is more punk and rockish.
Now DEVO, they SCREAM, they rap (just a little), they play rock, and sound nothing like them. And their album was actually released in 1978, not '76.
SO THERE!
NOw for my review.
Their debut album [NOT LIVE(as the title says)]is my favorite.
Their other albums are a 4 star to me.
This is entertaining through out the whole thing. It starts off with a rock song sounding nothing like other 80's bands.
Then there is a cover of Satisfaction by The Rolling Stones.
Sounds very different, and almost impossibly better.
Next are praying Hands and Space Junk which I like, and Mongoloid, although a little offensive, is one of their greatest hits, and I like it. (Ignore the booji boy version heard elsewhere) Jocko Homo, is not inappropriate if it sounds it.
It's a species in De-evolution they made up.(Like homo sapiens and homo erectus). Gut Feeling and Shrivel- up are good, but I can't understand why they aren't on the anthology.
Too Much Paranoias, I think, is about advertising. Smart lyrics and a good tune. The other two are just good Devo songs, nothing really to say about them. ... Read more

Amazon.com

The girl who just wanted to have fun has matured into a sensitive interpreter of eclectic standards. Taking a cue from Rod Stewart Cyndi Lauper applies her formidable pipes to an eclectic collection of covers that range from a few Edith Piaf tunes ("La Vie En Rose" and "Hymn to Love") to classics from the songbooks of Bacharach/David, Etta James, and Smokey Robinson. Although there are some upbeat tracks such as the remarkably authentic Specials-styled ska of a radically reworked "Sunny Side of the Street," a rather forced but fun duet with Tony Bennett on "Makin’ Whoopee," and the cha-cha, Ricky Ricardo-ized version of Maurice Williams & the Zodiacs' "Stay," the album predominantly floats in a sober, pensive mood. Piano and subtle orchestrations add tension to sensitive readings of "Unchained Melody," "Don’t Let Me Be Misunderstood," and an eerily somber "Walk on By." The effect is haunting and intimate as Lauper unleashes her inner Tori Amos. Shifting "You’ve Really Got a Hold on Me" into an aching ballad, the singer shows her remarkable vocal range and interpretive ability. Lauper's voice sparkles throughout, especially without the overproduction that has marred some of her previous efforts. As its title infers, At Last finally shows her true colors.--Hal Horowitz ... Read more

Reviews (416)

Cyndi's Back - Sounding Incredible
In the 90's we saw Cyndi fall somewhat into obscurity, though her tremendous talent was still intact, all the while. It was no fault of Ms. Lauper's, but of her record Co. that objected to her new direction in music, and refused to give her the promotion she really deserved. At the time she was releasing such wonderfully underrated albums as HFOS and SOA. Both of which demonstrated Lauper's real gift for prolific songwriting skills and a maturity way beyond her She's So Unusual days. Moving forward to 2003, we still see that uniquely gifted artist emerging as a singer of newly worked torch songs. But what we get here is a bonus... this is not your usual repertoire of pop covers, this is Cyndi's own interpretation of songs which are the back drop of her childhood, brought to life by her amazing interpretive ability and a voice so individualistic and powerful, few could duplicate. At Last is a moving, uplifting body of work that showcases Cyndi's almost freakish 4 octave vocal range. It's arguably some of her best work ever. What I admire so much about her is that she's not afraid to show the flaws in her voice, which only adds to the realism and beauty of the music. This works exceptionally well on songs like French singer Edith Piaf's La Vie En Rose, where her voice actually breaks in the last verse. It's both heartstopping and very affecting. On Hymn To Love, another Piaf song, Cyndi is able to use her vocals in that angelic quality that she's known for. Her vocals are so beautiful and appealing on this track, I find myself listening to it repeatedly. The extremely dark and haunting If You Go Away is destined to become another Lauper Classic. It's a very moody piece that screams of quiet desperation and suffering. We get to see that dark side of Cyndi which was so evident on HFOS and SOA, of which both of those albums were very personal to her as well. One of the most striking things about this record are the purposely sparse, yet very appropriately handled music arrangements. This way the listener can get the full effect of Cyndi's voice -completely exposed and out in front, the way it is meant to sound. I couldn't be happier that Cyndi is now getting kind of promotion she's always deserved from Sony. You will have to judge for yourselves, but I couldn't be more satisfied w/At Last. It's definitely worth a listen, and then some.

Girls Just Want To Sing!
When Cyndi Lauper signed with the Epic subsidiary label Daylight in late 2003, five years after being dropped from the parent company's label, it was decided that a make-over was in order. Said make-over would be both visual and professional. Gone would be the funky outfits and multi-hued hair. A finished album from 2001 of dance-edged tracks would stay in the can for the time being. Instead, it was decided that Lauper's first major project back in the spotlight would center around her voice, a marvelous instrument that's often been overlooked and overshadowed, and rarely received it's just dues. It was then decided to record stripped-down cover tunes, songs that Lauper had loved growing up. Thus was born AT LAST, a sparsly arranged set of tunes that pushes Cyndi Lauper the singer out front and center. Opening up the disc is the classic title track. Backed only by keyboards, bass and muted strings, Lauper soars, perfectly embracing the song and setting the mood for the rest of the CD. Next up is the Bacharach/David classic "Walk On By", without a doubt one of AT LAST's high points. With it's delicate piano/bass/snare drum mix and ethereal flute arrangement, the song is capped off with a gut-wrenching vocal performance. This is a hit single waiting to happen! If the only version of "Stay" that you're familiar with is Jackson Browne's.....well, you're in for a rude awakening! Lauper takes the song and turns it on it's ear, giving it a horn-drenched, percussion-punched vibe. It's flirty, fun and funky, and you can just picture Lauper dancing across the floor down Miami or Cuba way, flowers in her hair and one long-stemmed rose between her teeth! "La Vie En Rose" seems a bit out of place here, and Lauper's vocals come across as a little over the top. The same can't be said about her captivating performance on "Unchained Melody." One of the most butchered, over-sung songs of all time, Lauper takes the cut in the direct opposite direction of most singers....minimal, bare-boned, hushed. The results are chilling. "If You Go Away" is somewhat painful, with a plaintive wail of a lead vocal that assaults the listener's ears and ultimately comes across as histrionic. The same can't be said about "Until You Come Back To Me." With it's light, finger-popping, percussive groove - think Edie Brickell's "What I Am!" - and sexy, sly vocal gymnastics (not to mention Stevie Wonder's perfect harmonica fills!), this is pop music perfection, and one of Lauper's ten all-time best recordings. Brilliant! Almost as much fun is the updated version (George Clooney? Jennifer Aniston?? Queen Latifah?!?) of "My Baby Just Cares For Me." With it's smokey, jazz club arrangement and sweet vocals, hints of the girl who just wanted to have fun sneak in, resulting in a track that can't help but make you smile. The same can't be said for "Makin' Whoopee", her duet with Tony Bennett. Bennett seems to be coasting, it seems a step back for Lauper and there's no real connection between the two. It's almost as if the song were recorded in two different studios. Up next is "Don't Let Me Be Misunderstood." Capturing the original's intensity, Lauper delivers a drop-to-her-knees track that results in you wanting to wrap your arms around her and tell her it's O.K., that you understand. Another high point on the CD! As is her take on "You've Really Got A Hold On Me"....backed only by Steve Gaboury's gorgeous keyboards, Lauper's vocals swoop and soar, caress and comfort. Probably the best vocal on the disc, this is singing the way it's meant to be (and should be!) done! "Hymn To Love" is delivered in a soft, almost lullaby manner, somewhat hesitant, yet honest and, ultimately, wise. Closing out the CD is the bright, bouncy "On The Sunny Side Of The Street." With it's joyous vocal, it's a philosophy the listener can't help but feel Lauper lives her life by. That said, here's hoping Lauper will be able to apply that philosophy, along with the vocal lessons she's learned here, onto her next CD of original material. Until then, this one will have to be the one to remind us of what a true singer Cyndi Lauper really is, a fact that is finally, indisputably, clear.....AT LAST.

Cyndi Does An Excellent Job
Cyndi put on an amazing show last night in Oregon. She is so fantastic live. The crowd was so into her. Even though she was 'under the weather,'suffering from a sore throat, you couldn't tell. She sang amazingly well. Her voice IS really unbelievable in a live setting. I picked up the 'At Last' CD afterwards, and it's so great!!! Cyndi does some outstanding versions of 'Unchained Melody,' 'Walk On By,' 'Hymn To Love' and 'La Vie En Rose'( a song that was featured on 'Joan Of Arcadia'). When Cyndi was mentioned at the end of the episode as the artist who sang it, I wanted to get the cd, and then I heard she was going to be performing in Oregon. It was my first time seeing Cyndi in person. It was sooo worth it. If you like the songs already, you'll love this cd.

"The Great" Cyndi Lauper
Cyndi had visited in Germany last year, November 2003, to promote "At Last," & I desperately wanted to witness her in all her glory- live. For years I had hoped she would come back and sing all those songs she was singing to her american audiences over seas. I was beyond any words when I saw the advertisement for her show here. I was lucky enough to get a ticket. It was an exclusive show- at Quasimodo. It was immediately sold out soon after. I watched her mesmerized- as she sang almost all the songs- the classics that we hear on the CD. It was beyond my dreams to hear & see one of the greatest singer's in popular music. She sang with her whole heart on these songs, as on the CD. Only the voice is even more amazing live! I'm stunned how anyone could not think that Ms. Lauper is not one of our top vocalists. She is All that. She is simply put- the Best!

Consider the DVD
Cyndi provides a sweet introduction to her concert on the DVD, and it's so interesting to watch her sing and see what she does to hit those incredible notes. I guess the real reason I bought the DVD instead is that the last time I had seen her she was so submerged in her MTV days "look". I wanted to see the real Cyndi -- and I wasn't disappointed by the DVD. ... Read more

Amazon.com

The soundtrack to the Jonathan Demme documentary, Stop Making Sense captures the Talking Heads live in 1984 on what would turn out to be their last major tour. This collection, and the film, is a true gift to the band's fans, a testament to the Heads' extraordinary talent, both in the studio and especially onstage. Frontman David Byrne infuses each song with a jolt of energy and drama that could only have come from a late-'70s art-school student. Now-classic tracks such as "Psycho Killer," "Girlfriend is Better," "Once in a Lifetime," "Take Me to the River," and "Burning Down the House" have never sounded better. This expanded 1999 reissue includes all nine of the original tracks, plus seven previously unheard cuts, including "Heaven," "Found a Job," and "Crosseyed and Painless." --Lorry Fleming ... Read more

Reviews (58)

Talking Heads LIVEs again!
Talking Heads have revamped the soundtrack to possibly the best post modern concert rock film ever made. This is not you're older brothers soundtrack. In fact, die hard fans needn't worry. This Special Edition is more in tune with the film. Better sound quality and different mixes appear from the start like in "Psycho Killer." Less drum machine and more acoustic guitar. I love this version better than the original one I grew up with because I think this Special Edition fully captures the Talking Heads concert experience. I love the fact that I can finally jam to the definitive version of "Stop Making Sense" in my car. So, if you want to feeling like burning down your house with a killer live show than the Special Edition Stop Making Sense is the CD for you.

The Talking Heads best collection but not true to the movie.
While this is ceratainly a fantastic album and probabely the Talking Heads best overall collection it is not the exact sound track as advertised. I own a VHS HIFI copy of the actual movie and have played it in the form of an audio cassette at least 100 times. The current new issue does not contain all the songs in the movie and several of the included tracks are not the ones in the movie. For instance, the hypnotic guitar solo during the introduction to Cross Eyed and Painless, perhaps the Talking Heads most energetic song, has been dramatically shortened from the version in the movie. Despite these frustrating shortcomings the newly released Stop Making Sense is far superior to the original release and should be considered an essential for any Talking Heads fan!

"The less we say about it the better...."
Back when I was a kid, during the 80s, my first love, whom I met at camp, used to write to me long detailed letters of her life, which seemed far more interesting and visceral than my own backwoods existence. She once mentioned that she liked Talking Heads, a group I'd never heard of but I ran straight out and bought the first cassette by them I could find -- "Stop Making Sense."

I used to go around on my paper route, in the freezing rain, under a hooded sweatshirt, cranking "What a Day That Was" and "Burning Down the House" on my Walkman, chilled to the bone and soaking wet but warmed by the incredibly upbeat rhythms and confusing lyrics.

By the time I was finally able to get the movie on VHS, I'd listened to the tape a million times and knew most of the songs. But I didn't know what the band looked like or what their stage show involved. Not only was I blown away anew by the Heads, but there were all these other songs I'd never heard. How, I wondered, could they ever have left "Naive Melody" off the initial album?

Anyway, that old first love is long gone, but she turned me on to the Talking Heads before she split and now the album has been reissued with the set-list intact (except for two songs). This music is caffeine in a bright cold can; it's like waking up and looking out the window and finding snow; it's drier-warmed sheets, and it's also the sound of a Saturday wake and bake, the sound of the first spring-forward Sunday afternoon. Good sounds. Enjoy!

The version I was waiting for
In 1984, I saw Jonathan Demme's "Stop Making Sense" four separate times--this was not unusual for any Talking Heads fan. So when the soundtrack was released, I rushed to get a copy. It's not hard to imagine my disappointment to find that it only contained nine songs from the film. Nine! Where were "Heaven", "This Must Be the Place" and the Tom Tom Club's "Genius of Love"? This soundtrack was nothing less than a gyp!

Now, almost two decades later, is this new edition which contains so many of the tunes that I found unforgiveably left off the original! The sound is crisp and true. Without trying to overemphasize the importance of Talking Heads, this documentary of a truly great tour will reveal why this band had such a following, and why its music is still influencing the music of today.

Stop Making Sense: Special New Edition (1984 Film) [EXTRA TR
I can not hide the fact that I think the singer for this group in question has no tallent at all. He sounds like a man trying way to hard and sounding even worst then if his effort was half hearted. This album, i.e., Stop Making Sense: Special New Edition (1984 Film) [EXTRA TRACKS] [SOUNDTRACK] [LIVE]
~ Talking Heads is a good example of his obvious lack of tallent. ... Read more

Amazon.com

Largely the conceit of co-writer/star John Cusack, "Grosse Point Blank" is oft compared to Tarantino's "Pulp Fiction," which brings to mind that old adage about apples and oranges. Cusack's film is, in its own right, the morally bleaker (and funnier) of the two--a shaggy dog tale about a neurotic young hitman returning home for his tenth high school reunion. The first in what appears to be a slew of films ready to cash in on '80s nostalgia (gen-Xers apparently having learned little from the Baby Boomers they sneer at), "Grosse Point"'s song score covers the decade like a shotgun blast, from the Violent Femmes bouncy "Blister" to Guns 'n' Roses overwrought "Live and Let Die". Minus points: the Clash is represented, but not Joe Strummer's incidental score.--Jerry McCulley ... Read more

Reviews (40)

Great Soundtrack To A Great Film
No cheesy love ballads or songs "inspired" by the film here. The soundtrack to Grosse Pointe Blank is a nice collection of some great songs from the past. Check out classics such as "Rudie Can't Fail" by The Clash, "Mirror In The Bathroom" by the English Beat, and "Under Pressure" by David Bowie and Queen. There are many other fine selections here from the likes of The Specials, The Jam, and the Violent Femmes. The only slow spots seem to be the mediocre "Blister 2000" by the Violent Femmes, an odd reworking of "Blister In The Sun", and "Live And Let Die" by Guns N' Roses because I never liked Guns N' Roses that much. In the end though, I really enjoyed the soundtrack as much as the film.

Oh yeah, the version of "Blister In The Sun" (track #1) by the Violent Femmes on this soundtrack is not the original version from 1982 which appeared in the film. Instead, we are treated to a fine remake (I'm not talking about "Blister 2000"). Does anybody know why the original isn't here?

John Cusack Rocks the Kasbah
This soundtrack is a blast. Chock full of head-bobbing songs (well, maybe with the exception of Guns'n'Roses, but Axl has always been a downer, if you think about it), this vibrant CD will let you have fun again. Good job, John Cusack. I approve!

Almost as good as the movie.
This is a random mix of 80's songs, that I find to be half excellent, and half ok. The better tracks in my opinion are "Blister In The Sun", "Rudie Can't Fail", "Mirror In The Bathroom", and "We Care Alot". I also really like the song from "Pete Townshend". However, I don't think we really needed two tracks from "The Clash", and two versions of "Blister In The Sun". "Live And Let Die" also gets on my nerves. But if you're a fan of the movie, or most of these songs, then you can't fail with "Grosse Pointe Blank".

Great hits and party songs from the 80's
Don't miss this one. The soundtrack will bring you back to late nights and really stupid behavior. The DVD will also take you back in time and remind you of how nieve we all were. This is a great party soundtrack.

Wonderful, quitrky and fun.....(3.5 stars)
This is a great soundtrack that really captures the sprit and style of the movie. The songs are commercialized punk and reggae mostly from the 80's that are light hearted and fun. Blister in the Sun, Mirror in the Bathroom, Under Pressure, I Can See Clearly Now, Live and Let Die, and Let My Love Open the Door, are all ditties that we know and are popular for a reason. We Care A Lot by the Faith No More is a great as well and Rudy Can't Fail is sub par Clash fare. Overall the order of songs and the selection amount to great soundtrack that is light and easy to listen to. ... Read more

Amazon.com

This remarkable debut album, released a full seven years after the group had formed, was still way ahead of its time back in 1978. Suicide--Alan Vega on vocals and Martin Rev on keyboards and drum machine--are one of the most original acts in the history of popular music. They're often called the first synthpop act; synth-punk is closer to the truth--their music was far more edgy and menacing than that of any of their followers, with the notable exception of Cabaret Voltaire, Throbbing Gristle, et al. Suicide drew on the right protopunk influence (Nuggets-type stuff, Velvets, Stooges) and came out of the same Mercer Arts scene that bred the New York Dolls. Their guitar-bass-and-"real"-drummer-deprived setup outraged audiences; on the superb bonus disc you can hear a European crowd rioting in the background while their apocalyptic nursery rhymes sound away. Tough guy Vega croons like an evil Elvis bred on garage rock and performance art; the stoic Rev lays churning, repetitive, and oddly melodic lines down on his beat-up Farfisa, and the ancient drum machine--it actually sounds steam-driven--propels the music toward a ratty, Blade Runner future. "Dream Baby Dream," "Che," "Ghost Rider"--these eerie, sturdy, steam-punk anthems rank among the most visionary, melodic experiments the rock realm has yet produced. This reissue is bright and clear-sounding, and with the full disc of live performances (a 1977 CBGB's soundboard tape plus the legendary "23 Minutes Over Brussels" performance) this is an essential purchase. --Mike McGonigal ... Read more

Reviews (12)

First Album
For a band that really had no other electro-punk influences to draw from at the time of it's release, this album proves that they were WAY ahead of their time. Always minimalistic and staggering in its approach, the album's power derives mainly from trance-inducing and repetitive keyboards from Marty Rev and unpredictable, howling vocals from Alan Vega. Not bad sounds coming from what mainly started with a broken down Farfisa organ and cheap-o drum machine. And tracks like "Ghost Rider" and "Frankie Teardrop" have proved to be timeless and greatly influencial even by today's standards. The live tracks taken from different shows of the era only prove how often controversial and violent this kind of music was taking it's only influences from the doomed and claustrophobic climate of the late 1970's in NYC. HIGHLY recommended and a leader of the genre.

Brilliant but Underappreciated
I first heard this album 5-6 years, and I thought to myself "This pretty lame. What do people like about this?" I listened to it again a couple of year later, and I was blown away. Two guys, one with a menacing vocal presence and another with synthesizers that sound like they were bought at a yard sale, pulled off an incredible album with this one. It's absolutely incredible what a singer and a guy with old synthesizers can do. The music is spare, dark, edgy, and even pretty scary sometimes. The song Frankie Teardrop is legendary not only for its subject matter but also, in my opinion, the scariest visceral screams that any singer has produced. All the other songs are also great. The music pulsates and Vega interjects with singing and screams throughout the album. Absolutely incredible! If you're a fan of post-punk bands like Joy Division, you'll love this album. If you don't like punk or post-punk, you still may be pleasantly surprised.

Not techno, not "punk", just incredible
It really bothers me to see all these reviews that try to pigeonhole this album into some kind of concept of "punk rock" or "electronica" to make it more palatable to Joe Consumer. Both of these genre titles dumb down what this album really is. It is not untalented three-chord rebellious silliness, and it is not take-designer-drugs-and-dry-hump all night nonsense. It is a couple of very creative folk who were stuck in 1971 and decided to make something very different. There is no "drum machine" -- there is rhythm culled from the rhythm "machine" part of some old, decrepit organ; it has more in common with the madness of Sly and the Family Stone's "Fresh" than some boring New Romantic album. Alan Vega was known for wearing a leather jacket and hitting walls with chains in 1971 and scaring audiences that expected yet more hippie feel-good rock -- years before the Sex Pistols' poseur rehashed 1950's hits -- and Martin Rev -- I won't be arrogant enough to claim to know the model of organ he played -- he didn't by any means play "state of the art" equipment nor a Farfisa, but rather the kind of organ you'd probably find for $20 in a thrift store these days. There are no synthesizers on this record. Synthesizers by definition are instruments which attempt to re-create the sound of other instruments by synthesis; what you hear on this record is not some wanker trying to re-create a lush orchestral arrangement. The lyrics are often parodies of contemporary rock -- to be blind to that is to confine this record to the cut-out bins of history. So please, no more bland "if you love the Sex Pistols, this is great!" or "this is a lot like Joy Division" reviews written by people who bought this because they read a SPIN magazine article citing this as "influential" -- you're all full of something that stinks and comes out of male cattle. Rot.

Ahead of their time -- maybe ahead of ours too
There is now a flourishing synthpunk underground, but the sound invented by Suicide, Metal Urbain, and a few other '70s pioneers was scorned and ignored for years. Dreamy, threatening tracks like "Ghost Rider" and "Frankie Teardrop" foreshadow everything from Bauhaus to psychedelic trance. But at their heart, the songs throb with pure rock-n-roll violence.

Stark electronic punk
Punk rock is a very visceral form of music to start with; one listen to the Sex Pistols' catalog (or at least their debut album)will leave no one doubting that. But the idea of a punk recording adopting influences from the German rather than British or American rock scenes struck most people then as unusual. Moreover, the idea of a punk recording consisting of no more than of what were then state-of-the-art electronics (today they're 'vintage') and extreme vocals was even more unusual. After honing their skills for six years prior, the duo of Alan Vega and Martin Rev who make up Suicide released this, their debut album in 1977, probably one of the most forward-thinking pop recordings of its day.

Having very little experience with groups like Wire and Joy Division (both significant in their own right), I find it hard to accept that either act could have created something more chilling than this. Perhaps Suicide are the beginning of what's now refered to as "post-punk", a style of punk which relied heavily on synthesizers, drum machines, and so on. Suicide's second and third releases convey a similar energy and drive, but this self-titled work remains the purest expression of their modus operandi, a harsh, almost dirty, bed of synth arpeggios which provide the foundation for Vega's vocal meanderings, most powerfully expressed on 'Frankie Teardrop' and the alternate take of 'I Remember' from the CBGB live performance on the bonus disc. Think of it, if you will, as the kind of music either Terry Riley or Klaus Schulze would have made if they were punk musicians, or if Kraftwerk had stronger theatrical tendencies. Beautiful, occasionally distrubing and always mesmerizing, Suicide's debut is certainly one of the great electronic albums of the '70s, and maybe of all time. ... Read more

Amazon.com essential recording

Only months after his initial conquest with My Aim Is True, Elvis Costello delivered an even fiercer diatribe. His first record with the long-running Attractions, 1978's This Year's Model remains one of that blistering rock year's most indelible albums. Orwellian even when not directly alluding to the great man (a sly nod to 1984 on "Living in Paradise"), the 22-year-old and band crashed through the raging anti-party of "Pump It Up" ("When you don't really need it"), the perverted Spectorisms of "Hand in Hand," the punk manifesto "Radio, Radio," and the stylishly anti-fashion "This Year's Girl" (in the season of Suzanne Somers, no less) with no less force than the Clash. Probably his greatest, most elegantly imagined and rendered long-player. The bonus tracks on Rhino's 2002 edition include an "Alison"-style take on Costello's country ballad "Stranger in the House" and a cover of the Damned's "Neat Neat Neat," both early proof of the new king's adeptness at outfitting his sets with conceptually brilliant surprises.--Rickey Wright ... Read more

Reviews (27)

Fall in to submission, hit and run transmission.
If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces" "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The liner notes, as Elvis describes the whirlwind of forming The Attractions and heading for the US, are fun as well as the pictures. (I do wish the US album cover shot of Elvis with his face partially obscured by the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

Any Year's Model
This Year's Model was Elvis Costello's second album and his first with the Attractions. Mr. Costello embodied the angry attitude of punk rock, but unlike most punk bands that were unskilled musicians that thrived on energy, he has an unbelievable sharp pen and a great ear for melody. The album opens with the fierce "No Action" that in fine punk form clocks in at less than two minutes. "This Year's Girl" is wry take on the fame machine. "The Beat" has a catchy organ riff and is Mr. Costello's look at self-gratification. "Pump It Up" is a fiery track as is "Lip Service". "(I Don't Want To Go To) Chelsea" has a manic verve while "Little Triggers" slows things down. "Radio Radio" is the most famous off the album, but the album's best track is "Lipstick Vogue". The song has a thumping bass line that shuffles along until a frenzied close. This Year's Model gave further proof that Elvis Costello may well be the king.

Phenomenal, essential to any music fan
Everything about this album screams perfection. From the catchy yet complex lyrics about love and lust to the tight musicianship by the Attractions. Mr. Costello wears his heart on his sleeve with every note that he sings.

There is not one weak track here, in fact they are all perfect in every way. I kid you not. I suppose that if I had to pick highlights they would be "(I Don't Want to Go to) Chelsea" "Hand in Hand" and "Radio, Radio." With this record alone, Mr. Costello proves that he deserves to be hailed by some critics as one of the best recording artists of all time. And the fact that it only took him a matter of months to do this? Mind-boggling indeed.

Fall in to submission, hit and run transmission
If "My Aim Is True" landed on the music scene like a stick of dynamite with the fuse lit, "This Year's Model" was the explosion that came after. Elvis' first album with the Attractions more than lived up to its predecessor, in that having a working band behind him matched the music to the blunt force of the songs.

Once again, it is the stark voice of EC that opened the album as he ominously intones "I don't wannna kiss you, I don't wanna touch." When the players kick in, it's a whole 'nother world from "My Aim Is True," and for the first time, "new wave" had a front man. Before this album had even been released, one of the central songs had made headlines. Elvis' broadside at narrow-format broadcasting, "Radio Radio," was performed in such a bizarre fashion on Saturday Night Live that he was effectively banned from the show for almost a decade and made this (then) seventeen year-old a fan for life. That performance sealed a decision for me to get into radio and make artists like Elvis accessible to listeners. When I was fortunate enough to tell him this many years later, Elvis kindly autographed a ragged poster of "Armed Forces," "Don't blame me."

Personal nostalgia aside, this double disc version "This Year's Model" contains all the songs that comprised the original US and UK versions and the original UK artwork. These are some of the songs by which EC is measured, like "Radio Radio," "Pump it Up" and "The Beat." The Attractions' playing was melody driven in addition to frenetic, a perfect compliment to Elvis' brilliant lyrics. And it was already becoming apparent that keyboardist Steve Nieve was becoming an architect of what American ears would identify as "punk rock."

The bonus disc contains two finished cuts with "Big Tears" and "Crawling To The USA." "Big Tears" is noteworthy in that Elvis has often said he wanted Dusty Springfield to record it and it was written in the style of Bacharach...and we all know where that ambition eventually led. The historical notes from Elvis are great fun, as well the pictures. (I do wish the US "This Year's Model" cover shot of Elvis with his face partially obscured behind the camera had been included somewhere.) The remainder of the bonus CD provides some hot live recordings that proved what this band of raving 20 somethings were capable in their rock and roll youth.

10 out of 10 for the first two albums...
While I absolutely LOVE "My Aim Is True," I honestly think this album is a bit more than an iota better. While in modern days, his light may have been dimmed quite a bit, back in the day Elvis Costello was an immense luminary, a visionary. He saw what he liked; he wrote about it. He saw what he disliked; he wrote about it. He even took on corporate music and the radio with "Radio, Radio," playing it on Saturday Night Live in protest of his record company's indefatigable requests to play "Less Than Zero" (a solid good song, mind you, but overplayed).

Then there's the opener, "No Action" covers a relationship that is more like a game, where at least one person is not sure what the real terms of the relationship are, and the other just wants the unsure member to go away. Meanwhile, on a completely different note, "Pump It Up" (with its powerful, repetitive guitar and organ chords) takes a stand against doing things in excess. "Pump it up until you can feel it, pump it up when you don't really need it."

If you're a real music fan, you'll own this and "My Aim Is True." ... Read more