Amazon.com's Best of 2001

New Order is a member of an elite group of long-standing bands whose sound remains innovative, despite a nearly unchanged musical direction. No one touches Peter Hook's warm, startlingly melodic basslines or Bernard Sumner's slightly unsure but instantly recognizable singing. Get Ready is a classic New Order album with a few twists. Smashing Pumpkins' Billy Corgan (who no doubt hero-worshipped the band, like most angst-ridden alterna-youth of his generation) is invited for a guest appearance on "Turn My Way," and Primal Scream's Bobby Gillespie aids New Order in producing the dirty, Stones-ripping tune "Rock the Shack," an imitation of Scream's 1994 single, "Rocks." Fans might be taken aback by the disc's occasional sophomoric lyrics, but given the band's standard for poetic prowess, it may be safe to assume that lyrics like "Here comes love/it's like honey/you can't buy/it with money" are tongue-in-cheek. The CD is bookended with its best songs: "Crystal" is one of their finest singles ever, layered with synthesized rhythm tracks and a beautiful interplay between Sumner and a backing female vocal, and "Run Wild" is a tastefully lush ballad that summons those painful and glorious emotions that somehow are unique to the band's music. Few rock groups that equally utilize keyboards and guitars have survived the post-Nirvana shakeout, but Get Ready is further testimony that while trends and musical movements come and go, New Order will always matter. --Beth Massa ... Read more

Reviews (173)

A return to fine form
It was certainly well worth the wait for a new album by one of my favorite synth-pop bands from the '80s. This album definitely is certainly one of best albums that came out of 2001. For me the highlight tracks on this album was "Crystal", "Turn My Way", "Run Wild" and "60 Miles an Hour". I love how the band finishes the album with the acoustic track "Run Wild" after listening to a mostly rock driven album. I'm not a huge Billy Corgan fan but the track he contributed "Turn My Way" is by far one of the best songs I've heard from New Order". That song would have sounded completely different without Billy Corgan's unintentional impression of an angry Big Bird. "Crystal" is a 6 minute epic that kicks off this great album. Originally I didn't care for "Crystal" but that was based on the few seconds I heard of the song. After hearing it in its entirety, it didn't take very long for me to love the first single of "Get Ready". While I do think this album has more of a rock edge and has less synth-pop edge, I still hear the traditional sounds of New Order. "Get Ready" is destined to be a classic like "Substance" and "Republic" (to some people.

Dissapointing
This should have been a very good album but unfortunately I'm highly disappointed. Especially after seeing the record in every music magazine's or site's charts of the best album of 2001. I felt like I was really missing something in this record.

My first disappointment was over the first single "Crystal". I think it is an excellent song but the album version is very short. Still this track shows what they are really capable of at this age. This track is also the best in the album. The next song "60 Miles an Hour" is all right but "Turn My Head"s only good part is the beginning, the part where Billy Corgan of Smashing Pumpkins sings. The rest of the song makes you embarrassed liking New Order because of corny lyrics. Another victim of lyrics is "Slow Jam", where the singer Bernard Sumner sings "I don't want the world to change / I like it the way it is". So this is New Order's new philosophy? That's pathetic. Whatever, "Rock the Shack" is funny, rather than good. Here, Bobby Gillespie out of Primal Scream trying to do a Raw Power but they sound silly. "Someone Like You" is the best next to "Crystal", "Vicious Streak", "Primitive Notion", and "Close Range" are middle of the road New Order songs while the final song "Run Wild" is a disaster. So only two of these songs are totally satisfactory. This work is way much better than their previous offering "Republic" in 94 but the result is still very poor.

By the way, what happened to their keyboard player?

another gem in thier catalog
i have been a fan of NO since they were joy division back in the late 70's. and as a fan of both electronica(what new wave became) and rock, they have always fit the bill. sumners wonderful voice and plain delivery fit peter hook's prominant bass on the rock songs as well as the keyboards on the more electronic songs. this album is a return to the form of the earlier albums before they experimented with pure dance on the last couple of albums. any new NO release is a highly anticipated event. here's hoping that they continue to work together. if you like this, also check out all of thier side projects like electronic, monaco, revenge, the other two, etc.

ps. i did think that the reviewer that was surprised that NO was making rock music and called NO a "techno" band was funny. NO was rock before they were ever dance. IE, joy divison

NOT A ¿NEW ORDER¿ ALBUM AT ALL!!
GET READY is an album, in which New Order has done what it has never done before in the last couple of decades of its career. As an avid 'New Order' fan, I love its laid-back simple and unassuming techno, and Bernard Summoner's oblivious and impassive style of singing. On GET READY, however, there is nothing such as a laid-back simple unassuming techno. As a matter of fact, there is hardly any disco at all! As far as Bernard's vocals are concerned, he is more passionate than ever before, and in fact, he rants in a lot of places.

GET READY doesn't at all have the things for which I love New Order, but I strongly feel it is their best album of all time. Moreover, there is absolutely no doubt that it is way better than 'New Order' masterpieces like TECHNIQUE or REPUBLIC. This is a rock album of sorts. It is amazing how a pure techno band who never seemed to touch a guitar at all can create such a hard-hitting rock album, and with such aplomb and confidence. It seems as if this is an album by a rock band gone mellow rather than a techno band gone rock. Probably the folks of New Order might have learnt a lesson or two in rock from William Corgan Jr. who was a part of New Order-live around the time GET READY was released, and also features in this album. Billy's band, The Smashing Pumpkins, always seemed to be influenced by 80's British alternative sounds, with the typical style of guitaring in its mellower songs. With the new, face-lifted New Order, perhaps the protégé is repaying back his mentors.

All this while New Order always seemed to have an elusive and submissive attitude, but all of a sudden, they are angry and sarcastic. Bernard has never ever shouted "I don't want to change the world, I like the way it is, so give me one more wish, I can't get enough of this...", like he does in "Slow Jam", one of the most acerbic songs in GET READY, where he sings in the most coldest tone, the most coldest lyrics he might have ever written. But, that's not all. In "60 Miles Of Hour", which has such a hum-able chorus, it seems as if Barney, Stephen, Peter and Gillian have let their hair down after being uptight for so very long. One of the main songs of the album, which is an exemplar of New Order's drastic transformation, is "Rock The Shack", which resembles the 'Jesus And Mary Chain' sound, with all its mindless distortion and of course, its delightfully crazy sing-along chorus.

New Order might have changed, but it is one of the best alternative techno bands ever. In addition to their myriads of older songs, a perfect example of this, in GET READY, is possibly the only 'pure' techno song, "Viscous Streak". This song is what this band had always been: laid-back, beautiful pop, and an unforgettable tune with smooth and assuring vocals. All of New Order's numbers had always had a strong presence of Peter Hooks' strong bass-lines. As a matter of fact, Peter's distinctive bass-lines, to a great extent, give this band, its trademark sound. Though GET READY might not have the traditional 'New Order' sound, but Peter's deft basses still make a strong presence in each and every song of this album.

The members of New Order have had a lot of side-projects like Bernard's 'Electronic', and Peter's 'Monaco'. Hence, it never seemed as though this band would ever make a studio-album after REPUBLIC. Even if they would, it would seem just for the sake of it. But, with the comeback album of such a quality and after such an unimaginably long hiatus, it seems like the band has a new found fire, and is more alive and kicking than in any other album of theirs. This fact seems more striking, especially since one thought the band was done for good. Even in the band's various side-projects the sounds were a lot like the typical 'New Order' sound. However, GET READY, which is an album, wholly made by 'New Order' members, has a dramatically alien sound, and by the feel of the album, it seems as though the band has always been making such kind of music. GET READY is indeed the best a band could come up with as a 'comeback' album.

Love that album
Picked it up 2 years ago at music store after I heard one song on the radio "Crystal". How can New order be bad I told myself. I was not wrong since they're even better than in the '80s. I was hooked at first listening with their processed beats, nice guitar and synthesizer.

I like the processed beat of "Primitive notion" conjugued with the guitar, my favorite song. When I heard "Turn my way" I tought it was cool to sound like the "Samshing pumpkins". My second favorite is "Close range".

It was a great guess since all songs are good. ... Read more

Reviews (59)

Another Police sweep
Ghost in the Machine is another musically proficient, intelligent work by The Police, the title appropriately prompting us to expect darkness and turmoil, and critiques of material (emphasize machine) culture and existence, which we get, starting in the good opener, the lively "Spirits in the Material World." But the next track, "Every Little Thing She Does Is Magic," is a gem of a pop hit, which represents, as the Police's AM hits often do, among the better material on the album (along with "Invisible Sun," which comes next). What compelling rhythm and beat, wonderful singing by Sting, and those chiming, pulsating keyboards! Like "She," this song will turn you on. "Invisible Sun" is a heavy-set song, at once glowing and gloomy, with a foreboding musical mood crystallizing the song title.

As always, The Police engineer rich instrumentation, giving sax and horns some prominence along with guitar, keyboards, and synth, creating complex arrangements. Stewart Copeland's drumming has its own mark, but he always does (leads) the fast-paced ones, like "Rehumanize Yourself," so well. Yet this and the other "tech" pieces, "Demolition Man," "Omegaman" (altho it has an interesting off-beat chorus), and "Too Much Information," fall a bit short of the wonderful enders. "Secret Journey," with its mystical verseline and spaceship guitar riff, is the album's other top-notch song, while "Darkness," Sting's morning awakener, is dreamy, beautiful, and very evocative, again enhanced by great keyboards. I also like "One World (Not Three)," with its jazzy/reggae feel; jazziness is also there in "Hungry for You" and "Too Much Information."

There is not one wasted track, which of course The Police do not have many of anyway. As well as imaginative variations, they do potent rock so well, but even in their harsher songs, there is some smooth texture because of the dexterous instrumentation and Sting's fluid, pretty vocals. "Ghost" should appeal to most.

Some Ellaborate Rhythms
Probably the quality I like about the Police is the rhythms on many of their songs. Ghost In The Machine is not exception. The overall sound is fairly original when compared to other recordings that were released during the early eighties. The interplay between Sting, Summers, and Copeland is quite enjoyable to the ears.

Probably the main drawback to this record is the repetitive song structure of some of the tracks. Hungry For You, Demolition Man, and Too Much Information rely on one steady riff that is repeated throughout each track. This is certainly quite annoying. Sting's vocal style also is a bit grating on some of the tracks. How about a little vocal harmonies to spice things up there guys?

None the less, Every Little Thing She Does Is Magic is one fantastic song. I adore the keyboard arrangement. Secret Journey, One World and Invisible Sun are other strong tracks. Even the weaker tracks are not down-right offensive. I find this album to be "good" not "great". None the less big time fans of Sting and The Police will probably love it to death. So much for my little opinion.

guybunda and the infidel don't get good music.
some sad cases like "guybunda" and "the infidel" or whatever their lame made up names are have no clue of the impact of the police.especially an album like ghost in the machine.the infidel sounds like a racist and probably doesnt like sting cause he's white.pity.i would take the worst police album any day over the over-rated bob marley.pot-head.oh and guybunda sounds like a small minded shmuck.he probably only knows the police songs from the radio and is too busy buying 50 cent cds rather than take in the incredible sounds of the police.the police took reggae and jazz and made it coolest.way to go sting and co.poor saps like guybunda and infidel should take another listen and not talk soo much.-----later

The most politically conscious album by the Police
With their penultimate studio album, the Police moved more towards political consciousness, emphasizing the human spirit and soul over soulless corporate machinery--hence Ghost In The Machine. However, in some songs, I detect the prelude to "Synchronicity" in quick-paced songs like "Rehumanize Yourself" and "Omegaman", with its racing guitars and drums. Only one song recalls the style of their old days.

With the steady keyboard notes forming the rhythm of the verses, the single "Spirits In The Material World" deplores the moral and spiritual crisis in the world, with no hope for legally trying to change the world. The materialist-oriented 80's does give pause, making one wonder, "Where does the answer lie?/Living from day to day/If it's something we can't buy/There must be another way."

The Police scored their fourth UK #1 with "Every Little Thing She Does Is Magic." Itself a big hit in the US, it's a catchy tune exploring that painful shyness a man feels towards a woman he admires. The shyness and distance is evoked in his line about standing with her under a big enough umbrella, but he becoming wet, climaxing in the all-time classic fears: "I resolve to call her up a thousand times a day/And ask her if she'll marry me in some old fashioned way/But my silent fears have gripped me/long before I reach the phone/long before my tongue has tripped/Must I always be alone?"

With grim keyboards rising in volume, with Stewart Copeland's drums tapping out a steady beat, the moody "Invisible Sun" echoes the
hopelessness of an industrial life draining the spirit out of someone so that "I face the day with my head caved in/Looking like something that the cat brought in." Such a bleak future, and a bleak song, underscored by "And they're only gonna change this place/by killing everybody in the human race/And they would kill me for a cigarette/but I'm don't even wanna die just yet."

I'm not sure how effective singing in French is to a steady rhythmic Police sound is, but the majority of "Hungry For You" is sung that way. There is raw desire and savagery in the lyrics, particularly when he sings [translated]: "I must burn away this jealousy/you have ravaged my heart/and me, I've drank your blood."

"The doomsday weapon, "a walking disaster, arsenal of doom, the sort of thing they ban," is psychotically personified in the jamming "Demolition Man," with a brass section and pulsing bass. Sting later redid this for the futurist movie starring Sylvester Stallone and Wesley Snipes.

If Sting was singing about the 80's computer age leading to "Too much information running through my brain/Too much information driving me insane" would he make a 2000's remix of "Too Much Information" for the Internet Age? A catchy, jazzy song with a brass section.

Violence as a social norm...how sobering. "Rehumanize Yourself" makes a commentary on a policeman itching for violence, with a nod to the Beatles: "He'd like to have a gun just to keep him warm" and the unfulfilling purpose of making machines for a larger company and not working for one's own good and spiritual well-being.

Western political and sociologically-centered bias is tackled in the funky reggae of "One World (Not Three)," referring to the now-antiquated concept of the First World being capitalist countries, the Second World being communist countries, and Third World being the underdeveloped ones. Sting says in warning of a possible nuclear or environmental catastrophe, "We can all sink or we all float/'Cos we're all in the same big boat/One world is enough/For all of us."

There are mythological subtexts, of the hero's journey in "Secret Journey" and the meeting with a blind holy man/guru, whose words of wisdom include: "You will see light in the darkness/You will make some sense of this/And when you've made your secret journey/You will find the love you miss....And when you've made your secret journey/You will be a holy man."

With airy but moody synths and keyboards, "Darkness" shows how it's easier to dream of lofty ideals, but when one is out there, the flaws begin to show, and it makes on frustrated enough to wish "I wish I never woke up this morning."

Probably the most sciopolitically conscious and sobering album the Police have done, with a sound close to Synchronicity.

Very dark...
"Ghost In The Machine", the penultimate studio album from The Police is the most interesting recording they ever did, and arguably the most consistent. Unlike on other albums where there could be a mix of instrumental jams and novelty tracks as well as their signature reggae infused rock, "Ghost..." is very focused and musically more consistent than the others.

The sound is very different here than on previous albums. The making of this record coincided with Sting starting out on the saxophone so there's little bits of that thrown in (almost incongruously) as well as a heavy emphasis on synth and keyboard. This entails a sonic density never present before on other albums. Another thing that will strike you upon listening to this album is that it's just generally faster. The tempo doesn't slow down until Copeland's contribution, the last track, "Darkness".

The mood is very sombre, even darker than Synchonicity. Songs like "Spirits In The Material World" and "Invisible Sun" (two singles) set a dark mood for the rest of the album. In this way, "Every Little Thing She Does Is Magic" seems rather out of place with its perky carribean feel. Other highlights include "Secret Journey" which is beautifully atmospheric and "J'Aurais Toujours Faim De Toi", where Sting shows off his rather woeful French accent.

I would like to point out that Mr. Banned gave Britney Spears' albums, Jessica Simpson's album and an American trance compilation 5 stars, and gave a Rolling Stone's album, some Police albums, some Led Zeppelin albums and nearly every Beatles album 1 star, i.e. he wouldn't know music if it kicked him up the a$$. ... Read more

Amazon.com

Martha Coolidge's 1983 directorial debut--based loosely on the Frank (and Moon) Zappa (who weren't involved with the film) novelty hit of the previous year--carried a budget so low that it didn't even generate a soundtrack album when it was released. Loosely based on the same themes as Romeo and Juliet, (with a young Nicolas Cage as a Hollywood homeboy Montague) Valley Girl's producers were also savvy enough to tap into LA radio outlet KROQ's pioneering "Rock of the 80s" format. Rhino's unofficial soundtrack release captures much of the spunky essence of KROQ's playlist--three tracks by LA's great Plimsouls (including their biggest hit "A Million Miles Away"), some novelty hits (Josie Cotton's "Johnny Are You Queer, "Jukebox" by the flirts, Felony's "The Fanatic")--and fondly recalls an era when rock's fun quotient hadn't yet been tattooed and pierced into oblivion. --Jerry McCulley ... Read more

Reviews (22)

Truly Dazzlin'
Martha Coolidge really nailed the soundtrack for this underappreciated 80s gem. Nic Cage and the iridescent Deborah Foreman (what ever happened to this glorious specimen!) light up a clever and funny re-vamp of the Capulets and Montagues in a film littered with spot on captures of 80s youth. A college chum and I caught this movie for the first time on Showtime at midnight in NYC after a night on the town and inexplicably could not turn it off. The movie captures the zeitgeist of the time and the soundtrack is pure distilled 80s -- no corporate bull (Journey), faceless divas (Anita Baker), or schlock (Hall & Oates), this record delivers the stuff that REALLY mattered at the time. Included are the unconscionably ignored classics "Million Miles Away" by the Plimsouls, "Eyes of a Stranger" by the Payolas, and "She Talks in Stereo" by Gary Myricks. Not to mention the quintessential 80s tune "I Melt With You" which has only retroactively become a bellweather for 80s pop because it includes all the trademarks of classic 80s music -- the keyboard trills, the hooks, the spooky U2 slowdown in the middle, the infectious dance groove. The rest of the tunes are equally perfect, notably Josie Cotton's epically politically incorrect "Johnny Are You Queer."

The only flaw with this album was the failure to include "Monster of Love", "Shelly's Boyfriend" and "Girls Like Me." Thankfully, this egregious error has been remedied by Volume 2 which includes these and other similar cuts and is only slightly less trippindicular.

If you want to remember what a blast music used to be before the Shania Twains, Limp Bizkits, and Kid Rocks rendered radio unlistenable, this is a great starting point.

An 80's Classic
Growing up in the 80's was one of the best times of my life....and this movie captured the sounds & feelings of that time in a nutshell! The movie was "totally awesome" and it wouldn't be the same without this "to the max" soundtrack. From the great prom scene with Josie Cotton's "Johnny Are You Queer?" to the Flirts "Don't Put Another Dime in the Jukebox", this soundtrack is a must have. The Psych Furs, Men at Work and Modern English ("I Melt With You") also have tracks, as well as two fantastic songs from The Plimsouls ("A Million Miles Away" & "Oldest Story in the World".) Great for parties or just crusing in your car...the 80's live and this soundtrack defines those times!! If you haven't seen the movie, be sure to rent it, as well...you'll see a very very young Nicholas Cage as the punk rocker "Randy" who falls in the love with Valley Girl "Julie" (played by Deborah Foreman). And be sure to get this soundtrack...it'll bring you back to those great times! This is a classic....don't miss out!

Like, Omigod! This album is like, totally bitchin'!
Ok you guys... this is like, the most bitchin' album of 80's tunes ever. Im like, so for sure. Songs like, Angst in my pants are so trippindicular, for sure.

Ok, but seriously, this is the best soundtrack album period!! I love the Royal Tennenbaum soundtrack but this one is so powerful and pogniant because it reflects the period so well, reflects the valley/hollywood culture so well, and strikes up nostalgia in all of its listeners. I think Martha Coolidge did such an amazing job of supplementing the movie plot and interesting characters with music. Actually, I think the movie would not have been recieved well and would not be as enduring if it did not have her soundtrack supporting it.

If you love 80s music or the movie Valley Girl, you will not be disappointed in buying this...for sure.

Killer 80's Soundtrack
Totally tripendickular... (Spelling on that one was never Webster's stuff, I had to wing it) I love this, and all the Brat type films/soundtracks from this time period. May I also recommend John Cusack's later work in Better Off Dead, Grosse Pointe Blank, and this list just goes on. Sends me down the memory lane.

Classic 80s to the Max
If you have the Rhino massive set (15 discs) or a huge collection, you might already have these tunes but if you're just starting out, these are some of the greatest "new wave" power pop classics.

Of course, you know I MELT WITH YOU is one of the greatest rock singles of all time but there are two somewhat forgotten classics, A MILLION MILES AWAY (I think the Plimsouls even make an appearance in the movie) and the short-lived band, the Flirts with JUKEBOX (DON'T PUT ANOTHER DIME). Just flat-out brilliant power pop classics. Just those three are worth the price of the CD.

You also get pretty much all the songs you need from Josie Cotten (also in the movie), plus great: Men At Work, the Furs and Sparks.

Even the "lesser" songs are great period pieces - they may not hold up as well but this is one of the great soundtracks of the 1980s.

A great CD to start your collection! ... Read more

Amazon.com

Even after all of the musical trends, fads, waves, genres, and sub-genres, Devo still sound fresh. There was a certain zeal and enthusiasm that went into works like "Satisfaction," "Through Being Cool," and "Gates of Steel" that belied all of their cynicism. "Greatest Hits plays exactly like its title suggests--Devo's radio hits at their finest. While they may never have succeeded in completely de- evolutionizing man, music, or machine, Devo brought an urgency--as well as a new way of looking at the pop craft--to "Peek-A-Boo!" "Beautiful World," and yes, even "Whip It." Thankfully, "Jocko Homo" and "Gut Feeling" are included, as is the spastic "Smart Patrol/Mr. DNA." Other fine moments can be found on Greatest Misses. --Steve Gdula ... Read more

Reviews (23)

The fan will be better served by "Greatest Misses"
I enjoyed this reliving of my childhood (long ago, I had vinyl copies of "Are We Not Men?", "Duty Now For the Future" and "Freedom of Choice"; ah, the foolishness of youth to let these gems get away!), but I wasn't blown away by this collection. I would like to have seen more early Devo ("Praying Hands" didn't make the cut on either album!), and less of the tame (some would say poor) new material ("Working on the Coal Mine"? Gimme a break!). "Satisfaction" is here in its unadulterated glory, and I can still remember getting chewed out by my parents for singing the lyrics to "Smart Patrol/ Mr. DNA" (I was eight at the time!). Still, this album seems more suited for the "Whip It" crowd (nothing wrong with that, but not my cup of tea); there is an abundance of "Freedom..." material here. Still, it's not too bad!

The Best of the Devo Collections
Sixteen great songs at a budget price. Can't go wrong here. This collection represents DEVO at their most enthusiastic, pop smart best. It also shows how slickly they pioneered the synth heavy dance sound that so many imitated through the eighties. The classics are all here ("Whip It," "Jocko Homo," "Satisfaction,") as well as a bunch of should have beens, like "That's Good" and "Here To Go." These were the songs that powered a lot of college new wave dance nights, pogo ready with sing-a-long chorus/slogans like "Through Being Cool" and "Jerking Back and Forth."

The only way to get more is to move up to "Pioneers That Got Scalped" for the post "Shout" material, but then you have to wade through that double CD's overkill of irrelevant extras. It's a safe bet to have this and the "Greatest Misses," which shows off more of DEVO's wild musical side. As for subversive pop in the MTV age, this was the best there was.

HIGHLY recommended.

Great content-poor sound
I loved these guys in the 80's. Went to one of their concerts and almost had a riot (Devo thought it would be cute to see how many of their music videos they could play before the concert started, thought I was gonna get thrown off the balcony) anyway Devo's keyboards are often in the upper ranges of notes and this production sounds like someone cut off the treble. Wait for the remaster!

My first DEVO cd
I had been long familiar with the spud boys, but had never bothered to buy any cd's as a buddy of mine was a completist in this area. Like many other greatest hits sort of packaging, DEVO's does a good job of collecting much of their best stuff into one nice package.

Most of the lean is towards their earlier years than later, which makes sense as that is when they had more commercial and influential successes. Combine Greatest Hits with Greatest Misses and you have a solid packaging of spuds to tide you over till you crave more.

Buy This now for the Future
I grew up aware of Devo, but had only bought New Traditionalists. I can wholeheartedly recommend this collection. Forget the other reviewers who claim this album is monotonous, there is a lot of variety here, from the dance remix of "Go" to the anthemic Jocko Homo. Cunningly, the songs are mainly arranged from most recent to oldest - a true example of devolution. And a change from the usual greatest hits collection.

And would someone please "fix" the Rt 202 sign? ... Read more

Amazon.com

This record shook up the snoozing world of rock in 1979, becoming a truly classic disc, one full of landmark moments and heavy with possibilities. Most "real" rockers in the late '70s tried hard to ignore the Sex Pistols and the Clash, claiming the punk tumult was a merely a fad; but fun-loving types couldn't resist the magnificent hooks and grooves of the B-52's debut. They fell into the "new wave" while dancing their tushes off. The magnificent "Rock Lobster" remains unmatched in terms of its relentless, spastic power to move one's feet; ditto "52 Girls," with its nod to '60s trash rock. A Cramps-ish guitar grinds through "Lava," which features his-and-hers innuendo-laden lyrics. "I'm not no limburger!" goes one line from "Dance This Mess Around," but you just never question why. Brilliant. --Lorry Fleming ... Read more

Reviews (28)

This album is da BOMB. Even I can dance to this!
I can't say how much I love this album! It has so many gems, the most successful being "Planet Claire," "52 Girls," and "Rock Lobster." The album has 6 other gems to spare, which means that I can't say how much I love every song on this LP. I purchased it yesterday at a flea market, and it's stayed on my turntable since. From Kate Pierson's trashy organ cords, to Cindy Wilson's intense screaming on "Dance this Mess Around," and the rather disrespectful cover of "Downtown," the album remains a gem in its own right, and should be purchased by everyone! It's just one of those albums, like "Thriller" or the "Flashdance" soundtrack. Anyway, the bottom line is, buy this album on whatever you can, whether it be vinyl (on which it sounds wonderful), cassette, or CD, you need to own this!!!!

Dance This Mess Around!
Has it really been 20 years since I first heard the B-52's self-released "Rock Lobster" 45 at my local record store; first saw Kate and Cindy in their bouffant wigs and Fred with his toy piano and walkie-talkie doing "all 16 dances" at my local new-wave bar; first fell in love with the B's beach-party movie blend of camp and kitsch that combined Henry Mancini, Duane Eddy, Petula Clark and Yma Sumac??? This record changed my life in 1979; my tastes in thrift store clothing, garage sale records, cheesy movies and, above all, DANCING began with the B-52's, and my approach to guitar playing was directly influenced by Ricky Wilson - his death in the 80's affected me more profoundly than John Lennon's. Twenty years after its release, this record can still make this shy tuna dance like almost no other. This is the one I'd need on my desert island for "twistin' round the fire, havin' fun..."

Putting the "New" in New Wave
Formed in 1976 as a lark, the five-member Athens, Georgia band made a hit on the dance club scene with their unexpected tongue-in-cheek lyrics and weirdly retro "Twilight Zone" sound. But they didn't really get off the ground in a big way until 1979, when their self-titled debut release pretty much put the "new" in 1970s and 1980s New Wave--and even today it's hard to think of that era without contemplating it.

Opening with the memorable "Planet Claire," with its retro-rhythms, electronic pings, and truly off the wall lyrics, the band puts you on notice: it will be quite unlike anything you've heard before. And that holds true through virtually every cut. Of course, whether you like it or not is an entirely different matter: it can be difficult to relate to music made with such instruments as smoke-detectors, toy pianos, and a stripped down guitar-bass-drums combo, not to mention lyrics that often seem to be thrown together from the first rhyming words the band could think of. Quite a few people will find that a little of it goes a long way.

But it grows on you. It really does. "52 Girls," with Cindy Wilson and Kate Pierson spewing out female names very much like you'd recite state capitols in high school, is wickedly funny once you manage to tune into it--and when you move on to "Dance this Mess Around" you're hooked, plugged into Cindy and Kate's alternately strident, alternately harmonic vocals and Fred Schneider's unexpected rap-like interjections.

For all its weirdness, this is music designed to get you on your feet, and on draggy days when I don't quite feel up to the task I can drop this particular CD on the stereo and "dance this mess around" all the way to a spotless kitchen. Much of the B-52's music takes off from pop culture, with a very specific emphasis on those alternately bizarre and utterly lame 1950s and 1960s sci-fi drive-in flicks that live so fondly in cult-fan-memory. "Rock Lobster," a classic of its kind, is a perfect example, subverting Frankie and Annette's rear-projection waves into mundo-bizarro tanning butter; "Lava" is a wild mix of drop-dead sultry and drop-dead wacko; "There's a Moon in the Sky" can only be described as the musical equivalent of Flash Gordon on acid.

My particular guilty pleasure from this CD is the flat-out warped "6060-842," the twisted fable of Tina's visit to the ladies' room and the telephone number written on the wall. But whether it's the sexually perverse "Hero Worship" or trashing Petula Clark's 1960s pop hit "Down Town," its all just a lot of fun. If you only know The B-52's from their later, pop-tinged party hits, you owe yourself this one. Turn up the volume and make the neighbors roll their eyes and wonder what you're doing!

GFT, Amazon Reviewer

25 years old...and still fresh
It's hard to believe that this debut album was unleashed a quarter of a century ago; nobody has come close to duplicating what The B-52's accomplished upon its release. Raw, energetic and charmingly naive, this one's about the basics of rock and roll: singing your heart out, dancing yourself into a frenzy, and celebrating youth.

There are a handful of B-52's anthologies on the market, but their late-blooming commercial success detracts from the brilliance of their debut. There isn't a weak track among the bunch. Beginning with the bizarre "Planet Claire," the listener goes on a wild journey that is steeped in the culture of 1950s science fiction movies, beehive hairdos, dance crazes, and joyful irreverence.

Musically, the band adopts much of the punk "do it yourself" attitude that prevailed during the time of the album's release. Bass guitars seem to fixate on one chord, rhythm guitars run up and down scales, and basic drum beats push the songs forward. Cindy Wilson and Kate Pierson's voices, which at first blush seem so wildly out of tune, blend in a manner that is sublimely beautiful. Fred Schneider's vocals, which recall Rex Harrison's talk/singing in the film version of "My Fair Lady," seem so natural in this setting that it's easy to find yourself singing along with him at any point.

Lyrically, the band explores territory that few have ever chanced. Name-checking Tina Louise and Jackie Onassis in "52 Girls" is unique to say the least, and including a reference to limburger cheese in a list of dances ("Dance This Mess Around") is a route that was never evident to Burt Bacharach. By the time you reach the closer, a left-field cover of Petula Clark's "Downtown," you get the feeling that anything is possible from this band, and the further out they drift, the more you want to go along for the ride.

Of course, this isn't going to appeal to everyone. Indeed, the band didn't find widespread acceptance for another ten years after this album's release. However, if you're in the mood for something that's fun, not top-heavy, and ultra-groovy--or, if you've ever stood in front of your mirror and wondered what it would be like to be a rock star without having to play by someone else's rules--this is one you shouldn't miss.

I say, don¿t that make you feel a whole lot better?
What's that you say? You want party music. You wanna dance like a monk-funk mowgli, but you don't want to be seen to be a trend-hound, you don't want to leap aboard this funk-punk-disco wagon that doin' the rounds. Hmm... let me see now... Well there's always this, you can't go wrong with this. It's a joyous meisterwork from Athens' finest, the B-52s. This could whip up a mother thumpin' rumpus in a mausoleum. It's new wave gospel music. And these Georgians preach a fearsome hip shaking truth... Yeah, this is the one. Hearing this again... It's making my ears all prickly. Wow I mean look at these songs. Planet Claire, that's a kind of spooky b-movie sci-fi, exotica, hypno-rhythmic monster, if you follow me. 52 Girls, that might be my favourite. It hits this, this incredible surf guitar groove that sends shivers up and down my spine. And Dance This Mess Around, there's your perfect party song right there. You could goad your friends into doing the Hip-o-crit, or the Aqua-velva, or or the Escalator! Oh yeah, and then of course you've got the demented Rock Lobster. You must know that one. It'll have you beating the dance floor like a loved-up baboon. Side two doesn't really live up to that sublime flip but, you know, it's still good stuff. I mean that 6060-842, yeah that's a cracking little song. So, anyway, has that helped? Come on, be honest. I don't mind. You were lookin' a bit down in the mouth. This will give you that sparkle, I promise. Look at my eye. See that sparkle? And I'm just sitting here talking about it... ... Read more

Amazon.com

What could have been a colossal self-indulgence proves a startlingly vital album. Volume IV is faithful to the ethos of early Joe Jackson hits like "One More Time" and "Is She Really Going Out with Him?" Built around clattering drums, jarring guitar, hyperactive keyboards, snarling vocals, and lyrics riddled with puns and double-entendres, it harkens back to the early 1970s and late ‘80s, when Jackson peddled a wordy and venomous strain of new wave pop. But Jackson is too clever to get suckered by nostalgia. Here he wryly contemplates his middle-aged present from inside his old clothes. The best of the resulting songs, "Blue Flame" and "Still Alive," are as good as anything he’s done. Volume IV is where Jackson completes his circuit, reuniting with his original band and reacquainting himself with his original live-to-tape recording methods. --Andrew Mueller ... Read more

Reviews (39)

Solid Joe for long-time fans
While it may disappoint those fans expecting another helping of "Look Sharp!" or "I'm the Man," the Joe Jackson Band's "Volume 4" is a solid album worth picking up for fans of Jackson's broader pop library. Except for jaded gems like "Little Bit Stupid," "Fairy Dust" and (arguably) "Awkward Age," most of the songs here would be more at home on later Jackson albums (whether "Night and Day" or "Blaze of Glory") than on "Look Sharp!" That said, the trio of "Chrome," "Love at First Light" and "Blue Flame" is a rewarding combination of balladry that longtime fans will appreciate, especially with repeated listens. Many of the other songs - "Take it Like a Man," "Still Alive," "Dirty Martini" - are merely passable in comparison with Jackson's other work. Nevertheless, this fan finds "Volume 4" a welcome return to rock and pop for a consistently solid songwriter and performer. The six-song live bonus CD is definitely a nice addition, although there is nothing revelatory here.

He's still got it.
I bought this CD after seeing the resurrected Joe Jackson Band play the House of Blues a couple of nights ago. It was a terrific show, both the old favorites and the new material.

The new songs show the same edge, wit, and musical talents that I remember from "Look Sharp" and "I'm the Man".

"Volume 4" opens with "Take it Like a Man", which features a catchy piano bit. Other tunes that stick out in my mind are "Awkward Age", "Thugz 'R' Us", "Love at First Light", and "Dirty Martini".

Another way that this album reminds me of the early work are how even the quality of the songs are. There are just no dogs here.

The bonus CD contains six early hits recorded live in London and Portsmouth last September. Very fun.

I recommend it highly.

Stellar! Everything that's 'right' with quality pop music!
This masterful Joe Jackson release is as good as good gets! The songs are varied, tight, hooky, memorable, often raw, and even FUN! Joe Jackson and band are truly in top form, and sound as fresh as they did eons ago when they first embarked on their musical journey. This is a testament to how some bands just get better with age, this band included. This is easily one of the BEST pop releases of the last DECADE! Don't miss this one! Absolutely PHENOMENAL stuff!!!

Best Album in 20 Years
This is easily the best album Joe has made since the first four from the late seventies and early eighties. Even the throwaways are good.

New Wave/Popster Joe Jackson's Latest Is Back To His Roots.
The late 70's new wave/punk movement produced a great number of fast emerging artists such as Elvis Costello, Nick Lowe and Joe Jackson to name just a few. Their songs were catchy pop songs with that new wave edge to it. Joe Jackson's debut release "Look Sharp" and it's follow-up "I'm The Man" were full of catchy pop songs and both are still some of my favorite albums to date. "Volume 4", Jackson's latest has him going back to his roots, releasing poppy uptempo songs. Just listen to "Take It Like A Man", "Awkward Age", "Little Bit Stupid", "Dirty Martini", "Bright Grey" and "Thugz 'r' Us" and you might feel like it's 1979 again. But on "Volume 4", Jackson also sings some nice slower songs (none of which can compare to his landmark 1979 smash "Is She Really Going Out With Him?") such as "Chrome", "Love At First Sight", and "Blue Flame". Jackson's voice is still strong after all these years, and he's still an excellent songwriter and performer. As a bonus you get a second disc which was recorded "live" in 2002 and Jackson and his band perform with perfection the classics "On Your Radio", "I'm The Man", "One More Time", "Is She Really Going Out With Him?", "Got The Time" and "It's Different For Girls". If you enjoy the late seventy's early 80's new wave pop songs then this cd is a trip back to those times. ... Read more

Amazon.com

The two-CD Steppin' Out trawls the recorded career of an ambitious artist whose work has ranged from reggae-inflected new wave to classical crossover. Cosmopolitan even at his most punky, former Royal Academy of Music student Joe Jackson found his greatest success with Night and Day, a blend of pop and Latin flavors that produced highly memorable tracks such as this retrospective's title song, "Another World," and "Breaking Us in Two." That very sophistication, however, has often proven the downfall of someJackson discs and ultimately blurred his musical identity beyond the focus that, say, Elvis Costello has maintained through many stylistic shifts. Even powerful early music--such as several cuts from 1980's dub-wise Beat Crazy--is marred by sledgehammer irony, while excerpts from later albums are anything from tastefully bland to downright irritating. --Rickey Wright ... Read more

Reviews (12)

The best Joe Jackson compilation available
Steppin' Out shows what an artist compilation should be. The songs are an excellent selection of Joe Jackson's work, ranging from his debut up through his latest album, Night and Day II. It includes the hits, key album tracks, and a few tracks never before issued on CD. Scott Schinder contributes a nice essay to the liner notes.

What really sets this set apart from any other CD of Joe Jackson's music for A&M is the sound quality. My comparisons are the original US CDs, the US "Greatest Hits" collection, and the UK "This Is It" compilation. "Steppin' Out" has sound quality far better than any of these. The 96k/24-bit remastering was done by Erick Labson, a name new to me, but clearly one of the increasing number of excellent remastering people at Universal. For the first time on CD, the cymbals on "It's Different For Girls" really sound like cymbals! The piano on "One To One" really sounds like a piano! The clicks added into the UK remaster of "Body and Soul" are gone. It seems nothing can much help the sound of the "Look Sharp!" tracks, but all the other A&M album tracks are greatly improved.

With any luck, this is a prelude to A&M remasters of the individual Joe Jackson catalog. This is far and away the best sounding Joe Jackson on CD at the moment, and a wonderful introduction to, or summary of, his pop music.

You couldn't ask for more - a must have!
Regardless if you're a veteran Joe Jackson fan or a novice to his works, this collection is required. Not only is it a true greatest hits collection (far better than the one released a few years ago) with tracks from nearly every album he ever made, it includes songs which don't appear on full JJ albums such as "Memphis" from Mike's Murder soundtrack. Some recordings have been nearly impossible to find, such as his ripping version of Jimmy Cliff's "The Harder They Come" and "Enough Is Not Enough" . As if his radio and college hits were not enough, also included are some of his audience friendly hits from his post A&M days including songs from Laughter & Lust, Night Music, and Night & Day's "Stranger Than You". Obviously they couln't fit in a track from his Symphony #1, but that's understandable. With great remastering, this collection is impossible to ignore.

Truly the very best from one of music's finest. A+
As soon as I heard Joe Jackson's "Look Sharp" (which is a must have for any Joe Jackson fan), I knew that I had stumbled into a great talent. His next release, the smash "Night & Day", which as has been the case throughout his career, sounded very little like it's predecesor, was equally brilliant.

In my opinion Joe Jackson is a very underrated artist and some see him as too pretentious or like a poor man's Elvis Costello and they could not be more wrong. This man is a musical genius and the 2 CD compillation is amazing in that it not only has everything you'd like to hear, but for an artist who tries on some many different hats, the cohesion is amazing.

I am surprised that the Amazon.com review was so sterotypical of those who don't quite know what to make of Joe Jackson. For those who want to dig deeper into the catalogue try the quitely powerful "Body and Soul." Some folks may remember that when this ALBUM came out it highlighted that it was recorded digitally (the first DDD that I remember seeing), but it was more than just about technology... Joe Jackson just poured his soul/heart/brain into some of the strongest ballads of his career.

I am a very active CD buyer and even the most profilic acts have a hard-time releasing greatest hits selections worthy of one CD, much less a 2 CD set. Even some of my favorite groups have released 2 CD sets and I've had to grab them to burn my own best of on a single CD. You'll love this from beginning to end and it really gives a true picture of Mr. Joe Jackson, who is not a poor man's anything. A+ for Joe Jackson and to those associated with compilling this collection.

A Classic
Joe Jackson deserves more recognition than he gets. He really is a remarkable artist who defined "new wave" music in the 1980's and continues to march to his own drum. This CD is an excellent (and generous) compilation of his best work. His lyrics and arrangements are superb. Joe Jackson is an exceptional live performer. If he comes to your town or city, don't miss him! I highly recommend this album.

Cup O Joe
This is the essential Joe Jackson. Greatest Hits left too many gaps and left off too many songs. This one includes the best songs of his early days that were not hits ("One More Time", "Friday", "Don't Wanna Be Like That") and like the fact that more cuts from Beat Crazy are contained herein (especially the moving ballad "One To One"). Throw in the remake of "The harder They Come" and the original version of "Memphis", Three great cuts from "Big World" and you have all the Joe you need and then some. ... Read more

Amazon.com essential recording

Ani DiFranco's fondness for cheeky self-effacement marks her fourth album, Not a Pretty Girl. Having redefined our whole concept of cult following, the funky, punky singer/songwriter has parlayed her prowess for six-string blues guitar into an unique alternative acoustic sound. This album marks real growth for the musician. Songs like the title track or "Worthy" are more fully realized than many of her earlier pieces that lean toward artful scat or spare guitar and vocal arrangements. It also precedes DiFranco's more experimental work, a characteristic recurrent with increasing frequency on subsequent recordings. --Nick Heil ... Read more

Reviews (68)

Visceral & Beautiful.
In her artistic expression, Ani Difranco embodies such towering virtues as honesty, independence, and compassion. She is a woman committed to making art for art's sake, proudly resisting big time record lables that would undoubtedly censor a voice that needs to be heard in all of it's raw beauty. Since 1990, she has fought an uphill battle to perserve the dignity of her art. And for that, I cannot thank her enough. I have all of Ms. Difranco's c.d.'s and recommend each one. Yet NOT A PRETTY GIRL (made during Ani's transition form Old School...ANI DIFRANCO, NOT SO SOFT...to New School...LITTLE PLASTIC CASTLE, UP, Up, Up, Up, Up, Up) is my favorite. This album is her richest in terms of it's diversity in sound. Ani goes from passioante aggression in a song like THE MILLION YOU NEVER MADE to sublime self-revelation in 32 FLAVORS. Throughout, Ani maintains overwhelmning poignancy underscored by the genuine honesty that makes it all matter on a universal level. This ain't no bubble gum pop music. In this album, Ani offers the world a crystal clear window into a human soul (and it sounds AMAZING). Such an opprotunity must not be wasted. So run to the music store NOW and grab NOT A PRETTY GIRL. And while you're there, get all the others too.

Not a pretty girl
Ani Difranco is about as punk rock as the guys in Fugazi. Unlike most artists today, Ani took control of her own career instead of letting some major record label dictate to her how her music should sound like and whether it was hit worthy or not. I first heard Ani's music when I decided to buy "Dilate" on a whim. It wasn't the easiest piece of music to listen to but I found myself digging Ani's quirky, self-effacing humor. Although my interest in her music has waned over the years, I still enjoy throwing in one of Ani's cds and chilling out to it with a good cup of java. My other favorite Ani Difranco cds includes "Living in Clip", "Little Plastic Castle", "Up, Up, Up...", and "Not a Pretty Girl". I consider "Not a Pretty Girl" Ani's definitive album. It really represents who she is as an artist from the quirky "Tiptoe" to the plaintive ballad "Sorry". Unlike her more recent albums in the past several years, "Not a Pretty Girl" is just Ani on acoustic guitar. The production on the album is excellent. I felt like I was in an intimate club setting watching Ani perform. A few years ago, I couldn't believe that one-hit wonder Alana Davis mutilated Ani's "32 Flavors". I thought it was atrocious. I don't care for artists who covers another artist's song and thinks they have the god given right to alter a few lyrics. Ani's song is vastly superior and has remained a timeless classic. Ani Difranco is one of the few artists who has my respect for bucking the system. Her independent spirit is truly one of a kind.

not a lot of things, actually.
This album feels to me like Ani is grappling with the demons of success. Most obviously is the climax to "Million You Never Made," but several songs find her trying to pin down who she is and who she wants to be. She never really does -- actually, she makes a point of never being pinned down-- but she spends a lot of time explaining what she's not. "Not a Pretty Girl" and "32 Flavors" are songs of definition, and it shows up in other places as well - in almost every song.

This doesn't strike me as one of her best. It is good, as all of her albums are, and has several memorable songs on it, but none that give me the shivers or bring me to tears -- save, on occasion, the angry chant that ends "Million You Never Made," the moment that has to be the center of the whole album. But unlike Dilate or To the Teeth, it's not one I can just put on repeat and never grow tired of. Three and a half stars.

**

i'm still deciding who i want to be today... (a found poem)

i am not a pretty girl
i ain't no damsel in distress
i am not an angry girl
i am not a maiden fair
and i am not a kitten stuck up a tree somewhere
and i have earned my disillusionment
and i am a patriot
i am warning you i am weightless
i am telling you i'm different than you think i am
and i am telling you that i am different than you are
and i ain't really all that pretty
no i don't prefer obscurity,
but i'm an idealistic girl
and i may not be able to change the whole f***ing world

but i could be the million that you never made
i'm not between you and your ambition
i am a poster girl with no poster
i am thirty-two flavors and then some
and i'm beyond your peripheral vision
i'm tired of being the interesting one
i'm tired of having fun for two
i'm not saying that i'm a saint
i just don't want to live that way

WHERE IT'S AT
If you don't know Ani DiFranco yet, she's the straight-talking, "Why don't more singers say it this plainly?" independent singer/songwriter who's built up such a following that it proves -- yes, there IS room for smarter music in this world.

She's got a killer voice. (How does she sing like that?) And she plays guitar so well that even if you don't know much about the instrument ... you can tell she's good.

NOT A PRETTY GIRL is the perfect album to buy first. And don't worry, once you get hooked -- there are gazillions more from which to choose. That's the great thing about discovering an artist like Ani -- if you find you love her, you can just keep buying more and more!

Is she folk? Is she 'women's music'? Is she punk? Who knows. She's just a very forthright singer/songwriter who writes lyrics no one else dares to produce. (The advantage of having founded her own music company, as I understand it!)

Some of the highlights on this "Absolutely must have" album include THE MILLION YOU NEVER MADE -- a hardore tell-off to the music industry, LIGHT OF SOME KIND -- repenting for being unfaithful, sung with heartfelt, bang-it-up umph, and CRADLE AND ALL -- a beautiful, gut-wrenching ballod that just goes on and on about a rough day in the life of a city girl. Then of course, NOT A PRETTY GIRL is a great feminist song.

NOT A PRETTY GIRL is where it's at -- make it your first Ani album, but don't make it your last.

My Favorite Ani Difranco Album
Everything about this album is amazing and wonderful. Ani brings a sense of security and happiness to the music on this disc, even thought some of the songs are depressing as anything. The best female artist cd I own. If you like female singer/songwriters, then buy this cd. ... Read more

Reviews (22)

Duran's First
Duran Duran's self-titled debut was released in the UK in 1981 and was a smash hit. The album did not catch on in the US. It took the release of the band's second album Rio and the inventive videos that were staples on MTV to propel this album into the US top ten two years later in 1983. As an added attraction the re-release featured a new song, the number four hit, "Is There Something I Should Know?". This remastered version is the original English version minus that track. The first five tracks, which comprised the album's first side, are songs that in the traditional DD vein. The first two tracks, "Girls On Film" and "Planet Earth" are the most familiar and still sound great twenty-three years later. "Careless Memories" was a minor hit in America and "Anyone Out There" and "To The Shore" embodies the pop sensibilities that made the group a success. The final four songs are a complete 180-degree turn from the first five. They are atmospheric, moody and brooding numbers that find the band turning inward and introspective. The band has always sited Roxy Music as big influences and they are never more so then on these four tracks. "Night Boat" is a foreboding track and the album's final number, the instrumental "Tel Aviv" is quite haunting.

Still the best 23 years later
Duran Duran's debut album has always been my favorite of all of the band's albums and it sounds great remastered. The songs really come alive again. My favorite songs are Friends of Mine, Sound of Thunder, Careless Memories, Girls on Film and Planet Earth. This album really fuses dance and rock, particularly in the above mentioned songs. Their subsequent albums though wonderful, never quite captured that edge again. There's a raw energy that hints of things of come. It perfectly exemplifies "New Wave" at it's best. My only quibble is I am one of the few people who really doesn't like TO THE SHORE, but in keeping with the original 1981 UK release, I guess it fits.

This album is a great introduction for those unfamiliar with the band or for those who just know the hits. I highly recommend it.

i love this album, always go back to it.
I like the sound of Duran Duran, and this album has all the little bits of extra Duran-y sound that I love. I like the sound of Planet Earth, it's great to dance to, Simon's got a sexy singing style; my two favorite songs on this album are :1. Sound of Thunder and 2. Friends of Mine. I remember the first time I had heard these songs, years after I had heard Durans greatest (hey, I was born in 79). Those two tracks rocked my world when I heard them and I only very recently noticed that the lyrics were sort of cut and pastey: but no matter. This album is worth the purchase for any Duran Duran fan.

Good first album
A great first album with hits like Girls on Film (totally sarcastic song and you wonder how anyone could ever take it seriously), Planet Earth and also other good songs that aren't so well known such as Friends of Mine and Waiting for the Nightboat (which has one of the longest intros, though still not as long as "Funeral for a Friend", I don't think). Careless Memories is great too but the live version is so much better and has much more life to it. Tel Aviv is completely instrumental, no lyrics, kind of pretty but not my favorite.
Anyway, recommended to fans. The first two songs you can get on the decade album or Greatest if those are the only two you like.
If this is remastered, or anything, I won't comment on that because I am clueless to it.

The band that saved rock and roll
In 1981, when America was under the cruel politics of then president Reagan, rock and roll was at its lowest point. We endured the likes of the Eagles, Heart, Peter Frampton, Yes, Rush, and, perhaps the worst offenders of them all, Pink Floyd and Led Zeppelin. The public had a hunger for change and wanted a rock and roll band that didn't insult their intelligence. Then came Duran Duran, and this is their fantastic debut. They totally ushered in a new era that changed the way we think. They introduced MTV culture, without which music is worthless. Classics like "Girls on Film" and "Planet Earth" are awesome. You have to hear it! Five stars! Buy now! Highly recommended! ... Read more

Reviews (45)

Probably The Police's best album!..
I still remember the first time I heard "Message In a Bottle" back in 1980, and how much I loved it, and influenced by the powerful sound of this (at that time) new band.
Not only the above stated opening song, but all the 11 tracks are excellent.
My favourites are "Message In a Bottle" (for sure), "Bring On the Night" (one of the best songs of the band), "Deathwish", "Walking On The Moon", "The Bed's Too Big Without You" (a truly melancholic and touching one), and the most "heavy" song of the Police: "No Time This Time".
"Regatta De Blanc" is also a very good album showing the Police as a real trio, and not a Sting-owned band.
This album is definitely a collectors item!..

The Police's Finest Hour
Their 2nd album, _Regatta de Blanc_ is my favorite Police album. In addition to containing the landmark "Message in a Bottle" (Sting's favorite song from the group, as well as Andy Summers' fav) and "Walking on the Moon", the album also features the extraordinary "Bring on the Night." The production on this song is amazing - a crisp, melodic bassline lays beneath Sting's vocal delivery of lines such as "The afternoon has gently passed me by/the evening spreads itself against the sky." Songs like "Bring on the Night" indicate where Sting was headed with The Police as well as his own solo career. The 'punk' aspects of The Police's early work is evident on the Dylan-esque vocal delivery of "It's Alright For You" and one of the most aggressive Police songs, "No Time This Time." The Stewart Copeland-written tracks, "Does Everyone Stare" and "On Any Other Day" are fun and melodic, if not as memorable and riveting as the Sting-penned tunes. Another highlight on the album is the reggae-tinged "The Bed's Too Big Without You." In addition to a representation of Sting's songwriting growing stronger, _Regatta De Blanc_ is also a nice example of how great a bass player Sting is. He's far from flashy - but does anyone write better pop bass lines? This is an excellent album.

The Police start drivin'
After released "Outlandos d'Amour", their first album, in 1978, British semi-punk band The Police moved on to "Reggatta de Blanc". The band's second album is almost completely absent of the punk music that fueled "Outlandos"; instead, it is a collection of rock/reggae fusions. The album begins with one of the band's absolute greatest, "Message in a Bottle", and then moves on to the average title track. Then there's a fast-paced piece, "It's Alright for You", followed by one of my personal favorites and in my opinion one of the band's best, "Bring on the Night". Next up is a cool song, "Deathwish", and after that, a Police masterpiece: "Walking on the Moon". (By the way, the album is worth buying if not for the rest of the terrific songs, just for "Message in a Bottle" and "Walking on the Moon") The next song is ... eh ... odd: "On Any Other Day" (headed by Stewart Copeland). Then there's a love song, "The Bed's Too Big Without You", followed by the cool "Contact" and another one of the Police's little recognized best, "Does Everyone Stare". And finally, the album closes with "No Time This Time", another very fast-paced track that starts out like something from "Batman". A great way to become introduced to The Police, and a very large improvement over "Outlandos d'Amour".

- THOMAS BENTON is walking on the moon.

Great album!!!
If you like reggae, pop, rock or The Police/Sting, buy this album. Message In a Bottle is a great track, as well as the title track and Walking on The Moon. Some tracks are forgettable, such as the final one, No Time This Time. The Police's fusion of many musical genres creates feel-good and danceable music. Some complaints are that many of their album covers look the same, and aren't original, and the remastered version doesn't contain a booklet inside the album with art and stuff. No complaints about most of the music, though.

Rescue me before I fall into despair-o!
The Police continue their mixture of punk and reggae in their second release, Regatta de Blanc, or White Reggae. Someone I doubt that it had anything to do with boat races, the other regatta, as the title track is an instrumental exercise punctuated by a rollicking bassline, and various vocalizations Sting and Co., before Andy Summer's guitar joins in the assault.

Many songs deal with the angst of alienation and loneliness in an increasingly personalized and post-industrial world, but few match the power, catchy rhythms, and sheer writing skills of "Message In A Bottle." The concept of a castaway sending a message in a bottle in hopes that a passing ship will receive it. But when one hears "Seems I'm not alone at being alone/A hundred billion castaways/Looking for a home," things are mixed, because it's good to know we're not the only one, but in the end, the prospects of being rescued have been greatly reduced.

More of a punk sound on the verses of "It's Alright For You." The verses consist of two to three syllable lines sung rapid-fire like Bob Dylan's "Subterranean Homesick Blues," but the one thing that pops up some of the verses is the paean to indifference, "Stand by/Don't cry/Watching while the world die."

Back to reggae on the escapism of "Bring On The Night," a title Sting would use for his documentary/concert movie. A hybrid punk-skiffle sound surrounds the brooding "Deathwish," where a nothing-to-lose attitude to an unrewarding life eventually leads to "The day I take a bend too fast/.../I'll be wiped right off the slate/Don't wait up 'cause I'll be late."

The wooly wishing and daydreaming in "Walking On The Moon" has a nice reggae-influenced chorus. I would only have thought Weird Al would've come up with a symphony of domestic disasters and harmless surprises that throw people off guard, but Sting too tackles the same in a wry but humorous manner. In "On Any Other Day," the chorus goes "My wife has burned the scrambled eggs/The dog just bit my leg/My teenage daughter ran away/My fine young son has turned out gay." Things go from totally silly, "Cut off my fingers in the/Door of my car/How could I do it?" to the more heartbreaking "My wife is proud to tell me/Of her love affairs/How could she do this to me?"

More of a reggae flavour here in a song of being deserted, where a bed is objectified as the connection in the former relationship. Clever title, "The Bed's Too Big Without You," better than any generic sort of "I Miss You" or "Can't Live Without You" titles. The angst of the main character is told in lines such as "I can't sleep with your memory" or "I get thru day but late at night/Made love to my pillow but it didn't feel right."

"Have we got contact" asks Sting in the uptempo "Contact"? Getting a note from a certain someone on the possibility of some intimate contact leads to a line, "I'd come on over but I haven't got a raincoat," which could mean being without a mac in the pouring rain, or someone prophylatically-challenged.

The overwhelming insecurities one is inundated with on a date is aptly covered in "Does Everyone Stare." The concept that it's image and presentation that matter, the worry of not messing up and looking a right 'nana, and trying not to be awkward, something dealt with humorously: "I never noticed the size of my feet/Until I kicked you in the shins/Will you ever forgive me" And I'd probably be one of those who'd let the phone ring twice and then decide, "Not home."

The dizzying tempo of "No Time This Time" is a reflection of the mad rat-race of the post-industrial world, and yes, I agree with the refrain: "If I could/I'd slow the whole world down/I'd bring it to it's knees/I'd stop it spinning round." Come on people, let's slow down!

A good followup to Outlandos D'Amour, reflecting punk's dissatisfaction with the post-industrial world, with the usual clever and sophisticated songwriting and wry observations on life. ... Read more

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Standing on a Beach, the first singles compilation from Britain's premiere love cats, was the capper on a period of startling, evolving growth for Robert Smith & Co. This rather less interesting 18-song companion piece documents a peak commercial run that ended abruptly with last year's Wild Mood Swings disc. The one new studio track here, "Wrong Number," is a buzzing, synth-suffused delight that hooks deep after three spins. It's the cherry on a cake built from latter-day gems like "Lovesong," "Just Like Heaven," and "Friday I'm in Love." --Jeff Bateman ... Read more

Reviews (47)

Want to Buy Your First Cure Album? Start Here!
I'm often bemused when I hear people say that the first Cure album one should buy is Pornography, Bloodflowers, etc. Let's face it. Unless you heard one of these albums and know that you like it, you're probably familiar with Cure music that you've heard on the radio...and it surely isn't anything on Pornography or Faith (terrific albums, however). The Cure are in some ways like Queen. Terrific British bands that have never really achieved mainstay status in America-yet I often hear people say they can't believe they know and like so many of their songs. You hear them all the time, you just don't realize it's one great band that has made so much fantastic music. Many people will recognize most, if not all, of the first 13 tracks on this great CD. Robert Smith is at his fizzy best when he sings such songs as "Why Can't I Be You?" "Just Like Heaven," and "Friday I'm in Love." "Love Song," "Pictures of You" and "A Letter to Elise" are among the most popular (and easy to listen to) ballads the band has produced. Songs 13 through 17 are from the largely ignored and underrated "Wild Mood Swings Album" (a perennial least favorite among longtime Cure fans), and the 18th track, "Wrong Number," represents the only new release of this album, and it was the least successful Cure single ever-though personally I think its zany guitar distortion and psychedelic lyrics make for a great song. Unless you already know you want to buy another Cure album, this is the perfect first choice, followed by either "Staring at the Sea" (a collection of singles from earlier Cure albums) or one of the albums that is represented on this disc-"Kiss Me, Kiss Me, Kiss Me," "Disintegration," "Wish," or "Wild Mood Swings."

Another great record from England's finest!
I purchased this album a few weeks ago for a project on my favourite song ever. At first I was confused; then I cleared my head and thought of the song "Just Like Heaven". Of course, that song is infectously beautiful as are the other AMAZING songs featured here like "Why Can't I Be You?", "Friday I'm In Love", "A Letter To Elise", "Lullaby", "Lovesong", "Catch", as well as the magnificent single "Wrong Number" which was newly released on this record. There are so many great songs on this disc, and it is sure to please anyone and everyone's tastes. If you are a first-time Cure listener, I recommend that Galore start you off so that you can ease yourself into the pure genius of how everything Robert and the boys play comes together.

Galore--the Singles won't disappoint you!

Jonesing for "Pictures Of You"
Thanks to the recent TV commercial for HP Digital cameras, I found myself really wanting to have some Cure in my life again and went looking for "Pictures Of You." Yes, at one time I had almost all the Cure CD's in my collection, but time and economics had weeded them away. And "Disintegration" was never really my fave Cure album. But "Galore" offered me an opportunity to get the single song I wanted plus a batch of others I remembered with fondness.

As dark and morose as The Cure's image had always been, their records after "Kiss Me, Kiss Me, Kiss Me" frequently found them making dazzlingly brilliant singles. That's where "Galore" picks up, with the singles "Why Can't I Be You" to the absurdist "Mint Car" from "Wild Mood Swings." There's even a pretty good new track with "Wrong Number." Hard to believe it, but Robert Smith was just as pop song smart as any New Romantic period hit maker, and in songs like "Lullaby," he showed the kind of playfulness ("the spiderman is having you for dinner tonight") that many of his fans didn't always "get." He never had any probelm with playing against preconceived notions of what a Cure song should be; I doubt a rapping Robert ("Hot Hot Hot") was in any goth fan's must hear list.

I also found it ironic that "Standing On The Beach" image of an old man was mirrored by the baby with the ice cream on "Galore." If you wanted to read more into it, you'd almost suspect Robert Smith was gently trying to remind listeners that he didn't mind playing to his more childlike nature when making music. While there has yet to be a comprehensive single disc collection of the Cure's best, a purchase of "Galore" and "Standing" will at least put all the singles at your fingertips.

Best of? Not really.
Though "Galore" holds a lot of really good songs ("Friday I'm In Love", "Love Song"), this really isn't the best place to start with the Cure.
The problem? This is the weakest time period in the Cure's recording history. Sure they made "Disintigration" during this time period, but they also made "Wild Mood Swings". Do you see what I'm talking about?
Of the songs on here, there are some really stellar numbers, like "Just Like Heaven", "Friday I'm In Love", "Just Like Heaven" and all of the Cure's good singles from "Kiss Me, Kiss Me, Kiss Me" to "Wild Mood Swings". But why do you need to shorten "Pictures of You"? And why even bother putting songs from "Wild Mood Swings" on because they are just going to bring you down.
If you are just getting into the Cure, "Staring at the Sea" is a better place to start. After you get that, go ahead and get this one, because it will show you whether or not you'll get into latter day Cure.

Galore
I love The Cure. Their music always brings a smile to my face whenever I throw in their music into my portable stereo or into the hard drive at the office. "Disintegration" is perhaps my favorite of the few albums I own by the legendary band. At one point I did own their greatest hits however I didn't think it was any more different from "Galore" with the exception of the exclusion of my favorite Cure song of all time "Pictures of You". "Galore" on the other hand excluded "Inbetween Days" but that is because this singles collection picks up where "Staring at the Sea" (the band's first singles collection) leaves off. As much as I love "Pictures of You", I can't stand the way it sounds edited for radio. For me, it just sounds incomplete as opposed to its 7 minutes and 24 seconds of bliss. I can never tire of "Just Like Heaven". That song is an old club favorite of mine. Some diehard Cure fans might write off "Friday I'm in Love" but I love that song. I love the acoustic guitars on theat particular song. The only songs I didn't really care for were the songs from "Wild Mood Swings" which I thought was a terrible album from The Cure. Other than those songs, I enjoyed this collection of the band's singles. An ideal cd for beginner Cure fans. ... Read more

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With the 1985 release of Low Life, New Order put forth their most commercially accessible effort to date. While some of the dark-wave drippings of their Joy Division roots are evident, high energy progressions, which would carry them for years to come, began to emerge here. Hits like "Perfect Kiss" and "Sub-Culture," with their synth hooks, club-stomping accents, and visceral lyrics, helped bridge the gap for growing synth-pop audiences who bolstered their success. Other refined techniques on the album became standard New Order conventions: sweeping analogue rolls, live and sequenced drum percussion, tight bass melodies, and edgy guitar leads. Sustained by a peerless level of emotional involvement, the vocals and lyrics further entice the listener with the obliquely nuanced style of Bernard Sumner. Standing the test of time, this release is a must-have in order to understand the origins of introspective pop-wave culture. --Lucas Hilbert ... Read more

Reviews (27)

Synth pop gem
Low-life is great new wave synth pop. And New Order practically defined the genre, albeit reluctantly. The disco hits "Perfect Kiss" and "Sub-Culture" were the singles, but the rest of the album is woven together by darker textures. The album is bookended by happy yet sad tracks. The fateful "Love Vigilantes" and the hateful yet poppy "Face Up". Much of the rest of the album brings together synthesizers with Peter Hook's urgent bass and fuzzed guitar hooks.

Repeated synths become hypnotic in the mournful "Elegia" and the unknown gem of "This Time of Night". This track shows how New Order could weave all their elements into one cohesive amazing song. Also a standout is the more rocking "Sunrise" which hints at similar material from the upcoming Brotherhood.

This album is very dear to me being my first New Order album. This one belongs in everyone's collection.

Revisiting a Landmark Album.
"Low-Life" is a near-flawless album of quirky pop that confirms New Order as one of the most exciting British acts of the last 20 years. Hands down, my favorite track is the disco bounce of "Perfect Kiss," a great tale of loneliness and detachment in the club scene. Most people are familiar with the extended version that appears on the 1987 compilation "Substance," but the edited version that surfaces on "Low-Life" is just as good. Other album cuts such as "Sub Culture" and the catchy "Love Vigilantes" are also of note, too. All the ingredients are here: Bernard's boyish vocal, Peter Hook's signature bass, and cheesy-cute synths. "Low-Life" features a New Oder still reeling from the suicide of Ian Curtis, who led the band when it was known as Joy Division. But it also helped shaped up the band's identity, as they were leaving behind their goth roots in favor of more accessible pop. Anyone who's looking to start a collection of their work should include this among their first purchases.

The Beginning of the End
For the first time in their 8 year career (at this point) the lads released a mixed bag of success. Whenever I hear this album I am reminded of the downward spiral the band would take into bland, over-produced pop mediocrity from here out. Don't get me wrong their are a couple good songs here. "This Time Of Night" is wonderfully dark and beautiful and seems to be a hold over from earlier days. "Elegia" an instrumental, can be hauntingly pretty at times. Personally I have always kinda liked the song "Face Up" and it is much in the same vein as say "The Village" from Power, Corruption and Lies. However, the rest of the album is watered down and frequently tedious, spiked with brief moments of musical inspiration. Indeed one can trace the exponentially increasing sappiness of Bernard's vocals from here on out, album after album, to eventual utter annoyance.

Yes I did grow up worshipping Joy Division and that style of sound the band was working. But unlike some of the other older fans I also felt the band continued to produce mostly interesting material after Ian's passing. At least til this point. But like all good things...well you know. If you are an avid fan pick this up for the few good ones. What do I know, maybe you'll love it. Otherwise stick to Movement, Power, Corruption and Lies or the Everything's Gone Green EP if you can find it. And of course any Joy Division.

Easy on the ear
This, I think, is New Order's formation, when they actually gel as a group, and one of their best albums. It's polished. From the first track (and especially on the first track), the sound is lush and seamless. Lyrically, it still delivers the occasional cringe-worthy line (breaking the meter to rhyme 'reasonable' with 'seasonable'), but the lyrical _pretensions_ aren't as great as their earlier material; these are simpler sentiments. Take the chorus of 'Love Vigilantes:' "I want to see / my family / my wife and child / waiting for me / I want to go home, I've been so alone, you see..." It's not classical poetry, but it gets the point across. 'Love Vigilantes' and 'Face Up' are very robust and energetic; the instrumental, 'Elegia,' provides a delicate contrast. The only track which really seems like filler, and which I tend to skip, is 'Sunrise.' 'This Time of Night' and 'Sooner Than You Think' may seem like filler at first, with subtle music and simple lyrics, but both were growers for me. 'Subculture' is my favorite on the album and one of my favorites in general, a fantastically strong closer - even though it's the penultimate track, it gives an incredible sense of finality and despair, with a backing of electronic organ which should sound dated (my first was thought was 'video game soundtrack') but sounds terrific. As for 'The Perfect Kiss,' I would have listed it as a standout; having heard the single mix, though, ruined it for me, as this version pales before the single as a lump of coal before a diamond.

Their high point
This is the album that best strikes the balance between what they once were and what they were to become. They still remembered their beginnings while breaking new ground. Dance and club beats aside, listen to elegia and tell me that it isn't a powerful piece of music.

I just wish they'd come out with a remastered CD. The original I've had since 86 pales to the UK vinyl... come on, guys. Break out the master tapes and show us what's really there. We deserve it after all these years. ... Read more

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This is the album that started it all for George and Andrew! Whether or not it will ever be "cool" to admit liking them, Make It Big sounds pretty good after all of these years. Granted, "Wake Me Up Before You Go-Go" is an impossible notion to begin with--who could possibly sleep after this sugar binge? But "Everything She Wants" has a sophisticated tension in its syncopation, and, wow, could the boy sing! "Careless Whisper" really showed that George Michael had a firm grasp on R&B and soul. --Steve Gdula ... Read more

Reviews (44)

80's Upbeat Pop Legend
Wham! is one of the 80's finest pop duos by George Michael and Andrew Ridgeley. Their music is pop music with a little blend of African American music. This album has three #1 hits "Wake Me Up Before You Go-Go", nice summer anthem, "Careless Whisper", excellent emotional ballad, and "Everything You Want", reggae pop, in 1984 that literally made them big. "Freedom" is another huge hit which became #3 in US chart. Non-hit tracks are also super particularly "Heartbeat". If you love pop music like Backstreet Boys, Britney Spears and N'sync you will surely love Wham! music.

.....and it doesn't get much bigger than this!
This is probably the definitive pure-pop album of the 80s. There isn't a single bad track on this CD. Everyone knows the hits 'Wake Me Up Before You Go-Go', 'Everything She Wants', 'Freedom', and George Michael's solo single 'Careless Whisper', but the other four tracks are still of an incredible standard. 'Like A Baby' is an excellent slow ballad, 'If You Were There' and 'Credit Card Baby' are catchy and fun, and the vocals on 'Heartbeat' are absolutely incredible. All fans of George's solo material will love this as it shows George and Andy at their care-free best. I can't recommend this CD enough...EVERYONE SHOULD HAVE IT!!!

"Wham!" is the sound of the 80's dignity hitting the floor.
Even by the standards of the all-too-cheesy, yet eerily charming 80s, these "guys" were cheesier than the largest lasagna. If Andy Warhol was right about the whole "15 minutes of fame" thing, then Wham had about 16, and they should count their blessings for getting that much.

I still listen to these songs!
Ok, I'll start out by saying that I'm not the best writer, but here goes!

I have the cassette tape of this album and have listened to it throughout the years. I must admit that I listen to the radio favorites: Wake Me Up Before You Go Go, Everything She Wants, Freedom, and Careless Whisper. I was only 8 years old when these songs were popular, but I definitely remember the gorgeously silky smooth voice of George Michael.

My favorite song is Freedom. It is ear candy to me! Every time I hear it, I feel happier inside (like I felt when I was 8 years old listening to this album).

If you could get a copy of this album I'd give it a chance. You don't hear songs like this on the radio anymore!

awful
please stay far away from this dull,boring 80's pop album.not recommended to fans who like good music like led zeppelin and the doors.minus ten stars. ... Read more

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Following up two of her strongest records, Not a Pretty Girl and Out of Range, Dilate takes a different tack. It's quieter and more lush than previous efforts but just as intensely personal, with songs like "Untouchable Face" that are easier to identify with than many other DiFranco tunes. At the same time, DiFranco's old fans might not recognize the sound here, especially on tracks like the trip-hop-influenced "Amazing Grace," the shuffling "Napoleon," or the indescribable "Shameless"--this isn't the same thrash-folkie of old. There's a lot to like on Dilate, especially if you're a fan of Portishead or Lisa Germano, but it takes some getting used to. After spending time with the album, you may find it as comfortable as your favorite pair of jeans, but you also might find out that the jeans never really fit quite right. --Randy Silver ... Read more

Reviews (56)

Not Ani's best, but still beautiful.
I have to admit, when I first bought this album a few weeks ago, my reaction wasn't very positive. I was like, "What the hell happened? This isn't the Ani DiFranco I've grown to love!" And songs like "Outta Me, On To You" and "Shameless" still freak me out a bit.

But once I listened to it a second or third time, I really began to love it. Ani's voice is the best it's ever been on any of her records, the lyrics are brilliant as always....now I can't believe I once disliked it so much. My favorite tracks on it are Superhero (such a wonderful song), Napoleon (I get such a big smile on my face whenever I listen to this one), Done Wrong (gorgeous and sad), and Joyful Girl (whispery and pretty).

I love this album because on it Ani displays such quiet, heartfelt emotion that I've never heard on any of her other records. Not A Pretty Girl is still my favorite album of hers, but Dilate will always have a special place in my heart. Thank you, Ani.

Beautiful, intense, emotional, soothing, and even cathartic
I'm not a die-hard Ani fan (an "Ani girl living in an Ani world"), like a lot of my friends are, but I do like her music a lot. This is my favorite Ani album, and although I haven't heard all of her material, I do think that this album is incredible, even better than her grittier "Not a Pretty Girl." These songs are electric and emotionally charged, full of a certain amount of angst (it is the work of Ani, after all, who seems to convey a certain amount of jadedness in her music), but it is graceful angst. Some of these songs are absolutely mind-ravelling in their intensity and grace (for example, "Untouchable Face," "Superhero," "Dilate," "Napoleon," and "Adam and Eve," which are my favorite songs on the album). I'm not too convinced by her cover of "Amazing Grace" (but this may be because I'm not terribly fond of the song itself), but this is the only song on the album that I skip over. All of the tracks are a celebration of womanhood, in a style that is so distinctly Ani's. I can't stand it when some ignorant individuals call her a "man-hater," for she is not (she did marry one, after all!). She sings powerfully about relationships (and the subject of failed relationships seems to be her specialty), with unflinching candor. Integrity is one of her greatest musical virtues, and she seems to bare her soul unabashedly in her songs. Many people feel uncomfortable about a singer whose material is as personal as Ani's, but I find it really refreshing when a singer is capable of speaking so frankly about their personal experiences. And with Ani, it almost seems like you know her personally when you listen to her emotional confessions, and most women can definitely identify with a lot of the situations she depicts. I too have been wounded by unappreciative men, and songs like "Untouchable Face," "Superhero," and "Dilate" have formed part of my own personal soundtrack to failed relationships. Especially the title track, in which she professes that although its lonely to wake up alone, she knows that she's "much better on her own," instead of putting up with someone who does not relate to her, and who takes her for granted. "It's kind of like our little joke, and it's really not funny. . . and I just want you to live up to the image of you I created. . . I see you and I'm so unsatisfied. . . I see you and I dilate." Ani is a woman who fully realizes her worth, who possesses a sense of self-worth which many people have the tendency to sacrifice in a relationship into which they put more energy than their significant other. I purchased "Dilate" after a very messy and painful breakup with a boyfriend who saw my shortcomings more than my virtues, and I listened to it incessantly. A lot of women have said this, but this album really helped me with my healing process after the aforementioned schism. And it also helped to remind me not to make the same mistakes in future relationships. Ani may sound somewhat angry and jaded in this album, but never bitter. This is really an accomplishment, for it's far too easy to surrender to bitterness in regard to someone who has deeply wounded you. It's far more noble, however, to use the experience to acknowledge that you are not to blame for someone who fails to realize your true beauty, and that, when you do find someone who is capable of realizing, appreciating, and admiring your attributes, it's necessary to first realize and embrace them yourself. "Dilate" is an awesome, awesome album. Do get a copy of it, there is such a slight chance, if any, that you'll be disappointed.

Brooding, Blunt and Personal
Some people were annoyed, if I remember right, when Ani DiFranco made this album -- much more brooding and with a lot more backup band than her others.

To them, I said: "She already made like a gazillion albums in her other style! She recorded more songs already than most artists ever will. How long was she supposed to keep going before trying something new?" I figure she has to either reinvent herself or get bored, and I think she made the right choice

I think this album is a TRIUMPH. It's mopey, honest, and absolutely heartfelt. Her lyrics are just as smart as ever.

SUPERHERO is a fantastic song about how when we fall in love, we all become ridiculous cliches ... no matter how 'above it' we thought we were before.

ADAM AND EVE is a powerful, brooding feminist statement about men who "leave you in the morning".

OUT OF ME, ONTO YOU is more or less ... a curse on someone you hate.

I think DILATE is a gem, and every Ani fan should take it back out again and listen to it with fresh ears.

A Jerk with the heartache
Intrigued by the cover, I bought this cd, coincidentally after getting dumped. Then while acustoming myself to the album, I got rejected incessently. My pain was captured perfectly by Ani's Dilate. Its now one of my favorite albums. So sad, so beautiful. It is the perfect crawling into a corner and crying album.

On my "My Fifteen Favorite Albums Ever" list
My favorite Ani songs are scattered across all her albums, so it was tough to pick one album as my favorite, but if forced I'd have to pick Dilate, not for having the most faves but the best total effect. In fact it contains neither of my absolute favorite Ani songs, Not A Pretty Girl and Little Plastic Castles. But this is Difranco at her aggressive folk best, lacking the later jazz and world music influences. Superhero and Napoleon stand out, but all the tracks are clever and moving. ... Read more

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Like Blondie, Berlin is a female-fronted new wave band with a lead singer (Terri Nunn) who can really belt, although Nunn is more in-your-face than Debbie Harry. Their music is submerged new wave synth-pop that is varied most successfully by Nunn's agile vocal arrangements. In "No More Words," she first yells and then drops to a scathing whisper, only to attack again; it's scary enough to make any man cower. "Take My Breath Away" is a beautiful from-the-gut ballad, so large and deep in scope that it commands your full attention. In "The Metro" she puts you on a train, sullen and melancholy, going nowhere. --Beth Bessmer ... Read more

Reviews (24)

A Good Collection from Berlin
Berlin was pretty popular in the '80's and are still touring today. Terri Nunn and John Crawford have been the creative force behind this band. With Nunn's trademark feminine attitude vocals, and Crawford's songwriting and playing, there was no other band like Berlin. This is definately a good collection of the bands greatest...and most recognizable songs. Yes, of course it has the popular "Take My Breath Away" from the movie "Top Gun" which was one of the biggest songs during the summer of 1986. It was Berlin's 15 minutes of fame, but it wasn't really representative of the band. But they did deserve those 15 minutes. But anyways, there some great songs here, that are all on one disc so you don't have to go through the trouble of collecting all of their sometimes bland albums. Songs like "The Metro," "No More Words", and the playful "Sex (I'm A...)" also deserve attention. There also are some songs on here that you can't get anywhere else the rockin' "Blowin' Sky High" and a new(a more dramatic) version of "All Tomorrows Lies" which the cheesy version appears on their 1984 hit album "Love Life". Over all, this is a worth while purchase! Hot songs from a Hot Band! And Terri Nunn rocks!!!

tell me why?
for the casual fan of berlin in the eighties or for someone who never really heard their full work, this is an awesome cd at a reasonable cost. sad to say, berlin hasn't been together for sometime & terri nunn's solo work with the album "moment of truth" didn't seem to do as well as we'd hoped. however, there are still fans of berlin & the band does tour from time to time. i've read that there are no original members aside from ms. nunn but there was a reunion tour not that long ago with members of the original line-up. hmm, interesting. well, i'm getting away from my review. although best of does feature some of the greatest songs in their career from 1979-1988, it is by no means all inclusive. i would've loved it so much more if 'pleasure victim' or 'tell me why' had been included here. however, i do love the remake or remix of 'all tomorrow's lies" which in my opinion is far better than the original in all respects. this version is more of soft ballad for fans who loved 'take my breath away'. after all, many of berlin's greatest & devoted fans came to know this music after seeing the film "top gun" in the eighties. although "take my breath away' is indeed a beautiful song, there are so many other great classics by this group which deserve as much attention. some of my favorite tracks include 'no more words', 'metro', & 'masquerade' to name just a few. if you loved the eighties or liked retro music, this is a must album for your collection. if you are glad the eighties are long gone, you still might enjoy the wonderful voice of terri nunn & the craftmanship known as the band berlin. i listen to this cd year in & year out. this is a great exaple or a blueprint perhaps of what could've been the biggest band in the eighties. tell me why they weren't bigger than they were?

Berlin reminds me of Blondie! Thats why I like them!
A great band that did some wonderful songs back in the 1980s. "Take My Breath Away" is a sure hit from the movie "Top Gun". Terri's vocals I just astonishing in this song! "No More Words" is just one of them dance songs that everybody likes. "The Metro" is very energetic and is definetly the sound of Berlin all the way!!! "Sex (I'm a...)" is one of those songs with suggestive lyrics. Its a great song and one of the bands best! Berlin is just like a younger version of Blondie.

Not the sound from Take My Breath Away
Many people have heard of the group Berlin from their #1 song "Take My Breath Away" from the motion picture "Top Gun". But I find that few people know Berlin. The sound you hear from Berlin on that #1 song is very different than what Berlin normally does. Berlin's has a very heavy synthesizer laden 1980s sound. It also has a reflection of its name with a very European pop sound despite the fact the band is Los Angeles based. The "Best of Berlin" covers the period from 1979-1988 in which Terri Nunn was the lead singer (Nunn would leave to pursue a solo career and return to the band a decade later). If you haven't heard the sound of Berlin, get ready for something very different than "Take My Breath Away", but also be warned Berlin does have suggestive lyrics and in the case of "Sex (I'm a)" - very explicit lyrics.

The explicit lyrics in "Sex (I'm a) are pretty graphic. The point of mentioning this isn't to pass judgement, but awareness. Many people today look back at 80s music and want to share the music they loved as a child. If you are thinking of sharing the music of Berlin, you may want to take the graphic nature of this song into consideration. In the song, Terri sings in very interesting duet with who I believe is bassist and Berlin founder John Crawford. This song got a lot of flak back in 1980 because up to that point, it was probably one the most graphic hit songs that had been released in the Rock era.

But there are other songs from Berlin that aren't controversial and are highly entertaining. There are two very "European" sounding songs in "No More Words" and "The Metro". "No More Words" is a song from 1984. It has some level of suggestive overtones, but isn't nearly in the category of the song "Sex". There is some catchy synthesizers in this song. Terri Nunn shows great range as a vocalist in this song - especially as she sings the chorus of "No More Words". "The Metro" is a song from the early days (1982) and is even more European sounding in that it has a European theme. The romantic story for "The Metro" takes place in Europe and features a European ambluence sound toward the end. Like on "No More Words", Terri is going to show some grear ranges in vocals. Perhaps one of the best songs is "You Don't Know". This was a song written by John Crawford and not only features great Terri Nunn vocals, but musically is one of the better of the syntho-pop tracks on the collection.

Like many "Best of" compilations - in order to generate a demand for sales among the core fans, a new song is included. The "Best of Berlin" collection leads off with a new song called "Blowin Sky High". "Blowin Sky High" is a very good song by Berlin. This song features a nice guitar intro to the song, then Terri's vocals fold in followed by some synthesizers. By the chorus, Terri's vocals are in high gear. "Like Flames" is another nice song that starts off with a nice European whistle theme, then a very - almost ABBA like chorus of la-la-la-la. When I listen to "Like Flames", I sort of get a feel that the group ABBA had an influence on them musically - although Terri Nunn sounds nothing like Agnetha or Frieda. Tracks also worth noting that are very good are "Now It's My Turn", "Will I Ever Understand You" and "Masquerade".

Finally as for the hit song "Take My Breath Away", it is the weakest track on the collection. It doesn't seem like a track that fits into the type of music that Berlin does. There is a connection though. Back in 1984, Giorgio Moroder - the keyboardist and composer famous for the "Midnight Express" theme produced "No More Words" for Berlin. Moroder was also the author of "Take My Breath Away", and as a result must of played a role in convincing Berlin to do that song. Moroder also produced the song. Although I am a Moroder fan, this song doesn't do much for me.

The collection contains 12 Berlin songs from the heyday of Terri Nunn's association with Berlin. In the liner notes, there are no lyrics and no album titles for the songs. There is one page that tells the Berlin lineup and lists all of the members of the band as well as the corresponding dates each member was in the band. There is a listing of musician credits - although it is very hard to read. The rest of the liner notes contain lots of pictures of Terri and the band. I usually prefer a greatest hits CD to be in chronological order in which the songs were released. In this case, the songs are mixed up.

There is some good music that Berlin has to offer. Berlin is getting a lot of airplay as an 80s band who has gotten back together and this collection will give you some of the best songs. With some of the lyrics on this album, it is important as a consumer to be aware of this when purchasing the CD and listening to the music.

The Best of Berlin 1979-1988
The Best of Berlin 1979-1988~ Berlin is a nice collection of good 80's music. Take my breath away has been played to many times but it is not a bad tune. ... Read more

Album Description

a-ha celebrates their 20th anniversary with the release of a new singles collection. Throughout their career, a-ha has officially released 32 singles. 13 of them became top ten singles in the UK, and 14 singles have been number one on the radio lists over the world. The new singles album includes some of the highlights from a-ha’s last 20 years. 2004. ... Read more

Reviews (10)

"Don't Drink. Don't Smoke. What Do You Do?"
Confessing that you like Adam Ant still won't win you credibility points in a few elite circles, but the truth remains that he was one of pop music's most vibrant figures in the last 25 years. Often a collaboration with guitarist Marco Pirroni, the music of Adam Ant (born Stuart Leslie Goddard) was a hybrid of punk rock, African tribal rhythms, and pop sensibilities that dominated the UK charts for much of the early 1980s. And though his popularity waned by the release of 1985's catastrophic "Vive Le Rock," fans were still humming to many of his hits. Speaking of hits, "Essential Adam Ant" is a collection of his work from 1979 right up to 1995's "Wonderful." Digitally remastered for superior sound, these hits give me back some fond memories of the good old days. The most familiar track is the Top 20 hit "Goody Two Shoes," but there are other fun tunes like "Stand and Deliver," "Desperate but Not Serious," and the Phil Collins-produced "Strip." While the previous compilation "Antics in the Forbidden Zone" has more tracks, "Essential" covers his material more comprehensively and includes his work from the 1990s. It's unlikely that he'll ever make such a big splash as he did 20 years ago, but we can always turn to this disc as a reminder of why he was so popular in the first place.

More Concise than "Antics"
Adam and The Ants were probably more exciting than their actual music, but while they were shaking people up with their antics, they were great fun. Their lone really good album, "Kings Of The Wild Frontier," is well represented here, but with the exception of updating the song list to include a couple of later day 80's and 90's songs, it's hard to call any of this music "essential." The digital remaster does enhance the flat sounding CD's from Ant's career, and maybe a notch better than "Antics." I'm also grateful that someone realized that, historically, "Dirk Wears White Sox" smelled of old laundry, and limited this collection solely to "Zerox" from his formative period.

If you remember the post-"Dirk" videos and songs fondly, this is an entertaining byproduct of the video happy era when "Antmusic" lured in hip college and high schoolers (I was a college junior at the time). So to my tastes, I'd had wished for "Beat My Guest" over the vile annoyance of "Ant Rap" and the inclusion of "Vive Le Rock" from the album of the same name. Had that been the track listing, I may have bumped the CD up a star. But like most of the many labels "Essential/Millenium" styled series, there seems to be an unwritten rule to give not quite everything worth having on each disc.

These days, Adam's personal problems are certainly overshadowing his days of rock and roll notoriety. But there's just no denying it, when Adam and secret weapon/guitarist Marco were in their prime, they racked up a string of hooky singles that most song writers would sell their beads and makeup for. Even his last two hits (the dance heavy "Room At The Top" and the dreamy "Wonderful") have a certain charm that belie Adam's 15 year run as a record maker.

Brings back memories of high school
i own all the the ablums and cassettes, i also have some hard to find imports. this cd will go great with my collection. now i can listen to adam ant in my car.

edit
oops- i meant to say replace apollo 9 with live version of vive le rock from live aid, on the last review

comprehensive collection
My 20+ years of adoration for this man and his music would only warrant 5 stars.
1978- Zerox (Punk Era)If you recall the late 70s it was filled with disco and manilo, and this was just so opposite of that.
1980- Kings of the Wild Frontier,Dog Eat Dog,Antmusic,Your'e So Physical- All of these tracks are strong and original.
1981- Stand and Deliver, Prince Charming
1982-Friend or Foe, Goody 2 Shoes, Desperate but Not Serious,Place in the Country - Signature sound of the "80s"
1983- Strip, Puss n' Boots
1985- Apollo 9
1990- Room At The Top
1995- Wonderful - Excellent song! One of my all time favs.

** I do like this collection but I would have preferred a few different tracks. I think that they should have ditched the Apollo 9 track, and used the version from Live-Aid because it was/is infinately better.
** Can't Set Rules About Love should have been on this instead of Room at the Top, if they had to pick one from that album.
** Vampires and Beautiful Dream should have been considered from the Wonderful CD.

The early stuff is the best, but overall a nice collection. ... Read more

Amazon.com

Long before the idiom "talk to the hand" entered public discourse, Cy Curnin was singing to his, a melodramatic tic that made Fixx videos and live shows seem pretentious, or at least odd. But beyond their frontman's Bowie affectations, the Fixx showed a consistent pop sensibility that earned them a loyal fan base in the United States, despite little success in their native England. And while early collaborations with producer Rupert Hines may have yielded their best work ("Stand or Fall," "One Thing Leads to Another," "Red Skies," "Saved By Zero"), this generous collection shows the band was capable of cooking up hooks throughout its decade-long run. --Bill Forman ... Read more

Reviews (14)

Yes, yes, yes, The Fixx' ultimate hits are all here, yeah!
For a while, all I knew by this group was of course, "One Thing Leads To Another", and the two of 1991, "How Much Is Enough" and "No One Has To Cry". But with this compilation, I can listen to the whole thing and not skip over a single song! These guys released some great Brit-Rock in the '80's, with my favorites being "Saved By Zero", "Are We Ourselves?", "A Letter To Both Sides", and "Built For The Future". I highly recommend this album, so I suggest you pick it up soon, for a great collection of cool rock. The Fixx sticks out in the rock world, with this CD, that's for sure!

80's Synth Pop At Its Best !
The Fixx helped defined the 80's with a fabulous brand of calculated synth pop combined with the uniqueness of singer Cy Curnin urgent vocal delivery. Sharp, gleaming and cascading guitar work by Jaime West-Oram along with the spacey keyboards of Rupert Greenall completed a very successful formula that propelled this band to stardom. Coming about during the early days of MTV with the all-time great song "Stand Or Fall", the Fixx reached their ultimate peak with their commercially successful "Reach The Beach" album in 1983. The "Ultimate Collection" is an extremely comprehensive collecton of the best material and covers all the bases very nicely. I can think of maybe one or two songs that could have been added (the cool "Precious Stone" off the "Calm Animals" album is one of them) but it is a personal favorite. Anyway, on this remastered edition CD, the clarity and sound is absolutely wonderful. This CD is definitely worth the purchase. Enjoy!

One-stop shopping to get your Fixx fix!
This collection truly lives up to its name, delivering all of the obvious hits along with the not-so-obvious ones. Obscure latter day singles like "Driven Out" and the excellent but overlooked "How Much Is Enough" share space with classics like "Saved By Zero", "Deeper And Deeper", "Secret Separation", "The Sign Of Fire", "Are We Ourselves?", "Red Skies", "Stand Or Fall", and the omnipresent "One Thing Leads To Another". And it's all the original recordings, not some cop-out live versions that previous best-ofs included. In between, unfamiliar album tracks delve a little deeper into the Fixx's sound, for a truly great overview of this underrated band! The only thing bad about it? The cheesy, cheap-looking cover makes it look like some budget-line compilation you'd see sitting on the counter at a truck stop. Don't be deceived though, this is truly the Ultimate Collection of the Fixx's music.

The Ultimate Collection, indeed
The Fixx were an eighties new wave rock band, and an excellent one, too. Recently, this hits compilation was released for the band. How does it measure up? Read on and see.

PROS:
If you're looking for the band's biggest hit, One Thing Leads To Another, you'll find it here, as if there was any doubt. The band's best song, Saved By Zero, is also present (I bought this CD just to get it.) And who could overlook Red Skies? It's another masterpiece. The other tracks are no less excellent.

CONS:
There's really nothing bad I can say about this compilation, other than the fact that a few album tracks were more deserving than some songs that got put on here.

OVERALL:
This is a great compilation, way better than the Twentieth Century Masters one. Get this one, not that one!

good tune not for the meek
You must have an ear for new wave pop to get a good feel for this album.This music never wimps out.All original.... ... Read more

Album Description

Limited & numbered edition digipak features 4 tracks'Moments In Love', 'Beatbox Diversion 10'(AnotherMoment...Do This And Don't Do That...), 'Moments In Love'(Beaten) & 'Moments In Love' (Original video). ... Read more

Reviews (1)

Nice Collectors Addition
I am a huge Art of Noise fan. This is a nice addition to add to your collection. The only reason I did not give it 5 stars is because a couple of the songs was mastered from a record, but still sounds good. ... Read more

Amazon.com essential recording

Observe as David Byrne finally learns to dance. Non-Western sounds and funky rhythms had infected Talking Heads music prior to this 1983 pop breakthrough, but Speaking in Tongues is where the beat truly gels. The band's quirky, nerdy persona somehow blends easily with music borrowed from the African Diaspora on "Stop Making Sense" and "Burning Down the House." The album also marks one of the last true band collaborations, before Byrne reduced his partners to mere sidemen. If their edgier early albums now sound more challenging and unique in hindsight, Speaking in Tongues at least documents the New York quartet's singular blend of World Beat, art school rock, and the always irresistible dancefloor. --Steve Appleford ... Read more

Reviews (29)

Who are these guys?
I remember the first time I ever heard this disc (actually LP)was in Northern Lights Music Store in Minneapolis shortly after it was released. Burning Down the House came on massively loud and frankly I was stunned. I had never heard anything so quasi-funky/rocky sort of thing in my life. I thought.....who are these guys? Needless to say I wasn't listening to the Heads much then, but this album changed all that and a whole lot more. From this I discovered their older stuff and have really enjoyed them ever since that mind altering day in Minneapolis.

Anyway, in my opinion the best of the disc, and because of these tracks the reason you should buy it:

1. Girlfriend is Better
2. Making Flippy Flop
3. Naive Melody (Absolutely beautiful)
4. Pull Up the Roots
5. Burning Down the House

Talking Heads: 77, Little Creatures and Stop Making Sense are all superb in their own right, but it all started right here for me and I'm really glad I was in that store that day.

A DEFINING MOMENT
First, I must start by saying to that seemingly uncultured fan from New Orleans, I now understand why Brittany Spears comes from there.
How can you not "get" SPEAKING IN TONGUES? This, to me, was Talking Heads defining moment, with the subsequent film, Stop Making Sense. I lived near these guys in Long Island City & listened to them create these & many other great pieces of music back in the day. I was entranced by their sensibility & style. This album meshes African, funk, rock, electronica, gospel, pop & dance into a collage of jubilation of life. One must be glad to be alive to witness such an inspiring group of songs. Quirky beats that sound like hearbeats, nervous tics, hiccups, spasms - things in life. Things that are off kilter - real!!!! With guest artists like Nona Hendryx, Wally Badarou, Bernie Worrell & Dolette Macdonald (later in Sting's crew) one cannot go wrong. "Burnin..." is a musical classic already, Slippery People 's style has been copied by everyone from R.E.M. to Billy Joel with its's choir reply chorus. Pull up the Roots could force the dead to dance. With "Swamp", Byrne offers the singer an education on working a character into song without sounding like an idiot. Ok, maybe MOON ROCKS isn't so interesting. But, it doesn't take anything away from this incredible band's masterpiece. I didn't think it could get better that Remain In Light, but I knew I was wrong from the second I heard this one. They did break up at the right time. I commend them for that. But I'd love to see them get together for one big reunion tour before they are all too old!!! They deserved to be loved live by their old following!!!

worth it for one song
"this must be the place" is not only the best song the heads ever recorded, it's one of the best songs you're ever going to hear. absolutely moving.

Disjointed lyrics to fit your life to
My memories of Friday nights when I was in high school center around two things: playing in the band at football games and watching late night TV while eating a much-delayed dinner afterwards. In the early part of the 1980s, the show that I tuned in was Wolfman Jack's Midnight Special, where I was first exposed to the music video form, since we lived outside of town and didn't have MTV. I recall seeing Nick Lowe's "Cruel to Be Kind," Elvis Costello's "Accidents Will Happen," Queen's "Bohemian Rhapsody," Alice Cooper's "How You Gonna See Me Now," and Talking Heads' "Burning Down the House." These songs were staples of rock radio, even if the artists weren't, and the video portion did exactly what it was supposed to: increase my interest in the artist.

I didn't buy Speaking in Tongues until 1985, when most others had already moved on to other, newer, albums. But I was commuting back-and-forth between my home in Gatesville and community college in Killeen, a trip of roughly 40 minutes, and my soundtrack for that commute quickly became this album by Talking Heads which I had found in a used cassette store outside the local army base, Ft. Hood.

Why this album? A combination of circumstances surrounded it, making it appropos of the moment. I was living at home and attending Central Texas College because I had flunked out of the University of Texas at Austin, and the white-guy funk of David Byrne somehow matched the awkwardness of my situation, while being bouncy enough to keep my spirits up on that depressing commute, taking my mind off my failure and uncertain future. The fact that the lyrics of this album are an associative mass rather than a logical series allowed me to connect every song to my personal situation.

I can recall as if it were yesterday putting the steering wheel of a Ford Escort in my hands, bouncing in my seat as I sing-a-long with Byrne. From the gospelish chorus of "Swamp" to the infectious beat and call-and-response of "Slippery People," I would join in on each song, probably surprising a number of the pickups that passed me by with my spasmodic renditions of Bryne's stage moves.

And then there's that last song, a paeon to the comfort of home. Byrne sings, "Home is where I want to be, but I guess I'm already there" perfectly captured my confusion of appreciating that I had this generous spot to fall-back on while at the same time wanting to be somewhere else (a home of my own, not one made by my parents). The song always seemed to be playing as I drove up the hill to the house, too. It, and the other songs on this album, never fail to take me back to that time, even now that I've moved far from that home. But then, isn't that one of the functions of music?

The Talking Heads Find American Funk...
Talking Heads, the seminal mainstream art band of the 1980's find American funk in its fullest form. David Byrne once said that Speaking in Tongues was an opportunity to make music similar to Remain in Light, but to make it less dense. Well he did accomplish that in a way, except the music contains more Parliament then Fela Kuti, the synths here are much more noticible and the music once again centers itself around Chris Franz heavy 4/4 drumming and uses the complex African percussion as more of an effect than an actual way to keep rythm. This made Speaking in Tongues their pop breakthrough, and their first slip up.

The abscence of long time producer, and virtual fifth member takes its toll here, and with the new technology the electronics became shaper, more varying and as a result they lost the organic sound achieved on their Eno assisted albums, especially Remain in Light. Gone are the harsh griding sound of "Life During Wartime", and in are the George Clintonesque colorful synth squiggles of "Girlfriend is Better". And thats not the last of George Clinton here, just listen to "Making Flippy Floppy" and then listen to "One Nation Under a Groove" from Clinton's mega-band Funkadelic.

But here the Talking Heads lose their edge, they do manage to make their brand of funk unique to them, but here is where their influences outweigh their own unique contributions, its not by mutch but compared to the unique dance mausic they ceated on Remain in Light, this just seems weak, for any other band this album would probably have been their best, but for the Talking Heads it is their first less than brilliant release. But for first time or inexperienced listner, this is a good album to get after Stop Making Sence because it happy and pop oriented, but still contains the much of the inventiveness of earlier releases, plus it has "Burning Down the House" which is the most popular and well known Talking Heads song.

The problem I have with this version of the album is that it unfortunatly is simply a copy from the tapes used to record the original material. It hasn't been digitally remastered, and the complete absence of bonus material is a major downside. It is such a mystery to me why the Talking Heads catalogue has been treated so poorly by record companies, but for now its the best we're gonna get. ... Read more