Reviews (2)

Excellent!
Worth the price alone for the superb 5.1 Dolby Mix, excellent version of this album!

Can't Say Enough Good About This Version
Wow!That's about all I can say. The 5.1 surround version of the record is just amazing, and I don't even have a surround system!All I did was pipe it through my Hitachi 50' LCD TV speakers and the sound just BOOMS out!I can't imagine how good the detail would be with an actual 5.1 speaker system.The sound is clear and bright and again, Amazing!The DVD side plays the 5.1 version and has some nice graphics to accompany the music on your TV screen.There are 3 NEW documentaries, none of which last over 20 minutes or so."Back Together Again" is the most interesting with comments about each of the band members from the other guys. Making the "Sunrise" video is interesting, especially the part with Nick Rhodes being carted around London in a bubble.The "Astronaut" launch promo event documentary is great except that they stopped right before the LA Virgin Record store signing that I was at!For the price of the regular CD, this package is a real bargain.

Check my other reviews to see my rating for the regular CD version of "Astronaut". ... Read more

Amazon.com

Talking Heads drummer Chris Franz and bassist Tina Weymouth formed Tom Tom Club to continue exploring the polyrhythmic experiments conducted on the Heads' Remain in Light release. On this self-titled debut, the husband-and-wife team mixed urban and arty new wave elements, generating two mammoth dance-floor hits. "Wordy Rappinghood" is a study in art-school rap as it percolates along with the help of funk beats and synthesized bleeps. The brilliant "Genius of Love" gives props to James Brown. A slow, slinky funk masterpiece, it includes call-and-response vocals, a rap, and a lilting melody. "L'Elephant" is a pure delight, rollicking like a nursery rhyme from some ultrahip daycare center. The band also tackles the doo-wop standard "Under the Boardwalk," though it feels like a mere novelty item. Still, Tom Tom Club proves that David Byrne wasn't the only genius in Talking Heads. --Steve Gdula ... Read more

Reviews (20)

Should've been called Pet Rock
I think the whole point of this album was to see just what Tina & Co. could get away with. Genius of Love has a pretty good groove, but it's just James & the Flames all synthed up. Wordy Rappinghood was just making fun of the rap scene/sound. I think the rest is making fun of Dave Burn - they're saying the band lost any pretensions of making punk/new-wave and now was just riding the latest pop trends. Of course that didn't stop them from riding Dave's money train thru the 80's!

one of all time best
This album, relased in the early 1980's was an early "cross over" that influenced most white funk/rap that would follow. Funk-meets-reggae-meets King Crimson. If you like Mariah Carey with the sound on, you may only like Genius of Love (a great song, yes, but one of many on this album). However, if you are a fan of the Talking Heads, Adrian Belew, Eno, etc., you are bound to love this record. If you are a fan of Belew's, this is a must have. He was essential to the sound of this record. As a sad note, I have read that he never was paid for his performance on this album. It may be dated, but it still plays like new.

Horrible
Don't let Genius Of Love fool you. Although "Genius" is one of my favorite songs of all time, this is without question the worst album I have ever bought. Not one of the worst - the single worst album I have ever bought. Stay away!!! I beg of you.

2 hits!!
THE MAIN WORTHWHILE SONGS ON THIS CD ARE OF COURSE, "GENIOUS OF LOVE" N' "UNDER THE BOARDWALK " NUFF SAID!

"Genius Of Love" is the so-called "classic" here...
...and the other songs are fairly forgettable. But let's take a closer look at "Genius Of Love," the "'80s classic" that so many reviewers have described as quirky, fun, innocent, zany, whimsical, a song that captures the fun spirit the '80s, and represents everything that was "savvy" about the '80s.

Quirky, zany fun, huh? "I'm in heaven with my boyfriend..." "We went insane when we took cocaine."

Great. What a lovely, "zany" sentiment.

The subversive has become mainstream, and songs with questionable lyrics are the new "classics." Of course, this was tame compared to the utter garbage that comes from the mouths of rap "musicians" these days. Stuff like this would have gotten banned completely from the airwaves, as recently as the 1960's. We've come a long way since then.....downhill, that is. ... Read more

Reviews (5)

Where are the real great tunes?
Where is Roadrunner? Another Lonely Saturday Night? The Girl Most Likely? Valerie? That's When The Music Starts? Jeez - remember KMEL?

The highlights of a lightweight artist
I'll confess that I rarely listen to any other songs on this CD other than "Jeapordy," "The Breakup Song" and "Can't Stop Hurtin' Myself." They were the highlights of Greg Khin's pop songwriting career. The rest are now very dated sounding faux new wave. And the less said about the awful cover of Bruce Springsteen's "For You," the better. (Hey, at least Manfred Mann's Earth Band gave the song some flair!) This is as complete a collection of Khin as you could want. Why you'd ever want more is beyond me.

so-so
I wasn't to crazy about Greg Kihn on a Whole but Jeopardy was the cut.it still rocks to this day.Much of The Songs here are so-so.But when he hits upon a good track it's Worth Checking out.

Remember Those Friday Afternoons At UC Berkeley?
A highly underrated artist/songwriter. This is just the tip of the iceberg. How about re-releasing his first two albums?

One of the great Rock and Rollers!
This is a great collection of songs from the Greg Kihn Band featuring some great early accoustic numbers, some Bruce Springsteen covers,and excellent original compositions like "Remember", "Jeopardy", "The Breakup Song", "Lucky", and many others. Highly recommended. ... Read more

Amazon.com

The defining moment of 1985's Live Aid music festival was U2's pulsing, magical performance of "Bad," where Bono climbed down into the audience and danced with a young woman while millions watched, for almost 20 minutes. The album version of the song wasn't anywhere near that amazing, so the centerpiece of the four-song Wide Awake EP, released in a hurry after Live Aid, is another gorgeously drawn-out live take on "Bad." It's augmented by two rather nice outtakes from the Unforgettable Fire sessions (which had previously appeared as British B-sides), both more showcases for the band's collaborative electricity than good songs per se, and another solid live recording. --Douglas Wolk ... Read more

Reviews (37)

U2 at Live Aid in 1986 one of the best live performances
This is U2's second live album. It's their two performances at Live Aid in 1986, and two b-sides. The live performance of "A Sort Of Homecoming" is great, but, there's no denying that U2 released this four-track live album for one purpose, to give their fans an album with their historic performance of "Bad" on it. That performance lasted eight minutes, pretty long for a rock song, and there was absolutely, positively, good reason for it. There was so much emotion in the whole performance, Bono's always heartfelt singing, the rhythm section made up of Adam Clayton and Larry Mullen Jr., and The Edge's superb guitaring, with solos that went on for what seemed like minutes. This unbelievable live performance really proved that U2 was the best live band around.

A Great But Pricey Performance
Although I paid full price for this CD when I bought it 11 years ago, I still think it was worth the money. Mainly because the live version of "Bad" is nothing less than great! This EP shows U2 at its best both in the studio and in concert.

"Love Comes Tumbling" and "Three Sunrises" are polished pieces that should've been included in "The Unforgettable Fire" CD. Given the overall weakness of UF, these two cuts alone would've helped raise the caliber of that album.

"Sort of Homecoming" is an outstanding live perfomance that makes the studio version of this song seem pathetic. Without a doubt, the live version of "Bad" is among rock's gold standard of concert recordings. The rhythm section of Mullen and Clayton are solid and very much in harmony here and Edge's chiming guitar is vintage U2!

I agree this disc ain't cheap but what's on here is worth the price of admission. Buy it. You won't regret it.

Wide Awake
After the "Unforgettable Fire Tour", which accompanyed the album of the same title, U2 had some side gigs. They played some gigs for Amnesty International's Conspiracy Of Hope tour, and they played Live Aid. This EP is simply two live songs from that period of time, plus two b-sides from that period of time. Note that the version of "Bad" on this EP is unequivically NOT the legendary Live Aid version that spanned the better part of 30 minutes. U2 never officially released that track, a smart move in my opinion, as it preserves the mistique of that performance.

Back to this EP, "Bad" and "A Sort Of Homecoming" are great, and it was also a good place to hear the b-sides "Love Comes Tumbling" and "The Three Sunrises" for those who hadn't heard it before. In this time period, especially with the Live Aid performance of "Bad", the public was 'wide awake' with anticipation for what this band would do next, which put quite a bit of pressure on U2 for their next LP. U2 were on the brink of superstardom, but not even they knew what their next LP would start.

Triumph...
Amazing...

Bad is always a great live track. This version is well defined and smooth compared to Live Aid, yet still packs that punch.

A Sort Of Homecoming - For those who dont read U2 books then let me burst the bubble for you. This version was recorded at soundcheck. The crowd was put on after. Still, its a great track and gives you a clearer picture of the song. The original is on a par but very different. The unfocused becomes focused if you like.

Three Sunrises - I used to love this track (and still do) and had a great time watching them record it on the Unforgettable Fire video.

Love Comes Tumbling - Bono in real Bono vocal mode. So many people tried to emulate this style and still do - see Baby Bird. I have a version of this with different lyrics which is very weird.

Overall, a great EP and an absolute must for that U2 collection.

Cheers...

A teaser, and a good one at that
All four tracks on Wide Awake in America are really great. The two Unforgettable Fire outtakes, Love Comes Tumbling and the Three Sunrises, should have made the album in order to distract you from the pieces of "filler" that made it on there instead (Elivs Presley and America). And the two live songs are oustanding. Bad comes across much more spirited and moody onstage than it did in the Slaine Castle recording sessions. Go figure. And A Sort of Homecoming, Unforgettable Fire's best song, gets a faithful performance.

But that's it. Four songs, twenty-some minutes, nothing else. And when it is done, you want more of the same. So here's a little hint for Island records: either expand Wide Awake in America (stuff from Live Aid or more b-sides) or keep it as it is and charge an EP price for it. The LP price isn't fair, unless it's actually an LP. Good grief. ... Read more

Amazon.com

Yaz (Yazoo in England) released only two albums during their short but influential existence, so a "best-of" album seems rather farfetched. Still, Depeche Mode ex-patriot Vince Clarke's music was a major influence preceding synthpop's dominance in the '80s, and their deepening obscurity makes them a prime candidate for a well-done retrospective. If only this one qualified. There are a few happy inclusions, like the lovelorn "Midnight," with Alison Moyet's soulful croon waxing over Clarke's omnipresent, light-as-air keyboard programs. The sweetly wistful "Mr. Blue" will provoke whiplash nostalgia in many a twentysomething, its melancholic chorus reflecting the awkward yet hopeful qualities of adolescence. Overall, though, curious choices abound. "Goodbye Seventies" is so forced it's almost camp, a song that the talented Moyet would likely rather forget, given her undisciplined yelping during the chorus. It's a mystery why the inoffensive but uneventful "Tuesday" was included here, while the excellent "In My Room," a Yaz staple for good reason, was not. Even the remixes included here are less than stellar. While Todd Terry's interpretation of "Don't Go" rips out a decent groove, the latest version of the dance-floor staple "Situation" starts strong but runs out of steam as the source material gets sacrificed in favor of overtly cute DJ permutations. While it's to Yaz's credit that enough good material can be found in their two-album catalog to make a best-of album at all, sadly, this collection fails at the attempt. --Matthew Cooke ... Read more

Reviews (15)

SOME of the Best of Yaz(oo)
Frankly, with the exception of the wretched "Goodbye Seventies", you can't fault the music here. Yazoo was a great band and the very fact that a "best-of" could be culled from just two albums says quite a bit about Alf and Vince's talent and ambitions. However, not only does this disc omit one of the duo's best and catchiest tunes, "Walk Away from Love", but it relies too heavily on remixes. Wouldn't it have been enough to have included just the original version of "Situation" or just a dance mix of "Don't Go"? Granted, these songs are eternal classics and could never wear out their welcome, but such a repetitious compilation is bad value. Unless you're desperate to own the otherwise unavailable "Tuesday", I'd suggest you pick up the pair of proper albums and a 12" or two. It might cost you more (and you WILL have to endure that horrific tape-loop thing on "Upstairs at Eric's") but only then will you get the whole picture of this fantastic and sadly short-lived outfit.

By the way, those impressed by this music will probably want to pick up Alison Moyet's great first album, on which she gets to unleash her pipes full-throttle, and the first couple of Erasure albums, on which Andy Bell uncannily reproduces her style and mannerisms almost verbatim.

Attention new fans!
Here's some good synth music from Yaz, the very short-lived but influential early 80's pop group, together with a few new remixes. However if you don't already have the two Yaz albums, start with buying them first before picking up this disc. This compilation misses some very good album cuts and there's nothing really special here that cannot be found on "Upstairs At Eric's" or "You And Me Both". The upside is the improved sound quality of the tracks, but it's disappointing they have included only one of the original extended remixes (Situation - US 12" mix).

The Remastering Is Brilliant!!! 4 and 1/2 Stars Overall!
Buy this for the remastered music! Woah. A fantastic job done in remastering (1999) by Mike Marsh and Roland Brown (according to the liner notes). I would have never guessed much of this music was recorded in 1982 or 1983 because it sounds almost as good sound quality-wise as anything released today. The bass totally stands out and the beats are crisp! I was driving home from work today and was blown away at how good "Don't Go" sounded on my car stereo. Brilliant job guys! The remastering alone, in my opinion, is enough reason to pick this album up! I could go on and on about this, but I think you get the point!

I ordered 'The Best Of Yaz' really just out of curiosity after downloading "Only You." I can't really recall what encouraged me to download it (probably some review at Amazon.com), but I really liked the song. Since I already loved "Situation," I decided to give in and buy this "best of," imagining there had to be something else I would like. It turns out I really like most of the tracks here and ended up remembering such tunes as "Don't Go" and "State Farm" from somewhere! Both tracks make me want to dance!

A lot of the material really stands out from this time period! It's hard for me to believe that much of it was released in 1982 and 1983 (when I was only 1 or 2 years old!) Some of the tunes are really interesting, namely "Ode To Boy" which has this really cool laid-back groovy feel. I love this! "Winter Kills" is haunting. And I love the chorus in "Mr Blue." These are songs I don't ever remember hearing before and only in a few days I fell in love with them.

After doing a little research and reading other reviews of this title, I realized that there are a few key tracks missing, namely "Other Side Of Love" which was a #13 U.K. hit single in 1983. There's about 17 minutes extra space on this disc, so I don't understand why it wasn't filled to capacity with this song, along with a few other key album tracks.

As for those saying that it's better off just to buy their 2 albums, it's probably true. But I'm picky about sound quality, so I'll wait for remastered versions (hopefully with extended versions as bonus tracks)! Unfortunately, I don't see remastered albums coming anytime soon (considering this "best of" was released in 1999 and it's now 2004).

5 Stars for the remastering and 4 stars for the tracklisting. Overall, a solid collection of Yaz.

NOT a fitting tribute
This is NOT a fitting tribute to Yazoo, perhaps the best of the early eighties synth/vocal duos. Vince Clarke's brilliant pop songs married to the gorgeous voice of Alison Moyet added up to something far greater than the sum of its parts. Something magical that we will probably never see again ( Erasure is another story altogether, I won't go into that now. ) Yazoo's two releases are brilliant. End of story. But a really good best of from a duo with ( let's face it ) only TWO albums to their credit SHOULD have included more than the ( quite frankly ) done to death new style club mixes of old style club hits, like the ones presented here. Instead we US fans should have gotten either of the alternate versions of Situation ( the original UK 7" version or the re-recorded version from "The Other Side of Love" 12" single.) What we SHOULD have gotten instead of those few lousy new remixes are hard to find items, like the above mentioned UK only "Other Side of Love" single, or a few original 12" mixes of the singles. Such a shame, really, as the new remixes add nothing to the originals. They take up WAY too much time on the disc, time that should have been given to something that truly is WORTHY of inclusion on a Best Of compilation. I would have done it differently. ALl I can say is, buy Upstairs at Eric's or You and Me Both instead, and forget this.

Good band, but is a Best Of really necessary?
After Vince Clarke left Depeche Mode, he teamed up with Allison Moyet and formed the new wave duo known as Yaz (in some other countries, they are known as Yazoo for some reason.) Unlike most new wave bands, this one had a much more electronic sound to it. This is a best of compilation the band released. How does it measure up? Read on and see.

PROS:
If you're looking for Yaz's big radio hits, Only You, Don't Go, and Situation, you'll find all of them here. Plus, there are four mixes of songs that are tough to come by. Big fans of the band will appreciate these.

CONS:
Yaz only made TWO albums! Even if you're a casual fan, it's better just to get them. In fact, the only people who will really appreciate this compilation are die-hard fans of Yaz, or Clarke or Moyet, who want the rare mixes.

OVERALL:
This is a good compilation, but just get the band's two albums instead. It's worth the extra cash. ... Read more

Album Description

2003 remastered version of their 1984 album. 4AD. ... Read more

Reviews (6)

Strange yet familiar
The Cocteau Twins are the sort of band that has a very distinctive sound, unlike anything that has come before or since, and "Treasure" is an outstanding example of their sound.

Tracks like Otterly and Donimo, the last songs on the album, sound at once otherworldly and intensely familiar. Other reviewers have compared this music to the singing of angels, and that comparison isn't far off - it sounds like it's always been there, playing just beyond the range of your hearing as the sun rises (in the case of Donimo) or you drift off to sleep (for Otterly) or grin inwardly as you prepare a suprise for someone you love (Pandora, though oddly titled for it).

If you're new to the Cocteau Twins and looking for a place to start, "Treasure" is an ideal place to start as an early example of that distinctive otherworldly-familiar sound. If you're already a fan and looking for more, "Treasure" will be a welcome addition, as it combines the dreamlike vocals of Victorialand with the stronger instrumentations of "Milk and Kisses" and similar.

A timepiece never changes pace
Music that becomes you.
Words that surface like lost phrases of Dickinson.
From the celestial to the carnal, these songs soar,
dive, rise, and cut through the air.

Frazer is the great unknown poet.
Guthrie is the metaphysical architect.
Do yourself a favor.
Buy every single recording they ever made.

I Found the Sound with Cocteau Twins
Since 1988 I have collected everything by the Cocteau Twins I can get my hands on and still, after listening to all these albums for all these years 1984's "Treasure" still remains my absolute favorite. The first song on the CD "Ivo" gets your skin buzzing with the beautiful highs and lows of Elizabeth Frasier's voice, then song #2 Lorelei comes in and completely blows you away, and by the time #4 Persephone (my personal all-time favorite song) blasts through your speakers you're in a completely different world. It's a timeless and classic piece of art that will always sound as good as it did the first 100 times you listened to it. Other recommended Cocteau stuff. "4 Calender Cafe" is a must have album for songs like "Bluebeard" and "Know Who You Are at Every Age", any compilation with the song "Spangle Maker" on it such as "Pink Opaque" is a must have, and of course "Heaven or Las Vegas" is a well known Cocteau Twins classic for 10 absolutly perfect songs such as "Iceblink Luck", "Cherry Coloured Funk", "Pitch The Baby", and "Road River and Rails".

Floating Over Head
This CD by the Cocteau Twins makes me think angels do tread on the ground and have a habit of singing whatever they please. The music is lush but not lost, soaring yet not new age. The work is simply something you put on and listen to and enjoy the experience every time over time. I do not know of another band as successful with completely non-worded lyrics and atmospheric sound walls. The floating over head voices of the Cocteau Twins, enter the Treasure...

Matthew Hahn, www.movingtracks.com

This album is truly a "treasure"
I have always been meaning to check out the Cocteau Twins music over the years. I only have been exposed to a couple of songs of theirs over the years. I loved what I heard from my very limited exposure...the swirling yet lush guitars of Robin Guthrie and the angelic vocals of Elizabeth Frasier. While perusing one of my local favorite indie record stores after work today, I decided to see if they had any of the Cocteau Twins reissues and thankfully they did. I had a difficult time choosing which cd I wanted to get. It was between "Garlands" and "Treasure". I eventually decided upon "Treasure". I am so glad that I chose "Treasure". The music is simply breathtaking and moving to my ears. To say that Elizabeth Frasier has a lovely voice would be a gross understatement. Her vocals on "Treasure" took my breath away. I loved the album the moment I heard "Ivo" but the real winner on this album has to be "Donimo". That song is nothing short of amazing. All the songs on "Treasure" is a real gem and an early precursor to goth bands like Diva Destruction, Faith & the Muse, Lycia, and of course Black Tape for a Blue Girl with its gorgeous ethereal melodies. After listening to "Treasure" twice, I am a converted fan. Although the band is no longer around, I will continue to seek out the other cds that were recently reissued. ... Read more

Amazon.com

While it was never determined whether those plastic things on their heads were flowerpots or collapsible drinking cups, the high-concept-minded Akron, Ohio, crew known as Devo had attracted mostly just the artsy new-wave crowd until this 1980 album brought them mass appeal. Way ahead of the video curve (they'd been making promo films since 1975), this band led by singer Mark Mothersbaugh and bassist Jerry Casale scored a huge hit with the jagged-rhythmed "Whip It," thanks in large part to a typically tongue-in-cheek video that MTV and dance clubs jumped on. The album also featured such cracked winners as "Girl U Want," "That's Pep," and the ever-caustic title track. --Billy Altman ... Read more

Reviews (19)

a man is real, not made of steel!
This album very much signalled the start of the 80s. This contains their 3 biggest hits, Girl U Want [covered by a million bands], the immortal Whip It & Freedom Of Choice itself, about the dilemma of modern society obsessed w/ consumerism & all the choices available that the drones want the decisions made for them, not forgetting that it rocks like hell. Other highlights include Gates of Steel, Planet Earth, Cold War ["so we are told that all is fair in love & war, so what's life for, the endless tug of war"]. Kurt Cobain had said that Devo were the most subversive of all the punk era bands that became pop stars. The thing that's great about Freedom of Choice is that it's not even their best album, their debut Are We Not Men? is so fundamentally excellent but FOC is extremely important to global consciousness nevertheless [ooh big words]. I think they liked toying w/ the minds of MTV viewers & K-mart shoppers by appearing to be so plastic & disposable whilst really being quite intellectual [I think maybe they took Zappa's Plastic people to its illogical conclusion "you think we're singing about someone else?"]. Buy it or don't, use yr freedom of choice... [that has to be 1 of the best album titles of all time along w/ Confusion Is Sex & Safe As Milk]...

Are They Not Cyber Musicians?
Devo brought Freedom of Choice to America in 1980 while disco was flailing its rubbery arms in every dance club across the U.S. The decidely staccato and synth sound of this album made for not only a more innovative opposition to disco, but a whole new robotic, mechanized form of popular dance. These boys were not simply wearing flower pots and garbage bags to get chics, they were driving pop music in another, more refreshing direction.

While the songs on this album sound pretty similar, it's to Devo's credit that they were able to bring humanistic topics about love (Snowball, Ton O' Luv), politics (Cold War), and social consciousness (Freedom of Choice) in an unabashedly electronic way. In this way, Devo were trailblazers making the case that music and technology can touch the human soul.

GIVE THE PASS THE SLIP!
Devo would have to be the most underrated band of all
time.Their influence is so widespread that it has become
impossible to see.I think most people just did'nt get
what the music and messages meant.Not my favourite Devo
album ( that would be probably "Oh No, it's Devo )overall,
although it does contain some of the Spud's finest.
Whip it, Freedom of Choice, etc. BUY THIS!!!!!!

3 and a half
Good fun campy and mostly artless, Devo signed on to the 80s with a twisted take on rock and roll. Not as good now as it was back when but still worthwhile. Not sure though of a previous comment about Devo avoiding the "cultural imperialism" of E. Presley??? If anything E. Presley was the inspiration for Devo and almost every rock artist after 1956.

I'll Say it Again, in the Land of the Free....
I was so into DEVO that, at my college graduation, I had an energy dome to put on my head after I received my diploma. I was completely taken in by how skillfully the band deconstructed the typical rock and roll preconceptions and virtually invented a style. This is, along with "Q: Are We Not Men," the Devo album that integrates the band's theories on De-evolution most completely to the music. Since I can't give it 4 1/2 stars, I am perfectly comfortable giving it five!

"Freedom Of Choice" was where DEVO's world-view was overtaken by a case of pop-smarts. By 1980, all sorts of new-wave trademark-sounding cheap synth had become both widely available and more reliable, so the sound of the keyboards and guitars could mesh into a recordable (and more controlled) whole. DEVO's synths on "F.O.C." had moved almost entirely to the fore, and there was an obvious attempt at more disciplined song writing. It shows most obviously on "Girl You Want" and "Gates Of Steel." The very un-devoish longing in "Girl You Want" was universal enough to have found its way into the set lists of artists ranging from Soundgarden to Robert Palmer. The title track mocks how submissive we are when it comes to culture/consumer manipulation, while "Whip It" strings together a catalog of catch phrases and self-help mantras into a cracking (pun intended) three minute anthem. On the side of human conditions, "Mr. B's Ballroom" cocks its DEVO-eyes at the kind of hole-in-the-wall establishment where best friends drink and start fights before crashing through the plate glass door. (Likely while "Whip It" is playing on the jukebox.)

Just as important, this album (and its videos) is probably how most people measure their knowledge of DEVO by. "Whip It" became the kind of song that college new-wave parties did the pogo to, and corporate rallies would chant along with as a morale enhancer. By making synthesizer rock safe for frat boys, "Freedom Of Choice" is easily the second of DEVO's crowning albums. ... Read more

Reviews (9)

Classic debut from Men at Work gets better
The title for Men at Work's debut album says it all: Business as Usual(good straight rock songs with a reggae influence). This album is a classic. The band(which consisted of Scotsman born guitarist, vocalist and songwriter Colin Hay and Aussies John Rees(bass), Greg Ham(sax/keyboards), Ron Strykert(guitar) and Jerry Speiser(drums) got signed to Columbia Records first in Australia because of the song Who Can it Be Now. After the song did well in Australia, America's branch of Columbia/CBS signed the group and released this debut in the spring of 1982. Who Can it Be Now and the chart topping Down Under are still great songs and were the reasons why this album was #1 for 15 weeks in late 1982 and early 1983. Other highlights were Down By the Sea, Be Good Johnny, Catch a Star and I Can See It In Your Eyes. The reason why Men at Work called it quits so early was because they knew when to stop when its rhytm section jumped ship in 1984. I really don't like new wave but Men at Work was one band from childhood I did not ever really outgrow because their songs were catchy and quirky.

Men at Work's masterwork
The title for Men at Work's debut album says it all: Business as Usual(good straight rock songs with a reggae influence). This album is a classic. The band(which consisted of Scotsman born guitarist, vocalist and songwriter Colin Hay and Aussies John Rees(bass), Greg Ham(sax/keyboards), Ron Strykert(guitar) and Jerry Speiser(drums) got signed to Columbia Records first in Australia because of the song Who Can it Be Now. After the song did well in Australia, America's branch of Columbia/CBS signed the group and released this debut in the spring of 1982. Who Can it Be Now and the chart toppins Down Under are still great songs and were the reasons why this album was #1 for 15 weeks in late 1982 and early 1983. Other highlights were Down By the Sea, Be Good Johnny, Catch a Star and I Can See it in Your Eyes. The reason why Men at Work called it quits so early was because they knew when to stop unlike Duran Duran whom lost their power after its original lineup split and pressed on to waning success and over time fizzled out and despite one fluke comeback in 1993, they are now a nostaliga band whom are in it for the money. If you like music from Australia, then you have many options: AC/DC, Jet, Olivia Newton-John, INXS and Men at Work. Avoid Kylie Minogue who is now a two-hit wonder!

i liked it
i like this record. men at work are not bad, but not as good as business as work. it's a band, that is performing in my head right now, and oh yeah, they rock. anyway, get this if you're a rock fan, it's pretty good. better than duran duran.

One of the best debut albums ever
The title for Men at Work's debut album says it all: Business as Usual(good straight rock songs with a reggae influence). This album is a classic. "Who Can it Be Now" and "Down Under" are still great songs. The reason why these guys called it quits so early was because they knew when to stop unlike those turds Turdran Turdran! Turdran Turdran, over time fizzled out and despite one fluke comeback in 1993, they are now a nostaliga band whom are in it for the money. If you like music from Australia, then you have many options: AC/DC, Jet, Olivia Newton-John and Men at Work. Avoid the fool Kylie Minogue who will be a two-hit wonder, mark my words!

Very cool - but not perfect!
I'd just like to say that Business As Usual was one of the formative influences in my life when I was growing up. I loved Men at Work then and still do. This album never fails to conjure up the nostalgia for my early adolescence with great tunes, quirky lyrics, and Colin Hay's incredible vocals. Overall, it's a tremendous album, which deserves much respect.

Naturally, then, I was excited to see it remastered with bonus tracks from the band's "Golden Era", and snatched up a copy right away. The new remastering is excellent and it is superior in sound quality in many ways to the original CD that has occupied my player for so long. The liner notes are helpful and give a nice retrospective for fans of the band, along with a lot of unique pix of the lads.

Which brings me to the extra stuff. The bonus cuts are a very cool and welcome addition. I loved Crazy and F-19 (an experimental ditty if there ever was one), but was frankly puzzled by the addition of the live tracks from the "Brazil" album. Why? I was hoping to get live performances from the "Business as Usual" era, but was instead confronted with two tracks that I already have on another disc! This was somewhat disappointing to me. Why not include live performances from 1981 or thereabouts instead of the reunion concert tracks? Another glaring omission is the b-side "Anyone for Tennis?" which should be on this disc but is sorely lacking.

All that aside, the two 1980s-era b-sides and the remastering make this a must-have for any MAW fan. Enjoy! ... Read more

Amazon.com essential recording

Choosing former Roxy Music member and David Bowie collaborator Brian Eno to produce them, Talking Heads expanded their sound greatly for their 1978-released second album. While most associated Eno with hi-tech, electronic fare, he surprisingly brought out the more organically rhythmic side of the Heads' material. With Jerry Harrison's keyboards playing a more pronounced role--most notably on their spirited hit cover of Al Green's "Take Me to the River"--and drummer Chris Frantz and bassist Tina Weymouth powering the band through tracks like "Stay Hungry" and "Warning Sign," leader David Byrne sounded more relaxed and "normal," even as he wandered through such high-concept works as "Artists Only" and the sprawling "Big Country." --Billy Altman ... Read more

Reviews (31)

Captures the Essential Elements in Great Rock Music
After their inspiring debut a year earlier, the Talking Heads further proved their capabilities with their second album, 1978's "More Songs About Buildings And Food."
This was the first with producer (and sometimes labelled "meddler") Brian Eno, but his work doesn't outweigh the band's contributions (as it later would); the brilliance of "More Songs..." is that of the Talking Heads, and of the Talking Heads only.
The title of this delicious album self-parodizes their subject matter, one of the examples of the satirical element of "More Songs About Buildings And Food." This is captured on 'The Big Country,' a satire on consumerist America, with a humorous mock-country Western sound.
Another key element in the album's quality is its ability to range from light to grim approaches with a natural flow. Compare the aggressiveness of "Warning Sign" to the naive shine of "Thank You For Sending Me An Angel." The differences are great, but not in a way that would throw the listener's senses off-balance.
The Talking Heads' appreciation for soul is captured with their cover of Al Green's 'Take Me To The River.' The reflecton on their own influences is one of the album's most assuring effects.
Without this album, there would be a void in the Talking Heads' legacy. If "More Songs About Buildings And Food" hadn't been as perfectly written, recorded, and performed, the Talking Heads may have faded into "cult band" status, as did many of those who emerged from the new wave scene.

As funky as hell
More Songs About Buildings And Food sees the Heads moving away from their poppier first album and, under the guidance of Brian Eno, discovering that there had always been a dance element to their music. It's an inspired move - whereas before Byrne had been the focus of the band, the formidable Weymouth / Frantz rhythm section relly makes its presence felt here: from With Our Love through Found A Job up to Stay Hungry, they just keep churning out those grooves. Retrospectively, this was an element of their music that was already there just waiting to be expanded upon: several of the songs featured on the album had already been written, sometimes as long as two years before the release of the record, and were already (I think) part of the band's live repertoire. Byrne's lyrics and way with a chorus are not forgotten, however - Good Thing has an absolute monster of a chorus. Another excellent feature of the album is that many of the songs crescendo at the end with an absolutely storming vamp that you want to continue forever.
The Big Country deserves special mention because it showed that the band still had much more to explore - it's a melodic, country tinged, slightly balladic (although not actually a ballad - they didn't do one of those till their seventh album) song about an idealised American heartland; although in typical Byrne style the narrator of the song doesn't seem to find the vision particularly appealing ('I wouldn't live there if you paid me'). They wouldn't really travel in this direction again until Little Creatures, although nothing on there is as good as The Big Country.
Overall, the album is excellent. As with Fear of Music, Remain In Light and Speaking In Tongues, if you're a music fan of any sort you should consider getting it. If you scroll up you'll find some preview links - I suggest you click them.

no
if you want a flawless, amazing album that's going to totally blow you away, get their first album, "77". this album doesn't compare to "77" at all.

the only talking heads song that really stands out on here is "with our love", which is just plain awesome. of course, "take me to the river" stands out as well, but it's not a talking heads song.

the album begins and ends with great songs, as well, but nothing in the middle is very good (well, i suppose "the good thing" is pretty good)

in fact, "the girls want to be with the girls" is one of the most irritating and stupid songs i've ever heard. it sounds like something a 3 and a half year old would write. "and the boys say 'what do you meeean?'" it's a painful listen. the music and singing of this song (and a few others on here) is repetitive, boring, and just not so good, especially compared to the great masterpiece called "77"

so bring on the "unhelpful votes". it's worth it. 30 reviews and not one of them can admit that this album just isn't that good?

Title Is Misleading...
Though the song "Big Country" has a scene in it where people are eating, this album is surprisingly devoid of any songs about buildings OR food whatsoever! But don't worry, you are unlikely to be dissapointed by this set, regardless of your usually preferred musical genres.

This album was released the same year I was born, 1978, and it's a real time-capsule from my childhood. As another reviewer pointed out, the bass playing on this piece really holds the songs together. In fact, Tina Weymouth's bass lines are often heavily sampled and used by club spinners these days! Come and check out where some of these riffs originally came from...

David Byrne is on par with his lyrics here, fun and thought-provoking at the same time. Still, I don't quite know how to express my intuition on this one but- I don't feel the same sense of personal intimacy in the lyrics that I hear on other Talking Heads albums. The attitude is perhaps a little smug, or affected. Don't get me wrong, the songs are still brilliant, but the album feels, let's say, more like a less-witty version of The Smiths, as opposed to their usual Jane's Addiction style religious epiphany.

The musicianship is arranged with a superb sense of space and the sound has an excellent contrast between bass and treble- not to mention the patently brilliant rhythms for which the Talking Heads are known. The singing is also excellent, but the lyrics and subjects are a matter of individual taste for preference. The important thing is, this album is essentially dud-free and has a wide appeal and, at the price you can get it for- well worth the investment.

This is THE one...
There's always debate (among those who care) as to which record best captured the Talking Heads' sound. Well, my vote's with this one. It's tight, tense and nervous, but without going over the top on any element- a good balance in other words. Really it's a concept album about modern livin'. The songs may be a bit tongue-in-cheek, but it's pretty easy to tell what they're about. "Girls want to be with the girls," for example, is very perceptive- girls tend to like to socialize in groups and it leaves guys confused as to how to approach them (ladies out there: why is this?). And "Found a Job" is a great positive rocker about improving your life by finding a new career that works better for you than your old one. "With Our Love" is also very perceptive, nicely describing the modern (read: workaholic) lifestyle and its impact on relationships ("I have to go to work now"). It is all thought-provoking stuff. After this, the Heads remained brilliant through "Stop Making Sense," then lost it for the most part (Mr. Byrne: why is THIS??). But what we have here is greatness, and great fun. ... Read more

Reviews (14)

History repeats the old conceits
Hailed by Columbia at the time of its release as a masterpiece and trashed by many critics expecting business as ususal from EC & The Attractions, Imperial Bedroom stands as a pivotal album in EC's career. Why? Because he created a diverse musical experience echoing everything from the Tin Pan Alley gaints to his British music idols (most notably The Beatles). It's technicolor production and sweeping lyrical themes make it one of the top 100 albums of all time. Imperial Bedroom along with This Year's Model, Armed Forces, Blood & Chocolate and King of America represent early Costello at his best; intelligent, witty and musical adept at adopting a number of musical styles.

This reissue has stunning sound, complete liner notes by EC, complete lyrics as well as a second disc that includes the bonus tracks from the Ryko release. Add to that the alternate takes, demos and you have a reissue worth having. Price as a single disc collection, Imperial Bedroom is well worth purchasing again just to have all the extra

Masterpiece? YES!
IThe Rhino reissue is wonderful. First the sound is enlightening, I never heard Bruce Thomas's bended bass notes at the beginning to "The Long Honeymoon" , and as well in that song, the mourning french horns sounding so sad and pathetic, while Elvis sings, "she never thought her love could be as strong as this" (Her love being a strength and a curse at the same time. Can you think of another song writer who makes their characters more 3 dimensional than most of what we watch on TV or in movies?). The wonderful arrangement of ..And In Every home bursts out of the speakers. Excellent sound. The second bonus disc includes all the tracks added on the Ryko release and a bonanza of great extras. The original Beyond Belief (retitled the Land of give and take), a more sensual Kid about it, sung in Elvis's lowest range (this is the one that is almost better than the original cut), a raging rock version of Man about time and a disco, yes disco version of Town Cryer. My favorite extra is the 2 extra versions of You little fool, both with different lyrics that change the dimension of the final song.
I give this CD release 5 stars because of the quality of the original album and the great extras.

There's Better Elvis to be Had
I came upon Elvis Costello's "Imperial Bedroom," by way of a Rolling Stone article something along the lines of the best 100 albums of this century and sure enough Costello's "Imperial Bedroom," made the cut. I already was a big fan with a greatest hits tape that introduced me to "Allison," and "Pump it Up." "Imperial Bedroom," is pretty steeped in the 80's. Though it contains some memorable songs, the general tenor is symphonic, jazzy, flowing numbers. For some reason it didn't strike a chord with me like other Costello and the Attractions works I've come to know and love.

Granted, "Almost Blue," and "Beyond Belief," rank right up there with Costello's best, the album stays on the surface slick and sleepy, torchy and touched. Granted it was hard to live up to the expectations set forth by making a Rolling Stones top 100 list, but with the likes of Elvis Costello it was possible.

I believe you should give Costello his due...the man is ultra-talented and knows his way around a song. But unless you are drawn to the more pop-ish polished side of Elvis, go elsewhere. If you need some "Peace, Love, and Understanding," and don't mind some of the sameness give "Imperial Bedroom," a whirl. Just don't get your expectations up too high unless you are a "Seal," crossed with Burt Bacharach fan. If you are...first seek counseling...next get Imperial Bedroom...it's only bound to make the condition exasperated. Not bad for a sleepy Friday night date under candle-light but other than that the Bed ain't spinning, it's imperial after all.
--MMW

Sophistication and drama
I remember reading an interview in 1982 where Elvis Costello expressed his desire to have someone like Frank Sinatra cover his tunes (as opposed to Linda Ronstadt). Out of that urge came IMPERIAL BEDROOM, and it shows wonderfully. Whether Elvis Costello was simply maturing or just displaying a side of his songwriting talent that he had to suppress for so long, I couldn't say. But IMPERIAL BEDROOM was certainly an ambitious and far-reaching album. "Man Out of Time", "Shabby Doll" and "Beyond Belief" are incredibly brilliant compositions that, frankly, stunned me back in 1982. I couldn't get over the mix of sophistication and drama in these melodies. While I knew Costello was incredibly talented, I honestly didn't know he had such range.

I don't think that Ol' Blue Eyes even bothered to listen to anything on this album--seriously doubt it. But for my money, just for the first few songs alone, this cd is worth every penny.

Cut to the chase....
The other reviewers are spot on: this is a brilliant album. If you want to troll through Elvis' copious catalogue, do yersself a favor and add this one first. Elvis' best song, in my mind, is "Man Out of Time"; this is the album it came from. Connect the dots. ... Read more

Reviews (33)

Excellent introduction to Joy Division
I've read reviews here at Amazon about this album saying that it is bad, some say the song selection is bad, some say the remastering is bad, LIES!. This album is the best introduction to Joy Division, not "Substance" and this is why, it covers the best period of Joy Division when they achieved their typical sound (droning bass, pounding drums, guitar feedback & atmospherics)thanks to the help of legendary producer Martin Hannet. Starting with "Transmission" and ending with "Atmosphere" passing trough their two masterpiece albums (Unknown Pleasures & Closer)and their most known single "Love will tear us apart". "Substance" is a collection of their singles, their early singles sound like average Punk. I agree that "Substance" along with their 2 studio albums are essential to any Joy Division fan, but "Permanent" is the best introduction to this great band.
And concerning the sound, it is OK. PAY NO ATTENTION to negative reviews. This album contains 3 songs from "Unknown Pleasures", 4 from "Closer" and their best singles. The only complaint I have is the inclusion of a remix of "Love will tear us apart", is not good at all, it degrades the song. They could have included another song from "Unknown Pleasures" instead of the remix.
I give this album 4.5 stars. Buy it

No, DO pay attention to the negative reviews!
I didn't, bought the CD, and suffered the consequences. I love Joy Division, but as mentioned, the mastering is atrocious, part of a bad trend in how reissues are mastered these days. Like some sick disease, many labels are compressing the hell out of their reissues, losing the dynamics, musical information, and often creating digital artifacts just so the music can be loud, as if nobody had a volume control on their stereo. LISTENING TO THIS CD IS LIKE READING A BOOK IN ALL CAPITAL LETTERS. AFTER AWHILE, YOU JUST CAN'T TAKE IT.

The CD is also a pretty poor compilation. For example, there's an inferior remix of "Love Will Tear Us Apart." They do include the original mix, except in addition to the extra compression, they edit out a few seconds in the intro and some more time towards the end, so it's not even the full version. The track selection is also haphazard, painting in an incomplete picture of this band. I think a good single CD best-of is possible, but this isn't it. You're far better off starting with their best album, Closer, and getting the singles collection, Substance. If you love them and want more, pick up the rest; it's not like they have that many CD's (just two or three more) so it won't ruin you financially.

bad remastering
Shrugging off the other reviews about the bad remastering, I bought this CD eager and excited to listen to the great compilation of songs. But I just want to caution all potential buyers, the sound remastering is VERY poor and it's difficult to listen to. If you like the quality of Closer and Unknown Pleasures, then I think you'll be disappointed with this one. And this is coming from someone who is usually not particular about recordings. "Love Will Tear Us Apart" sounds distorted and flat and the sound remastering kills the quality of most of the other songs as well.

Permanent has alot of Substance.
This is a good intro to "Joy Division", and really about the same as "Substance" in my opinion. 16 tracks, the remastering sounds fine to me, and includes "Transmission", "Atmosphere", "Dead Souls", and two versions or "Love Will Never Tear us Apart". The band eventually became "New Order", so those fans should enjoy this, as well as fans of "Bauhaus", and any other goth-punk. Actually, this should have anyone with good taste jumping for "Joy".

"Permanent" - the best Joy Division comp. there is!
"Permanent" is by far the best Joy Division compilation there is. This is the cd that introduced me to JD. Before buying this album I never actually heard too much of JD. I saw the "love will tear us apart" video on MTV once late at night, on a show that Moby was hosting. So I watched the video but couldn't decide if I liked the song. Then I'd heard on the Crow soundtrack the Nine Inch Nails version of "dead souls." See, I liked the music of JD but it took me a long time to get used to Ian Curtis's voice. He sings in a very monotone voice that you either like or you don't. So one day at my job (Barnes & Nobles) I found some cash in my pocket and decided to buy this cd. I didn't know which JD album to start with so I started with "Permanent." It contained the two songs that I had already heard so I bought it expecting to only like a couple of the songs, but I remember on my break in my car, really suprised that I liked a lot of the songs. And since then I've been a huge fan.
A lot of reviewers have said that "Substance" is the better compilation but I have to disagree. "Substance" isn't a bad album (nothing by JD is bad) but I think everything about "Permanent" is great. (1) The song selection: the songs are a lot better on "permanent". They have their best songs, "love will tear us apart", "transmission", and "she's lost control." The same songs are on "substance" but they have the dance version of "she's lost control" which isn't as good as the more rocky version. And on "Permanent" a lot of the songs are from later in their career, so all the songs pretty much have the same sound so all the songs gel really well with eachother, and on "substance" they have a song from '77, then a song from '80, and it goes from punky to gloomy, to alternative to rocky and the sound just isn't consistent. and a lot of the songs on "substance" I could do without. Songs like No Love Lost, Failures, Komakino, Leaders of Men, those songs don't do anything for me. Basically Substance doesn't paint a good portrait of what the band really were. Also on "permanent" they have a "love will tear us apart" remix which is awesome. I would say it's as good as the original but I'd say their on the same level. The remix has a lot more acoustic to the song and adds a melody towards the end of the song, which is cool because the original was mainly bass and synesizers. (2) The mastering of the album: I've read many complaints about the mastering but i can't complain. The songs sound clearer and better to me. Listen to the drums on "passover" and tell me that they don't sound better on "permanent." (3) The layout is much better too: the cover and artwork are cool, and also they have liner notes about JD that substance doesn't have. All in all "permanent" is a better compilation than "substance." If you are a huge fan JD and don't own any of these comps. there is really no need to, since you have probably already own these songs, but if you are curious about JD and don't know where to start, pick up "Permanent" - you won't regret it. ... Read more

Album Description

This One Way Records release features both theirself-titled and You Make The Heat LP's digitally remastered on 1 CD. Features What She Does To Me (The Diana Song) What He Got? and more. ... Read more

Reviews (42)

20 years later, and can hit #3 in Georgia!
Unlike many of the reviewers here, I don't have nostalgic reasons for buying this CD. In Colorado, the Producers are virtually unheard of, although I can vaguely remember "What's He Got" getting some airplay when I was in High School. I had always been interested to hear more from Van Temple, the singer, after discovering his amazing vocals on another 80's recording, "Book of Dreams", from Steve Morse's album "Stand Up". Here it is fifteen years later, and thanks to Amazon I have had the opportunity to discover the Producers. After listening to the CD, with it's great combination of polish without compromising the fun and the energy of rock, and the great musical performances combined with the catchy tunes, I am convinced that this band should have been huge nationwide fifteen years ago, instead of huge only in Georgia. Somebody at some record company made a huge mistake back then by not marketing these albums better. I think that the fact that as of this review the re-released CD can become the #3 seller in Georgia really demonstrates that this band never got the exposure they deserved. Great 80's pop! Only a few of the songs sound really dated. Highly recommended for anyone who has a place in their heart for strong melodic 80s music that doesn't take itself too seriously. And what a singer Van Temple is!!!

It is about time this stuff was on CD
Sounding like a US version of the UK group "The Records", The Producers wrote and played some excellent instantly memorable pop tunes (complete with great harmonies and catchy guitar riffs) led by Van Temple's soaring tenor voice and guitar, Bryan Holmes' driving drums, Kyle Henderson's melodic bass lines, and of course, Wayne Famous--the resident looney on keyboards.

It is a shame that their only really major national success was "She-Sheila" because a large percentage of the tunes should've been hits. They were very popular with the college crowds circa 1982-85. I saw 'em three times and EVERYONE in the crowd knew all the words! In concert, they also did a killer cover of "A Hard Day's Night" (hmmm, maybe a live album is called for).

The first album (Producers) is the most fun of the two in this package. Innocent, light weight, hummable, and a killer soundtrack to your college beer party (well maybe not these days). "What's He Got", "I Love Lucy", "What She Does To Me", "Certain Kinda Girl",... ahhh greatness! The second (You Make The Heat) is a little more serious and probably an attempt to compete more with the arena supergroups at the time. The songs are still good. It is just a little less Hollies-sounding and a little more Journey-sounding. "You Make The Heat" and "Breakaway" are standouts.

These recordings have been criminally out of print for years. I myself have only had a cassette tape copied from the LP's back in the 80's. This release is greatly welcomed. I don't know how well it will go over with today's youth, but I know that a bunch of folks that were in college during the first half of the 80's are going to be tickled pink about it. I am now going to pop open a cold one, put this disc on and wax nostalgic. "Lucy....Luuuuuucy!"

Thanks Producers for some great memories.

Remeber when
These guys were great...i lived in Atlanta in 78/79 and there was this art rock band called Hydra. Decent..sort of a toto'ish. Not really my thing. Then one night theres this band called the producers on stage. Same guys...new haircuts, new act. Beatles harmonies, whacky bald keyboard player, Probably a little to contrived to ever make it huge...but really talented

Buy it ,,,you'll like it.

Message in a Bottle...
wow, i thought i was the only person who ever heard of these guys... surprise, surprise. unlike most of these other folks, i saw these guys in massachusetts as a pre-teen on mtv (thank god my mom's boyfriend was one of the first cable households!). anyway, i saved up enough lunch money to get the first (and then the second album). i bopped around my bedroom like a freak to these songs! the good songs sound fanastic still (she-sheila, what's he got) but some of the other songs sound to my 30sumthin' ears to be b-grade police. BUT STILL... so glad to hear them again!

It's a Five Star for me too!
I agree with the all the great reviews here! Not only is this a great 2 disc set, but a bargain. Producer fans have been screaming for years to make these 2 discs available. Thanks One Way!

Tom Werman, who produced the first Producers album, also has credits producing Ted Nugent, Cheap Trick, Molly Hatchet, Mothers Finest, and Motley Crue among others, has praised their talents in past interviews. The Producers musical style can not be compared to any of those mentioned above!

I too discovered the band on college radio. They played numerous clubs in North/South Carolina and Georgia during the 80's. Fortunately, I was able to see them many times during my college days @ Western Carolina University. These 2 CD's take me back! If your were a "MTV head " in the early years, chances are you saw the band there. They performed on the MTV New Years Eve party in '82. Now , Classic VH1 will show "What's He Got" and "She Sheila" every now and then.

Like everyone, I have to mention "She Sheila" from "You Make the Heat". The entire disc is great, but this is head and shoulders above anything else. "Operation', "Dear John", and "Breakaway" are excellent tunes also.

The great news is that they still get together and play! The original band performs periodically. Check out their web site, and be sure and buy the CD! ... Read more

Reviews (8)

Rating 100%
Back in 1990, Rhino records commenced the collaboration of the "Have A Nice Day" compilation series. Ultimately this resulted in a 25 volume set of CD's. All of the discs contain a mixture of top charting hits and obscure classics from the seventies. Many of the discs have come together quite well with a collection of great tracks, whilst some of the other discs are as horrid as my old set of pink flares.

One of the best volumes is number 22. This one contains that guitar stumpin' classic "driver seat" from Sniff and the Tears. What about abit of dance with Hot Chocolates "everyone's a winner" and Nick Gilders "hot child in the City". Feeling romantic? There's Nicolette Larson's "lotta love", John Paul Young's "love is in the air" and Robert John's "Sad eyes". Other tracks include Chris Norman and Suzi Quatro's Duet "stumblin' in" and John Stewart's "gold". I was about age ten when many of these tracks where at the top of the charts. Nothing beats that good old seventies nostalgia. Again a disc that get's a good thrashing at my place.

Rhino sure knows how to pick 'em
One of the outstanding members of the Have A Nice Day collection, this disc captures the feel of a turning point in musical styles. Briefly...

"Hot Child In The City": Seductive, androgynous vocals here from Nick Gilder. Listeners appear to have missed the "cautionary" point of this song...everyone wanted to meet the young girl dressed in black.

"Love Is In the Air": A memorable tune from the late 70's, from Aussie singer John Paul Young. It had a brief renaissance when it was included in the Aussie film "Strictly Ballroom" in the early 90's.

"My Sharona": The Knack gave us a preview of the changing attitudes towards the "disco" late 70's with their "garage band" rock tune. Appeared in the slacker/nostalgia flick "Reality Bites".

"Gold": Great vocals by John Stewart, with backup and "ooo-ooo's" by none other than Stevie Nicks!

"Driver's Seat" and "Hold On" are complex, existentialist "mood" pieces with innovative instrumental and vocal arrangements. Contrast these with Rex Smith's bubble gum "Take My Breath Away".

Robert John's "Sad Eyes" is blessed with muscular instrumentalization and one of the finest falsettos you are likely to hear in the modern age.

Besides that, this CD will prove a "fistful of memories" (hopefully good ones) for anyone who grew up during this era. Don't miss out!

My favorite CD in the series.
Growing up in the 1970s, I was an avid listener to radio (both AM and FM). My dad frequently bought me LPs and 45s (for those of you who are young, you might not remember vinyl *g*) of my favorite songs or songs that he thought I would like.

My favorite songs on this CD are:

Every 1's a Winner (Hot Chocolate). This top 10 hit is by the same group that had a hit with "Emma" and "You Sexy Thing."

Hot Child in the City (Nick Gilder). Number 1 song for the week of October 28, 1978 for one week. This song made the record of the longest time of a song to reach number 1 (taking 20 weeks to go from Number 88 to Number 1).

Love Is in the Air (John Paul Young). This is one of those songs when you were young, you would lip synch in the living room next to the record player. You know you yell out the chorus with arms open wide, "LOVE IS IN THE AIRRRRRR!!! OOOOOHHHHHH!!!!"

Lotta Love (Nicolette Larson). A Top 10 hit in early 1979. This song always reminds me of roller skating at the rinks on Saturday mornings. When listening to the song, I can still hear the skates on the wood floor.

Stumblin' In (Suzi Quatro & Chris Norman). Leather Tuscadero from "Happy Days" recorded a Top 40 hit. This was the biggest American hit for the duet.

My Sharona (The Knack). Number one song the week of August 25, 1979. I had this 45rpm and played it constantly in 1979.

Gold (John Stewart). This is a song that featured Lindsey Buckingham and Stevie Nicks of Fleetwood Mac. You can't miss Stevie's background vocals while she sings a half a beat behind. My favorite line would have to be: "Well my buddy Jim Bash, he is workin' pumpin' gas and he makes $2.50 for an hour." Wow! What a wage!

Driver's Seat (Sniff 'N' The Tears). This song should be on everyone's "car" or "driving" tape or CD for travelling.

Sad Eyes (Robert John). Number 1 the week of October 6, 1979 for one week. This song was tied with Nick Gilder's "Hot Child in the City" for the longest time reaching Number 1 on Billboard's Charts (entered the charts at Number 85 and then 20 weeks later it arrived at Number 1).

This is my favorite volume in Rhino's Super Hits of the '70s series. It brings back those memories of the late 1970s when I was 8 years old and the freedom of being a little kid during the fall of 1978 and the summer of 1979.

Lovely blend of 70s styles
This is a lovely blend of late 70's styles like disco (Hot Chocolate), big ballads (Rex Smith), wistful pop (John Paul Young, Robert John), power pop (The Knack), atmospheric rock (Nick Gilder), catchy singalong pop (Quattro & Norman) plus a couple of lesser known but still great tracks by Ian Gomm, Nicolette Larson, etc. I remember 1978 as a great year for good music in which singles sales reached a record high, in a decade that I consider the golden age of pop music. Even dance music had personality then and wasn't just mass-produced 4 beats to the bar anonymous variations on a theme. My favorites here include the tense, erotic "Hot Child", the dreamy, hypnotic "Love Is In The Air", the poppy disco of "Everyone's A Winner" and the sensitive "Sad Eyes." Vol. 22 makes a valuable contribution to an excellent series.

Disco, Ballads, Rockers...Take Your Pick!
Volume 22 in this "Have A Nice Day" CD series covers the major hits from the Fall of '78 on through to the fall of '79. There's something for every fan of late '70's music here. You have Disco (Every 1's a Winner-Hot Chocolate), Ballads (Lotta Love-Nicolette Larson, Dancin' Shoes-Nigel Olsson, Stumblin' In-Chris Norman and Suzi Quatro, Love Is In The Air-John Paul Young, Sad Eyes-Robert John and You Take My Breath Away-Rex Smith) as well as some good rockers (Hot Child In The City-Nick Gilder, Gold-John Stewart, Driver's Seat-Sniff 'N The Tears). The only bad song in this collection is Ian Gomm's "Hold On", otherwise, the many above listed songs make this d a must buy! ... Read more

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Raised on Philly soul, Daryl Hall and John Oates hit their stride in the mid-'70s, when they abandoned the misguided folkish direction of their early albums for a sound that accurately reflected their roots in mainstream pop and smooth R&B--"rock 'n' soul" as they accurately called it. A string of brilliant hits followed, from the gorgeous "Sara Smile" and "She's Gone" to the wicked, finger-pointing "Rich Girl" and "Maneater" to Top 40 manna such as "Kiss on My List," "Private Eyes," and "I Can't Go for That (No Can Do)." At only 12 tracks, this best-of collection is a little skimpy, but it'll do until the inevitable Hall & Oates box set arrives. --Daniel Durchholz ... Read more

Reviews (34)

Hall & Oates greatest collection from the 70's and 80's!
Chronicles their RCA studio recording session years from 1975-1982 in rock music history. On this cd there are a few of my favorite Daryl Hall & John Oates song classics i listen to like "Say Isn't So", "Maneater", "I Can't Go For That (No Can Do)", "Private Eyes", "Rich Girl" and one live track cut version of "Wait For Me". This is the one it brings back a lot of memories so where were you back in the seventies or eighties when all these tunes came out and played on the radio?This is a definitive compilation album to own. Their music was pure harmony, soft beat, hard/pop and soul combined in every rhythm they perform as a musical duo!

A Classic Collection of Rock 'N' Roll
Hall & Oates were a popular force in the late seventies and early eigthies. they have recently released a new album that is just as enjoyable to listen to as their older stuff. This collection of smooth jazz and rock 'n roll has an array of catchy and enjoyable tunes. Everyone's favorite songs like "Sara Smile" and "One on One" are here, and every other sing along song like "Maneater", "Private Eyes", "Rich Girl", etc. is here in all its glory. Listening to this album brought back memories of listening to my parents' Hall & Oates albums on a Sunday afternoon doing the weekly cleaning. These two artists wrote songs that you could sing along to and feel like they were talking to you. From the wondeful high notes that Hall hits, to the subtle background vocals of Oates, you will have to love this album for its display of musical talent.

Fantastic
I'm sure everyone from the generation before my own has had wonderful memories of Hall and Oates in highschool and college. For those of you who have grown up with this music, my review will probably be nothing but drivel. But if anyone is reading this that is not too familiar with Hall and Oates and checking them out for the first time, then I implore you, get into them! Sadly, it took me years to actually give this album a listen. I had heard of Hall and Oates before, but they were stereotyped in my mind as cheesy 80s garbage. I couldn't have been more wrong. Every track on Rock 'n' Soul is absolutely breathtaking (with the exception of Adult Education, I can do without that one). The majority of the songs on this album are indeed made up of Rock and Soul, but that brief description hardly does justice to such passionate music. I can honestly say that anybody who enjoys a song that is full of love and life will thoroughly enjoy everything that this album has to offer. Tracks like Rich Girl, You Make My Dreams Come True and Wait For Me give me goosebumps every time I hear them. Other numbers like She's Gone, Kiss On My List, Private Eyes and One on One are stellar too. If you're looking for an ebullient, flavorful and longlasting listen, then you have found yourself the right recording in Rock 'n' Soul Pt. 1.

Dated Collection - Start Somewhere Else
This is a very dated collection of greatest hits. It was released back in 1983. At the time, it probably was a very good greatest hits collection. It contains 12 songs and back 20 years ago, to get any release with 12 songs was great - but that was in the pre-CD/digital days. Since then, Hall and Oates have released much better and more complete greatest hits collections. I'm recommending "Ultimate Daryl Hall and John Oates". This contains every song on the "Rock and Soul Part 1" CD, plus it goes deeper where Rock and Soul Part 1 failed to go and it contains post 1983 material.

One thing that really annoyed is when an artist calls something "Part 1" and never comes out with a "Part 2". To me, it would have been very easy to come up with a "Part 2" of their post 1983 hits and have another CD. This is just a gripe that I have. The liner notes are also pretty thin in here. Not a lot in terms of credits, discography, photos, etc. Inside the liner notes is a pseudo handwritten version of the lyrics for "Adult Education". I also did learn that Mickey Curry was the drummer for Hall and Oates. If you are a Bryan Adams fan, you will know Curry's work. Two glaring omissions from this collection are "Family Man" and "Did it in a minute". I would have liked to have seen these songs on the collection. This was probably to make room for "Adult Education" and "Say it isn't So" which were newer songs that were released for the first time.

In the post 1983 work, Big Bam Boom would become the next release. It was the most successful album by Hall and Oates and its hard to now see any Greatest Hits collection without songs from that album. You can't blame Rock and Soul Part 1 on this one, its just that more time passed since this was released.

Chances are, if you do get this CD - you probably are going to get it either used or at some sort of bargain sale. And if you can get a good price on it, go for it. Otherwise I'd recommend the 'Ultimate' collection is the way to go as the way to start up your H&O collection. The content is still there on the CD and there are some very good songs on here. My advice there are better places to start with Hall and Oates.

Daryl & John are rockin' and soulin'
If it wasn't for the two original tracks,SAY IT ISN'T SO and ADULT EDUCATION,die-hard Hall & Oates fans wouldn't have likely bought this album. The two original tracks became hits also. There's another original track,a live version of WAIT FOR ME. The other nine tracks were previously released between 1974 and 1982,so there is a decade of hits on this album,released in 1983. There should be YOU'VE LOST THAT LOVIN' FEELIN',DID IT IN A MINUTE and FAMILY MAN on this album. This album came in different colors(only the cover). The previously released tracks are SHE'S GONE,SARA SMILE,YOU MAKE MY DREAMS,PRIVATE EYES,KISS ON MY LIST,RICH GIRL,I CAN'T GO FOR THAT(NO CAN DO),MANEATER and the ode to basketball players,ONE ON ONE. ... Read more

Reviews (10)

Duran's Third
Duran Duran became mega stars after their second album, Rio, became a smash hit worldwide thanks in equal parts to radio friendly songs and glamorous videos. Their third album, the bizarrely titled Seven & The Ragged Tiger, is again filled with big hooks and hits, but also with a bit more of an edge. The album's first single, "Union Of The Snake" is one of their most challenging and experimental songs. The song has a catchy hook built around a slinky guitar riff and a Moroccan vibe. There is a jazzy saxophone solo in the break and is flush with synth flourishes that give the song a mysterious and sensual sound. It peaked at number three on the charts. "New Moon On Monday" was the second single and is a straightforward song in the classic new romantic vein. The band produced a Thriller like, 20-minute video to accompany the song involving some bizarre underground resistance group in France. It helped propel the song to peak at number ten. The third single became the band's first US number one, "The Reflex". The album version differs from the single, which was remixed, as it doesn't have the female vocals that are some prominent in the single version. It is still catchy and quite memorable and one can tell upon first listen why it was smash hit. Other songs have a shiny sound including "(I'm Looking For) Cracks In The Pavement" and "I Take The Dice". The last two songs return the band to the edgier sound that appeared on the last few tracks on their first album. The haunting instrumental "Tiger Tiger" segues into the hauntingly beautiful "The Seventh Stranger" creating two of the finest moments in the band's history.

Another Reason Why The Music Of Duran Duran Has Touched Many
You are basically buying this for the remastering and although it's not quite as good as some remasters' I've heard I would still have to say it has very good remastered sound. No audio bonus tracks (Or bonus video's like the "Rio" remaster) present. Insert folds out and has the lyrics to the songs but there are no rare pictures of the band other than the original album cover of "Seven And The Ragged Tiger", Which I cannot call rare. Anyways the success here in the States of the Rio albums' hits seemed like a tough cookie to top, But they did it. "Union Of The Snake" slithered up the charts to strike #3, "New Moon On Monday" rose out of the darkness to shine at #10, And finally Duran Duran got the response they wanted from the audience with the stimulating sounds of "The Reflex", Which became their first #1 single. Their only other song to get to that spot was from the James Bond movie of the same name "A View To A Kill". They had seven songs break the top 5 and almost, But not quite, Do that feat. "The Wild Boys" (to name one) stayed at #2 for four weeks. Thanks Simon, John, Andy, Nick, Roger and everyone else that contributed to the success of Duran Duran... What a ride! Cheers.

Terri Jo and JLennon fan have it all wrong
(...)Duran Duran's third album is a postmodern exercise is avant garde rock. Comparing these guys to Roxy Music is insane since Roxy Music would be nothing without Duran Duran. Just get this album now.

Dancing on the Valentine.
By the time Duran Duran's 1983 "Seven and the Ragged Tiger" came out, its platinum success was all but guaranteed. At that point, the Birmingham-based group was already a staple on MTV and had their first two albums in Billboard's Top Ten. Typically, each Duran Duran album sounds different from the one that preceded it, and the weirdly named "Seven and the Ragged Tiger" is no exception. They replaced producer Colin Thurston (who did the first two records) with Alex Sadkin and Ian Little, who were responsible for Duran Duran's smash hit "Is There Something I Should Know." The result is a slightly arty, more sophisticated sound that bears no resemblance to their 1981 self-titled debut. The record spawned three top ten singles, one of which, "The Reflex," went on to become their first American Number One single. Other interesting album cuts are the dynamic "Of Crime and Passion," "Shadows on Your Side," and the sax-flavored instrumental "Tiger Tiger." "Seven and the Ragged Tiger" has been remastered (there are no bonus tracks), and the sound quality is a decent improvement over the original CD pressing. Narrow-minded rock connoisseurs may scoff at both this band and this album, but "Seven and the Ragged Tiger" is still a fine effort from Duran Duran in its original, five-member lineup.

I couldn't let my friends know I had this album
You know, throughout the eighties I was a guitarist into all of the so called "hair bands" of the time such as Motley Crue, Van Halen, Joe Satriani, Ozzy, Sabbath etc. My circle of friends, also musicians, were of like tastes and would shun the likes of a Duran Duran.At leat publicly they would.I say that simply because I loved these guys but would never have admitted doing so at the time.
What does that have to do with respect to Duran Duran or this album in particular?
Good question with a very simple answer.
Its all about the songwriting not the sound and or style.
My personal preferance with respect to style and sound is constantly changing.But a good song is a good song no matter how it is presented.
That being said, this album is full of good songs.
It's as simple as that. ... Read more

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Having already come close to beating Graham Parker, Elvis Costello, and Louis Jordan at their own games, Joe Jackson made a play for becoming the Cole Porter of his generation with this 1982 collection. Actually that's a bit of a cheap shot, especially considering what a refreshingly innovative album this was. Jackson truly hit his stride with a memorable set that combines new technology and classic songwriting. From the infectious "Chinatown" to the hits "Stepping Out" and "Breaking Us in Two," the album is a showcase for killer hooks wrapped up in shiny keyboards and Latin-tinged percussion. Small wonder that Jackson waited two decades to attempt a sequel.--Bill Forman ... Read more

Reviews (28)

Definitely a catchy album
Joe Jackson definitely brings a New York feel into this album, Night and Day. Each song on the album has its own distinct sound and melodic rhythm. From the salsa-like, "Target", to the slow, emotional, "Real Men". The Top 10 hit, "Steppin' Out", still remains as one of my favorite songs of the '80s, as well as, of all time. Since I was born in 1979, that song, along with the Top 20 hit, "Breaking Us In The Two", always takes me back to my early childhood. During a time when New Wave was blasting the airwaves and MTV, "Night and Day" was a refreshing sound to the ears. It was a great piece of work for Mr. Jackson, as the album peaked at #4 on the Billboards, and was certified gold by the end of 1982.

Take this CD for Exactly What It Is-Good Songsmanship
I disagree with the customer reviewer who refers to "Night and Day" as "taking gay life into the mainstream". That statement appears to have been made on the basis of one of the CD's more controversial songs "Real Men", which unflinchingly explores male masculinity. As a whole, "Night and Day" is not about gay life and to interpret it as such on the basis of one song does injustice to Joe Jackson's considerable talent. His sexual proclivities, real or imagined, are not relevant to the music.

This album worked very well as an LP (which I also have), because sides one and two are referred to as the night side and day side respectively. The night side had more uptempo numbers, while the day side included mostly slower songs. They're all well-written and well-performed, however. The more interesting tracks, from my point of view, are the dark and mysterious "Chinatown", the somewhat glitzy (and slightly paranoid) "TV Age", "Steppin' Out" (Jackson's most commercially successful song to date), "Breaking Us In Two", and "A Slow Song". The aura that this collection exudes is one of Jackson attempting to be a modern day Cole Porter...and for the most part he succeeds. Jackson proves himself to be one of the best tunesmiths of our day, and he has surrounded himself with a cadre of capable musicians. The result is one of the best pop albums of the 1980's.

This collection is well worth getting...but listen to it for the craftsmanship of the music and not for some sort of hidden message. You won't be disappointed.

A strong release
This still remains Joe Jackson's milestone release.

Most likely due to the mix of catchy rhythms and wonderful piano work.

Much of the music is upbeat and fun to listen to, even many years after being released.

Stuck in a time warp again..
I jumped on this album when it first came out. Nothing like that cut "Steppin' out" to get you groovin! Recently I picked it up on CD again, and it all still sounds so good, and so timeless. Jackson is a fabulous keyboardist, and the music varies across the rythm & beat spectrum. I am sure I will tire of it again, and pull it in another few years and feel it new all over again!

Too Much Night
Given Jackson's reputation as a great songwriter and musician, and my strong liking of "Real Men" (despite its preachy overbearing lyrics), I decided to try Night & Day. I was very disappointed. The music is experimental, but not cohesive. Besides "Real Men", the only songs with a hint of soul are "Breaking Us In Two" and "A Slow Song". Go pull out an Elvis Costello record instead. ... Read more

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Until 1978, Blondie was perceived mostly as a '60s-referencing, British-Invasion-meets-girl-groups band. With veteran producer Mike Chapman at the helm for their third album, though, everything changed for this group bred from the New York punk scene. Honing in on Blondie's strongest points--Deborah Harry's come-hither vocals and Clem Burke's powerhouse drumming--Chapman helped recast the band to the power pop side of new wave, and with impressive results. Driven by the punk-meets-disco chart-topping hit, "Heart of Glass," and the herky-jerky "One Way or Another," as well as a muscular cover of the Nerves' "Hanging on the Telephone," Parallel Lines established Blondie as major stars. --Billy Altman ... Read more

Reviews (58)

Blondie: The Best Band Ever????
Blondie is my favourite band ever; they were innovative, unique, and everything they did reeked of originality (but with obvious influences, the greatest being Girl Groups of the 60s). And they weren't afraid to take chances. Parallel Lines is their masterpiece.
01. Hanging On The Telephone; Wonderful cover of The Nerves song, Debbie's vocals are rockin' (evokes Pat Benatar).
02. One Way Or Another; Catty vocals, perfect pop rock. You all know this one.....one way or another.
03. Picture This; The best New Wave love song?
04. Fade Away And Radiate; An unsung and lost classic.
05. Pretty Baby; The Shangri-Las provide the roots for this danceable and supremely fun song; wonderful lyrics,..., innocent vocals. A triumph.
06. I Know But I Don't Know; excellent, one of my favourites on the album; mixes synthesizers and guitars for a wonderful hard rock effect. Debbie does NOT do all the vocals (Chris Stein guests).
07. 11:59; Definitely hard rock, but Debbie lends it a soft edge that is endearing.
08. Will Anything Happen?; Similar in feel to track 07; excellent chorus, you can really bounce to this.
09. Sunday Girl; What can I say? One of their best, and probably the best on the album; icy cool lyrics, 60s sound, Debbie's...vocals, and many, many versions to choose from [this version is the original, entirely in English; The Best Of Blondie includes a verse in French; The Platinum Collection has a rare recording entirely in French; and their Live album includes a wonderful live version]. This song gets better with every listen.
10. Heart Of Glass; Everyone thought they sold out to disco with this, but it's a bit punkish in nature really. It sounded like they were having fun, and you will too. This is the original single version; The Best Of Blondie includes a remixed version that is shorter and missing some musical interludes and a verse.
11. I'm Gonna Love You Too; Excellent cover of Buddy Holly standard.
12. Just Go Away; Debbie is all tough chick in demeanor here, and it's a song of macho posturing, much like Rip Her To Shreds was; cheeky and fun.
I won't bother talking about the bonus tracks, save for:
13. Once I Had A Love (aka The Disco Song); An early version of Heart Of Glass, it's interesting to see how the band progressed to the final product, no doubt helped by Nigel Harrison, the album's producer. This cut is funky and chunky.

Picture this
Blondie was my first introduction to punk music back in the early '80s but at the time I didn't know. I simply loved what I heard. Reissuing the band's albums was a wise move because thte production back then was murky and flawed. My only Blondie cds I own prior to the reissue of "Parallel Lines" is "The Best of Blondie" and their recent "No Exit". The band's best of collection was my first exposure to Blondie's endearing music. I figure now with the reissues I ought to expose myself to the songs I haven't heard by the band by starting off with the band's seminal classic "Parallel Lines".

If I thought the production on "The Best of Blondie" was horrible, I can't fathom what the original "Parallel Lines" sounded like. The production on this album is clean yet raw at the same time. Three of my all time favorite Blondie songs are on this album: "One Way Or Another", "Sunday Girl" and "Heart of Glass". Those songs remain timeless classics with me and they can never sound dated to me. My favorite songs that I never heard by Blondie are "Pretty Baby", "Just Go Away", and "Fade Away". When I first heard "Once I had a Love (aka The Disco Song)", I immediately did a double take on the song. I thought my cd player skipped and replayed "Heart of Glass" which isn't necessarily a bad thing since I love "Heart of Glass" so much. "Parallel Lines" reminded me why I have always loved Blondie and never stopped loving their music. A lot of so-called punk bands today could learn a thing or two from Blondie's music if they want to their music to remain relevant to the masses over the years like Blondie's music has become.

PARALLEL LINES-A MASTERPIECE
This is the album that made the band famous! "Heart Of Glass" is one of the greatest disco songs ever to be made! Blondie is the definition of Punk. You can't go wrong with a Blondie album. Even when Debbie Harry went solo she still made great albums and music. Well this hits every note with crystal clear sounds! "11:59" is also a highlight song, along with the well known "One Way Or Another", "Hanging On The Telephone", and "Picture This". This album is what put Blondie on the map of music history. Being a huge fan of Blondie, this is one of their greatest albums ever! Clem Burke's drumming is astonishing and amazing! Blondie is bound to be one of the world's greatest bands in the past 30 years. Every song on the album is lovable!!!

Great Band! Great MUSIC!!!!!!

Bodacious Cd
This is their best cd ever! The lyrics are catchy and it has a great beat. The music is fun, profanity free, and all age groups can enjoy it. My 2 year old and 4 year old sister enjoy it, I enjoy it (I'm 13 years old), My 17 year old sister enjoys it, even my mom enjoys it! So if your looking for music that you can all agree on, this is your choice!

Pop music at it's best
If I could only bring 10 CD's to a desert island, this is one of them. Totally pop with an edge to it. 11:59, One way or another, Hanging on the telephone are some of the highlights on this, but each song is different than the other. This is a masterpiece plain and simple. ... Read more

Reviews (74)

Stop Playing "Take On Me" and Listen to Their Other Stuff!
Everybody and their mom has seen the awesome video for "Take On Me," which is deservedly always on many of those "Top 100 Music Video" countdowns, and that's probably the extent of most people's knowledge of A-Ha. However, their debut album had much more to offer than a throw-away pop song with a great video (which is good since "Take On Me" loses a lot of its coolness when you listen to it without getting to see the video). "Train of Thought" is brilliantly catchy, and the title track is hauntingly beautiful. And then there's the masterpiece: "The Sun Always Shines on T.V." Despite being a US top 20 hit and having a video almost as stunning as "Take On Me," this song has seemingly disappeared from our collective memory of the '80s. Which is too bad since it's the perfect pop song and deserved to be a major hit.

After this album, A-Ha never again had success in the US, so you might want to get their greatest hits collection instead (which includes all four of the aforementioned songs).

a-ha best band ever!
what can i say about this album? hmmmmmm oh yeah i know GET IT ASAP! along with all of a-ha's other albums. every single one is a masterpiece. but since this was their first one i decided to write a review for this one first. i am a proud owner of this album ad all of a-ha's other albums. i have every thing on tape, reord, and cd. a little obbsessed no? well i actually buy extras all the time incase one of my albums break. ive spent hundreds of dollars on a-ha records, cds and tapes. its almost like an addiction. but the only problem is its super hard to find any other albums besides "hunting high and low" and "stay on these roads". all of the others took me awhile to find. but i got most of them. anyways this has to be the best thing to come out of the '80s especially 'take on me'. the music video for that song kicks major butt. i wish i could see more of a-ha's music video but thats the only one they're really known for. oh well. i highly recommend you get this and all of a-ha's other cds i mean they're all right here on this website. so get moving and buy buy BUY!

Well Beyond a Teen Pop Group
A-ha might be a victim of the success they had on MTV. This group has so much more to offer than the overplayed hit "Take On Me". A-ha's debut album is a complete effort and are by no means a "one hit wonder" as they branded by VH1. I do believe the vocals are what set a-ha and in particular this album from the others and it is lead vocalist Morten Harket that shines and makes this an album woth having in your collection. Another thing to note - Pål Waaktaar is one heck of a songwriter. This group was so mis-categorized as a teen act. Perhaps that is why they never found the commerical success in the U.S. following this effort.

"Take on Me" might be your classic 80s song, but there are other songs that have a lot of depth on this CD. The songs that follow "Take On Me" are even better. The second song "Train of Thought" has a definite European feel. It is a nice catchy song with and Harket leads the way.. "Hunting and High and Low" is the title song and is definitely one that is as enjoyable as any.

The 2 best songs on the album are "The Sun Always Shines on TV" and "Here I Stand and Face the Rain". "Sun" got a lot of airplay in the U.S. following "Take On Me", but surprisingly didn't crack in the Top 10. The song was arranged beautifully as well as outstanding vocals. "Here I Stand and Face the Rain" starts out with some simple almost 'spanish-like' guitar chords and then moves into some intense instrumentation, followed by more great Harket vocals. I believe you here some background vocals going "aaaaaahaaaaaa" in it.

I bought this CD back in 1985. It was pretty thin in terms of lyrics and liner notes. I don't know if any re-releases have changed this.

a-ha took on me, and won me over
One of the songs I had copied for me (at the time, tape-to-tape was the best way to go) by my high school colleague Howard Narvaez was by the Norwegian trio who joined in the 80's synth-pop bandwagon and became best known for their #1 US and #2 UK hit single, "Take On Me" What made a-ha's single a hit from nowhere was Magne Furuholmen's (best known as Mags for short) keyboards running at a dizzying express train's pace, and Morton Harket's Tony (Spandau Ballet) Hadley-like voice rising to a keening falsetto in the last line of the chorus. Oh, and their revolutionary animated hand-drawn video on MTV made sure my peers heard of them.

So, what of the attendant album, Hunting High And Low? The third single, "Train Of Thought" treads more on an industrial line, though still entrenched in pop, with Harket's non-falsetto voice sounding close to Jim Kerr's but with pop sensibilities.

The title track and fourth single is a haunting ballad, where I finally hear Pal Waaktaar's guitars and piano. Some eagle keening sound effects and soaring synths sound before the drums kick in to make the bridge and final chorus more intense.

"The Blue Sky" is harmless pedestrian New Wave pop while the five minute mid-paced ballad "Living A Boy's Adventure Tale" veers more toward Spandau Ballet territory. There's a nice touch with airy synths and a clarinet (I believe).

The second single, "The Sun Always Shines on TV" reached #1 on the UK charts but stalled in the US Top 20. A Top 5 hit in my book. The piano-synths, and Harket's falsetto spouting romantic lyrics, lead to an explosion of guitar and keyboards and an intensity that rivals its predecessor single. The blossoming synths in the chorus must've done it for me.

After the brief throwaway ballad "And You Tell Me," things get back in high gear for "Love Is Reason," a song Stacey Q wouldn't have minded doing on her first album. Pal's brief strumming bursts on the chorus is notable on this could've-been-a-single.

Could the staccato synths of "I Dream Myself Alive" been one of the paving stones for the Information Society? Could've been, in the same way the third-gear "Here I Stand And Face The Rain," with Harket's grimmer lower register vocals might've influenced other industrial groups.

How else to follow a successful single like "Take On Me"? Answer, they couldn't, and they became less relevant to the US and more to the UK, although they later surfaced with the title track to the Bond movie "The Living Daylights." No, I don't know what Norwegian for "one-hit wonder" is, and I'd probably be insulting them for trying to find that out. P.S. and thanks Howard, wherever you are, for copying that song for me.

20 years later and still a blast!
What better way to start off an album than with quite possibly the best song of all-time "Take on Me". Strongly followed up by 9 80s pop masterpieces, this album makes for a great listen from start to finish. So you're having an 80s party and need some tunes? Don't forget to set it off with "Hunting High and Low", you'll be glad you did. ... Read more

Reviews (23)

Sultry
That is the best way to describe the self-titled release from the Divinyls. With Christina Amphlett's sultry, powerful voice, and Mark McEntee's guitar work, this album really isn't that bad. We've all heard the song and seen the video that left little to the imagination, but the album is actually more than just that. I applaud the Divinyls for "I Touch Myself" because there is a tendency in this country to be too uptight. At the same time though, I like music, and don't want to waste my money on shock.

There are several pretty good songs on here that will make it worth your money. Personally, I like a female singer who can belt out tunes with raw tenderness, and Amphlett fits that bill. Her voice is a bit deeper, with a hint of her native Australian accent to flavor it. She's has a great growling tremolo that can be heard in the acappella opening of "Bless My Soul (It's Rock-N-Roll)". Amphlett alone doesn't make this band any good.

She has a well-rounded guitarist in McEntee behind her. He's a very solid guitarist that focuses mostly on rhythm with some brief exploits into soloing. Within each song he is good a varying the rhythm just a bit, sticking in an extra strum here and there, to keep it interesting. He lays down some cool grooves on "Lay Your Body Down", "Bullet", "Bless My Soul" and "Follow Through".

This album is good rock and roll from the pre-Seattle explosion. It is worth more than their infamous song, and is a good listen.

Focused Divinyls.
It's better than three stars but not quite good enough to be four. But it will definitely make constant rotation on your CD player for the 4 or 5 superb cuts on here. By the time this former Australian band hit L.A. to do this disc, they were down to a duo, just Christine Amphlett and Mark McEntee. Not only that, but their pumped up sound was stripped down once they hit California. That would both help and hinder them on this project. One of those superb cuts starts off the disc, "Make Out Alright." Christine Amphlett's singing is subtley relentless. It's a driving, pulsing song and a good begining to the album. "I Touch Myself" is the risque hit single from the set. And while a very good song, it hurt the band's image as they became known as the band who did the 'risque' song as opposed to being known as a good power pop band that should be taken seriously. "Lay Your Body Down" has some interesting words wrapped around a nice tune. This is another cut not to be missed. "Love School" just doesn't get it done despite promising vocals by Amphlett who outdoes herself on this disc. "Bless My Soul" is another raver in the "Make Out Alright" mode, though not as good as the former. It's notable only for the stellar guitar work of co-Divinyl Mark McEntee. Kudos should go to McEntee as he abley perform all the guitar chores on this album. "If Love Was A Gun" starts out promising with gentle acoustic guitar pickings and some mellow singling but eventually the song goes on too long to be taken seriously. "I Need A Lover" is really, insignificant. "Follow Through" could be the underrated gem on this disc with the super funky bass line underling the good drum work. Also, the prophetic words give the song that much more juice. "Cafe Interlude" is just a brief distraction to lead us very nicely into "Bullet." This is a very good, solid uptempo song that doesn't let up. This could have been the follow up to "I Touch Myself." "I'm On Your side" succeeds where "If Love Was A Gun" fails as it is more of a tune and sung with more passion by Amphlett. This is about as romantic as The Divinyls can get and it's good. It's a good album that deserves a listen. Commercially, they would do no better. The stripped down production approach on here really focused the Divinyls compared to previous works, however some of the songs on this disc were hurt by the lack of variety this style offers.

I Touch Myself!
Davinyls are simply awesome. With one of the best catch-phrases, hell, songs of all time, I love this CD. Get it now, and remember to touch yourself too.

Polished mainstream effort has its moments, but...
After Temperamental failed to make a dent on US shores, the Divinyls signed onto Virgin Records and released their eponymous album. The result was a polished, sometimes successful, but watered down sound that lead singer Christina Amphlett somehow managed to wrap her rough but twangy vocals around, "ays" pronounced like "eyes," on occasions, and guitarist Mark McEntee provide some decent riffs that gave the Divinyls their signature sound. The bassist Randy Jackson, who plays with them...could it be the same big black guy who played for Journey on Raised On Radio?

Despite "Make It Alright," being a not-bad medium rocker, it's clear that the Divinyls have lost the edge that typified songs like "Only Lonely" and "I'll Make You Happy." Their only big hit from here was the mildly provocative "I Touch Myself." Definitely mainstream pop, and written by Billy Steinberg and T. Kelly no less, with Benmont Tench on Hammond organ. He pops up in other songs later. A good but not great song. But speaking of Steinberg/Kelly, they provide the acoustic ballad that closing the album. "I'm On Your Side" is another what-went-wrong between us, but they're still together, so that makes it a song of moral and emotional support. Now this song's one of the better tracks.

"Lay Your Body Down" sports a bouncy swaying like "Trampled Underfoot," with poppified Sabbath riffs at times, and goes into erotic/bondage territory, with oh-so-clever lines as "lashings of a recipe" and "I'm whipping something up." She goes into dressing into black, or "so wicked, I give myself a fright" to wearing nothing at all.

"Love School" is a melodic ballad calling for a detached lover to go to the title established, especially by someone sensual and electric demanding sensitivity. That's three in a row for songs like that--Ms. Amphlett's sensuality has not dimmed a bit, it seems.

Bless my soul, it's old-style Divinyls! A roughened voice belting out the opening lyrics, followed by some hardy guitar, with the frantic pace of liberating old-style rock and roll mixed with punk, and... "Bless My Soul (It's Rock-N-Roll)." Probably the best song here.

Amphlett minimizes the impact of the end of a love, arguing that "If Love Was A Gun" that it "wouldn't hurt more than it's done." She seems to harbour no ill feelings, just melancholy upon the parting, singing "I hope there's an angel watching over you," later adding "many watching over you." Another mid-paced ballad with piano and organ by Tench.

Tench also helps out on the slow rocker "Need A Lover," which takes themes from fairy tales such as magical mirrors, genies in bottles, to find a cure for ruling in bed alone each night. When she sings "I wish someone would come along and wave their magic wand," I say a loud "oh yeah!"

Make the most of life, even if for one instant, is behind "Follow Through," with the dual yin-yang aspect of a rising sun also being one that sets, depending on which hemisphere one's in.

Not as bad as I originally deemed it, saved by Amphlett's rough and ready vocals, some sensuous songs, and the Steinberg/Kelly songs, but it's like drinking store-bought orange juice after being used to freshly squeezed OJ.

I touch Myself Is Fantastic
I am 15 years old(1988)and herd this song from a friend I absolutly love it. It's a great song. At frist I was like Hmmmm this is a bit rude but once u listen to it you love it and just love the tune who cares about the words. Everyone loves the song for its naughty words. I think it's great! It's the only song I listen to. Luv always. Tash ... Read more

Amazon.com essential recording

This is New Order's debut in name only, with the ghost of Ian Curtis still hanging heavily over his grieving Joy Division bandmates. It would take them one more step, to the brilliant Power, Corruption and Lies, to really assert their own power. Movement, then, is the sound of guitarist Bernard Sumner, percussionist Stephen Morris, and innovative bassist Peter Hook building a bridge from JD's Sturm und Drang drone to New Order's considerably brighter dance pop. It's an interesting bridge to cross though, peppered with dark highlights like the almost poppy "Dreams Never End," the blip-blooping electro chaos of the Pere Ubu-influenced "ICB," and "The Him," with its rhythmic echoes of JD's "Atrocity Exhibition." --Michael Ruby ... Read more

Reviews (32)

A reminder that maybe your life's not that bad, really.
Listen up! You may look on this album as a sad, lonely offering from four blokes (Including crucial producer, Martin Hannett) without any sense of direction and an even more conspicuously absent sense of fun. Fine. If you're one of those people, the fantastic later stuff, like Power, Corruption and Lies will make you very happy. Go and look at their entries while I discuss the importance of DEPTH to any band's records. This is an absolutely kicking record with more hang ups, neuroses and frankly more guts than half of even half of (the almost equally superb) Depeche Mode's releases towards the end of that decade (but, Joy Division were doing that 10 years earlier, for god's sake!). It offers us an insight into the minds of these poor, pathetic, lonely people ("It's a strange day, and such a lonely way.", Ahhh, would you like a nice cup of tea, love?). Great.

Also, the juxtaposition (meaning putting two things next to each other) of a very high voice with a very low one, as in "Dreams Never End" and "The Him" actually sounds pretty good, and is that the great Peter Hook singing the low part on "The Him"? I hope so.

However, the album is so downbeat its mass appeal is sorely lacking, and I'd expect many Blue Monday - philes to turn off after even the first track and put "P, C & L" on instead. I'd personally put the lot on back to front, but maybe that's just me. I just think it's incredible these two albums came so closely together. Top stuff!!!

Who needs songs with sensible titles, anyway?

Ghostly
An odd debut for a band born in misery, this is clearly the sound of a band struggling to reconcile their flippant good humour with the need to appear depressed. Musically, it sounds like a higher-tech, dancier Joy Divison. The production is astonishing, and very similar to that of 'Low-Life' several years later - being both rocky and dancey at the same time, it's years ahead of other bands. Lyrically it's impossible to judge - perhaps due to nervousness, Bernard Sumner's vocals are buried deeply in the mix (as are those of Peter Hook and Gillian Gilbert, who also appear vocally). The fragments that stand out seem as if they were penned by Ian Curtis, and indeed their contemporary singles, not included here, were. The doom-laden atmosphere seems out-of-place for a band who, a year or two later, had firmly discovered dance music. As a New Order album it's odd - only the first song sounds recognisably 'New Order' (both 'Power, Corruption and Lies' and 'Low-Life' had very similar opening tracks, probably coincidentally). The rest of it veers from obvious Joy Division-isms (ICB uses the same drum pattern as one of the songs on 'Closer') and something stranger. 'Doubts Even Here' sounds a bit like Laibach, for example, with a martial beat and simple Mellotron chord sequence. All-in-all it's not bad as an instrumental album of Joy-Division esque rock, but 'Power, Corruption and Lies' is probably a better starting-point for a New Order collection.

Dark and Artsy
This first album released by New Order in 1981 is a wonderful gloomy taste of sturm und drang, echoing out of poignantly scattered debris of Ian Curtis' suicide. This gloomy, artsy, beautifully dark album seems like it comes from the hauntingly hope-devoid streets of Manchester which wrought this foundational New Wave band. Excellent album: dark bored vocals, beautifully woven guitars, haunting synths.

New Order's black sheep
Despite the often inferior lyrics and the regrettable Joy Division parody - Doubts Even Here, Movement contains some of the most brilliant music from the early 80s. Some songs are just stellar. Truth and Senses are flawless. I suppose this music is early electronica in places.

Curtis' vocals - the emotional depth he was able to bring to Closer - obviously couldn't be duplicated, although it sounds like the band is trying. Yet, there is a mechanical-computerized element in much of Movement that predates Blue Monday and which works quite well. Clearly, with the Bauhaus cover art and album title, New Order isn't just trying to recreate Joy Division. Even that exercise did yield good fruit, though. The song In a Lonely Place is great (the b-side for the band's first single).

Dreams Never End is similar to the original FAC 33 release of Ceremony. Both are excellent. (I prefer the original Ceremony to the version on Substance.)

Ghosts
They might have goofed in front-loading their debut with the sprightly, catchy 'Dreams Never End'- -the rest of the album is pretty dour and a bit of a letdown after such an auspicious beginning. It seems they couldn't make up their collective mind as to direction: hence 'Dreams', which sounds like a hit single and, remarkably, like nothing in the Joy Division canon; the haunting 'Doubts Even Here', ostensibly the sequel to both 'Atmosphere' and 'In A Lonely Place'; and the sequencer-driven 'Chosen Time' which anticipates the follow-up POWER, CORRUPTION AND LIES and the direction the band would persue throughout the 80s. Not surprising, really, as much of the material was probably written as Joy Division while Ian Curtis was alive and had to be finished without him. ('Ceremony', the debut single, was performed live with Curtis on JD's STILL.) A hint of cynicism concerning the band's audience pervades the album as well, though- -the vocals are treated in more than a few spots so as to mimic Curtis, most notably on 'Dreams Never End' and 'Doubts Even Here' in which Ian's ghost seemingly performs. The band was definitely haunted by Curtis' absence: his presence permeates the album. There are some great moments, to be sure- -aside from 'Dreams Never End', 'ICB' lopes merrily along and manages to transcend its own weight with its whoopy synth calls and ascending progression. And 'Doubts Even Here' is darkly beautiful. It's also rather aptly titled- -IS that Curtis? It isn't, but I'm not really sure it's Bernard Sumner, either. Or Peter Hook, for that matter. That's the thing about ghosts. They're there but they're not. ... Read more