Reviews (4)

the original and best
Long before John Zorn's blend of hardcore and jazz in Naked City, John Lurie put together this intense jazz-punk hybrid. It has a sleazy, gritty sound that shows the early development and experimentation of the long-running institution that is The Lounge Lizards.

Lurie's sax plays many of the melodies, but perhaps more of a feature is the insane scraping sounds of Arto Lindsay's guitar and Evan Lurie wildly tinkering on the electric piano. Drummer Anton Fier's style sounds a bit more rock than jazz, which also adds to the punkiness.

The material is mostly by John Lurie, and falls somewhere between sexy, loungy jazz ("Ballad", "You Haunt Me" and a pretty straight reading of Earle Hagen's "Harlem Nocturne") and upbeat crazy pieces ("Wangling", Thelonius Monk's "Well You Needn't" and "Epistrophy"), at times somewhat Frank Zappa-ish, as another review mentioned.

Later incarnations of The Lounge Lizards saw Lurie adding more and more horns, then other instruments and eventually creating a more layered sound, which incorporated some elements of classical and African musics (among countless others). All of their work has been great, but this, their debut album still remains the most fresh and exciting.

5 LIZARDS ARE VERY DANGEREOUS!!!!!!!
THIS IS THEIR DEBUT ALBUM , BUT VERY WELL . THIS IS PUNK-JAZZ , ARTO PLAYS VERY AGRESSIVE&STRANGE . THE 3. SONG IS ALWAYS BETWEEN MY FAVOURITES SONGS . IT'S NAME IS "DO THE WRONG THING "

BUY THIS ALBUM , DO THE RIGHT THING !!!

Brilliant Debut
John Lurie has recorded good material since this was made, but this particular CD is unique; it captures the band while they were still developing, and is fascinating for that reason alone.

Basically, I would recommend this CD to anyone who likes Frank Zappa's early 70's output ("Grand Wazoo", "Waka/Jawaka", "Weasels") and/or Henry Cow ("Leg End", etc.). If this is your first taste of this sort of music, it may take a while to grow on you. But once it does, you'll be listening to all music with different ears.

Glad to see this is still available in some form; I bought this in '81, and still go back to it when I need to remember what experimental jazz can sound like when a sense of humor and history are present.

Free Jazz/No-Wave Collision
The debut Lounge Lizards here featured guitarist Arto Lindsay who along w/ Ikue Mori went on to form the legendary downtown NYC No-Wave band DNA and then worked with John Zorn, formed the Ambitious Lovers....and so on. Here he is in unique and profound form, blasting out oddly phrased tones from his infamous no-name (? ) red 12-string guitar... ... Read more

Reviews (3)

Brilliant from Start to Finish
Despite the complaints below, there are great songs here that, in fact, are hard to find elsewhere: AEIOU Sometimes Y, Hanging On a Heart Attack, Sidewalk Talk, Make a Circuit with Me, and Shattered Dreams. And that reviewer assumes that you already have the same discs as he does. Um, OK.

If you valued the 80's, don't buy this compilation
You'd think that an 80's anthology of music would understand that it caters to an audience which is nostalgic toward that decade.

I give this two stars only because you can't take away from the 80's music, but I figure that the inane commentary on the CD booklet should be calculated in this rating too. It was highly unnecessary and insulting to 80's fans to include disparaging remarks about the decade and banal political commentary by obvious leftist sympathizers.

Most Of These Are Available Elsewhere
The third Living In Oblivion entry becomes a bit common, including several songs that are the stock and trade of every run of the mill 80s compilation. We still manage to find some lesser seen gems, such as "AEIOU Sometimes Y" by EBN-OZN and "Make A Circuit With Me" by the Polecats, but tunes like "Sunglasses At Night", "Rock This Town", and "Shattered Dreams" are the norm here. Any 80s fan probably already has these songs squirreled away on a variety of other compliations. Not the best in the series. ... Read more

Reviews (63)

Shattered Pop
after all the britney spears and Smash Mouth's of the world have defiled, pop has become an awful world. Catchy, Inventive rock(Weezer,Nirvana,Green Day) once occupied that terms definition even if they were seperated into genres like alternative or punk, they were still pop. The Dismemberment Plan live under a set of rules that bands like Radiohead and The Pixies have been doing since the early 80's, taking pop, ripping it up and taping it up in the wrong places. Melodies and hooks that come from out in space and deep down in the ground and hit you without a hint. "Emergency and I" is an event. Something incredibly rare and amazing. Forget for a second that their misguided first album entitled "!" was a bunch of angry punk songs that shouldn't have happened in the first place. This album takes catchiness and pop rock to a level never imagined before. "A Life of Possibilities" opens the album with a swagger like a drunk with a limbo guitar hook that interrupts singer/guitarist Travis Morrison's ramblings that go on and on with not a hint of wanting to stop. The jauntiness that fuels the amazing "Girl O'Clock" lets the narrator actually voice how he feels about not having anyone to have sex with or even to kiss. The breathtaking "The Jitters" allows Morrison to show the true meaning of heartbreak and loneliness. Urgency powers the never stopping energy of "8 1/2 Minutes" and "I Love a Magician" that moves like a cheetah through Jason Caddell's guitar and Eric Axelson's bass while Travis' chameleon of a voice slithers in and out. "The City","What do you want me to say?" and "Gyroscope" are radio friendly rockers that never stop for a breath and let the word predictable go down in flames. "Spider in the Snow" and "You are Invited" lay back in the relaxing slumber of a Sunday afternoon and let the memory stir and smile. "Memory Machine" jumps with a sharpness that never lets you see what's coming around the next corner. The amazing closer "Back and Forth" creates a funky bow to tie up tha album under Axelson's amazing bass work and Joe Easley's impressive druming that never lets down the entire album. Under all the creativity and all the beauty the album is a pop masterpiece that screams for the days when pop was something to be proud of. Dismemberment Plan are a band that are waiting for the same praise that Radiohead have, truly inventive and beautiful. This is why music lives, this is why music fans listen, for something like "Emergency and I".

Five star album, easily
The short review: If you enjoy cutting-edge experiemental, yet completely accessible music, you have to buy this album now. Right now. Stop reading and buy it. Now.

The long(er) review: Too many albums on Amazon get a five star rating which undermines the entire rating system. An album should get five stars when the reviewer truly feels the album deserves that lofty rating, not because of hype. Of course I'm rambling, but thankfully, The Dismemberment Plan's 1999 masterpiece (yes it is) "Emergency & I" deserves nothing less than five stars. I still don't remember exactly where I found out about the album, or why I decided to buy it without any idea of how it sounded, but I've never regretted my choice.
This is an album that is hard to talk about without telling you that you have to listen to it to truly experience it. The music has elements of any given band you want - Beatles, Talking Heads, Fugazi - and yet sounds like nothing but Dismemberment Plan. What is also refreshing about this disc are the great lyrics: too many rocks bands are content to spout cliches and "rain/pain" rhymes to fill out sub-par melodies. If the lyrics on "Emergency & I" aren't revolutionary, they flesh out the songs and make them a treat to listen to. Alongside fantastical imagery (every nuclear weapon on Earth launched and some hitting the moon on "8 1/2 Minutes") there are sublime moments of ennui and dissatisfaction at twentysomething life that many young people can instantly relate to ("The Jitters", "The City"). Have I mentioned that the music is absolutely marvelous? Shape-shifting, unexpected, soothing, jarring: a magnificent trip through all great elements of indie rock/punk to create a truly exciting and timeless listen. I am uncertain of many things: that I will be listening to this album in twenty years with a smile on my face, I am absolutely certain of.

For the sake of hype
Boston is a cold place. It brought us Mission of Burma, Converge, and these guys. Those ingredients just create something crazy. Even more crazy if you're not tending to the weather and instead try to create something warm and cheerful.

These guys are good musicians, they've listened to their indie cues. They stayed on top of music as fans and gave it a go. I'd say the instrumentation is hashed out like kids who know their indie rock, its nothing over the top or original, but they know how to play. It is a little fresh if you haven't listened to many bands who play this style... and a lot like this band, the Dismemberment Plan.

But one guy just isn't getting it. One guy is going over the top. And when you go over the top, like most good vocalists do, you're taking a chance at being just plain bad. This singer is just plain bad.

I get an overall impression that the singer is generically clinging to The Pixies Frank Black for inspiration. He's got the notion, "I can copy it, but my own originality will make it creative and original." Well it's just plain annoying like a caffeinated sixteen year old leader of a cheer leader squad driving home squealing to Jay Z. It's overly generic -- add some keys and the 18 year old indie rock crowd will think its original. Please.

Yay
This is the most subtly crazy album I've ever heard. For the most part, the album is simply pop rock, indie rock, funk and punk kinda mish mashed together with incredibly catchy melodies. However, even in the poppiest songs there are things that sneak in there and are very unnerving. Throwing chords in the middle of songs that intentionally sound wrong, some beautiful but abbrasive synth tones, and some of the most peculiar time signatures I've ever heard. As soon as you start to get adjusted to one of the things they throw at you, you get hit with another. The first time I listened to it, I was paying close attention to it as I'd heard a buncha hype and I ended up with a migraine, and I mean that in the best way possible. Tons and tons of small things that sound like they were never supposed to happen that way, but did, and somehow it worked. Then of course there's the 2 faster, kinda spaztic songs on there that are incredible, and catch you so off guard that after them you're just in a state of "bwah...?". Even once you listen to it a few times and get used to all the weirdness to it, it's still an amazingly catchy and fun album to listen to. The lyrics are great, melodies are great, the voice...I love, I don't see why other people don't but that's their problem. He sounds really friendly and inviting and honest. The drums are great, the bassist is really good and has some strangely charming but lazy sounding basslines in some of the songs as well as some crazy funky stuff in others. The guitars are great, sometimes fluttery and pretty sometimes tougher and more rock sounding. So yeah, all and all this is a great album, definitely worth adding to any collection.

I'm Going Back and Forth
At first you start listening to Emergency and I you
feel intrigued, as if something is pulling you in slowly. 'A life of possibilities' presents you with a choices. So what did I want to do - keep listening. Memory machine starts commanding you - 'red wire right temple - black wire left temple - red wire right temple - black wire right temple' and you find yourself struggling but it's too late. You're caught. You're addicted and by the end of it you're begging to have those wires in your head. The album flows really well from then on - great hooks, drivy beats, great lyrics and terrific synergy.

By the time The D-Plan has finished Girl O'CLock, you'll be on your knees, back bent and your head stretched 'till it's touching your achilles heals. Thankfully 8.5 minutes and Back and Forth pick you up and start moving you again.

seriously though - this album is like a drug - come join the rest of us. The lyrics are just amazing. The album has terrific hooks and just great pop rock moments that would definitely satisfy the masses. The fact is there really isn't anything like this in the 90s - and this is a good thing. Buy it. ... Read more

Reviews (9)

good work from The Edge
This is the soundtrack for a movie The Edge (U2's guitarist) scored back in the '80s. I bought it because I'm a huge U2 fan, and I was not disappointed. Several tracks -- Rowena's Theme, The Strange Party, Hiro's Theme 1, Drift -- are thoroughly excellent, although you shouldn't expect rock music; this is ethereal mood music. It's quite lovely; I'd like to see the movie, to see how the music works in it. The only track of the ten that is a song is "Heroine," which is sung by Sinead O'Connor; it's good, sounds a little bit like something I could imagine Bono singing on "October."

Good CD, especially if you're a U2 nut, like me.

Excellent Ambient
Apart from the Sinead O'Connor track, Heroine, this could have been an ambient album by Brian Eno. Actually, slightly better. The music is floaty and drifty but the melodies are finer than anything Eno has crafted. The first track, Rowena's Theme, really is quite beautiful.

Heroine isn't a bad track either.

My only complaint: it's a little short.

I must see the movie one of these days.

The Cutting Edge
Many nights I play this soundtrack on my stereo and allow its relaxing atmosphere to carry me off to sleep. This, however, should not be taken as a criticism; this is not boring music. While it cannot really be described as electrifying or mind-blowing, it is a nicely mellow slice of music, performed by gifted and thoughtful musicians.

This album definitely won't be confused for anything other than a movie soundtrack. The majority of the songs are instrumentals, designed more for creating atmosphere and mood than for having catchy rock'n'roll riffs. This is not a collection of music "inspired" by a film. That said, there is a single pop-sounding song here: "Heroine (Theme From 'Captive')", featuring vocals by well-known Pope-picture-ripper, Sinead O'Connor. The rest of the songs are dreamy and relaxing. Acoustical guitars mixed gently with electronic sound effects make for a great combination when you have talented musicians at the helm like U2's The Edge and Michael Brook.

This is a short disc, clocking in at thirty-five minutes, fifty-eight seconds (I presume that the film reused some musical cues, or that the powers that be declined to copy all of the soundtrack onto the album release). It makes for a nice bridge between Edge's work on the U2 albums of that era (this soundtrack was released in 1986, post-UNFORGETTABLE FIRE, and pre-JOSHUA TREE). U2 producer and experimentalist Brian Eno isn't credited as having worked on this album, but his influence can definitely be felt upon the music composed by The Edge.

As I indicated, I find this to be a terribly enjoyable and relaxing disc. It's not something to be played to pump oneself up before a night out on the town, but it works well as a calming influence when the evening is winding down. There are lots of great little musical cues, and despite coming from the heart of the 80's, this music hasn't dated at all. A must-have for fans of U2's more experimental material, and just a good, solid collection of music for anyone.

(WETA, the PBS station serving the Washington, DC area, will occasionally use snippets of this album late at night in their bumpers running between programs. I award myself major geek points for having spotted the source almost immediately.)

Beautifully crafted
Not surprising to find that this soundtrack by The Edge (U2's guitar genius) and Michael Brook achieves the degree of masterpiece. Combining influences that range from the two musician's own work, to Daniel Lanois, with a bit Ambient sound at times, and doubling with the beautiful vocals of Sinead O'Connor, in "Heroine," the album is beautifully crafted. Incredibly beautiful result this song, along with the opening track and "Drift" (where The Edge reminds most of Lanois, in the soundtrack of 'Sling Blade') and "Hiro's Theme" (where Brook's presence is made obvious).

I didn't want to be too harsh
So I give this one a 3 too be nice. It is an interesting workbut not very full bodied. It says it's a soundtrack and that's what itis. Sinead is always a great vocalist and she does sing on the onlytrack that is not an instrumental. I don't want to insult the albumbut it is 1. not a guitar album and 2. just a sound track and not oneof those front to back lights off and headphones on kind of cd- noteven close. I am no expert on this album and it may very well be onethat you need to hear a few times while paying close attention toappreciate it, but I don't think I could stand that, I have betterthings to do [ and even when not]. I imagine it was great backgroundmusic for the movie but to be honest if I had it to buy over again Ieither wouldn't or I would buy every other album I wanted First. I didgive it a 3 because it is interesting and is a good sound for a movieas in with the help of a visual. It's not a soundtrack of full songsthat you would remember one buy one probably. It's made for layers toadd to the sensual depth of a movie with dialogue and action not tojust listen to buy itself. Take my advice and don't spend themoney. If you do, maybe you should make it the cassette. ... Read more

Amazon.com

It's true that "nobody walks in L.A.," but this '80s-rock exercise collection could change all that. The Missing Persons song is missing, for obvious reasons, but that only makes room for what (by rock-of-the-'80s-compilation standards) is a relatively inspired selection. Tracks like Talk Talk's "It's My Life" and ABC's "Be Near Me" are as timeless as synth-driven pop songs can be, while Q-Feel's "Dancing in Heaven" and Yello's "Oh Yeah" are unusual choices that ratchet up the quirky novelty factor. Of course, there's also Re-Flex's "The Politics of Dancing" and the Romantics' "Talking in Your Sleep"--songs that have been so overplayed that some could go a lifetime without needing to hear them again. Even so, this mega-mix of one-hit wonders and other '80s artifacts will have you rolling up those blazer sleeves and hitting the pavement in no time. --Bill Forman ... Read more

Reviews (6)

MY KIND OF MUSIC THEN....AND NOW!
I haven't heard a lot of these songs since the mid 80's in high school. Hearing them now, and working out to them now, make me strive harder to get back to the shape I was in back then!! If you loved new wave music then this is a must have!!!

Good music for children of the 80's
This is a fun and motivating CD for all of us who grew up in the 80's. The songs are pretty fast-paced, but the music is up-beat so the workout goes fast.

Molly Ringwald Flashbacks!
This is a huge return to the eighties. Throughout my walk I was bombarded with images of my high school years. But I do have to say, the pace is perfect for walking.

I purchased this CD because I wanted to shed a few of those leftover baby pounds. So far I'd have to say that it's been pretty effective in that arena. The pace is quick, great to keep you going, but not too fast for walking with the jogging stroller.

And a simple warning for those of you with young babies. These songs, while kicky and fun, have a way of seeping into the crevices of your brain. It is for this very reason that I suggest skipping song #13 entirely. If you are up at two AM feeding a hungry baby, and this little ditty pops into your head, honey, you may never get back to sleep!

I made a fool of myself...
... singing and "dance-walking" along the boardwalk at Jones Beach State Park last weekend. This CD is packed with the music of my club years. The beat is FAST. With my short little legs I generally do this particular 4 mile walk in an hour, but with this CD I finished (with blisters) at around 50 minutes. I also popped it in the player at a poolside party on Sunday afternoon and my fellow 40-somethings thoroughly embarrassed their children by dancing on the deck (without the assistance of alcohol!) the rest of the afternoon.

exercise cd
It's a good selection of songs, but mostly an 'exercise tape'. The sound quality's good, but all tracks run together (no breaks) and the tempo of some tracks (specifically Send Me an Angel) is speeded up to match some desired pace.

Unfortunately, I was looking more for of a set of studio tracks on the CD. ... Read more

Amazon.com

The Wonderful and Frightening World of the Fall is the apex of the Fall's Brix era in which Mark E. Smith, unheralded hip priest of Manchester punk, finally met his match (Smith and young American Brix met at a Chicago gig and quickly wed.) With Mrs. Smith aboard everything upgraded--the lyrics and vocals took a quirky turn as Brix chimed in, and the guitars gained a more streamlined edge. Yes, she could play guitar, and write. Even the cover art seemed to suggest a new Fall, writ large in day-glo colors. This record, their second with Brix, shows them finally ready to grapple with notions they'd scorned previously, such as actual production values (with Rough Trade honcho John Leckie engineering) and commercial accessibility (witness the sawing chords of "2x4" and "Lay of the Land"). This marks a critical moment in the Fall saga as they finally gained some U.S. recognition and prepared to up the commercial ante even more. --Gene Booth ... Read more

Reviews (14)

From the Essential Middle Period
I first discovered the Fall during this period--the Brix Smith era. In fact I still remember hearing "Cruiser's Creek" (from "This Nation's Saving Grace") in a record store while on vacation in San Francisco. I was stunned. I had heard a sound that I would follow obsessively for many years up to the bitter and nearly unlistenable end with "Levitate."

Because of the production role played by John Leckie (also responsible for Magazine's first album) "The Wonderful and Frightening World" was the most disciplined and accessible of the Fall's albums to date. As others have already mentioned, "2 x 4" presents a pile-driver dance tune of a type that the Fall would come up with again and again. "Pat-Trip Dispenser" sounds like a 1960s American garage-punk offering, but more unhinged. "Disney's Dream Debased" turns down the volume and with Brix' echoed backup vocals sounds positively high-production compared to earlier Fall tracks. This does not mean it is an ordinary pop tune. It just represents an expansion of the band's musical vocabulary but the end result is the same as on all great Fall tracks: a bent story with a deceptively simple repetitious musical backing. I usually object to long tracks, but the crazed eight minute rant of "No Bulbs" could go on for 20 minutes and I'd be happy.

If you start your investigation of The Fall at this album, or at "This Nation's Saving Grace" or "Bend Sinister," you will have begun at a very good mid-point. Newer albums cover similar ground but are more polished and occasionally more spotty. Older albums also cover similar ground but are much more primitive and can be wildly erratic in terms of recorded sound. It's all brilliant at its best. Start here and then move outward in each direction.

START HERE
THe Wonderful and Frightening World of the Fall is probably the most accessible album in Fall's entire catalog. Along with This Nation's Saving Grace, it is their best work from the Brix period. Actually...it's one of their best works period. It's rather strange hearing Mark E. Smith's familiar snarl in the context of a pop song like "Oh Brother" and "C.R.E.E.P." but it works surprisingly well. But the best song in the album may very well be the opening track "Lay of the Land" which starts off with some strange chanting and builds up to classic Fall punk rock. "God-Box", "Elves", and "No Bulbs" are excellent songs too. In short, this album is the perfect blend of artsy post punk and pop music.

The Fallingnest
I have to say that, as much as I like The Fall and have enjoyed adding many of their albums to my collection over the years, if I could have it all back I would buy this compilation and be done with it. Well, I might have to add This Nation's Saving Grace as well. In fact, the exclusion of Couldn't Get Ahead is the only reason I'm not giving up the 5 stars this best of probably deserves.

deserves all 5 stars
This is one of the Fall's best. Moods are all over the place from derangement to melancholy to anger to drunken fun. I can't think of a modern band capable of covering the ground this band did in one CD.

A true landmark in Rock and or roll music.
One band that comes to mind on this album are the pixies,not in how good the fall are they almost surpass the pixies but rather the fall are so colosally good that they made me shelve my lame [rear] pixies records for good. Brix smith's ravishing guitar work coupled with m.e smith's genuinely literate lyrics, unlike frank black's superficial fluff,is so convincing and moving that they are hands down the best U.K band I've ever heard. This album is so fresh and invigorating that I'd like to pretend that it was made last week,rather than nearly two decades ago. it would have to take a band like the fall to save rock music from its almost certain impending doom. The underground is so lame right now, what with it's deadly prefixation with kitsch and "recycled" sounds that it's at times hard to distinguish it from the mainstream. Deathcab for cutie and stereolab may be fine bands respectively but in turn they're also regressing the groundwork layed out by bands like the fall and PIL. ... Read more

Reviews (24)

"Play me some music that lifts me to my feet"
Become What You Are came out during my first year of junior college and it was one of my favorite CDs at the time. I think my mom got sick of me playing it over and over. Listening to it 11 years later, I figured I had outgrown the music. No way! It still sounds great! From pop sensations like "My Sister" and "Spin the Bottle" to rockers like "A Dame with a Rod" and "I Got No Idols" to slower tracks like "For the Birds" and "Mabel" it is a fun album from beginning to end. The lyrics are sophomoric at times, but the music is so catchy, you don't notice them and end up singing along to silly lines like "I want his power inside of me. And I'm not talking about a piece of meat, I'm saying something really deep." Every song here is great but "Mabel" is my favorite. The lyrics are actually intriguing on this track ("Check out that lady she's talking to herself, check out that lady, she's gonna go to hell") and it starts out with a slow, almost haunting sound and then rocks out at the end. "President Garfield" is also an interesting track although the lyrics become very weird at the end. Fun sidenote: "My Sister" gives reference to the Violent Femmes and the Del Fuegos, "before they had a record out. before they went gold." Become What You Are is a very enjoyable album and I recommend it to anyone who likes "alternative" rock.

Juliana Hatfield's breakthrough is uneven, but charming.
As a recording artist Juliana Hatfield is a bundle of contradictions. Her guitar-playing gravitates towards the grungy garage-pop variety, but her singing is pure sweetness, all girlish and eager; she says women are naturally inferior guitarists to men, yet she writes some wonderful guitar parts and is underrated as an acoustic player; she's written some fantastic songs, yet often on the same album where these gems appear, there are also moments of bewildering weakness.

Become What You Are is as filled with polarizations as Hatfield herself. On one hand it contains a slew of strong songs -- breakthrough hit "My Sister", its intro being hands-down Hatfield's best guitar performance and its vocal melodies twistily engaging; "Spin the Bottle", a successful evocation of the giddiness of an attraction, a party, a romantic game between a playful couple; and "For the Birds" has some gorgeously written lines ("...Tried to wake her up/She wants to sleep...") and a remarkable chorus that should stay in your head for days.

And then some other moments are surprisingly clunky. When Hatfield tries too hard to rock out, she often falls into Nirvana-esque repetition and stops paying attention to the words she writes. "This Is the Sound" and "I Got No Idols" are absolutely hookless, dull repetitions of clumsily written lyrics and a boring melody, and "Dame with a Rod" and "Supermodel" don't really utilize her girlish, chirpy vocals well. Though Hatfield can come up with some great fuzztone-guitar riffs, without nuances to support them, her vocal technique sounds incongruous to the churning electric guitars.

Still, this is a staple album in '90s alternative music. Hatfield's most consistent work is on her next one, the solo (bassist Dean Fisher contributes), Only Everything.

Three's company
In 1993, Hatfield's friend and former bandmate, Lemonhead Evan Dando, was flopping about at festivals, wearing dresses and being the NME's darling, and jangly American indie guitar rock was in. And Hatfield was really the only female in her field, so she really shouldn't have found it so hard to break through in the UK at a time when Throwing Muses and Belly were having top 10 albums.

Unfortunately, the press was a little too preoccupied with Hatfield's proclaimed virginity and relationship with Dando to give the music a proper listen. Shame, because Become What You Are - recorded as the Juliana Hatfield Three with bassist Dean Fisher and drummer Todd Phillips - is a simple and brilliant record that she's yet to match.

Much has been made of Hatfield rarely going beyond the lines of her stock template. Granted, a cursory or superficial listen to Become What You Are could leave you thinking one song sounds much like another, but the unfussy formula works well enough to warrant many repeated listens. And no song outstays its welcome. Lyrically, she's at her strongest on this set, confessional, witty and on the right side of obscure.

The opening track, Supermodel, is a catty dig at the transitory careers of overpaid catwalk stars ("the highest paid piece of ass, you know it's not gonna last...), while the girly Hatfield is at play on My Sister, describing the love/hate relationship with a fictional sibling ("I would do anything to let her know I care, but I am only talking to myself cos she isn't there"). Her wry lyrics are matched at every corner with strong hooks and basslines.

Hatfield's cutesy/tough-girl act continues in equal measures: the deliciously venomous and punchy A Dame With A Rod, on which Hatfield avenges an attack on a woman ("You're gonna rot in the ground"), sits next to the unworldly girl on Feeling Massachussetts ("Take me somewhere I really wanna go... introduce me to someone really cool"). Hatfield does twee best on Spin The Bottle, although it's a bit of a throwaway moment. We should assume Hatfield wasn't taking her own story about kissing movie stars in closets at parties too seriously. It is nevertheless the most commercial cut and, given the right promotional push, could have been a hit, although it's appearance on the Reality Bites soundtrack did give it a new airing.

Standout track President Garfield - allegedly an ode to rocker Henry Rollins - is almost two songs in one: the first two minutes a slow, contemplative amble down the streets of Washington, the latter half a bass-heavy brooding review of the hero ("Neck like a tyre, iron man...I'm only human, I am weak, I want his power inside of me"). Things get darker still on the closing I Got No Idols, an intense, two-minute lament from a woman eager to stand on her own too feet.

The album went hugely underbought, of course, and the live reviews didn't do her any favours. Britpop was just around the corner and everyone in the UK momentarily ignored most of what was coming out of the US. Even the Lemonheads, who were actually selling quite a few records at one point, quickly disappeared off the radar.

For the follow up 18 months later, Hatfield was solo and with a little more angst on her plate for Only Everything. A solid set, it was more varied than Become, and could have been its equal had Fleur De Lys, Dumb Fun and Dying Proof fell on the cutting-room floor. 1998's Bed was a disappointing affair, while 2000's double whammy - the acoustic Beautiful Creature and the aggressive Total System Failure - would have been better as one, shorter album. 2004's In Exile Deo is unlikely to turn the sales tide, and she seems to have spent the last couple of years listening to Sheryl Crow records. Presumably the innocence and simplicity of early material doesn't sit comfortably with a woman in her late thirties.

Hatfield will make more great records, but the quality of Become What You Are and much of former band The Blake Babies' output seems an awfully long time ago now.

Can't believe this is out of print
This was Juliana Hatfield's best and most popular CD, and it included her breakout hit "My Sister". She was one of the trailblazers in "bubblegum grunge", making the combination of "girl"-ish, innocent vocals and driving Nirvana-era grunge guitar really work. I rediscovered this CD in my collection just the other day and popped it into the dash, and to my pleasant surprise it sounds just as good now as it did 11 years ago. I highly recommend this one, if you can find it.

You'll sing along
This has been a favorite album since I was in high school. Julianna's voice is unique, with a childisth quality. This album is very playful, organic and upbeat. The songs are like stories and I would recommend it to anyone looking for that perfect rock CD to blast while cleaning the house or driving too fast. :) ... Read more

Reviews (11)

"we're dancing to the dark side of this tune..."
The 1981 effort of Bauhaus is truely amazing. It is the most "mainstream" Bauhaus record to date, but that doesnt mean in the least that it doesnt have its dark moments. (of course! It's Bauhaus!)

On this version of the LP you will find the 10 tracks that make up the original album "Mask". These are the first 10 tracks. These songs are all brilliant, but standouts (in my opinion) are Hair of the Dog, the Passion Of Lovers, the Man With the X-ray Eyes, the chilling Hollow Hills and title track Mask.

There are 5 bonus tracks on this CD, however, these tracks are nothing compared to the first 10. These tracks come from various singles and EPs released around the same time (ish) as Mask.
Track 14 is comical, and fun to listen to, and track 15 is alright, but i prefer to have the CD set so it only plays the first 10 and then repeats back to track 1.

If you have just downloaded Bela Lugosi Is Dead and have decided it's time to buy your first Bauhaus CD, make Mask it. Buying the actual albums is a much better alternaltive than buying Crackle (the greatest hits CD) or the single collections. Collections like that may be of interest to you, but they do not provide the whallop that a full length Bauhaus CD will give you.

And if you are prepared to buy a couple of albums, put "Pornography" by The Cure and "The Downward Spiral" by Nine Inch Nails into your shopping cart right now too.

This album is easier to get used to, but still complex
Because its the most mainstream, this is the Bauhaus album which took me the least time to get used to, which is handy as all Bauhaus takes a lot of getting used to, and if I hadn't realised how brilliant this album was just in time, I may never have got into Bauhaus to the extent that I did.
The track 'Kick In the Eye' is so manic, so full of little tunes and undercurrents that only get noticed many listens later that it is still a joy to listen to, 1000s repeats later. 'The Passion of Lovers' has so much subtle, sometimes nearly inperceptible choir backing vocalisations that add to the grand sinister feel of the song, in much the same way as acoustic affects litter the morbid soundscapes of 'Mask' and 'Hollow Hills.' To cut a long story short these songs are mainly intensely atmospheric for those who want to sit back listen passively, but their complexity also keeps the the avidly attentive, careful listner eternally occupied.
The only track which prompts the 'skip track' reflex is 'In Fear of Fear' which rather unfortunately sounds like a flock of Geese honking. Atmospheric, yes, but what kind of atmosphere do you want?
Once you get used to the style, Bauhaus is perfect for anyone!

A monolith of creative darkness...
Bauhaus (and their lack of mainstream acceptance) is proof perfect that people prefer their music bland, mindless, and about ten years behind the times. Basically formed by art students who loved punk and Bowie in equal measure, Bauhaus was a ship with the perfect crew: the innovative Daniel Ash screaming guitar licks over the tribal rumble of the Haskins brothers, David J. and Kevin. And then there was Peter Murphy: an emaciated cross-dressing ghoul who twisted and writhed across the stage. His angular good looks and lunatic mannerisms swept those who saw them into the Love 'Em and Hate 'Em camps. I plant my flag in the former, and this album contains every reason why. While their first album is a ravaging classic that defined their unique sound and B&W 1920's aesthetic, "Mask" boasts some of their best tunes. "Hollow Hills", inspired by an Arthur Machen story that cautions those who would tamper with prehistoric sites and their invisible occupants, is Bauhaus at their most atmospheric and poetic. "Dancing" and "Of Lillies and Remains" (the first dealing with all the places one can dance, the second some kind of surreal snippet about ghosts, weird fluids leaking out of orifices, and someone named Clancy) show that the boys had an incredible sense of the absurd, "Muscle In Plastic" is a primal workout, "Hair of the Dog" is a grinding opener with a fantastically creative guitar line, and "The Passion of Lovers" is a Spanish-ish ode to lovers and their pursuit- death in each others arms. "In Fear of Fear" (like "Dancing") actually features Daniel Ash on saxophone, "Man with the X-Ray Eyes" slams forward like a rugby team of Neanderthals, and the title track is eerie and glorious (check out the video for it, if you can find "Shadow of Light"- nowhere is the band's horror movie sensibility more evident). The bonus tracks are interesting, especially the one in which Peter relates an unusual way of making fish cakes- stuffing the creatures with potatoes before smashing them up! Basically, this album shows that Bauhaus was a group of talented, creative guys that all shared a morbid sense of humor, a passion for the bizarre, but were in no way a contrived bunch of goth types. Those came later.

Of teddybears and remains
This second album by Bauhaus continued the band's exploration of the gothic sensibility that they had so brilliantly pioneered on their debut. There is a definite effort to broaden their musical style with more explicit keyboard and synth experimentation. Amongst the best songs are the tracks Of Lilies And Remains, a type of spoken poem with nightmarish images over squeaking guitar, nervous drumming and spacious, evocative synths, and Kick In The Eye, a gripping ballad with hypnotically repetitive phrases over an atmospheric rock backing. The up-tempo track In Fear Of Fear has particularly impressive keyboard textures, whilst Hair Of The Dog is a great track with rousing vocals and Muscle In Plastic is a dissonant excursion with an almost funky undertone. Bauhaus is an acquired taste and I find Peter Murphy's solo work more accessible and appealing, but there is no question that they were a very inventive band that extended the boundaries of rock.

Accessible is a relative term...thank goodness
A lot of reviews refer to Mask as Bauhaus's most "accessible" or "mainstream" album. And if you're looking at Bauhaus for the first time, hoping to buy an album that will give you better old-school Goth creds, maybe that will turn you off. But you have to keep in mind that this is, in fact, Bauhaus we're talking about. Mask is their most accessible and mainstream album in kind of the same way that I might say that Duran Duran's original album is their most Goth. It's kinda true in its way...but not really.

Try to imagine for just a fraction of a second a world in which you would hear the actual song "Mask" on the radio, and you'll see what I mean. Not gonna happen. It's much too full of eldritch noises and dark intellectual musing to get any airplay.

"Mask" is a personal favorite of mine; but if you're looking for the names that get bandied around more, check out "Passion of Lovers" and that pleasantly hostile paean to spiritual growth, "Kick in the Eye." Important to song cross-referencing, a favored pastime for Bauhaus and for Peter Murphy solo, is "The Man with X-Ray Eyes," which is the lyrical basis for the later "Departure." ... Read more

Reviews (8)

"Dangerous" is the cut you'll listen to over and over
Back in the day I bought this single CD after hearing on several occasions the "new tune" from DM I kept hearing in the Club. To my surprise I wasn't finding it off any new release. But it was a B side tune with Personal Jesus on a single CD? I guess DM didn't feel it was worthy enough. It's kinda euro house club sounding, puts you in a trance feel, I can tell you that the cut "Dangerous" will grab you as one of the best you'll hear from DM, I skip over Personal Jesus everytime.

"Reach Out and Touch Faith."
The first single lifted from 1990's "Violator," this track is among the most memorable songs from Depeche Mode. With booming drum beats and a nifty guitar twang, "Personal Jesus" helped elevate the synth pop foursome to superstardom, despite the fact that the lyrics have often been misinterpreted as spiritual. On this maxi-single, we get a few remixes, but the standout tracks are definitely the folkish acoustic version and the solid b-side "Dangerous." A great single that deserved its top 40 success in America.

VERY "DANGEROUS" ALBUM!
What can I say.....DM shows that they are the best because even their B-sides are all masterpieces....I can't believe that Dangerous is not in of DM albums and it's just a B-side....Great song, and no need to comment about the lovely Personal Jesus.....

Listen to accoustic "Personal Jesus" and "Dangerous"
This release contains one of the best DM's songs "Dangerous" not included into "Violator" CD. Those who think DM does not actually play their music should listen to the accoustic version of "Personal Jesus".

Depeche Mode's best CD to date 9-9-99
I first procured and heard this CD in about '92. I was in rapture while listening to the Dangerous mixes. This is was not DM as I had been used to. If you enjoy sensual, psychedelic, house-beat music, I believe that you may find this to be one of the very best CDs that you ever buy. Music is not my life, but I was very dispondent when this CD got stolen from me in '94. I have searched a lot of music stores in the hopes of finding another copy, to no avail. I was extremely delighted when, on a hopeful hunch, I found that Amazon.com had it. Check the sample of track 1. Track 2 is even better. Enjoy. : ) ... Read more

Album Description

Budget price compilation for the Damned co-founder & punkicon. Highlights include, 'Happy Talk', 'Glad It's AllOver', & 'Wot'. 19 tracks. Spectrum. 2003. ... Read more

Reviews (3)

WE WILL TAKE IT, BABY!
Yeah, OK, it's not complete but.... with an artist as prolific as Captain Sensible, how could one disc ever hope to capture all of his incredibly exceptional output?there's NO WAY!The Capt'n was so sly in his ability to write a pure pop song and make it sound dangerous (with D. Vanian) or innocuous/affecting in his solo ventures.It's just unbelievable that his cover of "Relax (Don't Do It)" wasn't included!I play that on my turntable at parties in Palm Desert and the reaction is, to say the least, enthusiastic.The movie dialogue from "Coma" is especially cool, nobody can ever place it, yet this is a song that will dwell in obscurity forever it seems.Finally, I must say that these A&M songs were being held captive FOR YEARS by his former American label, and they were EXTREMELY reluctant to let go of them, for whatever reason. Legal eagles always seem to get in the way of art.But the scarcity of these songs make this disc all the more essential.The fact that they are reissued at last on CD is a pure revelation and those that have even a passing knowledge of The Damned should take advantage.And, the choice producer Tony Mansfield (the first to capture Ray's pop sensibility and expand on it!) should get credit as well for an incredible ear.I have bought no less than 11 copies of this CD for close friends and every single one of them have been overwhelmed by the Captain cornucopia on display, and the dividend pays overwhelming rewards. Ignore that awful Cleopatra "best of" comp at all costs. In my opinion, this comes closest to capturing Sir Burns' spirit, verve and intrepid endeavors. Cheers to the Captain and his incredible creative output during the 1980's - Dude, you're immortal. Too bad Rat couldn't take the heat.

The Captain's Classic A&M Material on CD at Last!
I love This Man!
I think he is one of the Great Icons of Any Rock scene, Punk or otherwise. Just a Great, Funny, & Nice guy with a love for Music & Performing, that constantly shows through his work whether with The Damned, or Solo. I waited Years to get these tunes in digital glory. And despite some missing Tracks(Part 2 maybe)! a great collection. I love the Hits: Happy Talk, Wot, and Stop the World, but I can listen to Brenda (parts 1 & 2) and Croydon Anytime as well! Give yourself a Treat! He deserves it!

Not quite camplete BUT.....
This is as close as you are going to get with Captain's great 80s material. 19 songs as followed

1.Happy Talk
2.Croydon
3.Nice cup of tea
4.Brenda (parts 1&2)
5.Yanks with guns
6.Martha the mouth
7.What D'ya give the man who's gotten everything
8.Wot
9.Royal rave up
10.It would be so nice
11.Power of love
12.I'm a spider
13.I love her
14.Glad it's all over
15.Stop the world
16.Sir Donald's son
17.It's hard to believe I'm not
18.Thanks for the night
19.There are more snakes than ladders

As you can tell this covers both his 1982 effort Women and Captains first and his follow up 1983's Power of love.However there are a few missing tracks from both albums They ate from Women and Captains first missing is

1.Nobodys sweetheart
2.Whos melody lee, Sid
3.Gimme a uniform

and 2 songs missing from Power of love are

1.Secerts
2.I love you

They should have added those and the following EPs 1981's This is your Captain speaking and 1984's One Christmas catalogue.Maybe those are only a minor gripe on my part but this is as good as it gets I still have my vinyl collection.A fine collection of the good Captain's 80s output...This collection is worth the 5 stars despite the missing songs ... Read more

Album Details

Digitally Remastered and Expanded Version of the Bunnymen's Brilliant Debut Album Presented Four Individual Players Sure of their Own Gifts and their Ability to Bring it all Together to Make Things More Than the Sum of their Parts. Not a Bad Song in the Bunch, Each Stands Alone as a Masterpiece and the Sum of all is Outstanding. Ian Mcculloch's Spine Tingling Wail Amazed Audiences at It's Sheer Brilliance and this was his Finest Hour. His Delivery Soars, Even While He Conjures Up the Nervy, Edgy Picture of Addiction that is "Villiers Terrace," - "People Rolling Round on the Carpet/Mixing Up the Medicine." Brisk, Wasting Not a Note and Burning with Barely Controlled Energy, Crocodiles Remains a Perennial Classic. Includes 10 Bonus Tracks; Non Album Tracks, Out-takes and the Four Tracks from the Live "Shine So Hard EP. The Package also Includes Liner Notes and Photos in the Booklet, Housed in an "o" Type Slipcase. ... Read more

Reviews (5)

Good album but a terrible remake
I don't understand why we are being sold extra tracks in here that were not "extra" but a part of the original album. The order is all messed up. They could have done a better job. The album cover is so small. What gives? This is one of the best albums ever and it deserves better.

The poster child for botched reissue treatments
1. The song sequencing, as with the Psychedelic Furs' rematered & reissued masterpiece "Talk Talk Talk", is inconsistent with the album version, which almost caused me not to buy it at all.

2. The "extra tracks" are considerably lamer than currently available boot versions of songs from the same era. In particular, when are we going to get the full 1st EP with original cover art?

3. The liner notes are pretty hilariously ill-informed and detract from the music within, which still moves mountains, but is choking to death on a corporate slab.

Open letter to those responsible for the Echo reissues: check out the stellar job done on the 1st 3 Police albums for how it's done. Artwork, tracking, absence of schlock-ola. I like that.

Crocodiles (bedbugs and Killing Moons come later)
The Bunnymen's assured debut packed a wallop when it was released in 1980. It's still one of the band's finest albums. From here the band would expand into moodier, artier directions but the songwriting demonstrated a skill that other band's could only hope to match.

This expanded edition features 10 songs including the "Shine" Ep. Missing are a number of essential tracks that are found on the boxed set including the original version of "Monkeys", the version of "Villiers Terrace" from the John Peel Session. The expanded artwork and liner notes give an idea as to what the Bunnymen were up to in 1980 and also creates a context to understand the band's huge achievement at the advent of "new wave" and other "movements". The Bunnymen were and are unique and stand outside of the fashion statements of the moment. While their songwriting grew more ambitious, they had already made their first masterpiece.

The sound is stunning (although you'll have to wait if you want a SACD version or DVD-Audio version of this album). An essential album of the 80's.

One of the finest debut albums ever recorded...
Crocodiles was the assured debut album from Liverpool's Echo & the Bunnymen, when contrasted to U2's debut Boy (also 1980) it is hard to believe that the Bunnymen didn't end up the biggest band in the world. Sure, the Bunnymen were influenced by other acts- notably Bowie & Television- but here they transcend and advance on those influences (see the earlier versions of Villiers Terrace & Pride, or the Peel Sessions recorded with a drum machine to see how they'd advanced). The classic (& only) line-up of Ian McCulloch (Vocals/Guitar), Will Sergeant (lead guitar), Les Pattinson (bass) & the late Peter De Freitas (drums) had honed themselves into a tight outfit, having released a single entitled The Pictures on My Wall prior to signing to Korova & recording this album.

Ian Broudie (Lightning Seeds, Big in Japan- later producer of Porcupine)was the initial producer, the robust version of Pride & classic single Rescue are helmed by him. The rest of the album was recorded at the fabled Rockfield Studios in Wales, & produced by Bill Drummond (Echo&Teardrops manager, late of the KLF) & David Balfe (Teardrop Explodes, later owner of Food Records)- both give the Bunnymen the perfect production. Julian Cope in Head On reveals that he was upset that the trademark Teardrops brass sound got its first outing on record: a Bunnymen record (see the anthemic Happy Death Men- another Camus reference next to those from Smiths Mark E & Robert...).

Going Up is the brilliant opening track, building up from a wall of noise to a pulsing rocker- it is fair to note that The Stone Roses did a very similar thing on their 1989 debut album (also recorded at Rockfield). Next up is one of the Bunnymen's greatest moments- Stars are Stars- a wonderful melancholy with a lead vocal that seems to duet with itself (the same trick is found on the re-recording of Sleeping Gas for Kilimanjaro). Nothing can beat such lines as "I caught a falling star- it cut my hands to pieces". Stars are Stars seems to tie in with the album cover- long coats, autumnal colours- there's a sense of melancholy (which would turn to miserablism on the bleak follow-up Heaven Up Here, an album which veers to close to self pity & the lyrics in Joy Division's Decades rumoured to be about Echo: "Here are the young men, the weight of the world on their shoulders...where have they been?"); it's the good youthful kind though! Pride is good old teen angst, it's easy to see the lineage from Echo to bands like Nirvana & Radiohead here; Monkeys (originally known as Bagsy Yours) has more chiming guitar from Sergeant. A wonderful melancholic anthem, a wonderful sense of space later found on the early recordings of Ride; the title track alternately is almost violent, a slashing rocker with racing pulses as rhythms. "I said "Hey what you doing today?- I'm gonna do it tomorrow!"- the lyrics are justifiably full of it, not many bands could how a candle to this lot at the time.

Villiers Terrace seems to be about that mysterious plain teens enter that centres around hedonism ("mixing up the medicine") & features more keyboards from Balfe- who also features heavily on the re-recorded Pictures on My Wall. Pictures...remains one of the Bunnymen's greatest moments, what Stars are Stars was on the first side, Pictures...was on the second. The album proper than closes on the angular All That Jazz (which has a guitar part remininscent of Joy Division's Digital) & Happy Death Men (which is about as musically adventerous as the band would get till Porcupine).

There are several bonus tracks, though the early takes of Pride & Villiers are of academic interest really; two takes of Simple Stuff is fine, though where is The Puppet? This great song seems to have been disowned, where it once featured as a bonus track on earlier versions of Crocodiles & on compilation Songs to Learn and Sing, it's now vanished from the latest career retro Ballyhoo. Sadly you can only get it on the Crystal Days boxset, which can't be right! Still, it's nice to hear the best version of Read It In Books (aka Books) which was co-written by McCulloch with Julian Cope when they were in The Crucial Three with Pete Wylie. It remains much better than the versions by Teardrop Explodes (on Kilimanjaro) & Julian Cope (as a b-side in the late 80s)Even better is fantastic single Do It Clean, which has a wonderful garage-organ sound- no surprise that the Bunnymen (or what's left of them) still play this...

Finally there are a few tracks from the camo-obssessed Shine So Hard e.p. - pulsing takes of Crocodiles & All That Jazz with two Heaven Up Here tracks Over the Wall & Zimbo (aka All My Colours)- great stuff, though all you need is the original album, Simple Stuff, Do It Clean, Books & the absent Puppet!

Crocodiles remains one of the great debut albums, easily cutting the mustard against such albums as Horses, The Stooges, The Stone Roses & The Modern Dance. A welcome reissue...

Simple Stuff
'Crocodiles' is a masterpiece of angular guitar, romanticism, and dynamic moodiness. it is one of those records that has the energy to grab you by the gut the first time you hear it, and the depth to remain compelling years later. It is a stunning debut from a band working on instinct and adrenaline.

So much has been written about this record over the last two decades, so I should limit myself to comments on this deluxe release. Packaged in a wrap-around paper sleeve, the front cover art is maintained but the back cover is perversely changed. The extra photos and liner notes that are trumpeted so loudly on the sticker are more annoying than anything else. The original art is mixed up with new stuff, and tiny versions of single sleeves only hint at what the vinyl actually looks like. There are no lyrics or discography.

In addition to the 10 album tracks, two versions previously included on the American issue are found here, plus 'Simple Stuff', the b-side to 'Rescue'. There are three versions previously unreleased. 'Pride' is simply inferior to the dynamic album version. 'Villiers Terrace' is sans piano and hence rockier, with some different backing vocals. It's good to hear a pre-Balfe version of this track. 'Simple Stuff' comes complete with Echo the drum machine, and is the only true revelation, being much more compelling than the previously released take. Then follows the four-track live 'Shine So Hard' EP, mysteriously unavailable on CD until now. Recorded in between this album and its follow-up, it illustrates what a brilliant band The Bunnymen were live.

The remastering has rendered the sound crisper than before. With so many wonderful tracks it is perhaps niggling to wonder where 'The Puppet' is, but it does belong here, especially as the b-side is present. Forcing us to buy still more CDs are they?

Not a perfect release, then, but since the first 10 tracks are worth five stars, so too must this be. ... Read more

Amazon.com

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

Reviews (20)

Preserving the Talking Heads place in music history
When we are talking about Punk Rock Music, the genre might have been defined by Johnny Rotten and the Sex Pistols, and Hole's "Live Through This" might be my favorite Punk album, but when it is time to go before the Gods of Music I think David Byrne should stand before the Throne of Judgment and make the case for everybody else. While he is up there, the first piece of evidence he should intorduce would be the Talking Heads' soundtrack for "Stop Making Sense."

Of course, you can only listen to the soundtrack AFTER you have seen Jonathan Demme's documentary, because one of the key lessons here is that Punk music achieves full existence only in live performances. The opening track of "Psycho Killer" alone proves that, although this version of "Burning Down the House" certainly has it moments. My favorite is "Take Me to the River," but I may well be overestimating the spin the band puts on that one.

Finally, remember: "THE SPACE PEOPLE. Space People read our mail. The Space People think that TV news programs are comedies, and that soap operas are news. The Space People will contact us when they can make money by doing so. The Space People think factories are musical instruments. They sing along with them. Each song lasts from 8 a.m. to 5 p.m. No music on weekends."

Here endeth the lesson.

The Talking Heads At Their Peak
I'd say this is definitely an essential Talking Heads recording, successfully capturing the vibrant chemistry shared by the band's original members, Harrison, Frantz, Weymouth and Byrne. Most of their classic hits are performed in this live album; it's one of the finest concert recordings I've heard of a great rock and roll band. Whenever I listen to Talking Heads' music, this is the album I reach for first. For those who are unfamiliar with the Talking Heads, this is the soundtrack to Jonathan Demme's excellent concert film of the band, also titled "Stop Making Sense".

New version really makes sense
the new extended version of this album is really worth extra money as one of previous reviewers said.i grew listening ti this version but new one has many songs more that are important too.
Talking heads mixed funky pop with quirky social commentary and some psychedelic atmosphere to create their own distinctive sound."Burning down the house" or "Once in a lifetime" are the best examples.
of course "Stop making sense" (album was recorded live.the self-titled movie was about the same live concert as on cd) is essential for any respectable music fan but the new longer mix is more good for the added tracks and improvement in sound.get new "Stop making sense" along with "True stories" or "Fear of music".they deserve to be listened

Don't buy this version! Get the new one!
The newly remastered Stop Making Sense just blows this one out of the water and is worth every additional penny. Really. Don't buy this one.

Who Needs Sense? You do.
The "live" album--music recorded from a concert rather than the studio--is such a tricky creature. In rock and roll, there's a number of live albums that have achieved classic status (those that come to mind immediately include Frampton Comes Alive, Woodstock, Led Zeppelin's The Song Remains the Same, and The Last Waltz). Of those, the last three also had documentaries associated with the concerts being recorded. And yet, when it comes to favorites, I ignore all of those in favor of yet one more documentary cum live album: Talking Heads' Stop Making Sense.

I might be using the word documentary wrong here, because Stop Making Sense is not so much about Talking Heads as it simply shows why they were such a musical force. For example, there are no talking heads in the movie--the film begins with David Byrne simply walking on-stage with a tape recorder and his guitar, introducing himself and immediately going into a solo version of "Psycho Killer." Each successive song adds a person or two, until about two-thirds through the show, the entire Speaking in Tongues era-Heads entourage are rocking out on stage. The film never breaks from the show, even as it documents how the show was put together. In true art school fashion, the show itself was organized to show how a live concert is created, piece-by-piece. Truly, this is a case of "show, don't tell."

The album made from the movie/concert does the same. Unlike some live recordings, where the audience overwhelms the music, Stop Making Sense is clean. Even in the beginning and end of songs, when applause can be heard, the mixing mutes it, concentrating instead on the, for example, wavering synthesizer and infectious drumbeat that begins "Once in a Lifetime." Within the songs, the distinctions between instruments and voices are clear as well.

And what great songs these are! I enjoy Talking Heads: 77 and More Songs about Buildings and Food, but the versions of "Psycho Killer" and "Take Me to the River" benefit from the live arrangements. "Psycho Killer," sparse to begin with, becomes even more disturbing as a solo piece, stark in its rage and eccentricity. "Take Me to the River," on the opposite side of the movie and album, equally benefits from the full-force production of fourteen people on stage, becoming a kind of New Wave gospel anthem. The other songs gain a lot from the energy of a live performance. Talking Heads was a cerebral band in the studio, especially under the helm of producer Brian Eno for Fear of Music and Remain in Light. Those albums, while wonderful, suffer somewhat from the layer-upon-layer of soundscapes favored by Eno at the time (similar to the problem of the Robert Fripp-produced Peter Gabriel album). Live, these same songs open up, becoming even more funky and weird, matching the stage antics of Byrne.

The only problem with this album was the fact that all of the songs from the movie weren't on it, including bright reworkings of "Thank You for Sending Me an Angel" and "Found a Job." Someone must have been listening, however, and for its 20th anniversary, the album was rereleased in a special edition with four more songs. Thus a great album is made even greater.

As "Life During Wartime" goes, "This ain't no party/this ain't no disco/this ain't no fooling around." Stop Making Sense shows that Talking Heads were a serious force, the true culmination of the New Wave spirit in the U.S. ... Read more

Reviews (84)

They Might Be a Techno Band?
Hooray for TMBG, this album is a welcome return to form! I didn't care much for the previous studio album, FACTORY SHOWROOM, being that it seemed one of the John's was straying too far from his quirky, ecclectic roots and into a menacing patch of dangerously mediocre indie-oldie crud-mire. This album did my heart good by giving me more of what I've always loved about this band, as well as some new ideas that actually work well in their idiom. "Man, It's So Loud In Here" is the first TMBG techno song ever, and darn if it isn't one of the coolest techno songs I've heard. Other songs use new sorts of hip-hop and sampling to make this perhaps "the hippest" TMBG album as well. Personal favs include the above mentioned techno excursion, "Cyclops Rock," "My Man," "Older," "Mink Car," and "Wicked Little Critta" (a video game hockey fight song that you'd love to hate but'll just have to hate loving instead). Though I can't give this album the 5-star rating that dons the previous Giant efforts LINCOLN, FLOOD, APOLLO 18, and JOHN HENRY, it has definitely rekindled my interest in a long-loved band that I had erroneously feared to be on a downward spiral.

A step back for TMBG
I eagerly awaited this disc and was disappointed upon listening to it. For reference, let me state that my favorite TMBG albums are John Henry and Factory Showroom. I really like the full band sound and when the electric guitars are prominent. This album seems like a throwback to Lincoln and the first album to me, with many catchy and weird tunes but no cohesion. Many songs seem experimental little bits that were extended into song length, not fully realized pop songs. This album just doesn't flow. Supposedly the Band of Dans are all over this album, but it is hard to tell. Mr. Xcitement and Wicked Little Critta are 2 of the worst things TMBG have ever put to album and sound like bad B-sides. That said, I do like It's So Loud In Here, Another First Kiss, and Mink Car alot. Bangs is OK also. The rest do nothing for me

not like they might be giants but very good.
Do not listen to those who say it was a mistake to put out this album.it wasn't.It is very good.Sure, it's unlike their other,slightly better albums,but good none the less.I listened to it all the way through multiple times.The only songs I dont like are the rap songs(I hate rap),wicked little crita(sorry if that is spelled wrong)and Mr.xcitement.I love bangs and I've got a fang is very funny and they might be giants like (in the lyrics, that is...)Don't go looking for it, but buy if you find it.

They Just Might Quite Possibly Be GRRRRRRREAT!!!
They Might Be Giants is one of my most favorite bands, and to prove it, I will...

sneeze. ACHOOO!!!

That's better.
"Mink Car" has some awesome songs like 'Mr. Xcitement' and the crazy 'I've Got a Fang' but we couldn't mention this CD without it's awesome track 'Older,' the self-proclaimed birthday song for yours truly. But you definately couldn't miss 'Mink Car,' which is what the album is named for Pete's Sake, and Martha's Sake, and Joseph's Sake...there's so much at sake here. ha HA! I'm funny...I think.
Buy if you are a TMBG fan, and if you're not, first try "Flood."
It just might be better for ya.

Happy Music Traveling,

That one guy who let you change lanes in your car.

"All i wanna do, and i don't know who you are, 'cuz you let me change lanes, when i was driving in my carrrr, who ever youuuuu arrrre, i wanna thank youuuu/ who ever youuuu arrrre..."
-Good Song

I'd give it only 4.5 if I could...
As a They Might Be Giants album that showcases the talents (and eccentricities) of John Flansburgh and John Linnell equally, 2001's Mink Car is more deep and satisfying than Flood (1990), but not as consistent as Factory Showroom (1996). Some of the 17 tracks are stronger than others, but only three are utterly disposable. Flansburgh's "Wicked Little Critta" and Linnell's "I've Got a Fang" are hilarious on the page, but are ill-served by slick arrangements and intentionally bad vocal performances (Flansy's exaggerated Boston accent; Linnell's affected deep voice). "Mr. Xcitement," a silly rap featuring Soul Coughing's Mike Doughty on lead vocals, feels entirely out-of-place, as it lacks any trace of the Johns' personalities or signature style. On the remaining tracks, however, John and John revel in their greatest qualities.

Linnell's contributions generally match deliciously dark lyrics with pop hooks as big as all outdoors. The opener "Bangs" is probably the closest he's ever come to a pure love song, and even then it's just directed toward a woman's haircut ("I'm only holding your hand so I can look at your bangs")! In the lovely, mid-tempo "Hovering Sombrero," he offers words of encouragement to an alienated fellow; and "Hopeless Bleak Despair" is a jangly, upbeat ode to that thing we sometimes call the "sweet release" of death. In the madly catchy "My Man," Linnell takes on the voice of a man paralyzed from the waist down; for all his cold, clinical language about "messages" and severed "cables," he rather poignantly suggests the frustration of having a body that suddenly can't do what the brain wants it to do. In the Beatle-esque jangle-pop number "Finished With Lies," he plays an erstwhile pathological liar trying to explain that he's finally turned over a new leaf (though you have to wonder about lines like "I'll turn everything around and confuse you / Talk faster and faster till I lose you"). He also contributes "Man, It's So Loud in Here," perhaps TMBG's most inspired marriage of sonics (New Order/Pet Shop Boys-syle '80s techno-pop) and lyrical content (corner stores and airports revamped to look like dance clubs?) since 1996's "I Can Hear You." As for "Older," while the version from 1999's 'Net-only release Long Tall Weekend (and 2002's Dial-A-Song anthology) is sparser, more dramatic, and thus funnier than the watered-down version here, it's still a clever little ditty -- a real-time meditation on aging -- worth owning in any form.

Linnell's bespectacled bandmate Flansburgh is harder to pin down; he just follows his restless muse, fitting his seriocomic and often surreal lyrics into a wide variety of musical styles. In the garage/punk/metal hybrid "Cyclops Rock," he turns in one of his angriest performances as a freakish outcast who realizes he can never be one of the so-called "beautiful people" and now just wants to find a crowd that will accept him for what he is. The gorgeous "Another First Kiss" comes dangerously close to generic-love-song territory, but is saved by Flansy's unusually sweet, James Tayloresque performance and lyrics like "I'm asleep but she's talking to me / She's walking 'round wearing all of my clothes." He tosses in a fun cover of the Georgie Fame chestnut "Yeh Yeh"; and the title track sounds like something that Burt Bacharach could have written in his '60s heyday (despite such freaky lyrics as, "I got hit by a mink car driven by a guitar, and the silver chauffeur says that it's all in your head when you're 24-carat dead"). "Drink!" is a melancholy, Irish-flavored tune about needing alcohol to enjoy life (I'd love to hear Flansburgh and his wife Robin cover the Pogues' "Fairytale of New York" on the next TMBG or Mono Puff CD!). "She Thinks She's Edith Head" is a tense rocker about an old schoolmate who's having an identity crisis; Flansy sings it in an unusually deep register that fittingly seems as much of a put-on as his old schoolmate's new "accent." And the closer "Working Undercover for the Man" is a sugary pop confection (complete with "sha-la-la" choruses) about a guy who poses as a rock star to spy on and bust some concertgoers.

Bottom line: Mink Car is typical TMBG -- fun and catchy, yet mature and often surprising. ... Read more

Album Description

2003 reissue of the goth-punk's 1983 album includes threebonus tracks, 'Opening Nightmares', 'Sorry For The Man', &'Lord's Prayer'. Track. ... Read more

Reviews (3)

Nothing is Sacred
Everyone seems to think this is the worst LORDS cd but I disagree. Although there is very little continuity between the song styles, I think this was a very brave album for the band.
If you enjoy the recent never to be officially released LORDS CD "Hang On" you will not like "Sacred" at all. Gone are Treguna's brilliant bass lines, Nicks thumping surf drums, and Brian's stones style. All of which are the glue for SACRED.
This other reviewer must be Steven Marque because he keeps on trying to use his name to compare and yet has absolutely nothing in common with Stiv's talent. Shame on YOu Steven Marque. That is really pathetic and so is your "talent"

No, Nothing Is
The Lords are all over the shop. The second IRS record by the band, it moves more into many genres sonically and romantic, if sometimes necromantic imagery lyrically. This one is least like the new 2003 incarnation of the band fronted by StevenMarque; but you can hear Stiv's influence on him on tracks like BAD TIMING and TALE OF TWO CITIES. Like any other LORDS album, a meaningful masterpiece and certainly significant theosophically, against the backdrop of most 80's vibrant/vapid offerings.

This is a great LNC record
This was my introduction to the world of "Gothic Punk." I was 14 and had never heard anything remotely like this, but the songs on this album hooked me fast. Lords of the New Church has quite a bit of songwriting talent. Dave Tregunna, although not the best bass player I have heard, plays some of the catchiest and most simple and original lines in songs like Johnny Too Bad and Dance With Me. Stiv Bator's voice has plenty of attitude and his lyrics are really cool in a trashy way. If you like the Damned you'll recognize their former guitarist Brian James who plays really cool guitar figures against the bass lines. They top it off with some sick 50's esque horn lines too! Overall this is a great rock and roll record. I would highly recommend this to any fans of the Damned and anyone who wants to hear how great and refreshingly simple a rock record can be! ... Read more

Album Description

Remastered reissue of 1983 album features 17 tracksincluding 7 bonus tracks, 'Fuel', 'The Cutter' (Alt.Version), 'My White Devil' (Alt. Version - prev.unreleased), 'Porcupine' (Alt. Version - prev. unreleased), 'Ripeness' (Alt. Version - prev. unreleased), 'Gods Will Be Gods' (Alt. Version), & 'Never Stop (Discoteque)'. 25thanniversary expanded edition features new liner notes &unseen photos. Slipcase. WSM. 2003. ... Read more

Reviews (4)

Got them on MTV
"Porcupine" got the Bunnymen on MTV in the early '80's with the video of "The Cutter". This reamins the standout track on the album. "Back of Love" is also a "best of..." track, deserving inclusion on any retrospective of the band. "Never Stop - Discoteque" their follow-up stand alone single after Porcupine, is a great inclusion as a bonus track. the digital version is well worth having and the artwork is great, but other than the 3 tracks I mentioned it's still a hard listen. 3 stars and a must-have if you're a fan of the band. If not, skip to a best of collection.

"Am I the half that's whole?"
How you liked your British new wave probably influenced your thoughts on "Porcupine" when it first came out in 1983. If you liked the brooding, near gothic sound of Echo via "Heaven Up Here" and the pessimistic bands that flourished at the time (think earlier Cure), you likely viewed "Porcupine" as a sell out. On the other hand, if you were into anthemic driving songs with choppy guitar (ala U2 and the Edge), the "The Cutter," "The Back Of Love" and "Clay" probably had you frothing at the mouth.

You can put me in the later camp. I was disappointed by "Heaven Up Here," thinking that Ian McCulloch's Doors obsession and ego had sunk an OK album. But "Porcupine," with the addition of Shankir as influence and guest dynamited the Bunnymen out of their quagmire and made the first half of this album almost overwhelming in its desire to prove its greatness. (I often thought the similarities to this albums glacier cover photo and U2's "War" were completely intentional.) McCulloch was determined to prove that he and his mates were as good as anything proclaimed godhead in the ever fickle British press.

The remaster bolsters a lot of their bravado. "The Cutter" and "The Back of Love" have got to be two of the hardest rocking singles the band (or any other band of the period) ever produced. For sheer youthful energy, "Porcupine" rates with the band's debut. It's even more worth it for their excursion into dance-rock, "Never Stop," which is as fine a single as the genre ever produced, and foreshadows songs like "Lips Like Sugar" from the "Gray Album." (Though I may be one of the few who would have preferred the seven inch version.) The Bunnymen were on a roll, and their next project, "Ocean Rain" would show that they could harness their exuberence into other, more mature, skills. These two albums were the showcase of a band at their peak.

A fine transitional album
Porcupine was my favorite Bunnymen album for the longest time. The power of the opening tracks "The Back of Love" and "The Cutter" made an immediate impact on me. It's clear that bands like The Doves have been listening to this album and "Heaven Up Here" quite a bit.

The only bonus tracks here that was previously released on the boxed set is "Gods Will Be Gods" (Alternate version)and the discotheque version of "Never Stop". It's a pretty powerful album and sets up the stage for the band's next development with the powerful, moody and magnificent "Ocean Rain".

The sound is exceptional and puts the previously issued CD to shame. The liner notes are also very good as well although they do recap some of the points from the boxed set. Lyrics? Well you'll need to wait for the next reissue for those.

Flawed reissue of a great album
'Porcupine' is the "difficult" third Bunnymen album, which saw them moving away from the open spaces of their previous records into a claustrophobic sound. A dense guitar mesh is laid over every track, augmented by Shankar's electric cello. Listening to these songs is like taking a machete to a jungle of vines -- every slash reveals something new, but you risk getting trapped in the foliage.

There are five vinyl b-sides from this period, all included on the boxed set. Sadly, only one is present here, the wonderfully moody 'Fuel', which in sonic texture is more in keeping with 'Heaven Up Here' material.

Then follow five alternate versions of album tracks, one of which was issued in the boxed set. (The sleeve says only three are previously unreleased, but this is an error I believe.) I was excited to hear these, as the Peel Session versions and the b-side 'A Drop In The Ocean' show a group coming to grips with an sound even darker than what made it to the final album. Sadly, the versions here on display are similar but weaker to the album takes, though 'Ripeness' does make it more obvious what McCullough is singing about -- nothing too uplifting I can tell you!

Finally, the Discotheque version of 'Never Stop' is tacked on the end of the CD. Which means that the very different 7" mix is neither here nor on the boxed set.

What is missing from this disc is the monolithic 'The Subject', the 'Summer version' of 'Heads Will Roll', the fascinating live recording of 'Zimbo' made at WOMAD with The Royal Burundi Drummers, and the wonderful 'Way Out And Up We Go'.

It is criminal that we can re-purchase these albums (the third time over for many of us) and *still* have to buy a boxed set for a handful of tracks. They belong here, in proper chronological sequence. Maybe on the fiftieth anniversary? ... Read more

Reviews (4)

Great tunes for a long drive
Cool tunes 7 songs about 40+minutes og classic 80's rock

Take a Trip!
A real nice job of puting together the music on this CD.

one of the best covers of Route 66 by any band is on this CD

Simply awesome!!
This CD is so good. Behind the Wheel is such a cool song - very suggestive lyrics (subtly reflected in the video!). The remixes are very strong, focussing on the dance elements of the main track. The Beatmaster's mix took me a couple of listens to get into, but when I did; boy, does it rock.

DM's version of Route 66 is also fantastic. I love the way that they incorporate themes from Behind The Wheel into the track.

If you ever see the megamix CD, get that too!

BEST OF THE BEST
This is an excellent maxi - single, I love everything of depeche mode, it remembers me about my life as a teenager, but i also love its version of "route 66", it's great! If you like DM, and if you like "Behind the wheel" i only tell you to buy it, you'll never disagree with me! ... Read more

Reviews (5)

Takes Me Back
Great compilation of all the best movie tunes of the 80's. One of the best 80's-themed CD's out there. I'm a movie lover and a music lover, so it's no surprise that this CD is on my favorites list.

Takes me back!
Great compilation of all the best movie tunes of the 80's. One of the best 80's-themed CD's out there. I'm a movie lover and a music lover, so it's no surprise that this CD is on my favorites list.

a lot of fun!
It's about time someone came out with a collection of some of the best movie themes from the 80s. Thank you VH1!

Bit of a disappointment
It was nice to get some of these songs on one collection, but I thought about half of the songs were throw-aways. For instance, where is "Man in Motion" from ST. ELMO'S FIRE? Still worth having but not as good as VH-1's other 80's collections.

One of the hardest songs to find ever?
The Busboys song has been a quest of mine for several years. I cannot believe there is a C.D. copy of it. Thank-you, Thank-you, Thank-you. ... Read more

Reviews (18)

Almost a classic
Although not generally considered to be amongst this seminal punk band's top 5 albums, Hyaena contains at least four magical moments. As such, it is not a bad album at all and in fact I like it more now than when it was released in the middle 1980s.

The first is the swirling Dazzle, a soaring melodic rock ballad that all by itself makes the album worthwhile. Swimming Horses is another classic of post punk psychedelic rock, quite an atmospheric number. Then there's their cover of The Beatles' Dear Prudence, where the arrangement and Siouxsie's voice turn a love song into an eerie noire affair.

We Hunger has a bubbling, jerky rhythmic backdrop whilst Take Me Back is a sparse, mid tempo ballad. Belladonna is another of my favorites and the 4th masterpiece of the album with its beautiful melody line and poignant mood. Bring Me The Head Of The Preacher Man is a long brooding piece of dense instrumentation and claustrophobic airs and Running Town has some interesting tempo changes and stunning guitar playing.

Hyaena has stood the test of time very well. The aforementioned great songs, especially Dazzle, Belladonna and Swimming Horses, rank amongst this legendary band's best songs. Fans of Siouxsie And The Banshees might also like Children Of God by Swans and the albums Thirteen Masks or Sacrificial Cake by Jarboe.

Classic Siouxsie
Hyaena is the Banshees most melodic sounding album and Siouxsie gives her best vocals here as well. The album starts off with one of their finest songs ever,"Dazzle", in a big majestic way. The song starts with an orchestra playing before a pounding drum and driving guitar. Siouxsie's voice is layered over the top telling tales of "a dead sea of fluid mercury" and stagnating water running. A very unusual song that you immediately have to play again. Robert Smith was a full time member for a very short time and his influence is definitely heard here. The clumsy pianos and keyboards on "Take me Back", "Swimming Horses" and "Running Town" sound like they could be on a Cure album.
Elsewhere on the album is a swooning version of the Beatles "Dear Prudence" (their highest charting single ever) and the very darkly lovely "Belladonna". The only song on here that goes nowhere is "Bring Me the Head of the Preacherman". As ever, Siouxsie's lyrics are like listening to a madwoman tell stories around the fire. Turn off the lights and light a candle before listening to this album.

"Dazzle"-ing!
Ah, what a fantastic album. The most melodic of Siouxsie and the Banshees' releases. To me, it was like seeing an old friend after years and seeing the changes they've made. If you enjoyed Kaleidoscope, Nocturne, The Scream, and the rest of the earlier albums, you'll most certainly adore Hyaena.

Brilliantly Over The Top
Here is where Siouxsie and the Banshees go brilliantly over the top. Although they verge on self parody, they do it spectacularly so. Beautiful yet scary, symphonic violins, mad piano refrains and dazzling woodwind instraments dominate backed by a sometimes tribal rythmic section. Robert Smith from the Cure plays guitar for the album, and interestingly enough, Hayena seems to be more than just a small influence for later Cure albums, in particular Disintegration.
Best Tracks: Dazzle, Swimming Horses., Burn The House Down

A Glittering Prize
"Hyaena" was the first Siouxsie album I ever bought, after hearing "Dazzle" on the radio. I was soon blown away by the rest of the tracks as well. The album is an odd array of moods and styles. "Dazzle" - the opening track - is an over-the-top swirl of guitars, percussion and strings. It's followed by "We Hunger", a tormented and frantic bit of misery. Then they shift gears on "Take Me Back", in which the musical accompaniment consists of an organ and brush-style drums. The fourth track - "Belladonna" - prominently features an oboe. The rest of the album continues shifting around the same way - Spanish-style songs, Dervish-style songs, a Beatles cover - but, somehow, they manage to make it all fit together wonderfully.
As others have noted, The Cure's Robert Smith handled the guitar work on "Hyaena", and does an excellent job. "The Top", which The Cure released the same year as "Hyaena", is rather similar in style and worth checking out as well. Strange, atmospheric, moody and often bizarre, "Hyaena" is one of my favorite Siouxsie albums ("Tinderbox" narrowly beats it out as my favorite), and definitely worth picking up. ... Read more

Reviews (3)

Amazon.com's tracklisting is wrong!
Hopefully Amazon will post a correction soon, but as of 15 March '05, the tracklisting here is incorrect. The correct tracklisting is:

1. Scorpios
2. Picasso Visita El Planeta De Los Simios
3. Prince Charming
4. 5 Guns West
5. That Voodoo!
6. Stand And Deliver
7. Mile High Club
8. Ant Rap
9. Mowhok
10. S.E.X.
11. Prince Charming (Demo)
12. Stand And Deliver (Demo - Unreleased)
13. Showbiz (Demo)
14. Picasso Visita El Planeta De Los Simios (Demo)
15. Who's A Goofy Bunny Then? (Demo)
16. Scorpio Writing (Demo)

Amazon's UK site has the correct info.

"Ridicule Is Nothing to Be Scared Of."
1981's "Prince Charming" is the third and final album Adam Ant recorded with his band the Ants before he began a solo career.It didn't sell as well as "Kings of the Wild Frontier," but "Prince Charming" did have a few hits such as the signature anthem "Stand and Deliver," the title track, and the positively wacky "Ant Rap," which may very well be the first "rap" tune recorded by a white male singer.Looking beyond the hits, there are other cool tunes such as the freakish acapella "Mile High Club," the campy opener "Scorpios," and "Picasso Vista El Planeta del Los Simios."In 2004, Sony reissued "Prince Charming," and, quite frankly, the remastering isn't much of an improvement over the original, which sounded flat and muddled.But the CD comes in a nice digipak with lyrics and rare photos and extra bonus tracks Antphiles will enjoy.I'm a little disappointed with the remastering of this CD, but fans should still upgrade their copy of "Prince Charming" with this 2004 reissue.

Weakest remastering of the 3 new Ants remasters
I was really hoping for a lot from this remaster, as this album has always had (at least to my ears) a dark, murky sound to it.The weakness must be the master tape itself, as this CD doesn't really improve on the old version except for added bass on most tracks (which is welcome).What really makes this CD something special is one of the extra tracks which is actually a rehearsal during the writing of "Scorpios" - listening to this gave me chills down my spine, as you actually get to witness Adam and Marco creating this song together - stunning!

Overall, if you are a fan of this album you will still want this, just don't expect a sonic revelation. ... Read more