Amazon.com

Now that Beck has effectively exorcised his personal demons with 2002's hyper-confessional Sea Change, he can get back to the business of being a total fruit loop. We all know what that involves: video game sound effects, random shouting in Spanish, and rhymes about popsicles and vegetable vans. And that's just the second track. Guero is like every Beck album condensed into one, a no-holds-barred collision of two-turntables and a microphone with the added bonus of guitars, bossa nova beats, Jack White, lyrics about spaceships and dump truck full of ideas all fighting to get heard about the ruckus. It's an exhausting and exhilarating listen with lots of peaks, such as the digitized power ballad "Broken Drum" and handclap drench folk freak-out "Farewell Ride," and more than enough to restore anyone's faith in Beck as one of the most chaotically inspired songwriters of our time. -- Aidin Vaziri ... Read more

Reviews (155)

Phenomenal
Beck is truly one of a kind, and that is what makes his music always enjoyable.You never know what Beck is going to do and that unpredictability factor always makes a Beck album engaging. Too many musicians today are too cliche and you can always predict what direction they are going to take.With Beck, you're in for a surprise ride everytime.

What is unique about GUERO is that it doesn't just appeal to one audience.While Beck may be rocking out with hard guitars on his first single (and notable track) "E-Pro",he doesn't just use a standard drum set.With the Dust Brothers (Beastie Boys) producing he uses drum programming that hints at a very catchy hip-hop edge. Beck goes full fledge alternative hip-hop on "Que Onda Guero" while he chooses a conservative beach rock sound with synth and all on "Girl".

After an engaging three hit track start, Beck disappoints somewhat on "Missing".His follow-up track "Black Tambourine" again uses a Dust Brothers hip-hop beat.While it is a good and fun track, it isn't the caliber of "E-Pro", "Que Onda Guero", or "Girl".

Beck comes back strong with the hip-hop synth arrangement on "Earthquake Weather" where Beck sings with his typical folk/indie-rock style over a genius arrangement."Hell Yes" is another stellar track.Who couldn't say hell yes to that?

While all the tracks on the album are enjoyable listens, the first few and the above mentioned are the best.Beck should definitely be recognized by the Grammys for this. It is an artistic masterpiece.It is a breath of fresh air when an artist doesn't conform to the commercial aspects of music and goes for the independent approach in producing whatever they want to.You keep on doing your thing Beck and hell yes your album is cool!

The Resurrection of Beck
Beck returns in full force and great musical shape with a Cd that runs the gamut from psychedelic Jimi Hendrixlike rock to Jobimish bossa nova travelling through Pinkfloydesque ventures.
True talent exudes from this offering from the first funky single E-Pro,the ethnic QUE ONDA GUERO,the definite next single GIRL and the dark yet inspiring BROKEN DRUM.The presence of BECK in the music world is an inspiring element and reassuring thought that talent lives on,be it hailing from East L.A. or from Topeka

Pretty Good 4 a Guero
EASolinas has the perfect description : Distortion Rock a la Latin Hip-Hop . I made my fantastic edit of Odelay , Midnite Voltures and Guero called : Mixd Emotions ... Six of each ... This Guero is pretty inventive and keeps life a fresh ... Sea of Change I like all of It as it Is ... I guess I am a real at heart 70's child ... Keep it comming ...

BECK RETURNS (AND SAVES THE WORLD)
Alright, alright. We can all get over ourselves now. After months of pointing the Salem-witch-hunt-like finger at Beck and enceremoniously saying that his career has come to a dead stop, I think we need to listen to this album. Because the fact is that if any other upstart band or artist came out of nowhere and produced Guero, we would be hailing them as surefire Messiahs. They would be plastered all over every magazine, poster, t-shirt and record store and would win the Mercury and/or Shortlist prizes before the award ceremony could be put on.

This isn't Beck's best album. But does that really matter? That's like criticizing Abbey Road for not being as good as Sergeant Pepper's. The fact of the matter is we have a truly genious artist (Beck) producing a really great, fun, listenable-yet-challenging and completely original album (Guero) that can only be classified in one genre: "Beck music".

But, "Gasp!" you say. "He isn't creating a wildly new aesthetic and changing the music scene singlehandedly!". "Oh no!" you cry, "Some songs teeter on, dare I proclaim, Minimalism! THE SKY IS FALLING!"

Get off it. This record is just one of the myriad of exciting, buzz-worthy, and unique albums to be released so far this year, so for god sakes, stop debating and BUY THIS ALBUM! And then do me a favour. Sing along to the "na na na" chorus. All three of them. Bask in their carefree glory, and hear them almost speak to you. Do you know what they're saying?

"Forget expectations. Put on some Beck. Be happy."

Best album since Odelay
Beck's mishmash of sound and genre is a wonder to behold, and at times hard to listen to.It requires a patient, open mind and an ability to appreciate artists who are the musical equivalent of Picasso.Guero is not quite as all over the place as Mutations, but it still varies widely from Latin hip-hop to a quasi Country/R&B.Add in some video game sampling and distortion mic and you have Beck.

My favorite tracks on the album are Epro, Que Onda Guero, and Earthquake Weather, but all of them are great.This is one of those rare albums I can listen to from start to finish, and as such, it earns all five of its stars. ... Read more

Amazon.com

What was widely predicted to be a short-lived supergroup/side-project, Audioslave has instead gratifyingly yielded a bona fide band here. The follow-up to their promising, if not quite artistically congealed '02 debut finds singer/songwriter Chris Cornell contributing a slate of songs that would have done his former Soundgarden proud, while guitarist Tom Morello and his former Rage Against the Machine bandmates cast them in a focused rhythmic groove that suggests the old school can still yield a timely lesson or two. Cornell's best songs may still lurk in the shadows (the funeral hypno-blues of "Heaven's Dead," the martial metal ofanti-war opener "Your Time Has Come," "The Worm" as anthem for self-loathing), yet they're now brightened with such surprisingly sunny fare as "Dandelion," "Doesn't Remind Me"'s charged, existentialist daydream and even a hook-rich, dangerously optimistic back-to-the-future power ballad in "Be Yourself." Morello's work on the title track and elsewhere is a study in taste and less-is-more efficiency, a telling hint of how forcefully these iconic 90's stars have sublimated their egos as their new music has blossomed; who said there are no second acts in American (rock) lives? --Jerry McCulley ... Read more

Reviews (103)

Save your money
I've been listening to this cd on repeat most of the day, in hopes it would be one of those classics that grows on you. It's not.

I won't get overly detailed on the individual tracks. It has a couple (maybe 4, or 5 if you want to stretch it) of good songs with some catchy riffing, and the occasional mind-skewering Morello solo, but it's a bit weak overall.

The new single "Be Yourself" is terrible. Don't even compare it to "I am the Highway."

Don't expect the same semi-Rage stylings from their debut cd. I don't know if Cornell was very involved in the music writing, butif I had to guess, he wasn't. This cd just does not live up to any of my expectations, so save your money.

Audioslave... A Very Underated Band
I can't say it was worth the wait for this album since Audioslave's 2002 debut.But there is more good than bad on this album.The debut is still better.As for the people saying Chris Cornell wasn't using his full vocal potential on this album....well why ain't you singing for Audioslave then if you know so much? Like most rock bands not every album is gonna be played and sung the same way.Hell it would be boring listening to the same album each time its released.As for the songs here theres some good and some filler.My personal stand out tracks are "Be Yourself","The Curse",The Worm","Out Of Exile" and "Dandelion".One of the least favorites is the single "Your Time Has Come".I've listened to this song many times and still can't get into it.Just like "Drown Me Slowly" and "Doesn't Remind Me". When you listen to "The Worm" it sounds very Black Sabbath-ish,which is kinda cool.I thought "The Curse" was good surprise here.I always get a kick out of Tom Morello's guitar playing.His little tricks he does to make a distinct sound is cool.Nothing to crazy and complex,just a awesome sound.Its too bad alot more people can't get into Audioslave more.I hear just as much trash about them as Creed ever got.Oh well somebodys gotta be a hater.But if you already have Audioslave's first cd this won't be a bad pick up to go with it.

Slightly disappointing
I'd have to agree with G.D. Brennan's previous review and say this one's closer to 3.5.It's certainly better than a lot of the trash out there today, but nothing about this album really grabs me after listening to it a few times.Perhaps the best thing about Out of Exile is that the band's sound appears more organic and cohesive than it was on their self-titled debut, but this unity appears to come at the expense of the energy and experimentation that carried the previous album.Nothing on here matches the primal roar of "Cochise," while the first single "Be Yourself" seems to be a poor rehash of "Like a Stone."On the whole Out of Exile is much more subdued and restrained than the last album; songs like "Doesn't Remind Me" and "Dandelion" actually seems to take their cues from Chris Cornell's mellow solo album, Euphoria Morning, rather than the harsher edge of Soundgarden and Rage Against the Machine.Even the bluesy songs, however, aren't as accomplished as "I am the Highway" or "Getaway Car" were from Audioslave's debut.The guitar solos and sound effects that Tom Morello is well known for are also largely absent, with the result that nothing on Out of Exile is as sonically complex as "Shadow on the Sun" or "The Last Remaining Light."This is a stripped-down version of what we've seen before, and while it's a solid sophomore album and may be a good introduction for those new to Audioslave, Cornell, or RATM, I can't help but miss the intensity and energy that underscored their first release.

Not working up to their potential
Listening to "Out of Exile" gave me the same sensation I got in 1996 listening to "Down on the Upside" expecting another "Superunknown."It's Rock'n'Roll-Lite.I agree with the previous reviewer that Morello's riffs are creative and technically superior, but they also get on ones nerves a little.They are too far from the traditional and end up hindering the harmony of the songs.Cornell's doesn't push his vocals to the same limit he did on their debut.With all this said, this CD still manages to keep you humming all day after listening to it.

this is even better than their brilliant debut
Chris cornell is one of the best singers in recent times and out of exile is the best album of 2005 along with angel of retribution from judas priest.this is even more better than their debut which was great too.very very highly recommended.please ignore the retarded one star reviews and get this masterpiece. ... Read more

Amazon.com

For its first new set of music since 2000's Warning, Green Day tears up the blueprint and comes up with something unexpected: A punk rock concept album built around elaborate melodies, odd tempo changes, and a collection of songs that freely reference classic rock warhorses like the Beatles and Pink Floyd. "She's A Rebel" and "St. Jimmy" might sound like vintage Green Day but the rest of the disc finds the Northern California trio trying on a variety of different guises: "Boulevard of Broken Dreams" is a cliché-strewn Foo Fighters-style power ballad; "Extraordinary Girl" floats on Indian strings; and the hushed "Wake Me Up When September Ends" wouldn't sound entirely out of place on a Jessica Simpson record. It doesn't always work. "Dearly Beloved" eerily resembles the Alarm's "68 Guns" while the title track eerily resembles something Green Day has already done far too many times. But, overall, American Idiot is represents a promising step forward. --Aidin Vaziri ... Read more

Reviews (4)

Great cd
Ok well I just have to say that the first time I heard this cd I knew that it would be my favorite greed day cd. I have listened to this cd at least 50 times since I've gotten it! In fact I'm listening to it while im typing this reveiw. My favorite song on the whole cd is holiday and I know that this cd will be my fav. cd for a long time.

I freakin' LOVE this CD
Go get this CD! It is awesome! It has both their traditional punk rock which is always awesome and some more slow music which is also awesome. It's not like any of their other albums before. It's also very opinionated, but you can decide whether that's a good or bad thing. I really don't care! All I know is that this is one heck of a rock opera and a must-have for any Green Day fan!

best cd since kerplunk
this is probally greendays best ccd since kelrplunk almost 10 years ago and its a great cd, get it

green day rox!!!
green day is sik! 1.american idiot 8/10 i loved this song on madden too bad i over played it 2.jesus of suburbia 8/10 catchy a bit long tho still kewl 3.holiday 9/10 'on holiday' 4.blvd of broken dreams 11/10 best song on the cd by far slow rock song but great awsome lyrics catchy tune just awsome 5.are we the waiting 7/10 probably my least favorite song on the cd 6.st jimmy 10/10 awsome i can see this song in the THUG 2 fast and a nawce tune 7.give me novacaine 6/10 i change my mind this is my least favorite slow and annoying i got nothing against slow but... 8.shes a rebel 10/10 catchy lyrics just all around good 9.extraordinary girls 8/10 i hat the begining like tribal drums or something waste of 30 seconds songs ok 10.letterbomb 8/10 ok 11.wake me up when september ends 7/10 catchy lyrics slow and doesnt really go any where remember slow is not bad (take for instence adam?s song by blink) 12.homecoming 8/10 kewl song long though 13.watsername 9/10 slow (see) kewl lyrics i averaged the scores and got 8.38461538461538461538461538... im a math idiot i giv the cd a easy 9/10 buy it!! ... Read more

Amazon.com

Marked by a distinctly more middle-aged melancholy than her previous releases, Aimee Mann's The Forgotten Arm is a successfully conceived story album, following a couple through the life of their relationship. There is much for old and new fans here, as Mann lifts vignettes from the love-and-hate affair of a boxer and his girlfriend like sepia-toned snapshots from a county fair. In fact, it is in just one of those sticky, hot fairground parking lots where the romance blossoms and progresses "in the back of a Cadillac, that's her asleep in the mirror in back." The syncopated, bluesy melodies and strong ensemble of musicians make for a polished effort, and Mann’s gimlet eye doesn’t miss much--from the seductive pain of addiction, bout-induced memory loss, and finally to the inevitable discussion about having (or not) a baby. If indigo is the mood for most of Mann's work, then The Forgotten Arm may be closer to lavender, given the seasoned humor and perspective evident in standout tracks such as "That's How I Knew This Story Would Break My Heart" and "She Really Wants You." This one's a keeper. --Megan Halverson

Best of the Largo-ites

Bachelor No. 2, Aimee Mann	I Heart Huckabees, Jon Brion	XO, Elliott Smith
Heartbreaker, Ryan Adams	Virginia Creeper, Grant Lee Phillips	When the Pawn..., Fiona Apple

... Read more

Reviews (42)

Quality everywhere to be found
Listening to her is like turning on the radio in the seventies and hearing great singer/writer cuts that exude warmth and naturalness. The writing as always is trenchant and the production is superb. As if that weren't enough, the cd packaging is in book form replete with artwork / lyrics and a photo of Aimee on the back that is as beautiful as the music contained within.

The unique Aimee Mann has done it again.
Let's just say from the start that I have given up trying to be objective about Aimee Mann a long time ago. I fell in love with the woman's voice and songwriting abilities the minute I first heard "Voices Carry" in 1985 (which she recorded with her former band Til Tuesday) and followed her around ever since, through thick (the long overdue success of the "Magnolias" soundtrack) and thin (the strangely impersonal and generic "I'm with stupid", her only small misstep in a 20 year career as a recording artist). Her recordings have never ceased to amaze me for two very simple reasons : 1) This woman can WRITE songs that are at once compelling, memorable, catchy and deeply emotional 2) This woman has a singing voice that doesn't sound like anyone else's - the minute you hear her, you KNOW it's her.

This said, anyone who'll take a close listen to her latest album "The Forgotten Arm" will know that Aimee is still one of the most arresting artists of her generation. The album loosely follows the ordeals of two lovers on their path through addiction and alienation, and the music is the key that holds it together : a straightforward, earthy production that echoes vintage rock and roll, all the while sounding totally contemporary. Aimee has stripped down some of the chubbier production tricks of her previous solo albums, and delivered an album that's both richly textured and minimalistic. Of particular interest is the fact that she has been using the piano a lot more than before, and not just on ballads, giving back this underrated instrument its rightful place.

The songs are all amazing, but some of them are of particular interest. The debut single, "Going through the motions", is a clever and catchy pop-rock affair; however the real potential smash single is "I can't get my head around it", a song that will lodge itself in your brain forever. "I can't help you anymore", "King of the jailhouse" and "I was thinking I could clean up for Christmas" arejust as deserving, and the album finds its emotional core with the one-two punch of the achingly beautiful "Little bombs" and "That's how I knew this story would break my heart". "Dear John" and "Goodbye Caroline" are strong rockers and "Beautiful" concludes the album with lyrics that are both mournful and hopeful, leaving the listener to make up their own mind about the way this story ends.

Some will find that this album lacks the emotional depth and sonic adventureness of "Lost In Space", its predecessor; and while it's true that nothing here quite rivals songs like "Invisible Ink" (Aimee's crowning achievement as asongwriter), "It's Not" or "The Moth", this album succeeds exactly by NOT trying to imitate what has already been beautifully recorded. Aimee is a truly challenging artist and "The Forgotten Arm" is a great reminder of that.

That's Actually 3 and a half stars...
Aimee Mann makes me wish that records were still pressed on vinyl. I'd love to be able to look at the artwork and the lyrics in big print while I listen over and over. And as another reviewer noted, you have to listen over and over to get the hooks, which this cd has, but not as many as usual for Aimee. There are a couple of great songs on here ("Going Through the Motions" and "Video"), and a lot of really good ones ("King of the Jailhouse," "She Really Wants You," "I Can't Get My Head Around It" and "Little Bombs"); but this cd hooked me only about as much as "Whatever." If you're an Aimee Mann fan, you may find that this collection pales in comparison to the last two (but I'm a freak for "Bachelor No. 2," and "It's Not" from "Lost in Space" is the MOST PERFECT Aimee Mann song ever). Even a pale comparison, however, is better than 98.9% of what's on the market musically today.

A Cotton Candy Knockout

"The Forgotten Arm" has a melodic and harmonic beauty matching Aimee Mann's all-time best offerings.

There is a real sense of time and place to the sound here.The songs flow.If "I'm With Stupid" was a wintery Londonesque album this is a summertime Americana album, harking back to her Virginia roots, evoking a time and place with both the sounds and the imagery she employs right from the opening line: "Cotton candy was king on the midway that spring..."

Her voice has never been richer, delivering those trademark "low notes" right when it counts and showcasing her heavenly upper range on "Beautiful" and "That's How I Knew This Story Would Break My Heart" - one of the most quietly tender and beautiful ballads she has written since "No One is Watching You Now" or "Ray."

Joe Henry deserves a lot of credit as well for his imagination in helping shape the sound.The injection of a little new blood makes a world of difference on "The Forgotten Arm," with great guitar work from Jeff Trott, punchy drumming at faster tempos, and a very tight core band that you can tell has been touring together for a while. The mix is fantastic with some extremely bold, shimmering, explosive sonics for a "stripped down" album.

For all the justified attention Aimee Mann's lyrics get, her music might just be even better.Nobody is writing catchier songs, and she is often at her best here.Though her songs are mostly about off-kilter relationships, even the cynical observations are wrapped in layers of humor, vivid imagery and sticky sweet music.The difference is in her cleverness and details.Nobody delivers a musical and lyrical combo punch as well as Aimee Mann.

As alongtime Mannlistener and Largo visitor
I find this album consistant with Mann's work...especially with what she has done apart from Jon Brion.Consistancy has it's good and bad points.If you are looking for beautiful melodies and well-constructed lyrics, you will not be disappointed.Every song is a pitch-perfect performance.
But maybe Mann is too consistant?In some ways it is all almost too controlled, too perfect.It would be nice to have her break out and let loose.Brion seemed to tap her impovisational spirit a bit more than her current producers.And the result was less consistant, but also less predictable.Even live Mann is consistant, each song sounding eerily likeher recording of it.Maybe that is what crowds want: the familiar.But I miss the exploration of the unmined spaces of a song that people like Brion (or Dylan, or Lucinda Williams)provide...and Mann sometimes allows herself and her audience. ... Read more

Amazon.com

Despite making it through a difficult four-year stretch in which the band temporarily broke up, singer Shirley Manson left her husband, and new technologies made the sleek electro-rock sound of its first three albums feel passé, Garbage resurfaces in rude health on Bleed Like Me. Manson is still kickboxing the air and stomping the glitter under her heels, as she channels Debbie Harry and Chrissie Hynde on edgy glam-rock anthems like "Run Baby Run" and "Metal Heart." All the while three bookish producers in the background--including Butch Vig, who famously helmed Nirvana's Nevermind--turn up the sleazy machine-like rhythms. Foo Fighters front man Dave Grohl sits in on the drums for the menacing "Bad Boyfriend," but it's the confessional title track Bleed Like Me"--part "Walk on the Wild Side," part therapy session for former cutter Manson--that shatters Garbage's image as the ultimate non-stick studio band. "You should see my scars," goes the chorus. And, for once, Manson is actually willing to reveal them. -- Aidin Vaziri ... Read more

Reviews (122)

This Garbage doesn't Smell
If you were like me, you loved the first two Garbage albums but felt a little let down on the third release, Beautiful Garbage. It wasn't bad but it wasn't as good as the first two.

Well after waiting four years for a new album I'm happy to report that Garbage is back. Bleed Like Me is another standout performance by a standout band.

It took them a long time to put out their fourth album but it was worth the wait. Please listen to the album closely and for at least two listens, as it gets better the more you hear. I'm equally impressed with the song writing, arrangements and presentation. You'd think by the fourth album they'd be slowing down a little but both crucial elements seem to be as strong as ever.

I like all the songs but here are my favorite five.

"Why Do You Love Me" I believe this is or will be released as a single. It is a medium fast bouncy tune with a catchy
chorus:
"Why do you love me, why do you love me,
why do you love me, You're driving me crazy"
If "Why Do You Love Me" is not the best song on the album it is certainly the most noticable.

The title song "Bleed Like Me" is another dandy. It has the tempo and presence of Garbage's biggest hit "Stupid Girl" but it different enough to really be appreciated. The suject seems to be homosexual in nature as this chorus depicts:
"All dressed up and acting coy,
Painted like a brand new Christmas toy.
He's trying to figure out if he's a girl or he's a boy

Three Killer songs in a row with "Metal Heart" a variable paced Gem. As with the previous two it's quite catchy and has some just killer guitar riffs in it. There's also a bit of electronica in this one too. Lyrics are sweet as well:
"I wish I had a Metal Heart, I could cross the line
I wish that I was half as good as you think I am"

The hits keep coming with "Sex is not the Enemy", maybe my second favorite song. I don't know it's hard to tell. As a lot of Garbages music "Sex is not the Enemy" has a deliciously, querulous delivery and melody. I like the lyrics as well:
"No evolution, Sometimes it depresses me
The ame old same, Oh we keep repeating History"

Shirley uses the megaphone for part of this rolicking rock tune, "The Boys want to fight", Which is a variable tempo but is mostly fast. Cute lyric's too:
"The Boys want to fight,
But the girls are happy to dance all night"

Not their best, but wait a minute...
I ordered this album blindly, because I'll listen to anything that Shirley Manson appears on, even the rather mediocre stuff from Angelfish. I turned it on, and I heard "Bad Boyfriend," and I was BLOWN AWAY.
Unfortunately, I was bored by "Run Baby Run" (it's one of those songs you have to develop a taste for), "Right Between The Eyes" (not nearly enough venom), and "Why Do You Love Me" (it is good, but far from magnetic; I think it was a poor choice for a single). Despite what Rolling Stone says, I think that the best part of the album is the second half (except, of course, for "Bad Boyfriend"). "Bleed Like Me" was eerily brilliant. "Metal Heart" grabbed me with its chorus: "Now that we know for sure that they're telling lies when they say no one gets hurt and therefore nobody dies..." "Sex Is Not The Enemy" is formulaic but the instrumentals are good. "It's All Over But The Crying" is the best breakup song I've ever heard: a happy medium between "YOU BROKE UP WITH ME!!! I HATE YOU!!!" and "I think I'm going to curl up and die." "Boys Wanna Fight" is perfect for an era where every side wants you to believe their propaganda. "Why Don't You Come Over" is loud, biting, and the perfect song for not caring. "Happy Home" is an intense finale in the tradition of "Milk" and "You Look So Fine" (although nothing tops "Milk.")
If you're picky, just download "Bad Boyfriend."
If you have never listened to Garbage before, what the heck, get this: my first Garbage album was Beautifulgarbage. I later realized it kind of sucked, but I enjoyed it a lot then.
If you are a Garbage fan, you need this album, if only to compare and contrast and enjoy Shirley Manson.

another band another album ho hum
Garbage has always been a quality band. Their first album is still amazing. They have put out four albums now and are among one of the great international bands. Their songs are truly massive and have widespread appeal. They are music for festival and rather large venues. "Bad Boyfriend" has a feeling much like Foreigner's "Hot Blooded." Dave Grohl plays drums on this track. Other songs like "Run Baby Run" combine rock and techno music. This is their song that is most like The Cure. "Why Do You Love" is their best single in many tries. "Bleed Like Me" is based on a story by JT Leroy. Shirley Manson has befriended the strange author. He is so reclusive that Shirley had to take his place at a book reading. Most of the album deals with Shirley Manson's personal emotions. This album overall seems a little bit more up. I ran into Duke Erickson at The Roxy earlier this year and he acted like a jerk. He was pissed that I even spoke to him. What a snob! I like their music though. I think that fans of Garbage will like this album.

Review from the Synthesis
After a three-year hiatus and another year in the recording studio, Garbage has returned with their fourth album, Bleed Like Me. After trading in their electro/alternative rock sound for the lavishly produced pop vibe on their last album, Garbage is back to what they do best. Stylistically, Bleed Like Me is close to their first two releases, with the addition of a darker, more aggressive edge. This new facet to their sound is evident from the start of the CD as it opens with the driving, guitar-laden "Bad Boyfriend," and returns throughout the album. Even with this edgier sound, one can't dismiss the catchy pop elements on Bleed Like Me. Songs like "Run Baby Run" and "Right Between The Eyes" are reminiscent of "Special" from Version 2.0. And Shirley Manson's Chrissie Hynde-esque vocal stylings have always brought a pop flavor to the band. Despite being one of the more defining elements of their sound in the `90s, the electronic influence is now more subdued. But those who love Garbage's electro sound need not worry, as songs like "Metal Heart," "Boys Wanna Fight," and "Why Don't You Come Over" contain enough electro elements to keep them happy. Solid from beginning to end, superbly produced and full of sonic ear candy, Bleed Like Me is a much-needed relief from the neo-new wave sounds permeating the air waves.

- Jason Catanzarite
Synthesis.net

A Triumph!All Killer- No Filler.
This is my first listen to Garbage, and now I see what I was missing.Manson's singing is great and the songs have unusual arrangements that are very appealing.And, Garbage rocks!I have been listening to this for a week and I am not tired of it yet.Buy it. ... Read more

Amazon.com

Taking three-years between albums has made Weezer grow slower and more sober. But on its fifth disc the Los Angeles quartet is no more secure about its place in the world than it was a decade ago in longing tunes like "The World Has Turned And Left Me Here." Singer Rivers Cuomo, still struggling with adolescence at 34, is all apologies. "All I have to do is swing and I'm the hero/ But I'm a zero," he sings on "Perfect Situation," and "I am terrified of all things/ Frightened of the dark," on the lighters-aloft power ballad "Hold Me." The band, meanwhile, keeps things from getting too heavy by punctuating the songs with a familiar rush of bouncy new-wave melodies and fizzing power-pop riffs resulting in the hair-flinging metal of the future D.A.R.E. theme song and album high-point, "We Are All On Drugs." --Aidin Vaziri ... Read more

Reviews (173)

The Return of the Weez(er)?
3.75 stars.
There is something that I realized just recently. I am one of those fans of the first two Weezer records, the brilliant "Blue" album and "Pinkerton", and am also one of those people who felt truly dissapointed by the last two records, "Maladroit" and "Green". But my revealtion was this: this isn't the same Weezer that made "Blue" and "Pinkerton". Five years passed between "Pinkerton" and "Green", and in thattime something left(namely the dope fresh funkiness and silliness of one Matt Sharp). I dunno what exactly. But this is not the same Weezer. This is Weezer Mach Two. So to think that an album like the first two will come out again is silly and stupid, at least to me. And once I realized this, a certain kind of contentness washed over me.
So, Weezer's fifth record "Make Believe", how it is? Well I am happy to report that is the groups strongest and most consistant group of songs since "Pinkerton", even if there is a tad too much filler to classify it as an undiputed classic(at least to me).
"Perfect Situation", "Pardon Me" and "The Damage in Your Heart" are what Weezer have always done best, arena heavy pop songs with infectious choruses, and are two of the songs Weezer have done thus far. A trio of power ballads, "Hold Me"(which brings back the loud/ soft dynamic like "Say It Ai'nt So"), "Peace" and the records best track(and best Weezer song in nearly a decade) "Haunt You Every Day" all features choruses that bring back the goosebumps, along with lyrics anthemic enough that you're singing along at the top of your lungs before the second choruses even kicks in. "This Is Such A Pity" is a straight up Cars homage, and an excellent one at that, a nice slice of pop that Ric Oseack and crew would have been damn proud of to have written(it's odd that they go full Cars when the man who wrote the Cars music isn't producing, isn't it?). And "Freak Me Out" adds extra dimension to the record and showcases a different side of Weezer that will hopefully be explored further on the next Weezer record.
On the oppiosite side of things, lead off single "Beverly Hills" is just to simple to leave much of an impression(though the Steve Miller inspired solo rocks), and "We Are All On Drugs" is too preachy to be taken seriously, and questioningly borrows its melody line from the grade school recess school yard anthem "Diarehha". "My Best Friend" rocks a melody that is not very memorable and lyrics that are just a tad to touchy feely for my personal taste.
The production, courtsey of Rick Rubin, or as he is known affectionatly "The Beard", is as clean as a Weezer record has ever been, with all the rough spots cleaned over for a crystal clear product. This is neither heere nor there to me since it should be about the quality of the songs, not the production that matters(you hear me Steve Albini!), and lyrically, Rivers walks a fine line between more introspective material and bland pop lyric writting, but this time it at least sounds like he's trying.
Now don't take any of this as me telling you not to buy the record. I'm saying buy the record. It's a GOOD album. I don't think it's great, but it's defintley not awful either. There are six or seven songs here that are the best stuff that they've written and played in nearly a decade, and it really is cool to hear Weezer sound slightly impassioned about playing music again. And this time I'm glad to see that this isn't a begruddging liking of the record, like some parts of "Green" and "Maladroit" that are okay but you say they're better because you need to convince yourself that it's better than it is. This time the songs really are good that are good. And that makes me excited to hear the next Weezer record for the first time in a long time. Weezer Mach Two is finally finding their footing. "Make Believe" made me pretty happy.
And isn't that what a good record is supposed to do anyway?

Highlights few, not what it used to be
After recording and rerecording over 70 songs for album 5, Weezer scrapped almost all of them and put in new songs for the new album "Make Beleive".Billed as "the most important album of their career" by Rolling Stone (can be seen on the sticker that is on the shrink wrap), but in a completely different vein.The album starts off with the hit single "Beverly Hills".A simple catchy song and in this reviewer's opinion, one of the 3 best on the album.There's some 80's influence on tracks like "This is Such a Pity" (synths), but not to the point of the somewhat overdone new wave revival that has recently become popular.One track, "My Best Friend", is easily my favorite song on the album.Maybe its just because it reminds me of the brightness of the green album and I like the organ sound.The other highlight of the album is "We Are All On Drugs" (on the initial pressings of Make Beleive there is an incorrect version of this song).All in all, if there was a comparison to another Weezer album on this one it would be closest to Maladroit, but there is still very little similarity.This is a decent album but it isn't the best to be someone's first Weezer album.

Make Believe: 4.999 out of 5
Although Weezer has changed their views and music style since the long-past 1994 era, the new album, titled Make Believe, proves that the boys can still deliver.The new album is chalk full of pinkerton-reminescent songs (Perfect Situation, Hold me, Peace) along with the occasional super pop-song (We are all on Drugs, Beverly Hills).I would have the say that the only song on the entire album that gets the 'skip' button is "My Best Friend."Many older weezer fans love this song, however, because of its raw and unadultered innocence.The new album has interesting musical appear as well.The guitars range from clean, to distorted... from power chords to harmonics.There are also pianos, keyboards, and harmonicas present in more songs than not.So there you have it,the long anticipated fifth album from Weezer;trust me, this one is definately a keeper.=w= J.O.N.A.S. =w=

Great Listen
I get tired of Weezer fans comparing everything to Pinkerton or TBA.Is this album as good as those?No, it's not.Is this a great Weezer album to add to the collection?Yes, it is.

MB sounds nothing like the previous albums, but at the same time, it sounds entirely like the old albums.There are new instruments and effects that really enhance the listening experience and the eclecticness of the band.

I have been a fan of Weezer since the beginning, and I feel that songs on the album rank up there with the best of them all.My personal favorites are "Perfect Situation", "This is Such a Pity", and "Hold Me"."Freak Me Out" is one of the most interesting Weezer Tracks I have heard, as practically the whole melody is harmonics.

Anyways, this is a perfect summer album and completly worth the price and the shelf space.

Enjoy!!!

Weezer is Back!
The long awaited return of Weezer will not disappoint! After listening to Make Believe in its entirety, I have come to the conclusion that it is one of Weezer's best cds, much better than Maladroit or The Green Album...as far as the songs go:

"Beverly Hills" - seems to be made just to be the radio hit single, it's sound and lyrics don't really flow with the rest of the album, it is definitely the most poppy song on the album

"Perfect Situation" - Starts out with a riff very similar to "Simple Pages" from the Green Album, but then goes it's own direction and is pretty solid

"This Is Such A Pity" - Rumored to be the second single off of the album, definitely brings a different sound than "Beverly Hills" as it has a synth type vibe to it, the lyrics seem to be a little more emotional, maybe reminicent of some Pinkerton stuff

"Hold Me" - My personal favorite! The lyrics are so simple, but yet so deep...there is clear emotion on this track, and the guitar is mellowed out, and it definitely brings back the Pinkerton feel, an excellent song! I'm not sure if it gets any better than Rivers singing "hold meeee" at the top of his lungs

"Peace" - Another excellent song, bringing the emotional side again, guitar is a little poppy, but still nowhere near as poppy as the Green Album

"We Are All On Drugs" - Almost sounds like it is rapped, similar to the way "Beverly Hills" sounds...it brings the poppy side to the album again, and could possibly be the second single, the chorus however is a little heavier than "Beverly Hills"

"The Damage In Your Heart" - Another emotional piece...not my favorite song by any means, but I still like it a lot, as I do with the rest of the album

"Pardon Me" - An excellent song, written very well...the lyrics seem to be about Rivers asking for an appology for all that he has done wrong...Starts out a little slow, but builds up to a strong chorus...I read that this was Rick Rubin (The producer)'s favorite song

"My Best Friend" - Very catchy track, similar to the poppy beat of "Beverly Hills", so if you enjoy that song, you will like this song as well, definitely my least favorite song on the album, very simple beat, very simple lyrics...nothing special about this one

"The Other Way" - Another great song on this album...Pretty mellowed out, decent chorus, lyrically is well written and caries some emotion, pretty good song

"Freak Me Out" - One of my favorite songs on the cd, it's pretty mellow, maybe the softest of songs on the cd, but it carries a good beat, and I really enjoy it

"Haunt You Every Day" - Very good ending track, it's no "Only In Dreams" but then again, nothing ever will be, but it carries the emotion that I love from Rivers in the lyrics, has a great beat, with some nice guitar, one of my favorite tracks

Overall, this album is comparable to Pinkerton, but it definitely shows progression and maturity from that album as well, some songs bring the poppy sound of the Green Album too, so it's kind of like a PinkGreen Album, if that makes sense...

As far as the extras on the cd go, I found them to be rather disappointing, but I'm not judging a cd by that...I definitely recommend this album to any Weezer fan! ... Read more

Amazon.com

What's great for Ben Folds fans —true fans, not the kind who signed on after hearing 1997's un-Ben-like radio hit "Brick" —is that Songs for Silverman picks up right where the excellent Ben-comes-into-his-own Rockin' the Suburbs left off in 2001. These are heartfelt songs: sometimes cheeky and occasionally heartbreaking. "Gracie," written in a hopeful key for Folds' young daughter, unravels to playful but brilliant piano plinks; "Late," for the departed singer/songwriter Elliott Smith, sidesteps straight-on sadness to convey a sense of lost camaraderie; and the clear-eyed "Landed," delivered in Folds' unadorned, tree-trunk sturdy voice, will inspire untold revelations for those stuck in stalled relationships. The music, meantime, maintains its sharp edge: "You to Thank" juts out with the help of a two new players in a celebratory jazz direction, while "Give Judy My Notice" dabbles in country and a chorus swells for "Jesusland." Throughout, Folds' piano work remains a pop-music goodie bag that defies duplication. --Tammy La Gorce ... Read more

Reviews (54)

Decent CD but BEWARE!!!
The music is pretty good (though still not as good as Ben Folds Five), and the DVD features are kind of a cool bonus.But frankly, I would rather have had just the music in a format that would play on all my CD players.The audio side would only play on 2 of the 4 players I tried it on (haven't tried my car yet which is obviously important).

"Why you gotta Act Like You Know When You Don't Know"?
Ben Folds brings a certain classicism with his signature style on SONGS FOR SILVERMAN.It is obvious that Folds is a brilliant songwriter, vocalist, and phenomenal pianist. The reason I think that Folds is underrated as an artist is because he is for some an "aquired taste" per say.He isn't your typical rock or pop artist.He is in the elite league of the "piano-power" artist which includes himself, Tori Amos, and recently Vanessa Carlton.I think that if more people were to hear Folds, he would surely be more popular because as an artist, he has a lot to offer.I'd be certain that if more jazz listeners were to hear him just play they'd certainly be wowed by his pianistic skills (I'm a jazz listener and musician that is wowed).

But SONGS FOR SILVERMAN did give Folds his largest opening as well as his largest debut numerically.The biggest trap that Folds falls into is filler material. The best song is offered right at the beginning and it is "Bastard" which experiments with odd meter and an incredibly enthralling fuzzy bass line. His incredibly catchy line is the title of this review "Why you gotta act like you know when you don't know", he sings enthusiastically.

"You To Thank" and "Jesusland" are fine tracks as well. And there are certainly other enjoyable listens.The true highlight is "Bastard" though. Folds piano skills and his vocal sophistication are flawless on hits as well as non-hits.This music has a light feel that is not boring in the least.This is a very nice album.4 stars.

Where is The G.I. Folding Action????
I Went To A Ben Folds Concert To See Ben Fold Something...Boy was I dissapointed!

A Must Listen For Any Fan
This latest release from Ben Folds is by far his most mature offering, and not simply for a second song written for his children. The lyrics are incredibly witty and real, not unlike the story-like albums "Ben Folds Five" and "Naked Baby Photos." Ben continues to make dynamic and gripping rock 'n roll with his piano, while delivering vocal tracks that make you swear he hasn't spent most of the last decade on tour. For anyone who will have an appreciation of where this album fits into his life, pick it up and listen to it. Again and again and...

Silversongs for man
Ben Folds, completely ignored in France, deserves all the attention of all those which likes the pop one and the songwriters with subtle melodies and refined harmonies. I draw the attention of those particularly, inconsolable as I am to it myself, of the disappearance of Elliott Smith. Because Ben Folds forms part of this family of musicians who can find melodies and athmosphères immediately captivating without never falling into the facility. The two men knew each other and estimated themselves mutually. Ben Folds offers to us besides in this album "Late" a very beautiful song dedicated to Elliott, simple, and direct - one could not make any more beautiful homage. If Elliott were a guitarist: Ben Folds is a pianist (and a good one !). All its songs are arranged around a base piano-bass-battery (traditional formation for the jazz but less in the pop one, Ben not hesitating besides flirting with jazz, as in "You to thank".) Strings, choruses and guitars come enjoliver these beautiful melodies. Its texts are full with humour, full with an irony which would surely make smile Randy Newman itself ("You to thank", again). One will appreciate this familiarity which one immediately has with the musical universe of Ben folds, who releases an obviousness which had with the musical culture of the artist and the very personal transformation of his pop influences into catchy songs. One will precipitate several times of continuation on Jesusland and especially Landed, potential hit, which would have made green of jealousy the Elton John of the great time - that of Tiny Dancer.
It should be noted that this disc exists in a Dualdisc edition: a universalCd side, a DVD side. the dvd one has the advantage of offering one mix 5.1 of the album, a making of of the album which introduces Ben Folds well, and an alternate version of Landed with strings which does not have anything gadget. ... Read more

Reviews (122)

Which song is which?
Lifehouse made a big name for themselves in the late 90s with their album, No Name Face.

I actually wasn't even aware they released a second one.The third one was released recently at my record store, and I decided to pick it up.

The vocals are nice, the guitar is nice...but overall this disc is a little boring.The tracks, whether played as numbered or randomly, run into eachother creating a musical blur that is somewhat mind-numbing and a little sleep-inducing.

I cannot name specific songs which jump out at me, either.Perhaps if I listened to them solitarily, they might have a greater impact but all I can think of right now is taking a nice big nap until another CD comes on.

Excellent Band
Lifehouse never ceases to amaze me. I have every single one of their albums, and there is not one song on each of them I don't like.

Simply Amazing & Marvelous
I am probably one of the biggest Lifehouse fan's that there is. This album is simply amazing and I love listening to it as much as I can. Jason Wade has exceeded with his voice and actions in this sojourn through a softer melodic path in their career as a group. 'You And Me' and 'Into The Sun' are the hits of this beautiful album. This album is for a bona-fide Lifehouse fan and any fan of romantic moody music. There is songs in this album that are for romantic evenings, wedding dance songs, candlelit dinners as well as just sitting back and relaxing.

This is Lifehouse at their best. This album isn't as good as 'No Name Face' but it sure comes close. My two all time favourite Lifehouse songs are 'Simon' and 'Everything' followed by 'Storm' and 'You And Me'. This album continues the great work of the past albums and continues the evolution of this great group. The video of You And Me is beautiful to watch.

I hope Lifehouse brings out a DVD of many of their songs, it would be fitting for this group of talented young men who are well on their ways to achieving some great accolades and fame. Thankyou Lifehouse for your music that is some of the best I have ever heard as well as inspiring, joyful and retrospective.

This is a good stuff!
My first impression for this album was actually not that good. Perhaps I would give it 3 stars, but definitely this album wouldn't be as good as their previous releases. But after listening to this album 2 or 3 more times, I've become addicted to it!

Lifehouse has smoothen their path a bit, with fabolous result! "You And Me", with its beautiful lyrics and melody, will surely be a favorite love song in no time. "Blind", "Better Luck Next Time", and "We'll Never Know" offers rather hard guitar riffs and infectious chorus. You'll find yourself humming through these songs. "Come Back Down" and "Days Go By" are both warm soft-rock songs; nice tracks to listen to when you get stressed out. One of the highlights is "Into The Sun"; this song is very Lifehouse and it sounds a bit mysterious, which is good! However, The three last tracks are the best ones. Track 10, "Walking Away" starts off with sharp but slow-tempo drum rolls, then the guitars ride in and the song turn so melancholic. I really like the part when Jason sings, "Hey, remember me/ I remember you/ Walking Away...". Talking about a touching song. Then "Chapter One" begins. The intro is soft and sounds a bit unusual for a Lifehouse track. The melody is nice, the lyrics great, what else could you ask for? Then the closing track, "The End Has Only Begun". At first I didn't like it, but when it comes to the bridge, it turns to be a very promising tune. Perhaps this should be their next single. This track leaves you wanting for more songs from the band! Luckily, I bought the Asian version, and there is a bonus track, "Today". This track rocks! Literally. The drum rolls are heavier than any other songs on this album. I think it should be in the album, replacing "Come Undone" or "All In All" (the two tracks I consider rather weak).

Many claims that this album is not their best, but I disagree. I think this album is as good as their previous albums. They do choose the smoother track, and their music sounds lighter than usual. But then, Jason Wade has always had a smooth voice, and it works best on this album. I say if this album doesn't sell well, it's just a matter of luck.

Great album...gets even better each time you listen to it!
I have been listening to this album for two weeks now, and it is better every time. Some people who have written reviews of this are full of hot air.
Songs 1-9 are near perfect and the best yet from Lifehouse.
It makes you glad to be alive.
BUY THIS NOW!!!
... Read more

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Their fifth album, Get Behind Me Satan is the strangest and least focused effort by these unlikely garage rock superstars to date. It's also their finest, an Exile on Main Street-ish mish-mash where the sum is greater than the parts. In a market increasingly driven by singles and downloads, it's nice to be reminded how exciting an album can be, especially one where you really don't know what to expect next. There are a lot fewer pounding guitars on this album. They've largely been replaced by pounding pianos. Most songs sound like rough mixes at first; almost every song has something exceptionally loud in the mix--the guitar solo in "The Nurse," the drums in "Doorbell," everything in "Blue Orchid." After a few listens, however, it becomes clear that the group is not using the studio as an instrument so much as exposing the nuts and bolts in the process along the way.

There are some duds; the wanky blooze-rawk number "Instinct Blues" goes on way too long and it would be nice if "The Nurse" had a real chorus. Whether "Passive Manipulation" is about the wife-or-sister schtick, if the cover artwork indeed has Jack and Meg calling each other devils, and which scripture is referred to by the album's title (Matthew, Mark or Luke?): none of that matters so much as the fact that this album is strangely sprawling and obliquely ass-kicking at the same time. "Orchid" is a rockdisko sonic smash that shows how to really get rock kids on the dancefloor. Meanwhile, "Doorbell" sounds enough like the Jackson Five to totally rule, and "Forever for Her" is the best ballad Jack's written in years. The fact that some marimbas provide the driving force to "Forever" makes it all the better. --Mike McGonigal ... Read more

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No stranger to the realm of children's records, They Might Be Giants have seen success with their CD No! and the book and CD combo Bed, Bed, Bed. Their latest CD, Here Come The ABCs, offers up twenty-five alphabetically themed songs. However, as is their charming way, the two Johns (Flansburgh and Linnell), use the letters as merely the connective tissue, allowing them to pursuit intriguing flights of fancy that consider everything from the relative power of letters and sounds to animal hijinks. Just as they've always done, there are wistful ballads and high octane rockers. TMBG have always been a family-friendly band, and this disc works just fine for adult fans, who can rightfully consider this simply their newest release. -- David Greenberger

Exclusive Video from They Might Be Giants

Exclusive Video (high bandwith)

Exclusive Video (low bandwith)

Three Cool Kids Cds

Puffy Amiyumi ~ Hi Hi [SOUNDTRACK]

NRBQ ~ You're Nice People You Are

Dan Zanes ~ Parades and Panoramas

... Read more

Reviews (18)

Great entertainment and education in one!
My three and four year old love TMBG music.My husband introduced them to the music with some of their older albums, so when this album came out especially for kids, we had to have it.The talent and creativity that TMBG possess is highly impressive.I am thrilled they've ventured into an arena of music for kids.A fun way of learning and really gives children the opportunity to use their imaginations.I highly recommend!

Toddlers will love this!
I was never really fond of TMBG's music but after catching glimpses of the "QU" video on a kid's cable channel I had to get this DVD for my two year old twins.It didn't matter what they were doing as soon as the beat of "QU" came on they would come drop everything and sing and dance along.

This is one of the few DVD's for kids that I think is actually "adult friendly".Meaning the songs are all catchy and smart and you can't help but find yourself singing along.And the animation is really stylish and clever for a kid's DVD.I have yet to get burnt out on this DVD.My two year olds love this DVD and practically know all the words.Thisis my emergency DVD that I keep in the car for those very long car trips, that stands up to whiny, tired kids when even Disney and Baby Einstien can't.Even my ten year old son will watch it with the twins without complaint.Love it!

I DON'T KNOW
I haven't heard any more than one song from them, Here Comes The ABCs. But that sucked, so i'm not expecting much from this, and you shouldn't either! WHAT THE HELL HAS MUSIC COME TO WHEN A BAND WILL WRITE A SONG ON THE ALPHABET NAMING COUNTRIES!?!

CD DVD combo essential
Our family really enjoys They Might Be Giant's Here Come the ABCs!The songs are hip and intellegent (think: Anti-Raffi). The animation is 5 star. But the best thing is when you've listened to the songs some and then you watch the DVD again! It's like a feedback loop!

Our favorite track is The Alphabet of Nations!And the winner of the most surprising country award: West Xylophone! Who knew that was a real contry? (...)

Not their best CD
This is not the best CD they have ever made. This is why I am giving it a four instead of a five. It's enjoyable and fun and full of typical 'TMBG' type songs. However, there are other TMBG cd's with better songs and better music you can buy. (Before buying this one, consider the one titled NO).

My children particularly liked the countries with the alphabet song. Each letter of the alphabet starts a country in this song and when they can't come up with a country they make something up that fits. It's very cute.

Enjoy. Worth every penny if you are a large TMBG fan.
... Read more

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Before the Mars Volta made prog-metal fashionable again - with a little help from the Dillinger Escape Plan and My Chemical Romance - Porcupine Tree's 2002 US debut, In Abstentia, had already laid most of the groundwork. For the middle-aged British quartet led by Steven Wilson, '70s rockers like Rush and Yes (with whom the group toured after the album's release) never went out of style but instead left behind grandiose scriptures to be studied for all of eternity. So while tighter and more efficient in spots ("Shallow," "Halo"), Porcupine Tree's Deadwing faithfully keeps the technically proficient epics coming, peaking with multi-tentacled 12-minute "Arriving Somewhere (But Not Here)." --Aidin Vaziri ... Read more

Reviews (66)

Deadwing is really good but In Absentia is great, enjoy both
My 15 year son and I just drove 150 miles to see Porcupine Tree and it was worth every penny and mile. Excellent sound and music in a small venue. With songs from In Absentia, Deadwing, and Stupid Dream, it made for a perfect concert. I'd like to think of Porcupine Tree as a contemporary form of the early Genesis with Peter Gabriel (Trespass or Selling England), with a little mix of King Crimson (Bible Black or Red), while throwing in some very nice Steve Wilson (PT) influence that helps set it apart from the those groups. Production work is solid, the music is moving, and the lyrics mysterious. Only wish they would have played Open Car from DeadWing or Strip the Soul from In Absentia in the concert. But Shallow (DW) and Blackest Eyes (IA) made up for it. Check out their schedule on Ticketmaster and go see this group. You'll be screaming for more encores...........

Good News "IT ROCKS!" -Bad News "IT ROCKS"
Well Steven, you've caught a wave to our local AOR grind and crud station. Though a novelty hearing Porcupine Tree trashing Tool, this outing is, indeed, a dead wing - it never gets off the ground. It's a sad day when Adrian Belew has to stand in to carry off the best two guitar solo's on the disc. It never occured to me in my wildest dreams that I'd be giving a PT release the thumbs down. The only redeeming quality is that this may bring (long overdo) attention to a band thats a heck of alot better than you'll hear here. Why one of the truly remarkable guitarists of our time (among other instruments) has been in a retrograde orbit since "Siginify" continues to baffle me. If you want to hear SW in his prime, listen to the classic "Dark Matter." Or better yet, get a hard-to-find issue of "Coma Divine." Now THAT'S a mind blower. My stunning introduction to PT was "In Absentia". It has been played more than any collection I've owned in 30 some odd years. If you're new to PT, don't miss their early stuff. In doing so you'll come to recognize what a truly remarkable band they are. I'll wait hopefully for the next release.

PT De Los Average
All-in-all a somewhat boring release by PT.PT is one of my favorite bands and contrary to other reviewers, I don't think it is anything like In Absentia.....in fact, it feels more like some of the more weaker releases from "up the downstairs" or signify" era, but with more up-to-date guitar distortion.Beautiful melody is generally lacking and replaced with dry, brooding jams.Even though I rated it average, I am rating against the 'PT standard'.....so Deadwing is worthy of attention over most music out there.

Deadwing or how to leave the best song out of an album
I must say that I'm a bit disappointed with this album. I don't know exactly why I'm disappointed because "Deadwing" is not a big departure from the "In Absentia" sound, which at the same time is not a big departure from the "Lightbulb Sun" sound, and I love both albums. Maybe that's why I don't love "Deadwing", because it doesn't break much new ground like previous albums. Do you remember the jump between "Sky Moves Sideways" and "Signify" ? or the one between "Signify" and "Stupid Dream" ? You won't find this here. The first thing you notice is that the guitar solos are moving further away from the Gilmour sound SW had in the past, which in my opinion, is a good thing. The second thing you notice is that the "heaviness" is more apparent here than "In Absentia". "Shallow" is the main proponent here, people keep saying this song works better in the context of the album, but I think it kills its flow badly. The worst song in my opinion. Before you start drawing conclusions about me, I must say that I have no problems with distortion, right now one of my favorite bands is Isis, but, I don't know, this kind of "american" or Led Zeppelin sounding riffs don't work very well with PT, for example, the hard parts in "Deadwing" or "Mellotron Scratch", and that awful Dream Theater impersonation in the middle of "Arriving Somewhere But Not Here" feel out of place and ruin those otherwise cool songs in my opinion. "Halo" is the only song where the hard guitars blend in the song perfectly. The haunting chorus in "Open Car" is another example of great use of distortion, but then, the verse, which sounds similar to "Strip The Soul", one of the weakest songs in "In Absentia", kills the mood of the song. Then, we are left with the mellower songs in the album, Lazarus", "Start Of Something Beautiful" and "Glass Arm Shattering" which, in my opinion, are the best songs in the album. But, they are nowhere near the brilliance of "Half Light", which inexplicably, SW has left out of the album. My CD doesn't have the new "Shesmovedon" so I can only comment from a mp3 file. To put it simply, this new version is a clear case of "if it ain't broke, don't fix it".

I'm reading all these reviews saying "Deadwing is their best" and "Deadwing rulez", and I'm starting to doubt if I'm listening to the same album as those people, because I don't think it's that great, it's only ok, it ranks below "Signify", "Stupid Dream", "Lightbulb Sun" and "In Absentia" in my list. One thing I'm sure is that this album won't gain new fans outside the prog and classic rock circles, Deadwing has all the elements to please the fans of these genres, and to scare people outside them. I, for one, hope SW leaves this "metal" obsession he has now, and moves into a new direction, and please, not a "back to our roots" one.

A Consolidation, Not a Stretch
Most Americans heard of Porcupine Tree with the release of 2002's In Absentia, and had a lot of catching up to do.Unapologetically progressive, it was obvious that Steve Wilson's musical collective grew up on Yes and Floyd and Tull and Genesis.Yet this being the new millennium, they were also familiar with Metallica-sized riffs and System of a Down-esoterica.Since prog is the new punk, Porcupine Tree are now seen as harbingers. Deadwing, their tenth (I think) studio release, is a consolidation not a stretch.The heaviest numbers are the most concise, especially the one-two punch of "Shallow" and "Halo".Elsewhere, they jam, particularly well on the opening title track.They're superb at it, they are, but they aren't Zeppelin, and they remind me of a wonderful (and obscure) progressive outfit from the late 70's called Crack the Sky, whom I have to admit I'd rather listen to. ... Read more

Amazon.com

Director Wes Anderson's jewel of a comic-character study revolves around the quirks and obsessions of Bill Murray's titular Cousteau-esque deep-sea adventurer and his motley crew of associates. As they did for the director's equally sublime Royal Tenenbaums, Anderson and music super Randall Poster stitch their eclectic source material into a warm, subtly focused new cinemusic whole. Mark Mothersbaugh's original Casio-baroque cues are the perfect complement for Australian film composer Sven Libaek's compelling slices of vintage exotica, while Ziggy Stardust-era David Bowie largely provides the musical subtext, either directly or in earnest, through live acoustic renditions by Brazilian troubadour/film costar Seu Jorge. Seasoning the mix to near perfection are smart, vintage Britpop contributions by Scott Walker and the Zombies, Iggy and the Stooges thrashing "Search and Destroy," the evocative Iberian fire of Paco DeLucia, and Joan Baez's dramatic read of Morricone'sSacco & Vanzetti theme, "Here's to You." -- Jerry McCulley ... Read more

Reviews (37)

Staralfur?
What an amazing film, soundtrack. Bowie's words move the film from scene to scene through one voice or another. Amazing, truely. As to why the beautiful Icelandic ballad, Staralfur was relieved from being the final track on this masterpiece of a compilation, is beyond my knowledge and reason.Yet, Bowie maintain the true emotion and meaning held so tightly by this film and it's creators.5 stars none the less.

I couldn't help myself
Wes Anderson is amazing, his films are spectacular and hilarious and beautifull and akward and representing everything that is good in the world.His soundtracks never fail to amaze me in thier ability to weed out wonderfull songs compiled from what sounds like a garage full of cardboard boxes filled with an enormous collection of 60s/70s records, ranging from legendary to obscure, and random mixtapes from friends lying around in his bedroom.The result is a compilation of songs that are sometimes beautifull, sometimes fun, but always quirky and offbeat in arrangement with eachother.And as Wes fans know, quirky and offbeat is Anderson's expertice. I don't think that Sigur Ros' "Stellafurr" would have thrown off the flow of the soundtrack, because Wes' flow isn't suppose to be a steady even beat and "Stellafurr", as beautifull as it is, is fantastically out of tune within the context of the film and soundtrack.The songs always work out in his master plan, perfectly representing the rythm and mood of his films.Mark Mothersbaugh's score is as usual, strange and funny enough to make me grin a little, standing it's ground even without support from the film (although used to a hilarious effect in the overall story) and Wes, never settling for predictable, linked the whole film up in association with David Bowie's music, obviously suggesting it to be the general music of the film by always having a portuguese singer playing Bowie songs in Brazilian in the background for no apparent reason, but doesn't Seu Jorge just make the songs seem new again?He pulls a fast one on you, but you'll love his chilled-out renditions and view Bowie's music through a totally different perspective. If that doesn't prove to the world just how cool Wes is, then I don't know what will.So, in closing, "The Life Aquatic" is a brilliant energetic leap from the mellancolly (but still hilarious) "The Royal Tenenbaums"."Bottle Rocket" was Wes' fast-paced take on summer, "Rushmore" represented the moody shift of light to dark and coping with being pushed into fall, "Royal Tenenbaums", his sad and heartfelt Winter (no seriously, the seasons they take place in even), and "The Life Aquatic" is the redeeming breathe of Spring.I can't wait to see where his new film, "The Fantastic Mr. Fox" will take us next. Of course, Wes can do anything and everything and make it look good.

Sensible Music.
I really enjoyed THE LIFE AQUATIC WITH STEVE ZISSOU.As visual-appealing and emotional-moving the film is, one of it's best things about it is the soundtrack.About half the songs on the album are David Bowie songs.Most of those are re-imaginings performed by Brazilian musician, Seu Jorge.Seu Jorge's performances have become the key selling point of this delightful album, but has so much more to offer.As much as I enjoy the Seu Jorge songs, I actually like the instrumental pieces composed by Mark Mothersbaugh better.There's something addicting to the keyboard-filled tunes.In fact, my favorite song on the entire album is the instrumental "Ping Island/Lighting Strike Rescue Op".A close second is the album's closing piece by David Bowie, "Queen Bitch."Add in a tune by Devo, some shark attack music by Sven Libaek, and a famed piece by The Zombies and it adds up to one very quirky and original soundtrack. Overall, this is a delightful soundtrack from an endearing movie that's worth the price to own.

Another brilliant soundtrack for a Wes Anderson film
I am totally enchanted by the music in Wes Anderson's films.Somehow, the chosen music is able to elicit such an emotional response.I've never been a fan of Devo, but the song fits the film so well that I've listened to it again and again.Seu Jorge makes David Bowie's somewhat harsh music soothing and soulful.Mothersbaugh's electronic tracks would not have had the same impact had I heard them without seeing the film.My only complaint is the lack of "Space Oddity" and "Ziggy Stardust" from the soundtrack.I really enjoyed Jorge's renditions of those songs in the film, and they were sadly absent from the soundtrack.

Question
Does anyone know what song was playing at the very end of the movie when Steve has the boy on his shoulders? ... Read more

Amazon.com

The debut of thundering supergroup Audioslave--featuring members of Rage Against the Machine post-Zack de la Rocha with ex-Soundgarden singer Chris Cornell--is as much curio as fascinating blend of visions. Cornell might be outnumbered, but his unmistakable holler and nihilistic imagery ensure that Audioslave, the album, recalls early Soundgarden. That's especially true since de la Rocha took Rage's signature rap and politicking with him. Still, if this is Soundgarden, it's Soundgarden set to stun. Rage guitarist Tom Morello is more of a mauler than Kim Thayil ever was--witness "Shadow on the Sun," which moves from bruising thud to psychedelic freak-out and back again--while the Rage rhythm section of Tim Commerford and Brad Wilk anchor the bottom end with pure instrumental cement. Intentionally or not, "Gasoline" bears passing resemblance to "Rusty Cage," while the sweeping "I Am the Highway" and slow-burning "The Last Remaining Light" best showcase Cornell's surprisingly New Age-y lyrical bent. Cover art by Storm Thorgerson, who gave Pink Floyd records their distinctive stamp, underscores the set's inherent celebrity. Fans of Rage and Soundgarden can raise clenched fists in unison, for Audioslave is win-win. --Kim Hughes ... Read more

Reviews (836)

Audioslave
Five years after the breakup of Soundgarden and three years after the release of Euphoria Morning, Chris Cornell is back. But now he is backed by one of the strongest groove bands in rock music today, Tom Morello, Brad Wilk and Tim Commerford, who were formerly in the band Rage Against The Machine. This unexpected collaboration has formed an extremely strong, new style. Their sound ranges from atmospheric, with Cornell singing resplendant melodies(of haunting themes), backed by a Morello's trippy, delay soaked guitar, to bone-crushingly heavy. Cornell and Morello have a sonic connection in which the vocals and guitar seem to be one entity, moving together, soaring and decending, screaming and whispering. All the time, Tim and Brad never fail to lay down a rock solid groove. In my opinion, this is the best album of the year. If you don't own it yet, buy it! It is the essential rock album of 2002.

Quite good-but sounds like a supergroup, not a polished band
Audioslave, the collaboration of surviving RATM members and former Soundgarden singer Chris Cornell, brings lots of sound and fury. Unfortunately, the record as a whole doesn't signify anything greater than its parts. This is not to say it's not a good record. At moments, it is spectacular, easily some of the best rock 2002 offered. The opening 1-2-3 punch of "Cochise", "Show Me How to Live", and "Gasoline" are hard to match, as are the more classic rock sounding standouts, "Like a Stone" and "I Am the Highway". The rest of the album, unfortunately is not quite on par; they're all solid songs, but they often sound unfinished and more like a side-project and not a band that plays comfortably together.

Some critics have described Audioslave as RATM with Chris Cornell singing, or Tom Morello playing guitar with Soundgarden. Both such descriptions fit. On their debut, they sound like a supergroup, not a polished band. Even Morello himself seems to have lost some creativity. His guitar riffs still resonate, but even they seem to flow too closely to Sabbath's riff catalog. In the end, the guitar virtuoso seems to have somewhat run out of ideas. The glue here in this collaboration surprisingly is Cornell, whose emotive singing breathes life into the dirgy, thick material.

Taken against other modern rock, Audioslave is amongst the elite. Juxtaposed against either of their former bands, both Soundgarden and Rage packed more punch and left a greater impression. Still, any and all from either band or their respective band members is worthwhile. Recommended.

Good for Rage fans, awesome for Soundgarden fans
This is the collaboration of the recently disbanded Rage Against The Machine and Chris Cornell, the incredible voice of the also broken up Soundgarden. So, you would think they might make a record that's got a heavy funk rhythm section(RATM), with a powerful rock vocal(Cornell), wouldn't you? Well, no surprises here. That is exactly what you get, and I like it.
For those of you who were fans of Rage, it all depends on why you were a fan whether you appreciate this record or not. If the real appeal for you was Zach De La Rocha's rap-style vocal more than the bombastic groove of the band, then you may not enjoy this release as much as I did(and still do). With Cornell on the mic you get Soundgarden-like song structure, but you still have the perfect groove of Rage. These songs are MUCH less political, and more radio friendly.
This is usually a bad thing when it comes to hard rock. So many bands lose their edge when they try to appeal to a more mainstream audience, but I don't believe that's the case here. The edge is still there, just not in every track. These songs aren't experimental in an instrumental sense, or a lyrical sense. They are just typical, serious, well-crafted, straight forward rock songs. We even get quirky guitar wiz Tom Morello playing a straight forward acoustic-like track (see "I Am The
Highway"). His experimental playing takes a backseat to Cornell's haunting vocals on many of these songs. I think that Rage realizes what they have in Chris Cornell, and they want to showcase it. All lyrics were written by Cornell, and this is very obvious. In one of the best tracks on the release("Show Me How To Live"), Cornell rants "Nail in my hand, from my creator, you gave me a life, now show me how to live." An incredibly powerful lyric, but very different than the Rage lyrics.

All in all, I think the Soundgarden fan will enjoy this much more than the Rage fan. And, fans of just plain good music should enjoy most of this release. Your getting an extremely talented band doing what comes naturally with the situation they have. It's not all good, but for the most part it has a lot to offer.

Check out these best tracks: "Cochise","Show Me How To
Live","Gasoline","What You Are","Set It Off", "I Am The Highway", and "Like A Stone".

OVERALL RATING (1-10;10 being superior): 6
For more Dr. Music reviews, visit www.new-sounds.com/DrMusic

Everything sounds the same on here
The three hits from this album, "Cochise", "Like a Stone" and "I am the Highway" are all good, but not great. Chris Cornell's voice has clearly gotten better since Soundgarden, but he doesn't do his signature yell nearly enough. The instrumentals just seem lazy to me, and don't live up to Rage standards. Also the eleven other songs seem to be trying to imitate one of the three songs I have listed already.
I give the CD three stars because it still is quality rock music, and sadly better than 95% of the other Rock music out there today.

How could something that looks so great on paper go so bad?
Rage Against the Machine and Sound Garden were both awesome bands apart from one another, they had completely different styles and sounds and thats how it should have been, after the demise of these 2 bands when I heard about Audioslave I was all for it, it would be like the coming of 2 amazing bands molded into 1, but alas it wasn't to be. After hearing the minor hit Cocheise I lost some of my faith for the band but I still had hope that it was first single jitters...then I heard like a stone. This song sucked abysmally, it pissed me off more then anything, it lead me to champion for the return of rage and garden, because this song was nothing of what these bands used to be, long drawn out moody songs COMING FROM FORMER RAGE PLAYERS?! THIS IS WRONG!! And with that song it signaled my now hatred of Audioslave, personnally if Sound Garden doesn't get back togeather oh well thats a shame, but if Rage doesn't get back togeather then its a crime because they are needed, because now more then ever political bands are need to help sway the mind of a country needing a regime change. ... Read more

Reviews (165)

Bridging the Weezers
Most fans agree that Weezer's first two albums were the band's greatest contributions to modern music.Personally, I feel the exit of Matt Sharp cost the band too dearly to continue under the name Weezer.Consequentially, after much anticipation, the "green album" and "Maladroit" lacked the substance and replay value of their predecessors.Now, many are calling "Make Believe" Weezer's grand return to their original glory.I can't say the songs on this album have the sheer fun of "Buddy Holly" and "El Scorcho" or the emotional strength of "Say It Ain't So" and "No Other One," but there is a distinctive reach back to the band's roots.I disagree that "Make Believe" is on par with the original "Weezer" or "Pinkerton," but it makes a nice bridge between the two bands.

In short, if you loved the original albums but lost a taste for the band's later releases, then you won't find the "old" Weezer here.On the other hand, if you have enjoyed hearing the band evolve, "Make Believe" is a necessary addition to your collection.

Make Belive... that this is a good album...
Granted, Blue Album, Pinkerton, Green Album (although a little too poppy and generic), and most of Maladroit are some of my favorite, and the best albums ever made, however Make Believe fails to strike a chord in my heart. Basically this album's songs just don't match up to the old ones and are maybe, so to speak, too crooneresque? Weezer needs the heavy guitar (Tired of Sex) to really come out, not speaking the same cliche phrase over and over again (Beverly Hills, the epitome of horrible).
Since it's Weezer, I cannot give them 1 star, they're just too amazing. I will definitly see the Make Belive tour, just to hear the old stuff, however I do not recommend Make Believe

As expected, yet another golden album
I thought it'd be a good idea to listen to this album while I reviewed it, but as I'm so enthralled with each and every iota and intricacy of Make Believe, I find myself losing focus. From the opening drum roll of the first track, Beverly Hills, to the closing bars of Haunt You Every Day, I'm enraptured. Every song on this, Weezer's fith album, has its unique brand of wonderful. From the catchy piano chords copmlimenting perfectly Rivers' vocal melody in Perfect Situation, to the eirily identifiable lyrics of Peace, to the mellow bliss that is Freak Me Out, (Which also happens to contain one of my favorite moments on the album. It's one of those so typical of Weezer, where Rivers is singing, and the melody is climbing and building, and just when you think it's at its peak, Rivers takes it up a couple of notes, thereby forcing you to melt in your chair.) every song is just what you need. Anyway, I could write until I was blue in the face, but I suppose I've said enough. I strongly recommend the purchase of this (and of every other Weezer) album.

incredible
At first the album wasn't a hit with me. Maybe it was built up expectations or maybe it's just one of those things. Pinkerton was the same way with me and is now my favorite Weezer album. After listening to this over and over again, it has clicked and gets better every time. Who knows, mabye after a few more listens it will be competing with Pinkerton. Anyways, awesome album and a definite recommendation to buy. My standouts are "Hold Me", "My Best Friend," and "Haunt you Every Day"

All Gorwn Up but still a child at heart
Make Believe is a combination of all four previous Weezer albums. With the catchy fun songs like Beverly Hills and We are all on Drugs showing hints of both the "blue" album and the "green" album. Songs like Haunt you Everyday and Perfect Situation have the honesty and emotional sincerity of Pinkerton; yet this isn't for 13 year emo girls. There is a new style of lyrics with the quality guitar, drums and bass that Weezer fans have come to know and love. The three year wait is over and the product is something that I don't think anyone could have expected. Make Believe made me fall in love all over again seeing the growth and individual style that they've emerged with. My hat goes off to the entire band. I would encourage everyone to check it out you won't be disappointed. It's on vinyl too! ... Read more

Album Description

With over 6 million records sold and 2 Grammy’s under their belts, The Wallflowers have released their fifth album and first with producer Brendan O’Brien (Pearl Jam, Bruce Springsteen). Rebel, Sweetheart is the welcome re-introduction to a grown up rock & roll band with a renewed sense of purpose. The Wallflowers have created an album that yearns forclarity while reflecting the world’s complexity – these are songs written by a man and performed by a band that’s already lived a little. From the powerful expression of hope on the first single "The Beautiful Side Of Somewhere" to the moodily stunning "We’re Already There", Rebel, Sweetheart is poised to be the most focused and accomplished album of their career. ... Read more

Reviews (14)

This album is amazing....
I've been a Wallflowers fan for a couple of years. I heard some music from their last album... and then I realized that it was the same band that had done "One Headlight" and I was hooked. I started listening to some of their older stuff, and I really liked it. Over the past year, I had kinda lost contact with the band, because they had some inner struggles and I figured like many other bands they would disband so I had stopped checking up on the band over the summer, and then I heard that they were coming to perform at Jubilee City Fest in Montgomery, AL, where I live, and I was surprised to hear that they were still together. Last week I was flipping through a magazine and I came across an article on Jakob and about the new album and I was surprised, because since I had stopped checking up on them, I didn't know they had released a new album. Needless to say, I rushed out the next day and bought the album, and I was not disappointed.

My boyfriend is a huge Bob Dylan fan, and I got him to listen to some of the Wallflowers earlier stuff, and he would say that they were good, but that he preferred Bob Dylan because his music had more "depth" to it. While I have yet to coerce him into listening to their new album, I'm willing to bet that he'll have more to say about this one. Jakob has fully matured now, and it seems like he is no longer afraid to take a leap into the unknown. Every line of this new CD has meaning behind it, reminiscent of some of his father's earlier stuff, but with some rock behind it to back it up. I am definately happy with where this album is going, and if you don't go out and buy this album and absolutely love it, then theres something wrong with you.

Excellent, Excellent, Excellent
Jakob Dylan, no matter how often they may compare him to his rock-legend father Bob, is a very talented rock star in his own right.He is an exceptional rock vocalist, guitarist, and I think most of all, an excellent songwriter. You can not deny him those things because he is one of the BEST songwriters (not just chord progressions, but actual songwriters) out there.

REBEL, SWEETHEART is an excellent album.While the fuss now is over many of the sub-genres of rock and roll resurging with groups like The Killers, Franz Ferdinand, and The Bravery, I think that is important to always remember a group like The Wallflowers. What makes this particular album stronger and more enjoyable than says FRANZ FERDINAND or HOT FUSS is the songwriting.It is so focused and so unique. True, it probably isn't correct to compare a straight ahead rock album to new wave or indie-rock, but songwriting wise, compared to Flowers or Kapranos, Dylan is on a "higher level" so to speak.

One of the positive things about this kind of music, rock, American rock, is that there is a true emphasis on making every word have wait.If you listen to U2's HOW TO DISMANTLE AN ATOMIC BOMB, you also see there is an emphasis and weight on every lyric song because it is so pure.That is the case with THE WALLFLOWERS.Dylan has crafted a masterpiece of which no one can deny. The musicianship of which he articulates is phenomenal.It takes only one listen to fall in love with this great recording that should DEFINITELY be a Grammy Nominee in 2006.

It is hard to pick top picks because this album is so well written, but "Days of Wonder" and "The Beautiful Side of Somewhere" are my two personal favorites.I Love this album and I highly recommend it. 4 1/2 stars!

The Wallflowers hit a grand slam.
Jakob and the Wallflowers have produced a solid, solid album that is equal to or surpasses BRINGING DOWN THE HORSE.It is unfortunate that they don't receive credit where credit is due; they're a great band putting out solid rock records when that genre receives little to no airplay because of Clear Channel, Infinity, and Entercom dominating the airwaves.Luckily, that is starting to change with XM and Sirius.I think it is blowing the corporate executives' minds that people are actually willing to pay to listen to good music.The new "Jack" format on traditional radio is just a cheap imitation of what you'll find on satellite.Once again, REBEL, SWEETHEART is a great album.On the Wallflowers previous albums there were always a couple tracks, with the exception of BDTH, that I found skippable, but not so on this album.There are great melodies throughout, and Rami Jaffee's keyboards return to prominence.Many of the tracks are catchy, but it is an intrinsic catchiness that stems from Jakob's fantasting songwriting, not because the band is seeking airplay hits.The album is eclectic, "From the Bottom of My Heart" is a great, stripped-down, acoustic ballad.And as another reviewer mentioned, "Back to California" isa good rocker.Each time I listen to the album the more I like it.I could care less for Jakob's politics, but hey, he's entitled to his opinion, and that doesn't mean that I can't appreciate his great music.Give this album a try, I don't think you'll be disappointed.

The Best Wallflowers offering yet!
I just purchased this album and I have to say I am impressed. This band has matured so much that they are breathtaking to listen to. I became a huge 'Wallflowers' fan when I heard 'One Headlight' and immediately ran out and purchased 'Bringing Down the Horse'. I don't have their other albums, except 'Red Letter Days' which I thoroughly enjoyed. This album blew me away. I was expecting some of the pop/rock tunes I heard on 'Red Letter Days' and got more than I bargained for. This is the rock band that I remember, all of the songs on this album were so 'musical' and the lyrics...wow. Jakob Dylan's voice is so rich and poignant, and he sings like he means every word. My fav songs on this cd are 'Days of Wonder', 'The Beautiful Side of Somewhere' and 'God Says Nothing Back'. 'God Says Nothing Back' sent chills up and down my spine. Just a great song. I highly recommend 'Rebel, Sweetheart'. It's the best Wallflowers offering to date. Buy this cd if you're a fan or even if you've never heard of this band. It is thoroughly enjoyable!

Dylan's masterpiece
Jakob Dylan's best album. I thought Breach and Red Letter Days were pretty good, but this one is just breath-taking. Dylan's lyrics are touching and powerful, and all the songs just seem like they fit perfectly into this album. There is not a filler on it. The Beautiful Side of Somewhere is the 1st single, and just a great song. Other favorites of mine are The Passenger, Here He Comes, God Says Nothing Back, Nearly Beloved (sounds Beatle-esque to me), All Things New Again. Back to California is a good rocker. Best album of 2005, GO BUY IT and get the Wallflowers back in the top of the charts where they belong!!! ... Read more

Amazon.com

Hitch up your I-Pods, egg-headed hipsters of the future: They Might Be Giants, the out-there band that files its sound under the banner of "Can't We All Just Get Along" is speaking your language. What they're saying is No!, but in a way that's weirdly welcoming, especially to anybody who's over 3 and has a hard drive. No!'s computer enhancements (animation, games, and a sing-along scroll bar) don't assign the strictly audio experience to the so-what pile, but at certain moments they seem necessary--how else are you supposed to decipher a song ("Violin") whose only words are "violin," "hippo," and the ticking off of fractional segments of George Washington's head? Of course, to try to make sense of the 17 tunes contained here may be to miss the point. While TMBG's lyrical and vocal hijinks can be off-putting to grownups prone to self-consciousness about not getting the joke, the generation No! takes aim at needs nothing in the way of validation. Thus the brilliance of baggage-free ditties like "Fibber Island," where the natives strum rubber guitars and sew buttons on cars, "John Lee Supertaster," a rock & roll fantasy following a hero with heightened senses of sweet and sour, and "I Am a Grocery Bag," detailing what's bumping around in brown paper after a trip to the market. With their triumph over the tube (TMBG took home a Grammy for the theme to Malcolm in the Middle and perform and wrote the intro to The Daily Show with Jon Stewart), frontmen John Linnell and John Flansburgh have already infiltrated the family market, sort of. No! finds the band bending to a level lots of other giants might overlook, but without cramping up. Given the right reach, They Could Be Kiddie Icons. -Tammy La Gorce ... Read more

Reviews (106)

Dont cross the street In The middle of NO!
No! is a great kids album. I have all their cds, and even though i'm 11, this is still a great album. They don't have to be Raffi with songs about cute whales, but they have to be Johns, with songs about grocery bags and hippos.Great animations also!

1.FIBBER ISLAND
A good opening. Almost like a folk song.One of the best kids songs about imagination. One of the best flash games also on the
CD.

2. FOUR OF TWO
Another good {yet older} song. TMBG can sing about loving girls and dating, while still making it appropiate {and a bit confusing when they sing about bugs and flying cars} for kids. Great song.

3. ROBOT PARADE
On the "Working Undercover For The Man" they had an hard rock, fast version of this song. On No! it's softer, and more understandable, even though the game gets boring.

4. NO!
The title track. You get to change No blocks to Yes blocks! A good use of electric guitars.{!}

5. WHERE DO THEY MAKE BALLOONS?
One of the best. Sung by their drummer, I think, this song teaches about other countries and their products while asking the age-old question, "Where DO they make balloons?"

6.IN THE MIDDLE, IN THE MIDDLE, IN THE MIDDLE
An old cheesy 60's song, I think. Sorta dull.

7.VIOLIN
Even though the songs consists of the words "Violin-lin-lin","Hippo", "Mop!" and "Speck of dus-dus-dust" and a fraction lesson using George Washington's head {You'll get a presidential surprise!}, it is one of the best songs on the album.

8.JOHN LEE SUPERTASTER
My personal favorite. A rocking tune about a guy that is a supertaster. Has a hilarious intro by John Flansburgh.

9.EDISON MUSEUM
Originally on "Long Tall Weekend", this is still a great, spooky, educational song.The flash thing has the ghost of Thomas Alva telling you about phonographs and stuff.

10.HOUSE AT THE TOP OF THE TREE
My 2nd favorite, and the best game, where you try to save a treehouse by feeding a disturbing,fat mouse thats eating the house. If you dont feed him, the house falls down. The creepy little guy still pops his head out the window and waves at you.

The next four songs are all under one minute long, and, in my opinion, the worst. Anyway, CLAP YOUR HANDS makes you want to dance, I AM NOT YOUR BROOM is about what happens when your broom runs away, while the WAKE UP CALL song is a bit boring because the only words are Bo Bo Do Bo Bo. I AM A GROCERY BAG is about half a minute long, but you get to play with food in the interactive thing.

The last three songs are about sleeping and lullabies. LAZYHEAD AND SLEEPYBONES is a rather beautiful song that can actually somehom make you fall asleep. BED BED BED is a fast, energetic Beastles-esque type song about...you guessed it, BED!
And SLEEPWALKERS is a med-tempo song about people who roam across the nation while they sleep.

In all, this is a good album and I recommend it to everyone.
{Try to find the bonus song on the CD-ROM!!}

-Thomas Neufeld

all sorts of TMBG goodness
For those TMBG fans that were disappointed with Mink Car, I'd definitely not give up on they might be giants, but rather, pick up a copy of No! Sure, that'll mean getting over your pride and buying a childrens' album, but I think you can manage. Yes, No! is made for kids to enjoy, too, but that definitely does not mean that it's bad. Quite the opposite, actually. Almost all of these songs could easily go on a regular TMBG album, and everyone would be more than satisfied. I absolutely adore "Bed, Bed, Bed", "John Lee Supertaster", and "Four of Two", but they're really all great. The animations and games are wonderful, too. "The House at the Top of the Tree" is bunches of fun, and "I am Not Your Broom" is hilarious. Another interesting track is "Where Do They Make Balloons?" sung by Danny Weinkauf, the band's bassist. It's surprisingly very good; a nice variation.
In summation, a very cohesive TMBG album, extremely fun and educational for kids, great songs live, and TMBG goodness all around. I DEFINITELY RECOMMEND BUYING THIS ALBUM. if you're a tmbg fan, you should already have it!

Great for all ages
We bought this to have kids music in the house for my new son, but my husband and I love it!

Attuned to the mind of a child
This album captures the triumphant exuberance of childhood in a way that few other children's albums do. Songs such as "Fibber Island" and "Robot Parade" encourage children to exercise imagination and creativity. In "Bed, Bed, Bed," watching TV is but one of many activities in a full day that includes meeting friends, riding bikes, and playing the guitar. Even better, some of the songs are educational ("Where Do They Make Balloons?", "The Edison Museum") with the spirit of play, not lectures. But best of all, the songs have both simplicity and sophistication to their goofiness to appeal to children and older listeners alike. "Violin" and "John Lee Superstar" are good examples of this.

This album contains no bad language, violence, or encouragement of such, so most parents would not object to the material in this album. While some of the songs ("I Am Not Your Broom") may be interpreted as encouraging rebellion in children, I do not feel they are any more subversive than say, the poetry of Shel Silverstein.

The whimsical interactive sequences mostly require only that you run your mouse over the images, so children who can't click the buttons can still enjoy them. My one-year-old nephew insisted on going to listen to the CD on the computer first thing in the morning for quite a while. I also bought this album for my TMBG fan friends who were soon to be parents, and they were delighted.

Hooray for No!
My little sister got this for her birthday a few years back, and I must admit that I listen to it as much, if not more than her. A friend of our family is a hard-core TMBG fan, so we get a new CD pretty much every birthday or Christmas, or whatever. This is a totally awesome CD! I love the enhancement-you can plug it into your computer and it does all sorts of cool stuff. I admit that I brought it on the way to a sports championship and a few of the guys laughed, but soon found themselves singing along as well. Overall, a HOORAY FOR NO! ... Read more

Amazon.com

The infectious twang and pop hooks of Wilco's former efforts may be fading fast, but A Ghost Is Born is still a rewarding effort that demands repeated listening. The group's fifth album extends upon the experimentalism of Yankee Hotel Foxtrot with angular, blues-soaked guitar riffs ("At Least That's What You Said," "Hell Is Chrome"), a handful of sparse, yet catchy tunes (smack dab in the middle of the disc) that will surely keep college radio stations smiling, and a lengthy track that descends into mere static ("Less Than You Think"). Frontman Jeff Tweedy's songwriting continues to evolve: "Hummingbird" is a dreamy Randy Newman-styled love song; "The Late Greats" is a sly ode to the world of pop tacked onto the end of the album (as if using such a fun song on this understated disc was an afterthought). Meanwhile, producer extraordinaire Jim O'Rourke manages to make the most complicated arrangements here sound minimalist and laid-back. All told, it's another great addition to the Wilco canon. --Jason Verlinde ... Read more

Reviews (142)

Been Waiting Too Long
I'd give it four stars in the LP era, where I'd have to listen through the 15 minute static noises of "Less Than You Think". This is a John Cage 4'33-esque commentary on what can be considered music. I won't get into that now, but it's good to listen to it at least once in context of the whole album. Especially since it contrasts very starkly with the straightforward track "The Late Greats," which is probably the closest thing you'll get to Alt-Country on this album. Anyway, luckily we have the skip track button for casual listening. The rest of the album is incredible.
If you like climaxes, this is your album. Several songs start off slow and progress into some pretty hard hitting rock and dissolve into distortion. There are less dings and pings on Ghost than YHF. Ghost is more minimalist, relying more on primal baselines and rythmic sequences that make you sort of lose time within the song, often before hitting you hard with a jam. "Spiders" is the eiptome of this, and probably is the musical version of Tweedy's well-publicized migraines.
Bottom line; the alt-country fans hoping for Another A&M, the pop fans hoping for another Summerteeth, those in between hoping for another Being There, and everyone else who came on board with YHF hoping for more of the same didn't get your wishes. But that's what I love about Wilco, each album is distinctively Tweedy, but there's always something new to keep you interested.

Don't Judge Too Soon
It's a classic mistake -- a big name band comes out with a new album, and critics and fans alike step in immediately to give their first impressions. If there's one band for which that approach is a consistent a mistake, it's Wilco. Like many, I'm frightened of albums that I instantly like; they invariably begin to fade away sooner than later.

"A Ghost is Born" will leave many bumfuzzled out of the starting gate. Similar in overall style and structure to its controversial predecessor "Yankee Hotel Foxtrot", this record depends heavily on brooding atmospherics which envelope the rather conventional melodies. This is Jeff Tweedy's niche; the basic pop song format shadowed and subverted by dissonant, disquieting counter-themes. For those willing to submit to Wilco's own (admittedly wry) internal logic, the rewards will come; doubt will fade like Smarty Jones in the final leg of the Belmont, and the patient listener will be overtaken and surprised by a work of unexpected depth.

Among the better tracks are "Hell is Chrome", which sounds like Paul Simon backed by Dark Side-era Pink Floyd; the breezy yet bittersweet "Wishful Thinking"; and "Theologians," a blue-collar manifesto that supplies the album's thesis with cleverly employed Biblical analogies. But the song that stands out most is "Muzzle of Bees," and astonishingly schizoidal piece whose delicate acoustic elements are trampled by wailing electric histrionics. "Muzzle" best demonstrates Wilco's disparate musical interests while showing off their latently strong musicianship.

Give this one a chance. Odds are it will make regular rounds in your CD changer well into the future.

what are you people thinking?!
This is not going to be so much a cd review as it is a rebuttal to all those who write reviews for this site...including you, Amazon.com.

Okay, forget that Wilco is one of (if not the) most innovative rock (yes, rock) bands that exists today..."Ghost" is simply a very brave and very, very amazing album that any band would sell its soul to even have conceived of, let alone create. What Wilco accomplishes on this album, even more so than YHF, is emotion - hard, raw emotion without allowing the incredible success of said YHF to interfere. Wilco (Tweedy specifically, though not exclusively) is fast proving itself a creative force which relies not on jingles and soon-to-be-radio-slough to sell its albums...in fact, Wilco couldn't care less if it sells albums or not (research your YHF history to see what I mean). Wilco proves to all us earlier non-believers that there still are those artists out there who believe in their music as an extension of themselves, as a reflection of who they truly are, not who their so-called fans wish them to be. They are artists in every sense of the word, meaning they toss critisism to the wayside as the simple opinions of those who can't...or, in the very least, won't. Art does not demand critism to exist, only the critic. So, so-called fans, save all your critisms for the next J-Lo album or whatever piece of trash you're currently reviewing. Wilco is above you all.

Now, on to the achievements of "Ghost" - amazing, spectacular, artistic, and true. That is all.

Okay, this is the Wilco cd I've waited for
I came to Wilco as a fan of the 90's band, Son Volt (and if you haven't heard of them, you are in for treat). After falling in love with those records, I followed Farrar and Tweedy in their musical travels, but Tweedy's records just never quite made it for me. Yankee Hotel Foxtrot was okay, but nothing special.

This cd is great. It takes a song or two really get going, but man, it's worth it. The songs are beautiful and dream-like. The lyrics are lovely. The long musical interludes are hypnotic. For me, this is the best Wilco cd by far. Get this one.

Great Music to Fall Asleep to
We have all heard the story before and you will hear it again, about a band that hit it big by being spurned by their record company over what was one of the better albums of the last decade. Problem is that if they had turned this album instead of YHF, I am not sure that anyone would really be complaining all that mcuh.

A Ghost is Born reminds me of the inferior B-Side Yankee Hotel Foxtrot album. While I am not one of those Alt-Country Snobs that wishes Wilco would do alt-country again or pine for the days of Uncle Tupelo, I do pine for the Jeff Tweedy/Jay Bennett songwriting and stage presence that is missing on this album. The best three albums by Wilco are Being There, Summerteeth and, Yankee Hotel Foxtrot and its no coincidence on each of those albums, Jay plays a crucial role in the music writing process. The problem with this album is that it becomes Jeff Tweedy and the Wilcos. More Guitar strung out guitar solos and ridiculous droning that someone will argue as being some artistic masterpiece. Well Jeff Tweedy is trying to prove something, but you know I just want an album that I can listen to over and over again and not get tired of it.

There are some great songs on this album. Hummingbird is a great song and shows once again that they do still have it in them to write a great pop song. Handshake Drugs sounds like later Velvet Underground material. While I always loved the song it had already been released before (Albeit a different mix). Theologians has also grown on me.

There are a lot of forgettable songs on this album as well. Muzzle of Bees and Wishful thinking just don't really do much for me. Spiders was turned into a huge mistake by making it 10 minutes and do we really need endless nonstop sounds on Less than You think. Maybe you like to listen to bells and whistles nonstop but I surely do not. Im a Wheel is probably one of the worst songs that Wilco has ever written. I rolled my eyes the first time I heard this song live and I was just hoping that they would realize their mistake and make this some odd B-Side.

If you never have bought a wilco album this is not the one to start off with. This band has pretty much done no wrong coming into this album. Each one of their albums they have grown as a band but what we notice more on this album is maybe the dismantling of Wilco. The bands makeup is changing more than Menudo and that has to be worrysome. You cannot have any type of growth when you only have two original members and the others have either been kicked out, fired or just sick and tired of it. ... Read more