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A Sheryl Crow with drum programmers as the motor of her dreams, singer-songwriter Leona Naess delivers an affecting second album. I Tried to Rock You could be an answer to the many listless Sensitive Guys clogging 2001 airwaves; Naess's vulnerability sounds not like a ploy to land her on teen-flick soundtrack albums, but like an honest reaction to the love troubles she's encountered since her debut. Open-hearted but never at a loss when it comes to tapping her own strength, Naess is arched-eyebrow funny when dissing and dismissing a lover in the title track, happily puzzled when admitting in "Sunny Sunday" that "I didn't mean to like u so much." Now that the press has lost interest in focusing on her beauty and privileged background (she is the daughter of Diana Ross's ex-husband Arne Naess), the field is clear for Naess's sensible love songs to resound--as it does perhaps most clearly when she reconfigures a pop-culture watchword to read "boys like you never cry." --Rickey Wright ... Read more

Reviews (32)

Finally found an amazing new singer/songwriter!!!
It was not long ago that I discovered Leona Naess when buying her debut album, Comatised. I was so impressed with her debut that I had to get this "sophomore" album, I Tried to Rock You But You Only Roll. In my opinion, this second album cements Leona's status as a young artist who has the potential to be a superstar. This lady is an enormously talented musician: she writes fantastic songs with infectious melodies and moving lyrics; she projects a beautifully rich alto voice; and she plays her own guitar. Leona Naess is a real musician, not one of today's manufactured products created by a major record company.

I Tried to Rock You But You Only Roll is a fantastic album. The tunes here range from the fast, upbeat, and rhythmic to the slow, brooding, and introspective. Leona's voice is mesmerizing as she gracefully flows through the variable landscape of songs on this album. Despite her youth, Leona displays the confidence and poise of a seasoned vocalist on this album.

The up tempo rockers on I Tried to Rock You are remarkably catchy, with soaring choruses and engaging, rhythmic beats. The title track, "Mayor of Your Town," "All the Stars," "Blue Eyed Baby," and "Boys Like You" all share these qualities. Many of these songs sound like they deserve to be big hits on FM radio. In particular, "All the Stars" resembles some of Madonna's more recent music with its pulsing, electronic rhythms and Leona's driving, charismatic vocals - it's exquisite!

Leona equally delivers on the moderate and slow tempo songs on this album. "Mexico" is a leisurely-paced, radio-friendly passage down south. The soft "Sunny Sunday" speaks of sincere love, while "Weak Strong Heart" is a compelling show of feminine angst. "Hurricane" packs a powerful and unforgettable chorus amid Leona's conflictive musings about the end of a relationship. "Panic Stricken" points out a charming connection between past and present. The concluding track, "Promise to Try," is perhaps the most affective song on the album, a soft acoustic ballad with poetic lyrics.

I Tried to Rock You But You Only Roll is a welcome addition to my CD collection. I've become a devoted fan of this promising new artist. Leona's music is outstanding, and this album gets my highest recommendation!

I'm so glad i bought this album
This album was very nearly a complete blind buy for me. I had only heard the title track two years before and wrote down the name "Leona Naess" to look for the album. A little more than a year passes and I find a scrap of paper listing several albums to look for. This is one of them. I picked up several albums that day, but only one of them has had pretty heavy rotation in my cd player. This is it.

The title track is very catchy and is an album highlight. Since my favorite songs are almost always album cuts (as opposed to singles), it is "Mayor of Your Town" and "Boys Like You" that really shine for me. I don't know a thing about Leona Naess, but if she keeps putting out albums like this more people will start noticing. Or, more people should be noticing....and so should major radio.

Excellent second album
After hearing Charm Attack just over a year ago, I managed to get hold of Leona Naess' first album in a second-hand store and was slightly disappointed. Whilst it had a few great cuts - Earthquake, Chase, Anything - it felt a bit rushed, but showed a lot of potential. On her second album, Naess has produced the kind of album that most female singer/songwriters can only dream of: heartfelt, intelligent, fragile vocals and catchy. Marking a vast change from Comatised in a lot of ways, this album applies a drum loop and electronic beats to a lot of songs, whilst also retreating to the softer love songs familiar to the first album.

Perhaps most important is the fact that there isn't one duff track on here. Each one is good in its own right, although Boys Like You (a clever hark back to The Cure's classic), the title track, All The Stars and Hurricane stand out. Of course, the question becomes why isn't Leona Naess more popular than she already is? An artist of this quality usually receives their fair share of hype, but Leona has received comparitively little. Whilst it's easy to compare her to other female chanteuses out there she's more upbeat and less poetic than Sarah McLachlan. And she's certainly a lot better than a great deal of the Lilith group following in Sarah's wake. For one, she's cleverer. She knows her relationships inside out and she isn't afraid to wear her heart on her sleeve but, unlike Alanis Morissette per say, she doesn't seem so jaded about love that she can't sing soft tracks that carry you along with her, such as Mexico or Serenade. If comparing Leona to anyone it would probably be as a cross between Amanda Ghost (who also employs dance beats) and Nerina Pallot (vocally they're very similar), which is a high compliment indeed.

In short, this is a brilliant album, and well worth buying even if you were disappointed by Comatised. From reviews of her third album though, Leona shouldn't need much help getting the hype she deserves sometime soon.

Bravo for Leona
This is the second album from Leon Naess, and it shows some definite growth from the inconsistency of "Comatised". She has a smooth voice, and her upbeat pop songs and cool ballads are guaranteed to please. Unfortunately you probably won't recognize anything on here from the radio, which is a shame because several songs are quite worthy of attention. Although I hate drawing such connections, if I had to compare her sound to anyone, Leona most closely resembles the more upbeat works of Sheryl Crow or possibly at times even Emm Gryner.

The first four songs are definitely the strongest, with the upbeat "Mexico" kicking off the set. The drawling "Mayor of Your Town" and "All the Stars" follow it up beautifully, and the quartet is capped by the wistful title track. The best of the rest include the slower "Baby Eyed Blue" and "Hurricane". One of the real strengths of this album are the sensible and impassioned lyrics, and when put to Leona's voice they're truly a pleasure to listen to.

Given the development from her debut to "I Tried to Rock You", it's evident that Leona is a singer/songwriter very much on the rise. She is a promising young artist, and I hope that her popularity someday catches up with her talent. Three cheers, and I'm very much looking forward to her new album. (due out soon!)

You MUST Buy This CD right now!
I discovered Leona through a friend. After receiving "I tried to rock you..." as a gift it stayed in my CD player for months. The CD has a nice smooth transition between songs, and some songs are upbeat and catchy, while others are soft and slow without being boring or putting you to sleep. Leona has a wonderful voice and it has a smooth and mysterious quality. My fav songs were "Mexico" which makes you almost want to go drive to Mexico with the windows down, and "All the Stars". A great CD all around and I am waiting for her to release a new CD- So Leona-we're waiting!! ... Read more

Reviews (22)

probably their best work
an incredible album, but not quite as catchy as their newer stuff, so it is a pity that many people who can appreciate pedro the lion's newer stuff may not get this album. this album can definitely give you faith in the simple beauty of music and lyrics (if you had lost it, that is), and may even give you faith in the fact that other people are struggling at least as much as you are and maybe even faith in other things. if you don't think life is a hard thing and you would prefer to stay foolishly oblivious, then don't buy this album, because you just won't get it. i reccomend whole, fix, and the hymn at the end because they are all incredible. by the way, they are great live and david bazaan is probably the most humble, real performer that i have ever seen. buy this one first and then make the progression with the band through their other albums, making sure that you give each one a good bit of time to soak in.

The Best [Money] You'll Spend For A Long Time
...If you have [the money], which you should, then this is what you should spend it on. David Bazan's band, Pedro The Lion, released this first CD in 1997 on Tooth & Nail Records. It is a six-song journey through the life of a faltering Christian, falling on his face just as every believer does. These songs deal with heartache, drug addiction, finding self-worth in God, and falling down at the feet of the Lord. Never before have I heard so much said in under half an hour. If you only buy one Pedro album, do yourself a favor and get this! 5 stars.

the bridge
This is Pedro's first concept album. The first song is a high-minded rejection of the philosophy of Christianity, then the second and third track a descent into addiction, and the third is encountering Jesus again -- this time as the "hole fix it man" (or maybe that's "whole fix it man") only one who could maybe help. The fourth is about peace and rest, and the fifth is peace and rest. By taking us through this journey, Pedro is making an important point -- that following Jesus isn't a matter of intellectual assent, but of experiential need. Kierkegaard is all over this album.

The standout song is the climax, "Almost There." This song is the bridge between punk and emo. We stopped listening to punk because we got tired of the yelling. You can be a rebel without being angry, and eventually all the screaming ends up just feeling overly dramatic. Emo takes the same emotions that drove punk and subliminates them. Anger becomes cynicism and aggression becomes passive-aggression for the sake of self-preservation: it's sort of "the only sane thing to do is to scream but as soon as I scream you think I'm insane." On "Almost There," the anger and desperation rises to the surface in the chorus -- dominant is Bazan's monomelodic, slow, almost boring emo vocal, but creeping up underneath it is a much more raw, desperate, punk echo. Having heard it, you can never hear that subdued, "boring" dominant vocal without at least sensing the echo of anger and desperation, and that's the heart of emo. I'm screaming, you just don't know it because you're not listening. The song is a masterpiece.

amazing-every time!
PTL use simplicity to the max. This is one of those hard to find albums that stuns you every time you listen to it, and puts you in an almost hipnotic state. A must have for any musician

thank god for bazan
this was my first pedro the lion cd, and it sure as hell won't be the last. i'm a little late on reviewing this, but it's alright. first off, if you've heard of pedro the lion, then you probably heard that they don't have the most complicated music, but for some reason and somehow, they make their music so..beautiful. bazan's voice is soothing, and you can't sick of it, actually you can't sick of any this. this music has tons of emotion in it, which is also a plus. a good example of this is on number 3, i think the song is called whole. anyway, if your looking for your first pedro cd, then this is a good buy. ... Read more

Reviews (27)

Truly Breathtaking
This man is a god. This is Tom MCrae's debut album, but you cant tell by the musical maturity he puts behind this masterpiece. Lyrics are truly amazing, music is beautiful with cello work at times that blends perfectly on "You cut her hair",which is one of my fav's. Hard to put a label or comparison on his music, kinda of a cross between Coldplay, David Gray, and Elliot Smith. The songwriting is some of the best ive heard, standouts would have to be "Dose me up","You cut her hair",and my favorites "Language of fools" and "Untitled". "Untitled" is a simple song using mainly his voice for impact and a piano in the background,really amazing song. I only gave it four stars just because of maybe one song that wasnt as good as the rest but is still in itself("draw down the stars") not bad. Anybody who loves brilliant songwriting and loves getting drawn into the emotional side of the music should buy this work of art.

The finest album I've listened to in a long time
I like a lot of different kinds of music. I have noticed that far too often one has to appreciate a musicians work either for its raw emotion or for it's lyrical power and ingenuity and finding the right mix of both is a rarity. Tom McRae achieves that superbly on his debut album. It is criminal that more people aren't going to be exposed to this fantastic artist and I'm going to do my best to spread the word.

I don't find it a depressing, miserabalist album at all. It is really just very thoughful and introspective. A beautiful album well deserving of your attention.

Chillingly beautiful
Stunning! An album that can't fail to draw you in. Each song is its own and perfectly in place. Tom McRae's streaming vocals are alluring and seductive, they induce a sense of life and wrap around you, whilst piercing you with its sinster, haunting tones.

I had only heard 'you cut her hair' and 'draw down the stars' when I bought this album, but was immediately impressed by 'end of the world news', 'bloodless', 'the boy with the bubblegun', and 'Sao paulo rain'.

If anyone has found artists of a similar style please let me know! This is an album to be cherished.

Brilliant
I've had the pleasure of seeing Tom live twice and it is amazing how beautiful his voice is. Everyone needs to own something by Tom McRae. His lyrics are chilling, haunting, and sincere. BUY THIS NOW!!!

Moody and compelling
On his first major music release , McRae impresses with the personal character of his songs and his sharp , haunting lyrics ( " if words could kill / i'd spell your name / if songs could kill / this one is for you ... " ) . His albums contains all these special elements which can make an artist an underground cult figure and a secret hero to all the people who'll manage to dive deep into his work .

Generally this is a melancholic piece of music . McRae never sounds happy or smiles although " Draw Down The Stars " and " Language Of Fools " do send out a tender sweetness . Most of the tracklist is cold and interesting . " Dose Me Up " , " One More Mile " and " Sao Paolo Rain " are all psychedelic , acoustic diamonds yet it's " Cut Her Hair " with it's sense of threat and fear that stands out as the album's true highlight . The only tracks which don't make it are the mild " 2nd Law " and " Bloodless " . Unlike , let's say Portishead whose drama becomes one with the listener almost immediately , on that track he simply sounds too bitter to connect with , singing lines like " satisfied with a knife in your spine ? " and isolating himself from his audience . One more section McRae has to pay more attention to is his perfomances . He has that ghostly , spooky quality when he murmurs and whispers which is undeniably so affecting but when he reaches high notes he sounds too intense and not as charming as he would like to .

Overall McRae has released a striking first album . Although most of his ballads feel distant at first and in a way , locked into their own private universe they grown on you as time goes by . ... Read more

Reviews (12)

Breakin' To the Other Side
Being a big Beth Orton fan I waited with much anticipation for the release of this record. I've got all of Beth's other stuff so I've already heard much of the cuts on the album. The release of Ooh Child, formerly by The Five Stairsteps, was a real treat for me. Two different cuts of Daybreaker are also great, the one by four tet being my favorite. One thing I haven't noticed in any of these reviews is a reaction to Beth's Concrete Sky video. It plays on the CD drive of your personal computer and features a leggy Beth cavorting in her underwear while plugging her single. After watching that I needed a shower! Wheeeew!

Great remixes and unreleased material from Beth Orton
This is a great rehash of Beth's works. My favourite from it is the Two Lone Swordsmen's remix of "Anywhere"-it brings about a sense of inspiration.

Nothin nice to say
I listened to this album twice just to be certain I wasn't missing anything. Mama said, "if you can't say nothin' nice-then don't say nothin' at all"
So I have "nothin'" to say-this is truly a stinker.

Big disappointment for this big fan
What has happened to dear Beth? Instead of new work we get a "best of" and a b side cd. What is wrong? She is far too young and too creative to retire now. Since I own every US release issued by Beth I figured I'd take a shot at this CD which is not even really a b side set. Outside of three acoustic numbers which are good, but not great, this CD is nothing to write home about.

Maybe if enough of us who are true fans refuse to accept this kind of release and let Beth know that we will not spend our hard earned dollars on second - and sometimes third - rate material then she'll put together a real CD. If she can that is.

I'd save my money or get something like "Best Bits" if you have the other big three. Beth your fans deserve better.

Makes up for the subpar "Daybreaker"
For a while I was worried that I was the only one disappointed by 2002's "daybreaker", thinking that maybe I just didn't understand the record, that something was going over my head. In actuality, I think it's the record itself that was over the top. Only a handful of tracks seemed like real Beth Orton songs and the rest were lost in orchestration or aimless lyricism. "The other side of daybreak" is a much more steadfast collection, starting with a solid rendition of "ooh child" and ending with the excellent two lone swordsmen remix of "anywhere". So far, anything that Ryan Adam's has contributed to has ended up compromising the artist's work, save for Lucinda Williams' stunning song "Essence" and Beth's single "Concrete Sky". The acoustic version here, however, is just as strong without Adams' backing vocals. While "Carmella" seemed a bit too smug on "daybreaker", the four tet remix changes it into eleven minutes of bliss rivalling the electronic compositions from Beth's "Trailer Park". I think what really makes "The Other Side..." such a triumph is that it manages to please consistantly throughout without compromising Beth Orton's style and songwriting. All of the remixes make improvements on the originals and make them fit in with Beth's pre-daybreaker catalogue. "Ali's Waltz", "Bobby Gentry" and "Beautiful World" are at least twice as satisfying as "Ted's Waltz", "Paris Train" and the maudlin "This One's Gonna Bruise".

I don't think "Daybreaker" itself was total rubbish, I just find much more to sing about and sing along to on "the other side..." ... Read more

Album Description

The first single from Jewel's fourth album, '0304'.'Intuition' finds the singer-songwriter experimenting withnew & exciting styles, clearly influenced by modern dancebeats & rhythms, while managing to eloquently balance thereflective 'roots' style that has separated her from others throughout her career. Backed with the non-LP track,'Standing Tall' (live acoustic version recorded 2002).Atlantic. 2003. ... Read more

Reviews (49)

THE SEXY JEWEL CAPTURES IN SONG
Jewel has aways interested me with her poems and song capabilities. I enjoyed her song Intuition when I first heard back in July/August 2003. Just before going over to Iraq for 7 months, then I saw her video on the same song and she was very sexy. When on the ship I went to music.com and heard Standing Still on air for the first time, I knew the C.D. I had brought was good. So I took it to the ship with me and played it. It was unsual of Jewel to be so blunt and forward with her songs I really enjoyed hearing Jewel sing. It made being on the ship bearable. I hope she never gives up on her passion and dreams. God Bless her and her band.

Is she trying something different? Shame on her!
Okay, okay, enough with the conspicuous bashing of Jewel. It's unnecessary and laugh-out-funny. Here we have Christina Aguilara claiming to be all "grown up" now by exposing everything in a vulgar fashion, as seen on her well-put "Dirty" video, but when Jewel decides to uphold the standard of dance music by experimenting and having FUN, she's criticized for trying to be the next Britney Spears? A lot of people seemed to really enjoy the song "Intuition" until they realized it was by Jewel and I think it's sad how everyone's claiming her as a "sell-out". What does that word mean anyway? I don't know about you but my taste in music is ever-changing so, if I were a musician, my sound and style would be altering constantly - or rather, expanding. Sometimes an artist chooses to step in a different direction, also depending heavily on the mood of their current lifestyle (family, love, ect.), and it either works or it doesn't. In this case I have mixed emotions (I've never been a huge fan of Jewel's work to begin with) but I give her props for shedding some uninhibited light on her usual seriousness and basking in the glow of her happiness. She's still writing clever, poetic lyrics, so why can't the lady be smart and sexy at the same time? She may be lost to her old conservative ways but so what! At least she's dressing in a tasteful manner and, in my opinion, the transaction to dance has been pretty successful.

If your able to embrace the change than good for you! But if not, well, let her be and move on with your life.

a newer draft of my previous review
Ok so I know I completely bashed Jewel's new single in my previous review, but I guess this song just takes a while getting used to.It's still no masterpiece, but it's a well-written piece of pop with a driving beat and electrifying chorus.I wasn't some big fan of Jewel back when she was still an artist, so it's not that big of a deal for me that she went from artist to pop tart.Anyways, it's not like she'll ever write another song that even compares to Foolish Games (and I mean the album acoustic version, not the poppy single version of it).Anyway, it's a fun song, nothing more.But I have to say, it really grew on me.

Jewel, my hero
I thought that u were very good in the song intuition and that u should not of split bussiness with ur mom because i think that intuition would of been really good with ur mom singing in the back round so any ways my grandma used to clean ur guys' house for u and I thought that she did something very nice for u and if u would be so kind in doing something nice for her and giving her backstage passes (4) than that would be so great she is like ur #1 fan she loves u and she would be so greatful her name is Fran Jensen. She lives in Valley Center in california. Thanx and lots of luv
ur #2 fan,
Ashley Lahe

The funky Jewel comes out
Before "Intuition", she always released wonderful music. But when I heard "Intuition", I was blown away! I never knew Jewel had that energy and sexuality in her. Not to mention, her new musical direction continues her growth as an artist. This is one of those songs that you must krank up when you're listening to it in the car. It will give you a more-in-depth perspective. I can't wait to get her CD "0304" so I can see what more she has to offer, besides "Intuition". When I do, I'll write a review. ... Read more

Reviews (21)

A curveball, strange but rewarding.
Machine-driven music was not Suzanne Vega's most enticing musical direction, though the experimentation certainly yielded some pronounced successes and destroyed the notion that Vega was just a guitar-strumming folkie.

The often cacophonous arrangements at times intrude: Vega's voice and delivery are ill-equipped to compete with overloud drum machines and bass guitars. "Blood Makes Noise" has an exhilirating sound, but her heavily processed vocals are a take-it-or-leave-it affair, and her singing sounds very strained (hear her struggling for breath when she hits "I'd like to give the information you're asking for"). "In Liverpool", however, achieves a wonderful balance between 99.9 F-era Vega and Solitude Standing-era Vega, a song of great spiritual, melodic and lyrical clarity, recorded with the same industrial/dance leanings used throughout the album, but remaining human enough that Vega shines through.

Not a misstep, but a tangential exploration that would result in the harmonious folk/jazz/keyboard hybrid on Nine Objects of Desire.

Witty music with a personallity
In years to come Suzanne Vega will probably be remembered by most for her two biggest hit-singles , "Luka" and "Tom's Dinner" . That's so unfair for a singer who has released five really great albums and has contributed so much to what we call today ' the female music scene ' . 99.9F is her most eccentric yet charming album yet. For the first time she tries to use technology in her songs combined with her , excellent as always guitar melodies . The result is something between pop and funk but even with all that machinery influences , it still sounds personal . The lyrics are more risky than ever . She have the guts to write an almost dance track about Aids ( "Blood Makes Noise" ) but where she cuts like a knife is on "As Girls Go" where she simply does what Eminem wasted a whole record on ( suggesting that he actually tried to make a comment of today's reality ) withought insulting the gay community though ( "...If i could pull this off / would i know for certain / the real situation / behind the curtain? " ) . "In Liverpool" ( 1992's best video clip )and "99.9f" are also some of the tracks you should pay special attention to ( you will almost be hypnotised while listening to the second one ) . Vega is an artist who knows how to use the language properly and is able to write about something more than boyfriend troubles . She's much too clever for that . Even though she's gone all jazz and bossa nova now , she's still more fascinating than most of the other ladies in today's pop and rock world. Just buy this album and you'll find out what i am talking about.

Musically diverse album with solid songcraft
This album is certainly Suzanne Vega's edgiest, with alternative rock and electronic/industrial influences, especially on the track Blood Makes Noise. Vega displays intensity on this album, and some of the songs are really not suited to her somewhat thin voice, leading her to change her singing style in some places to more of a passionate speaking tone. All of the songs on this album are lyrically solid, and the most memorable melody is perhaps in the song In Liverpool. This album is definitely a rhythm-oriented album, with the pace of the rhythms grabbing you and bringing you along on Vega's musical journey. A partial departure from Vega's prior pop/rock/folk style, this album is inventive and mature, reflecting Vega's feelings and social concerns at the time. For those who appreciate Vega's artistry this is a great album, although it may disappoint those who just like folk-oriented music.

Refreshingly different.
I love this album. It seems to have a theme, though its main idea is never directly expressed. However, each song offers something different lyrically and musically. From upbeat to serious, the moody ride is an enjoyable one. Artist comparisons are most helpful to me when reading other reviews, but I really don't know with whom to compare Suzanne Vega's effort with this album. It's truly unique. I've compared Edie Brickell to Vega with regard to thoughtful lyrics and interesting melodies. If you like Edie Brickell, you'll probably find yourself in love with this album.

Electronic, engaging, excellent
This is the most musically interesting of Suzanne Vega's recordings, and was my personal favorite from its release until "Songs in Red and Gray" a decade later. The debate below about the industrial or techno effects reminds me of the 40-year-old complaints about Dylan going electric. We started paying attention to him when he plugged in and performed "Like A Rolling Stone", and while I snatched up all her earlier work, much of Vega's most interesting music is here, is electric, and is engaging in large part because of its sound. Every one of Vega's CD's sounds different musically, and thus the notion that this isn't the "typical" Suzanne Vega seems silly to me. The one criticism I've read here with which I agree is that the CD is not perfectly cohesive; the simpler acoustic songs sometimes can sound out of place, however lovely. Perhaps it's just that they aren't always the best compositions here.

There are plusses and minuses to using electronic instruments and sounds. Listening a decade later, I find some of this music sounds dated, which will never happen with an acoustic guitar and a lovely voice, as on Ms. Vega's first CD. Still, it's the electronica that draws me in here, along with lyrics that focus as much on warm blood as her first collection focused on frozen water. Perhaps that's why she chose to use such pulsing electronic beats. I honestly don't know what's on her "best of" CD, but I couldn't imagine one without "Fat Man & Dancing Girl", "99.9Fº", "Blood Makes Noise", "If You Were In My Movie", "Rock in This Pocket", or "Bad Wisdom". I.e., I think more than half this CD is essential Suzanne Vega. I can't say that about any of her other five brilliant recordings.

The lyrics here are just as interesting as the music, as one would expect, and though Ms. Vega's cool detached observations can be found as readily here as elsewhere, there was perhaps more warmth and humanity here than in previous recordings. I experienced this CD as Suzanne Vega coming down to earth and having a bit of fun along with her poetry and her musings about disturbing subjects and bad men. If you aren't a folk purist and you are a Suzanne Vega fan, I can't imagine this not being a favorite. If you're new to her work, this is a better place to start than most. ... Read more

Aimee Mann

More ironic footnote than ultimate collection, this anthology is a bittersweet reprise of Aimee Mann's troubled major-label career. Take a few 'Til Tuesday tracks (including their 1980s hit, "Voices Carry"), most of her I'm With Stupid album, some tracks from Whatever, and a whole bunch of B-sides, and you've got--what? Let's call it the penultimate collection, since the songs from Mann's breakthrough Magnolia soundtrack and Bachelor No. 2 album will have to wait for a subsequent, and perhaps more essential, compilation (one not likely to be issued by the parent company that dumped Mann and made her buy her album back). This collection does boast a lovely cover of Badfinger's "Baby Blue," while Mann originals like "That's Just What You Are," "Amateur," and "Long Shot" (all from I'm With Stupid) still sound great. But without "Save Me" or Mann's other more recent triumphs (or, come to think of it, anything from her first band's Bark Along with the Young Snakes), Utimate Collection doesn't begin to tell the story of this talented pop survivor. --Bill Forman ... Read more

Reviews (43)

You Can't Go Wrong!
You can't go wrong with this disk! 20 songs by one of the best talents recording today!!!! A number of people have commented that this is NOT an Ultimate collection of Aimee's music. Well, every fan could argue about what their favorite songs are.

I for one feel that this is a great collection of Aimee Mann songs. Yes, many of my favorites are missing too( Coming Up Close, J for Jules, 4th of July) but overall, this collection of music surpasses, any current CD out there by other artists. When was the last time you heard 20 outstanding songs on any artist's CD??? I would say that there are at least 15 songs on this collection that I consider to be outstanding recordings. As a long time fan, it is also fun to hear some of the b-sides and hard to find recordings. The Ultimate Collection is a great intro to Aimee and captures enough of her top recordings to merit 5 stars in my book! Buy it and enjoy it and don't get caught up in what is missing, but rather enjoy what is there!

Stop Being Angry and Buy This CD, It's a Must!
Aimee Mann is such an angry artist, but her music is great! So if you can put aside her opinions about the music industry, YOU MUST BUY THIS CD!!

Aimee Mann's first hit, as the frontwoman of 'Til Tuesday, was 1985's "Voices Carry," an oppressed woman's cry to be heard. As a solo artist, Mann would spend the last half of the '90s held up by record labels that would not release her music. After contributing songs to the acclaimed Magnolia soundtrack which brought her Oscar and Golden Globe nominations, Mann self-released her third solo album, Bachelor No. 2.

The Ultimate Collection arrives with Mann in full bloom!! If you are a new fan of Aimee Mann this selection of her pre-1999 recordings is the best way to learn about the singer-songwriter. If you already a fan, this CD contains hard to find tracks and is a must for any fan!!

Let's all stop being angry!

Great buy
I loved this CD, period. The songs that form the actual content of this CD are catchy, intelligent, sensitive yet upbeat, melodic, and generally ear-friendly. After much consideration, I prefer the more upbeat songs on this album to the more mellow music on older and newer albums. I love "That's Just What You Are," and hearing her sweet, ironic vocals as she plays great guitar and bass on many songs here. I've listened to this CD over and over again and have made copies for grateful friends. This album directly made her my favorite female pop vocalist - over and above other newer female singers. I love the variety in it, it has "Voices Carry" with Til Tuesday and songs without the band, what more could you want. This is a great Aimee Mann primer. "Lost in Space" is really good to listen to as well, though just not as upbeat.

Aimee for Beginners
This album is a good jumping off point for those getting into Aimee. It's pretty through, with several Til Tuesday songs as well as alot of her solo work. It does a decent job outlining her style, giving us a few too-many upbeat songs (something she's not known for). Basically, if you're interested, start here.

a dissenting opinion
Mann is a gifted melodist who occasionally gets lucky in the lyrics department. What she isn't--at least so far--is an album artist. Even her best record, I'm With Stupid, contains weak material like the leaden "Par for the Course" and "Ray," a cute song which unfortunately recycles part of the melody from the superior "That's Just What You Are." So, to these ears, this is about as good a single disc collection of Mann's "greatest hits" as one could reasonably expect. Sure, I could quibble with a few of the more glaring omissions--I would delete the lightweight "Sign of Love" and substitute either "Mr. Harris" from Whatever or "Ghost World" from Bachelor No. 2--but the only criminal omission is "Save Me" from the Magnolia soundtrack.

In short, this is a solid collection of Beatlesque pop songs (great to sing along with while driving) and the only Mann album noncultists need to own until the inevitable two-disc anthology comes along. ... Read more

Amazon.com

Shame, delusion, and resignation are everywhere on Winners Never Quit. David Bazan's grim songs come off like allegories without the comfort of clearly stated life lessons. The listener is left to sort out the meaning or moral of gloom-ridden scenarios featuring troubled characters who live in America, the land of the winner. "To Protect the Family Name" is a painfully poignant depiction of a vulnerable drunk who's fallen off the wagon and is begging for another chance. Bazan's slow, almostslurred singing deftly places the listener in close proximity to the drunkenprotagonist. The drums have a murky sound quality that nicely reflects thesong's theme and mood. Similarly, the title tune's enervated drumming matchesthe sentiment at hand. It closes out the album with just a glimmer of--for lackof a better word--hope, as Bazan sings, "Count it a blessing/that you're such a failure / your second chance might / never have come." --Fred Cisterna ... Read more

Reviews (28)

Bazan's Winners Never Quit
Winners Never Quit, just the name of the album and closing song is inspiration. What is so unique and diverse with Bazan is his ability to tell a story with a strong undertone of meaning. His voice alone has so much depth and longing to his music. All of the songs on this cd are works of art. But what bugs me the most is reading the reviews for the cd without one mentioning of (A Mind Of Her Own) which is by far the biggest highlight of the cd. It is so different than any song from Pedro. It is heavy and hard and extremely powerful. The struggle in the song will make you feel numb. "Dear unlock the door your acting like a child, when you said it yourself we are at war how dare you turn on me now right when I need you the most" He yells (not screams) the lyrics close to the end of the song "Don't you walk away from me you put down the telephone your not calling anyone" If you haven't expierenced the song, you should if you have and maybe over looked it. Maybe, you should go back and revisit the song with an open mind.

I've lived these songs
Pedro the Lion's music at first listen has always slapped me out of my narrow mind christian dreamworld. Davin Bazan's ability to lay out so much on the table in a non objective manner, illustrates just how much of a genius he is. In one breath he mocks narrow minded faith, in the next breath he has a gun to his head, and in the next he is just a drunk triing to do his best to change. Bazan demonstrates so much confiendence in his uncertanties, and speaks so much louder than any preacher pionting his fingure and proclaiming to have the answers ever could.

Being raised a christian, I was forced to lisen to christian rock, and I'm said to say that most of it is a sad, cheep, rip-off of the real thing. When I was introduced to Pedro the Lion's "whole ep" three years ago I was so relieved to find out that there are spiritual artists out there that aren't triing to win over the middle aged youth pastors. But instead they relate to those who are willing to be real, and admit there struggles. I wouldn't do Pedro the Lion the disservice of lumping them into the christian music scene. They just so happen to be christians who aren't afraid to live as artists and who can turn their struggles, doubts, and confictions into some of the best music that is around.

meh....
This cd is ok, but not great. There are a few good songs on it, even a great one (#4). On some songs, the lyrics lack the creativity which makes me such a big Pedro fan. The story that is told through the album is a pretty cool effect, if you figure out what's going on. Overall, the CD is decent, but definitely not worthy of four or five stars, as so many people so eagerly give away. I would recommend another CD by Pedro, instead.

crunchy, yet satisfying
wow. as a confirmed agnostic/jew, i wouldnt have expected this much from a christian group, but bazan's lyrics and voice mixed with the acoustic guitar makes for an amazing musical experience. i give this album my go, two thumbs up AND a gold star. pedro is quickly becoming one of my favorite groups.

Great Pedro Album, Though not the Best
"Winners Never Quit" (which also happens to be the theme of this album) is another concept album that Dave loves to do oh so much. This album truely has some great songs, namely "Simple Economics," "A Mind of Her Own," and "Never Leave a Job Half Done." While the album as a whole is great, there is one low point, that being "To Protect the Family Name." It seems like I have to take such an effort to get through that song. Overall, I would've given this album a 4.5, but until Amazon gets a better ratings system, it gets a 4 star from me. "Winnners Never Quit" is truely a winnner. ... Read more

Amazon.com

Bedroom grunge folkie Paul Hayden Desser emerged in the '90s as the acoustic equivalent of an electrified punk-popper, strumming forcefully through bedsit tales of angst and ennui. His stark tunes caught the ear of Neil Young and set off a wild bidding war, though Hayden ended up signing to the fledgling Outpost label for one record. 2001's Skyscraper National Park is everything that Hayden's Outpost disaster, The Closer I Get, was not. While the major-label disc buried the gruff songwriter's melodies beneath big-budget dross, Skyscraper National Park puts Hayden back in his home studio, playing most of the instruments himself and reconnecting with what made him interesting in the first place. Songs like "Streetcar" return to the mope-pop of earlier albums, while the surprisingly funky "Tea Pad" mixes psychedelic fuzz with a shuffle beat. A welcome return. --Matt Galloway ... Read more

Reviews (14)

Great CD
Hayden's never really received much notice outside of his native Canada, and it's a shame because he's released some excellent music in his sporadic recording career. If you've never heard Hayden before, the best I could do is to compare him to a little Buffalo Springfield-era Neil Young, a sprinkle of Tom Waits, and a pinch of the Palace brothers, or Neutral Milk Hotel.

Skyskraper National Park is instantly recognizable to Hayden fans, as his slow delivery of trailer trash poetry is echoed by the often sparse production featuring Hayden's own slow, subtle guitar strumminz, shaded by an occasional piano or horn. Yet, this album also represents a bit of an evolution for Hayden, as he seems to have abandoned his occasionally surfacing throaty growl for a lighter, melancholy falsetto. I think it works wonderfully, and this albulm is one of those modern rarities whose consistency makes for an album you can listen to in its entirety without having to skip through (too many) tracks.

If you are looking to sample some of the musical honey before laying out the proverbial cheddar, my favorite tracks on the cd are 'Streetcar', 'Dynamite Walls', and 'Bass Song'.

A fresh, new sound
I was introduced to Hayden this summer by a friend. It was so refreshing because I'm sick of the bland [material] thats comming out over here in the UK at the moment. Hayden gives something new, not because he;s completly original in his sound, just because he's different to whats comming out now. This album is very different to the gruge raw sound of his first album. I believe that he has grown as a songwriter. His voice may at first be an obstacle but I think it complements his sound. He's with no doubt a great musician. This album is definitely a must for anyone who enjoys honest lyrics about life. The country/rock sound is amazing throughout. My personal favourites are "All in one move", "carried away", "dynamite walls". The album has a few songs that are a little weak. There are times when his music makes you want to slit your wrists but there are times when his music really helps with the [stuff] life throws at you. Excellent album, a must for any true 'music' fan!

Brilliant
Its truly the only word to describe the songwriting involved with this recording. I fell in love immediately upon hearing this album. The country theme contained within the overall mood of the music is light, but detectable. In a way its a very quiet and soothing break from most of the subtle baggage that comes attatched to most singer/songwriter efforts. In a way, you can describe this as a very "no frills" record. His songwriting is sincere, honest, and at times very graphic, yet tasteful (for the best example of this, listen to track 8 "Bass Song" and you'll know my point exactly). As a whole, this album is not in any means a savior to a genre of mediocre country tinged musicians and their eager fans (hey maybe it is, but who am I to get one's hopes up too much), but its a great album for when you're out driving or sitting around on a rainy day. This is definitely ear candy at its finest, but with excellent messages to back it all up. Get into this, please. Then, get the live album. You will be in for a treat.
For fans of: Clem Snide, Wilco, Elliott Smith.

I'm Not a Fan & I Love It!
Hayden is a remarkable musician. I stumbled across the gorgeous "Dynamite Walls" on my new Dell computer. It has to be one of the most enveloping songs I've heard and I Loved it! Then I went and got the CD and was again stunned by the simplicity and beauty of the music. It was nice to hear the country tinges, as I am a country fan, among every other genre. I am surprised and happy that I found Hayden's talent and I can't wait to discover more!

It's Homemade
Reminds me very much of the first American Music Club album: excellent songwriting, seemingly unpolished production that actually drips with "atmosphere", made for late night listening, singer sounds slightly haunted, etc. You could do a lot worse with $$$ than pick this up. Although I've only had it for a few days, I think this is an album that will wear well. Hayden throws in some sounds you wouldn't expect to hear in a bedroom recording, such as the string quartet that finishes "Bass Song", or the sombre horns of "Lullaby". And his lyrics can be unexpected as well: "I was only looking for sex, and I think you knew". He seems not to care if he sounds clever or says "the right thing", which earns him points in my book. You won't hear him on the radio, but if you get this, you may not listen to the radio for awhile. ... Read more

Amazon.com

Brutal Youth (1994) reunited Costello with the Attractions (and occasional substitute bassist Nick Lowe) in an ambitious attempt to link the experimental impulses of Spike and Mighty Like a Rose to the outfit's controlled careen. While peers such as Sting disappeared further up their own precocity, Costello mined both the fanciful (his jokes are actually funny) and enraged. From the opening shots of "Pony St." and "Kinder Murder," he assuredly moves through the pub R&B of "Clown Strike," the art-song trappings of "Still Too Soon to Know," and the Trust-style classicism of "Sulky Girl" ("Hold your tongue / Although I know you've never been that strong") and "You Tripped at Every Step." Often majestic, the record occasionally feels mannered--an alternate version of the ballad "Favourite Hour" included on this 2002 reissue as a bonus track is much less lumbering than the take that closes the album proper--but remains a casualty of audience indifference. Almost anyone who missed it the first time around will find moments to add to their list of Costello treasures. --Rickey Wright ... Read more

Reviews (9)

And he answered "Superbly".....
That line is taken from "My Science Fiction Twin" and is the rejoinder to a question asked of how he manages to do so many tasks at once. Which pretty much sums up "Brutal Youth," which was a joyous return to rocking with Nick Lowe and the Attractions. After a testy eight year separation, they came together to make one more album to remind us just how much fun the sound of a slamming snare drum mixed with venom, power and passion could be. Let's face it, after reading Bruce Thomas' uncomplimentary "The Big Wheel" and hearing EC's diatribes on "Mighty Like A Rose" ("How To Be Dumb" in particular), I'd figured a reunion was about as likely as seeing E. Presley at the local Burger King.

Yet here it was...with the band roaring right into "Pony Street," a generation gap conversation between a jaded daughter and a mother who still thinks she is on the cutting edge ("I am the genuine thing, but to you it's just history"). By the time your disc player reaches the end of "13 Steps Lead Down" with the cookpot slam of the drums, the precision power bass and fabulous keyboard flourishes, you'll remember (for all the right reasons) why you fell in love with "Armed Forces."

Those aforementioned songs, as well as "Sulky Girl," "20% Amnesia" and the surprisingly sentimental "London's Brilliant Parade" are EC Classics. The bonus disc has some interesting pre-album arrangements of the songs and a few drop outs ("Poisoned Letters" eventually morphed into "All The Rage"), but it is still the power and immediacy of the original album that was the beefsteak, and was one of my faves of the year 1994.

One of his best "returns to form"
"This Year's Model" stands in my mind as EC & The Attractions at their most raw and tuneful. It's my standard for measuring everything else he's done. Upon re-listening to this '94 release, I now think it could have easily been Model's follow-up (instead of the over-produced "Armed Forces").
I rate this right up there on EC's second-tier, with "My Aim is True" and "Get Happy." Regarding his other "return to form" releases: I found "Blood and Chocolate" to be almost unlistenable in parts and only like "Doll Revolution" from "When I Was Cruel."

A step backwards
I recently dug this one out of my Cd collection. Being a pretty big Costello fan, I decided to give this one another shot. However, nothing on this album is appealing at all. I finished listening to the cd about 20 minutes ago, and I don't really recall 1 song of the album. This cd just seemed very forced. The writing is overdone as is the production which is quite poor. I feel that Costello was going backwards at this point trying to recreate his old sound which almost never works. Fortunately, he made up for this one big time with Painted From Memory.

Brutal Youth, Mighty Like a Rose, and that one before King of America (Goodbye Cruel World) are easily Costello's 3 worst.

If you are new to Costello and have heard all the "famous" cds, try Trust or King of America to get a better feel where the lyrics and music aren't so forced as on this flat out bad album.

Elvis Is In Peak Form
Elvis Costello is one of my favorite songwriters. There are many schools of thought when it comes to his work. The most irritating being his first three albums are the only ones that are worthwhile. Elvis continues to produce worthwhile albums and besides Goodbye Cruel World, Almost Blue, Spike and Mighty Like A Rose(the latter two producing classic singles) his work has been no less than brilliant and this album is a peak. There are a few clunckers(mostly the ballads), but 10 of the fifteen tracks are classics that can be programmed to make one of the finest albums in Elvis' brilliant catalog.

Not quite a return to form
With a sound reminiscent of Costello's work from the early 80's, BRUTAL YOUTH just misses the level of his better material. By using the Attractions (w/Nick Lowe in place of Bruce Thomas on many cuts) Costello reaches back for a sound; a sound that he doesn't completely capture. The songs are often clever without the depth of passion that a listener comes to expect from Costello and the music, while solid, seems just too busy to capture the attention. There are cuts worth hearing ("20% Amnesia," "This Is Hell," "Rocking Horse Road") but the misses ("My Science Fiction Twin, "Sulky Girl") are just as common. Not a bad CD, just disappointing.(This review is based on the original release.) ... Read more

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Guitarist Bill Frisell is first and foremost a song man. He has covered, sans irony, songs by Madonna and John Philip Sousa. He has even been witnessed performing "Beer Barrel Polka" when the mood strikes. His respect for classic songs and great singing has always been evident in his own playing and compositions. One singer Frisell has always respected is Elvis Costello, who was recording Burt Bacharach songs as far back as his Stiff Records days (check out the Live Stiffs anthology). Costello and Frisell make their collaboration on this recording a product of mutual admiration and shared love of Burt Bacharach, an unabashed melodic master. Recording simultaneously with Costello and Bacharach's Painted from Memory, Frisell arranged the same tunes working from bare piano-vocal demos. His small group orchestrations stretch but never break the songs, revealing a deep empathy for their mood and meaning. Bill and company (Brian Blade, Don Byron, Viktor Krauss, and others) are equally at home with the music's lyrical nature and quirky construction--both Bacharach trademarks. Costello and Cassandra Wilson add a few guest vocals, but it is the voice of Frisell's guitar and arranging that shines through here. --Michael Ross ... Read more

Reviews (10)

Frisell Shows Chops as an Arranger
Sorry to post this review twice, but the other was posted from a different computer and is not grouped with my other reviews. Anyway, I've edited it a bit here.

If you asked the average Bill Frisell fan what Frisell does, the answer would probably be about his guitar playing. Pressed further, the fan might mention his song-writing and compositional ability, the versatility of his repertoire, his ability to assemble just the right musicians for each CD, etc., etc. But I'll bet you'd get pretty far down the list before his abilities as an arranger would come up, even though his arrangments are always masterful. Maybe that's because most of his albums contain mostly his own songs and we think of the arrangements asjust part of the compositions themselves. "The Sweetest Punch," with the compositional focus on other songwriters, shows off Frisell's skills as a master arranger.

Elvis Costello and Burt Bacharach sent Frisell a tape of the songs that ended up on their collaborative "Painted From Memory" record. The tape contained only rough piano/vocal versions of the tunes, and Frisell arranged and recorded his interpretations at the same time Costello/Bacharach were developing and recorded theirs. Neither heard what the other was doing until they were both finished.

The songs themselves are, as you would expect, wonderful. If your snobbish side thinks the music of Mr. Bacharach to often be a bit...light, you might remember that he is one of the great masters of melody in the popular song during the last four decades or so. If you think his fare might be too light for interesting interpretation by someone of Frisell's depth, remember that you might arch an eyebrow if you heard a jazz great was arranging songs from Disney movies, too, until you heard Coltrane's readings of "My Favorite Things" and "Chim Chim Cherree." Frisell takes the beautiful raw material of these songs and shows he is as skillful an arranger as he is a guitar player.

I am reminded of Gil Evans's work with Miles Davis when I listen to this record. Just the right blend of harmonic and textural complexity and spareness reveal the sweet essence of these songs while developing the passion at their, core. The arrangements are for mostly winds, no strings except those on Frisell's guitar. Strings would have made these songs too sappy, but the wind arrangements allow sonorities and a percussiveness that bring out the dignity in them and an Elvis Costello edginess. Frisell's guitar, always restrained and tasteful, is downright self-effacing here, with only a few screamer, Frisell-guitar moments. No matter. Frisell's special genius is here anyway, realized largely through other instruments, but with his unmistakable signature touch just the same.

Frisell Shows Chops as Arranger
If you asked the average Bill Frisell fan what Frisell does, the answer would probably be about his guitar playing. Pressed further, the fan might mention his song-writing and compositional ability, the versatility of his repertoire, his ability to assemble just the right musicians for each CD, etc., etc. But I'll bet you'd get pretty far down the list before his abilities as an arranger would come up. "The Sweetest Punch" shows Frisell as a master arranger.

Elvis Costello and Burt Bacharach sent Frisell a tape of the songs that ended up on their collaborative "Painted From Memory" record. The tape contained only rough piano/vocal versions of the tunes, and Frisell arranged and recorded his interpretations at the same time Costello/Bacharach were developing and recorded theirs. Neither heard what the other was doing until they were both finished.

The songs themselves are, as you would expect, wonderful. If your snobbish side thinks the music of Mr. Bacharach to often be a bit...light, you might remember that he is one of the great masters of melody in the popular song during the last four decades or so. If you think his fare might be too light for interesting interpretation by someone of Frisell's depth, I'm sure people might have arched an eyebrow over John Coltrane's use of songs from Disney movies, too, until they heard "My Favorite Things" and "Chim Chim Cherree." Frisell takes the beautiful raw material of these songs and shows he is as skillful an arranger as he is a guitar player.

I am reminded of Gil Evans's work with Miles Davis when I listen to this record. Just the right blend of harmonic and textural complexity and spareness reveal the sweet essence of these songs while developing the passion at their, core. The arrangements are for mostly winds, no strings except those on Frisell's guitar. Strings would have made these songs too sappy, but the wind arrangements allow sonorities and a percussiveness that bring out the dignity in them and an Elvis Costello edginess. Frisell's guitar, always restrained and tasteful, is downright self-effacing here, with only a few screamer, Frisell-guitar moments. No matter. Frisell's special genius is here anyway, realized largely through other instruments, but with his unmistakable signature touch just the same.

An entirely attractive vibe . . .
. . . that never fails to lift my spirits.

Yes, I could do without the vocals, which seem to break the spell (although I'm even beginning to appreciate what they attempt), but the rest is so fine I end up not caring.

A project like this is probably destined to please no one. Jazzers will disdain it as a commercial ploy. Popsters will regard it as too esoteric.

They'd be wrong. You've got to take this kind of sui generis outing on it own terms--gorgeous, mesmeric, pop-jazz of the highest order. Nothing more, nothing less.

With its line-up of brilliant, top drawer, scintillating players, it would be hard to imagine how this could not succeed. And it does, gloriously. Brian Blade (drums), Don Byron (clarinet, bass clarinet), Billy Drewes (alto sax--one of THE most underrated players on the scene), Curtis Fowlkes (trombone--a monster on the NY downtown scene), Ron Miles (trumpet--one of the most innovative voices on his instrument to come along in ages), and leader Frisell keeping everyone honest and focused--one could hardly imagine a suppler, more creative band.

If things seem a little "arrangement heavy," lacking in stunning solo improv work, that's just the nature of this project. It's senseless to ask music to be something it wasn't intended to be, and this, simply, isn't a heavy improv session. Does that somehow diminish it? I don't think so. There's way sufficient group interaction and conversation to make up for any (perceived) lack of improv.

I LOVE this disc. Really, it never fails to lift my spirits. OK, it's not William Parker or Josh Roseman, but what it is, is pretty special.

Touch of Gold
Whatever Bill Frisell touches seems to turn to "gold". And the sweetest punch is another in a long line of golden eggs.
Add to that some great vocals by Cassandra Wilson and of course Elvis Costello and you truely have some sweet sweet punch. Drink it up!

all-round disappointment
I'm a big fan of Costello, a big fan of Bacharach, and through Deep Dead Blue, became a fan of Frisell. This combination seemed too good to be true, and actually, I was so looking forward to hearing it as one piece that I saved listening to it until I had a long car journey.

Sadly, the Sweetest Punch is much less than the sum of the parts.

I understand that Bill recorded it without hearing Elvis & Burt's finished album. I wish he'd waited and used it as inspiration, as The Sweetest Punch is neither sweet nor punchy. Instead it is passionless, routine and flat. Moreover it's just dull if you compare it to the rich, elegant, touching soundscapes of Painted From Memory.

I am surprised that as someone with so much creative control over his output, Elvis didn't take Bill aside and suggest re-mixing or re-recording or simply not releasing.

Sad really. ... Read more

Reviews (11)

Different avenue than "Workbook," but no less stellar!
Bob Mould's first solo release, "Workbook," defined Mould as an intelligent, complex songwriter and musician. "Black Sheets of Rain," while fiercer and more electric guitar-driven than the folk-oriented "Workbook," is no less intelligent - stylistically and lyrically. Mould manages to capture his trademark reflectiveness and still tear the house down with quality heavy punk and rock and roll. Mould, in my book, is the thinking person's guitar god with vision: brains with brashness, depth with D chords, soul with the sound and fury of pure rock and roll. Amen!

"When words become weapons there'll be peace"
Black Sheets of Rain is my favorite Bob Mould solo album. It is the darkest and heaviest album of his brilliant repertoire. Lyrically, it consists of the typical Bob Mould cynicism but also sports many environmental references. Musically, it is the hardest rock Mould has ever put out and, judging from his recent musical direction, will probably remain so. The first six tracks are the best. Definitely five-star material. The title track, "Stand Guard", "One Good Reason" and "Stop Your Crying" are some of the best songs Mould has ever recorded. His music significantly matured since the Husker Du days. "It's Too Late" was the single from Black Sheets. It is a nice song without being overly commercial, however, it gave no indication to the radio listener or MTV viewer how powerful most of the album is. Unfortunately, things get rather mundane with the next four tracks. Lyrically and musically the edge is softened almost to jelly. "Out of Your Life" is the best example. On the same album where a listener experiences the darkness of "Hanging Tree" one hears the singy verse "If you want me out of your life now all you gotta do is tell me". The listener is saved at the end, though, with perhaps Mould's most powerful number "Sacrifice/Let There Be Peace". It is the screaming last track like the one found on Workbook ("Whichever Way the Wind Blows") only this one is much more effective. There is not just seemingly pointless yelling, but brilliant direction with powerful lyrics: "When words become weapons there'll be peace in the valley of death."

Pretty Intense isn't the word for "Black Sheets"
To listen to "Black Sheets of Rain" you need a good set of ears. Then, you have to crank your stereo up to high volume. Anything less, and you won't get it.

I would imagine that this CD is probably a high point in Bob Mould's career. This is powerful stuff. A great songwriter and technically proficient guitarist, Mould's lryics are sometimes apocalyptical and thought-provoking:

So don't send me invitations to your big parade
Place of residence unknown
In my eyes there is no confidence
There is no calm before the storm

I agree: Anton Fier's drumming really makes "Sacrafice (Let There Be Peace)" take on a life of its own - because it's not straight 4/4 time - The rythm really drives.

"Black Sheets" and "Workbook" are really companion pieces. Both are great CD's and I am sure that these great recording will stand the test of time.

This CD blows me away - always has, always will !!!!
First off, Anton Fier's drumming, especially on "Sacrafice (Let There Be Peace)" is absolutely ferocious. Truly amazing. Must have been a sight to see.

To be honest, this is one of my favorite albums of all time. That, and "Workbook" are too good to pass by. Husker Du was okay, but technically, this stuff is lots better. The stuff Bob did with Sugar was technically better, but "Black Sheets" and "Workbook" will hold up over time much better than "Copper Blue" and "File Under..."

This is a cult-level CD, yet it surpasses classic cult stuff, like classic LPs by the 13th Floor Elevators, Chocolate Watch Band, Music Machine, MC-5.

"Black Sheets of Rain" is a masterpeice.

Underrated Masterpiece
If depression could play a '66 Strat [constantly on the verge of feeding back], it would sound just like this. Easily the darkest of his solo efforts, this album lacks for no high energy hooky material or throw myself off something high angst. Best played at 11 when the wife is at her sister's for the weekend. A keeper until your kids ask you why. ... Read more

Amazon.com

The ghosts of cracked '60s British visionaries Syd Barrett, Vivian Stanshall, and Kevin Ayers float above this pleasurable 1984 release, arguably Robyn Hitchock's definitive solo statement. I Often Dream of Trains is a sparse, surreal work that alternates moments of sublime, acoustic beauty with bouts of puerile, schoolboy humor. The usual Hitchcockian obsessions are here: death (the rousing and gloomy "Sounds Great When You're Dead" and the haunting, majestic "Bones in the Ground"), nostalgia for the lost and obscure (the cocktail lounge lament "My Favourite Buildings" and the priceless, lush "Trams of Old London"), decay (the lovely, haunting instrumental track "Heart Full of Leaves" and the savory "Autumn Is Your Last Chance"), and unmitigated pot-head nonsense (the desultory "Furry Green Atom Bowl"). Forced novelty numbers such as "Uncorrected Personality Traits" and "Sometimes I Wish I Was a Pretty Girl" grate after repeated listenings, making a strong case for the judicious employment of the CD player's program function. --Mike McGonigal ... Read more

Reviews (18)

One of the best accoustic album ever... no exaggerating
Robyn Hitchcock perfectly show that he could craft an unique artwork. "I often dream of trains" is a very beautiful album, with variety of great music. From syd barrett-sque "Sometimes I wish I was a pretty girl", to beautiful ballad "Cathedral", "Flavour of night", "Winter Love",punchy lyrics in "I used to say I love you",and pseudo-medival chanting "uncorrected personality traits". The guitar solo in the superb song "My favourite buildings" is so great... this album is not only his best, but also one of the best accoustic album ever. Just guitar and piano, (except "Flavour of night" have added an saxphone solo"), one couldn't imagine how effectively they are used to produce a great kaleidoscope of music.

Sounds great when he's solo
Robyn Hitchcock is a fascinating performer, but with a band he can often be all over the place---so much so, sometimes, that it can be a little much listening to him in that context. But he is quite engaging by himself and this album is the best example of him solo that he's put out. I first got this as an import LP when it originally was released in 1984 and the years have not dimmed it's lustre at all. Songs like "Trams Of Old London," "Heart Full Of Leaves," "Cathedral" and the title track are some of Hitchcock's most fully-realized ballads, while his weirder side gets going with "Uncorrected Personality Traits," "Furry Green Atom Bowl" and the wonderfully sardonic "Ye Sleeping Knights of Jesus." The material that was added to the original CD release is also very good, although "Mellow Together" would've worked better on an album like YOU AND OBLIVION; on here, it's jarring. And while the demos that were added to this CD release aren't essential, they do give a nice "inside" look into the creation of some of the songs. This album shows that when Robyn Hitchcock goes direct, all his strengths come to the fore. (I'd still get his band albums all the same---and WHEN are they going to re-release the Soft Boys catalogue? )

Hauntingly Beautiful
I discovered this album in 1985 and have cherished it since my very first listen. It is a brilliant composition that mixes Hitchcock's (then) burgeoning skills as a versatile musician with his cynicism about life, fascination with death, and obsession with finding the absurd in everything. The album is introduced by "Nocturne," a beautiful prelude that belies the juxtaposition of extreme madness and luminous insight that is evident throughout each successive track. The prelude leads immediately into the singer's wish that he "was a pretty girl," so he could (mumble) himself in the shower. In later recordings of this song, Hitchcock replaces the unintelligible mumble with "shoot," but on this album the listener is left questioning. The confusion, though, establishes the appropriate mindset for listening to the rest of the album. After the haunting "Cathedral" of the mind, in which "all the worshippers are blind," we are startled by the upbeat, a cappella "Uncorrected Personality Traits," a discussion of how early-established neuroses affect us as adults. His preoccupation with childhood psycho-traumas continues in "Sounds Great When You're Dead," which leads to a list of horrible ways humans die in "Ye Sleeping Knights of Jesus," a mock country song that questions the concept of Jesus (whose knights, by the way, look extremely tired for some reason). The rest of the album, for the most part, retains the disturbing melancholic quality of the prelude. If I had only one CD to keep for the rest of my life, this would be it. Over the past (almost) twenty years, it has made me cry and laugh, and sometimes simultaneously. Tracks 8-12 are extras that were not on the original LP, and while I at first thought they disturbed the continuity of the album, I now enjoy them, too.

Stark, funny, disturbing and at least 2 toilet references...
This is hands-down Robyn Hitchcock at his best. It was the first album of his I heard, and from the first notes of the opening "Nocturne" I was hooked. When "Sometimes I Wish I was a Pretty Girl" started, I didn't know what I had got myself into (I was riding in a car, and the driver had put it in; I'm now happy I was forced to listen to it). Half way through I knew there was something new and exciting about this mostly mellow and introspective album. How many rock stars can do a capella and make it funny without being trite?

Long before the "unplugged" movement came and went, Robyn unplugged with far better results. I've never heard what the inspiration for this album was, but I'm sure it was a bizarre melancholy. The songs tend to be slower in tempo, bathed in cavernous reverb, and haunting. "Cathedral" arpeggios beautifully while Robyn sings "there behind your open face lies an awful lot of space" and "like a toilet from outside, a cathedral from inside." The thumpy "It Sounds Great When You're Dead" opens with the unforgettable, unindelible line "Your mother is a journalist, your father is a creep, they make it in your bedroom when they think you're fast asleep." "Heartful of Leaves" is an amazing instrumental work that conjures up images of autumn and literal or figurative death. It leads right into "Autumn is Your Last Chance" which will provide anyone succor from a failed relationship or personal shaft (with emphasis on the lyric "...'cause you're not there and I don't care"). The finale and title track is one of Hitchcock's best songs (a not so subtle Freudian reference to lack of carnal pleasure or melancholic obsession with the same).

There are a few light moments: "Ye Sleeping Nights of Jesus" is an intentionally sloppy drunk bouncy country number that will have you singing along on the first listen (during the last verse someone is even calling out the words in sing-a-long style, so just let it wail). "This Could Be the Day" is brimming with optimism and an upbeat tempo, but it does not seem out of place at all.

Sadly, Hitchcock has not reached such heights on previous or subsequent albums. "I Often Dream Of Trains" really sticks out in his oeuvre, both in its starkness and in the quality of its songs. That's not to say his other albums are awful (I really enjoy many of his other albums as well such as "Globe of Frogs", "Eye", "Invisible Hitchcock"), but they don't seem to have that "something" that this album has. No one can blame Hitchcock for not topping this one; it would be very difficult to top, but the fact that it came out of him puts him near the top of my list of best and favorite songwriters. If I could produce an album half this good I'd be able to retire my guitar forever.

Acoustic genius!
This CD has been in my collection since at least 1989 and it's remained an easy, constant top five favorite of mine. From beginning to end, it's sheer mastery of the musical language. I find it to be a rather nocturnal album, in that I often find myself wanting to listen to it in the wee hours, and really, the general mood and atmosphere of the album are well suited to the dark cover of night. I'll still play it in the daytime, of course, but the album just feels more powerful to me when played after dark. That's just a minor observation though... perhaps it's because I'm such a night owl.

Some of my favorites include the catchy "The Bones In The Ground" and "My Favourite Buildings", the relatively straightforward "Sounds Great When You're Dead" and "Sometimes I Wish I Was A Pretty Girl", the acapella sounds of the quite humorous "Uncorrected Personality Traits" and the strange and complex "Furry Green Atom Bowl", the haunting "Winter Love" and "Cathedral" and naturally, the wistful title track. Okay, I could go on and my list could really cover the entire CD, but it truly is THAT good. I'm not even sure I could pick just one favorite song, if I were pressed to do so, because they're all amazing to me for various reasons. You will find Robyn's usual themes of love, sex and death scattered all throughout the album.

Each song is its own lush landscape, imaginative and surreal, and the best part is that it's achieved using rather spare arrangements: mainly acoustic guitar, some piano and Robyn's own unequivocally unique voice, with just a touch of sax in "Flavour of Night". It's a very stripped down, refreshing sound and I really appreciate the simplicity of it all; it certainly does not suffer for lack of electric instruments.

Upon every listen (and surely they've been countless by now), it sounds as fresh and mesmerizing to me as it did the very first time I spun it and had the pleasure of hearing the first few melancholy piano notes of "Nocturne (Prelude)" drifting from my speakers. The unusual poetry of this album is a rare gift to be savored and shared with others who might appreciate its witty, quirky nature. This is an album that should be in the collection of anyone who can appreciate simply entrancing music and clever wordplay, masterfully mingled with a touch of the unreal. ... Read more

Reviews (32)

Not Bad...
To be honest, this was my first Howie Day album and I wasn't that impressed - until I saw him live. I then rushed out and bought Madrigals (much better, and the DVD is really cool) and Australia. What made me give this album 4 stars was my experience with the live show. I really gained an appreciation for how good the musicians who performed on this album were. I admit, it's a little over-produced but there is still the un-mistakeable core of talent that gives this album life. The band he performed with at the show (same as on the album) was tight and their gutarist (from The Verve) was awesome. I guess I just needed the live performance to sell me. Howie is an excellent writer, and definitely gained a fan here! If you haven't seen him live, you have to! Save your money from not buying the CD if you have to and spend it to see him in person ($13 when I went). You won't regret it, and chances are, you'll buy all three of his albums after you go.

It was okay
I had been a devoted follower of Howie's growing magnification, and lately I've felt a little let down ...
This comment probably makes no difference since Howie and his supporters are very successful without my opinion. However, I simpy wanted to mention that my first experience with Howie Day was when he opened-up for Tori Amos at the Auditorium Theatre in Chicago a few years back. I fell in love!!! He had amazing solo stage-presence. I enjoyed him so much, that I went out & bought AUSTRALIA the next day, and I completely fawned at the MADRIGALS release.
I was so excited when I found out he was headlining Chicago's Vic Theatre in October (2003) & immediately bought tickets. A few days later, I purchased STOP ALL THE WORLD NOW. I loved the piano ballad, but otherwise I was disappointed in the rather "poppy" sound in a majority of the album, but figured the upcoming live show would make up for it.
The show at the Vic was even more disappointing than his new release. His cheesy backup band really turned me off. I am much more fond his solo performances with sinewy, emotional vocals and echoing guitar rifs... They were much more powerful, and I wish I could hear more! Until then, I've strayed away. I miss the "old Howie"!!!

5 stars is not enough
The first time I heard Howie Day, I instantly fell in love with his music. Ever since I got his CD's, I barely listen to anything else, and there isn't anything I've heard from this incredible musician that I don't love. He even somehow performs covers better than the originals. It's his voice. Once described by Rolling Stone as "emotionally naked," it will captivate you with intensity through lyrics that anyone can relate to. He has a bold sound, and is talented with the guitar and piano as well. If you get this CD, you will be wanting his other ones before long. Hell, if you get more now, you could probably get free shipping. They include Australia and Madrigals EP, and he also has a track on the I am Sam soundtrack.

sophomore slump
Howie Day's story is a bit of an odd one. His debut, Australia, was recorded a song at a time for the most part. He'd tour some, make money for recording, record a song, tour some more, and make money for the next track. Which in theory isn't a bad way to record as it allows for proper road testing of songs in front of live audiences. Australia was finally completed in 2003 and Howie continued to tour non-stop pushing his release. What made a live Howie Day show unique at the time was his use and mastery of guitar pedals quite literally building up an orchestra of sound with just his voice and his acoustic guitar. Howie eventually ended up opening for acts such as Tori Amos, Dave Matthews Band, Jack Johnson, and most recently the Barenaked Ladies. (Like Dave Matthews Band, Howie encourages not-for-profit trading recordings of his live shows.) Non-stop touring and word of mouth lead to indepedent sales of 30,000 records - virtually unheard of for an independent debut release by a new artist. Australia became the little album that could as it was eventually picked up for distribution by Epic selling an additional 100,000 copies and adding Howie Day to the label's roster with the likes of Ben Folds, Indigo Girls, Pearl Jam and Travis.

Stop All The World Now sounds sophomoric, appropriately so, and unfortunately a little overproduced. It's by no means a bad release, it just doesn't hold quite the same energy as Madrigals and even Australia. It begins well enough with perhaps the disc's three best songs. "Brace Yourself" kicks things off, and may be one of my favorite Howie tracks ever confronting the listener from the beginning with a wall of sound unheard on either of the previous releases. The first single, "Perfect Time Of Day," has received enough airplay for him to sell out the local rock club, and is more enjoyable and energetic than anything I've heard from two of his wider-known contemporaries, John Mayer and Josh Kelley. "Collide" is also another contender for best Howie song ever except it's severely limited by the rather cartoonish "doot doot doo"'s. "Collide" is also the first of several tracks on Stop to include the 25-piece London Session Orchestra, but wisely keeps the simple acoustic guitar strum that begins the song in the front of the mix with his voice. "Trouble In Here" explodes at the choruses so strongly it drowns the orchestra out of the mix, and would be a smart choice for the disc's second single. The cartoonish backing vocals that brought down "Collide" would actually help the slower "Sunday Morning Song." Immediately following is "I'll Take You On" which is perfectly appropriate for a lazy Sunday afternoon with it's gentle sway. "She Says" from Australia gets another go-round on Stop but for the life of me I can't figure out why as they don't employ the orchestra. If any song off Australia needed an orchestra treatment (other than "Ghost") it's "She Says." The new version is by no means bad, but if you're going to reinvent, reinvent. "Numbness Of Sound" sounds like it isn't fully realized in terms of its sonic texture. I keep expecting something heavier, something stronger to kick in, something a little more rock to add to his voice and the swelling string section. Stop features a more realized version version of "You & A Promise" that unfortunately, while is a great version, the added production puts a layer of separation between the listener and the track. The fade down ending to "You & A Promise" segues beautifully into the lilting "End Of Our Days." Disc closer "Come Lay Down" is a wash of effects, brooding bass, and soaring vocals. The limited edition of Stop All The World Now also includes a dvd with about thirty minutes of recording footage, interview footage, and general man-about-town footage plus a solo live piano version of "End Of Our Days."

If you're going to buy a Howie Day release, I would begin with Madrigals. It's a perfect sampling of all things Howie. If you like more produced poppier stuff, go with Stop All The World Now. Hopefully his next release will be a little more stripped down, a little more authentic, a little more original, a little more intimate. I was pretty disappointed when I saw him a few months ago at the 9:30 Club. Hopefully he'll return to what made him a little more unique.

One of My Favorite Albums
I love listening to Howie Day, and to put myself in a good mood all I have to do is put Stop All The World Now into my cd player. I have recommended this album to all of my friends and they have all purchased this album. And they all love it! I would definately recommend this album to anyone. Howie is a very talented young musician. I would also strongly recommend either of his previous albums. ... Read more

Amazon.com

Ben Lee got the jump on being a pop star by starting his career when other kids his age were more concerned with acne medication than writing the perfect love song.A lo-fi savant, Lee's humble approach and off-kilter, nasal wail called to mind his acknowledged idol Jonathan Richman. Here, at the ripe old age of 20, he has managed to maintain the precocious, friendly, and wide-eyed personality that influenced both Noise Addict and his early solo efforts, while graduating to more complex musical structures. Breathing Tornados sounds like it has an intravenous feed from early-'80s MTV, with electroriffs and catchy refrains coursing through the tubing. But luckily, Lee's lo-fi tendencies still rule the day and the synthesizers and computers are used with the same simple joy with which he bashed out nerd-rock love songs on his teenage guitar. --Lois Maffeo ... Read more

Reviews (29)

This Kid Can Do It All
Having been a Ben Lee fan for a few years, I bought this album sight unseen (or sound unheard as it were) right when it came out. From the first notes of "Cigarretes Will Kill You," the opening track on this amazing disc, I was taken aback. Where was the acoustic guitar? The simple melodies? But the more I listened to Breathing Tornados, the more I was able to appreciate the complexity of the sounds Ben Lee has created for this album. He continues to grow and evolve on this, his third album as a solo artist, and yet he's only 20 years of age.

Breathing Tornados, despite the use of drum machines and distortion, maintains the simplicity and earnestness of Lee's previous work. His songs lyrically remain tales of love lost and love found, and of searching for himself. Lee's music speaks of himself, and that communicates with the listener. I can find many connections with his stories and my own life. Standouts on this album include the first single "Nothing Much Happens," the extremely catchy "Nighttime," and the sonic-busting "Ship My Body Home."

Quick Picks: If you like these, you might like Ben Lee (and vice versa): Luscious Jackson, Rufus Wainwright, Lotion

sorry, but i was disappointed
Last year, i bought my first Ben Lee cd. It was Grandpaw Would. It is one of my favorites. Recently i decided to buy another Ben Lee album. I couldn't find Something to Remember Me By, so i bought Breathing Tornadoes.

What Happened? Grandpaw Would was filled with simple happy pop songs that would stick in your head for days. Breathing Tornadoes sounds like Ben Lee trying hard to be older, and he gives me something that might be enjoyed more by my parents. The only songs worth more than one listen are Cigarettes Can Kill You, Nothing Much Happens, Feeling Tornadoes and Ship My Body Home, and those aren't that good. Time to go back to those stories that were fun when you were 4, Ben. Maybe then you'll sound good again.

BEN LEE IS GOOD
i had the pleasure of seeing him live, when he opened for J Mascis, and he was amazing. "Burn To Shine" was soooo passionate.. buy this

I Love It
Ben Lee's music has really evolved. I love the new sound, it's much more mature. There are so many great tracks on the album. Check out I Am A Sunflower; it's currently my favorite. Buy Breathing Tornados - You'll be glad you did ;)

mediocre, but thats not always bad
OVERALL its pretty dull, and somewhat repetitive, but incredibly relaxing. If you wanna relax, sit back, and just chill, this album is perfect. Nothing too hardcore (to say the least), but I like it. A good buy, worth the money. ... Read more

Amazon.com essential recording

Even with records as diverse as Get Happy!!, Almost Blue, and Imperial Bedroom preceding it, you could call Spike the beginn ing of Elvis Costello's super-eclectic period. The 1989 disc, here augmented wit h an hour's worth of inspired demos and B-sides, offered everything from the bed rock New Orleans sounds of Al len Toussaint and the Dir ty Dozen Brass Band to clanging rockabilly, Paul McCartney collaborations (including the sparkling po p hit "Veronica"), and a jazz-ballad standard in the making ("Baby Plays Around" ). And that's only the half of it. As Costello relates in new liner notes, he ha d ideas for several records: "I seem to have elected to make all five albums at once." Such a thing could've gone precious way fast, but nerve, imagination, tun es, and a double dose of anger assured that it didn't. A broadside or three on t he state of England and the world also made Spike hardly less bilious tha n This Year's Model. (Try the coldly mournful "Tramp the Dirt Down" or th e skronking, Marc Ribot-a ssisted "Let Him Dangle.") Heard seemingly everywhere in its day, it deserves the fresh listens this reissue will occasion. --Rickey Wright ... Read more

Reviews (10)

One of his most interesting albums...
Like many others, I was utterly confused the first time I heard this album. It covers so many different styles and it is nowhere near as focused as Elvis' earlier work. At it's worst, it has some interesting, yet rather aimless, musical experiments. This is the case with Stalin Malone and a few other tracks. But when it's good, it's really good. God's Comic, Let Him Dangle, This Town, Tramp The Dirt Down, Veronica, and Mirror are all among the best songs he's ever recorded. It's certainly enough to forgive some of the album's weaker points. If you're into Elvis, this is must buy. If you are new to his music, you would definitely be better off with earlier recordings like Get Happy and Armed Forces. This is a very experimental album, but it has some of the best songs you'll ever hear. Give it a listen and approach it with an open mind.

Rhino re-releases a gem
I am a huge EC fan and I own every album he has put out. This one has always been in the top five for me. Spike was an album I listened to not only for the great lyrics and music but it felt like I was getting an education as well. This album took experimental leaps and bounds that are still very fresh and daring today. "God's Comic", ".....This town...." and "Deep dark truthful mirror" are standouts among a truly great set. It was surprising to me that in the liner notes Elvis said that he thought the album might have been one of his most obscure if not for the "Veronica" single. I listen to this one so much more than a lot of his better known records it is impossible for me to not think of this as a classic. This also provided me with a blueprint to follow in finding other music. I "discovered" Marc Ribot, Mitchell Froom, and that whole entourage that made some great albums in the 1990's. The bonus disc contains some nice no-frills versions of the songs plus a donwright creepy version of "You're no good".

One of the best records to ever feature a Sousaphone!
I remember being completely bowled over when this album came out, to the point that I wedged "Veronica" onto the radio station playlist I worked for at the time and giving copies of the CD to a whole mess of people on my Holiday Gift list that year. In the dozen years since its original release, my appreciation of "Spike" has not diminished in the least.

Stylistically (and from the liner notes, geographically) all over the map, it holds together almost on the sheer force of the songwriting. Freed from Sony/CBS, he embarked on a record that was easily as ambitious as "Imperial Bedroom," but this time with a greater cast of players. "This Town," the disc's opener, featured Paul McCartney playing a trademark propulsive bass line and Roger McGuinn on his 12 String Rickenbacker. It kicks the album off with a bitter rant worthy of the trinity of Elvis' first three albums and a classic...

But that kind of bitterness is nothing compared to "Tramp The Dirt Down," quite simply the angriest, harshest anti-Thatcher rant ever laid to tape. It is also, oddly enough, set to a gorgeous arrangement that includes Irish fiddles, pipes and a bouzouki. It may also be the saddest song EC has ever recorded. "God's Comic," in comparison, is almost cinematic in its scope and nearly as marvelously arranged. "God's Comic" is as wickedly sly in its humor as "Tramp The Dirt Down" is critically indicting.

Oh yes, and The Dirty Dozen Brass Band made "Spike" field such marvelous curves in "Deep Dark Truthful Mirror," "Stalin Malone," and the aforementioned referenced Sousaphone on "Chewing Gum." New Orleans piano legend Allen Toussaint's playing on "Mirror" is one of the many of "Spike's" instrumental highlights.

Of the six CD's Elvis recorded for the WB, "Spike" was the best. Rhino's addition of a cleaned up mix makes it indispensable. As for the bonus disc, it is basically a blueprint of the album, plus B-sides of singles, the most noteworthy of which was the well known "You're No Good." This belongs in your library.

Getting better with age
I enjoyed Spike when it first came out in the late eighties, but then lost interest in it. It shuffled to the backwaters of my collection and was on deck a couple of times for re-sale. I'm glad it never made it to the used CD shop. I've recently given this a couple spins and have rediscovered a fine album. Spike features some of Elvis' best arrangements and most pungent lyrics (no small feat). Stylistically all over the map, this is not an easy disk to digest, but several tracks such as Let Him Dangle, Tramp Down the Earth and God's Comic are true classics of Costellian proportions. The Dirty Dozen Brass Band adds spice to the affair, while Marc Ribot(guitar) and Micheal Blair(percussion) add a Tom Waits-like flavor. While I do not have the version with the bonus disk, I'm sure that it contains some items of mild interest. Get it.

Driving In The Spike
1989's Spike was Elvis Costello's first release for Warner Brothers and on it he collaborated with another famous English songwriter, Paul McCartney. It is an interesting team because it reminds one of the Lennon-McCartney team with Mr. Costello playing the cynical, vicious side to Mr. McCartney's optimistic, upbeat side. The first song they team up on is "Veronica" which became Mr. Costello's biggest hit in the U.S. The song is a look at Alzheimer's Disease but it's dark subject matter is masked by a bright and catchy melody (obviously Mr. McCartney's influence). Their second song is a bit of a throwaway, "Pads, Paws & Claws". Mr. McCartney also shows up on the album's opener, "...This Town", playing some great bass. The two continued the partnership on Mr. McCartney's Flowers In The Dirt album. The rest of Spike is a fine release including the acidic "Deep Dark Truthful Mirror", "God's Comic", "Tramp The Dirt Down" and "Any King's Shilling". ... Read more

Album Description

4-track UK single taken from the album Alternative To Love, backed with the non-album tracks 'Left And Right', 'Baby On Rug' and 'Spit It Out' Video. V2. 2005. ... Read more

Album Description

1997 compilation of hits for the critically acclaimed Aussie singer songwriter. 20 tracks including, 'From St Kilda To Kings Cross ', 'Leaps & Bounds ', 'Before Too Long ', 'Darling It Hurts ' & 'Look So Fine, Feel So Low'. ... Read more

Reviews (15)

something special
For all y'all Americans, PAul Kelly is probably an unknown. That's a pity - he's something very rare and special.

It's hard to put a finger on what makes Kelly so good. His voice is distinctive sure, but its not very pretty - or strong for that matter. He play's guitar, even harmonica, but again don't expect anyhtng much other than a few open chords in his songs.

It's as a songwriter that Kelly makes his mark. His songs are catchy, often instantly appealing and resonant. They sound familiar. Many remind me of my childhood through the 80's - like old friends.

Tracks like "From St Kilda to Kings Cross', 'Before too long', 'Dumb things', 'Too her door' and 'Lover never runs on time' are very special to me for this reason.

Kelly dabbles in Rock, Pop, and Folk in this collection. He is convincing and honest. I saw that Kevin Bloody Wilson is outselling him at Amazon.com - that's a crime; this CD deserves so much more.

The Best Of Showcases One of The Best Songwriters Alive
Paul Kelly is considered the Bard/Dylan/Springsteen of Australia, and this CD set provides ample support for those comparisons. Kelly uses words sparingly to evoke time, place, and emotions better than any songwriter I've heard. His best songs are little vignettes: Dumb Things, From St. Kilda to Kings Cross, Deeper Water, Same Old Walk, To Her Door, How to Make Gravy. You feel for--and get to know--the characters in these songs, and sometimes you don't want the story to end.

Beautiful Song Writer/Musician
I was introduced to Paul Kelly's music while I lived in Australia. It really made an impact on me. I brought it back to the states with me and introduced my friends as well. Everyone agrees he's a talented artist and much over looked in music. I highly recommend anything by him.

Songs From the South
As an expatriate Australian, nothing takes me home to Melbourne like Paul Kelly. From the very fist few bars of From St Kilda to Kings Cross, I am transported to "The Armadale Hotel" in Melbourne listening to Paul Kelly and the Coloured Girls. Whenever I have the need for nostalgia, I grab this CD. I just now wish that someone would approach him about a tour to Dubai!

Australia's most popular singer-songwriter
Great singer-songwriters are poets: crafting words, capturing times and places, and evoking a sense of what it's like to be living in their world. Paul Kelly does that as well as anyone does, and perhaps better than most. You always feel as though he wears his heart on his sleeve and as you track through this retrospective album, you get a sense of the passages of his life.

But, for American listeners, there is the added dimension that Paul Kelly captures the Australian psyche (such as a self-deprecating sense of humor, a search for national identity, etc), the essence of life in Australia (Aussie Rules football, beaches, mates, etc.), and the issues of a land so very different but so very similar to the US (the plight of the Australian aborigines, the vast landscape, and the search for love in a sometimes loveless society, etc.)

There are many reasons why Paul Kelly is Australia's most popular singer-songwriter and that his songs are known by heart by so many. This album will help you understand why. His style moves from blues to folk to rock, and this album features some of his solo work as well as collaborations with his own band The Messengers and folks like Nick Cave, but it is his voice that is so very distinctive. Absolutely recommended. ... Read more

Amazon.com

True devotees of supercharged singer-songwriter Ben Harper, as well as latecomers interested in fleshing out their collection in a hurry, will be interested in this three-disc special-edition set. Harper's first three albums-1994's Welcome to the Cruel World, 1995's Fight for Your Mind, and 1998's The Will to Live-are collected in one compact burlap-coated box that also includes a thoughtful essay by rock critic Steve Appleford on "The Music and Message of Ben Harper." Be forewarned that there are no additional tracks included here. Harper's soulful musical mix has defied genre categorization from the start, and these three formative titles chart his amazing growth as an artist. --Marc Greilsamer ... Read more

Reviews (15)

Harper Groove
Ben is so awesome. This box set shows off his multitude of talents. He has incredible lyrics that anyone can relate with. He is soulful and true through his music. Once you hear him you won't want to listen to anything else. Ben provides down to earth sounds from Welcome to the Cruel World to electrified harmonic bliss to your senses in The Will to Live. He will captivate and intrigue you for whatever mood you are in, his music is so universal.

What? Only 5 stars allowed????
Ben Harper has GOT to be the unknown love child of Nina Simone and Muddy Waters, with a sprinkle of Bob Marley in the bath water. This dude blows me away, and I'm a hard man to please. He goes from treating you to some good mojo in songs like "Breakin' Down" to lulling you with instrumentals like "Number Three" and then makes you depressed with tunes like "Another Lonely Day" and then slides church Sunday on you in tunes like "By My Side" Ben Harper defies my being able to put him in any single category, and I like that. I like that ALOT! No matter what your tastes, Ben has probably got you covered. Order this set, which collects his first three albums, then make sure to also order his latest release "Burn to Shine" for the complete collection. BUY THESE RIGHT NOW!

BEN on AUSTIN CITY LIMITS
I recently saw BEN HARPER on the PBS TV saturday night weekly AUSTIN CITY LIMITS and this guy and his band blew his "Live" audience and myself off our surroundings with his pure and earthy multitextured brand of original music. Whether it's rock, pop, a little bit of country, reggae, blues, or jazz tinged soulful R&B music, BEN is one of the very few all around musicians who captivates and leaves you spellbound with his sincere performances. No question about it: I had to purchase this box set and the other three cds. BEN HARPER's recordings are priceless and classic...he thoroughly entertains and lifts you with his music and message. I wish I'd been exposed to BEN HARPER years ago, but, better late than never...Simply irresitable! THANK YOU PBS TV & Austin City Limits!

Ben Harper: someone you should know!
For those who don't know Ben Harper yet, it's never too late! Wether you like Blues, Rock or even R&B, with Ben you'll be more than satisfied... And if today, it's quite easy to put a tag on artists, such as: Pop, Rap, Punk...for him, it doesn't work! In fact, his music is obviouly inspired by many other styles, and the result is always an incredibly surprising experience! Then it seems fair to say that Ben Harper's sound is unusual and also extremely pure...
But moreover, for those who are, just like me, sensitive to the words, Ben's songs will introduce you to a universe made of Peace, Honesty and Poetry! Finally, it's pretty clear: "this guy"
knows who he is, what he does and where he's going, and if you let him take you for a ride, you'll feel it, without a doubt!!!
So now, what the Hell are you waiting for, go for it, satisfaction guaranted!(...)

oh...my.....god!!! it's soooooo good!!!!! AAAAAAH!
I just bought this box set yesterday. I've heard from all my dave-matthews-loving friends that this guy ROCKS. I've only heard that single..., the "steal my kisses" one (junk!) and this other album which i dont really remember, if you get my drift. So, anyways, i have heard such wonderful things, so I just impulse-bought and got this KILLER 3-CD box set. It has all 3 albums hes done before this most recent "sell out/popular" album. Ever single CD is amazing. I dont think ive ever heard so much great music in one place. I can't stop listening to it....hes so incredibly talented. His lyrics, his voice, his blazing guitar, are all so incredibly powerful. I wish i had heard of him sooner. How i am a full-on fan. And I feel justified in being a fan, because i have all 3 Cds. The good ones, anyways. Let me tell you, out of the 35 some-odd songs on here, i probably dislike two. THAT'S how good this is. And i am a music snob. I am just stunned that this guy is so incredibly good.I strongly urge you to buy these CDs. They are emotion-packed, beautiful songs in the veign of the Dave Matthew Band, or David Grey, or Bob Marley. The sound samples do NOT do these songs justice.... His songs range from bleusy, rockin' guitar riffs, to peaceful, soothing melodies, and are each such solid albums that EVERY SONG is great. I can name maybe 3 other CDs i own that are as good. Now i have 3 more, i one box set! Buying all 3 albums from the box set is cheaper that buying the CDs individualy, too. So if you like bob marley, david grey, dave matthews, ANY of these guys, you are going to LOVE this. Such an amazing guitarist too. You're gonna love it. Enjoy! ... Read more

Amazon.com

John Wesley Harding is well into his second decade as a recording artist. As a literate but no longer new voice, he's no longer major-label material. Indeed, the well-traveled Brit who was once heralded as the heir to Elvis Costello has been hopping from indie to indie since he parted ways with Sire in the early '90s. So one wouldn't be shocked if his first new collection in four years felt like an exhausted last breath of a frustrated journeyman. But from the first notes of the cascading opener, "Nothing at All," it's apparent that Harding has, if anything, become more adept at mating sharp, witty wordplay (always his forte) with surging power pop. This time out, he's managed to pull together more than a fair share of alluring melodies and fitting folk-rock arrangements. Whether it's the jangling, spirit-affirming "Sleeper Awake" ("Get out of your bed/ Quit playing dead") or the O. Henry-like murder ballad "Sussex Ghost Story," Harding proves he's still going strong at a stage when it wouldn't be surprising if he was running out of gas. --Steven Stolder ... Read more

Reviews (3)

So much strangely familiar.
JWH deserves credit for an unusual talent: The clever patchworking of of riffs and choruses that I KNOW I've heard before from the original artists, morphed into something of his own just before I can recall who he took it from. But that doesn't quite qualify as original, so minus one star. Change a couple more notes on the next project, and JWH will have truly found -himself-.

Solid, through and through
No rock-critic-speak here . . . The album is really quite good pop. It's got a fine mix and more "rockin'" numbers as well as some sweet ballads and a creepy murder tune! ooh, spooky! Seriously, though, there isn't a skipper on the album.

JWH's music is usually clever and fun and this album is one of his best. Check out http://www.johnwesleyharding.com/music.html for links to some "teasers". One of my favorite tunes from the album, "It Stays", is available as a sample, although it cuts off right before the chorus, which is really very good.

wes's claim
Over a year and a half since The Man With No Shadow disappeared (along with its original label) just a few days before its release, John Wesley Harding finally releases it as Adam's Apple, the album officially awaited as the finest of his career. Those familiar with Wes's career know this is a tall order, but he delivers with the sharp songwriting we know to expect AND a healthy dose of pop craftsmanship that stakes a claim among the best pop song writers and presenters of this moment, folks like Joe Henry, Steve Wynn, Chuck Prophet, Steve Earle, Roddy Frame, Rufus Wainwright... It's a great follow up to The Confessions of St. Ace (2000) - the similar feel of a big, meaty pop album, but the band is a little tighter, the licks and chops more polished, the songs themselves somehow a little more earnest. There's also plenty of room for the kind of quirky, innovative lyrical and musical touches that highlited Awake (1996) on great songs like Sleeper, Awake! and Pull, and while this is definitely one of Wes' "pop" albums, there are still plenty of traces of his inner folkie (a la John Wesley Harding's New Deal and the Dynablob series) in songs like Monkey and His Cat and Sussex Ghost Story. With John Wesley Harding, sometimes the package is slick, other times homespun; sometimes you get rich pop concoctions while other times you get wise (and/or wise-ass) folk ruminations. But like all the best music out there, Wes's songs always have something truthful to say and a unique and cohesive presentation that makes you want to listen. ... Read more