Reviews (120)

Quality Offered Casually
Sometime in the middle of last year, Aimee Mann released her fourth studio solo album, Lost In Space. It kinda came out of nowhere, since I expected another big creative lapse between the modern work of art that was Bachelor No 2 and this; that record was the finest release of her career, and also the finest release of the new millenium. So Lost In Space, the followup, comes across as more unassuming. She brings new layers of music, new sublime sounds (whereas Bachelor No. 2 was more traditional piano and guitar) and she comes out with a nice, modest effort that nonetheless still stands out among the first of the pack. One of 2002's best albums.

The themes are still feelings of sadness, despair, and addiction. In a way, the "downs" feel more intense (Humpty Dumpty) than anything that was heart-wrenching in previous records. Also noticed in Aimee's work is that sometimes she adapts a counselor role in a song, designed for her listeners (in previous records songs like "Wise Up" or "You Do"); here it's "Real Bad News," which as its title implies is just such the case. No consolation offered. Reality is demure, some avenues just aren't open to some, and it's true. I give Aimee Mann kudos for being so straight-forward in her music, unafraid of criticism for it.

Songs I particularly liked: Pavlov's Bell, employing some of Aimee's accustomed brilliant metaphores, The Moth, and Invisible Ink, which have a very intergalactic impression based on the lazy, moon defying tone. This second song was featured in the prepostruous film, "Enough" starring the prepostruous superstar J-Lo. I ran across this on that film's soundtrack page. "The movie sucked, but there was this one song in the background that was so beautiful. I looked for the soundtrack, but it was just a score. I just tracked it down. It's Aimee Mann and it's on her CD "Lost In Space." It's here!

Lost In Space
Aimee Mann's fourth solo album (not counting the Magnolia soundtrack, which included four songs from her last release, 2000's Bachelor No. 2, as well as the Oscar-nominated "Save Me"), finds the talented singer-songwriter exploring many of the same concerns (isolation, thorny relationships, and the addictive drug called love) that defined her earlier work. The album's relatively subdued tone is set by the opening "Humpty Dumpty," highlighted by a sad guitar moan and the telling line "All the perfect drugs and superheroes/ Wouldn't be enough to bring me up to zero." Mann cleverly juxtaposes heroine and heroin on "High On Sunday 51," and navigates the emotional pitfalls of breaking off a close relationship on "This Is How It Goes," complimented by dour horns and sad strings. The sturdy, mid-tempo guitar rocker "Pavlov's Bell" adds a much-needed shot of adrenaline, just as things are slipping away into a wash of pills and forget-me-not dead romance tombstone engravings. All is not mirthless doubt, however. On "The Moth," Mann cannily observes, "don't care when he sees the flame/ He might get burned but he's in the game." Aimee Mann's keen observations into the mysteries of the human heart and artful translation of such insights into well-crafted songs serve her well on Lost in Space, where finding that delicate balance between faith and disappointment is a tricky yet rewarding proposition.

The peculiar beauty of depression-Lost In Space
From the opener to the closer it beomces apparent that Aimee Mann's "Lost In Space" is no joyride. This is, without a doubt, one of the most somber, sad and depressing albums I've ever heard. Her lazy yet meticulous style of singing and tone merge well with the harrowing music, spare and intricate instrumentation as well as the introspective and cryptic lyrics to create the fascinating study of depression, addiction and isolation. Aimee throws out lines like "You might think that things might change, but take my word, they won't" as if to say, so how does it make you feel, cause its sure killing me. She packs so much beautiful pain into these eleven songs it puts so many other albums to shame. Many times, one must wonder, can such a painful feeling as misery produce anything good? And the anwser is yes, Aimee Mann's "Lost In Space."

driving music for long lonely highways
ok, i'll admit it, the first thing that caught my attention was the very cool cover art (there's a lot more inside by the way) so I thought I'd give it a chance. It paid off in many ways. The songs all work on many levels and while you might not like all of them they all have something to say and take you through a naritive landscape by a very gifted artist.

If you're lost in space, at least you have good music...
Of all of Aimee Mann's solo albums, I find I keep returning to Lost In Space. Combining crafty lyrics, understated vocals, and moody, haunting instrumentals, Mann dares us to look through a window into a house of problematic characters. Each of the songs takes us into another room, each with it's own set of ghosts. Aimee has effectively gotten into the heads of imaginary people and taken us along with her. You'll find that when you get there, however,these people will have striking resemblances to some you already know--or even, sometimes, yourself.

Although short in length, you might find it hard to skip any of these songs. Each is an expertly crafted tale that fits nicely into the larger work--each song flowing into the next very smoothly. Nothing seems out of place or ill-fitting in this CD.

Overall, Aimee's song-writing skills shine on this album. The instrumentation is sublime with a heavy emphasis on acoustic guitar. The emotions are flawlessly conveyed by Aimee's unusual yet candid vocals. I would highly recommend this CD to anyone wanting to add quality music to their collection--you might be surprised by what you can find drifting in space. ... Read more

Amazon.com

Brendan Benson is the kind of guy who still sits by the AM radio late at night, spinning the tuning dial from one end to the other in a hopeless search for the perfect pop song. Little does he know he's considerably helped his own plight by making an album full of them. Unlucky in both love and money, the Detroit singer-songwriter has plenty to chew on with his third disc. Using wistful bubblegum melodies and crisp '60s harmonies, in tunes like "Feel Like Myself" and "Cold Hands (Warm Heart)" he lashes out at former lovers and A&R men with equal venom. "I always wind up screwed without a kiss," he hisses on the Phil Spector inspired "The Pledge." But, in the end the man who counts Jack White and Beck as devoted fans, knows impending success is the best payback. "Maybe I've been caught red-handed, making off like a lucky bandit/ This wasn't how I planned it," he gloats on the title track. It's really hard to argue. --Aidin Vaziri ... Read more

Reviews (15)

I HEART BRENDAN BENSON!!!!!!!!!!!!!
I found out about Brendan because he was opening for Keane. I went into it having no idea who he was and the minute he started to play I was hooked! This guy knows how to rock! And what I really love is how he combines so many era-sounds to make awesome Music!!! Buy this cd, you will not be dissapointed!!

Am I Missing Something?
I saw Brendan Benson open for Keane last night. I mostly looked up the reviews on him because I was, quite frankly, appalled. My friends and I spent most of his set laughing at the stupidity of his lyrics. We assumed that he was someone Keane had brought in because the actual opener had cancelled at the last minute. When I checked online this morning and discovered that Benson has actually experienced some acclaim, I was very surprised. And Jack White likes him too? Why?

I very much feel like I am missing something here. Where's the appeal? Sure, Benson's cute, and his music is not innept, but we all agreed that he should pay someone else to write his lyrics for him. Perhaps Benson's music would be more listenable (at least for me) if his diction wasn't so good. Sadly, however, I could understand everything he sang, and he sounded like a complete idiot.

"Whenever you feel me slipping away, that's when you should hold me tight," makes me doubt Benson (or at least whoever he's impersonating in his songs) has never progressed beyond junior high school relationships. The rhyming is perhaps the worst part, and one person I was with suggested that perhaps its atrociousness stemmed from Benson's overreliance on a rhyming dictionary.

I don't doubt that Benson's previous albums have been better, and do not find him wholly untalented. However, as for last night, I have never been less impressed by a musical act in my entire life.

Benson finally reaches power pop nirvana
I feel compelled to write this review after reading Mr Otwell's savage mauling of this album.I don't like to criticise the opinion of others but I really must protest at someone who reckons that Benson has lost his ability to write good music.

The simple truth is that 'Alternative To Love' is a masterpiece.

I already own 'Lapalco' and 'One Mississippi' but I always felt that they were patchy affairs.One or two songs on either album hinted at Benson's talent but over all there were too many half tunes to contend with.

On 'Alternative To Love', Benson really gets it right.
The songs are more straight forward power pop than before.

Musical highlights are many.I especially love the title song 'Alternative To Love'.It's great to hear layer upon layer of harmonies and great guitar work.The harmonica solo is a big bonus as well.I also love 'Biggest Fan'.It's the work of a genius.The keyboard (I think it's a Moog or a Melletron ?) dominates the track.Other highlights for me would be 'Flesh And Bone'.It's a nice melancholic track. Benson achieves the right mix of sadness and joy.
Any non-believers out there should listen to 'I Feel Like Myself Again' to dispel any nagging doubts about this man's genius.This song is an anthem to the power pop generation.It's a song similar to 'Surprise' by Semisonic - an uplifting song about finding your confidence again.A wonderful wonderful optimistic track - everything a power pop song should be.

I was doing a bit of research on this album and I found out that Benson recorded the album and then handed the tapes over to the producer with the instruction to 'fill out' the sound.This was a masterstroke.The producer added keyboards, vocal dubs and other technical flourishes to give the album a fuller sound.

I wish more artists would take a leaf out of his book and do the same !

I believe that at the moment Benson is collaborating with his friend Jack White of The White Stripes on new material.I'm not expecting too much from this.I can't see how White's back to basic blues approach will blend in with Benson's intricate power pop.Maybe I will be pleasantly surprised....

Its really good
Brendan bensons new cd is really good, if you like brendans stuff you will dig it. Its not going to be another Lapalco, because if it was it would be very dissapointing to see that brendan isnt maturing as a musician. I mean, if he wrote another "Good to me" would we really be impressed?

"Between us" is defenatly my favorite song on the album, its so good it gave me chills when i heard it live. The albums awesome, and you should buy it, end of story.

Good framework...frustrating listen
Brendan Benson's 'Alternative To Love' is sort of a frustrating listen, in that you can see the framework of great songwriting that never really materializes.Songs like 'Alternative to Love' and 'Feel Like Myself' start off sounding like they're going to be great songs, then they sort of wander off into monotony.

There's solid enough pop craftsmanship to suggest Benson is ripe with talent, but result of this songwriting effort is unrewarding and banal.Really more accurate than a 3 is a 3.5 or so, but I just couldn't bring myself to round up to a four because so many of the songs sound like they could be made into great songs with just a slightly different approach to them.And the sometimes cringe-worthy lyrics clinched it as a 3. ... Read more

Reviews (188)

Aimee's better than ever
Somewhere at Interscope there is an executive who is feeling a little bit nervous right now as the public encounters the wonderful new music by Aimee Mann that her former label rejected. Okay, this album and the upcoming Bachelor #2 may tank, but then maybe the film and the promotion surrounding the film will expose CD buyers at long last to the brilliant talent of Aimee Mann. This record dispenses with the kitchen sink approach of her "I'm With Stupid" album for a more carefully arranged and slicker approach. It works well -- with a voice like Aimee's you need to construct the supporting instrumentation with great delicacy. A couple of the songs almost sound like Carpenters' arrangements - and I mean that as a huge compliment. Aimee's songs are better than ever -- especially "Deathly" and "You Do," but it's hard to pick favorites. Supertramp is represented on this soundtrack with two excellent oldies that comment nicely on the mood Aimee establishes here. It is a great album.

3.5 Stars
Had this been a collection of entirely Aimee Mann songs it would merit 5 stars. "Build That Wall," an instrumental "Nothing Is Good Enough," and especially "Save Me" (specially featured in the movie, just as it should be).. they're simply beautiful. I wasn't even surprised to learn that Magnolia the movie was based on Aimee's songs, and not vice versa. Everything fits perfectly.. right up until track 10. Her cover of Harry Nilsson's "One" isn't too good either, but it's easy enough to start at track 2 as I always do. It's easy to name a couple other groups that might have fit on the soundtrack without destroying the mood (and quality) of the album, but Supertramp?? Gabrielle? We get eight wonderfully crafted songs with Aimee's beautiful voice in top form, followed by two 70s 'hits' that should have quietly died, and a generic 90s pop song that no one will want to remember in a year or two. Jon Brion's closing track belongs with Aimee's material (why not have each of them contribute half the soundtrack?), but I normally end up hitting Stop after "Save Me" instead of skipping forward to the end. Hey, if you like Supertramp you may like the whole thing.. but the flow is still ruined. If you like Aimee it's still worth the price despite the nuisances. If you're not familiar with her (shame..) this is a good place to start.

Solemn
When you're alone in the dark, thinking in a solemn way, this might be the best album you could choose to listen to. Aimee Mann defines the music that is listened to by those of us who love the sad song. She is truely the bomb.

absolutely positively magnoliaoliagnifescent
This nice pure cd has all the qualities of a great hit. i especially enjoy number two. if you don't know what it is then maybe you should buy the stinking cd ok , and no i don not work for her record companie i just enjoy the songs. well i have to go caueses i ma goig otj og listen to her. jso by

Trust me, you'll need a black magic marker...
Trust me, you'll need a black magic marker. I'll explain in a minute.

Overall, this isn't Aimee's best collection of songs, but it does feature two must-have songs: "Deathly" and "Save Me". Many of the other selections are a bit of a departure from her style, and they come across as a frolic--swing beats, jazz motifs, bubble-gum pop, etc.--to be taken as a bit of tongue-in-cheek. As several reviewers have pointed out, the themes are depressing. Duh. In the liner notes, it's said that the entire Magnolia film was built around the rather nihilistic Aimee lyric: "Now that I've found you, would you object to never seeing each other again?" Personally, I love it.

About the magic marker...

Before you put in the CD, take a fat magic marker and draw a 1 centimeter line from the inside (hub) of the disc radially outward. This will effectively delete the four last songs so that you never have to endure them. They weren't written by Aimee, and they have no business being on this compilation at all. ... Read more

Amazon.com's Best of 1998

Elliott Smith's fourth solo album and major-label debut, XO, brings narrative detail and a wide range of emotion to an indie meld of '60s-style rock and folk-pop. Whether in the broken stateliness of "Waltz #2 (XO)," the Sgt. Pepper tribute of "Baby Britain," or the explosions of "Amity" and "Everybody Cares, Everybody Understands," Smith's melodic and arrangement senses give his vulnerable vocals and brilliant wordcraft the maximum effectiveness. XO is a watershed in singer/songwriter rock. --Rickey Wright ... Read more

Reviews (120)

Truly Remarkable
I've never written a review, but...

This is such an amazing album, my review will surely fail to render a complete picture of it's brilliance. Having crafted a moving soundtrack for Good Will Hunting (with mostly pieces of either/or), he shows amazing range with this, his next project. Frank lyrics, acoustic-based arrangements and moving harmonies are the background for this album that continues to reveal new, subtle beauty. Smith reworks the waltz twice into current, beautiful ballads. More upbeat songs like Question Mark and Bled White still manage to convey a longing, restless energy that moves though these songs. The guitar work is solid--from a George Harrison inspired weeping solo on Oh Well, Okay, to the furious acoustic tempo of Tomorrow, Tomorrow, the album retains a certain calmness, but never bores. It is an absolute masterpiece and an album that will never get old! Truly sublime!

The most tragically under-rated musician ever
I listen to all the music that's popular now and it makes me sick to my stomach. How can people be listening to Simple Plan and Good Charlotte and other such horrible bands like them, when there is something as beautiful and as meaningful as this? Elliot Smith was a genius plain and simple. Every single song on this album is beautifully arranged and beautifully sung. I listen to this album almost every day and it just keeps getting better. Over all, this is Elliot's happiest sounding record in my opinion. He is joyful, almost jubilant at several moments. Lines that stand out to me are "I may not seem quite right, but I'm not f***ed not quite" and "Bottle up and go, I can make it outside, I'll get through" Which are just a cruel irony in light that he plunged a butcher knife into his heart. Several songs on here, however are almost unbearablely sad. Oh Well, Okay and Waltz #1 come to mind. One of Elliot's most valuable assets was his voice. He sounded like an angel. His is one of the few voices that can move me to tears no matter what he's saying. This album will change your life. Don't waste your time on the meaningless music you hear on the radio. Buy this.

Excellent
This is music at it's best. Elliott Smith is possibly the best songwriter ever, and XO a piece of evidence for this claim. Every song on this album was well written and played to perfection. I can't wait for his last release.

beautiful and honest. genius
I have never written a review online before but I have become so obsessed with this album that I feel complused to share it with everyone. This urge has recently grown to not only include my friends and aquaintences, but people I have never and will never meet. I want to run up to strangers on the street and tell them about it. Every song on the album is beautiful, and some if you are a sensitive type, will probobly make you cry. I'm not a sensitive type and some of these songs make me cry. It's that good. Honest, personal, simple and complex at the same time, beautifully composed, arranged, and sung. This is definitly my favorite album by Elliott Smith, though I really love figure 8 too. Basically you'll have to listen to it yourself, though like most good music, it takes a few times playing it before you'll really get into it.

Entrancing...
I first heard of Elliott Smith through my wonderful and talented friend who just so happened to be playing "Waltz # 1". At first I thought she and her awesome acoustic guitar playing sister wrote it but she recommended I check him out and I loved it. He is absolutely amazing and everyone needs to hear at least one of his songs before they die lol. ... Read more

Amazon.com

"So I'm a little left of center, I'm a little out of tune,"sings Michelle Branch on her debut album's "You Get Me." Well, maybe.Branch offers a well-produced pastiche of chiming and strummingguitars, hip-hop-lite beats, quiet-verse-to-louder-chorus templates,and positive thinking. At her best--"If She Only Knew," a propulsivelove note to an ex--she rivals the likes of Sixpence None the Richer as likable radio-aimed fare. Catchy and self-expressivewhile breaking absolutely no ground, Branch also echoes everyone from label-mate Alanis Morissetteto the solo Belinda Carlisle. She dies just a little in this crazy mixed-up world, escapes to hersecret garden for sunshine in the pouring rain, and ultimately findsher reflection getting clearer. The Spirit Room could be thenext bit of pop philosophy to dazzle mainstream audiences. --RickeyWright ... Read more

Reviews (615)

A Pleasant Surprise
I was a little skeptical when I bought this CD, but now I am extremely happy that I did. I heard Michelle's first single "Everywhere" on the radio and then saw an interview with her on TV. I really liked the song and thought that I might as well give the album a chance as it could be a breath of fresh air with all of the manufactured pop artists that are out there today. What really surprised me was that Michelle Branch actually wrote or co-wrote every song on this CD. At the age of 18, Michelle seems to be able to capture many of the emotions that I, and I'm sure many other people have felt growing into adulthood. Although I enjoy all of the songs, "Everywhere" and "All You Wanted" stick out to me. The feel of most of the album is a kind of folk rock sometimes bordering on country. Although I am not a country fan, I can listen to any of these songs without wanting to change the track number. I think that this girl has an amazing talent and I hope to hear more of her in the future.

No, it's not that piano chick.
I have avoided commercial radio for years, so the first I heard of the extremely cute Ms. Branch was on a Buffy the Vampire Slayer discussion group. Appearantly Joss Whedon (creative force behind the Greatest Show in Television History)is a big fan of her music. A few weeks later, there was a short, cute singer performing a sad song on Buffy ("Good Bye to You")while a couple of important characters left the show. I was impressed with the song and found out that it was performed by the same Michelle Branch. Hmmm.

I started watching Empty-Vee in the hopes of finding out more. After a few days, they finally showed a music video. Luckily, it happened to be for Michelle's song, "All You Wanted." I liked that, too, so I ordered the album.

She is very talented, with a pleasing voice. The songs are well crafted and enjoyable. It isn't as thoughty as Peter Gabriel, but it's much more intelligent than all of that modern aggressively cheerful music performed by people chosen for their ability to dance.

The only reason I didn't give it five stars is a matter of personal taste. I have a sensitive ear for pronunciation (lots of speech therapy to clear up a stammer), and a whole album of someone ending almost every word with a vowel (whether there's one there or not) got slightly irritating. I guess it's her Canadian background. I understand that they have funny accents in Canadia. Still, it sounds better than these low rent, white ... Oklahoma red neck accents I am surrounded with every day.

great pop cd
The album lives up to its purpose - a "breath of fresh
air in the midst of teen pop music"... so Michelle gets
credit for writing good songs at the age of 14...
I recently saw Michelle in concert and I could see why
people in their college/high school years enjoy her
music... it's very relatable to teens.
If you're looking for a teen who, in my opinion,
writes better lyrics... check out Vanessa Carlton,
Katy Rose, or Shelby Starner.

A Very Good Debut
Michelle Branch doesn't get enough respect. Although she has millions of fans who love her music, critics seem to love making rude remarks about her. One critic even made fun of her for being the least sexual pop star in years (like that's a bad thing). Well, that's their problem. Michelle Branch is a very talented young artist whose debut album sold millions of copies not because of massive marketing, but due to strong word of mouth. She gets compared to a lot of other young artists such as Avril Lavigne and Vanessa Carlton, but that isn't fair to any of those young women. Each one has their own style and deserve credit for that.

This is a very good album. The big hits off of the album still sound good today. "Everywhere" was and still is a great song. I remember the first time I heard "All You Wanted". I knew the song would be a hit because it was just so good, and although it was severely overplayed, it still holds up today. "Goodbye to You" is pretty good, but the version here isn't as good as the radio version or the version she sang at the end of the Tabula Rasa episode on Buffy (which is why I can't help but think of Tara and Willow each time I hear this song now).

As for the other songs, they are all pretty good. I think she could have had a lot more hits off of this album. I especially like "If Only She Knew". Some of the songs are a little poppy, but they are still good.

I recommend this album. It is a strong debut from an underappreciated artist. There are plenty of songs you can sing along to, and the songwriting is very good. You will be glad you gave her a chance.

ah...the spirit can u feel it?
this cd is beyond its time. her songs are heartfelt and sometimes teary. i own this cd and it is great. id rather is a really good track on the cd and also goodbye to you. buy this cd ... Read more

Amazon.com

Ben Harper makes elegant leaps from reggae to rock to folk to funk and back in his fifth studio album. The rootsy singer-songwriter with the silken tenor isn't merely genuflecting at the altar of his musical heroes, as here he shows more quirky imagination and inventive musicianship than on any of his earlier efforts. That said, "Diamonds on the Inside" is painted with the same brush that Bob Dylan used on "I Shall Be Released," but Harper adds his own Biblical aphorisms to make the song his own. Most of the songs display Harper's growth as a poet, as he ponders the dualities of life and love in tunes like the disturbing "Touch from Your Lust" and the disquietingly lyrical "Amen Omen." Harper is compelled to sing what is in his heart and to do what he can to make the world a better place. Witness the Marley-like "With My Own Two Hands." The only misstep on the whole disc is the overly humid orchestration of "When She Believes." --Jaan Uhelszki ... Read more

Reviews (115)

"When it's good it's oh so good.."
Soul, rock, funk, reggae, blues - Ben Harper's always basically stuck to the roots, but somehow made them sound fresh and vital all along. With Diamonds on the Inside he's branching out more than before, and even though there's basically nothing here we haven't all heard before, it's one tasty mix nonetheless. "Everything" and the title track are basically pop, as cheery and upbeat as you'd ever want to hear. "Touch From Your Lust" is the greasiest, sexiest R&B groove I've heard in a good long time. "When It's Good" and "Temporary Remedy" are burning grungy blues (of the acoustic and electric varieties respectively), while "Brown Eyed Blues" isn't; it's sunny reggae-fied funk instead, which gets topped only by (surprise surprise) "Bring The Funk" itself.

Lyrically this disc is filled with one predictable cliche after another, but that's probably not the point. Ben doesn't mind sharing his thoughts on making the world a better place, and you certainly don't need to wonder whether he loves Jesus, but if you don't mind such thoughts in small doses the lyrics here shouldn't become overbearing. What's clear throughout is that he's writing and singing straight from the heart. Countless people have sung about helping the world as Harper does on the opening track, but his performance is no less sincere because of it. Combine that with a set of strong songs as we have here and you've got a solid disc that'll appeal to all kinds of music fans across the board.

Occasionally the sound does seem a little well-trodden, which is why I leave off the fifth star. "With My Own Two Hands" is the kind of simple beat that's been used by every reggae artist since the dawn of time, and "Picture of Jesus" is buoyed by a beautiful African chant.. which I would have liked a lot more if it didn't seem lifted almost as-is from Paul Simon's "Homeless." But these are small quibbles, and Ben's virtuosity with a guitar (particularly when he's playing acoustic with a slide) makes for some wonderful moments throughout.

Many artists don't pull off this kind of variety in a decade, let alone an album, but Harper does; and for all the scope this disc covers, everything is still pulled off remarkably well. Roots rockers, don't hesitate to pick up Diamonds on the Inside if you're curious about the man (though not at the expense of Live From Mars). Whether you consider it essential or not, it's still a whole lotta fun.

Ben Harper does it again
I will start of by saying that this album is probably his third best, behind Fight For Your Mind and Will To Live. However, I consider those two albums to be among the best in my collection, so that 3rd place ranking doesn't really mean anything negative. The variety of genres that this album reaches, shows the amazing musicianship that Ben Harper and The Innocent Criminals have. Lyrically this is yet another amazing piece of work by Ben. Bob Dylan and Paul Simon are the two best lyricists I have ever hear, but Ben Harper is in my top five. This album has a lot of songs dealing with spirituality/religion, as well as a love motif running throughout. People say that this is a more mainstream album when compare to Ben's other albums. I wouldn't say that it is more mainstream than Burn To Shine, in fact, it is less 'pop'. And, if this is the direction mainstream music is headed, then I'm all for the change. Peace.

Diamonds on every tune
Thank God for Mr. Harper. He keeps getting better and better and stronger and stronger. From the Reggae anthem of the first song, to the sheer beauty of the final song, everything on this album is brilliant. What a great, great band he has. They jam out and transition to acoustic so superbly. Harper is a complex, genius of a songwriter who weaves wonderful tapestries throughout.
His politics, his religion, his insights sparkle like the diamonds he mentions.
The world is a better place with Ben Harper in the musical firmament.

Ben Harper is on a higher plane.
Ben Harper is that unusual artist who is a kick-ass musician and also has an important message to impart. He never shies away from deep and difficult issues. And as far as I am concerned Ben is the only real rocker out there today. Few things feel as exhilarating as the end of a Harper & IC show when everyone has left the stage but Ben's steel guitar sits in the spotlight screaming and hollering like Hendrix on a good day. Gives me goose bumps thinking about it!

So that sets me up to say that I recommend this album because it is by Ben Harper which automatically puts it in the "must have" category.

But it's not my favorite Harper release. I can't get it out of my head that Ben has made a remake of an old Paul Simon release. "Diamonds on the inside" reminds me of "Diamonds on the soles of her shoes" and Ben even takes it to the point of using Ladysmith for backup vocals. The subject of diamonds and Africa is still as poignant as it was 20 years ago, even more so. Our happy diamonds are covered in the blood of African people. But I wish Ben had not followed so closely Simon's effort. Paul Simon is the king of insipidity while Harper is as eloquent as a really eloquent thing.

My rating of 3 stars is only relative to other Ben Harper releases. Measured against most recorded music today this CD would rate 9 out of 10 stars. Ben Harper is on a higher plane.

Mostly good stuff, worth the buy
This release is not as good of some of his old ones (Fight for your mind, burn to shine), but its worth whatever they expect you to pay for it. Here's the my rating for each song:

1) With My Own Two Hands- 8/10: Very reggae-ish. I usually don't like singles that much, but this one is pretty good. Down point- once you play it more than 5 times you will get sick of it.

2) When It's Good- 7/10: This one is average with a southern type feel to it (as much as Ben Harper could do at least). Nice tune that just might stick to your mind.

3) Diamonds on the Inside- 9/10: Again, I don't like singles that much, but I think this one is my favorite. Nice lyrics and a good beat.

4) Touch From Your Lust- 7/10: More of a slower rock one. I like the lyrics, very poetic.

5) When She Believes- 7/10: Slow with guitar- Average.

6) Brown Eyed Blues- 7/10: This one is a mix of blues and funk (as it might imply). This one is simply average, ok lyrics, ok beat.

7) Bring the Funk- 8/10: As you guessed, this one is funky. Somewhat reminds me of Prince, but this one will get stuck on your mind with those beats (although the lyrics are pathetic).

8) Everything- 10/10: I really do like this song because it's sort of empowering. It is acoustic with a nice strong beat.

9) Amen Omen- 11/10: This is the best song on the album. It is a has a nice guitar rhythym and awesome lyrics, but when they are put together it makes a perfect song.

10) Temporary Remedy- 9/10: This one of two rock songs on this album, and this is the more classic rock type. Great song.

11) So High So Low- 7/10: I don't like this song that much, but this is a perfect example of what a rock song by Ben should sound like.

12) Blessed to be a Witness- 10/10: A slower song again, but it is a beautiful song. The lyrics will make you feel what he feels when you hear this song.

13) Picture of Jesus- 7/10: The background lyrics kind of sound is african singing (at first it kind of sounded like the lion king to me, but not in a corny way). This song does grow on you though, and it's pretty good.

14) She's Only Happy in the Sun- 9/10: Mostly just a guitar and Ben in this one(theres a little drums). It is a nice simplistic song that is nice to listen to. ... Read more

Reviews (475)

Unmissable
When 1996's 'Tidal' came out, it was clear that its' young vocalist was no flash in the pan. Despite an overall sense of gloominess and woe-is-me, Apple's debut was regarded as exceptionally stunning, drawing accolades for its' unmissable single 'Criminal' and the magical 'Sleep to dream'. It was thus no surprise that people anticipated her follow up album with sky-high expectations of it. In 1999, Apple unveiled her second album, the curiously titled 'When the pawn hits the conflicts...'. The full title actually works out to a mini-poem of sorts, and one that makes LSD-ish sense upon repeated reading. ...Rarely have there been albums where every single song is an unrivalled gem, but this is one of them (non-believers, you'd have to actually buy this CD to know what I'm talking about). Now, both sides of the Atlantic have sung their praises of this album, and I still can't get enough of it, despite listening to the album in its entirety over - literally - more than a hundred times.

The opener, 'On the Bound' is a contradictory anthem of deep longing - despite the fierce independent tone of the title, we find Fiona wailing 'You're all I need' with a passion quite unseen since Sinead O'Connor's classic howls on 'Mandinka'. The second track 'To your love' is a grand ode to love, with the songstress apologising for her seeming indifference - 'Please forgive me for my distance' she whispers. This particular track is very effective, and frankly, its almost bewildering how Apple hasn't got the recognition and album sales that she so obviously deserves. Honestly, don't people know how to appreciate good music anymore? As if to reaffirm my bewilderment, the third, and perhaps most gutsy track on the album, simply floors you. "Limp" which was an official single release from the CD early in 2000 works on all levels - musically, instrumentally, and lyrically. Gripping stuff.

"Paper Bag" and "Love Ridden" are in the same vein as many of the songs on 'Tidal', though the production values and lyrics are far better. Its apparent that Apple has evolved tremendously as a singer and songwriter, and 'A Mistake', another of the album's I'm-gonna-be-me-and-no-one-else tracks is highly reflective of this fact. One thing thats true of 'When the Pawn' is that it keeps reaffirming the Angry Young Woman image more so than 'Tidal' and the listener can get weary of this after a point. At places, its Apple's stunning talents as a writer that retain your interest in the song and not the music (like 'Fast as You can' - perhaps the most commercial of all the songs on this CD), but in most others, its a combination of innovative music and sheer lyrical poetry that keep you hooked. The final songs on the album are 'Get Gone' and 'I know' - both sung about a lover who could have done better, and these are among the slower paced, deeper tracks on the set. Not that I'm complaining. Fiona has proved time and again that shes a true master of the Love Ballad, and what better time to show off this skill?

'When the Pawn' is an album that you come out of feeling light-headed and enriched - something I haven't felt since Tori Amos' 'Under the Pink'. On second thought, that particular album actually left me with a headache, but it broke new ground, which is something that Fiona has done here. What affected me most about this set is that it gets you in a way no other collection of songs has done through the last year. I've listened to Eminem, played my old Rolling Stones records again, and yes, even bought Spear's 'Oops...I did it again', but I haven't ever faced an album with such repeat value. I couldn't possibly recommend this album strongly enough, so all I'll say is : You'd better buy it to believe it. Its an absolute must-have.

Extraordinary
Because of her self-protective attitude and refusal to exploit her looks (the exception being the "Criminal" video), Fiona Apple's second album didn't get nearly the attention it deserved. "When the Pawn" shows lots of growth from her already remarkable debut "Tidal". This time multi-instrumentalist Jon Brion handles the production (taking over for Andrew Slater, who produced "Tidal") and the results are fantastic. Exotic instruments and percussion beautifully back up Fiona's husky, evocative alto and piano playing. Lyrically, her songwriting is even stronger (although even more dark). The album seems to be a self-portrait of a young woman trying to take responsibility for her own pain and pathos, and having trouble relating to others as a result. Standout tracks include "Limp" (which makes Alanis' "You Oughta Know" seem tame and contrived in comparison), "Fast as you Can" (a hyperkinetic warning to a would-be lover), "A Mistake" (an ode to the growth that comes from taking the wrong path) and "Paper Bag". It's been almost four years since this album now, and I'm hoping Fiona hasn't given up on the music industry. Because whether or not Fiona needs the attention of performing, we desperately need real talent like hers.

So much anger in such a little girl!
Fiona Apple is pissed off! And that passion comes through loud and clear on tracks like Limp and Get Gone. While most songwriters struggle to be melodic, eloquent, even coherant in their anger and angst, Apple plays these emotions as well as she does her piano.

On the whole this is slightly better than her first album, more exciting and rhythmically interesting, though there are few tracks as good as Tidal's Sullen Girl or Shadowboxer. If you've never bought this because you were afraid it wouldn't live up to Tidal, fear not. Just because none of the songs got that much airplay doesn't mean a thing. This is definitely no sophomore slump. All I want to know is when Apple will release a third album. She is easily one of the most gifted and exciting musicians working today, and a far cry from all the manufactured pop princesses like Britney, Christina, Jessica, Mandy, Hillary and the like. Fiona Apple is above all, writing from her gut and singing from the heart. Don't miss out, buy this today.

Mesmorising Sophomore Album
Fiona Apple rose to notoriaty with her 1996 debut album "Tidal" (released when she was all of 19 years old), and then took 3 1/2 years to release her second album in November, 1999. It was well worth the wait, and the album sounds as good now as it then, if not better.

"When the Pawn" (10 tracks, 42 min.) delivers on the promise of "Tidal" and then some! From the excellent opener "On the Pound", Fiona delivers one standout track after another, and shows how much her songwriting has matured from "Tidal". Although her music is very different from Tori Amos, spiritually they are both on the same page. I can't help but notice, though, that Matt Chamberlain, drummer and side-kick for Tori's albums, drums on most tracks here too. If one has to pick out standout tracks in the album (there are no weak tracks truly), I will pick the angry "Limp", the enthralling "Fast As You Can", and the pensive "The Way Things Are".

One thing that stands out is how much Fiona's lyrics have improved from her debut album. This despite the ridiculous album's full title (which is a 90 word poet). It's been more than 4 years since "When the Pawn" was released, but supposedly a new album is in the works for later this year. "When the Pawn" was released in late 99 and I called it one of the best of 2000 (see my annual "best of" lists) simply because I felt its impact wasn't felt until then. It still resonates with me now as it did then. Just magnificent!

A Standout Album
I impulsively bought this CD after having listened to Tidal over and over. I had heard "Fast as you Can" and "Limp" back when teen pop was all the rage, but they didn't make me want to go buy the album itself. Then again, I did buy the Pokemon soundtrack, so what did I know? Not a lot, since this CD is worth every penny in its price.

This album is great in every sense of the word. I don't regret buying this album for one second. This is the kind of album that doesn't draw comparisons to other artists. It makes other artists be compared to you, and it's the kind of album every artist dreams of making.

Fiona sounds like she's been doing this for years. Not only was she very young, but it would have been easy for her to give in and make the kind of pop music that was big at the time. She didn't and for that alone she deserves credit.

1)On the Bound: a great album opener. One of my favorite songs on the album.
2)To Your Love: a really good song. Very uptempo and fast.

3)Limp: another one of my favorites. This song is fierce and it makes you afraid to be the man who inspired this song.
4)Love Ridden: a slower song. It keeps the momentum going.
5)Paper Bag: a strange and very good song.
6)A Mistake: probably my favorite song on the album. Very honest and unique.
7)Fast As You Can: I love this song. I love the changes it makes tempo-wise.
8)The Way Things Are: another one of my favorites. She really nails this song.
9)Get Gone: I love the chorus. This has some of her most clever lyrics.
10)I Know: a great way to end a great album. Very slow and reflective.

So there you have it. I highly recommend this CD. Hopefully, her next album will be out soon. It will be hard to follow up this album, but I know Fiona can do it. ... Read more

Amazon.com

Jewel's debut album, Pieces of You, reveals a special voice--strong and focused on both the whispery verses and the hooky choruses. The recording also exposes an unfortunate tendency to present trite, hackneyed sentiments as if they were oracular visions from a young prophet to a jaded world. For the most part, Jewel sings to her own acoustic guitar accompaniment, but she has a lot more in common with, say, the Indigo Girls or Lisa Loeb than with Judy Collins or Nanci Griffith. Despite her soft soprano and pretty melodies, her songs have an iconoclastic edge which make her more of an unplugged alternative rocker than a folkie. Her songs too often betray their origins as written verse in their hard-to-sing meters, unmusical phrasing, and diary-like pronouncements. Nonetheless, a few numbers, such as "Morning Song" and "You Were Meant for Me," show a spark of humor about romance, and hint that Jewel may yet write songs worthy of her remarkable voice. --Geoffrey Himes ... Read more

Reviews (316)

Step aside bubblegum music, this is REAL music
Jewel Kilcher is the real deal. She writes and composes her own songs, she toured like crazy to get the word of her around the street, and she don't do none of this dancing nonsense, like say, BRITNEY

POY is a great album. It start starts off with my personal favorite Jewel song- "Who will save your soul", and the songs go on- making for easy listening, background music. Not only are there the hit songs- "Who will save your soul", "Foolish games", "You were meant for me", but there are also the songs with energy/life- "Little sister", "Morning song" and the old fashioned love songs- "Near you always", and "Painters".

POY is an album that you can tell was not put together by the best of people. Some of the songs are recorded in coffee places. And granted, I don't like all of the songs. "Painters" is just too slow(and at nearly 7 minutes, the time adds up!)and the title track just aren't to my liking. But Jewel's beautiful voice does make up for that.

An EDA and proud of it

Well, Well
I heard mixed review about this album. Being european I hadn't exactly being thinking about Jewel or her music for that matter
because the main buyers for this album were Americans. She though re-released this album back in 1997 when of course all the world bought it. I listened to the song Foolish Games and I thought Why not give it a try. This was it about 3 or 4 songs on here were actually good the rest is bla bla. I don't know but seeing this woman in interviews and live. It seems that she needs something really important to talk about. Well some of the lyrics are bit nice listening to. But this whole talk about her being this alternative sensation makes me wan't to scream. I mean this album hit top 5 and sold 11 milion copies in the USA alone and contained I believe 2 #1's . Although Alanis Morsette's Jagged Little Pill did that well too even better she wasn't just called a great alternative musician but a great mainstream too. I give it two stars for the singels and two other songs on the album.

Peices of You
I found this album buried in my parents CD collection and fell in love with it as soon as I turned it on. Deffinatly a moving and in depth album. Jewel stands back and takes a look at what we are doing wrong and the positive things we can change it with.

Save your soul: Nice beat deffinatly goes into the human mind and life explaing how we think and act and how we can change ourselves for our own benifit. 3/5

Peices of you: The lyrics are so simple ,yet if you think about it, are compelling. Its on how we judge people on how they look or what they do and how in the end they are not that different from us. 5/5

Little sister: More to the teen side of life on how we get addiced to like and comforment 2.5/5

Foolish games: Funny everyone seems to love this song. Its fine for me but not inspiring or anything. The melody is nice but...deffinatly I think not the best on the CD. I need moving lyrics and these just don't do it that deeply for me. 3.5/5

Near you always: Cute and simple explaining on how much she is in love and is afraid she can't let go. One of my favorites. 5/5

Painters: Not inspiring but beautifully written paired with absolutly beautiful music it make a tear jerker. One of my fav songs. Its a love story we all aspire for 5.5/5

Morning song: Fun and brings up the mood after painters. Its every lovers dream saterday morning. 5/5

Adrian: Simple and childish. It gives the illusion of that anyway. Another sad story on loves loaylty and streangth. 3/5

I'm sensitive: I personaly think this song is hilarious. I picture two 12 year old kids having a make-believe and deep conversation most adults have trouble with. 5/5

You were ment for me: Once again another popular one which is fine but not my favorite. Although I enjoy listening to it very much. Its soulful music and notes touch my heart almost physically. 4.5/5

Don't: Anxtious and shy and full of an underlying pain. I like the music more then the lyrics. 3.5/5

Daddy: No one likes this one cause its raw and emotional. I enjoy her ability to say how she feels and put pure emotion into her song and bring them to life in a way no one else can. How she sings show she is part of the song and not just singing it. 4.8/5

Angel standing by: Musicbox like, it floats above you like, well, an angel. Pure love and devotion echo in her lyrics and beautiful voice. 5/5

Amen:I like the tune and music, unfortunatly I can't understand all of the lyrics. I like parts of the song but I adore part of it as well. Its moving and deep and even though I can't understand its true meaning it still effects me. Her voice purity is shown in pure excellence here. 4/5

Fantastic Debut
I've always been a fan of Jewel, but until last year I didn't even own this album. I had Spirit, This Way, and 0304, but I never got around to getting this CD. I had heard that the big hits from this album didn't sound the same as they did on the radio. But after listening to 0304, I wanted to hear how Jewel sounded on her first CD. I'm not saying I didn't like the direction Jewel's music had taken, but that's something for another review. I bought this album and I have loved it ever since.

The production on this CD isn't top-notch. Many of the songs were recorded live, giving them a rougher feel than you'd expect. Having said that, I think it is that imperfectness that makes this such an enjoyable CD. Some of the music made today is too glossy for its own good, and it's nice to hear music that sounds like the artist is playing right there in front of you rather than making it sound perfect in the studio. Don't get me wrong, I do enjoy that kind of music, but occasionally you want to hear music like this, and it doesn't get much better than this CD for acoustic music.

Some critics complain that Jewel's earnestness and sincerity makes her music unenjoyable. I feel that Jewel really means what she's saying on this album, and to me, that is enjoyable. You can tell she really feels the emotion in each and every song on this album.

As for the singles being remixed to appeal to a bigger audience, obviously that paid off because people continued to buy this album even after they heard that. Simply put, this is good music and it deserved to sell millions of copies. The other songs are also very good. Songs like "Painters" and "Adrian" tell stories that really move you, and others like "Little Sister", "Daddy", and the title track really make you think. Jewel sounds terrific on the hymn-like "Angel Standing By". Anyone who says she has a bad voice should listen to that song, because she sounds great and, yes, angelic on it.

I highly recommend this album. Jewel would go on to perfect and refine her sound, but to me, this is her best album because this is the one I listen to the most. Jewel has so far not enjoyed the kind of success she had with this album. Sometimes great CDs sell millions of copies, and this is definitely one of those cases.

A Gem of an Album
This album is truly a mixed bag. It has sweet 90's pop confections like "Morning Song", "Near You Always" and "I'm Sensitive", and then suddenly changes gears and moves into brutally honest and moody songs like "Pieces of You" and "Adrian". The real highlights of the album are definitely the darker ones, as they are the ones with the most substance. Some of the best are songs like "Painters", which has a subtle sadness to it, and never fails to bring a tear to your eye even after you've heard it 80 times. "Adrian" is a haunting little tale of a boy in a coma, but the song never seems to get old. I've had the album for years and this song always leaves me with a bit of a chill. The gems on this album are those songs that just irritate and disturb you a little bit. You find yourself thinking about them long after the song has ended. They make the album hypnotic, and when paired with cute fluff like "Don't", the album takes you on quite the emotional roller coaster, but a very pleasing one at that. From its gloomy material it seems like Jewel thought why not add some sickeningly sweet stuff to cool people down after an angry, gritty self-portrait like "Daddy"? There is a slight battle between the sweet and the sad, but basically in the end these songs balance each other out, making for a great album. This may be one of Jewel's best. It shows her versatility and showcases her poetic songwriting and great guitar work. She's brutally honest and morose and real, and it definitely showed that she had some amazing skill.

This is the reason why I couldn't believe my eyes when in the past year she had gone from being what felt like a real musician with opinions to a sweet pop-tart. She had never been a real teen idol, and for obvious reasons, her first albums being so mature. But last year, with her pop hit "Intuition" and her new image as a sweet, cosmopolitan, pop culture icon, she had become everything we were glad she wasn't when "Pieces of You" came out in '94. Thank god her songs are preserved on this album. It truly is great. ... Read more

Reviews (306)

Honest, powerful, beautiful, and meaningful
Although Little Earthquakes is Tori Amos' first CD, it is also her best. As much talent and innovation as she has shown in the years since this album was released, she has yet to re-achieve the well-nigh perfection of her initial offering. These songs utilize beautiful music, raw emotion, and lyrical poetry to address a wide array of issues, ranging from rape to relationships to religion. Tori's style is uniquely her own, and the contrasts between soft piano-playing and abrupt emotional outbursts of strident notes, instruments, and words are incredible. No one bares her soul through music as forcefully as Tori. This is best exemplified by the a cappella performance of "Me and a Gun," which deals with Amos' own experience of being raped. These songs are all about empowerment, courageously finding one's voice and taking control of one's life.

"Crucify" is probably the most recognizable song on the album. Its message is one of freedom; too often people restrict themselves out of the fear of being laughed at or judged unfavorably; and Tori preaches that you don't have to wallow in your self-guilt and suffering in order to achieve happiness. "Silent All These Years" suggests a life spent with an abusive or insensitive partner and the self-imposed exile and voicelessness such a relationship can lead to. "Winter" deals with standing on one's own two feet, believing in oneself, and bravely striking out in a world without your father's constant protection. "Mother" strikes a similar theme, evoking images of a caring mother pushing her child out of the nest and helping it begin a new life of its own. "Tear In Your Hand" is an anthem of self-discovery in which Tori tells the man who is leaving her for another woman that she is more fascinating and powerful than he has ever taken the time to realize. In "Little Earthquakes," Tori cries out for both life and pain, realizing that a full life by necessity includes both the good and the bad. "Girl" carries the message that you must be true to yourself, that if you live your whole life trying to please others and ignoring your own desires, you will go crazy. "China" explains how two people can gradually grow apart over time. "Happy Phantom" is a fun little jaunt in which Tori looks forward to forgetting her earthly troubles and becoming a ghost, but it ends on a more serious note about the limited lifespan of memory. The real prize of this CD is "Precious Things," an intensely emotional song hearkening back to days of unrequited crushes, cruel individuals, and adolescent pain; the message is that you must forget the painful memories of your past in order to become your true and ultimate self.

These songs may mean different things to other people, and it is almost impossible not to discover new hidden insights each time you listen to them. Tori Amos truly bears her soul for all to see on this CD, and we can all benefit ourselves as a result of her efforts. Tori Amos is a unique musician, and her music will not appeal to everyone, but this album is much more accessible, particularly lyrics-wise, than her later releases. As far as I am concerned, this is the greatest CD ever produced by any musician.

Debut Confessions From The Anti-Diva
Tori Amos delivered her stark confessional breakthrough, "Little Earthquakes", in 1991 to great critical acclaim. Now, almost ten years later, her major label debut retains all of its brooding minimalism without sounding dated or trite. The music has a spare, haunted quality similar to that of Suzanne Vega's first album and her lyrics speak of deep emotional scars created by personal trauma and lovesick heartbreak. Though it didn't sell as much as subsequent records, "Little Earthquakes" yielded several well-known singles, including "Crucify", "Girl" and "Silent All These Years". Each of the twelve songs are bound by a common thread- a woman's attempt to find and nurture her true identity, an identity that has been suppressed by the male-dominated heirarchy of social and sexual power. If Emily Dickinson were still alive today, one can imagine her sitting complacently, staring out of the room she never left at the world outside, and listening to "Little Earthquakes" as though it were her own diary turning into sound waves around her. Personal Favorites: The brutal self-examination exemplified in "Crucify" and the emotionally-charged breakup song, "Tear In Your Hand". Representative Lyrics: "She's been everybody else's girl/ Maybe someday she'll be her own" ("Girl"); "So you found a girl who thinks really deep thoughts/ What's so amazing about really deep thoughts/ Boy you best pray that I bleed real soon/ How's that thought for you?" ("Silent All These Years")

classic & amazing but slightly overrated.
on toris "debut" (disreguard YKTR) she makes a classic & breathtaking record that has won me over. & if you do notice i did give this albam 5 stars because that's definatly what it deserves.

but...

i don't understand why a lot of tori fans are so obbsessed with this one oppose to her ABSOULUTLY AMAZING later works such as boys for pele, chiorgirl, to venus & back, strange little girls, & scarlets walk.

i can understand why fans love under the pink so much (i do myself) because it is one of the most beautifully constructed records ever made. but little earthquakes falls kind of short is a lot of places although it's still amazing.
if i were introducing soemone to tori, this would not be the fisrt record i'd play for them. the first one i'd play would be chiorgirl & then under the pink.

don't think i'm bashing little earthquakes, because i'm not. its just that her later works are sooooooooooo good.

Tori is a piano goddess
'Little Earthquakes' is seriously one of the only albums I have come across that you can listen to start to finish every day without getting sick of it. It's brilliant, fresh and sexy all at once.

Crucify . an excellent opening track, beautiful lyrics, I especially like 'I got a bowling ball in my stomach, got a desert in my mouth...' excellent vocals.

Girl . a different pace, the vocals are amazing, the chorus shows off some of Tori's higher range.

Silent All These Years . slow song, beautiful lyrically.

Precious Things . one of the best piano driven songs, the beginning is haunting with Tori's rasped hushes. A story like song.

Winter . a nice slow song, peaceful and very beautiful, a visual song, it takes you through a wintery scenery.

Happy Phantom . takes on a different pace, if you have 'Scarlet's Walk', this reminds me a lot of 'Wednesday' in a ghostly way.

China . slow almost tragic like, I absolutely adore the lyrics.

Leather . starts off with one note piano key then Tori's sad/sarcastic/drooping vocals come in, the opening line hooks you: 'look I'm standing naked before you ... don't you want more than my sex'

Mother . my favourite song by Tori, ever. BEAUTIFUL, PERFECT.

Tear In Your Hand . 'maybe she's just pieces of me you've never seen' - perfect song.

Me And A Gun . sad, tragic story about rape, acapella, this song could bring anyone down.

Little Earthquakes . a nice ending, a slower song, beautiful lyrically, vocally and musically.

In all, this is a perfect album.

Impeccable and Goergous
This album is so beloved to me, so inextricably entwined with my personal mythology; with nostalgia, with memory, with years gone by, that I don't even know if I have the ability to review it objectively. As an independent entity, though, it is an extraordinary accomplishment, and contains most of the songs Tori Amos is known for and will be remembered for. Conversational, intimate, bitter, down to earth, yet soaringly poetic...all these descriptions encompass the breadth of these 12 debut songs. Highlights include "Silent All These Years," perhaps Amos's most famous song; the exquisite "Winter," the searing and vengeful "Precious Things," "Tear In Your Hand," and the title track, "Little Earthquakes." It is accurate to say that this is Amos's most accessible album (if indeed that definition is relevant to the nearly subconsciously channeled intricacy of her genius); contrast the obvious meanings of songs like "Leather" and "China" with the automatic-wrting poetics of "Mother." Most of Tori Amos's lyrics can, in fact, stand alone as poetry...most notably in the wrenching "Me And A Gun"...which is a phenomenon rare in music, a medium in which the power of the lyrics is usually only brought out by the accompanying power of vocals and instrumentals. But with lines like "Me and Jesus/a few years back/used to hang, and he said, 'it's your choice, babe...just remember, I don't think you'll be back in three days time...so you choose well" you can't go wrong. There's not enough I can say about this album. It's brilliant. ... Read more

Amazon.com essential recording

Recorded mildly better than his debut (Roman Candle on Cavity Search), the self-titled second solo album is one of the most understated and incredible albums to emerge from the indie-rock scene in the 1990s. With his nimble picking fingers behind him, Smith writes sad, little songs about drugs and romantic codependence that border on the obsessed. "Needle in the Hay" and "The White Lady Loves You More" are exemplary tunes that fuse the Beatles' pop sense with Neil Young's sense of doom. Lying in his own burned out basement, Smith can rough up the gentlest love song with a few salty words of choice. --Rob O'Connor ... Read more

Reviews (54)

Geronimo
It's PINK MOON with a needle in it's arm. Or imagine the whispery sordiness of "Sunday Morning" Lou Reed, only all on a lonely acoustic guitar. It even touches on the maudlin side of BIG STAR. And all without coming across as derivative. If you're a fan of any of the aformentioned, ELLIOTT SMITH is the perfect fix.

After hearing all his other albums, "Needle in the Hay" remains Smith at his haunting best. Lines like, "drink yourself into slo-mo/ made an angel in the snow" should make "Clementine" an all time favorite(as well as bring a smile to your kiss-less lips). Drug references abound & "The White Lady Loves You More" has to be one of the most heartbreaking songs about chemical dependency I've hever heard. "The Biggest Lie" is enough to make you play the whole thing over again. While not my first introduction to Elliott Smith, this one certainly left me with a lasting impression. Melancholy to say the least, but not enough to make you want to hang yourself in a garrett. A tourniquet for the soul, so to speak.

Elliott's Best
While Amazon[.com]'s reviews don't do the following statment justice, the self-titled "Elliott Smith" rarely gets the praise its successor "Either/Or" does. Strange, considering many of the followers of Mr. Smith prefer the dark and unique tone of Elliott, best embodied on this sophomore, (NOT SOPHOMORIC), solo release. A brilliant album, this record has what is unquestioningly the best in fingerpicking the accoustic-Elliott has to offer. Songs like "Southern Belle" and "Christian Brothers" are Elliott's finest in arangement, instrumentation and melody as Elliott finger-picks his way to musical ingeniousness. Intense, accoustic tracks and driving, serious lyrics are the halmark of this brilliant LP that often overshadow the amazing if tangential melodies it has to offer. Fans of other Elliott records of course must indulge in the record, and Elliott beginners won't fail if they start here.
Among Elliott's first 3 records, which fall largely under the "accoustic" label", here is the best one. Unfortunately, its lack of stand-out song and overall genius has relegated it to its weakest of Elliott LP's designation, (among "fans"). Believe not what you hear: those opinions stem from a well-guided but confused populous. Buy and enjoy "Elliott Smith."

Excellent!
This is pure Elliott Smith! I highly recommend this.

the most private album i've ever heard
it really is like elliott is playing just for you. on this album in particular, smith's voice is so warm and affecting you feel him holding your hand and so cool and hurt you WANT to hold his hand.

i love this record. i have for sometime. elliott smith was a fine musician and, from what i understand, a very fine, though lonely, person. either/or is his masterpiece, but every recording of his is something you want to hold on to as all your own. you'll love it with a ridiculous passion.

sleep well, elliott, your listeners miss you dearly.

Elliot Smith
If he had lived, his music would have just kept getting better. Some people call Either/Or Elliott Smith's best, but I must dissagree. This just might be the most wonderful thing I have ever heard. Every single song is great and wonderful. His voice is so soft and peaceful, I feel as if he is sitting next to me, and playing his guitar in a mini-private concert, just for me. I really love Elliott's music. Buy this album before you buy anything else by him. Rest In Peace, Man. ... Read more

Amazon.com

How can someone so unpredictable behave so predictably? Every time PJ Harvey releases something sophisticated and clean like 2000's Mercury Music Prize tipped Stories From the City, Stories From the Sea, it just about guarantees a contradictory follow-up album is around the bend. Her ambitious 1992 debut, Dry, inspired the bitter death rattle of Rid of Me. Her third offering, 1995's elegant To Bring You My Love, gave way to the stormy Is This Desire?. Harvey's sixth solo album, Uh Huh Her, doesn't disappoint. It's a nasty riposte to the success of its predecessor, built on grubby blues-punk riffs and the brooding, primal howl that Harvey uses when she wants to impersonate a she-wolf. Some of it seems disappointingly remedial ("The Letter," "Cat on the Wall"), but the best material ("The Desperate Kingdom of Love," "Who the Fuck?") just reconfirms that no matter how raw the British songwriter serves it up, the beauty of her work is undeniable. --Aidin Vaziri ... Read more

Reviews (65)

..."Look what you're doing to me..."
I am constantly, constantly amazed by this woman. I can't put my finger on just one thing about her that makes her music so brilliant and captivating, its a swarm of things. This album is so beautiful. Its a total oppositve of her last labum, yet its just as compelling and seems even more personal. I think she's pouring herself out completely in these songs. On top of that, her voice is possibly the best its ever been- and that's just hard to grasp, considering she has one of the most powerful voice I have ever heard.

"The Life and Death of Mr. Badmouth" kicks it all up with a fantastic guitar riff and her raw, in-your-face words, and that amazing voice. I can't get this song out of my head. "Shame" is really beautiful, and her voice sounds almost child-like on a few of the tracks, like "The Pocket Knife" which is a song about someone lamenting the woes of getting married. Could be her, but who really knows...

I'd say my personal favorite tracks are "Its You", "The Desperate Kingdom of Love" and "the Darker Days of Me and Him" FOR NOW, but I just started listening more to the "Slow Drug" and I can't believe how amazing it is. PJ totally, completely delivered folks. Ignore all the bad reviews. This album is brilliant. Its a winner all the way.

Uh Huh Her ¿ The Unhappy Medium
PJ HARVEY"S MOST INTIMATE RECORD TO DATE.

"Uh Huh Her" PJ Harvey's follow up to the ultra-polished, almost glam "Stories From the City..." follows the loud/soft, lo-fi style, guitar-riffs-ripping-out-heart-strings of her earlier recordings to a certain extent. The first thing noticeably different about this record before even popping it into my CD player is that instead of photography by Maria Mochnacz the cover art and insert graces candid self-photographs by Polly herself. (Maria and Rob Ellis do the artwork) The main sound of the album is mainly a fusion of quasi-bluesy punk rock with a little sprinkling of folk and a smattering of ambiance for lack of better words. It sounds like it was made in a garage, it is raw, it is rough and it is essentially PJ Harvey updated for 2004. It may lack the smoothness and polish of her last album that won critical accolades, but there is something primal, precious and direct about it.

It has been my pleasure to listen to the musical evolution of PJ Harvey. Her lyrics are still minimal to a point, but much more coherent and lucid than they ever were before. Her voice is more trained, but still has the ability to be unhinged at the drop of a hat. She has the incredible gift of expressing and weaving any given emotion into her music to the point that the song is a core of something far more powerful and that few artists ever have that talent. It's obvious that she has lost her rose coloured glasses of unbridled optimism but she can no longer back track to the days of screaming at someone to measure her... Uh Huh Her is in the space between the two extremes.

Uh Huh Her is a transitional album. There is anger but twinged with more regret than absolute bitterness. It is a very introspective album and more about understanding and reclaiming herself than exorcising any blue-eyed demons.

I was very surprised to see all the negative reviews of this vibrant, painful, and darker album. It is very solid, not at all boring, and just another step in her evolution as musician. I for one know that this album will be in steady rotation in my CD player for quite some time.

The Life and Death of Mr. Badmouth - A great choice for the opening track. A rumble almost gleefully angry track.
Shame - Very hypnotic and darkly beautiful guitar ballad. A song I can listen to on repeat.
Who the F***? - Probably the best song on the album. Why? It just rocks.
Pocket Knife - Plaintive song about marriage and how fast time passes.
The Letter - Slightly ominous and appropriately luddite - full of caveman moans and vintage echo effects and heavy guitar.
The Slow Drug - Sparce lo-fi downtempo. Wistful.
No Child of Mine - Short and rough ballad.
Cat on the Wall - Reminds me of Sonic Youth for some reason! More experimental and flanged out. Layers of sound.
You Come Through - Chunky, melodic and hopeful.
It's You - Kind of punk karaoke sounding, it's a hang-over of a song, timid in parts and dull-edged licks.
The End - Simple instrumental that sounds like it should be in an indie soundtrack.
The Desperate Kingdom of Love - Somehow it sounds catharic for her, like a soothing balm. It reminds me of an understated hymn.
The Darker Days of Me & Him - Asian-inspired, ethereal voice, and regretful. Sort of a sonic ace bandage.

A very disappointing effort.
This is my 6th PJ Harvey cd. And it's probably my least favorite. I waited awhile before I wrote this review. I wanted to have a chance to listen to this cd many times and absorb it. I'd read many other reviews here that said the cd would grow on you after awhile, so I wanted to be fair before I wrote my opinion. I've probably heard it about 10-15 times now. And I think no more favorably of it now than I did when I first gave it a listen.
Let me start off by saying that if I were judging this cd on it's own merit, I would probably give it 3 stars. The first 5 songs here are nice (not great or that memorable though). The rest of the cd is just really a watered-down version of what this genious is capable of. BUT, I'm judging this cd in comparison with the rest of PJ Harvey's catalog, and it just doesn't stand up.
I know there are a lot of people out there who really like this cd, so maybe I'm missing something...but my honest opinion is that this is the weakest of her albums. I love PJ Harvey. I think To Bring You My Love is the best cd of the 90's--hands down. But Uh Huh Her doesn't even make a blip on my radar. It's forgettable and expendable. Too much filler and not enough substance.

Uh huh... huh?
One of the biggest problems with a brilliant early career is that everything after it gets compared unfavorably. So it is with "Uh Huh Her," the latest by now-legendary PJ Harvey. It's too light and soft in places, but midway through Harvey's deliciously abrasive rockers burst on through.

It starts off with "The Life and Death of Mr. Badmouth," an awkwardly ominous song followed by the poppier "Shame" and "Pocket Knife." But Harvey hits her stride with the hilarious, snarly "Who the F*ck?", the dirgelike "Letter," and the dizzy, staticky "Cat on the Wall." After a forgettable pair of ballads and befuddling track of seagull noises, Harvey closes the album on the steady "Darker Days of Me & Him."

Harvey is something of a rock legend now, with her rough wailing vocals and bluesy-punky-rocky riffs. In "Uh Huh Her," Harvey seems to be taking a different road -- her songs are somewhat poppier and less raw at times, but she proves she can still blow us away with her unpolished gems.

Harvey's voice changes from a rough howl, to a murmur in "Pocket Knife." She's pretty solid in either, but she sounds uneasy in the softer songs, like she isn't sure whether it's working or not. But she sticks close to the angst, anger, and the darker ponderings that she does well. And her solid riffs are just as versatile, ranging from mournful to vaguely folky.

When Harvey's writing is good, it's very very good. And when it's bad... well, it's mediocre. She manages a subtle, erotic longing in "Letter," where she sings, "Can't you see/In my handwriting/The curve Of my g?/The longing... Wet the envelope/Lick and lick it." On the other hand, there is the flaccid "Dancing in circles on the kitchen floor/I'll play this song 'til I can't take anymore." Okay, whatever.

PJ Harvey isn't in her best form in "Uh Huh Her," but she does produce some solid, memorable songs that earn the "repeat button." Spotty but worth checking out.

Worth The Wait
If I had to summarize this album in one word, that word would be "witty." If given a few extra words to throw around, I'd go so far as to describe this album as raw and defiant, yet tender in a don't-mess-around kinda way. That's the PJ whose return I've been awaiting. She took the best parts of Stories From The City, and brought it back to her Rid Of Me & To Bring You roots. She sings of lips tasting of poison and washing mouths out with soap and it hits me right in that part of me that loves all the things I know can destroy me. PJ Harvey is every girl. She's dirty, she's pure. She's tender, she's badass.
She taunts: "Wash it out, wash it out, wash it out"
She screeches: "I'm not like other girls; you can't straighten my curls"
In a brilliant letterwriting metaphor, she moans: "Wet the envelope, lick and lick it, Ohhhhhhhhhhh"

People have speculated that this is her breakup album to Vincent Gallo, but I don't know that for sure, and it really doesn't matter. Because in the end, anyone who's ever had to give up something meaningful can relate to the vulnerability and raw emotion displayed throughout this album. Only thing missing is a cameo by Thom Yorke :-) ... Read more