Amazon.com

A member of the band Heatmiser, Elliot Smith recorded home demos on any equipment he could get his hands on. His first "solo" album is a cheap four-track home recording that hints at the melodic possibilities Smith would explore in greater detail on subsequent releases. The title track is remarkable but with four songs referred to in sequential order as "No Name #1," "No Name #2," etc. ... the inspiration isn't always fully firing. Blessed with a quiet angelic voice and a lyrical mind that easily transforms the squalid details of everyday life into something worth hearing about twice, Smith stood on the verge of getting it on. With his next, self-titled release, he did.--Rob O'Connor ... Read more

Reviews (30)

Can't understand why it's rated lower than the others
I know that all albums, especially when compared by fans of an artist, come down to a matter of opinion, but I feel compelled to give mine: this is my favorite.

I own all of Smith's album releases and treasure them all, but while most people seem to rank Either/Or first on their lists, I put it at least third. It's just how I feel about the songwriting. Roman Candle is the second of his that I heard and the one I most often go back to. Here's why:

It's not the under-production, because I never really care about that. It's the simplified suggestiveness of the songwriting that tells you he can do more, but he knows he doesn't have to. The non-specific song titles (No Name #1) have never bothered me because they speak so well for themselves. It's not a long album, but it's strong from start to finish. It seems to reach its climax at "Last Call," a tremendous song by any standards, and then delivers the instrumental "Kiwi maddog 20/20" as a sort of afterthought. That last one is in a style that's hard for my friends and me to typify. And that lack of type is what makes this album so great to me.

It is his debut solo work, as far as I know, and it certainly sounds like a man finding his voice, which is not to say he is less than qualified (as my rating of 5 stars indicates) but rather he is new in his confidence as a writer.

Simply put, it's fantastic. There are few albums I can recommend as strongly.

Different and gorgeous.
Like a previous reviewer, I don't understand why this would be rated even a 10th of a star less than any of his later releases. The recording is not as "slick" as any his later albums, but as is his way, Elliott turns the 4 track to his advantage, though he said it was a "complete mistake" that it ended up sounding this good.

Some of these songs were written when he was still a teenager, a testament to his natural talent. I would not consider the straight-forward lyrical lines to be any less poetic than his later writing. He sets down some themes on this record wich he revisits again and again on later albums from different angles.

Everything about this album is unique.
The guitar work is beautiful, and distinct, the sounds, while limited by the four-track, resemble (after a manner) his later big-studio releases. Anyone who says this sounds like Simon and Garfunkel or Nick Drake is grasping at straws, because so little music of this nature finds the light of day. Elliott eschews typical folk sounds and chords, preferring (for lack of a better metaphor) to make chairs that stand on three legs, instead of four.

This album is not garnish to his other releases, it is key.

Simply amazing
Just one of the best quiet albums by one of the best artist of this era and probably one of the most underrated artists of this era.

Pure Genius!
Roman Candle is one of the best CD's I own. Elliott Smith has his own unique sound. When you hear his music you automatically know it's him. Although he has a distinct sound, no two songs on this CD sound the same.

Unlike many other artists, Elliott Smith's lyrics are meaningful and well written. When you listen to Roman Candle you really feel like you know him. And everyone, at one point, can relate to his words. Not only are they great songs, but they are all written and composed by him. Each and every track on Roman Candle is creative and original.

definitely one of the best albums ever
not only is this his best album it one of the best albums ever it didn't take more than once to love it i think it will stand up to the times for years to come ... Read more

Amazon.com's Best of 1999

There's no way to offer a shortcut description of what Beth Orton sounds like. There are so many musical styles pulsing through Central Reservation--jazz, folk, pop, rock, and dance--that the album could easily have ended up an empty exercise in genre-hopping.Instead, it's a bracing example of mongrel music at its best as Orton carves out a new musical vocabulary with deep roots in familiar sounds. --Keith Moerer ... Read more

Reviews (150)

Haunting, revealing, compelling
I bought this CD having heard "Stars All Seem To Weep" on the "Back to Mine" release from Everything But The Girl. Ben Watt, an accomplished jazz guitarist, arranged and produced that track for Beth, hence its inclusion on the "Back to Mine" compilation.

I was entranced, to say the least. And knew I had to have "Central Reservation".

There's something about Orton's writing that is very compelling: visual, honest, visceral. The oft-quoted lyric from the title track "And I can still smell you on my fingers/and taste you on my breath" is gripping, graphic. But the soft understatement of "Sweetest Decline" ("She weaves secrets in her hair/her wispers are not hers to share/she's deep as a well") left me reeling. The swell of orchestration is an unexpected - and perfect - counterpoint to the bare bones structure of the tune. It's no exaggeration to say I was left with my head spinning.

There is much about the album that renders it a very personal experience for the listener, as much as it is obviously personal for Orton. No manufactured "Bye Bye Bye" schmaltz here. One gets a true sense of the songwriter here, which is very rare with today's typical overproduction.

This is one of those albums I keep for myself, for late nights, long drives, headphones. You may very well feel the same after connecting with "Central Reservation".

Haunting, beautiful, mesmerizing
I was coming back from England and this CD was being previewed on the plane. Not wanting to leave England and come back to real life, her songs were a perfect accompaniment to my sorrow, especially "Central Reservation." I got back and I looked everywhere. All the on-line services took too long to wait for this melodic genius. Now that I have the whole CD.... WOW!!!!! This album is a great mix of vocals and lyrics. Her "Sweetest Decline" and "Stars All Seem to Weep" are exceptional. She is poetry, her music a versatile mix of blues, pop, folk. Her voice ranges from sultress to forlorn and love lost. Her voice is rich and deep-- a definite change from the high whine becoming popular among female musicians today. Not a diva-- something extraordinarily more beautiful. Her lyrics ask you to think as you follow their poetic journey. It is a pensive journey, but I find that I can fall asleep to the CD as well. I look forward to listening to Trailer Park. Beth Orton provides us with a beautiful musical opportunity. Since I just checked out the guidelines... I would say that the closest artist I can think of would be Tracy Chapman as far as artist voice quality.

Stunning followup; worthy of full price purchase
Amazing. The first time I heard this album, it was like a cliche you might see in a movie. An incredibly long, lonely drive down a deserted two lane highway from Albuquerque, NM to Durango, CO. Moonless night, clear sky, hundreds of miles from any major light source, I was listening to this album, looking at the night sky. This album sunk its teeth in, a haunting, bittersweet group of songs perfect for reflection, comptemplation. This album succeedes on so many different levels to become, in this humble reviewer's opinion, an instant, timeless classic.
Listen to the emotional/thematic changes between 'Stolen Car' and 'Sweetest Decline'. The stunning, shimmering, phenomenal 'Pass in Time'. The duo between her and Terry Callier has made it into the ist of my favorite songs - people hear this one and ask me 'Who IS this? WHAT album is this?' Any album that elicits such an emotional, immediate response from so many different people MUST be doing something right.
Buy this album, you will NOT be disappointed.

great CD
Wonder why more people don't know about her.

Brilliant relaxing music
I love this CD. My musical taste ranges from classical through the keyboards of Jean-Michel Jarre to the techno of The Chemical Brothers. When I put this album on, I relax.

It has shades of other works, for example "Pass in Time" reminds me of Carole King's "Tapestry" album when she duets with James Taylor.

Beth's voice has a vulnerable edge to it. She sounds as if she is singing from the heart and she is hurting from something. It adds an edge that makes me pay attention. ... Read more

Amazon.com

It's easy to see that Jewel wants to lighten up. With two previous multimillion-selling albums (and a couple of much-scorned but popular books) filled with earnest, clueless revelations behind her, the singer-songwriter comes a little closer to ground with This Way. "Give it hell 'til the end," a former compatriot urges her on "Till We Run Out of Road," her version of Jackson Browne's "The Load Out." Could that be a hard-bitten road warrior deep inside the woman who makes a point of pronouncing the O's in the opening line ("Mirror, mirror") of this CD's "Serve the Ego"? Maybe. But despite her icky streak's spread to cutesy jokes ("Jesus Loves You"), Jewel hasn't quite abandoned her old judgmental ways (in "I Won't Walk Away," she spies a couple "resisting being one") and ambitions to, you know, really say something, as in the "Desolation Row"-lite "The New Wild West." Still, with some nice, if bland, arrangements set around her, This Way is the Jewel album most likely to appeal to Jewel non-fans. --Rickey Wright ... Read more

Reviews (301)

a perfect Jewel
I've been a huge Jewel fan since her first single years ago, so it's no surprise I couldn't wait for the lastest release, This Way. I was concerned when so many people said she had changed and was country or abandoning her artistic ideals, but the CD proved all of this to be false. Jewel is talented and shows all of those talents on this 3rd album. I'm not caught up in labels and don't think she is either. Her music is growing and changing like all good art does. I love the wide range of the emotions and beats and words on this album, it takes you to all levels and never dissappoints. But I felt the same way about her other albums, Jewel's never been someone who fit easily into any catergory, perhaps that's why I like her so much.
Highlights from this 3rd album are everywhere, but to name a few of my favorites:
"Standing Still"- the first single is so amazing and I can easily relate to the emotions expressed
"Jesus Loves You"- provides what I think Jewel does best, express her political and social views through her music
"Serve the Ego"- this such an awesome song, very different and it has a cool international feel
"Love Me, Just Leave Me Alone"- this is my favorite song on the album it's got everything, awesome words and great music, it proves Jewel could be a hardcore rocker if she wanted
I highly recommend this album for all Jewel fans, you won't regret it.

Finally, a solid release from Jewel!
Okay, I'll be honest. I am a Jewel fan, and would probably listen to her reading the Oxford dictionary. That said, her first two albums, Pieces of You and Spirit, were far from perfect. Pieces of You was understandly amateurish and rough-edged, while Spirit was too mellow and overproduced. Neither even compare with her excellent live repertoire, and they sadly gather dust in my CD collection.

...Which brings us to This Way. This album knocks my socks off! It's rougher-edged and more natural than Spirit; you can tell that Jewel is for the first time truly comfortable in the studio. Her vocal prowess is evident in many songs, especially "Love Me Just Leave Me Alone," in which she lets out a Janis Joplin-esque scream. No more restrained, play-it-safe stylings for our favorite folk singer.

If there's one thing Jewel consistently nails, it is the art of the love song. In "I Won't Walk Away," Jewel sings "Wrong or right / Be mine tonight / Harsh world be damned / We'll make a stand / Love can bind / But mine is blind / Others stray / But I won't walk away." Just hearing her beautiful lyrics combined with the rich tonal quality of her voice and the romance-tinged music is enough to set you into a dazed stupor.

Jewel also hasn't lost her sense of reality, leaving in a slight guitar screw-up at the beginning of live bonus track "Sometimes It Be That Way," which is evident throughout the whole album. Almost every track was recorded live with a band in the studio, unlike the numerous vocal layerings and smooth-over approaches of most recording artists. This gives an almost live atmosphere to the album.

Overall, This Way is an amazing album and is destined to be looked back as one of the highlights of Jewel's career.

Boxful of Jewel
The multi-talented Jewel delivers on her third studio album Standing Still. The title track is one of the best from the CD. Her clear-as-an-Alaskan-stream vocals, though not absolutely extraordinary, sound better than ever, and her writing talents have improved a lot as well. Jewel is an artist to watch.

THIS WAY, THE RIGHT WAY
This Way one of Jewels albums is a must-have. You would rarely find such alent now with all those big budget CDs with op sounds that all sound the same. Jewel's THIS WAY is great and is like a rock album mixed with rock. Excellent songs are THIS WAY, STANDING STILL(BEST ON THE ALBUM) and SERVE THE EGO which has many sounds those of country, percussion and rock. The lyrics in THIS WAY (mostly in SERVE THE EGO) actually make a statment and although some songs are about love she puts them in a way that you wont know what hit you. Must have for Jewel, country, folk or rock fans.

Really good album
This is my favorite Jewel album. The lyrics aren't too meandering (or at all) and the music is just nice and reflective. The ballads are what work best here. The title track is one of my favorites, even though in the liner notes she said she hated singing it. "I Wont Walk Away" is a nice jazzy kind of ballad. A lot of people don't like "Cleveland" because it's "too country", but I love it. I'd actually like to see her do a true country album. "Till We Run Out Of Road" and "Do You Want To Play" are other great ballads. A lot of people love "Serve The Ego", but I could take it or leave it. "Love Me, Just Leave Me Alone" is EXCELLENT. "Break Me" and "Standing Still" were great singles too. Overall a solid collection of music. ... Read more

Album Description

2003 remastered reissue of the classic 1980 album packedwith 30 bonus tracks, 'I Stand Accused' (AlternateVersion), 'So Young', 'Girls Talk', 'Human Touch'(Alternate Version), 'Temptation' (Alternate Version),'Motel Matches' (Alternate Take), 'Clowntime Is Over No.2', 'B Movie' (Alternate Version), 'Girls Talk' (AlternateVersion), 'Getting Mighty Crowded Watch Your Step'(Alternate Version), 'Dr. Luther's Assistant', 'GhostTrain', 'New Lace Sleeves' (Alternate Version), 'HooverFactory', 'Just A Memory', 'I Can't Stand Up For FallingDown' (Alternate Version), 'New Amsterdam' (Olympic StudioVersion), 'Black & White World' (Demo), 'Riot Act' (Demo),'5ive Gears In Reverse' (Demo), 'Love For Tender' (Demo),'Men Called Uncle' (Demo), 'King Horse' (Demo), 'SevenO'clock' (Demo), 'High Fidelity' (Live), 'Opportunity'(Live), 'The Imposter' (Live), & 'Don't Look Back' (Live), ... Read more

Reviews (14)

Elvis Costello's artistic pinnacle
Elvis Costello was explosively prolific and consistent through his first five albums, from "My Aim is True" in 1977 through "Trust" in 1981. He remains a highly valuable and relevant artist, but what he accomplished in those first four years makes even the Beatles look relaxed.

To me, his fourth album "Get Happy" is his masterpiece. The first three were brilliant, but if you didn't like that punk/New Wave sound, they were hard to appreciate. On "Get Happy," Elvis began the stylistic stretching-out that he has continued to the present day. The fact that he moved on from the harsh, angular, almost stereotypically "angry" stance of his initial discs to encompass thoughtfully a range of traditional styles is the reason why we still listen to EC, and why we don't listen to most of the other New Wavers who burst on the scene with him in the late 70s.

"Get Happy" was the first one to take that step, embracing 60s soul music, especially the "sounds" of the Supremes, Booker T and the MGs, Dionne Warwick, and the Four Tops. A few songs almost sound like parodies of those styles, while on others, the influence is more subtle. But beyond the musical trickery, the grafting of soul music onto his clever lyrical wordplay and harsh insights into romance and political betrayal had the much-needed effect of rounding out his sound, giving Elvis himself a lot more "soul."

The original LP had 20 songs, and to fit that many discrete songs onto a vinyl LP, Elvis had to make each song short and sweet--again, to the tremendous benefit of the listener, who can be absorbed into these miniatures, feel all the emotion, enjoy the studio wizardry and brilliant musicianship (where would Elvis be without the keyboardist Steve Nieve?), and then bang, song's over, onto the next. There is not a single wasted moment on this disc, and -- again somewhat in contast to the first three discs -- this disc has a lot more fun on it. There are fewer people being turned into lampshades or submitting to Hitler's will on this disk. Instead, he is building entire songs around puns about money, setting them to the most infectious beat in town, and otherwise entertaining us while still retaining his emotional focus. I've loved this album for 20+ years, and it still sounds fresh today. Bravo.

Soul...Pure Soul.
Simply put, Elvis Costello is (in my humble opinion) one of the greatest song writers ever to ever record an album. "Get Happy" is (for the most part) a nod to the R&B and Soul music that he loves, including a handful of covers. This edition of "Get Happy" is a must for any collector of great music. There are thirty songs on the bonus disc alone, and fifty songs all together. If you love Soul, buy this album. The influences are usually obvious, and some of the more subtle ones are pointed out by EC in the liner notes. If you are looking to get into EC, check out "My Aim Is True", "This Year's Model", or "Armed Forces" to start with. If you can't get enough of those, then by all means, "GET HAPPY"!!!!!!!!!!!!!!!!!!

Breathtaking
GET HAPPY was introduced to me by a co-worker back in 1980. At that time, I only had a handful of Elvis Costello singles (remember 45s?) but no albums. After the moment my co-worker lent me the album, I never stopped listening to Elvis Costello and to this album in particular. The rush of twenty two-minutes-and-change songs was breathtaking and still is. Its mix of passionate love tunes, whimsical poppiness, and downright raw soul was unprecedented.

I only wish I could reach back across the decades to shake that guy's hand for lending me GET HAPPY.

Who killed the 80s?
Elvis Costello did! How can you possibly go wrong with two cds and 50 songs? By turning on your cd player - don't so it! No stars. Want great British music? Buy any Bananarama cd instead; they're far more talented.

Happy Happy Happy
Having been a Costello fanatic since day one (Stiff 11 - Less Than Zero), I will always put this one at the top of my list. It is the most infectious album and I have been singing these songs forever and still feel the power. Let me name a few favorites. Motel Matches makes me cry, Temptation, New Amsterdam, I can't stand up for falling down, Riot Act (wow), I stand accused, High Fidelity, Opportunity, Possession, King Horse, The Imposter, Man Called Uncle. Those songs are the best lyrical/musical songs I have heard in 30 years. Very few artists come close to that kind of power in their entire careers and EC did it on one album. THEN, he did it on the the previous three and again on Imperial Bedroom, King of america, Blood & Chocolate and I even have grown to love North. I am so glad he is still around and I get to see him perform live every few months. The Beatles and The Kinks gave it up, so there is only Elvis left. God Bless him.

The second disc is wonderful. I love the alternate takes. GREAT stuff. ... Read more

Amazon.com essential recording

The mannered vocal style that has always been the most off-putting element of Ani DiFranco's music is still present on this two-disc live set, but for some reason it doesn't matter anymore. Maybe it's the way you can hear DiFranco using her breaths to accent a rhythm section that's downright merciless with its circling, pulsing, scary grooves. Or maybe it's the way, with an audience screaming, she pours heart and soul into "Unforgettable Face" and the story song "Gravel." Whatever, Living in Clip is the album where DiFranco begins to deserve her hype. And "Amazing Grace," backed by the Buffalo Philharmonic, is where she surpasses it. --David Cantwell ... Read more

Reviews (120)

Oh, I adore, you.
A good friend of mine turned me on to Ani sometime last year. So here I am, listening to 2 Little Girls off Little Plastic Castle, and I'm falling into this deep fascination with this voice. So, I go to find an Ani CD of my very own to start off with. I see Dilate, Not a Pretty Girl, Little Plastic Castle, and Living in Clip. My good friend had everything there except LIC. So I bought this one. Thank goodness. This album, twisting in every emotional direction feasible, is a tribute to Ani's musical genius, her live act, and her phenomenal writing. To list a few trully noteworthy gems: "Hide and Seek"--Beautiful in it's haunting lyrics and almost tribal beat. "Napoleon"-- It's sooo much better live! "32 Flavors" Alana Davis (Is that who covered it?) gave it no justice. "In or Out"--Dynamic and stirring, unlike the studio version. "Amazing Grace"--Mmmhmm.;) Also, be sure to wait until the last song on disc 2 reaches 7:00 for about the most giggle worthy display of audience/band interaction I've ever heard!

Ani's good, but only as good as Ani wants to be
I dont dought the talent of Ani Difranco. I just started listening to some of her stuff and i was very impressed with her talent, but i really do think she could reach a new level of excelance that she appearently has no intent to reach. Her live double cd, "Living In Clip" showcases Ani's talented Dave Matthews like guitar work in combination with a Alanis Morisette type attitude that she sings with. Alot of the tracks on this disc sound great and she has proven to me that she is definately a very talented and original voice in the womens music bussiness. My biggest problem with Ani is that it seems to me that she has to grow up alittle, not only in a mature sense, but also in a musical sense. She has the talent to become among the elite women singers in the bussiness, but it seems to me her attitude and her lack of maturity is holding her back. I like her music on this album, but i have to say i really dont like and cant relate to some of her comments inbetween songs, it is almost a musical turn off to this listener. Overall i enjoy her music and do recomend this album, its just a shame to see such a talent limiting her self to mediocre song writing and little imagination.

One Of The Best CDs of All Time
Ani seems to touch every feeling a person can have on this CD. She goes from subtle and soft, to yelling, screaming and laughter. This is the best CD I have ever bought. I suggest it to anyone who likes folk music or has a an open mind towards new things!

Living in clip
Ani Difranco is one of the few artists who has made a successful career out of her do-it-yourself ethics. She has bypassed the conventional career path most artists takes by not signing with a major record label and by doing that, she has a greater percentage intake in the profits from her music as opposed to being in debt for years to a major record label. I always have and always will respect Ani for taking the high road and do things her way. I was a big fan of Ani Difranco when I was a college student in Wisconsin nine years ago. I first heard about her in a magazine (I think) and decided to check out her music. "Dilate" was my first Ani Difranco cd. I was hooked. During the next few years, I would buy her latest cds religiously on the day they were release, one of them was "Living in Clip". I rarely buy live cds but in Ani Difranco's case, I was willing to buy a live cd of her music. Besides there were a bunch of songs at the time I hadn't heard before like the gorgeous "Both Hands" (my all-time favorite Ani Difranco song) and "Sorry I Am". "Living in Clip" is definitely one of the best live cds that I have ever heard. Although each song was recorded in different cities, you would have never guessed that they weren't recorded at one performance. The occasional banter with the audience gives the listener an intimate insight of an Ani Difranco performance. One of the most stunning performances on the cd is Ani's rendition of "Amazing Grace" with the Buffalo Philharmonic. It simply took my breath away. That alone makes this cd worth listening to. Although I am not nearly the fan that I am of Ani's music any more, I still enjoy throwing in "Living in Clip" every now and then. This is a good representation of Ani Difranco as an artist as well as a performer.

The Rocked Folk album of the Century!!!
Living In Clip shines as Ani's most versatile and amazing album yet, out of her 25 five or so. This album covers some of her most classic songs such as the unforgettable Both Hand, Adam And Eve, In and Out, Out of Habit, and Out of Rage. Combining folk rock punk and poetry, Ani definitely delivers in this piece of musical art. With only a three person band with ever so lovable Sara Lee on bass and Andy Stochansky on drums we are given even a bigger treat, but the double album really shines when Ani sings solo only with her guitar. Me being an original Ani fan from the early 1990's I have seen her music evolve and change into something amazing, which is shown through this classic album. If you are interested in becoming an Ani Difranco fan for the first time I strongly suggest this album. Also if you ever get to actually see her live that is the True Ani expierence! I was also given a treat of meeting her, quite an expierence!
Enjoy!!! ... Read more

Amazon.com's Best of 2000

The bleakest heartbreak abounds on Joseph Arthur's Come to Where I'm From, where this Ohio-born singer-songwriter picks up a guitar and strums out some gravelly, angst-ridden black magic. From the darkest depth of"Invisible Hands" where he sings "Your photograph sits like a scar against my wall" to the raspy groove of "History," this album is affecting therapy for the self-destructive, proving that it's better to play a sad song and smoke a cigarette than to extinguish it on your arm.--Beth Massa ... Read more

Reviews (31)

Haunting
This is one of those albums that I bought and almost discarded on first listen - I'd heard Joseph Arthur sing 'In the Sun' accoustically on MTV, and thought it was worth investing in on the strength of that alone.

There is so much going on in this record, both on the surface and below, that it takes a while to take it all in. The production is superb - lots of interesting sounds that add to the great moodiness of the songs - at times the backing music seems at odds with the songs, then, after a few more listens, it all makes sense. Personal highlights include 'Exhausted', which is a noisy rant with a great melody hidden within; 'History', which has superb lyrics and builds to an emotional climax; and 'Speed of Light', a gorgeous heart-broken ballad that ends the set.

There are two or three songs which I still can't fathom, but that leaves nine or ten superb songs, and these days that's better than 99% of albums.

I was amazed by this CD
I first heard Joseph Arthur on a college station, it was a live, acoustic version of In the Sun. I thought to myself, "what a beautiful song... there's someone who truly understands." Later on I heard History and Exausted from the same live performance, and that's when I knew I had found a true treasure. Every once in awhile I hear a song that touches me so deep, reflects my deepest, darkest feelings so perfectly that while listening, I feel better simply because someone else knows... understands. The thing about this CD is that it is full of those types of songs. I would suggest this CD to anyone who has trouble understanding why they feel so terribly bad sometimes, it may offer some insight. The only reason I do not give this CD 5 stars is because I prefer the stripped down acoustic versions as opposed to the strange mix of sounds that accompany the lyrics on this CD, although once I had gotten past the inital listening phase the music does complement the lyrics of each song, and I may be biased because I heard the live, acoustic versions first. But all in all, an outstanding CD... I can't really compare it to anything, except to say that his insightful, introspective lyrics put him up there with the best of the mope genre. Highly recomended.

not since dylan
album is brilliant, moving, courageous. i agree w/ above review, joseph is best live artist around.

Genius
Joseph Arthur is the best live performer I have ever seen.

the bar room conversation
A sign of a good lyricist is that the listener will "feel a conversation". Well, I hear Joseph Arthur talking, and I'm listening. In "Tattoo", an image of a bar conversation over beer and cigarettes between lost friends comes to mind. He speaks of situations that we all have experienced, and puts them in way that I rarely have heard. He refers to emotional baggage as "in my pain/is where i've tattooed your name/was it a dream?"

This is an album of faith amidst the death of religion from a man looking for joy to grow out of his sorrows. A deep contemplative work with a few hard rock edges are thrown in for good measure. "Exhausted" is a song about a man who thinks too much for his own good, while "History" seems to be about the fruits of that over contemplation.

This album is a great juxtoposition of folk (lyrically driven with acoustic guitar) with the looping techniques of R&B or Techno and a heavy distorted guitar on top to boot. A real find. ... Read more

Reviews (15)

Bonus for Fans
I reviewed the original release (same 4 stars) - but I did go out and purchase this disk upon it's release and will re-gift the single disk to someone who is Aimee Mann-less. As w/other reviewers here - I'll stick to covering the 2nd disk.

The sound quality on the live recordings are excellent. If it weren't for some clapping at the beginning or end of songs - you might just think they were alternate versions and not necessarily live. Mann does a great cover of Coldplay's "The Scientist", though she doesn't really do anything different to the song.

The studio b-sides I have heard and really are good enough to be included on a full album ("Nightmare Girl" in particular). The unreleased songs are ok - though "Observatory" grooves unlike most anything Mann has done recently. I think it would have been better had the vocal been just her - but it's at least interesting.

I cannot tell if "Backfire" and "Observatory" are from 'Lost In Space' or from 'I'm With Stupid' sessions. You can clearly hear members of Squeeze on backing/harmony vocals - and I had not heard of them working with Mann since "That's Just What You Are". At least on "Backfire" you can see how well their vocals fit in w/her music.

Still a worthy purchase - though mostly for established fans. I'm not sure how many newcomers to Mann's music would want studio and live versions of the same songs on the same disk. But on the plus side - I think this cost me one dollar more than the original one-disk set....and *that's* a deal!

Worthwhile buying again
I've already reviewed the original Lost In Space, so I won't bother reviewing the first disc again. The second disc provides some live versions of the tracks, all of which have a little something extra to make them definitely worth the listen. In particular, the live version of the haunting Invisible Ink is brilliant, especially with the crowd participation at the end. The two B-sides, most big Aimee Mann fans will already have heard. Backfire is actually included on the UK tracklisting to Bachelor No. 2, so I heard that one a long way back but this version is subtly different. To anyone who doesn't already own it, for me it was one of Bachelor's best tracks. Nightmare Girl I managed to find on the Internet, with Aimee Mann singles being incredibly hard to find here in the UK. This was another track that was originally slated to appear on Bachelor but would've made the tracklisting too long. It's great to see it here, and it's co-written by Aimee's husband Michael Penn. The two unreleased tracks are good too, both faster-paced songs that would easily fit on Lost In Space, but both hiding a distinctly depressive edge. Fighting The Stall seems to be about escaping from life by going off the rails, mirroring perfectly the themes of addiction that run through the record. Observatory is fantastic, observing how people deny love when they have it and even when they lose it in an attempt at self-preservation. The fact that the song doesn't sound depressing unless you're following the lyrics is another testament to the subtlety of the lyrics. The second disc is closed by a live version of the first disc's closer, It's Not. For me this even rivals Wise Up as Aimee's saddest song. The live performance is uniformly brilliant and Aimee's live vocals add even more depth to it.

I received this special edition for Christmas last year and it was one of the best CDs I received that year. For those who know who Aimee Mann is, this is a must-have in your collection.

Glorious but unnecessary repackage
Fans already know that Aimee Mann is a rare bird as a songwriter and that Lost In Space is a terrific record running a bare step behind her superb Bachelor #2. Therefore, I'll limit my comments to the repackage itself. If you don't already own the album, this is the way to get it, but if you bought the earlier limited release, you have the right to be a mite annoyed. The book-style package of this "new" Lost In Space is attractively sturdy but simpy upgrades the original comic/lyric booklet into a heavy cardboard format and includes no new pictures or information. The second disc is a fine live set with 2 new studio tracks plus the 2 rare cuts that filled out the bonus single from the first version. Therefore, the new disc released by itself would have made a perfect website offering for fans who didn't want to buy the whole thing again.

Surprising, assured, moving
This isn't Aimee Mann's best work, and it scared off a lot of listeners and reviewers. Yet after about a month or so of listening to it, its quietude set in - it's a cold, spare album offering up some of Mann's wryest, wisest songs on loneliness and isolation. "This is How It Goes" is devastating, "Invisible Ink" is gorgeously written ("I feel like a ghost trying to move your hands over some ouigi board in the hopes you might spell out my name" is not a lyric written by an artist in a slump), "Humpty Dumpty" and "Pavlov's Bell" are fast paced and clever. The record broaches your darkest emotions even as it seems to push you away. The live cuts on the second disc on the special addition are nothing special, but the b-sides are terrific - they showcase a playful sound Mann has that doesn't belong on the record.

Worth it!
This is a special edition of Aimee Mann's LOST IN SPACE album. I think it was a great idea to include the bonus disc, which has b-sides and live tracks. It is a must for any Aimee Mann fan. LOST IN SPACE is a wonderful album that seeps into your brain a bit more with each listen. The melodies are mysterious and compelling, and the lyrics are meaningful and deep. The album tends to deal with songs about isolation and addictions. My favorite track hands down is "This Is How It Goes", a song that is very blunt in it's message but there's just something so appealing about it. "Invisible Ink" is another favorite, some really great lyrics in this one. Other favorites include "Today's The Day", "Pavlov's Bell", "Real Bad News", the title track, and High On Sunday 51". All the songs are great.

The bonus disc is great to listen to. There are many live tracks: "Invisible Ink", "Real Bad News", "The Moth", "This Is How It Goes", and a wonderful version of "The Scientist". There's also the live track "It's Not" from BBC. Then there's some b-sides from the project. "Nightmare Girl" has a frantic feel to it, really great song that would have fit nicely on the album. Less is more though I suppose. "Backfire" is a nice b-side too. "Fighting The Stall" and "Observatory" are cool unreleased tracks.

I love the packaging too. It comes in a hardcover book, with a great illustrated booklet that is nice to read while listening to the album. It's truly an experience. It's worth every penny for this special version, even if you own the original. The live tracks really bring the songs to another dimension, and it's nice to hear some b-sides and unreleased tracks. Overall an excellent album made even better with these bonus features! ... Read more

Reviews (19)

howie = pure magic
If you have never heard of Howie Day, but you like pop/ alternative rock kind of music, this EP is great for you. The CD is short; 5 songs, but you get your moneys worth. "Madrigals" and "You and Promise" are the first two tracks, and they are just beautiful, relaxing songs with nice soft acoustic parts. "Ghost" which is also a track on Howie's other album, Australia, is the weakest song on the CD but still great. "Bunnies" is just pure magic. This song has a great guitar part and it is unbelievable, one of the perks of it being live. The lyrics don't exactly make sense, but the music quality overcompensates. And the CD finishes off with "Sorry so Sorry" another track from Australia and a really great song, also live. The Bonus DVD is also unbelievable, and there is even a part where Howie goes into Beams of Light. This EP is great as a transition CD until Howie comes out with a full length studio album in Fall 2003!

Come for the DVD, Stay for the CD
I bought this CD because my brother had seen him live at the House of Blues in Chicago. I'd never heard of him before than and I must say that I'm quite impressed. More impressed at the DVD performance because its only him, a guitar, and a bunch of effects pedals. Its amazing how he creates the music right then and there for each song, especially at the end of the track "Ghost" where he speeds everything up for a dance club song called "Beams of Light". Overall the DVD worth more than the cd/dvd combo itself.

The CD brings to some of the songs that are so well known from his live performances. Madrigals, You & a Promise, and Ghost. The version of "Ghost" on the CD is amazingly haunting and beautiful all at the same time.

Overall this is a great combination of studio recordings and live performances, and will give you a good taste of the talent that Howie Day possesses. Enjoy!

WOW!!! AND Whew!!!!!
I 've just taken a well deserved break from the bathroom!!!!! Been listening to this for weeks now. I love it! Now I'm going to lock myself away AGAIN in the bathroom, and listen to this CD some MORE!!!!!WOOHOOHOO!

One of the Best Cds Ever
Howie Day is one of the most amazing singers, and this CD is brilliant! The first song, Madrigals, is folky and mysterious. Bunnies has a unique, almost eastern vibe. The entire CD is fantastic, and the DVD that accompanies the CD shows you just how talented Day has! In a time of banal pop divas, and studio miracle voices, Howie Day is the one true talent shining through!

WOW!!!!
Listening to this made me feel like.......Pouring beer on women! I'm going to lock myself in the bathroom and listen to more of this music! ... Read more

Reviews (177)

It has its lovely moments--worthwhile but not wonderful
The inadequacies of Elvis Costello's singing point up the sweep and emotional range of Burt Bacharach's music, but the inadequacies of Elvis Costello's lyric-writing damage much of it irreparably. His lyrics often don't scan or rhyme true or make any coherent point (and let's not even mention the awful puns). Even when they scan they only seem to fit emotionally about one half of the time. In short, Mr. Costello painfully lacks the discipline and technical adroitness of Hal David. (Hal David himself is no match for Dorothy Fields or Oscar Hammerstein, certainly not for Stephen Sondheim.) At least I expected Mr. Costello to help rein in Mr. Bacharach's penchant for shlocky over-orchestration: a little austerity goes a long way. The best song I think is "Tears at the Birthday Party". The problem is that the story it tells hinges on it worst line: "Some day I know he'll forget to pay you the compliments you're after." The musical setting makes it sound as if the phrase "to pay you the compliments you're after" is not the object of "forget", that it belongs with the following sentence. In any case, the sentiment expressed is misogynistic and puerile.

Elvis & Burt Making Beautiful Music Together
I've been a fan of Elvis Costello since his first album was released a good century ago. That scrawny guy with the geeky glasses, punk energy and impudent razor-sharp lyrics, the same guy, I believe, who has long been a crooner at heart. "Alison" hinted, but it wasn't until hearing his splendid rendition of "My Funny Valentine" that I realized there was more to him than rude boy songwriter. Elvis teaming up with Burt Bacharach to make beautiful music together did not surprise me. Actually, it seemed downright brilliant.

Burt Bacharach + lush, though not overwhelming, arrangements + captivating melodies + background girl singers + insightful and moving lyrics + Elvis's vocals = one exquisite musical achievement.

Elvis does not possess a flawless singing voice and that is part of its allure. His is a voice full of jagged little edges and roughhewn emotion. His ability to interpret a love song without rendering it cheesy is a gift within itself.

Personal favorites: "I Still Have That Other Girl", "God Give Me Strength", & "Tears At The Birthday Party". All in all, though, each one is a treat.

touching
This is a record that incites a strong reverie whenever I listen to it, its arresting and wonderful.

This is the rock album I'm telling you about!
Hello, I'm here to review to you this album "Painted From Memory". It is made from Elvis Costello and Burt Bacharach. they are musicians. I liked this album. I don't own it but I have borrowed it from the local library system and listened to it that way. I am trying to buy it but I like to get a bargain always so I'll wait for it to be inexpensive on ebay. The songs on this one are good ones too. Thank You!

What's His Name Today?
Elvis Costello has long been an unabashed fan of Burt Bacharach. Be it from an early recording of "I Just Don't Know What to do With Myself" on the "Live Stiffs" album to his claim that he really wanted Dusty Springfield to record "Tiny Steps," the once angry young man secretly longed to create mini-masterpieces like "Do You Know The Way To San Jose." When he finally did get the chance to make a song happen with Bacharach, it was the Oscar and Grammy nominated stunner, "God Give Me Strength." (Which, by the way, is the best song here.) A brilliant recreation of Dionne Warwick/Dusty Springfield breathy longing, it mirrored the kind of sixties/seventies productions that pillowed Bacarach's career. It was obvious that an album was soon to follow.

"Painted From Memory" has got to be one of the most unlikeliest of four star recordings in my collection. Costello is in obvious awe of his collaborator and the compositions. His usual caustic wit is sheathed and he must place greater reliance on writing lyrics that say more with their punches pulled than with their knives out. "Were you so unhappy then? You never said" he asks on "This House is Empty Now." The Elvis of old would have likely shot off an additional barbed couplet, but instead, he lets it dangle with juicy heartache. His singing is at its best since "Trust." Never a man of astonishing vocal range, Costello let's it all hang out here. The pristine orchestrations and arrangements are also highly complimentary to the songs, pretty much nudging Elvis to deliver more nuanced performances without sounding campy or cliched. Given Bacharach's long history of flourish and sweeps, the two make near a perfect foil for each other.

And song after song is flawless. Probably more than any albums since "Brutal Youth" or "The Juliet Letters," these songs Elvis composed with Bacharach are worthy of an entire album's worth of listening. I doubt if even he thought the man writing "My Aim Is True" or "This Year's Model" would ever sit at a table and created something as forlorn as "In My Darkest Place" without a hint of rancor. He's not angry anymore, but he still knows how to pack a wallop. And even better, Bacharach knew how to cushion them. ... Read more

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Anybody looking for a fitting successor to Scottish acoustic pop heroes Aztec Camera and Belle & Sebastian need look no further than, er, Norway. Like his Scandinavian peers in Kings of Convenience, Bergen wunderkind Sondre Lerche has taken the melodic six-string formula and given it new life on his debut. Guitars jangle, strings swell, and rhythms shuffle as the singer effortlessly conjures warmth and romance ("Pain and sorrow must come, if you go," he muses on "Virtue and Wine"). Despite his youthful appearance, Lerche has spent years perfecting his craft--he picked up his instrument at age 8 after falling for '80s Norwegian pop heartthrobs A-ha--and the experience more than shows in the excellent musicianship and arrangements of songs like "You Know So Well" and "Dead Passengers." A most promising start. --Aidin Vaziri ... Read more

Reviews (37)

Talent and personality in sight
Sondre Lerche was only 16 when he wrote these songs. It should not mislead you: this is not another 'teen musician' TRL likes so much. The result is surprisingly mature. If you like guys who write good folk-rock guitar melodies and care about their lyrics, this one is for you. Mix Bruce Springsteen, Toploader and Pete Yorn with Prefab Sprout (Sondre worships Paddy McAloon) for the music and Beck for the voice and you will get a rough idea.

The evident singles "Dead Passengers" and "Sleep on needles" have gotten regular airplay on Belgian alternative rock radios. "Suffused with love" is a great mid-tempo ballad with ghost synth and guitars. "Side Two" is totally acoustic with just guitar and vocals. On the fresh upbeat "Modern Nature", Sondre shares vocals with Lilian Samdal, the feminine touch bringing variety. The drums solo 'tap dancing noise'imitation in the middle of the song gives a humorous feel to the ensemble. "Virtue and wine" starts slowly with piano and strings to turn into a rocky tune. The pace changes inside of this song show the mastery of this young man in writing melodies. I also like a lot "All luck ran out" quick rock pace. "You know so well", "On and off again" and the excellent (9:25 long) "Things you call fate" complete this first album. I own the european version, and I'm missing the bonus track you will get on this US release.

This young Norwegian is showcasing a real song writing talent and a very personal musical world, which deserves to get attention. If today's music bizz lets him grow he might do great stuff in the future.

Let the Reviews Flow
I'm almost disturbed that I'm one of less than 10 people who have chimed in with their praise for this album so far. This 19-year-old Norwegian singer/songwriter/popster blows me away. With the release of his debut album already receiving mass praise in his own country (has already sold 'GOLD' and won Norway's version of the Grammy for best new artist), there's no denying that he's destined to get some major worldwide recognition.

Faces Down has some very appealing tunes with hooks you'd swear you've heard before, but you haven't (i.e. Sleep on Needles and Dead Passengers). There are some songs in which he's clearly channeling the Beatles (You Know so Well and Suffused with Love). In addition you'll hear sounds of bossa-nova (Virtue & Wine), folk (Side Two) and a nostalgic duet (Modern Nature w/ delightful female vocalist Lillian Samdal).

As much as Sondre likes to span genres, his tunes are quite simple: simple chords, simple melodies and simple lyrics. There are mature levels of intimacy and insight in his lyrics, but without obscurity or loftiness, which is refreshing to me. After all, these are some hooky, toe-tapping, sing-a-long songs by a cute and charming young Norwegian guy! Who isn't a creation of the entertainment industry! Delicious!

Unpredictable pop for those sick of predictable pop
While surfing around the net looking for information about another great artist named Teitur (check him out too by the way!) I came across the name Sondre Lerche. I went to his website out of curiosity and listened to some of his stuff and was very intrigued by his unique sound.

I bought this cd and to be honest, did'nt quite know if I really liked it or not after the first/second listen. I was a bit on the fence. I kept listening, but this time I made a point to put on the headphones and really stop and listen....not just put it on and casually listen. I would suggest this if you too choose to buy this cd.

This is "pop music for the thinking person". Sondre Lerche is not afraid to:

- Write more complex lyrics. No "have ya naked by the end of this song...." cr@p here.

- Mix different generes together. There's a definite Beatles influence, as well as a more classical songwriting (a'la Cole Porter - one of Sondre's idols) style. Add in a bit of classic 60's pop-sound and a little bit of good old fashioned rock 'n roll too.....

- Use alot of unique insturmentation. Lots of cool little sounds/insturments. Not just streight foward guitar, bass, drums and occasional keyboard. Sondre has fun with the arrangements and gives you lots of unexpected things to listen for.

Bottom line - give it a try. If your looking for something sunny and fun, yet NOT shallow, then Sondre could just be for you. Don't judge it on your first listen, give yourself some time to immerse in it's many layers....

they are unarguable really good
If you like belle and sebastian, spoon, franz ferdinand, you will love sondre lerche.
personal favorite tracks:
on and off again and things you call fate.
musically, sondre lerche is EXCELLENT --- the music, even after the scrutiny of listening to it over and over, always has something to offer, and something new to appreciate.
great, clean sound.... looking forward to see what they do next.

Phenomenal!
Faces Down is an extraordinary CD, an amalgam of various influences from The Beatles to Bacharach to 80's New Wave. "On and Off Again" and "Sleep On Needles" are brillant pieces of pop music, the first a winsome, heartbreaking ode reminiscent of the 60's hit "Windmills of Your Mind," and the latter a driving tour-de-force of sonic surprises and irrestible hooks that follow one after the other. But there's much, much more to the best CD to be released in many years. You'll want to listen to it again and again and again. Fans of melodic pop music will love it. ... Read more

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Recorded in Nashville with Gillian Welch and David Rawlings, Robyn Hitchcock's 23rd solo album in as many years finds him continuing in the acoustic mold of Luxor but with a good dose of Americana, relying solely on the pair for accompaniment, backing vocals, and production. According to Hitchcock, Spooked is essentially the product of a weeklong Dylan-fueled jam session with Welch and Rawlings, a fan of whose Hitchcock had recently become but who had been fans of his for nearly 20 years. "It was as if I was inside one of their records, but with me singing too," said Hitchcock about the sessions, and their influence is indeed palpable, most notably on songs like the folksy "English Girl," with its plaintive guitar and Wurlitzer accompaniment, and the slide-heavy, drum-propelled "We're Gonna Live in the Trees."

Yet the real standout tracks are those to which Welch and Rawlings lend their harmonic talents, such as "Demons and Fiends" and especially "Television." The latter, an earnest, pleading song of love, is among the most heartfelt of Hitchcock's career, even with his bedroom TV set its nominal object. ("Television, I'm so sorry / If I turned you off back then / I'm so small in your dimension / My kid will look like you, I swear.") So it remains a safe bet that there never will be a Robyn Hitchcock album that can't be described at least partially as "quirky"--this one certainly fits the bill. But being able to express penetrating insight and emotion through superficially bizarre material has always been one of his major talents, and Spooked demonstrates that, at age 51, Robyn Hitchcock's best days are definitely not behind him. --Benjamin Lukoff ... Read more

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Tori Amos's idea for Strange Little Girls was to present covers of men's songs from a female perspective. The concept is fairly unique--although Liz Phair had a similar idea with 1993's Exile in Guyville. But while Phair fashioned original lyrics in response to the Rolling Stones' Exile on Main Street, Amos sticks with the script when reciting lyrics from acts as diverse as the Velvet Underground, Depeche Mode, Neil Young, Tom Waits, and Slayer. She transforms the material, though, by singing in a pained tone, weighing the lyrics with heavy emotion and stripping most of the songs down to their simplest elements--often just a string section, a drum machine or a piano, leaving the original music almost unrecognizable. The most poignant of these tracks is definitely her cover of Eminem's "97' Bonnie and Clyde." The first-person story of a man dumping his lover's dead body takes on an ugly sickness and brutality with Amos's almost-whispered narration. As with most of these songs, Amos removes the pop façade and leaves the listener with a stark picture of the message behind the lyrics--whether that message concerns violence or male identity--in a statement both subtly political and stunningly beautiful. --Jennifer Maerz ... Read more

Reviews (385)

Strange (but compelling) Little Covers
Back in 1992, Tori Amos released her "Crucify" EP which yielded her first major hit in the title track. However, the most astonishing song on that five-track EP was a sparse treatment of Nirvana's "Smells Like Teen Spirit." With only a piano and a resigned voice, Tori's version of this post-MTV classic was downright sacreligious, but utterly compelling. Not since Bryan Ferry's "These Foolish Things" had a cover been so radically transformed.

Given that her Nirvana effort gained a lot of critical attention, it is hardly surprising that Tori would eventually revisit the world of the song-cover. None of the 12 tracks in "Strange Little Girls" surpass her interpretation of Nirvana's anthem, but many offerings come very close to meeting that very high standard.

Sonically, the album continues to dabble in the electronica that dominated her previous two albums (note the title track and "Happiness is a Warm Gun") but a number of other songs also find her returning to the "girl and her piano" ambience of "Little Eathquakes" (especially "Time" and "Enjoy the Silence.") In addition to her trusty Bosendorfer, Tori also plays the Fender Rhodes and Wurlitzer organ on several tracks. The album also greatly benefits from the work of King Crimson guitarist Adrian Belew. Those who are familiar with Belew's work will know that he is one guitarist who definitely avoids the cliches! (Is Tori a closet progressive-rock fan? It wouldn't surprise me!) Also along for the ride is her long time drummer Matt Chamberlain, as well as Jon Evans.

It has been said that when you do a cover, you either stick very close to the original version, or you reinterpret it completely. As Tori's basic aim on "Strange Little Girls" is to present a set of songs from a female perspective (all of the tracks she chooses were composed by male artists) it is hardly surprising that Tori opts for the latter. She puts an interesting spin on Lou Reed's "New Age" and brings a poignancy to "Enjoy the Silence" that the electronic-only Depeche Mode couldn't quite capture. However, her steely determination to make every cover as original as possible doesn't always pay off. Although she does her best, Tori can't quite escape the synth-marshmallow of 10CC's "I'm Not In Love" and she sounds a little overwhelmed by all those electronics on Neil Young's "Heart of Gold." Her nine-minute dissection of the Beatles' "Happiness is a Warm Gun" (complete with sampled voices) will either have you transfixed or reaching for your CD remote. But the essential point is that no track on this collection is boring or indifferent. "Strange Little Girls" is a stimulating listen.

But the best track on the album is her brilliant take on Eminem's "97 Bonnie and Clyde." To truly appreciate what Tori does with this track, you need to listen to the original. This ghastly tale of the psycopathic father who will let nothing get between him and his daughter is, for Eminem, largely an exercise in shock value. Tori, however, gets right inside the mind of the monster. Her tense, whispering vocal perfectly conveys the evil and menace that lurks in the mind of the serial killer. Tori's version of "Bonnie and Clyde" will stay under your skin for a very long time, and you will marvel at Tori's artistry as we all await her next move with interest.

Strange Little Album
Tori Amos has a recorded a long list of successful cover versions of other people's songs, (Thank You, Angie, A Case Of You, Losing My Religion) and a list of not-so-successful ones, (Smells Like Teen Spirit, Ring My Bell, Down By The Seaside). It comes as no surprise then that her first album of covers is a very mixed bag. Tori is good at covers because she has an almost thespian ability to inhabit the songs and make them her own. Here's the deal, track by track, on a scale of 1 to 10. 1) New Age: The arrangement could be better and the vocals sound weird - 4. 2) 97' Bonnie And Clide: Not a great song to begin with. It's creepy in a novelty sort of way, though her reason for doing it is pretty powerful - 2. 3) Strange Little Girl: Sounds like a Tori original and is one of the best - 7. 4) Enjoy The Silence: The original is so distinctive and reliant on atmospherics, that voice and piano don't do it justice - 4. 5)Rattlesnakes: My favorite track. Again, Tori makes it her own and Adrian Belew's guitar part is absolutely stunning - 9. 6)I'm Not In Love: This song has already been covered by The Pretenders, Olive and a slew of others. There's really nothing more to say. Her version is stripped down, and frankly, rather boring - 6. 7)Time: 7. 8)Heart Of Gold: A Headbanger dirge that doesn't work - 2. 9)I Don't Like Mondays: Absloutely beautiful - 9. 10)Happiness Is A Warm Gun: Ruined - 2. 11)Raining Blood: A complete re-working. The vocals are impressive 6. 12)Real Men: Better than the original and a great way to close the album - 7. She is said to be deep into the writing of her next album. Tori Amos has become as strong a writer as the songwriters who's songs she covers. A new album of originals is something to look forward to.

Still Tori
After hearing the beautiful cover album 'Girl Versions' by Emm Gryner, a music executive approached Tori with the same idea. I think it was a great decision Tori made by making one. Some of these songs are really excellent like the spell binding 'Enjoy The Silence' and the beautiful 'Time' but I don't see what the hype is about ''97 Bonnie & Clyde' for yes, it is sad and truthful but it's not good. It's the worst song on the album, it's all talking, maybe if Tori sang it, it would be better and maybe even more tragic but I always skip this one for it can get annoying at times.
The title track 'Strange Little Girl' is a great cover, a little different than Tori's main focus (the piano) but it steps it up and shows fans that Tori can have a really great song without having it completely piano driven. And I don't understand why some people dislike 'I'm Not In Love', it's a little different sort of atmosphere but it's hauntingly beautiful. I also really enjoyed 'Raining Blood', 'Rattlesnakes' and 'New Age'. This is definitely a must for any Tori fan, I think that some Tori fans were disappointed because it's not completely original but open your ears and mind with this album and you'll find a lot more than you bargained for.

Brilliant & Groundbreaking As Usual.
Okay, let's get one thing straight. Tori Amos is a genius. stated simply. & not only is she a genius, she's insane, & that my friends, is a force to be reckoned with. Strange Little Girls is a coming-of-age barrage of breath-taking covers by an artist that can never fail. I find it odd how some Tori fans were suprised when she decided to do an albam of just covers, when they should actually be suprised that it took her so long to do a cover albam. If you ever go to a Tori concert, a good majority of the songs are going to be covers & b-sides. & this has widely been embraced at her shows. Which is why I'm shocked that fans would be so unappreciative of this masterpiece. In true Tori fashion, she does everything that you would never expect her to do. Such as her unbelievable, & may i add gutsy, covers of slayers "Raining Blood" & eminems "97' Bonnie & Clyde"
Any other artist would have masacured these two songs beyond belief, but Tori, like she always does, makes it work & brings out the beauty in even the most morbid of lyrics.

Other covers such as "New Age", "Stange Little Girl", "Time", "Real Men", "I Don't Like Mondays", & Rattelsnakes" are in the same vein as absoulutly breakingingly amazing.
I found that a lot of fans had a hard time with songs such as her covers of "Happiness is a warm gun", "Heart of Gold", I'm Not in Love", & "Enjoy the Silence"
Personally, I love all of these songs, but I guess I could understand how other people might not appreciate them because they completely morph the orginal song. On "Heart of Gold", (orgianlly written & sung by Neil Young) she even changed some lyrics.

Weather you love or hate this albam, you must respect her. Because you can't say she doesn't take risks, & that is clearly what tori has done her entire career.

"Strange" A Grab Bag Of Diamonds and Coal
A puree of divinity, mediocrity, and cacophony, "Strange Little Girls" .....Amos's first bonafide cover album...is, in spite of its sometimes abrasive shortcomings, well worth the purchase.

Amos's much lauded take on Eminem's "97 Bonnie & Clyde" is as mesmerizing and stomach churning as it is reputed to be. Additional gems include an exquisite, heartrending version of Tom Waits's "Time" (which, in it's own way, is as good as the original); and a lovely, almost terse piano arrangement of Depeche Mode's "Enjoy The Silence." Amos's rendition of Joe Jackson's "Real Men" is, in my opinion, the best track on the album, and considerably better than the original.

Other songs, like "New Age" and "I Don't Like Mondays" are okay, though at the same time one cannot really see the point in Amos's having covered them at all. 10cc's "I'm Not In Love" is, lyrically, one of the best songs about male love and sexuality ever written, but she doesn't do it justice; and the Beatles's "Happiness Is A Warm Gun" and Neil Young's "Heart Of Gold" are outright butchered, spun out flailing and churning in an (again) cacophonous blender. But the rest of the tracks..."Rattlesnakes," "Strange Little Girl," and particularly Slayer's "Raining Blood" are all well done, stamped with Amos's unmistakable originality. Amos's muses may have hysterics sometimes, but she is never far behind a masterpiece; and what she falls short in is more than made up for by what she excels in. ... Read more

Amazon.com

There’s nothing particularly wrong with Pete Yorn’s second album. It’s just that the effortless power-pop of Day I Forgot is pleasant enough but rarely distinctive or deep enough to demand close, repeated listens. Although it was reportedly recorded in a garage and Yorn’s multi-instrumental prowess is often supplemented here by a (fuller) band, the sonic results tend toward airbrushed studio perfection. Somewhere along the line Yorn has picked up an occasional Eddie Vedder vocal affectation. However, since Pearl Jam no longer deigns to write hits, somebody ought to show up on the radio with that voice, and "Come Back Home" could turn just such a trick. The best track here is "Crystal Village," one of those creamy pop confections easy to imagine as a teen TV show theme or prom-night favorite. Worst moment is a tie between a misguided bluesy stomp, "Carlos," and "Burrito," on which Yorn applies Vedder’s voice to the tale of a 7-Eleven romance started over a shared micro waved treat. It’s just a suggestion, but you may want to take yours to go. --Keith Moerer ... Read more

Reviews (121)

Something Different
I cannot call this album a sophomore slumper. It would have to be terrible to deserve that description. It's not terrible. Day I Forgot is a good listen. It's a little more raw, as opposed to the "commercial" catchiness of MFTMA (come on now, I LOVE MTMA, but it's true. "Strange Condition" was used in several movies). "Come Back Home" is probably going to be the first single off this album. It's a very good tune, sounding more akin to MFTMA. The rest of the album sounds very personal, almost like a week in the life of Pete Yorn. It seemed almost like I was listening to a singer who decided to write some songs about his life and make a CD. Pete Yorn is a very talented, obviously emotional singer. Day I Forgot is a great vehicle for his talents. He's showing us that he doesn't have to deliver grandiose, commercial productions like MFTMA every time he releases a CD, thankfully. I believe he's got more in store for those who enjoy his music.

more goodness from pete
Well it is hard top an album like Music For the Morning After. I'll start off with that. OK, now for Day I Forgot. Another solid album and definitely not a disappointment. This is pretty much what you would expect from Pete Yorn, very similar to the first album (in most aspects, good melodies, excellent vocals). Song 4 is sounds a bit like a Verve song with the vocals. Just like the first album, when I put this one on, it just puts me in a good mood. After around 10 listens on the headphones I keep picking out new guitar parts, pinao parts, vocal harmonies, layered in the songs. The only bothersome part is the song Burrito. A good song, but the lyrics "if you want a burrito", well, I just don't think Burrito's belong in songs. Anyway, this would be a 5 star album if his first one wasn't so strong too.

LIKE FINE WINE....
When i first listened to this record...i loved it. I played it non-stop for a few months. Then i put it away for a while and listened to other things. Well finally... summer is here and the time is right for rediscovering this timeless gem. If musicforthemorningafter was for those autumn days strolling in the park...day i forgot is certainly the summer record.

Could use a little Simonizing!
This CD very closely resembles musicforthemorningafter without any of the good bits. Highly disappointing! It seems like the sophmore sets delivered up by many of todays "hot new artists" are just close imitations of the songs that made them famous. More's the pity.

Pete Forlorn Yorn
Yorn is one of those artists who's stuff gets under your skin and you keep coming back to it when the mood hits. It has that space and atmosphere, and perhaps complexity of later REM. Like his first album, Day I Forgot is filled with cute, mid-tempo love songs and moody, just on the verge anthems. I could do without the Burrito song, but evidently others like it, so okay. Occasionally the album hits some very high notes as with Crystal Village and Man in Uniform. But the moody, introspective guy who doesn't quite let it all out always seems to re-emerge in the song that follows...I think his best work is an album away though but still he is so much better than most out there. ... Read more

Amazon.com essential recording

Dry is the cornerstone of the 1990s "women in rock" movement. To paraphrase what Lou Reed said about the Velvet Underground: Not many people bought the album, but those who did formed a band. The attraction is unmistakable: bluesy riffs played with punk-rock energy suddenly crash to a hush, while Harvey's desperate wails become fatigued moans. What is she so hung up about? Well, in the spirit of the Stones, love and hope and dirty dreams and sex and sex and sex. Through the raucous "Oh My Lover" and "Joe," Harvey airs her laundry quite loudly but never loses her wit, as "Sheela-Na-Gig," which features the mantra "I'm gonna wash that man right outta my hair / I'm gonna take my hips to a man who cares," attest. --Bill Crandall ... Read more

Reviews (26)

4½ stars actually
I'd actually rate this 4½ stars if Amazon would allow me to... But anyway, this is definitely PJ's most punk influenced album. And it's pretty raw but not unlistenably raw by any means. It's got some of my favorite PJ Harvey songs with "Sheela Na Gig" and especially "Water" (which seems to be a pleasant break and a look towards where she would end up a few years down the line). But overall, this is a very fun record, especially for her. It took me a little while to fully get into it but there was some stuff that hit me right away. It's a strange part of the PJ Harvey puzzle but one that wouldn't make any sense anywhere else other than the beginning.

Harvey Jumps Onto the Scene With A Perfect Debut
Surely there have been few albums in history to earn such immediate hype as PJ Harvey's "Dry". Perhaps it's because Harvey combines the kind of personal, poetic lyrics one expects from Patti Smith with a bluesy/punk/adrenalin kick. But she's no three chords and the truth follower... Listen for the viola and cello intertwined in the rhythm of "Dress", her first single. The guitars roar, the bass and drums boil up the rhythm to a perfect, intermingling whole, and the strings ADD to that rhythm rather than trying to apply a sheen.

Indeed, there's not a whole lot of sheen about this record. The feelings are real and often angry (Check out the potboiler "Hair" or even the relatively quiet "Oh My Lover"), but it's the COMPLETE sound that they make which establishes this record. PJ Harvey is a BAND, not just a PERSON on this album... Really the only time that this happens as the persona of Polly Jean Harvey overtakes and eventually replaces the band. But that's all a few years away at this point, and this is right where a neophyte Harvey fan needs to start. Just cue up "Sheela-Na-Gig" or "Dress" and marvel at what you now own. Then start the album at the beginning and melt into the music... A perfect combination of words and sound.

"Dry" - good enough to make you wet!
PJ Harvey was a musician I had heard *of* for years, but never actually heard any of her music until about a year ago. I started off with her first two albums, "Dry" and "Rid of Me". Both of them are raw, punky, aggressive, lo-fi, unpredictable masterpieces. However, if I had to choose one and only one to listen to for the rest of my life, I'd most likely choose "Dry". Here's a brief track-by-track review, just to give you somewhat of an idea of the album:

1. Oh My Lover (4:00)

A great kickstart to the album that introduces the listener to Polly Jean's bluesey/punk style. This one in particular lies more on the blues side, with a somewhat slow, but still heavy pace. When she sings the title throughout the song, you can really feel the emotion in her voice, which is a nice change of pace from a lot of the manufactured female singers you hear today. The song builds up to a great finale with some layered vocals.

2. O Stella (2:30)

A energetic little song about Stella Maris. Some biblical references I believe (not entirely sure though).

3. Dress (3:16)

I believe this was one of the singles from this album, and Kurt Cobain mentioned it as being a favorite of his at some point. Not surprising, 'cause it's a great song that becomes very infectious after you listen to it a couple times.

4. Victory (3:16)

Another bluesey song that references angels, god, etc. The chorus in particular is great, with Polly Jean energetically singing, "VIC-TORYYYY!".

5. Happy and Bleeding (4:48)

This is where things really start getting great. It's also the first song on the album that shows her early penchant for unusual time signatures. Whereas the first four songs are in the traditional 4/4 time, this one takes a 6/4 structure. The verses are slow, and only have a minimalistic guitar riff/drum pattern. Then, the chorus bursts out in a noisy fashion. Her vocal delivery throughout is incredible.

6. Sheela-Na-Gig (3:10)

I think this is the most well known song from the album, although I certainly never heard it on the radio or anything. The title, if you're curious, is a reference to a nude pagan female figure. Great lyrics, great song.

7. Hair (3:47)

Another song that takes a slow/minimalistic verse and loud chorus structure. Again, great vocal delivery.

8. Joe (2:33)

This one is built around a wild guitar riff in 6/4 time. I'm guessing Joe is an ex-boyfriend of some sort. Regardless, another standout in an album full of standouts. It's a heavy song with a hectic, sorta chaotic feeling. May take a few listens to appreciate fully.

9. Plants and Rags (4:09)

By far the most unusual sounding song on the album, and probably the best. The verses have a pretty simple accoustic guitar riff in the background, with an occasional touch of violin (another instrument that Polly is skilled at). The verses slowly build up into what I guess you could call the chorus, that being a barrage of really haunting, atonal sounding violin. She expanded on this type of sound with "Man-Sized Sextet" on her next album, the aforementioned "Rid of Me".

10. Fountain (3:53)

Cool for the fact that it's in 7/4 time if nothing else. It has a chilling bass line throughout the verses, and again, a full throttle rocking chorus. Another one with some great lyrics (which can be found on her official site if you're curious).

11. Water (4:32)

More weird time signature goodness - this one, along with "Hair" is in 5/4. This also follows the soft/loud template, which was very popular at the time (and still is today). The main guitar riff is memorable enough to the point where you'll want to learn it afterwards (assuming you play guitar). It also has some biblical references to Mary, and the obvious "Walking on water" thing. A really great closer to a really great album.

Okay, there you have it. I'm not very good at typing song descriptions, but I tried. There's not much more I can say other than: buy this album NOW! You may not love it at first (I didn't either), but give it 3 or 4 solid listens, and it'll most likely be a new favorite. It's not her most accessible album (I would give that title to either "Stories From the City, Stories From the Sea" or "To Bring You My Love", both excellent albums as well), but if you're new to PJ Harvey, I'd start here anyway, as IMO, it's her best work overall.

Best Tracks: Happy and Bleeding, Joe, Plants & Rags, Fountain.

Beware guys...
...this is what happens to your sisters when they listen too much Nirvana and Patti Smith. Is there nothing halfway original out there?

if you're getting tired of six pence none the richer.....
lol, I tried to think of a band as [bad] and girly as possible. Well, anyway, pj harvey proves herself a bad8ss here quite easily. Very diverse tracks, nice melodies, creepy/edgy vibe with PJ's striking vocals complementing. She can sing really well and she does some different stuff with her voice. The music does the loud n hard/soft n tranquil transition thing really cooly too--that's part of the edge i guess. A good album for someone who likes the tracks to grab them instead of having to try to like it. My top tracks: the oddly catchy "sheela na gig," "hair," "fountain" and the song that leaves chills everytime "plants and rags." I think this one's easier to get into than succeeding albums. I've been a lot more compelled to listen to it. ... Read more

Reviews (6)

Essential EC
As some of the other reviewers have pointed out, its incredibly hard to really pick a "best" EC album between '77 and '86 simply because the man just made some remarkably amazing music. Whats interesting to note about this record is that it followed "Taking Liberties"/"Ten Bloody Marys.." (a collection of b-sides) and "Get Happy!" (an homage to soul). So is this really Costello's fourth album? Theres no denying, its musically closer to the first three releases and by god its really damn good. Theres a few tracks I'm not so hot on like "Shot with his own gun" but the rest is gold. The lyrical maturity shows on tracks like "You'll never be a man", and "Sad about girls" is one the best songs ever left off an album. Listen to this album, weep with joy.

Elvis Becomes a Singer
"Trust" broke form with earlier Elvis Costello albums in a major way. For the first time, Elvis shifted focus from the brute force of his music to presenting himself more as a vocalist. Where he would often just bellow the songs out (think "Goon Squad" or most of "Get Happy"), on "Trust" he began to explore his range. A fair amount of this might have to do with the liner notes continual references to EC's increased drinking problems, but probably more to his budding relationship with Chris Difford of Squeeze. That friendship led to one of the album's highlights when Difford's bandmate Glenn Tillbrook joined EC on "From A Whisper To A Scream." (Squeeze got the favor returned when Elvis co-produced "East Side Story" and added his voice to the classic "Tempted.")

Elvis was also in the middle of something of a writer's draught, which meant that he polished up a few older tunes from his pre-Aim days, and left a couple of songs sounding less than stellar. "You'll Never Be A Man," "Luxembourg" and "Big Sister's Clothes" were the first times I'd ever felt that the songs on an Elvis album were filler (hence the 4 star rating). Not like it mattered, because along with "New Lace Sleeves" and "From A Whisper to a Scream," there was the magnificent "Shot With His Own Gun," a stunning piano ballad. That particular song upped the ante for Elvis the writer, as well as being perfectly realized as a vocalist. (It could also be viewed as a precursor to "Imperial Bedroom's" "The Long Honeymoon" and "Almost Blue.")

Like many of Elvis' albums, "Trust" has aged delightfully. While many may have dismissed it upon release as EC mellowing out, it was actually the maturation point where Elvis the "Angry Young Man" became the classic tunesmith that would carry into the soon to come "Imperial Bedroom."

Trusting his instincts
Very few have sung the praises of Trust and for three simple reason; it had no breakthrough hit singles, lacked the sparkle of the new (like his first two releases)and lacked the exposure of his first three albums. It's also quite probably his best album. There's a mixture of the old and the new here; some of the material dates from before My Aim Is True so it echoes some of his earlier material in theme and approach while the newer stuff hints at a lyrical depth only fleetingly glimpsed on his best albums.

At the time of its release Trust was seen as something of a comedown; it was merely another Elvis Costello album with Nick Lowe at the helm. It lacked the sparkle of Costello's brighter, poppier melodies but the music had a depth and sophistication that clearly showed that EC was still a work in progress. From the opening number Clubland with its brilliant piano flourishes courtesy of Steve Nieve to the brutal From a Whisper to a Scream with Glenn Tilbrook's warm tenor dueting with EC, Trust provided a glimpse into EC's current state of mind. It would be superceded by the brilliant Pet Sounds/Pepper homage Imperial Bedroom but never surpassed. Yes, EC would continue to develop as a songwriter with the next album but this was EC distilled down to his very essence; quirky, powerful, catchy songwriting with the bite of a doberman.

This newely remastered expanded edition has extensive liner notes, lyrics and some gems that didn't appear on the generous Rykodisc version released nearly a decade ago. The sound quality is spiffier sounding with deeper, richer sound but its still essentially the same album. Here EC elected to do as he did with the previous reissues; present the original album without any bonus tracks to mar the flow of the album and then a second disc with all the bonus tracks packaged together. It works. Trust should be, first and foremost, presented in its original format. Unlikely later releases (notably the weak, overproduced and glossy sounding Goodbye Cruel World and Punch The Clock).

The second disc is augmented with 8 bonus tracks consisting of alternate versions of material that appears on the main album. While the differences aren't always huge, the performances and the power packed into each make them worthwhile additions. The final track consists of the original piano demo for The Long Honeymoon (from Imperial Bedroom). It's interesting to contrast the simplicity of this demo to the final, elaborate version that made it to the EC/Geoff Emerick produced version.

While none of these alternate versions/early demos are relevations, they add a fresh feeling and a new appreciation for EC's craftmanship. Yes, he's an inspired, frequently brilliant artist but one that also is enamored with the craft necessary to make the music work. It's the last glimpse we'll get of the fire driven angst of EC until Blood and Chocolate. It's also the next to last album in a string of unbroken brilliantly realized classic albums.

Extraordinary and longlasting pleasure
Elvis at perhaps his finest. I just panned When I Was Cruel, and had to write this paean to Trust, just to assuage my guilt. If you've never heard this, buy it. Elvis never put so many great words into such taut songs. New Lace Sleeves, Strict Time, too many brilliant songs to name. The Attractions also deserve kudos for their stellar work here. Very little of this isn't worth hearing over and over. Among the best albums ever made...insert your own encomium here.

Keeps getting better
Not every EC album has aged as well as this one. The songs here aren't as well-known as those on his first four albums, which helps. Also, Nick Lowe's production is brilliant, perfectly complimenting the songs without overshadowing them. Compared to his next few albums, which were occasionally lost in the production (worst being, of course, Goodbye Cruel World). Note to Costello completists: don't ditch your earlier Rykodisc pressing of this; the version of "Seconds of Pleasure" on that one is not on this (and differs from the versions of "Seconds" on the Punch the Clock and Imperial Bedroom reissues). ... Read more

Amazon.com

Like Beth Orton's previous offerings, her third album makes a slight first impression. Sure, the jangly acoustic guitars, drifting melodies, and robust voice are pleasant enough, but it is only after a while that the true potency of the songs becomes apparent. "Nobody can keep you from the one you know you are," she sings quietly on "Mount Washington." Fueled by her mother's early passing, each of Orton's songs is accordingly anchored by a deep sense of sadness and loss. Despite the occasional electronic flourishes at the hands of collaborators such as the Chemical Brothers and Everything but the Girl's Ben Watt, and the beaming West Coast harmonies she shares with pal Ryan Adams, Daybreaker is a supremely personal record. "There's a concrete sky falling from the trees again and I don't know why," she muses on "Concrete Sky." And like Tim Buckley and Nick Drake--the hopeless folk icons that came before her--there seems to be a sublime urgency in her work that suggests a seemingly innocent song like "Thinking About Tomorrow" is not so much about optimism as fate.--Aidin Vaziri ... Read more

Reviews (62)

Daybreaker ~ Beth Orton
While the first two albums from Beth took some time to sink in, the songs from Daybreaker immediatly caught my attention.

-Paris Train opens the album on a incredible high level, this is one of her best songs ever!! The lyrics are stunning, the string section is quite beautiful and Beth's voice sounds almost Bjorkish! 5/5

-Concrete Sky is the first single and is very catchy. Ryan Adams contributes his vocals to this song. 4/5

-Song number three is Mount Washington. Wow! talking about good songs, this one also blows you away! The lyrics are great and the building to the climax at the end is just fabulous. 5/5

-Anywhere is another top notch song from Beth with a brass section and very original written. 5/5

-The titletrack Daybreaker is written with the Chemical Brothers. Very trippy and bouncing. 4/5

-Carmella is a acoustic song, it sounds alot like most of the songs from Trailer Park. The lyrics are very funny. 4/5

-God Song brings another collaboration with Ryan Adams and Emmylou Harris, who contributes her haunting background vocals. The lyrics are so so in my opinion, but the song is beautiful, esspecially the ending. 4/5

-This One's Gonna Bruise is written by Ryan Adams especially for Beth. This song is a little depressing, but Beth makes it very special. 4/5

-Ted's Waltz took a lot of time to appreciate, but now I think that it's a very good song with a dark atmosphere. 4/5

-Thinking About Tomorrow ends the album like it should. The song is actually quite simple, but incredible stunning! The lyrics are fabulous and Beth's emotional voice will sure give you a lump in your throat. 6/5

So, not all the songs are top notch, but this album flows perfectly together. The songs Paris Train, Mount Washington, Anywhere and Thinking About Tomorrow are some of her best songs so far in her career. Central Reservation is still my favourite album from Beth, but Daybreaker is a worthy follow-up and another peak in her recording career.

This one's recommended highly!!

Beuatifully crafted but missing memorable hooks 3.5 stars.
Beth Orton is a rare talent, with great songwriting skills and an unusual smokey, evocative voice. Here she delivers a long awaited, and beuatifully crafted follow up to the hit disc "Central Reservation", that althogh full of great songwriting is hampered by a lack real melody or memorable hooks in the songs.

Another way of putting this is amidst all the musical craftsmenship the songs ceased to be catchy, or memorable, if you will.

Orton lined up an A-1 cast of helpers such as Ben Watt (late of Everything But the Girl) who, as before is in charge of the beat, blips and trip hop side of things, Johnny Marr the guitar player from the Smiths and others. As a result it all sounds wonderful and the instrumentation is superb, but it lacks something.

Its an odd experience listening to the record, since each track starts off well enough, but the problem is in the chorus, the anticipated beautiful hook, or chord change, that distinguished her other discs, never quite comes except in a couple of tracks. This applies across the board to all styles present on the record, styles that are more diverse than before, the songs just lack a "crunch" that gives you a tingle.

The disc also fails to sparkle in mood and fall somewhat flat, as if Beht Orton is trying to hard to be meaningful in the lyrics. Another slight problem, the pace of the record gets steadily less, and the songs more stripped down as you proceed, and the last five songs are all extremely slow ballad type songs.

This record may well shine better on several listens and might work best at 1am with a bottle of scotch when you are truly in a reflective mood. For all it complexity and craft, it just can't match the shine and sparkle of "Central Reservation." Needless to say Orton's voice is as beautiful and evocative as ever.

All in all, buy this disc for its craft, its a bit like a lavish hand made wedding cake with not qutie enough sugar, or an expensive foriegn made, rare sports car, with not quite enough power, still meriting admiration and enjoyable, but......

Orton at her best
'Daybreaker' is by far one of my favourite albums by a woman EVER. Orton has this special feel about her music that just keeps you attached. 'Paris Train' is the opening track and it draws you in to the very genius mind of Orton. Beth's style and vocals are very different from anyones I've heard which makes her one of the best artists I've heard in a long time. The best tracks are 'This One's Gonna Bruise', 'Paris Train', 'Concrete Sky' and 'Thinking About Tomorrow'. I highly recommend this album!

Her best album, and most accessible
What a good fortune that Beth's best album is also the album I would recommend to someone who had never heard her before. Central Reservation put her on the edge of cult status, and Daybreaker has given her a small venue drawing power in college cities that is very respectable. The early songs are very pop-ish, well-crafted. the later tracks are more artistic and more authentically her, sounding almost as though she was trapped in a studio for weeks and these are her private diary entries. For example, "Ted's Waltz," my favorite from this album, is very intimate, much like "Blood Red river" from Central Reservation.

This vital artist will be around much longer, I hope; I've seen her on her opening concernt for this album, I hoep she has many more opening concerts for albums.

Excellent!
After buying Central Reservations, I was captivated by Beth's vocal style which ranges from sweet, to sexy to innocent. I really enjoyed Daybreaker especially since, compared to CR, it is a bit more upbeat. Mount Washington, Anywhere and Thinking about Tomorrow are the standout tracks for me. They adhere thoroughly to the album's title "Daybreaker" and convey that feeling you get when you start out on a bright, warm sunny day.

An excellent road trip album!

However, do not be fooled into buying the remix album. The unreleased tracks are mediocre at best and the remixes sound like the efforts of teenagers with Acid Loops. Someone thought to try to capitalize on the success of Daybreaker, but the remix album may have been a bit too ambitious and slightly disappointing, especially to those who are endeared to the original Daybreaker release. ... Read more

Amazon.com

At 28 years intense, Harper released his third album, a mixture of R&B, deep blues, folk-rock, even topical singer-songwriter work (the deliberate, bluesy "Homeless Child"). Harper's voice and style marry the funk-blues of Taj Mahal and the eccentric, electric Dylan. Those weaned on his more commercially successful peers Hootie and the Blowfish and the Wallflowers will find that Harper is a revelation. At its best, The Will to Live is an eclectic and imaginative statement. --Roy Kasten ... Read more

Reviews (29)

Follow me here...
If you can, think back and remember the sound of "Fight For Your Mind". Think about the sound that album had and how it blended three different styles of music (at the least) and how wonderful it ended up sounding. Now, I'd like you to imagine "The Will To Live". Imagine a totally different sound from its predecessor, while at the same time blending more styles of music into its content like its predecessor. Following me here? "The Will to Live" is a much different than "Fight For Your Mind". The album's message roots a little deeper into the emotional pool and conveys it in an array of folk/fusion, jazz, rythem and blues, and the patented Ben Harper acoustic sound. Only "Glory and Consequence" and "Faded" find the hard rocking weissenborn guitar. "Jah Work" although completely out of place on this album, is a perfect example of how Ben can hit a wide variety of musical styles. What you get is a pleasure of an album to listen to. It's different and unique.

one of the best rock albums of the 90s
First question. Why is it that whenever someone mentions Ben Harper the next person's name that comes up is Lenny Kravitz? Their music is not that similar. Obviously the similarity between them is that they are the most popular African American rock musicians of the 90s. I hate this because it suggests a sense of racism by immediately pinning them against each other and making comparisons. They are two entirely different musicians, though both great in their own right. They are not the first African American rockers, for rock was invented by Chuck Berry and mastered by Jimi Hendrix. Not only that but there were other influencial and revolutionary African American rockers since then, for example, Bad Brains, Fishbone, etc.

Anyway, "The Will to Live" is an excellent album. Popular hard rock is not the forte here, nor is funked out rock. What Harper does is incorporate many genres into his mix, including blues, roots reggae, rock, folk, and grunge. The excellent strings, such as in "Roses from my Friends", suggest classical influences as well. This album pays no regard to boundaries and does it well throughout the album. All in all a work of art.

soulful & moving
An album which expresses Harper's traditional genuflection to spirituality and concern for the less-than-fortunate. With "Homeless Child" and "Widow of a Living Man" (one of my favorite songs by him), Harper exhibits once again his uncanny ability of peering into the world of the downtrodden and revealing its anguish w/grace. While perhaps his most melancholy release, it's beautifully orchestrated, and like the majority of his work, it's an album that, thematically, speaks to those who are ahead of the status quo.

...not groundbreaking... but honest...
cant say that i'm a fan of the country-folksy-bluesy-semi-acoustic-lowlevel-rock-and-soul genre... but this aint bad... nothing that feels prententious or forced... or even 'cute'... just honest... and i appreciate that type of music regardless to the form it takes on.

want to shake your moneymaker in the club? or rattle the concrete as you blow out your brand new stereo speakers???

then THIS aint gonna be the album you do it to...

but if you already lean toward the more eclectic/eccentric side of musical expression, then hey: get this and knock yourself out!

the will to win my musical heart
Ben Harper is one of the few original artist to jump race and genre boundries. he is a master of all styles able to rock out with screaming guitar, he can hit right to your heart the next on a simple soft chord. Do yourself a favor and check out any of his CD's. or go for the gold and get the box set ... Read more

Reviews (49)

Don't needa support system
Whip-Smart has to be one of my most favorite albums. Even though at first I found it really hard to listen too it soon began to speak to me. Liz Phair is a very interesting artist because her lyrics and song arrangements are different from the mainstream.
Whip has some very fun and playful songs such as Supernova and Whip-Smart. At other times the songs are confessional, like Chopsticks, where she sings about having a one night stand with some dude she met at a party. My favorites on the album are Shane,Nashville,Dogs of L A, and May Queen. Shane is a song that goes with our current times because of the 9-11 attacks.

HA HA
Sorry, I just can't help laughing outloud at the pathetic reviewer below me. Liz needs to take voice lessons from Celine Dion?! Ha! Now that really is funny. Look if you're into adult contemporary then why would you even bother listening to an album like this? How is Liz a wannabe? Liz Phair is a very interesting artist because her lyrics and song arrangements are different from the mainstream. Whip-Smart takes listeners of top 40 radio music and wakes them up to see that there is something else out there. Something very good out there. Liz's songs have personality and spunk...you have to get to know them, give them a chance to speak to you. Sorry if I sound like I'm rambling, but I hate to see someone bash this album when it's obvious that they don't understand it. Oh yeah and I think Celine Dion is vastly overrated. She can't even write her own material! Pfff.

Letz be fair and say Liz Phair rocks!
The popy rock Whip-smart was my introduction to Liz Phair after I heard her single from the previous album. I liked the song and video and I just had to get this (at the time) new release, especially after I heard "Supernova". The whole album was even WAY better than I had hoped it would be, and I was very pleased. Apart from the fact that she is so HOT, Liz Phair has a great deep smooth singing voice that is to die for. I could listen to her croon all day :). Her and Jewel were my teen obsessions :). This thin, thin-lipped, long-eye-lashed, blue-eyed babe has a rich, long-range voice, GREAT tunes, and can give Sheryl Crow a run for her money any day. I even wrote a poem about her in my book.

David Rehak
author of "Poems From My Bleeding Heart"

This is supposed to be music?
This CD is a complete joke. I bought it because I liked one of her songs, and it turned out to be the only decent song on the entire album. She needs to take vocal lessons from Celine Dion, a real singer. This woman is a wannabe! Her voice is like a cat screaming.

Cool "Whip".
Even though her debut is considered to be her best album, and I really like "Whitechocolatespaceegg", "Whip Smart" is my favorite. It could be because "Supernova" is one of the best alt-rock songs of all time, but I think it's because the whole album is super. "Chopsticks" is a good intro, and "Support System" is fun to whistle along with. Then there's some slower tracks like "Shane" and "Nashville" that are still cool. Not every song is a winner, but overall this sounds as good as she looks. It'll go great with your "PJ Harvey" and "Juliana Hatfield" cd's. ... Read more

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"A pissed-off, 32-year-old divorcé's version of This Year's Model" is what Elvis Costello once called this 1986 noise-pop masterpiece. Following the foray into acoustic roots music that informed the heartbroken King of America, Costello immediately redubbed himself Napoleon Dynamite for songwriting and DIY-cover-painting credits, teamed again with the Attractions and producer Nick Lowe, and headed for the figurative garage. Spattered with bad love and strange dreams, nervy Beatles "tributes" (the deranged "I Want You" held the same end-of-side-1 place on the original LP as John Lennon's namesake ode to Yoko did on Abbey Road), and blurt after blurt of bent tunefulness, Blood & Chocolate was for all that an exceedingly artful, criminally ignored album. "Someday they'll probably make a movie out of all of this," Costello sings on the penultimate "Poor Napoleon." "There won't even have to be a murder, just a slow, dissolving kiss." Rhino's remastered edition adds a disc of bonus tracks, including the fabulous Sir Douglas Quintet homage "Baby's Got a Brand New Hairdo" and five solo acoustic performances of soul and country nuggets that bring the set full circle to King's stylistic core.--Rickey Wright ... Read more

Reviews (17)

One of my favorite of Costello's repertoire
'Blood and Chocolate' is one of those releases that stands up from start to finish but doesn't contain any immediately famous songs, or any real Costello standards (like 'My Aim Is True' has 'Alison', and 'Spike' has 'Veronica'), but has some of his strongest writing and best material. This album is definitely a "return to roots" album, in a way, after releasing "Trust", "Punch The Clock", and "Goodbye Cruel World", all of which seemed kinda polished and "contemporary" (meaning very 80s sounding). This is Elvis with his Fender Telecaster and the Attractions playing bitter, angry rock and roll.

The highlights of this set are the creepy and almost stalkerish 'I Want You', the thrasing 'Uncomplicated' (he does the one chord thing better than The Velvet Underground or The Stooges ever did), and the carnivalesque 'Tokyo Storm Warning'. 'Poor Napoleon' is a hidden gem and so is the rocking final song 'Next Time Around'.

'North' is how Elvis reacted to heartbreak and torment in 2003, and 'Blood & Chocolate' is the Elvis of 1986. It's amazing how the same man can relate to similar events with such different work. 'Blood & Chocolate' is a highlight of Elvis in the 80s, along with 'Get Happy!!'

Blood and Chocolate/ Masterful Moments
Recently reaquainting myself with Costello's reissues on Rhino, who, FYI have done an exceptional job with handling the catalog, reinventing it with information supplied from Elvis himself and giving us a whole extra disc of outtakes and oddities. Congratulations Rhino for being the first U.S. label to get the ideolgy and concept right. Fans and newcomers alike will find things they've never heard or hear it again with fresh ears.
"Blood and Chocolate" upon it's release in 1986 was not one of Elvis's album I returned to frequently. I'm now appreciating this album for what it truly is, a turning point for Elvis as he would round the corner with "Spike" one of his most interesting albums from my standpoint. Songs that have made their impression on me the most, the ones that I am surprised that I didn't appreciate them on first listening in 86 are "Blue Chair" "I Hope Your Happy Now" (a marvelous upbeat with cruel intent) "Home is Anywhere You Hang Your Head", "Battered Old Bird" ( performed with the Costello songwriting wit) and "Poor Old Napolean" (nice to clearly hear the voice of Mrs Costello, Cait O'Roirdan, former Pouge and musician in her own right.
I highly suggest that, fan or no fan, now is the time to revisit the Costello catalog and relish the fact that someone has gone and done it right this time around. Time to listen to disc 2.
Hurry up Rhino and get to "Truth" and "Get Happy" then I'll be in true extasy!

This is the one ....
For better or worse, I came to Elvis Costello post-North. I still remember "Pump it up" blaring from AM radio upon release & had loosely followed his releases since - but had never got serious.

Facing EC's canon of work is daunting, yet full of wonder. I suppose I had a preconcieved a vision of the perfect EC album .... driven, acerbic & melodic. "Blood & Chocolate" delivers this.

The sonic attack of his first 3 albums is here, juxtaposed with some of his best wordplay.

The audio rollercoaster of "Tokyo Storm Warning", the stealth-like "I want you" (Neil Young circa "On the Beach" anyone?), the joyful outpouring of venom on "Uncomplicated" .... I find this whole album to encapsulate my minds eye vision of Elvis ... might just work for you too.

One of his worst
Not sure I can recall even one memorable song from this album. I bought it when it was new and listened to it 10-12 times. I've been a big Elvis C fan for years. Love Armed Forces, Imperial Bedroom, This Year's Model, even All this Useless Beauty is much better than this one. It just doesn't hold up.

when he was even crueler (more cruel?)
There is nothing sadistic about appreciating this fine work.

I have owned all of the forms of B & C; Vinyl, Cassette, ryko CD and now the Rhino reissue which is far superior due to all the extra stuff (even though much of what is truly interesting about it is from kojak variety and other previously available collections). The fact that the owner of Rhino is an obsessed EC fan himself does not hurt.

The true testimony to its importance and lasting value is that Elvis' tours over the past two years have been heavily laden with these songs...and even more with this sound. I watched people who "didn't think they would like Elvis all that much" turn into obsessed fans as he recently played "I Want You" live.

If you don't already own at least three different generations of this one now is the time to get at least this latest one.

Like "When I Was Cruel" and "My Aim Is True" this album is driven by what Elvis himself described as driving "My Aim is True": anger, guilt and revenge.

You don't get much more honest responses than that.

Personally, based on the quality and emotion presented here, I can't wait until he gets even crueler! ... Read more

Reviews (70)

Her best
Suzanne Vega continues to grow as an artist, and I can't think of one of her recordings that wasn't better than the last. "Songs in Red and Gray" is no exception as she comes into a mature middle age. Although I would not take the editorial review here as a guide, the reviewer is right that Ms. Vega has always controlled her voice perfectly and used words with extraordinary precision. What is different now is that her poetry - and no, it will not win a Pulitzer prize, but her verse certainly stands out in the world of pop music - has moved from painting a cool tapestry of New York images 20 years ago to painting a rich world of love and joy and loss today.

For anyone who has experienced the pain of a disintegrating marriage, the fierce tone and intense imagery of "Widow's Walk", "Soap and Water", and "If I Were a Weapon" (reminiscent of "If You Were In My Movie", but with substance) will be intensely evocative, and are the most obvious gems here. This is not just a "divorce album", though. "Penitent" is a deeply moving song of spirituality that could not have been written by a younger Ms. Vega, and touches me to the core. There isn't a song here that isn't strong, though as always there are some I don't understand, however dazzling their images. "Maggie May" doesn't seem to allude to the old Rod Stewart song; his Maggie May left the protagonist, whereas this one is left. It isn't one of my favorites here, but seems to be one of Vega's based on its inclusion in her Retrospective CD and set lists. I do better with her more straightforward material. "Priscilla" is a beautiful childhood story, "Last Year's Troubles" a nice bit of social commentary, and "Solitaire" may be a light song but it captures perfectly the mood of being mesmerized by a late-night game.

Some of the criticisms below may matter more to you than to me. For those who want a pristine guitar and voice sound akin to Ms. Vega's eponymous recording of 20 years ago, wait for a live recording I suppose. Her preference over her last 5 CD's is obviously to use more instrumentation. For those who preferred the 99.9Fº sound, that is obviously gone. But if you are open to a tasteful recording, as always for her, for meticulously-crafted and powerful imagery, as always for her, and for lyrics that rise to a whole new level of maturity and meaning, "Songs in Red and Gray" is a must-have. At this point, Suzanne Vega has a true oeuvre, and this is its culmination. There may be better still to come, but if she were to stop singing today one could not be less than wholly satisfied with what she has produced here.

obsessive perfection
It's probably safe to say that Suzanne Vega is an acquired taste - but if so, she's one I acquired way back in the 80s when I first heard quirky hits like "Luka" (surely the catchiest song about domestic abuse ever written) and "Left of Center" (which still conjures up memories of bad John Hughes movies). Vega does obssess over her compositions, and sometimes the production can overwhelm her delicate, fragile tunes. But she still writes great songs that veer off in unexpected directions. Lyrically, she's the equal of Paul Simon - who else could have written a great line like "daddy's a dark riddle, mama's a head full of bees" to perfectly evoke a child's perspective of two adults fracturing before her eyes? That line is pure Vega, and this album is filled with the kind of inspired observations, clever wordplay and evocative instrumentation that are this unique artist's hallmark. Her divorce from longtime producer/husband Mitchell Froom may be a personal tragedy for her, but musically it seems to have freed her somewhat to explore new avenues. This is one of her best records.

Agreed, her best since her first
Few albums have touched me and knocked my socks off at the same time as this one has. This is by far her best songwriting since Suzanne Vega and Solitude Standing. I have enjoyed all of her albums, but these songs have a rawness, intimacy and intensity that I have rarely ever seen. On top of that, the musical arrangements framing the lyrics are perfect - not over done, not underdone. You can "feel" the emotion before she starts singing. I am not a professional critic, but I would say this is a flawless album. Pure Suzanne in the lyrics and her songwriting has reached a maturity and level of excellence that all of her fans have been watching her work towards.

Her best
Suzanne Vega's "Songs in Red and Gray" is, in my view, her masterpiece. Gone are the sometimes precious melodies and forced intellectuisms that dulled some of her previous works. Here we have a more world wisely approach gathered from over 22 years in the business. This is her most mature and flowing work to date. The general theme is one of heartbreak and determination of a marriage broke down. Similar in theme to Shawn Colvin's "A few small repairs" but not in tone. The music here is reflective (Soap and Water, Penitent) and persuasive (Last Years Trouble, Maggie May). Each song is a highlight and the change here is that the production is non showy (courtesy of Rupert Hine) in comparison to her ex producer (and ex-husband). The CD concludes with St. Clare (the sole cover) and is a beautiful epitaph to this superb CD. Released soon after 9/11 this CD had an apt resonance and sounds as beautiful now as it ever did with regal lyrics and flowing melodies. I would recommend this to fans and casual browsers alike.

Just a great album
This is onw of the best albums i have in my collection (1000) ... Read more