Reviews (14)

David and Co. are back at it again, and better than ever.
With Bands With Managers, Achilles Heel begins with a powerful confession of honesty, community and the failings of the our designs. The next 10 cuts of the album are no less vindictive on human nature, nor are they any less vulnerable with the subjects at hand.

A bit of a departure from David Bazan's concept album creations of the last two Pedro releases, Achilles Heel gets back to David's origins of good songs, great lyrics and powerful emotions. Each song carries a good deal of baggage with familiar subjects such as marriage (I Do), economics (A Simple Plan), the counsel of Job-like friends (Foregone Conclusions), our idiot nation (Arizona) and so many other Dave-esque topics. Musically, this is not nearly as aggressive as Control or Winners Never Quit. It is more like his earlier stuff, with much better production. Imagine it like The Only Reason I Feel Secure with more meat on its bones.

Beware, as Dave has been known to do, his lyrics go beyond the normal scope of "acceptible" in certain circles. For one, he's graduated from smaller tactical words to the F-bomb. However, his words are powerful and the emotions he elicits from the listener are deeply moving and inspiring. A must have for any Pedro fan...and I am sure this will win them a new audience as well.

A good solid album all around...something too tough to find these days.

Progression and Comparisson in Pedro the Lion
hardcore Pedro fans are engaged in deabte over the validity of Achilles Heel because it's just so different from Control. sneaky Mr. Bazan had us all thinking we were getting the next chapter in the concept album saga, but read the bio page on pedrothelion.com. Dave himself says he intended a less novelistic approach, and that he wanted people to hear how much fun the record was to make.

see, Control is an album of zero hope, complete dispair, and impossible escape so well done that it attaches itself to you and gets too far inside your head (as a result it's still one of my favorite albums ever). Achilles Heel is in many ways better because it doesn't force itself upon the listener. you don't have to listen to all 11 songs start to finish to get the full effect of what Bazan is communicating. this has some fans scoffing as if there was something wrong with the lyrics or the music was bland.

the secret to enjoying Achilles Heel is not expecting it to be another Control, or Winners Never Quit, or anything else you've heard before. take it for what it is: the album of Bazan's career.

Pedro the Lion's "Achilles Heel"
Achilles was a mighty Greek who fought in the Trojan War, and was the hero of Homer's Iliad. Achilles was the son of the mortal Peleus and the Nereid Thetis. Achilles fate is well-known and he died after being wounded by an arrow to his heel. To me "Achilles Heel" is the work of talented musicians, who worked to produce an album unencumbered with fancy production or superfluous effects. It represents a return to the basics that Pedro the Lion has always preferred. While I don't know what the title of the album means of David Bazan and TW Walsh, for me it is a statement about what other musicians are doing wrong. The Achilles heel of many contemporary musicians is computers, synthesizers and over-production in my opinion. Music doesn't need to be refined to a state of perfection to be good. Pedro the Lion's "Achilles Heel" is clearly evident of that fact. Self-produced, engineered and mixed (with help from Chris Colbert), this album has an energy and vibrancy that will keep you pressing repeat on your player. I picked up a copy of this album at a show the other night and had David and the band autographed my booklet. This is definitely an album I will treasure and appreciate for years to come. Despite what others might write about how different this album is from past releases it is the same ole', excellent Pedro the Lion friends! My favorite tracks at the moment include, "The Fleecing" and "A Simple Plan." So act now, buy the album, and catch Pedro the Lion live during their summer tour.

i really wanted to give it five stars, but...
here's the thing. david, with this album, seems to finally be breaking new ground musically. though the album's opener - "bands with managers" - sounds like what one would expect from pedro the lion, the rest of the album goes in a completely different direction. just listen to "keep swinging," which sounds much like its subject material (a night in the life of a drunk). "i do" is also comparitively different than anything i've heard on any pedro the lion album (and trust me, i own all albums except the progress ep). though i'm still getting used to the "new sound" of this cd, i would still give it 5 stars for a job - very - well done.

the reason i give this cd only four stars is because of its lyrical content. yes, i am a christian; however, my four star review isn't because of his use of the [swear] words (...). i'm not that unfair. my problem with the lyrical content is that the album doesn't fit together lyrically like david's past efforts. please understand that i realize that each song is a story in itself. i do think that the lyrics have a lot of weak spots, but i'm willing to overlook that for all of its stronger points.

cough. as i was thinking about this album, i decided .. why not give it five stars? it doesn't matter that the entire album doesn't "flow" lyrically. each song is a story in itself, and though i'm frustrated because i want to know the entire story, it only shows david's genius as a songwriter that i do.

oh, and as a final thought .. david, don't give up on jesus. he's the only source of true fulfillment. but you probably know that. that's it.

This goofball is holding my CD player hostage
Pedro departs the "concept album" for a series of one song vignettes (a series of short stories instead of a novel). Pedro's favorite word on this album seems to be "a__hole", used in several songs presumably for shock effect ("look at me, I can swear just like a secular artist!"). Oh well, at least nobody kills their spouse on this one, unlike the previous two albums. Maybe in a few years he'll be touring with Dre and Snoop.

As easy as it is to goof on Mr. Bazan (aka Morrissey meets DeGarmo and Key) for being overly serious, he makes darn good music that I can't seem to get out of my head. I wish he wasn't always so relentlessly negative, but clearly he puts thought into the lyrics and you get the feeling he'll never water himself down to hit the mainstream, a la Phil Collins.

Keep up the good work, but for God's sake, crack a frickin' smile!!! You are moping around like a 16 year-old who got dumped by his girlfriend. ... Read more

Reviews (55)

American Radio should be playing this album!
The current craze for female singer-songwriters seems to have passed Bic by, which is such a pity. She's extremely talented, has a powerful and nuanced voice, and writes songs that pack a lot of emotional wallop. She's also a terrific live performer! Buy this CD and discover an incredible New Zealand talent!

Definitely worth buying
This is an excellent album with a lot of variety, from a very talented artist. Bic Runga's beautiful voice takes the spotlight in these songs, with instrumentation being generally sparse and most of it is acoustic. The lyrics, although not the main feature of her songs, are still meaningful and deal with aspects of life that most people can relate to. The music of the album ranges from the haunting 'Bursting Through' and 'Heal' to stronger, faster material such as 'Swim'. Although the album includes catchier pop tunes like 'Sway', there are some songs that have to be listened to a few times before getting it in your head, such as 'Delight'. I thought that the best feature of the album was that each song was different and had something original about it. I also liked the way the mood was changed by making the end of like 'Hey' and 'Suddenly Strange'more energetic and loud.The only song I felt was not up to the standard of the others was 'Sorry'. However, all the songs can be enjoyed over and over again, making this album one that is definitely worth adding to your collection.

Not as good as 'Beautiful Collision' but...
I kind of started backwards with Bic's sophomore album 'Beautiful Collision' before I got my hands on 'Drive' her first outing. The reason I only give this album 4 stars is because I know that the best was yet to come with 'Beautiful Collision'.

Drive is an angsty, rock chick, acoustic album...but a lot of the songs are hit or miss. Either you love them or hate them. The four unique songs 'Drive', 'Sway', 'Bursting Through' and 'Sorry' are my favourites and I have been whistling these catchy melodies for weeks. The rest of the album treads between sweet melancholy which doesn't seem to get anywhere (like 'Roll Into One') and angry, self-indulgence (like 'Heal'). I might be sounding harsh but it is just because I think her second album 'Beautiful Collision' is perfection and the album 'Drive' is where Bic is finding her capabilites and limitations.

Oh- and to the people who complain that Bic's lyrics aren't 'deep' enough are missing the point. Bic writes about suburban/domestic things like rearranging magnets on the fridge and counting stars which are everyday, mundane things "normal" people know about. I hate musicians who try too hard to appear intellectual and political by using esoteric lyrics with too many syllables...Bic's music touches a chord with the 'average', casual listener (like me) because she sings about such 'trivial' things like brushing your teeth...I must admit I have cried a lot over this album...so well done Bic for converying such emotion!

Beautiful
This album is amazing and captivating. From the first time I heard the track 'Drive' I have been an avid fan of Bic Runga. Every song on the album 'Drive' is truely individual and it baffle's me why not one of these songs has been a major hit in the USA or Uk.

Bic is the bomb!
I love this Cd! I came across Bic's music when I was in NZ last year and was drawn to it immediately. Since then it's only gotten better. She's an amazingly talented singer/songwriter/pianst/drummer."Drive" is one of the few Cd's I listen to without skipping a track. I like this one even better than her latest "Beautiful Collision". Also check out the live Cd she did with Tim Finn and Dave Dobbyn. ... Read more

Reviews (98)

Is this not a masterpiece?
After a pretty dull year in music, PJ Harvey has released what may just be the best release of 1998. I have played this cd everyday since I purchased it on September 29th. It just gets better with each listen. It's hard to pick a favorite track, but I'd say "The Garden" may just be one of the best and haunting tracks I've ever heard from any artist. I've been a fan of PJ Harvey since her debut cd, "Dry". She is artisticly in my opinon the best female singer in music today. She also plays a wicked guitar. I could gush all night about Polly Jean, but I'll just say this... If you're not a fan of her music, please give it a try. You'll love it! "Is This Desire" is truely a masterpiece. The best release of 1998!

Occasionally Interesting, but Distant and Disappointing
In 1994, Harvey released "To Bring You My Love"; an album combining mythology-based lyrics with music that is a fusion of blues and industrial/techno. Miraculously, this disparate combination works brilliantly. Though Harvey seems to sing in the thrid person on the entire album, she manages to make the characters feel immediate and personal, never sounding distant. When she sings, she actually becomes the characters; the key to great storytelling. The lyrics mesh well with the bracing, often jarring music, which is so enticing because it's innovative, yet familiar (like all truly great music).

On "Is This Desire?", Harvey again sings predominantly in the third person, but often sounds distant. It's as if she hasn't been able to make herself become the characters. Consequently, it is difficult for the listener to feel anything for these characters. There are a few exceptions: "Cathryn" is delicate, intimate, and compelling, as is "My Beautiful Leigh". More often Harvey sounds insular, failing to generate much emotional resonance.

The music on "Desire" is just as problematic. Flood is a capable helmsman, but much of "Desire" sounds over-produced. Electronic sound effects can enhance the quality and feeling of a song when used judiciously, but here Flood isn't discriminating enough. Many of the songs are treated with "bleeps" and "blurbs" which are at best superfluous, at worst perfunctory. Many songs are marred with pointless sound effects that detract from otherwise quality material.

Despite my criticisms, I don't think "Desire" is worthless, just dissapointing compared to it's predecessor. It's as if Harvey recognized that it would be difficult to create something as brilliant as "Love". This may be true, but on "Desire", it sounds like she didn't even bother to try. Since Harvey is so talented, "Desire" is a stronger record than the best efforts from most other artists. From someone of Harvey's capabilities, it's an average attempt that hopefully represents a temporary lull, not a dearth of creative inspiration.

"Is This Desire?" Harvey's Homage To English Lit
Though not a masterpiece like "Rid Of Me" and "Stories From The City," "Is This Desire?" awakens sometimes, albeit blinking confusedly and from a drunken sleep, PJ Harvey's undeniable genius. The album is basically one big literary homage, from the "Catherine" songs to "Joy," Harvey's passionate, abrasive tribute to Flannery O Connor's " Good Country People."
Some songs, though lyrically evocative, fall flat instrumentally, specifically "My Beautiful Leah" and "The Garden." Others, like "The River" and the title track, "Is This Desire?" are simply exquisite, steeped in "aching, grieving beauty" (to quote from "The Great Gatsby"-). In spite of its defects, this album is well worth the purchase.

amazing pj!
This album made me a real pj fan. i had 'rid of me' in my collection but this cd changed everything. every song is beautiful, different, emotional, and haunting. my favorites include 'my beautiful leah', ' a perfect day elise', 'angelene', and 'is this desire?'. 'the wind' is extremely haunting to me, in a good way. i could listen to this album over and over again, and i have and will continue to!

By far her best work!
Although my personal favorite will probably always be "Four Track Demos," I consider "Is This Desire" to be her best work. It's a departure from the gritty rough PJ Harvey of "Rid of Me" and "Dry" fame. In my opinion it continues on the maturity and evolution that starting showing itself on "To Bring You My Love". Don't get me wrong there is still some grit on this album but it's much more subdued than balls on approach of her earlier work. I'd consider this album a perfect introduction to PJ Harvey for non fans and a classic for fans. ... Read more

Reviews (28)

"My favorite plum hangs so far from me..."
With "99.9 F", Suzanne once has taken a sharp turn from mostly acoustic folk-pop to stylish techno and rock sounds, creating her own genre called "industrial-folk". "Nine objects.." pursues this "new" direction, but it is less innovative and interesting than its almost groundbreaking predecessor. The sound builds up on rumbling tribal drums, funky bass line, and alienated guitar samples, often evoking a strangely intimate atmosphere. The lyrics are more personal than on previous albums, and Suzanne has never sounded more erotic. On the other hand, many songs sound too similar to each other, and the last four tracks are barely more than filler. Best songs are "Birthday", probably Vega's most rock-oriented and aggressive song ever, and "World before..", looking back to her '80s-hits like "Marlene on the wall". Overall, this is my least favorite Vega album. She has set her own standard too high.

The potrait of a lady
Having been the first Suzanne Vega album i've ever bought , this seemed to me unimpressive and quite bizzare at first . It is wrong though to try to judge Nine Objects Of Desire without taking the time to study carefully the songs and to distinguish the role it plays as a part of the discreet yet essential change in Vega's sound .

While on 99.9F the singer made the big step and reinvented herself by mixing her guitar melodies with funk and machinery sounds , on this offering we find her giving jazz a try . The lyrics are once more challenging and sharp . On " Birthday (love made real) " Vega sings about the experience giving birth . " One Thing i know , this pain will go " she declares at the beginning of the song only to start shouting " shake all over like an old sick dog... " with stange enthusiasm on the refrain . On " Honeymoon Suite " she tells us a hauntig story about visions and ghosts in some hotel-room in France . Her lines in many tracks are full of metaphors and symbolisms . What does her " Favourite Plum " stands for on the last track ? Is it a man ? Or is it the life she wants to have ? It's all these details that make this record so exciting .

Musically the variety is easily being sensed by the listener. Vega choses to follow paths she's never been to before and sings a bossa nova confession of lust in " Caramel " and the smoked , bluesy " Headshots " on which "...a poster of a boy on the wall " whose " two eyes in the sade ,a mouth so sad and small " brings in mind an old lover .

See Nine Objects Of Desire as a piece of potrait's puzzle picturing a woman who behind her calm looks hides so much soul and personallity . That's when you'll understand how great it actually is.

Suzanne at her most sensual
This is an extraordinarily sensual album, as noted by others, with "Stockings" and "Caramel" standing out. The other standout to me is "World Before Columbus," a warm love song, with the rest of the songs good enough but forgettable. Contrary to some of what you may read here, "Nine Objects" wasn't a clean break from the "99.9Fº" sound still found here on several songs, but the bossa nova style used to good effect on several others was new for Vega, as were other jazz touches, and they suit the material perfectly. I'm not sure everyone below is interpreting Ms. Vega's often-cryptic lyrics properly, but her poetry is as rich here as ever, and the heat of this CD, however subdued and smoldering, was a welcome contrast to earlier material. Though I only really fell in love with a few songs, "Nine Objects" was my favorite of her first 5 CD's for a long time. On re-listening 7 years later, I think this is because the sound is consistently gorgeous, perfectly produced, and this helps one overlook the unremarkable quality of the bulk of the songs. Of course, "unremarkable" by Suzanne Vega standards is so remarkable that there is nothing to criticize here except by comparison with other work by the same artist. Musically, this CD draws me in like none of her others save "99.9Fº", and lyrically it's second to none save perhaps "Songs in Red and Gray". This is no second-best, though - Vega's works are all different, and I'd consider this one an essential for any serious (or perhaps less-than-serious) fan.

See If You Can Identify The Nine Objects
Being a child of the new generation, I kinda swallowed all of Suzanne Vega's recordings into one full year of listening (even her latest stuff); each record being so richly layered and unique, I took my time with each and it was not easy to decide, but this record, 1996's Nine Objects Of Desire was most definitely my favorite.

For one, it's different; it's a jazz-tingled, blues sprinkled, funky instrumentalist love affair with seduction in general. Each song is a short anecdote to passion; and this passion can be as exquisite, yet simple as a plum (My Favorite Plum), as supple as caramel during the envisioning of an intimate evening (Caramel), or a masculine figure to sweep her off her feet (Thin Man - a personal favorite due to its sheer exuberance); some of these songs denote so much sentiment that it makes you wonder how privileged Suzanne Vega was to feel these fundamentally rare emotions, or at least render such a rich retelling of them.

Nonetheless, the topper of the concept of the entire album is that they are really desires; she marvels in the sensations, but there is this prevailing emotion of yearning, which is how life is, for the most part. The near 40 minutes that the album lasts will be like a breather, a snippet of the perfect erotic fantasy, the perfect evening, the perfect love affair, the perfect vocal savoring, even the perfect honeymoon. The album really scratched an itch in me.

Highlights: Lolita, No Cheap Thrill, Casual Match, Caramel, Birthday, The World Before Columbus, and Thin Man.

Continues where 99.9Fahrenheit left her
Vega continued to re-invent herself throughout the 90s. This was her second "industrial-folk" album and it would be followed by Songs In Red And Grey in 2001 (which sounded less 'produced' than Nine Objects).

Nine Objects Of Desire has some of her most memorable songs and the album never sinks too deep into mediocrity. The stand-out tracks are the jazzy "Caramel", the groovy "No Cheap Thrill", the silvery "World Before Columbus" and the closing number "My Favourite Plum". Personally I prefer the follow-up to this album. If you end up liking Nine Objects you should definitely try Songs In Red And Gray. ... Read more

Album Description

Recorded live over a three week period, 'All Maps Welcome' features Tom’s English band and various members of Beck’s band, including Joey Waronker, Justin Meldal Johnsen and Lyle Workman. RCA. 2005. ... Read more

Reviews (50)

Her best yet
With each album, Shawn Colvin moves more into the pop realm and away from the folk music which launched her career. Not that that's a bad thing: Colvin's albums tend to suffer from overproduction, a fault which would ruin almost any folk album, whereas on pop albums it is easily forgivable. Colvin is one of the best songwriters of the 90s and her skills shine on "Sunny Came Home," and "The Facts About Jimmy." "Sunny," with its catchy melody and symbolic lyrics, deserves to be a hit. Another highlight is "Wichita Skyline," on which gorgeous synth chords glimmer like a sunset. A Few Small Repairs does lag in a few spots. Colvin's voice doesn't have the grit to pull off the gravelly vocal she attempts on "I Want it Back," and "84,000 Different Delusions" simpers along to a rather weak melody. Overall, however, this is a well-crafted album by a mature, thoughtful artist.

This isn't something you get everyday...
I bought this album expecting to just enjoy the hit single "Sunny Came Home" and pretty much let everything else gather dust. Boy, was I mistaken. Until I bought Sarah McLachlan's "Mirrorball" album, this album was my most played one.

Every single has a different feel to it, yet the style is definitely Colvin. Although I must admit that the lyrics are hard to discern at times, the songwriting that sits underneath brings out multiple layers of meaning. You won't understand them with just one quick listen; to be honest, my interpretations of the lyrics keep changing even now. I like all songs on this album except for "The Facts About Jimmy" which I didn't care too much for.

In any case, give this album a serious listening time; Shawn Colvin may not be a big-name star like Jewel, but she managed to put together this gem that gets your attention with "Sunny Came Home" and grows on you with the rest of the tracks. A worthy addition to any music collection.

OK-- But I Don't Get It!
Pretty good... but I just don't get "Sunny Came Home..." What is the song supposed to be about?

I prefer my songs more straight-forward, like "Burning Down the House" by Talking Heads, and "I Just Called To Say I Love You" by Stevie Wonder.

A few Small Repairs
This album may be called a Few Small Repairs, but it's in need of no repairs, it rocks!! The tracks were all awsome. I strongly recommend this CD to any young artists who'd like to listen to quiet but inspirational music as they work.
Listeners will fall in love with her jaunty, soothing voice. Her songs each express a diffferent (beautiful) concept, each delicately written.
The CD was also an graphic deigner's dream: the negative print on the sleeve, and the vivid yellow CD.
Soulful teens: this is for you! i guarentee it to be music to heal the soul. 100% better than rock!

A Few Small Repairs
This album may be called a Few Small Repairs, but it's in need of no repairs, it rocks!! The tracks were all awsome. I strongly recommend this CD to any young artists who'd like to listen to quiet but inspirational music as they work.
Listeners will fall in love with her jaunty, soothing voice. Her songs each express a diffferent (beautiful) concept, each delicately written.
The CD was also an graphic deigner's dream: the negative print on the sleeve, and the vivid yellow CD.
Soulful teens: this is for you! i guarentee it to be music to heal the soul. 100% better than rock! ... Read more

Amazon.com's Best of 2001

The phonograph crackling that opens Pete Yorn's debut album is an appropriate gesture for an artist hailed as the best thing to come out of South Jersey since Bruce Springsteen. Actually, Yorn doesn't sound a thing like Springsteen, but he does possess a classic pop craftsmanship shared by tradition-minded singer-songwriters such as Neilson Hubbard and Elliot Smith. On the cool, infectious "Life on a Chain," Yorn's relaxed crooning evokes the spirit of Bruce Cockburn, while "Simonize," ostensibly a love song penned by Jack the Ripper, calls to mind Big Star-period Alex Chilton. Rhythmically, the part-time drummer and multi-instrumentalist (he scored the Farrelly brother's movie Me, Myself and Irene and plays most of the instruments here himself) leans toward the drone lilt of early New Order and Joy Division, resulting in a smooth fusion of American and Anglo influences that make Yorn a new artist well worth watching. --Bill Forman ... Read more

Reviews (226)

Just buy it, the Happiness will come.
Its been very hard lately to find a new artist who creates such excitement around his debut album like Pete Yorn has. But the hype and praise is well-earned and proven true in Musicforthemorningafter. The album is a breath of fresh are from the obnoxious sounds of the rap-rock genre that had become so popular about two years ago. In fact with David Gray selling a good amount of records and Yorn, I have cause to wonder if the next big craze after teen pop and rap-rock will be earnest male singer-songwriters.

Yorn's sound blends in elements of David Gray and the Wallflowers and creates a seductive fusion of American roots rock and Britishpop that will have you singing along to just about every track.

I firts hear Yorn back in late summer of last year while watching the film that he scored (and had a song in the soundtrack) Me, Myself and Irene. Seeing as how he didn't have an album, I checked found many tracks to download. Most of the tracks never ended up on the album, which leaves my brain sparking with ideas about what he may do with them, and keeps me secure in the idea that a sophomore album isn't too far down the line.

It is definitely obvious that Yorn has taken a good dose of influence from ex-Smith singer Morrissey (He personally thanks him in the liner notes). The songs "Sense" and "Simonize" are topics and approaches that Morrissey was well known in capturing in his solo albums and old Smith's records.

But Yorn shows characteristics of other well known artists. His lazy, drowning voice reminds the listener of a less nasal Bob Dylan, or a more loose sound Springsteen. True the man has been compared to "the Boss", but those kind of comparisons really don't give a glimpse into the kind of work Yorn is producing or what he wants from the music.

The lazy and fun sound on Musicforthemorning after is the work of a man who has been playing music for quite sometime now and would like to keep playing it his way and for the rest of his life as a career. And judging from such a strong debut, and from the knowledge of knowing how many songs didn't make it on to the record it can be said that Yorn definitely has a future in the biz, prefereably a long one.

pete yorn-part of the new wave of musicians who will make it
there is currently a wave of new artists out there trying to get themselves into the rock and roll hall of fame. alicia keys leads the r&b pack, while india arie is making waves with her pop-rock-soul, and the strokes trying to take over the adult-alt world without anyone knowing. and on pete yorn's debut album, musicforthemorningafter, he joins the list. the album has a unique mix of influences and self inventiveness. he, seeming almost effortlessly, combines his heroes and makes the album flow, despite their varying musical styles. the standout tracks on the album go to "on your side", a sweet slower song, "for nancy", his popular single, with an anti-hook chorus that catches you, and "ez", another flowing, slower track, with intense feeling in the vocals. his mix of sad and hurt, and sometimes ruff vocals, for the most part guitar playing, and while sometimes predictable, well written lyrics, it appears pete yorn has joined the young and elite group we will still be hearing from in twenty years.

picked it up and couldn't stop listening
every week i make a trip over to my library to browse the cd collection, and about a year ago, i found this little gem in there. i am pretty open minded when it comes to artists i've never heard before. i had recently gotten into more acoustic rock music and this cd made my day. i could not stop listening to it. i still listen to it alot.

if you enjoy this CD, I highly recommend you check out Yorn's "Day I Forgot" which is harder and poppier, but its still an amazing CD.

Why does all the music i like come from New Jersey?
I bought this album not knowing what to expect. I must admit, although very listenable, it didn't catch me after one listen, it took 3 or 4 repeated listens. This is because there is no real standout tracks, just 15 well orchestrated songs that flow together so well. It did though, take me off guard lyrically. All the songs are incredibly solid lyrically, I can't find a line that seems out of place, and each tracks tells an amazing story.
Fav Tracks:
Life on a Chain
Black
For Nancy

Murray
Sense
Closet

Musicforanyoccasion
Rock albums are awesome for their various reasons - some are exceptionally innovative and daring, others exceptionally listenable. Pete Yorn's Musicforthemorningafter falls in the latter category - - in fact it should be titled musicforanyoccasion because it is highly listenable, regardless of the mood.

For those who don't know, Pete Yorn's sound could be called an amalgam of Tom Petty, Neil Young, Bruce Springsteen, and Pearl Jam - in other words, very excellent songcraft. Unless you're really a stick in the mud, it'd take a lot not to at least be tapping your foot to "Life on a Chain", "For Nancy", "Closet" and countless others. More impressively, too, is Yorn's inclusion of more ballad-sounding tunes, such as "EZ", "By Your Side", "Just Another", and "Strange Condition", which though different from the rockers, work just as well.

But, really, to spare the in-depth track by track analysis, it becomes this simple: put the album in your player, and enjoy. Musicforthemorningafter is simple yet great rock and roll with just enough edge to avoid being top 40 fodder. It's top shelf, A+, music-for-any-occasion material, music that's always pleasing to the ear. Pick up Musicforthemorningafter today. ... Read more

Amazon.com

In form, this is the disc DiFranco fans have wanted for years: a return to her naked roots of words and guitar, entirely played, sung, and taped to eight-track by Ani herself. But in important ways, Educated Guess suggests there is no going back. Even alone, the lessons of DiFranco's adventurous decade with a band are apparent. Taking a wide-open approach to arrangements, structure, and sound, she piles up tracks of bell-clear, percussive guitar, then does the same with her vocals, the gymnastic phrases echoing, reflecting, and doubling back on themselves. This is DiFranco undiluted, her melodies pulled by rhythmic innovation, alliterative snippets of spoken word woven between jazz-inflected folk songs, lyrics tracing tangled webs of lovers, nations, and various versions of herself. Not surprisingly, it's excessive, but her legions say that's the price of letting ragged passion just hang out. --Anders Smith Lindall ... Read more

Reviews (50)

"In my humble opinion here's what I suggest we do.."
Ani's latest is timidly beautiful. The lyrics are ingenious as usual, but the instrumentation speaks of a shift. Her last album was called Evolve, and I think it is the duty of Ani's fanbase to do just that. The mood is perhaps more subdued and less fiery than in other releases, but in tracks like "Animal" and "Grand Canyon" classic Ani principles are present.
Ani has always been a fearlessly introspective writer, and these songs are no exception. The emotions dominating her pesonal life cannot help but pervade her art, anything less would be disappointing. As always the hooks are insanely catching, and given the chance will dominate your stereo. Speaking of domination, the quiet demeanor of this record deserves several listenings. This is a collection of subtleties and after thoughts, evanscent passions and violent whims. Do yourself the courtesy of allowing its unabrasive nature to be revealed. Listen not only for the maturation of a working artist, but for the kind of unabashed candor that would do us all some good. Don't warn the masses against the CD without devoting the time to make a temperant judgement. "Swim" "Origami" and "Bubble" are highly recommended. Those who have been begging for more spoken word have been heard. Invest some thought, and make an educated guess.

Ani newcomer
As an Ani first timer.. I picked up this album based on the guitar melodies alone. But as I listened in... and as I did, I have really grown to enjoy this album. As most people have said, its for the die hard Ani fans. With that in mind I would have to disagree. Ani did a wonderful job of putting out what she wanted to, and doing it with a certain amount of dignity. As it is about her recent divorce, this is what was on the girls mind and there is no limitations to her writing. Also the finger-picking guitar style that Ani develops is quite unique. Kudos to her for recording it on her own on the good ol' 8-track. Not many go that route anymore, but with her effort it was mixed beautifully. This album has inspired me to go out and purchase more work on Ani. So If you've been considering taking a risk on Ani's music, it's a excellent risk to take.

An 'Educated Guess' Says You'll Like It Too...
This latest release from Ani Difranco, a venerable veteran of folk music at age 33, is an interesting work of art, to say the very least.

The set, which debuted at #1 on Billboard's Top Independent Albums tally (it also peaked at #37 on Billboard's Top 200 albums chart and fell to #5 on the Independent chart in its 2nd week), swaps professional-sounding studio production of last year's "Evolve" for the raw simplicity of the her eight-track tape recorder. While her least fine-tuned record perhaps ever in her career, the result is the kind of intimacy comparable to seeing her live from the front row at one of her excellent shows. Even though her voice and guitar will pour out of your speakers, she may as well be performing in your closet.

After the 16-second intro of "Platforms" follows "Swim," a lyrically dense track about escaping an oppressive relationship; doubtless a reference to her now ex-husband who she once jokingly referred to as "Goat Boy". Because of the rawness of the album, her voice has the most imperfect pitch of any of her studio recordings, and in some songs her voice takes on a particularly cartoonish characteristic. A perfect case in point is the nevertheless extremely catchy "Bliss Like This". Soon, however, the uniqueness of her vocals and the kind of guitar-strumming that takes years of practice will win listeners over.

In "Grand Canyon," Difranco dishes her feelings of love for her country, a place where she's seen "stewardesses whose hands look much older than their faces" and where "our foremothers and forefathers came singing through slaughter, came through hell and high water, so that we could stand here".

Also, the political slice-of-life "Animal" is as eye-opening as "Origami," where she vents her frustrations on the male population. One has got to have some sympathy for "Goat Boy". Divorce is bad enough without having negative songs written about you. Oh well; he must have known what he was getting himself into.

Ani is beyond you
People who don't understand a cd should not comment on it. Anybody who thinks the lyrics are dumb is not a fan of music. She is on her game as always. This must mean you can't hear what she is saying. So open your ears and stop cryiny about her being Sad. Music doesn't have to be pretty and happy to be enjoyed.

Not a pretty album...
I purchased this album despite the negative reviews that I have been reading over and over again. YIKES.
WHAT can I say about this album? I don't even feel that it should have been pressed, to be honest. The voice layering makes Ani sound out of tune and the music has no real melody. Also, I can't even tell the difference between one song and another. I must say that my liking for Ani has declined steadily since up up up up. It is not exciting. I could have made up better tunes while singing in the shower......Maybe she is smoking too much reefer and has a lack of judgment. Maybe a song sounds "really cool man" or she feels "really inspired" because her reality is altered. This perception only comes to mind because of the spanning dvd...I don't know. I simply think this album is aweful. ... Read more

Amazon.com

Granted, it was her timely cover of "Smells Like Teen Spirit" that gained Tori Amos instant notoriety--if only because we all got to hear what Kurt was actually saying. But that track pales before Amos's cover of "Thank You"--a thoughtful rendition that reminds us just how many dimensions Led Zeppelin's music had. Also found on this 1992 EP is Amos's take on the Stones' "Angie," as well as "Winter," a beautiful ballad in which the artist lives up to her reputation as the American Kate Bush. On the other hand, the "Crucify" remix isn't particularly crucial--especially when compared to the more adventurous mixes Amos would commission for subsequent singles. --Bill Forman ... Read more

Reviews (59)

Add it to the collection.
This is my first review with Microsoft Office 2000. Let's see if improved software can give my opinion more credence.

Tori Amos is quite simply a wonderful musician. Her music comes from the heart, she truly uses her voice like an instrument, and her singing just melts me. Because I highly respect Tori musically, I enjoy hearing covers that reveal her own musical partialities and her distinctive revision of songs she likes. "Angie," a song from the Rolling Stones' more decadent days, is tremendously beautiful with the implicit intimacy of Tori's effortless singing. Great piano arrangements too. "Smells Like Teen Spirit" is truly radical compared to the original. Instead of Kurt Cobain's loud, crass delivery with ringing guitars and pounding drums, Tori sits down at the piano and sings it quietly and beautifully. Finally, Led Zeppelin's "Thank You" gets the Tori-treatment. The piano is achingly good here, and Tori's voice...well, its awfully pretty. Funny how I've never really loved Led Zeppelin, but covers of Led Zeppelin songs are almost always excellent.

The EP version of "Crucify" is, in my opinion, superior to the album version. Although this one is shorter and lacks some of the piano flourishes of the "real" version, I think this is a more compelling arrangement, with the added guitars. The EP version of "Winter" is unchanged, which is fine, because you shouldn't mess with perfection.

Another Tori gem!
This gorgeous little CD is a Tori appetizer. I've always loved how she adds 3 or 4 songs on her singles, instead of just adding the instrumental version of the single like most artists do (heaven forbid we get a little extra for our money!). "Crucify" and "Winter" are two of my fave songs on "Little Earthquakes", and these are on this CD. An added bonus to your purchase is Tori's version of The Rolling Stones "Angie", a heart renching rendition of Nirvana's "Smells Like Teen Spirit", and adds her personal touch to Led Zepplin's "Thank You". An absolute must-have for the hard-core Tori fan.

My favorite Tori song
I'm 15 an I've been a fan of Tori for about 3 years now. The first album I bought was "Little Earthquakes" and the first track "Crucify" brought tears to my eyes. It has become not only my favorite Tori song, but one of my favorite songs of all time. Tori is a genius not only at lyrics, but music as well. The lyrics are just...amazing and the music will capture you like nothing else.

It starts out immediatley with "Every finger in the room is pointing at me/I want to spit in their faces/But I'm afriad what that will bring" with piano chords and a bass drum keeping the beat. Then she starts in with her georgous piano in the chours "I've been looking for a savoir in these dirty streets" and "Why do we crucify ourselves?/My heart is sick of being in chains"

The bad thing about this single is that they don't include the original, and I like the original better. I don't like how they cut out the chours and all of the added instruments.

Song review:

Crucify [Remix] - A remix of the genius song "Crucify." Sounds like the original, only with added guitars and some of the chours is cut out.
Rating: 4.5/5

Winter - Why this song is included on here, I do not know, but I'm glad it is because this is one of Tori's best songs. Winter is just a beautiful ballad. I can never get enough of it! Another Tori song that brought tears to my eyes, espically in the chorus "When you gonna make up your mind?" Beautiful.
Rating: 5/5

Angie - A cover of the Rolling Stone's Angie; and it is amazing. She completly makes it her own. Just her and a piano, and I love that Tori the best.
Rating: 5/5

Smells Like Teen Spirit - A cover of Nirvana's song of the same name. Just Tori and her piano. Amazing.
Rating: 5/5

Thank You - Another cover song that Tori makes her own. The piano work is amazing amazing amazing. Another of just Tori and her piano. Cn't get enough.
Rating: 5/5

the best ep i've ever owned
although i've been an advocate fan of tori amos for many years, crucify can never leave my cd player for very long. this is the ep for those who love tori's voice but either can't afford to buy a full album or prefer the mellow tori. christian fanatics or fundamentalists will not have a hay day with this either because there is nothing written here trashing religion of any kind so one can not use that as an excuse for not buying this wonderful cd. needless to say, you don't have to hide this one from mommy or daddy because there no controversial themes or profanities here. in fact, your parents might even like this one themselves. my mother hates tori amos but actually finds this cd to be quite pretty & soothing which surprises me a bit. tori amos is one of the few living artists i know who can do just as well with covers as she does with her own body of work & that's extremely impressive. in fact, quite often i would prefer to hear tori's cover than the original artist. i have to agree with the many fans & critics alike who love the haunting cover of cobain's "smells like teen spirit". ms. amos has covered this great classic with grace & beauty but manages to still convey the darkness or to strike a nerve with us nevertheless. i also feel the remix of "crucify" on here is far better than the one on her earthquakes album. the only song on here that i feel should've received a better re-working is the gorgeous, heartfelt "winter" which she would later remix or rework for her greatest hits compiliation entitled "tales of a librarian". aside from that, there are 3 beautiful covers in addition to two of tori's greatest classics on this ep & this should satisfy even the casual tori listener who has never owned a tori cd or cassette. tori's song evoke emotion from deep within us all & it's no wonder she has such a devout following. i have seen her perform live 6 times in my brief life & each performance is as moving as the one before. ofcourse, any true toriphile can vouch for that but i should mention this is a good cd for the gentleman or lady who doesn't attend the shows but would rather pop a disc into the player from time to time. whether this is your first tori cd or the last tori cd you buy, i can't imagine one being the least bit disappointed. here is how i would rank the other tori albums.

1. boys for pele (this is the most diverse album she ever recorded)
2. little earthquakes(instant classic. mellow, though-provoking, & poignant)
3. under the pink(perhaps the most autobiographical cd she has ever written & we really get a glimpse of what tori is thinking on this one)
4. scarlet's walk(this seems to tori's album wehre she has come full circle. tori gives us a sort of travelogue featuring some very tortured souls but the result is inevitably powerful & completely unforgettable. if you liked tori's mellow work like little earthquakes or crucify, you will fall heart & soul for this one.)
5. to venus & back(tori was messing around in the studio & she really did come up with some brilliant material. although i miss the piano, i like the elctronic texture & beautiful lyrics are abundant here. also, the second disc is a jewel of tori performing live on the choirgirl tour. naturally, this shouldn't take the place of a real concert. no album will ever replace seeing tori in all her glory.)
6. from the choirgirl hotel(i really felt that tori wanted to share a lot of her experiences with us on this album & had a lot to say but this album seems to lean towards more mainstream material. not my favorite by longshot but it does boast some excellent material.)
7. strange little girls(the concept of covering all songs writen by males originally is quite brilliant but this is by far one of my least favorite tori albums. i know tori's work ventures into the darkness from time to time & that's to be expected but this album sheds very little light from the tortured soul. not as melodic nor as pretty as her earlier works were. it took me quite awhile to get into this one.)
8. y kant tori read- i could kick myself for putting this at the bottom of the list but this one doesn't really feel like tori at all. this one reminds me of what we either like or hated about the eighties. if you loved music by berlin or pat benatar, then you could probably dig this album. i like it for what it is but i doesn't feel like the tori amos i am used to listening to. very little piano & more guitar or keyboards. again, not a bad listen but i just can't bring myself to put this at the top of the list. unfortunately, this album is out of print though & only available as a bootleg or cut-out on ebay if you are lucky.)

really good!
i'm not a diehard tori amos fan, but i have to say this album is great. her voice has a way of making any song sound like a haunting, beautiful masterpiece. it's so poignant that she even has the ability to bring tears to your eyes (just listen to her "smells like teen spirit"; i almost cried). buy this, you wont regret it! ... Read more

Album Description

An ecclectic, poignant, humorous, and intelligent collection of songs from one of L.A.'s favorite independent singer/songwriters.Includes songwriting collaborations with Grammy Award winning writers Dennis Matkosky and Gary Harrison, and production contributions from David Darling (Meredith Brooks/Brian Setzer/Boxing Gandhis), and Evan Frankfort (Wallflowers/The Muffs/Jayhalks/Melodine). ... Read more

Reviews (26)

Smash is a SMASH
Reviewer: Ronny
Cindy Alexander again proves she has what it takes to be a big star. "Smash" is her latest CD and the title fits. This CD is fantastic. The opening track "Masterpiece" starts with the line "Welcome to my open house..." a perfect opening line to this collection of songs. This CD shows off Cindy's range as a singer and songwriter. One minute she has you in palm of her hand singing a love song on "Only Love" and the next minute she kicks you in butt on the title track "Smash". Cindy's lyrics are playful and sexy when she talks about having a "phone date" on "818". Need a song to stew about an ex lover? Try "I'm So Sad (That You're Happy)". How about one of those turn the stereo up and blast the windows out of your car song? Hold on to your speakers with "Right On". There isn't a dull moment on this CD. Cindy Alexander's "Smash" is a masterpiece!

PUT THIS GIRL ON THE RADIO!
Sounds like this artist is telling you stories to your face - real life stuff. Like she's hanging out with YOU, personally, and pouring her heart out on the table. Undeniably intimate and honest lyrics, and catchy melodies that linger in your head long after the cd has finished. And my Lord what a voice - very versatile, unique and beautiful. I was surprised to find Cindy Alexander put this out on her own label and not on Atlantic Records. But maybe that's why it's so special cuz she's like my new secret that I keep spilling to all my friends. I'm spilling it here too.

By the way, I have to disagree with one of the reviews that bashes Tour Song. It's probably my favorite song on the album. And I love love love those lyrics. To continue where that person left off "Molly Malone's has her share of ghosts - I've seen them fly out of the microphone. They sing through my body, and they leave their songs behind - of lovers and losers and passerbys." I feel like I'm on the road with her.

Wow - great new CD!!
I heard Cindy a while back while randomly listening to music on a now defunct major mp3 website. I enjoyed her music and tried one of her CDs - a live recording. Since then I had to see her live myself and I wasn't disappointed. Now I got her new CD SMASH and love it even more. Thanks for the great music Cindy!!

Just awesome!!! The title tells it all.
I've listened to Cindy for a few years now - since the MP3 craze started. I've always thought her talents were there and loved her other CDs/songs. But then I heard SMASH and wow... I challenge anyone to listen to this CD and NOT be taken in. Starting with Masterpiece with it's rhythm to Cindy's great voice. That's usually enough for some artists to have a hit. But then REALLY pay attention to the lyrics - what stories she's telling - and before you know it you'll be singing along during the 20th cycle of the songs on your player while driving down the freeway not even noticing the traffic. (OK, run on sentence, but worth it ;-) ) Then realize, she not only writes the songs (some with collaboration from other great artists), but also plays the piano and guitar. There's real talent here, not some studio edited singer. She actually plays acoustic very often, and you can't do that live if you suck...

Download her free song(s) to get a taste. Before you know it, you'll be a fan. Go ahead, I challenge you!!

Independent Music at its Finest
After falling in love with See Red, I had to pick up SMASH - a fabulous sophomore release which shows Cindy's lyrical and vocal maturity and showcases her personality as an artist. Like See Red, no two songs are alike and she moves from story telling singer/songwriter to rocking diva to alternative princess with finesse. I would recommend this cd to fans of Chantal Kreviazuk and Sherly Crowe. You'll be treated to a better voice and smarter writing. ... Read more

Album Description

The third offering from awarding winning singer/songwriter and indie favorite, Cindy Alexander. A breathtaking emotional outpour from an artist who not only has solidified her voice as a singer and songwriter, but has also ensured her place among the best of our modern day troubadours.A blend of adult alternative tracks that will appeal to fans of Aimee Mann, Sarah McLachlan, Ani DiFranco and classics singer/songwriters such as Joni Mitchell and Carole King. Indie music made from the heart and not a corporation. ... Read more

Reviews (20)

Exceptional
Sitting in my car a couple of weeks ago, I happened to hear Rosie Thomas in an interview on the World Cafe radio show and heard her play one tune. I was struck by the exceptional expressiveness and controlled nuamce of her voice. On the strength of that listening, I decided to order her CD although I very rarely purchase a CD: maybe once or twice a year. (I listened to a short clip first, just to be sure I had identified it correctly) I was not disappointed. Her work is truly exceptional. Her musicality, depth of feeling, and authenticity place her among the ranks of the absolute best of female vocalists. As with many of the finest artists, she is a complete original coming from within the boundaries of traditional style.

If you have come this far, you probably already are inclined to buy the CD. I suggest that you follow your impulse: you will not regret it.

A Haunting, Original Work
Rosie Thomas's "When We Were Small" is as intimate an album as you're ever likely to hear. The individual songs are punctuated by bits of recordings of Rosie and her family from when she was a child. Just to empahsize the point further, the CD booklet contains family snapshots and a dedication to her parents.

The music itself is spare and minimalist, with Thomas often backed by only an accoustic guitar or piano. Nevertheless the stories have power, concentrating as they do on themes of love, loss, heartache and divorce. Thomas's voice is amazingly sharp and the album's clean production serves her well. The highlights include "2 Dollar Shoes," "Farewell," "Wedding Day" and the closing "Bicycle Tricycle," which evokes childhood memories as well as any rock song ever has.

Overall, a stunningly personal recording that never once lapses into sentimentality.

Awesome
First CD that's brought tears to my eyes in quite some time. Simply raw with emotion, this is a beautiful album.

Rosie rocks!
I bought this album immediately after seeing Rosie in concert. She was the support act for Jewel, and I was just blown away when I heard her voice. This album does not fail to disappoint - Rosie has an amazing voice. The album has an acoustic feel to it - it's simplicity is part of the reason it is so good. Her lyrics are soulful and melodious - ranging from the upbeat "Two dollar shoes", to the beautifully sung "October". I just love this album - I'm sure you will too!

Beautiful, Uplifting, Fullfilling
Rosie Thomas has exceptional talent for creating beautiful lyrics and melodies. She has a rare gift and her songs have universal appeal. Some of the pieces on this CD surely will become "Classics" covered by other performers, "Have You Seen My Love" for example. Rosie's own vocal interpretations are unique and lend so much enjoyable emotion to her songs. She slides beautifully in and out of falsetto on individual syllables of a single word in a way that is thrilling to hear, and her own instrumental accompaniments lend such depth of feeling. Listen for her unusual phrasing where she breaks a line of lyrics on an unexpected word as in "Farewell" where she sings "Farewell so long and..." . This adds interest and texture, and makes the song more a dialogue coming straight from her heart. "When We Were Small" has the thread of a story through it like the soundtrack from a appealing and long-running Broadway musical that leaves people singing the songs to themselves and feeling better about everything. Maybe that is where young Rosie's exceptional talent will take her. I love this recording, so what ever she does, let's hear more. ... Read more

Reviews (58)

Doesn't hold up
The first solo album by the lead singer of the Old '97s... As with that band's last few albums, there is precious little twang on much of this album; the first few tracks are pure, glib power-pop, with strong hints of Nick Lowe and the like. Of course, I mean that as a compliment, and Miller dazzles with the opener, "Our Love," a clever, delightful tune that is followed by the propulsive, Teen Fanclubbish "This Is What I Do." On a few tracks in, though, the wordplay and bright, easy melodies devolve into mere hookmaking, and Rhett seems to lose his focus -- "Come Around" and "Things That Disappear" are mere musical cotton candy; "Four Eyed Girl" feels like simplistic, cutesy filler. More evocative songs like "World Inside The World" lend a little depth to the album, but mostly Miller just skates along the surface, like a popsmith mostly just going through the motions. It's nice, but not great -- country-oriented fans will find a few cowpunky and quiet folk moments, but mostly this is a fairly vaccuous, facile rock record.

The Life of Brion
Rhett Miller is the lead singer/songwriter of the Old 97's, so let me get one thing out of the way right from the start: I've never been a big fan of the Old 97's. It's not that they're horrible or unlistenable in any way. In fact, the Old 97's can be depended on to put out solid albums of polite alt-country tunesmithery, all with a high level of songcraft and energetic musicianship. But despite their obvious virtues I've always found them lacking in, um, personality. Miller's voice serves the songs adequately, but never adds that indescribable quality that - before it became a dirty word - used to be called charisma. Likewise, his band is professional and enthusiastic but devoid of the sort of inspired instrumentalist that can set off sparks by threatening to upstage both singer and song.

So in my eyes it was a good sign that Rhett decided to record his solo debut "The Instigator" with Jon Brion at the helm. For those of you who don't know, Jon Brion is the man responsible (in varying degrees) for the sonic architecture of the breakthrough albums by Aimee Mann, Macy Gray, and Fiona Apple. If Rhett was looking for someone who could threaten to upstage him as both singer and songwriter, he'd definitely found the right foil. The fact that he also enlisted the backing support of Robyn Hitchcock, John Doe, Josh Freese, Jim Keltner, and David Garza proved, if anything, that Rhett was ready to put his best foot forward.

"The Instigator" eases us into Brion's subtle soundscape. Opener "Our Love", with its alt-country melody delivered overtop a muscular two-step, could have appeared on the Old 97's last album without sounding out of place. But by the thirty second mark of "This Is What I Do" it's suddenly clear that the listener's been suckerpunched into singing along to a power pop album.

And it's a gem of a power pop album, with its two principals pulling at each other in perfect rivalry. The punch of "This Is What I Do" is delivered simultaneously by Rhett's uplifting melody and Brion's soaring riff.

Likewise, Rhett's sublime vocals in "Come Around" are stalked by Brion's muted guitar underpinnings. Even when a track like "The El" returns to Rhett's more familiar country turf, Brion is there to add the touch of sonic lunacy that always escaped the 97's. There are moments, however, when the balance tilts in one direction. The closer "Terrible Vision", for example, is not one of Rhett's strongest songs, but Brion's production saves the day by emphasizing the melody inherent in the rhythm track.

As good as these songs are - and as wonderfully as they are performed - Rhett Miller's voice is unfortunately still lacking the personality needed to put an album like this over the top. Subsequently "The Instigator's" considerable charms lessen with each repeated play. That may be a quibble, because it's doubtless that a certain segment of music fans will consider this one of the best albums of 2002. I really would have liked to concur with that assessment, although for me it's a case of close-but-no-cigar.

Although there is, admittedly, a faint smell of tobacco in the air.

Rhett's All Right
This is a solid disc but, I agree, it's not as good as the Old 97's. For those of you that like Rhett's solo stuff more than the 97's, you owe it to yourself to pick-up Wes Cunningham's "12 Ways..." CD. I bet you'll dig it, too.

He's stirring up something good...
Whoever came up with the idea for 'The Instigator' album cover must be commended, first of all, because it's certainly striking. You can't say that it doesn't grab your attention. Kudos to Amazon, as well, for cleverly placing the album discretely (yeah right, you devils...) along the left side of the screen as I was surfing potential CD purchases. Needless to say, I am more than pleased with the outcome of this intriguing album.

I know that a lot of people say that this is a weak offering from the frontman of a great group. That may be rightly so if you are trying to measure it using an Old 97's ruler. But if taken on its own as a solo album by a guy named Rhett Miller, I think that it is one of the strongest records I have ever heard. Having read a few of the dissatisfied reviews, I made sure that I looked for the duds on this album; I didn't find any.

I guess a lot of long-time Old 97's fans think that 'The Instigator' is a sell-out album. Maybe a lot of alt-country fans think that it's dancing to far on the alt-pop (or maybe just pop) side of the fence. I wouldn't necessarily say that. I wouldn't call this record "poppy"---I would call it "user-friendly." What I mean is that the word "country" immediately turns off many people, so Miller's twang on some of the earlier 97's albums can alienate those listeners. Replacing some of the grit and rough edges that make the Old 97's great with smoother, catchier melodies make Miller's album just as great, but on a different level.

With songs like "Come Around," which is one of the standout tracks on the album, Miller's outlook on the perils of love seem less aw-shucks, let's-get-drunk and more heartrending and vulnerable as he sings, "Am I gonna be lonely for the rest of my life?" Another track, "Point Shirley," is an upbeat, catchy song with some bitter advice to get away from a destructive girl friend. My favorite song on the album happens to be the one most like the Old 97's--- the homage to Chicago, "The El". It brings back a little of Miller's signature twang, the galloping drum rhythm, and some rousing guitar.

This is a fine album with or without the Old 97's name tagged to it, so give it try. Even if you can't stand it, keep it for that alluring mug-shot on the cover.

Old 97s go pop
Great CD! Every single song is strong. Very intelligent, literate lyrics and they've all got a hook. This is a great "pop" album (in the good sense of "pop"). ... Read more

Amazon.com

Some 15 years and nearly as many albums into her career, Ani DiFranco--the original girl-power prophet and folkie punk--is still as willful as ever. Her lyrics remain poetic, polemical, and yes, occasionally maudlin; her musical explorations sound more like refinement than radical revision, but it's clear that she's still, well, evolving. Always a strikingly gifted and expressive singer and guitarist who employs her voice and guitar as both rhythmic and melodic instruments, DiFranco builds this set of songs on those basics but draws generously from the wide range of styles she's sampled since her stripped-down early days. A slinky Latin guitar line snakes through "Promised Land," gutsy New Orleans brass adds swagger to "In the Way," and jazzy keys, cool clarinets, and mournful muted trumpets lend color and tone to nearly every cut. Hooks are scarce in the disc's mushy middle, but the lush, horn-laden groove of "Here for Now" recaptures the momentum, and DiFranco even drops a signature 10-minute epic in "Serpentine." Like Evolve itself, "Serpentine" is sprawling, funny, angry, compelling, and entirely unafraid. --Anders Smith Lindall ... Read more

Reviews (64)

It's isn't the first time around....
that you actually like this album, I've been a pretty hardcore Ani fan for years and most of her albums (of recent) have taken multiple listens before they settle on me. It's because they aren't the same thing you hear on every album. Don't get me wrong I love the classics Anticipate, Fire Door, Both Hands, etc... but there is something to be said for her recent subtlety instead of having to hit you over the head with a hammer. If you're not used to listeing to Ani and you don't like this album I would suggest going back and picking up Dilate, Not a Pretty Girl, Not So Soft, Anticpate... or the like and then coming back to Evolve. After a few listens you get a real feel for the music and an artist that is at the top of her game. Some old fans don't like the new direction they'd rather listen to Andy and Sarah Lee, but most things need to change eventually as witnessed by Ani touring solo without her band; back to the old old old days.

What happened?
Oh man, I miss her raw roots and the sound of her brash guitar infiltrating into my ears. This album isn't even in the same league as "Not a Pretty Girl," "Puddle Dive," and "Out of Range." These were her folk days, and now, I don't know what she's trying to do; evolve, I guess, but her evolution has shown her retrogression as an artist. "Revelling and Reckoning" was impressive, but this record and "So Much Shouting and So Much Laughter" are dissapointing. There are too many background instruments that take over the only instrument that is really necessary: her acoustic guitar. Furthermore, I miss buying her albums in regular plastic cd cases; these paper covers really don't complement anything at all. I guess this album just goes to show what happens when an independent bisexual woman marries...a man. Have you grown complacent, Ani? Or, are you just running out of things to complain about?

A Strong CD
Ani Difranco is a strong woman with an even stronger voice. This CD was my first Ani CD and I'm an Ani fan now. From the ongoing, emotional Serpentine to wonderful Evolve to Promised Land, this CD is worth your money.

Perfectly Done
This album has really grown on me. The first time I listened to it, I wasn't tremendously impressed, but after I really focused on it, I realized just how incredible it is.
I am particulary fond of the track Serpentine, mainly because of it's intense political messages. Some people don't like Ani because she tends to be a bit angry, but I think that's one of the things that makes her great; it's certainly justified anger.
I love her guitar work, her voice, and her thought-provoking lyrics.

This album is my favorite of hers so far, next to Little Plastic Castle. It's certainly worth checking out.

I absolutely love Ani
I think that this album is wonderful. Although, I do think that To The Teeth is still my favorite. She adds a little bit of jazz and a little bit of funk. My favorite songs are evolve, O My My, In the Way, Promised land and Here For Now. In the 2 songs Evolve and Serpentine she adds her liberal political ideas which I always agree with. Here For Now,has a jazzy and latinish feel. O My My is mixed with jazz, folk and she also puts in a part that sounds like 1930-1940ish jazz or folk. In the Way has a funky and jazz feel. Alot of her songs she tries to do something different which makes her very interesting to listen to. ... Read more

Amazon.com

Though not the songs that would put her on the pop music map--that would come with 1987's Solitude Standing--Vega's first album shows her folky songwriting origins and, song for song, may still be her best. Produced by Patti Smith guitarist Lenny Kaye, the sound is softly sculpted by Kaye's silvery guitar and an airy, occaisonal string section, matching the dream-like introspection of "Queen and the Soldier" and the surreal word play of "Small Blue Thing."Vega's philosophical, quiet, but confident approach would open the door for a second generation of female singer-songwriters like Dar Williams and Shawn Colvin.Her debut remains an unassuming sleeper for one of the '80s best folk or pop albums. --Roy Francis Kasten ... Read more

Reviews (20)

A Perfect Debut
Suzanne Vega personified the neo-folk revival with this beautifully crafted literate album. Vega carves out a niche that she alone occupies with her hushed and stacatto singing style that recalls beat poets and confessional singer songwriters of the Leonard Cohen variety. Vega's spare guitar accompaniment jars and cajoles the listener into ruminations on self, love, loss, uncertainty, destiny. Stand outs include "Marlene on the Wall" an urgent portrait of Vega's affairs of the heart, all conducted under the ironic gaze of the poster-sized Marlene Dietrich; "Small Blue Thing" self-examination in the palm of a hand; "Some Journey" a soaring reflection on missed opportunity; "The Queen and the Soldier" a picture of willful arrogance that recalls the rich storytelling tradition of the Child ballads; "Neighborhood Girls" hipsters who are gone gone gone. Tactile and visceral images are juxtaposed in a sensual lyricism that reveals Vega as a maturing self who is reflective, protean, and open. The production values underscore the quiet intensity and overall moodiness of the album. A stunning set of songs that still inspires and moves.

Simple, powerful, honest
There is not a single weak track on this album. Every musical composition, every lyric, every performance is a winner. The one weak spot might be Vega's voice, but believe me, you won't care. In the midst of Bruce Springsteen's bellowing, Michael Jackson's he-he screeching, Madonna's (...) self promotion, Prince's foul-mouthed funking and the bloated, big-haired heavy metal of Van Halen and their clones, this spare, quiet and literate album was a welcome antidote. And it remains just as fresh today. If you've never heard it, go buy it today!

Starkly beautiful
The reviews below hit most of the main points about this recording, several of them eloquently, so I won't dwell on the brilliant imagery, the literacy, the sophistication, the voice, the pristine sound. Compared to work out there by other folk singers, singer-songwriters, etc., this has to have 5 stars. Perhaps it's more useful to compare it to other work by Ms. Vega.

Personally, I bought this for the sake of completing my Suzanne Vega collection, and it's my second-least favorite CD, after "Days of Open Hand". Why? I think that twenty years ago, even her remarkable dexterity with words and images couldn't compensate for a certain lack of maturity that makes a difference now that we're middle-aged. Suzanne Vega can write today with wisdom that was lacking then. Being cool, even cold, with all her references to ice in these songs, that voice, the beat poet sensibility to which someone here referred - all of that is esthetically pleasing but can be emotionally empty. I don't want to exaggerate; there are feelings here that move many, and at least one song, "Marlene on the Wall", is musically catchy. And of course Ms. Vega is not now and has never been a purveyor of warm fuzzies. I simply find a lot more heart and humor, and a lot more musical pleasure in her later work.

There seem to be many die-hard fans from way back who feel this is her best work, as is often the case for the debut of a great songwriter. This may also be a function of age; I've noticed that friends who are as young now as Vega was then tend to love this CD. Reading reviews of her other recordings here, there are obviously those who truly dislike her forays into more electronic music and prefer folk purity. For them, this may be the CD of choice, with "Solitude Standing" or "Songs in Red and Gray" next in line for their lack of Froom-ness. And this is indeed a brilliant debut.

For me, this remarkable artist first came to my attention with the release of "Solitude Standing", and I have watched her steadily grow both musically and lyrically over the years, snatching up each CD as it came out, with every other release a quantum leap forward from this auspicious beginning. I'm glad I own this CD, and I think Ms. Vega's voice here is lovely, contrary to some reviews saying she hadn't quite hit her stride vocally. But her later work moves me much more deeply, and I wouldn't recommend this as a starting point for most.

17 Years Later, It Still Has The Power to Amaze
This was the first cd I ever purchased. Back in 1986 I fell in love with the album and listened to it endlessly. Even now I can get in a mood where I listen to it obsessively. Few albums have that sort of staying power.

Good Album . . . Enjoy
From the moment I heard Suzanne Vega in the Summer of 1986 on MTV, I was sold. I have always loved her music. I thoroughly enjoyed her album, "Solitude Standing." But, I suppose my favorite album by Vega would have to be "Suzanne Vega". My favorite songs on this particular album are: "Small Blue Thing", "Some Journey," and "The Queen and the Soldier".

Vega is a very talented artist and I truly hope that she continues to write and give us all more wonderful, unique, and intriguing bits of music for many, many years to come. ... Read more

Album Description

Throughout his phenomenal, almost 30-year career, Elvis Costello has proved himself one of the most versatile and inventive stars in the pop music firmament. He first rose to fame as one of punk rock's breakthrough talents then went on to release innovative albums interpreting a truly diverse range of genres. Costello-originally Liverpool's own Declan McManus-has made an indelible mark on the pop music songbook, bringing unfettered passion and profound lyrical weight to his richly creative stylistic adventures. These three titles continue Rhino's Deluxe Edition restoration of his extraordinary catalogue. ... Read more

Reviews (24)

If you liked "Sketches" you will adore this album.
It's been quite some time since the release of the last true Jeff Buckley album which I consider to be "Sketches for my Sweetheart the Drunk". If you liked that album, you will absolutely love this one. Cover songs like "Yeh Jo Halka Halka Saroor Hai" clearly show the influence of Nusrat Fateh Ali Kahn, and exemplify the amazing range that Jeff had in his voice, all this six years before Sting recognized how profound this type of music is. Other covers on the album include selections from Nina Simone, Bob Dylan, and Van Morrison as well as his own original tracks clearly showing Jeff's versatility and maturity as an artist. The monologues included in this set are hilarious, and you will hear Jeff mock everyone from the Doors, to Nirvana. Furthermore, this legacy edition also has a very well put together 12 page insert detailing the relation ship between Jeff and Sin-e (the venue this album was recorded at) with some very nice pictures taken by photographer Merri Cyr. The DVD video included is only 10 minutes long, and it isn't the greatest quality, but if you really want Jeff live in video, you should buy the "Live in Chicago" dvd, (the DVD included in this edition was supposed to only be an extra anyway). In the end I have to say that if you are a Jeff fan, you really have to buy this album, and if you are new to Jeff Buckley, "Grace" is probably the best way to go.

My favourite Jeff release ever
I've been a Jeff Buckley fan for about 2 years now, and I am probalby his biggest fan that can say "I don't like Grace"

Hear me out. I find Grace to be a very boring album. It's atmosphere is very dull, but the songs are fantastic. Each individual disc of Sketches stands on its own as being better than Grace. However, I've always seen Jeff as a jazz artist in the fact that his interpretations of other people (who suprass him in writing talents) are always far better than the original songs. combine his voice and guitar skills with tyhe words of a fantabulous songwriter like van morrison (har har... come on) and you've got a beautiful song.

My favourite release of his has always been Live at Sin-e, so when I heard that this album was coming out I nearly s*** a brick. You get the 4 original songs plus 30 more. Not only are his songs great, and the interpretations, but his "musical impressions." I laugh so hard everytime I hear his Miles Davis impressiosn on this, or his Jim Morrison, or his Edith Piaf from Mystery White Boy. He either covers the song perfectly for a brief instant ("the end" by the doors) or a complete ambiguous cover that sounds like everything the artist has recorded (his miles davis impression... his voice sounds like every miles davis solo, but not any specific one.)

This is truly an excellent buy. My ONLY complaint is the DVD. I knew it was just a bonus, so I didn't take off a star, but i was expecting a high quality bonus DVD (what was I thinking, Mary Guibert was involved. never expect quality in the actual release). It's 10 minutes long, and the 2 performance clips are great. But the interview is just from the Grace EPK, and most of it is available on MWB. But its a HORRIBLE interview. It seems so rehearsed and dramatic and pretentious. It doesn't seem at all like the jeff you can see and hear from live tapings. Its a scripted "this is a very important interview for my career" interview.

But still... this is fantastic. I drove across the border into Detroit to buy it so that I could have it 2 weeks before my Canadian counterparts. I had to... I've been waiting for it for so long (again, thanks Mary)

What's taking you so long?
If you are interested in an incredible talent growing then this is the disc for you. I've been a fan of Buckley's for a while now and these are by far the discs that get the most spins in my CD player. The disc is a compilation of recordings from Jeff Buckley's early solo shows in the cafe Sin-é. The versions are raw and developing however they are soaring and passionate.
Buckley covers all ground from Dylan to Zeppelin to Billie Holiday. The most inspiring moment on the discs comes when Buckley attempts to cover Qawwali prodigy Nusrat Fateh Ali Khan. When Buckley begins his interpretation of the Pakistani vocal style he is met with snickers from the audience. But as the song goes on he slowly wins the crowd over with his sincerity and by the end the entire audience is clapping along.
Though some spots seem a bit too indulgent, it is a by-product of Jeff's willingness to experiment and find himself. The two discs are all about him experimenting. Though only five of the songs are Buckley compositions (two collaborations w/ Gary Lucas) he makes each and every song his own.

Highlights are "Be Your Husband" "Lover You Should've Come Over" "Yeh Jo Halka Halka Saroor Hai" "If You See Her Say Hello" "The Way Young Lovers Do" and from the DVD a gorgeous Buckley Poem "New Year's Eve Prayer"

A Heartfelt Last Goodbye
Having purchased this album several months ago, i decided to wait to write a review. i wanted to let the emotional impact of this album sink in after several listens. If 'Grace' was one of the best albums of the last 20 years, then 'Live at Sin-e' is the best live album of the past 20 years. These recordings transport the listener to a time when music was simpler. You can't help but feel as though you were one of the hundreds trying to cram into this lower east side cafe to catch a glimpse of arguably the greatest singer/songwriter of our time. Buckley's haunting voice captivates the listener and sucks you into his world of heartbreak, love, and fun. He was a realist and loved to just play music; nothing more, nothing less...just play music. those who were fortunate enough to see him live got to experience a true musical genius. this album offers us who did not the closest feeling to that experience.
There is one major negative to this album though, it is just a reminder that there will be no more heard from Jeff.

A historical document more than a great album
LIVE AT SIN-E: LEGACY consists of two concerts played by Jeff Buckley shortly after being signed to Columbia at Sin-E, the Manhattan cafe where he first gained public attention. Four songs had been released before as the "Live At Sin-E" EP, but in celebration of the tenth anniversary we are presented with the full recording.

Buckley performs unaccompanied, a single man standing before a small crowd of cafe-goers. There are no barriers between the audience and the performer, and he even takes suggestions from spectators on what to play next. There are a large amount of cover versions, showing Buckley's vast knowledge of all kinds of music. In the second disc alone he covers Nusrat Fatah Ali Khan, Bob Dylan, Van Morrison, Edith Piaf, and Leonard Cohen. But there are also early versions of his original songs that would take their final form on his only album GRACE. While the version of "Grace" here is, I feel, uninspiring, we hear solid versions of "Mojo Pin", "Lover, You Should Have Come Over", and "Eternal Life". The third disc is a DVD which consists of an interview and performances of three songs. The interview is the same as that from the Electronic Press Kit on the LIVE IN CHICAGO DVD, but there is more of it here. Unfortunately, the quality of the video on the performances is poor, as it appears to have been shot with a camcorder.

LIVE AT SIN-E is not something for the listener who merely liked a few songs of Grace. Instead, it is for the die-hard Buckley adorer who has also collected the various other posthumous releases. The Sin-E concert is of value not as a brilliant display of music in its own, but because it shows the genesis of Buckley's musical vision, and the monologues help explain turns that came in his career afterwards.

My only real complaint with the music of LIFE AT SIN-E is the sparseness of the sound. Buckley was an incredible artist, but his band was a key part of his sound. In this Sin-E we don't have Mick Grondahl's superb bass or Matt Johnson's drumming. As a result, the concert as a whole seems a little hollow and incomplete.

If you are a dedicated Buckley fan, and are interested in the work that led up to his major-label signing, LIVE AT SIN-E is an important document. If you're new to Jeff Buckley, this is a bit much for the moment, and I'd recommend GRACE or LIVE AT L'OLYMPIA to get started. ... Read more

Reviews (21)

Beauty has submerged this beholder!
The latest album by Bic Runga a New Zealand born Maori is a classic example of good music that penetrates the ear with facility, quitting the memory with difficulty. The album is entitled 'Beautiful Collision', which sums up its eloquence and grace in bringing catchy tunes together with tranquil rhythms. The first single from the album 'Get some sleep' encapsulates this format.

In the same league as artists such as Dido and Norah Jones, Bic offers a refreshingly eclectic type of music. Songs such as 'Precious things' and 'The be all and end all' illuminate her origionality. One cannot doubt the talents of an artist who can sing, play the harmonica, piano and guitar. Bic also collabrated on this album with Crowded House singer Neil Finn.

For a night of relxation or morning of inspiration, this album could allure even the most unfavourable ear. We've seen a surge in instrument playing, melody singing female artists lately. Although this might not be a die hard Iron Maiden fans cup of tea, it offers a twist to a growing type of artist.

Not in trend with traditional Maori music, Bic has stamped her mark on the term good music, and justified her name in that bracket. A great follow up to 'Drive' her previous album, a romantic and creative advance can be heard. If you plan on taking a rain check on a clubbing night this week, purchase this CD for a chilled session. For summer evenings or winter nights, you won't be disappointed!

don't listen to this Cd-or you'll [have] regrets
First Of All, people who write Bic (pronounced Beck) off at the sight of her Asian looks are ignorant and misinformed. This Girl can Sing. Bic uses her voice which really has the potential for Rnb to sing, wonderful soft rock-you really cannot compare her to people like Bjork because to tell the truth she really does not sound like anyone out there. This is her second album, and its not better than the first one-but its equal, we can tell that Bic has grown A Lot! gone are the sweet licks of 'Sway' and the Darkness of 'Heal'. Oh there still there but in different formats, The best song on the Cd would be the title song 'Beautiful Collision' the song is deep and haunting-makes you think about it when you are singing it. Also i love 'Election night' she has a way of swimming over the words such as in lines 'as in the car' (if you've heard you'll know what im talking bout')
You have wonderful ballads on there too-like 'Be all and end all' and a wonderful single called 'something good'
this Cd is mos def Something Good.
buy it-no questions asked!!

I'm Proud Of Her
Bic Rungas 2nd album "Beautiful Collison", one of the highest selling albums in New Zealands music history, over 9 X platinum, is a very beautiful album. It definitley is a Norah Jones-ey album, but not hard out JAZZ, she is a very good songwriter, and the music makes me feel happy-ish. But the songs you really have to look out for on this 9 X platinum album...
When I See You Smile
Get Some Sleep
Something Good
Honest Goodbyes
She Left On A Monday
AND MY FAVOURITE
LISTENING FOR THE WEATHER
So I reccomend this album to anyone who wants to find a different spin on Norah Jones who has been out W A Y longer.
Try It Out!

Nice, not excellent.
If you are going to buy this album, I suggest you to not be influenced by all the rumour about this artist made by her record company, you could be disappointed.

Cause she's nothing more than a... (sometimes) talented writer, but nothing more. This album has some great track (I bouth it mainly for GET SOME SLEEP, but I also love WHEN I SEE YOUR SMILE, THE BE AND ALL END, HONEST GOODBYES), but most of them are just.. anonymus, "normal" the same way her voice is. It's a sort of New Zealand Norah Jones, but only from far.

Anyway, I don't think that for the only track that I like it worths the price.. Before you decide 2 buy it, just listen to 4/5 song. If you don't like them, try something else, you won't loose your money.

ONE VERY HOT KIWI
You have to concede that interest in Bic is definitely in the order of guilty pleasures. The songs are simple enough, and supeficially not that commanding, none the less there is something about them that gets you to listen to this CD all the way through every time. It's her voice and delivery. She sings as though she has just finished or is about to make love to you like no one else in the world, and that directly passionate sensuality, a kind of Kiwi Norah Jones, or a previous generation's Peggy Lee, relives Bic of the need to string complex sentences together like Elvis Costello. I could do with a lot less of EC's precious vocabulary and a lot more of evoking what burns in the heart, the soul, the naughty parts.
Bic can handle herself instrumentally as well as anybody out there. Yet it has none of the obviously layered approach of Enya. I simply happened to have stumbled upon her in concert in NZ, and I got blown away by how HOT she is. This girl smolders. Several cold showers after her concert, I found what remained my dignity. But in the course of the show, I'd have followed her anywhere. Prince and Steven Tyler have always struck me as wanks who can't give it a rest. Bic runga oozes a sexuality that seems to carry a depth to it that would suggest you'll never be the same thereafter. The music herein is filled with that underlying and unresolved tension. Lennon/McCartney she ain't, but no matter, put this on and you'll be hard pressed to walk away unaffected. ... Read more

Album Description

Remixed, remastered and repackaged with a brand new layoutand lyrics for the 1st time according to David Bazan'sspecifications. ... Read more

Reviews (12)

Incredible
Possibly Pedro's most upbeat and hopeful cd packs an emotional wallop as he deals with the issues of faith, fullfilment, the progress of time, relationships and ghosts from his past. Few artists would have the courage to totally expose themself through their songs. Each song is deep and beautiful in its own way and David Bazan has an incredibily expressive voice. The songs seem to be created so effortlessly and have a natural grace. Bazan deals with his faith in a different way than most so called Christian groups, he does not preach. His music stresses a personal relationship with God, and the struggle it takes to have faith and believe. Songs like "The Secret of the Easy Yoke" and "The Well" deal with religious issues. "Promise" ends the cd with hopeful optimism and Pedro shows that he can rock. However, the other upbeat sounding songs "Big Trucks" and "When They Really Get to Know You...." are perhaps my favorite. However, they are all excellent and one can't help but sing along. Jade Tree did a good deed by re-releasing this classic. This is a must by for any indie music fan.

buy this album
It's Hard to Find a Friend (Made in Mexico, 1998 and Jade Tree, 2001), Pedro the Lion's first full-length album, is characterized by mature lyrics, sparse but well-crafted music and an overall sound that rivals any Emo album on the market. It's the sort of album that makes a great impression the first listen and doesn't cease to make you marvel in any of the next four hundred listens. I'll try to put my finger on the brilliance of this project to explain why I recommend it to just about everyone.

Pedro the Lion is basically a one-man band fronted by David Bazan, a Christian who writes from a refreshing perspective of broken humility. The first EP he recorded was released by Tooth & Nail Records but since then he has signed with secular labels and tours mostly in secular venues. I see as many non-Christians as Christians at Pedro the Lion shows in my area. This is simply because Bazan is one of the finest craftsman in the Emo/Lo-Fi genre of Rock music. He's not merely the safe, Christian alternative to some popular secular act.

The instrumentation on It's Hard to Find a Friend is very clean. On every track I can pick out each instrument (typically electric guitar, bass and drums) and follow along with it. The sparse music isn't necessarily slow, some songs have a noticeable punk influence, but it seems as if each chord, each stroke was thought through. Instead of bombarding listeners it provides the right amount of music, a true accompaniment to the lyrics.

After this album, Bazan begins to start writing thematic albums, but It's Hard to Find a Friend is about a variety of topics. "The Longer I Lay Here" is a confession of slothful ambivalence: "I would like to be you just for a few habit-forming years / laziness cuts me like fine cutlery / I need a miracle - someone to help me help myself." "Big Trucks," which may be Pedro the Lion's most popular tune, narrates a father teaching his son about patience and forgiveness with highway analogies. "Bad Diary Days" documents love going sour and "When They Really Get to Know You They Will Run" discusses the futility of our looks-oriented culture.

Sacred topics are also prominent on the album. "Of Minor Prophets and their Prostitute Wives" is a lyrical exploration of the first few chapters of Hosea. "I treated you as if you were a princess / you treated me like a cop / I gave you boundaries to save you from certain death / dangling from the end of a rope ... but you're still playing for a love you'll never find / outside these arms of mine / the whole town is one step behind you / with the hangman on call / they've got the judge and you're convicted without a plea / darling, they will listen to me." Similarly, "The Well" is a short account of John 4.

"Secret of the Easy Yoke" is a song about wrestling with faith and the Church. The refrain reveals a simple plea, "could someone please tell me the story of sinners ransomed from the fall? I still have never seen you, and some days I don't love you at all." The song fades out with Bazan softly singing "Peace, be still," the words Jesus used to calm the raging seas. The last song, "Promise," ends the album with a short, fast-moving confession of faith. "From what I've seen so far / I can't believe my eyes / and what a nice surprise / if I look up and the sky's not there / is there any reason that I should be scared? / But a promise, is a promise, I know."

It's Hard to Find a Friend unashamedly tackles relevant topics most Christian musicians would prefer avoiding. Bazan's honest portrayals of faith and life make this album a must-have for Christians and seekers alike.

get it now
heres a track by track, just because its fun to do
1)of up and coming monarchs- 4/5 a nice laid back song
2)longer i lay here- 4/5 another laid back song, acoustic, nice changes
3)big trucks- 2/5 the music is well done, but the recording quality and the singing isnt very good
4)suspect fled the scene- 5/5 great story
5)bad diary days- 5/5 one of the highlights of the album, another amazing story of a husband losing faith in his wife
6)longest winter- 3/5 not bad, great lyrics
7)when they really get to know you they will run- 5/5- awesome lyrics! another highlight
8)of minor prophets and their prostitute wives- 4/5- pretty darn good
9)bells- 4/5 mesmerizing
10)secret of the easy yoke-4/5 wow i gave a lot of 4/5's but for some reason the album adds up to a 5/5
11)well- 3/5 not bad
12)promise- 5/5 beautiful closer, nice to hear a happy song as a last song.

best rainy day music ever
i have had this cd for the past three years, and anytime there is a rainy day nothing can augment it as well as this cd. it's so relaxed and non-pretentious. i highly suggest that everyone check out the tracks. it's also great for taking a nap or that lazy day, or anytime you get too tense from life's stresses.

Mesmerizing
I must say that I when I bought this I was expecting a great album by, dare I say, a Christian artist. I must say that it was much much better than I had anticipated. The songs are so simple and stripped down. The vocals are so heartfelt and intimate. I fell in love with this disc upon my first listen. Buy it! ... Read more

Amazon.com

Suzanne Vega emerged in the mid-'80s, and while her intimate voice and acoustic guitar brought to mind Joni Mitchell, her urbane lyrics suggested a sensibility that was as much reportorial as confessional. Vega's second album, which replaced the delicate acoustic textures of her self-titled debut with more dramatic arrangements, includes Vega's career song, "Luka," surely one of the biggest hits ever written about child abuse. But it was the energetic folk-rock production of "Luka," thick with ringing guitars and pushed by perky drums, that let the listener luxuriate in a song that suggested the darkness that can lurk behind a neighbor's door. The title tune confronts personal loneliness with a similarly powerful performance, while "Ironbound/Fancy Poultry" makes a downtown landscape sound downright homey. Well-turned tunes like "Calypso" and "Gypsy" recall the softer textures of her debut. Ironically, Vega's next big hit would come when the English production duo DNA made a dance hit out of "Tom's Diner," a nursery-rhyme tribute to a coffee shop that opens the album. --John Milward ... Read more

Reviews (26)

Vega's Brilliant songs about Child Abuse ,Murder and dying
I bought "Solitude Standing" in 1987 after hearing "Luka,"a sad story about child abuse.I just loved this song the first time I heard it on the radio,and felt the pain of Luka.Suzanne has such a unique,soft singing voice,but its perfect for her writtings."Tom's Dinner" is one of her biggest hits,and its from the English group,DNA. Vega is just singing this song without music on the first cut,but at the end of the record there's fantastic music without vocals. The other numbers I enjoy are "Ironbound/Fancy Poultry,Gypsy," and my favorite,"Calypso." Suzanne's vocals are wonderfull on this number.When you listen to this record,you can tell alot of effort went into the making of "Solitude Standing."

Solitude Standing
I've been listening to this album since the 80's, and Vega's unique voice and gripping lyrics still capture me and draw me into her world.
"Solitude Standing" is near and dear to me because of songs like "Luka", "Gypsy", and "Tom's Diner". Each song that she sings really tells a story about pain, love, love lost, and neglect.
Suzanne Vega keeps inspiring the musicians around her as well as her listeners.

Excellent lyrical folk-rock
Suzanne Vega is a talented writer of poetic folk songs. This album brought her commercial success and prominence with the captivating hit Luka. The title track is also quite memorable and the acapella Tom's Diner is also a haunting ode to emotional isolation, a theme that seems to run throughout Vega's introspective songs. Calypso is a nice melodic song based on Greek myth, and overall this album is pretty memorable, though a bit melancholy. Vega has an average voice, which suits her material fine, as her voice doesn't overpower the mood of her songs. Suzanne Vega is a singer/songwriter with a unique sound and original songs that folk aficianados will likely enjoy.

Stands the test of time
This CD, Suzanne Vega's second, brought her commercial success through two of its best songs. Fans who are folk purists have something bad to say about everything after her first, eponymous, recording. Most of us, however, would never have heard that first recording if not for the success of this one, and it was successful for good reason. It isn't that the warmer sound or the use of distinctive instrumentation drew in fans, though some of the experiments with new sounds here seem to foreshadow her later work with Mitchell Froom. It's that Ms. Vega's poetry - and her lyrics truly are poetry - moved from the steady cool flow of her first album to include several truly outstanding songs like "Luka", "In the Eye", "Language", "Solitude Standing", "Ironbound", and "Tom's Diner", that jump out and grab the listener emotionally. And it's interesting to be grabbed so fiercely by such a tiny soft voice uttering such powerful words.

Where the a capella "Tom's Diner" has one marveling at Vega's descriptiveness again, as well as a simple but captivating beatnik beat, "Luka" and "In the Eye" are absolutely breathtaking in their quiet intensity. Reviewers here have diverse interpretations of "In the Eye", but I hear another abusive relationship in its worst moments as she calmly sings, "If you were to kill me now right here I would still look you in the eyes. And I would burn myself into your memory as long as you were still alive. I would live inside of you, I'd make you wear me like a scar." Her poetry acquires more feeling on this album, from my perspective. "Gypsy", though not the best song here, actually has warmth to it, something new to her repertoire at the time. "Solitude Standing" and "Language" are more her usual brilliant but cool and abstract use of language, discussed and quoted ad nauseum below, but absolutely lovely. Her descriptions of the urban landscape on "Ironbound" bring back vivid memories of neighborhoods I haven't seen in 35 years.

I rarely listen to this CD anymore, taken more by the sound of "99.9Fº" or the lyrics of "Songs in Red and Gray" when I'm in a Suzanne Vega mood. But this is a cohesive consistent beautiful recording without a bad song and many a great one, even by Suzanne Vega standards. Which is to say the lyrics are magnificent, the music lovely, and that it's miles above work done by any other singer/songwriter I can think of. And it's an obvious starting point for anyone interested in her work.

Solitude stands in the doorway...
The songs on Solitude Standing have as its winning point Suzanne Vega's soft, haunting, girlish melodic voice and acoustic guitar she plays. Yes, there are some tracks which use more instruments but she alone is the figurehead and captain of this ship, The Solitude Standing.

The 'Tom's Diner' here is an a capella portrait of her observations at the title place, be it rude waiters who only fills her coffee halfway or the woman who seems to be looking at Vega through the window but only sees her own reflection, symbolizing the insular nature of people.

This is quite an unusual song to become a single, as it deals with the POV of an abused child. but 'Luka' was a hit in painting a portrait of low self-esteem, a bit shy. 'I guess I like to be alone/with nothing broken, nothing thrown' he says. The two refrains are equally poignant: 'You just don't argue anymore' and 'Just don't ask me how I am.' Only Vega could do this song.

'Ironbound/Fancy Poultry' is a portrait of the city and a woman takes her child to the schoolyard before going to the market. The way the poultry parts are described seems to be an observation of how we only look at certain parts of people and not the whole: 'breasts and thighs and hearts/backs are cheap/and wings are nearly free.'

The slightly more uptempo 'In The Eye' is a song addressed to a would-be mugger or armed assailant. Instead of fleeing, she sings 'I would live inside of you/I'd make you wear me/like a scar.' This is reminiscent of when the Doctor in Dr. Who says to a would-be gunman, 'So look me in the eye, pull the trigger, end my life' to which the gunman loses his nerve. A standout cut.

'And she turns to me with her hand extended/Her palm is split with a flower with a flame.' With a pulsing bass and upbeat guitar, the title track is one of my favourite songs here, as it personifies solitude. The lyrics are sung more quickly than the other tracks and there's a sense of haunting introversion here. 'She says 'I've come to lighten this dark heart'/And she takes my wrist, I feel her imprint of fear/And I say 'I've never thought of finding you here.'

'Calypso' is based on the nymph who was Odysseus's lover until he decided to leave her after years with her, and the song tells of the loneliness she'll feel: 'I have let him go/in the dawn he sails away/to be gone forever more.'

The way language can be distorted is the meaning behind the philosophical 'Language', where silence is more eloquent than any word. 'I'd like to meet you in a timeless/placeless place/Somewhere out of context/and beyond all consequences,' she sings.

'Gypsy' with its poetic imagery of 'coffeeshops and morning streets' is a loving acoustic number of the title character, someone from afar who spins gauzy tales. The song indicates a sad parting: 'And we'll blow away forever soon/and go on to different lands.'

The haunting 'Wooden Horse (Caspar Hauser's Song)', replete with drums and bass and Vega's quiet voice, seems to be about the mysterious German youth who had been penned up all his life in a cabin without social contact until age 16, with a wooden horse being one of the toys he had with him. Apparently, his father was a cavalry officer. Hauser was later murdered under mysterious circumstances. The realization of the boy's fantasies in the afterlife is seen here: 'But when I'm dead/if you could tell them this/that what was wood became alive.' The album ends with an instrumental of 'Tom's Diner.'

A collection of mellow, acoustic folk which added a quieter shade of music in the 80's. However, I couldn't help but notice the date on some these songs, many of them before the album's release date of 1987. 'Gypsy' and 'Calypso' were written in 1978, if that gives one an idea. Still, a wonderful and quiet album that one should listen to when solitude stands in the doorway and walks in the room. ... Read more