Album Description

On the eve of the 4th anniversary of his death comes an exclusive live album only to be released in Australia and France. This live album was initiated by Sony France, who believe they have an amazing recording of a particular French concert from 1995. Containing many of the hits from Grace, live favorites, and covers (some here on CD for the first time, some old), Live At La Olympia is a stunning 3 fold, soft-cover recording to add to the collection of Jeff's fans. 24 page booklet with, biography, handwritten track notes and lyrics by the artist and a rare live & studio photograph collection. Features 11 tracks all recorded Live at the La Olympia Theater in France. Includes covers of Led Zeppelin, MC-5 & Leonard Cohen. Tracks, 'Lover, You Should Have Come Over', 'Dream Brother', 'Eternal Life', 'Kick Out The Jams', 'Lilac Wine', 'Grace', 'That's All I Ask', 'Kasmir', 'Je N'en Cnnais Pas La Fin', 'Hallelujah' & 'What Will You Say (Duet With Alim Qasimov)'. 2001 release. ... Read more

Reviews (5)

Haunting, beautiful
"Grace" is an amazing work of genius; it's a great place to start with Jeff Buckley. If you want to hear him live, you've got all sorts of choices, but I'm holding out for this one. He does a great series of tracks -- you can see the listing above, and yes, it does include "Hallelujah", a great version that sort of deconstructs it and puts it back together all by the end. His version of "Kick Out The Jams" is really funny, as he starts it out by saying something about "rocking out, White Boy style". Everything he does is quasi-improvisatory and displays the full range of the expressive power of his voice (all however many octaves of it) as well as his guitar. The rest of the band is not very loud; not so present as to take away from him, but decidedly there. The in-between-the-songs banter is also great; from an Edith Piaf impression to shouting "Vive la France!" randomly, he HAS the audience and you can tell.

So, after you're done wearing out "Grace", get "Live at L'Olympia".

Thank You for Giving Us So Much, Jeff. Merci!
This is a beautiful record. Period.

After a long, and tiring tour, a road-weary Jeff Buckley took the stage with an enthusiasm that must have been conjoured up from within the depths of his musical soul. What resulted was one of the best concerts ever!

This performance is extraordinary! Taking elements of James Brown ("OLYMPIA! I think I wanna kick out the jams one time! Move it. White boy style, you know! Can I count it off? Can I count it off?"), Leonard Cohen (Hallelujah), and Led Zepplin (a funny cover of Kashmir) Buckley woos the crowd and keeps them into it up till the very end.

This concert contains a bonus track. A compelling eastern-sounding song called What Will You Say (featuring Alim Quasimov).

All-in-all this is an amazing album. Definitely worth releasing. Definitly worth owning.

An Engaging Product
The hallmark of Jeff Buckley's recrodings is his engaging style. This is only magnified when one listens to his live recordings.

This CD, even more than "Mystery White Boy" gives us a playful, respectful and engaging Jeff Buckley. The CD packaging is also superior to "White Boy" because, in addition to its fantastic photos, it also has lyrics and some of Jeff's own penmanship (a la "Sketches For My Sweetheart the Drunk").

Another reviewer had previously offered ratings on the songs for this album and I would just like to add a few of my thoughts.

(1) "Lover, You Should Have Come Over" - Everyone has a favorite song and this one just happens to be mine. The version that appears on this album is superior but, believe it or not, the EP import of "Everybody Here Wants You" has an acoustic version that is truly amazing.

(2) "Dream Brother" - Haunting, emotional, breathtaking.

(3) "Eternal Life" - I like this song very much but I thought the "Mystery White Boy" version was better than this version. This version has a certain raw energy that is very powerful but the "Mystery White Boy" offering strikes a better balance between energy and lyrical delivery.

(4) "Kick Out the Jams" - Continues the energy from "Eternal Life." This is the kind of song you NEED when you are stuck in traffic...

(5) "Lilac Wine" - A bit too quiet at times... but that is not necessarily a bad thing.

(6) "Grace" - In my opinion, this is the best version of "Grace" out there... even better than the studio version.

(7) "That's All I Ask" - A great showcase for Jeff Buckley's vocal talents.

(8) "Kashmir" - I was hoping that this would be a full length cover but, alas, it was only a short funny bit...

(9) "Je n'en connais pas la fin" - A solid song that gives the listener an idea of the interaction between Jeff Buckley and his audience.

(10) "Hallelujah" - The only real relative disappointment on this disc. This version sounds tired and daresay, uninspired.

(11) "What Will You Say" - Those who come to this song expecting the rocker from "Mystery White Boy" will, instead, be treated to a stripped down intimate version featuring the vocals of Alim Qasimov. The two versions are an interesting contrast and when one considers them both, side by side, one sees that had Jeff Buckley recorded this song in a studio it would combine both the energy found in the "White Boy" version and the intimate subtlety of this version.

All in all, this is a great CD. A true find... if you can find it.

Those strange wonderful people...
This is a fascinating recording of Jeff Buckley's concert in Olympia, France. Perhaps not as quintessential as the previously released "Mystery White Boy" live album, but significant because of the late singer's fame in France. He was adored like a major rock artist by fans who cheered, sang along, and held their lighters up in sweaty, glowy bliss. You can hear Jeff Buckley's bemused gratitude when he calls the French audience, "you strange wonderful people." Someone shouts out "You've given us so much!" and humbly Buckley replies, "You've given me very much too."

*** It's gratifying for fans in the aftermath of JB's untimely death, to hear him receive in person a taste of the adoration he had inspired. He was only just getting started in his own country, but overseas in France and Australia particularly, Jeff Buckley was a rave hit in his lifetime.

*** There's a particularly zany interlude during the "Olympia" concert when he spontaneously breaks into a 45rpm rendition of a 33rpm Lynyrd Skynrd song. But the most beautiful track is the last -- a version of "What Will You Say" sung as a duet with Alim Qasimov. It's a fine embodiment of JB's love of international music and a showcase for his own transcending voice.

Brilliant addition to any Buckley collection
I own Mystery White Boy, Grace, the live DVD, and Sketches for my Sweetheart. I recently came to France, and saw this album for sale in a grocery store. I picked it up, and it didn't disappoint. It's taken a place in my collection almost even with Mystery White Boy, my favorite.

Here are the songs in this 11 track piece of beauty:
Lover You Should've Come Over(9/10) - Very good version, on par with the original, but not incredibly different. I LOVE this song though.

Dream Brother(10/10) - Jeff shines here, in the best version of this song I've heard yet.

Eternal Life(9/10) - Extremely rocking, better than on mystery white boy, he really gets into it.

Kick Out the Jams(6/10) - He doesn't go as crazy on the live DVD, but if you need this song on CD, look no further.

Lilac Wine(8/10) - A beautiful song, well performed.

Grace(9.5/10) - One of the best performances of this song(they're all awesome), Jeff goes off into his beautiful voice at the end.

That's All I ask(8/10) - A bit slower, not incredibly intricate, but great vocals as always(duh)

Kashmir(5/10) - I give it a 5 just because it's short, but it's not really a song, more of a quick parody of Led Zep. Jeff's a funny guy though.

J n'en connais pas le fin(8/10) - Great song, my only complaint is that Jeff stops in the middle to talk for a bit. But hey, that's the quirk and beauty of a whole show, rather than a compilation.

Hallelujah(7/10) - Ok, this is one of my favorite songs ever. And I'm giving it the 7 because he talks before the last verse, and it's not quite as perfect as on Grace. I like to be harsh, but the truth is I'll still listen to this over and over. ... Read more

Reviews (27)

The most f**ked up blues record since Trout Mask Replica
This is what "Rid of Me" should have sounded like. Raw, bleeding, chafing, cheese grating. PJ's vocals are finally audible. Nothing against Albini, but you can't hear the vocals at all on "Rid of Me." Hear, PJ's bluesy voice belts out great song after great song. "Hook," "Reeling," and "Snake" are among the greatest revisionist blues songs ever written and recorded. This CD is definitely not for everybody. It is too raw. For those who can't take the beating this album hands you, listen to her tamest album, "To Bring You My Love." This is the best PJ Harvey CD in my opinion.

Good, but nothing great...
It's cool that PJ Harvey made a demo CD, but it is sad that some of the demos just - aren't THAT GOOD. I LOVE PJ HARVEY and all, but I just wish that songs like "Hardly Wait" and "M-Bike" were put on official albums, where the beat could be set by a drum set, and not by a metronome. On this album, you get pure PJ, which is great, but the band in several areas is desperately needed. I truly hope that she considers putting some of the great "previously unreleased" songs onto real albums. Even with the CD, you have to skip around too often. Okay. Don't bother unless you're a PJ Freak, of have heard "Hardly Wait", one of her greatest songs to date. This is her worst album. For great PJ, grab Is this Desire?, To Bring You My Love, Rid of Me, and Dry. You won't be disappointed with those albums.

GREATER than RID OF ME
I guess I'm one of the few people that actually heard 4 TRACK DEMOS before I heard Rid of Me. It was actually 4 TRACK that made me a lifetime PJ fan. To me its the closest thing a rock album has come to being anything like real original blues. Straightforward as hell, just her, her guitar, her studio & ALL her issues!

RID OF ME seems over-produced by comparison. The drums are just overkill on whats already perfectly balanced. It's like comparing 50's BB King to the big band King of today. The personal quality and strength of the songs is diluted; reduced to entertainment. It may sound stupid but, to me, this stuff is more than just entertainment. It's some sort of personal cult of deep sound from the back of the heart. You rarely hear people go here!

PJ Harvey at her most raw, throat-slit core
Step on up and hear Polly jane sweat the blues.

This album STILL almost hurts me. When I first bought it (I was 15 or something- a girlfriend recommended it) I simply hated it. HATED IT. Too honest. Too sincere. It was too raw, to open, too discomfiting. This makes most punk, hardcore- goth, whatever look like bland treacly window dressing. Polly Jane, within these terrifying little gems, cuts her throat open and spits venom in your ears. She hangs you with her guts. Wow. This music is so personal its a tad disturbing.

And still gorgeous. This razor sharp lil' collection is vastly better than the more polished and mediocre 'Rid of Me,' from which most of these tracks ended up- albumwise. It was her second, which makes this her 2 and a half, right before her masterful "To Bring You My Love,' a milestone.... it's been downhill trek from there, in my opinion.

Which is not to say that the album is noisy or subversive or transgressive or some other such pc, tame lit-jargon BS. It's just that she doesn't care how she affects the listener- you can tell she's singing these songs primarily for herself.

Trivia!!!! A great scene in a great little movie- 'Strange Days,' Juliette Lewis is in some post-grunge band and covers two PJ Harvey tracks, 'Rid of Me,' and 'I can Hardly Wait.' Both are from this album. Ms. Lewis, who can sing quite admirably in fact, pales in comparison with Ms Harvey.

Stand out tracks: Easy (my fave- what a great guitar lick!), Rid Of Me, Yuri-G, Ecstasy, M-Bike, I Can hardly Wait and Legs (the way she wales still raises the hairs all over my body)

A great catch!

I open up and you call me "devils gateway"!
This is one raw album. Lyrically, vocally and instrumentally. It's also PJs best record as far as revealing that she has a sense of humor. On her other records, that humor is often difficult to see, even though it's there. It just takes time to notice it. Here, the humor is quite evident, all the while the music is still shaking your fillings and stomach content by it's stark, powerful and raw directness.

One thing I've admired about PJ Harvey is her willingness to sound bad. That is, not always singing in a pretty or melodious voice. Sometimes her voice is used as an instrument of discordance. Wailing, shreiking, moaning, you name it, PJ does it.. and there is a lot of it on display here. It can be quite alarming if your listening tastes are a little more sedate. Certainly unlike most of what has been heard on the radio or MTV over the last 20 years. But if you are a Diamanda Galas fan? no sweat. Nothing will surprise you here! Of course, when PJ Harvey wants to she can sing with the sirens, but with this record, her prettiest singing is left elsewhere.

This record contains many songs that ended up on the 'Rid Of Me' of me record. Some people prefer this record to that one as PJ's vocals are more "there" here, as opposed to the studio 'ROM' record, which lowers the vocals a bit in relation to the instruments. On balance, I prefer the studio 'ROM' a little more, as there is a little more filler on this 4-Track Demo record. Still, lots of great stuff here, and a must for any major fan. For everyone else, unless my description appeals to you, I would suggest this be the last PJ record you explore. Check out some of her other ones first. ... Read more

Reviews (22)

"A Real Bargin"
For those of us have been fortunate enough to "discover" the alluring voice and talent of Edie Brickell. It is not difficult to understand why "Picture Perfect Morning" (Edie's solo album) grows on you with each and every listen. Although VHI and college radio stations only remember her as the: "What I Am" hip chick of the 80's/ early 90's. Our beloved Brickell has reached a fine, mature, and distinctive folk/jazz sound all her own. "Good Times" is characteristic of just such a claim, with Edie's soothing vocals, and jazzy laid background vocal accompaniment. It's just the song to listen to on a lazy, rainy day. Other tracks like "Hard Times" "Another Womans Dream" and "In The Bath" place you smack dab in the middle of a smoky jazz club, with nothing better to do than forget your troubles, over a couple of drinks with a few good friends. "Olivia" is a mesmerising and beautifully crafted song. Edie really puts her heart into this one. This album is a rare gem, and a good bargin. If you have any doubts about her solo work, you can always purchase Edie's "Ultimate Collection" with "The New Bohemians". There are some of her solo tracks from this album on there. However, "The Ultimate collection" contains only a tease of all the wonderful music on "Picture Perfect Morning". "Picture Perfect Morning" is a must have for any true Edie fan...

Enchanting Edie
For those of us have been fortunate enough to "discover" the alluring voice and talent of Edie Brickell. It is not difficult to understand why "Picture Perfect Morning" (Edie's solo album) grows on you with each and every listen. Although VHI and college radio stations only remember her as the: "What I Am" hip chick of the 80's/ early 90's. Our beloved Brickell has reached a fine, mature, and distinctive folk/jazz sound all her own. "Good Times" is characteristic of just such a claim, with Edie's soothing vocals, and jazzy laid background vocal accompaniment. It's just the song to put on after a hard days work, with a glass of Chablis and a diming of your track lights.Other tracks like "Hard Times" "Another Womans Dream" and "In The Bath" place you smack dab in the middle of a smoky jazz club, with nothing better to do than forget your troubles, over a couple of drinks with a few good friends. Folk songs like "Green" and "Olivia" are enough to satisfy the old yuppy college crowd. This album is a rare gem, as rare a find as our Edie is; a diamond in the rough. If you have any doubts about her solo work, you can always purchase Edie's "Ultimate Collection" with "The New Bohemians". There are some of her solo tracks from this album on there. However, "The Ultimate collection" contains only a tease of all the wonderful music on "Picture Perfect Morning"."Picture Perfect Morning" is a must have for any true Edie fan...

Great guitar playing.
While this is a great CD, in an endeavour to add something different to the other reviews, I'll focus on the outstanding musicianship in this Album.

While I would give the cd 4 stars based on the songs alone, I have to give it 5 stars due to the quality of the musicianship and song production which really makes them. In my opinion, this makes a couple of the songs I like a bit less still very listenable. In particular, the guitar lines throughout the album are a highlight. My favourite would be "Tomorrow Comes" which is a brilliant example of simple but well placed guitar licks with no over-playing. The song itself has a real "eighties sound" and makes the album worth buying just for this song.

Also, if you own an old copy of Windows 95, you'll remember the song "Good Times" which is another fine example of a great, simple but well produced pop song with the "Eddie" sound. The album grows on you the more times you listen to it.

Highly recommended listening for any aspiring pop musician and anyone else who likes great quality easy listening pop songs which can be played over again without becoming boring. Well worth an addition to any collection.

Great mellow music
This is one of those CD's to put on when your home and want something in the background that's relaxing, with great music and lyrics! Edie's nice soft & smooth voice delivers this set with ease.

LaLaLa
Buy This C.D.! Edie Brickell's voice is wonderful and trhe music and lyrics rock too. ... Read more

Amazon.com

Mystery White Boy, culled from Jeff Buckley's eight-month world tour of the same name, is not just another live album blighted by whoops and catcalls. Such was the reverence granted the ill-starred singer-songwriter's electrifying confessionals that hardly a whimper issues from the audience in 78 minutes--not, at least, until each gargantuan heart-and-soul epic ends. Buckley treated music like it was Shakespearean tragedy, and that grandiosity makes the live "Grace" and "Mojo Pin" at least the equal of their recorded counterparts. The gems, though, are the cover versions found here--especially a closing nine-minute rendition of Leonard Cohen's "Hallelujah" that lurches into a whispered chorus of the Smiths' "I Know It's Over." Ultimately, this posthumous collection is utterly captivating. --Louis Pattison ... Read more

Reviews (55)

Stellar Live Performances From Jeff And His Band
It's no secret that many knowledgable music lovers and talented musicians all over the world are devotees of Jeff Buckley's music. Mystery White Boy gives more than enough proof as to why performers like Thom Yorke, Chris Cornell, Elvis Costello, Chrissy Hynde, Jimmy Page, Duncan Sheik, Bernard Butler and many many others love Jeff Buckley's music; they all saw him play when he was alive.

Having heard many bootlegs of Jeff Buckley concerts, I must say that Mary Guibert (Jeff's mother) and guitarist Michael Tighe have truly picked out the finer points of Jeff Buckley's live sets throughout the 1995 - 1996 tours of the US, Europe and Austrailia.

Mystery White Boy contains renditions of 7 songs from Buckley's only proper studio album Grace, and it is rounded out by Big Star and Judy Garland (yes Judy Garland!) covers, as well as 3 unreleased Buckley originals. One of them, "What Will You Say" was recorded for Grace but wasn't included on the album. The version heard here isn't the best version I've heard of the song, but it is amazing none-the-less.

Jeff Buckley never played a song the same way twice, and his love and passion for music shines through on Mystery White Boys' outstanding versions of Dream Brother (better than the Bataclan version), Lilac Wine (great jazz vocal improvisations), Grace (a thunderous version), I Woke Up In A Strange Place, and Hallelujah (w/ a bit of the Smith's "I Know It's Over" thrown in).

If this is your first exposure to Buckley, this disc probably won't win you over, but that's okay. Go listen to Live at Sin-e, Grace and Sketches for My Sweetheart The Drunk...if they can't convert you, nothing will.

Transcendant.....
Rife with anticipation, I ripped this cd from it's package and promptly listened to it 4 times in a row. Every moment is a sonic fruit to be savored...lush, full...trembling with beauty. Jeff Buckley was a masterful vocalist and gifted songwriter. This album, comprised mostly of songs from his '94 release Grace, gorgeously showcases Buckley's ethereal genius in this, the unfakable forum of live performance. A voice that moves through you like a thought...conjuring every emotion known. Mean, sexy, and powerful....at the same time being delicate and vulnerable , Jeff's vocalism is astonishing. I'm so grateful for the previously unreleased pieces. They add the proper facet to the otherwise perfect stone known as the music of Jeff Buckley. If you are a lover of music - especially of true singer/songwriters - you will want for nothing more than this album...except for more of his music. So let this amazing soul twist your heart. And thanks to his incredible mother and bandmates for giving us this gift.......JEFF BUCKLEY LIVES!

hauntingly beautiful
This is one of those albums that would be one of my picks if I was stranded alone on a deserted island. While I only have Grace to compare it to, I prefer the live versions of the songs on this compliation to those on the studio-released Grace. "Mojo Pin," "Dream Brother," and "Last Goodbye" are particularly energetic, full, and dreamy. And Buckley's voice - there's just nothing quite like it.

Really Good Live Buckley.
To say that this is the best live album ever is a bit of a stretch, but it is certaintly very good. I'd not say it's a live album, more of a series of memoirs collected from the band members and his mother Mary Guibert. While it is correct to assume that there are much better whole, live, concerts that capture the Buckley-concert experience from beginning to end, this is a logical progression if you are not yet an enthusiast and looking for something beyond Grace (the debut studio album).

There are several gems on this album. My personal favorite is "I Woke Up in a Strange Place," a nice little rocker about ghoulish encounter with a ghost. I've not delved into a deeper meaning of the song, it's just far too good to over analyze. Another great track is "What Will You Say," which shines despite its angst ridden, abandonment lyrics. It captures his voice so well, you really have to hear it.

This also includes many of the gems from Grace, including a very stirring preformance of "Dream Brother." Classics like "Eternal Life" which is even more ballsy live, "Last Goodbye," and "Grace" are really good live. It even includes an Ira Gershwin song, "The Man That Got Away." Of Course, it also has "Hallelujah" in a medley with "I Know It's Over." (As a side note, you can't really critique these songs for Buckley fans, you either know them or you aren't a fan).

I didn't really prefer this version of "Lilac Wine," but since I don't really dig that song, anyway, I guess I'm kind of prejudiced.

This is a 12 track, 72 minute (I think) treat for the ears. Please forgive my cliche, rolling stone-esque line there, but I think if you check it out, you'll agree. I'd definitely prep for this one by AT LEAST purchasing Grace first though, of course if you don't have that by now... well, you have my pity. Then move onto the Live at L'Olympia, Live at Chicago sets, Live At Sin-e or even Sketches for My Sweetheart. Actually, that is precisely the order you should all buy these: Grace, Mystery White Boy, than either of the 4.

Finally, we miss you Jeff.

Suffers in comparison to other Buckley live releases
The live disc MYSTERY WHITE BOY consists of twelve tracks selected from Jeff Buckley's 1995 tour, mixed together to sound like a single concert. I found the release disappointing, especially in contrast to the superior DVD release LIVE IN CHICAGO and the import LIVE AT L'OLYMPIA.

About the only great thing I can say about MYSTERY WHITE BOY is that it has great sound. Whilst the audience is hardly audible, the performance is consistently clear.

Jeff Buckley was one of the greatest musicians of the 90's, but when I first heard MYSTERY WHITE BOY I couldn't help but feel that it was a collection of some of his worst moments. Buckley's cover of Alex Chilton's "Kanga Roo" lacks passion, while the version on LIVE IN CHICAGO stands out as one of his most innovative performances. The version of "Grace" here is the weakest we have, and is difficult to listen to after hearing the savagely beautiful L'Olympia rendition. Furthermore, the disc lacks "Lover, you should have come over", a great tune from GRACE which appears on all other live releases.

If you want to hear a superb live recording from Jeff Buckley, I'd recommend getting LIVE AT THE L'OLYMPIA, a recording of a single Paris evening in 1995 which Buckley considered his finest performance. If you want visuals and lots of on-stage banter, LIVE IN CHICAGO is what you're looking for. MYSTERY WHITE BOY is only for completists. ... Read more

Album Description

A chronicle of Jeff Buckley's pre-Columbia work withguitarist Gary Lucas (Captain Beefheart). Produced by HalWilner. Features previously unheard tracks including earlyversions of 'Mojo Pin' & 'Grace'. Knitting Factory. 2002. ... Read more

Reviews (7)

This album is definitely worth your money.
I didn't even know about this album until I was browsing around at the store, and then I saw it there. I noticed that it had a few songs from Sketches and Grace, but I bought it anyways. Little did I know how incredible it would turn out. The songs on the album showcase beautifully Jeff's voice. Nevermind trying to equalize him with the band. Also, some of the other songs are different than what I was used to hearing. "Harem Man" and "Malign Fiesta" were heavier with the rock and roll, but Jeff's voice still beats it all. I love this album.

Fantastic launch pad
It's probably a good bet that the majority of people who buy this CD are doing it because of the name Jeff Buckley. I did. Of course there's no denying the incredible talent that Jeff gave us. But what this album did for me is to spark the fuse into learning more about the music of the extraordinarily versatile, Grammy-nominated Gary Lucas. What few may realize is that without Gary, there is no "Grace" or "Mojo Pin," as he is the creator of those hauntingly sweet musical notes (Jeff wrote the words). Although the song "Grace" from Jeff's solo LP is a beautifully polished studio version, this CD contains not one, but two earlier variants which exude a nascent energy not so evident on Jeff's solo album.

Although the song "Grace" is one of my favorite songs in the world, I actually prefer the two versions on "Songs to No One" because the raw tones of Gary's guitar and Jeff's voice sound much more vulnerable and passionate without such a full, heavy back-up orchestration. On the club Roulette live performance of Grace, Jeff starts out with an innocent little harmonica tune which seems to swiftly end in a minor chord which gently, but firmly captures the ear and immerses the soul into a musical orgy with those infamous first rifts of the song. I'm not particularly fond of the harmonica spotlights later found in the song, but for true lovers of "Grace," it's interesting to hear early launches of the song.

This version of "Mojo Pin," is refreshing because of its simplicity. I never realized how much the heavy bass and drums really weighed down this song on the album, "Grace." Jeff's voice is beautifully showcased, being impelled and kept lightly afloat by Gary's fluid whisperings of guitar. The end of the song is a bit raucous, but it feels like a welcome release of energy.

This album is not for those looking for neatly packaged, polished, bubblegum pop music, which is probably why some of the reviews here are not glowing. This music requires a sophisticated ear with depth to absorb the true musical genius of both musicians, which is sometimes baked underneath a slightly rough exterior caused by these demo and live performances, which, to my understanding, were never intended to be released in album form. Personally, I hope this CD helps propel word of the grotesquely underrated luminary who obviously had a great impact on Jeff's development: Gary Lucas. I've recently discovered his diverse repertoire of rich troves and have unearthed some of the most incredible harmonies I've ever heard in my life. If you're a fan of Jeff Buckley, I'd highly recommend Gary's albums, "Skeleton at the Feast," and "Level the Playing Field," both highly-praised albums by well-respected critics. They're both utterly spectacular.

Calling all True Fans: Save this true gem for dessert
Before you read another review calling this album redundant and unenlightening, read a review that should banish all negative reviews to the farthest corners of your brain if the following suggestions are heeded.

First point: Song 2 "How Long Will It Take" alone makes the CD worth having.

With that said, proceed to second point for carefully crafted "listening suggestions." These suggestions are designed for the sole purpose of enhancing your appreciation and love for this and other Buckley albums.

Second point: This album is best left til dessert. It simply can't be written off by anyone who does not have more than passing familiarity with at least 3 of the 4 albums listed below. Listen to it after listening to 1) Grace 2) My Sweetheart the Drunk 3) Live at Sin-e 4) Mystery White Boy, in no particular order except for #1, Grace

Heeding these suggestions will result in a rich appreciation of the diversity and magic of Buckley's early work.

Mojo Pin (track 3)and both versions of Grace (tracks 5 and 11) provide a rare glimpse into both the studio and live evolution of 2 songs which would later become part of Grace, the only album released during Buckley's lifetime and a musical coup de gras of the highest order. This early version of Satisfied Mind, track 6, is also a true gem.

there's that voice again.
the saddest day in music for me was the day that jeff buckley died. we'll never know where he was going to take us with that voice. this cd is only able to offer us some more insight into where those places might have been. "hymne a l'amour" alone is worth a trip to the record store and the price of the cd. "harem man" is also a necessary addition to any buckley collection. the man had passion. the man had an incredible gift. this cd proves it once again.

One of the greatest artist to walk the earth....
is reincarnated through this album. I'm not saying that this is the best post-mortum release to be added to his name, but it marks a stage in his development as an artist finding his place. The recorded demo of "Grace" shows the trial period along with this phenomenal version of "Satisfied Mind." I know Jeff wouldn't have allowed us to hear these and we probably would've been blessed with much greater, more complete releases. However, this brings light to our famed Mystery White Boy and I am thankful for this. ... Read more

Amazon.com

It was an earlier five-song collection that helped introduce Tori Amos to the masses with a quiet cover of Nirvana's "Smells Like Teen Spirit." There's nothing quite so inspired on Hey Jupiter, which gathers together a remixed version of the title track and four live performances. The remix adds a few high-tech touches at the edges of the song, without either improving or detracting from the original. But fans may be happy with Amos's between-song chatter and an achingly fragile reading of "Somewhere over the Rainbow." --Steve Appleford ... Read more

Reviews (53)

Nothing's Been the Same.
This song is stunning. An amazing peice of work. I can't even describe what this song means to me. The Dakota Version of this beauty takes the song to new heights and makes "hey Jupiter" even more beautiful (I never thought it was possible). But don't ignore the version on the album "Boys for Pele." It's tremendously beautiful as well. Also, this E.P. has some very good examples of the goddess in concert. "Sugar" has always been one of my favorites as well as "Professional Widow" and "Honey." It is great to hear them live. Especially "Professional Widow," which Tori does not play live much at all and when she does, she changes it dramatically and uses her harmonium organ. It's wonderful. And Tori's version of "Over the Rainbow" is the best I've ever heard. Sorry Judy.

Let the disc speak for itself.
Tori Amos' singles/EPs are usually good treats because they feature interesting remixes of the eponymous album versions, and sometimes some great covers and superb b-sides. Hey Jupiter is no exception, making it an inviting disc for the collection. "Hey Jupiter" from Boys For Pele is an utterly gorgeous song, and I thought it was inappropriate to remix something so...perfect. The EP version doesn't surpass the original -- it adds some harrowing drum programming and almost an industrial vibe. Yes, it's cool, but it overwhelms the simple intimacy of the original, which was basically just piano and voice. The four live cuts are very worthwhile: both "Sugar" and "Honey" are great songs (it's truly a shame that "Honey" didn't make it on Under The Pink). "Professional Widow" is considerably more delicate until the end, but it retains that weirdly lovable vitriol. This little disc culminates in a beautiful (and I mean BEAUTIFUL) rendition of "Somewhere Over the Rainbow." Judy Garland would be quite humbled to hear this. Tori's graceful fragility and shimmering emotional precision just kill me on this song. Heck, the EP's worth the 8 bucks just for this song.

Hey Jupiter!
Tori's single from 'Boys For Pele' is simply and utterly beautiful. This CD single contains 2 of the tracks from BFP in a little different style. 'Sugar' is a beautiful song while 'Honey' is a harsh song about a failing relationship. The last track, the cover of 'Somewhere Over The Rainbow' is stunning. A must for ANY Tori fan, you will not regret it.

An Exceptional EP!!!
The first time I heard the album version of "Hey Jupiter" on 1996's BOYS FOR PELE, I thought it was the most beautiful song singer-songwriter Tori Amos had created. When I learned of a remix of the song, I was rather weary, since the LP version seemed so flawless; but upon listening to the "Dakota Version" included in this EP, I was blown away by Amos's ability to take a perfect song and make it perfect in a completely new light, in an alternate universe, if you will. The added strings and bass in the remix take away the quiet stillness of the original version, while maintaining some sort of softness and darkness, and utter desperation. More often than not, when I want to hear this song, it's the remix that I tend to listen to as it entails much more complex emotions.

The rest of the tracks included in the EP are live renditions of "Sugar" (a b-side from 1992's LITTLE EARTHQUAKES), "Honey" (a b-side from 1994's UNDER THE PINK), "Professional Widow" (an album track from BOYS FOR PELE), and "Somewhere Over the Rainbow" (a cover of Judy Garland's classic tune from the film THE WIZARD OF OZ). The live tracks are great in and of themselves, but we're also treated to Amos's humorous and insightful anecdotes between songs, which is one of the best parts of her live shows. Her fragile, stunning rendition of "Somewhere Over the Rainbow" displays Amos's amazing talent as a musician.

If you are looking to add some EP's and CD singles to your Tori collection, be sure to add this one. In fact, you may want to start with this one to give you a taste of what you're in for. Dim the lights, open your mind, and take it all in...

Another gem from the goddess
I bought "Hey Jupiter EP" a few years ago when I was on my Tori binge. I think it was just shortly before I got to see her live for the first time and right around when I started getting heavily into her music. One day at a local record shop, I bought a slew of singles and EPs by Tori Amos, "Hey Jupiter EP" was one of those purchases. I haven't listened to the EP in a long time so I decided to throw it in. I always loved the song "Hey Jupiter" from a very difficult album to listen to "Boys For Pele". After listening to the Dakota version of "Hey Jupiter", I am quickly reminded which version I love more and that is the Dakota version. I still love the "Boys For Pele" version but I do believe that the Dakota version is vastly superior. The primary reason I bought this EP was to hear Tori's interpretation of "Somewhere Over the Rainbow". It is a breathtaking cover. I was simply blown away the fragile, delicate vocals and melodies. Tori Amos is one of the few artists who I love when she covers a particular song. She makes the song her own. I also enjoyed the live tracks of "Sugar", "Honey", and "Professional Widow". I particular enjoyed Tori's brief explaination of "Sugar". I found that rather humorous. Her little anctedotes during her concert performances are one of the reasons why I love seeing Tori perform live. "Hey Jupiter EP" is a brief reminder of my concert experiences of seeing Tori Amos perform live. ... Read more

Reviews (1)

A Modern (Cult) Classic Made Better!
One Mississippi is one of the most criminally overlooked debuts of the 90's...it took several years for BB to be free of his contract so he could follow it up w/2002's masterful 'Lapalco'--now, thanks to the success of that record, Star Time International has reissued BB's first record w/bonus tracks (previously unavaible in the US) and the Wellfed Boy ep (recorded w/Jason Falkner)...the ep is totally worth buying this again...these recordings will knock you off your feet...kudos to STI for making this domestically available again...enjoy! ... Read more

Album Description

2003 remastered reissue of 1983's 'Punch The Clock'contains 26 bonus cuts, 'Everyday I Write The Book' (Studio Merseybeat Version), 'Baby Pictures', 'Heathen Town', 'TheFlirting Kind', 'Walking On Thin Ice', 'Big Sister'sClothes/Stand Down Margaret' (BBC Session), 'Danger Zone'(BBC Session), 'Seconds Of Pleasure', 'The Town Where TimeStood Still', 'The World And His Wife' (Solo Version),'Shatterproof', 'Heathen Town' (Demo), 'The Flirting Kind'(Demo), 'Let Them All Talk' (Demo), 'King Of Thieves'(Demo), 'The Invisible Man' (Demo), 'The Element WithinHer' (Demo), 'Love Went Mad' (Demo), 'The Greatest Thing'(Demo), 'Mouth Almighty' (Demo), 'Charm School' (Demo),'Possession' (Live), 'Secondary Modern' (Live), 'The Bells' (Live), 'Watch Your Step' (Live), & 'Back Stabbers/KingHorse' (Live). Rhino/Warner. ... Read more

Reviews (9)

I disagree with the other reviews.
Before anyone gets upset with what I'm about to write, let me state that I'm a dedicated Costello fan and have been listening to him and buying his records (yes, when records were vinyl LPs) since day one. I think that he is one of the truly great and gifted musicians and songwriters and my favourite musical artist (next to the Beatles).

It's acknowledged by EC cognoscentes that 'Goodbye Cruel World' (the album that immediately followed 'Punch' and was released a year later) marks the nadir of his career and that 'Punch the Clock' isn't far behind. The two albums are often paired together and I think justifiably regarded as parts 1 and 2 of a set. In fact, Elvis lost a sizeable portion of his audience after the release of these two albums. He has been fighting an uphill battle ever since to recover the level of support lost after 'Goodbye Cruel World'.

Despite respectable sales of 'Punch the Clock', I've always suspected that post 'Goodbye Cruel World' a lot of Elvis fans, upon reflection, suffered from buyer's remorse over 'Punch' and perhaps even some embarrassment. If this album was in their music libraries, the owners were probably hesitant to admit so and the album probably never left the shelf or the box at the back of the closet until some garage sale called out for it. I also suspect that those who bought the cd edition of this album did so more out of a sense of obligation than anything else.

I am not critizing Elvis' decision to try something different (i.e. a more "pop" oriented sound). (Although doing something different in and of itself does not guarantee that the results will be interesting, entertaining, artistically successful or even done well). Perhaps he was motivated by an understandable sense of disappointment over the sales of 'Imperial Bedroom'. I get the feeling from this album that Elvis' desire to do something different is a bit forced; done out of a sense of frustration or from some obligation or determination to do so but his heart was never truly in it, unlike 'The Juliet Letters' or 'Painted from Memory'. These two albums were very different directions for Elvis, each of which he obviously believed in and enjoyed. (Look at his dour portrait on the front cover of 'Punch'. That should tell you something. It's not exactly a happy face to go along with the upbeat pop music on the disc.)

Yes, the album does deliver some clever, witty, entertaining and even thoughtful lyrics. There are some standout tracks ('Everyday I Write the Book', 'Shipbuilding', 'Pills for Soap') but unless you're an Elvis collector/ completist, I recommend picking up one of his compilation albums to hear those songs. The real problem with this album is its production. No, I'm criticizing it because it is too "pop" oriented or too polished. The production is technically well done, and I should add that Rhino's remastering sounds great. The real problem is that too many of the tracks sound alike. When listening to this cd, I find myself wondering if I hadn't already heard this tune or that. Some of the tracks are not distinguishable from one another. Many of the songs that should be memorable, which deserve to be memorable, simply aren't. In all the upbeatness, I find a weary tedium.

For the Elvis collector/ completist, I would recommend this cd for the commendable remastered sound quality of the original album and for the tracks on the bonus disc. (There are many demos including 'Shatterproof' which supplied Rockpile's Billy Bremner with a hit single. There is also a two song medley from a BBC performance that includes a cover of the Beat's 'Stand Down Margaret'.) For the general music fan who is interested in Elvis, I would recommend purchasing a compliation "best of" album instead.

Have we come this far to find a soul cliche?
Flush with artistic raves and the critical success of "Imperial Bedroom," Elvis Costello did exactly what we should have expected him to do. He made an album absolutely nothing like the one we'd all been listening to for the entire previous year. I even remember a scathing review of this album at the time that opened with a comment akin to "Well, nobody's going to call this album a masterpiece."

OK, so that was a pretty accurate assessment. "Punch The Clock" was a maniacally obsessive pop album, primarily due to the choice of Clive Langer and Alan Winstanley as producers. Their track momentum was unstoppable at the time, and they wrapped EC and the Attractions with soul vocals, punchy horns and a free swinging style of production that was the polar opposite of Nick Lowe's. If you can, imagine "Get Happy" with more breathing space in the songs.

The result might have been "Punch The Clock's" irresistibly catchy opening track "Let Them All Talk." L&W layered the production with what was common to the period...the lush horns, the steamy r'n'b pulse, etc. Just as important was their finger on the popbeat of the moment, which suddenly saw Elvis flirting with the American Top 40 via "Everyday I Write The Book." While the video was more topical than the song, it didn't mean Elvis was shying away from biting lyrics. "Punch The Clock" is loaded with such notable quotes like "I wish you luck with a capitol F" and "He said 'are you cold,' she said 'no but you are,' la la la."

It also didn't mean that Elvis' definition of "pop" didn't include some heartfelt jabs at the current state of England. This being the era that produced Reagen-Thatcher and the Falklands War, the songs "Pills and Soap" and "Shipbuilding" were remarkable for their inclusion among the giddy pop of "The Greatest Thing" or "Mouth Almighty." The understated, elegant lyric, along with a perfect solo from Chet Baker made "Shipbuilding" not only the best song on "Punch The Clock," but one of the outstanding songs in EC's library.

Given the success of the album (it was one of EC's first albums to reach gold status in sales), it made sense that L&W would be around for the next. If you really want to gauge how underrated "Punch The Clock" usually is, just give an re-listen to "Goodbye Cruel World," the undisciplined follow-up. The bonus disc here is strictly hit and miss, and is interesting in that you can hear just how much architectural work L&W invested. The live cuts are, as usual, great. (But missing a couple from the Ryko CD.)

Over twenty years later, "Punch The Clock" has definitely aged well. Which means the answer to the opening line is no cliches here, but some strong 80's pop as only Elvis and the Attractions could shape it.

wonderful record, then and now
Elvis dove in to the mainstream and came up with a pearl of a pop record. Imperial Bedroom was a classic: brilliant, deeply intimate, intricate, and timeless. his next, Punch the Clock, was dead-on timely: accessible, clever, splashy, and a real pleasure. Punch is full of swing! (seriously.) don't be afraid to enjoy it. but in case your nerves just can't handle the light sound of a bubble pop, remember that the heaving burble of the masterfully boggy and wet-heavy Blood & Chocolate was only Goodbye Cruel World away.

EC's mid-Lennon crisis
For me, at least, this wasn't up to the quality of EC's first 5 albums. It's not a disaster. I can think of very few EC albums that deserve that moniker. The weakness is in the inconsistent songwriting. The best material here holds up well compared to his best but there's too much filler. What makes Punch The Clock so compelling and still a great listen is EC's willingness to embrace a wide variety of musical styles including the pop of its era. Punch The Clock is a search for a new direction after reaching a creative peak with the brilliant Trust and Imperial Bedroom. The albums it most recalls are John Lennon's trio of mid-70's albums Mind Games, Walls and Bridges and Rock 'n' Roll in its slick production style and attempt to merge the soul of the performer to the flesh of the marketplace.

There was something endearing and powerful about Nick Lowe's claustrophobic production. Lowe would have been a poor fit for Punch. Even when EC and Geoff Emerick opened the songs up to a new sonic world on Imperial Bedroom, they withstood the challenge. There are a few tracks, though, where EC and L&W meet head on. The collison produces a couple of strong masterpieces including the sublimely realized Shipbuilding with the aching horn solo by the late, great Chet Baker. Pills and Soap, Let Them All Talk (the catchy opening track) and the brilliant single Everyday I Write The Book demonstrate that the match isn't a miss so much as a hit and miss depending on the material.

The bonus tracks have, again, been relocated to the bonus disc. Punch The Clock benefits from the bonus tracks even more than Trust or the other reissues do. There is a flaw, however, because Punch isn't as complete as it should be with a few missing tracks that were on the original Rykodisc version. Perhaps they'll be relocated to the re-release of Goodbye Cruel World. Still, the bonus disc is very generous with numerous unreleased live/demo tracks.

EC has a blast here. Punch The Clock is EC's most "fun" record of the original albums with the attractions. The production can sound dated (that's not necessarily a bad thing either)but the performances are, on the whole, as vivid and invigorating as anything from EC's prime. From here it would be a long fall from a very short pier.

Oh, and thanks to the writer who mentioned that the two live tracks from Punch 95 were not included here. I kept mine and, despite the lower fidelity of the sound on those tracks, EC probably should have kept them on here (could have put them on as secret bonus tracks).

Completists Alert
Heads-up to fellow Costello completists: don't get rid of your Rykodisc versions when you buy this one. Ryko includes two live songs that are not repeated here! ... Read more

Reviews (102)

Ani shines in this personal and professional triumph
I believe that in the last few years, Ani has left many of her hard core fans a bit perplexed. Sometimes delving into musical composition that left her lyrics a little far behind. But with Revelling and Reckoning she has truly brought the two together. This 2 CD pack is an exquisite opportunity to get into the mind of the obiviously more mature and more introspective Ani. She still tons of fun but also focusing much on her own emotions or feelings. You get the sensation that she is having a private conversation to times and places that she has finally figured out a bit. The last few albums have had a lot of music and a real sense of experimenting with sound. With R&R she makes that experimentation much more intimate. Her lyrics are not lost in the new sounds...in fact..they are enhanced. It sounds more like a group of intimate friends got together for a night of jamming and this is what came of it. It doesnt feel forced or over the top. This has more of a live feel that the past few albums. Ani has once again convinced me that she can do anything, and I am happy to take the trip with her.

one of the best
This is my first Ani Difranco record, i kinda just jumped on the bandwagon. I saw her in concert last night and she is so awesome!! One of the best concerts ive ever been to. there really is no one quite like her, and there will never be another like her. Revelling is more upbeat and has the full band. My favorite song off of this is "Marrow". its the 4th song she performed and is a beautiful and well crafted song. Reckoning is just her and her guitar, and the chemistry is indescribable (or is it UNdiscribable? i dont know) the best song on this one is the title track. This is the perfect album for the new ani fan as myself. since then i bought two of her other records, "Little plastic Castle" and "To the teeth". this one is the best of the three in my opinion. maybe the other ones have to grow on me. i dont care how you get this cd, just GET IT.

politically apathetic fans' rantings
what is it with these people reviewing ani's albums and bitching about ani's left-wing politics and how that makes the albums go from great to just good?!?!

other than her great song-writing ability and ultra-personal lyrics that strike a chord with listeners, what makes ani ani is her unapologetic criticisms of mainstream and conservative politics...... i dont think she'd appreciate knowing that some of her "fans" are apparently politically apathetic and complacent.... It's one thing if you don't agree with her politics, but the impression i get from these reviewers is that they'd rather live in a self-imposed bubble where they can view life through rose-colored glasses. if you want that go listen to avril lavigne or someone equally as vapid.

other than that though i am one of those people that prefers her earlier stuff. I dont think she pulls of this jazz/fusion direction she's taking, there aren't hooks to the songs and her lyrics just don't carry the same punch that they used to.

A very mixed bag...
This album contains everything that I love about Ani diFranco. And everything that infuriates me about her.

Let's start with the bad news: the unadulteralted rinky-dink left-wing whining is in full force here. "Your Next Bold Move" is SO full of potential, but it alternates thoughtful writing with drivel about the plague of Reagan and Bush or the left wing being broken or... god, I don't know, just a lot of political ranting that diFranco doesn't even try to dress up as art. And much later comes "Subdivision," which starts out "White people are so afraid of Black people that..." Gee, thanks. Tell me something I don't know...

But then -- bam! Interspersed with this self-indulgent political nonsense are some of the greatest lyrics my ears have ever had the pleasure of hearing. "Garden of Simple" and "School Night" just blow me away; she must have sold her soul to come up with those metaphors. The "back" button on my car's CD player is now worn out because I repeat these two songs so frequently. And then there are so many other great images scattered throughout the rest of the album ("her Picasso face twisted..." is a favorite).

Ani, how could you sing a line like "you are a party and I am a school night," such a sweet, simple and PERFECT metaphor, and then give me drivel like white people are so cared of black people that white people have to live in subdivisions? AAARGH.

But still: you have to respect this woman. If I had nuts, I'd give my left one to be half the writer she is.

SO: GET THIS CD. Then master your own version, and treasure it forever. The really good stuff here should fit easily on one CD. And, oh, that one CD should have "School Night" and "Garden of Simple" twice each.

Give the jazz shtick a rest Ani
I am a huge fan of mid-career Ani. Out of Range through To the Teeth were brillant albums. I think that the success that she enjoyed cultivating the funky side of To the Teeth (probably with the help of others) gave her an inflated impression of the scope of her abilities. She is not a jazz musician and the music that she creates when she is trying to be jazzy/funky just plain sucks.

None of the songs are catchy. The feeble moaning of horns at strange and inopportune times are irritating. The lyrics are occassionally interesting but not what they used to be. The arrangement of the music is amateurish. She could handle a couple of guitars, bass, drums and vocals but she is in way over her head with the jazz ensemble.

In short I think that this album has few, if any, redeeming features. I will proceed with caution with Ani in the future. If she pulls another one of these she will be off of my instant-buy list. ... Read more

Reviews (53)

Not Just Another Mediocre Debut
I was worried when buying this album (after seeing the "Charm Attack" video and thinking "She looks cool") that the single would be the only striking, standout track on the album. It isn't. "Lazy Days" is one of the best vocal performances I've ever heard as her voice moves from quiet at the beginning of the song to a climactic final note at the end of the bridge. This is the albums best track. I also enjoyed "Northern Star" and "Comatised" on first listen. I have come to appreciate much of the rest of the album, but it doesn't quite reach the highest rating. I think the album's weakness lies only in Leona's lack of songwriting maturity, something that I'm sure will develop because of the promise shown on the album's best songs. This is a spectacular debut and I can't wait for more from Leona Naess.

A CD Worth Owning.
Okay, I don't actually own this album in CD format as I bought the album from iTunes, but this is the only album I've bought since the rest of my purchases have been singles. This entire compilation is wonderful, and I only wish I had heard Naess' music sooner.

The strongest works are "Charm Attack," "Anything," New York Baby," "Lazy Days,""Earthquake," and "Comatised." "Paper Thin," "All I Want," and "Northern Star" are also highly enjoyable. The reprise of "New York Baby" halfway through "Paper Thin" is an excellent, synth-laced version of the original and is dreamlike in its vaporous, reverberating nature.

Overall, this album is lilting and poignant, and the lyrics are elegant, not self-indulgent or bombastic. Leona shows us that she's not only a balladeer, but a pop, folk, and rock artist, and I find her versatility amazing, especially since her works still manage to maintain a familiar thread of cohesiveness from one to the next. I really get the sense that Leona wrote her lyrics after having lived them, and the reality of her person and personality truly shine through in every song.

I'd recommend this album to anyone who enjoys thoughtful, personal music that speaks about life and its more and less beautiful moments. This is one CD that is entirely and truly great.

watch out, it'll charm you
I started with Leona Naess's later, "more mature" works and worked backwards to this one, and as it turns out, this one is her best record. Her third, Leona Naess, was sweet enough, but what that one doesn't have that this one abounds in is a sense of fun, a playfulness about her lyrics and songs that gets bogged down on later releases. "Anything" is the most propulsive thing she's ever done, the single "Charm Attack" is exactly what the title says it is, and her ballads "Lazy Days," "Paper Thin," and "Northern Star" are beautifully sung. Naess isn't a terrific artist, she's not the best lyricist out there, and she's certainly not reinventing the wheel on this record, but there's a pop energy that's unmistakable to her, and Comatised is the best display of that.

brilliance, fresh, new - still incredible!
If you want a CD that won't leave your CD player for months - this is the CD to get. This CD will not only captivate you by her brilliant lyrics but her charming vocals will inspire you. Beautifully written love songs. Leona will entwin you from start to finish and it will leave you BEGGING for more. By far her best album. I thank you, Leona for this beautiful piece of art.

Highlights ~ anything, lonely boy, new york baby, paper thin, northern star

Highly impressive debut
Stepdaughter to Diana Ross, strikingly attractive and New York-based Leona Naess almost seems like she should be successful on these credentials alone. Surprisingly though there's very little hype at all about the talented British singer-songwriter, something that comes as even more of a surprise when she turns out to be actually very good indeed. She may have the credentials to be cool, the new next-big-thing, but the fact that she actually pulls it off is what makes Comatised so good. Elements of several other artists abound here, which isn't necessarily a bad thing. Beth Orton is the name that springs most frequently to mind, with inflections of Tori Amos in the style of music if not in the lyrics.

Gentle guitar and piano driven pop seems to be the order of the day, urged on by gorgeous vocals. Wisely Naess doesn't go for an all-out laid-back, spacey album, something that she's clearly capable of given the fragility of tracks such as Lazy Days. Instead she tries her hand at a little variety on the album's best track Charm Attack, one of those songs that you feel you should have heard before because it hits you so instantly. There are also gentle rock and roll elements on Anything, neither of which diverge from the general mood of the album or feel out of place. This is the kind of music where a great deal of its appeal is to be found in the vocals, which are admitedly beautiful and on tracks such as the appropriately named Paper Thin, have the same effect that Sarah McLachlan's voice had on Fear.

Of course like any young singer trying to find her feet there is the odd clunky lyric and trip up, especially on the overly sentimental Chosen Family. However, the potential is more than evident here for a very promising career indeeed, something which Naess proved with her even better sophomore album I Tried To Rock You But You Only Roll, which is definitely worth seeking out for anyone who is a fan of Comatised. Showing more variety and greater assurance in her musical abilities it is perhaps a better starting point, although on its own Comatised is one of the best female singer songwriter albums of the past few years. ... Read more

Amazon.com

Whether because of a creative impasse or a return to her club roots, Shawn Colvin opted to pass some of the time between her breakthrough Steady On and later, more mature efforts with this 1994 collection of cover songs. Paging through a latter-day Great American Songbook, Colvin acquits herself well enough on a selection of Bob Dylan, Jimmy Webb, and Tom Waits songs. Less successful are her rewordings of the Police's "Every Little Thing She Does Is Magic" (Colvin preserves traditional family values by switching the "she" to a "he") and Talking Heads' "This Must Be the Place (Naive Melody)," neither of which benefit from the stripped-down approach. This is a pleasant enough album for fans, but newcomers are advised to start with Colvin's excellent A Few Small Repairs. --Bill Forman ... Read more

Reviews (18)

A good concept, but it could have been a lot better.
After being enchanted by FAT CITY and STEADY ON, I bought COVER GIRL expecting something similiar. There is no debate that Shawn Colvin is extremely talented. Her albums have been amazing, this is the sole exception. It would have been a better idea to mix some originals in with these covers, since her own songs are experiences beyond the album. She starts off on a great note, but the album quickly runs out of steam. The highlights are "Every Little Thing He Does Is Magic" which is energetic and well arranged. "One Cool Remove" an excellent duet with Mary Chapin Carpenter. Stunning acoustic power in "Killing The Blues". "Window To The World" is another treasure. "Someday" rocks, a great version of one of the many highlights from the classic GUITAR TOWN. Unfortunately, too many of the other reneditions don't have the spirit that the songs on FAT CITY and STEADY ON do. By the time "Twilight" comes out of the speakers I'm already worn down. No one can top Shawn Colvin when you listen to STEADY ON, FAT CITY, or A FEW SMALL REPAIRS, so you can easily skip COVER GIRL. If you're haven't heard Shawn Colvin, you're better off starting with one of those three. Maybe there will be a hits package that will include these songs. Together with the songs from the other albums, the results could be amazing.

What an album!
I am not a long standing Shawn Colvin fan. I found this CD in a salvage store...and bought it because I had recently go into a "Few Small Repairs". While I liked most of "Repairs" some songs were world class and others just OK...or better than average "filler" songs. I played "Cover Girl" for the first time not knowing what to expect. Many of these songs are live and the recording quality is astounding. For audiophiles who, like myself, believe how well the music is recorded is almost as important as the message the music conveys, this ablum delivers in spades. It is clear from the music and the album notes that Ms.Colvin has picked these songs very carefully...and is, in fact, deeply, emotionally involved in most of the music recorded here. This album is pure emotion, talent, a stool, a guitar...and THE voice to carry it off. I would recommend this for anyone who likes live acoustic music.

SHAWN COLVIN'S "COVER GIRL" IS A WASTE OF HER TALENT
When Shawn Colvin appeared on the scene with her breakthrough album, "FAT CITY", it was clear that we were witnessing the arrival of a major new talent. Her voice was pure and clear, not unlike her mentor, Joni Mitchell. Her writing was intelligent, powerful, with hint of mischief that intrigued many listeners and left us wanting more. "COVER GIRL", a lukewarm rehashing of mediocre songs from past artists, is hardly the follow-up we had hoped for. There is precious little positive to say about "COVER GIRL" except that Ms. Colvin's intent seems to have been good. In her liner notes, she talks about lending something new to each of the covers...yet this reviewer sees nothing fresh about any of the covers. And, in fact, some of the songs, like "One Cool Remove" and "This Must Be the Place" are embarassingly bad and do not fit her voice at all. The best I can say about "COVER GIRL" is that a few of the cuts, for example "Every Little Thing" and "Window to the World" are somewhat pleasant, if not inspiring. Why a wonderful writer and artist of the calibre of Shawn Colvin would reduce herself to a second-rate lounge-act is the greatest mystery. Let's hope this was a one-time misstep that will not re-occur.

Enjoyable effort
I like the concept, and several tracks benefit greatly from the stripped-down, bare-bones approach that Shawn takes with these covers. Others, however, are just dull. I respect Colvin's talent despite her stylistic forays of the last several years which left me cold. This was her last album that I liked, and it is a good, admirable and mostly enjoyable effort. But her voice, no matter how good, doesn't have the elasticity necessary to bring a few of these tracks alive. I'd love to hear more versatile artists like Maria McKee and LeAnn Rimes do a cd like this. I feel that they would be more successful at bringing this concept to it's full potential.

DO buy this one along with Shawn's earlier work!
I am amazed to see an earlier 1 star review when the reviewer raves about 5 of the cuts! This album introduces you to the following writers: Tom Waits, Jimmy Webb, Sting, Willis Alan Ramsay, Greg Brown, Steve Earle, Bob Dylan, David Byrne, Robbie Robertson, J.Sill, and T. Littlefield. A few cuts are live. Some with a full band and others with Shawn and guitar. You can hear her smile while singing the live cuts! A duet with Mary Chapin Carpenter is great. And the liner notes are interesting to boot, which is something I miss with the advent of CD packaging. I found it fun to hear her rendition of songs I already knew and enlightnening to hear writers I never would have heard otherwise. I have not seen her live but from this album I would LOVE to see her in a small venue with just Shawn and her guitar. I think her guitar playing has been overlooked. ... Read more

Amazon.com

Inspired by impending motherhood and the rediscovery of a favorite children's book--the enchanting Maurice Sendak-illustrated Lullabies and Night Songs, from whence many of these traditional tunes come--Grammy winner Shawn Colvin has made a quietly beautiful recording. Holiday Songs and Lullabies offers cozy comfort like cradling a newborn and nuzzling the sweet-smelling softness of a downy fontanel. These simple, elegant songs outshine any nasty humbug associated with holidays and dark nights, offering sanctuary from the ill temper of the season. Though she was heavy with child at the time of recording, Colvin's sweet, girlish voice is here huskily warmed and enhanced by the fullness of womanly glow, conjuring the innocent simplicity of a safe childhood. Inspired string and horn sections elegantly strengthen piano, organ, acoustic guitar, and lap and pedal-steel. Yet where Colvin's gifts have at times in the past been dimmed by overproduction, here producer, arranger, and keyboard player Doug Petty buoys Colvin's considerable talent without overshadowing or rendering these lovely carols overly precious. --Paige La Grone ... Read more

Reviews (31)

Wonderful Music, As Always
My dad is an avid Shawn Colvin fan, and so I've grown up listening to her in the car, on road trips, while making dinner, and sitting around the living room. I used to be irritated by it (apparently, I would have much rather had been listening to my Alvin and the Chipmunks Christmas cassette tape). But now, I'm the biggest fan of Shawn's songwriting and her music. This CD lulls me to sleep at night after a stressful day, even mid-July, and is a staple around my house at Christmastime. I've never really liked Christmas albums, but this one isn't typical. Be prepared for a pleasant surprise. There's a nice mixture of Christmas and wintery sitting-by-the-fire-in-my-slippers music, as well as some sweet, rare lullabies that showcase Shawn's amazing voice. I love this CD. So will you. Also, check out her other CDs...Steady On, Cover Girl, and A Few Small Repairs are all wonderful CDs, as well.

An Instant Christmas Favorite
After all the hustle and bustle is finished for the day, gather your family around and put this CD on. Shawn's voice combined with the hauntingly beautiful lyrics and music instantly places you in a warm and tranquil state of mind. The whole CD is enjoyable from beginning to end but 'In The Bleak Mid-Winter', 'Rocking' and 'Love Came Down At Christmas' are standouts. I played the CD five times straight after it came in the mail. A beautiful Christmas CD but I plan on listening to it all year.

Songs sung with love
This is indeed a beautiful album. It opens with the traditional "In the Bleak Midwinter" and then goes directly into the classic "Christmas Time Is Here" from "A Charlie Brown Christmas". Another traditional but seldom heard number is "Rocking", and then there's the haunting lullaby, "All Through The Night". "Silent Night" is the one absolute Christmas standard here. And "Close Your Eyes", Brahms Lullaby, is heard from time to time on Christmas CDs, though it isn't truly a Christmas song. However, with Shawn's voice, all of these are good.

Regretfully, I can't put this album into the same category that I have put CDs by other female vocalists such as Judy Collins, Natalie Cole, Anne Murray, or Julie Andrews. But this is a good folksy type classic record to own.

Wow! What a treat!!
I received this Cd as a birthday gift last year. I like this Cd because it has a mixture of Christmas songs along with some lullaby sounds. I like all the tracks including Rocking, Now The Day Is Over, All Through The Night, and Close Your Eyes. Close Your Eyes sounds like something from the Brahms Lullaby. I listened to this Cd a couple of times, and it put me to sleep. I also like the track of All The Pretty Little Horses. I highly recommend this to future parents and children.

Lovely Sleepy music
In the bleak midwinter is beautiful. Shawn does a fantastic job with the soft lullaby sounds. This is a great cuddle by the fire album. ... Read more

Amazon.com

Following a string of tasteful but sometimes bloodless collaborations with Sophie Van Otter, Bill Frisell, and the London Symphony Orchestra, Costello delivers his most visceral and satisfying CD in years with When I Was Cruel. Reunited with half the Attractions, Pete Thomas and Steve Nieve, Costello sticks relatively close to the sharp new-wave melodies that sealed his reputation in the late '70s and '80s, but infuses them with powerful sonic touches: a hypnotic loop of Italian pop singer Mina that carries the title track, the melodica that casts an eerie glow over "Soul for Hire," and the frenetic, klezmer-inspired horns that drive "15 Petals." Costello's guitar is frequently drenched in tremolo, and his lyrical wit hasn't been this consistently spiky and unforced since Blood & Chocolate. Compared to some of his more uptown adventures, When I Was Cruel may seem at first a kind of semi-nostalgic slumming, but the opposite may be the case: like Woody Allen, Costello is at his most artful when he produces perfect pop trifles that will almost certainly outlast his more self-conscious "serious" work. --Keith Moerer ... Read more

Reviews (140)

ELIVS IS STILL CRUEL WITH NEW CD (2 and a half stars)
As a long time Costello fan, I have been waiting for him to get back to his roots for some time now. I guess I will still have to wait. The strongest point of the whole CD is Elvis' vocals. He has not lost his touch there. However, it sounds as though he is struggling through these songs with their one word titles and one line chorus. There are a few that stand out, but the album fails to flow musically. The title track, "When I Was Cruel", one of the better songs, sounds like something from "Mighty Like A Rose." In fact, this CD reminds me a lot like "Mighty", whereas it takes quite a few listens to get used to it. However, it's not quite as good as "Mighty Like A Rose" is, which doesn't say much since that CD is not one of Elvis's better efforts.
"15 Petals" sounds like it belongs on "Punch the Clock", and "45" could have been a throw away from the "Brutal Youth" secession. The rockers "Tear Off Your Own Head" and "Daddy Can I Turn This" are tolerable, though they sound unpolished, as does most of this CD. With such a wide array of style it becomes difficult to grasp this album, or any of the tracks for that matter. None of them are memorable to the point that you are singing along or that they stick in your head. Perhaps the only decent thing about this release is a possible tour. Elvis is an excellent live performer, no matter what he is promoting.

Back with a vengeance
It's impossible for me to write an objective review of an Elvis Costello album -- the man's music has been a vital part of my musical tastes since I borrowed a friend's beat-up cassette copy of "Get Happy!!" back in 1985. Suffice it to say that Elvis' songs have always held a high place with me and, despite his occasional forays into styles that may not have always worked, I've been a die-hard fan and will most likely remain one until the day I die.

But this release is indeed cause for celebration and is a step above everything he's done in at least ten years. After experimenting with Burt Bacharach on the elegant "Painted From Memory" and trying his hand at classical-flavored stylings on "For the Stars," Elvis has taken the electric guitar out of the closet for some good old fashioned punk'n'roll. Is it 1977 all over again?

He's gained weight, but wisdom as well. The formerly skinny finger-pointer with the Coke-bottle lenses is still able to kick up a fuss, but distances himself from it a bit, almost as if to tell you, "I'm almost fifty. I realize this looks silly for a man my age, but it's so much fun."

Reuniting with Elvis are two-thirds of his stellar backing band, the Attractions: keyboard player Steve Nieve and drummer Pete Thomas. Apparently EC still hasn't mended fences with bass player Bruce Thomas, never exactly Elvis' best friend to begin with. No matter. New EC sideman Davey Faragher takes the four-stringed reins this time around, and does a splendid job (Elvis himself plays bass on a couple of the songs as well).

The songs? Better than ever. Nothing here will knock "Get Happy!!" or "Trust" off my EC Top Five, but there are some bonafide masterpieces here. The opener, "45," is a killer, all tasty guitar and endless hooks, while Elvis apparently makes his case for equating record collections with relationships. "15 Petals" uses a psychotic horn section to amazing effect. The single "Tear Off Your Own Head" has a wonderful psychedelic pop vibe. The nonsensical yet endlessly amusing lyrics to "Episode of Blonde" recall 1986's "Tokyo Storm Warning," but with a bit more musical variety. The twisted quasi-tango of the verses suddenly gives way to a breathtakingly beautiful chorus melody.

This is amazing stuff, and I just bought it yesterday. I know that initial impressions can sometimes overrate an album, but I truly feel this one will stand the test of time. This is proof positive that Elvis is still king and has not lost one ounce of his original bite.

My one complaint...Steve Nieve is painfully low in the mix. One of rock's most brilliant keyboard players and you can barely hear him on this album. Did he and Elvis have a tiff during the mixing sessions? Whatever the case, it's a small complaint for an otherwise brilliant recording.

This Disc "Rocks" with a Capital "R"!!!
When I was attending New York University way back in the mid 80's Elvis was the unquestioned King of the East Village chic literate punk rockers. "Get Happy" blasted out of every bar and record shop and clothing store you passed. "When I was Cruel" harkens back to his earlier works such as "Armed Forces" and "Trust" and then takes them to even greater heights. There is not one weak cut. Take some time and listen to this one. It will begin to dominate your mind with its sinister guitar and bass interplay and of course Elvis' incredible lyrics. I was lucky enough to see Elvis recently on his tour with Steve Nieve playing most of the songs from "North", let me tell you he has grown as a singer and his performance was haunting. So tender and so fierce! If you love music with guts and punch and commitment GO BUY THIS CD! It Rocks with a vengance!!!

E.C. Returning to his old style
As of the first listening of the album, I thought it was exceptionally fantastic. It just blew me away;a solid piece of music! Unlike one of the other reviewer's who said "it take's time to grow on you", I felt that the music had an immediate reaction on me.I also thought "Alibi" was a great song; I haven't heard the recording's"King of America" and "Blood and Chocolate" in their entirety. So, therefore I can't quote a comparison to "when I was Cruel". I think there were too many negative reviews of the album. My rating would be a four and a halfout of five stars for this particular performance.

If the Failure is Great, it Tends to Fascinate
Elvis still writes with a pen honed to a Samurai Sword keen, but there are other elements that "When I Was Cruel" are sorely lacking. This is probably Costello's most overblown record since "Mighty Like A Rose." The great songs ("45," "Episode Of Blonde" and "When I Was Cruel 2") are forced to sit next to the distractingly distorted ("Daddy Can I Turn This"), obvious retreads ("Doll Revolution") and just confusing sounding songs that might have been better off worked on later ("Dissolve").

There is probably a great 12 song CD hidden in here somewhere. But even at his most fumbling, Elvis can still beat most of his peers from the old days. Problem is, just like his peers from back in the day, he was a sharper man then. The past glories well up from "Dust" and the dripping sarcasm as the "Dancing Queen" quote drops in the title track. But the title to this CD is "When I WAS Cruel," and not "I Am Still Cruel." Keep that in mind as you listen to this fascinating failure. ... Read more

Amazon.com

Early masterpieces such as This Year's Model posited Elvis Costello as the latest in a long line of great British "angry young men." But as Costello himself writes in the liner notes to this reissue, originally recorded closer to middle age: "If you really want to hear an angry record, then this is the [one]." It's probably his most misanthropic and bitter as well: "So Like Candy" and "Playboy to a Man," the final two songs in the series he cowrote with Paul McCartney, appear on an album that also features the line: "Was it a millionaire who said, 'Imagine no possessions'?" Mitchell Froom's production is purposely basic and crude, and some of the music is experimental (including brass, strings, and effects seemingly inspired by the Beatles' "Revolution No. 9"). The opening "The Other Side of Summer," an obvious Beach Boys parody, is the only real slice of pop to be found. But as a complex musical statement, the album more than delivers on the artist's stated intent: "This record says the world we are making is grim, and I believe that it is." --Bill Holdship ... Read more

Reviews (7)

One angry, thorny "Rose."
This is one p-o'ed album from Mr. MacManus. Be it his disillusionment with the world according to "Operation Desert Storm" or his outright fury at bassist Bruce Thomas, "Mighty Like A Rose" contains more raging anger than any EC album before or after. According to the liner notes, he figured the pop success of "Veronica" and the corresponding album "Spike" made any and all topics fair game, thus off he went. This was also the period where Elvis was hanging out with Jerry Garcia - they did a cover story for Musician Magazine that remains a great moment in rock journalism - so perhaps we should excuse EC of some of "Rose's" musical wild hairs.

It was that willingness to push the envelope that made the album kick off with one of his best songs ever, "The Other Side Of Summer." A pastiche of deceptively peppy Beach Boy's stylings supporting a very dark lyric, it is Elvis at his finest. It also includes terrific sly digs at Madonna, John Lennon and Pink Floyd. Almost immediately after that is a radical left turn onto the experimental sound of "Hurry Down Doomsday (The Bugs Are Taking Over)." It's the first of two broadsides at Thomas's book, "The Big Wheel," and also has one of the most insane guitar parts captured to record in the 80's, courtesy of James Burton. But the rancor of that song is nothing compared to "How To Be Dumb," which spends its entire running time lashing out at a man who "could have walked out anytime you wanted, but face it - you didn't have the courage." It's probably the most mean-spirited song Elvis has ever penned. It's also a total gas.

Had "Mighty Like A Rose" been able to keep up that kind of energy, it might have been another 5 star album ala "Spike." Alas, the disc starts losing steam around "Georgie And Her Rival," which seems kind of slight. The second half of the record then bogs down under the weight of too many ballads, with only the Paul McCartney co-composition "So Like Candy" being up to the task. The remaining songs are memorable for a few reasons, "Couldn't Call It Unexpected #4" has a wonderful melody and "Broken" (written by Elvis' then-wife Cait O'Riordan) is truly haunting. But it isn't enough to make this a brilliant album, and actually rates about 3 and a half stars.

The extra 1/2 star come courtesy of the bonus disc. Elvis' recording with The Chieftains, "St Stephen's Day Murders," and the quirky "Put Your Big Toe In The Milk of Human Kindness" with Rob Wasserman are gentle reminders that EC is a prolific songwriter with so many directions that it can be hard to keep track. The three selections from his "MTV Unplugged" session make me long for the whole show (which included a stunning medley of "So Like Candy/I Want You"). Perhaps a later bonus disc or DVD will unearth those. In the meantime, "Mighty Like A Rose" is another reason to be grateful for Rhino's ongoing Elvis Costello reissue effort.

Not bad for a longhair
This is definately one of the weaker Costello efforts, but this new edition offers enough obscure gems ("St. Stephen's Day Murders" = Wow!) for me to give it four big, juicy stars without reservation. And, of course, there's "All Grown Up", which remains the same "how-could-a-human-being-be-so-freaking-brilliant" moment for me that it's always been....

Another side of Elvis
I'm becoming a certifiable Elvis junkie, and this remastered album, the latest in a series of reissues, certainly advances the state of my addiction.

It starts with The Other Side of Summer, which should be familiar enough to EC's greatest hits fans. Hurry Down Doomsday is reminiscent of Costello's punk days, a worthy effort. The anthemic 'How To Be Dumb' is where the album starts to get rich and textured. Suddenly the music starts to blend together, a true 'album' experience. Great keyboard work, wonderful melodies. This is an extraordinarily well-produced album, evoking a Beatles touch in the diversity of instruments and styles employed. It pulls from at least a dozen different styles, with diverse pacing and great melodies.

Elvis is at his snide and cynical best with All Grown Up, a song I should've listened to when I was a teenager. The orchestral movements, set as a backdrop to lyrics like "all grown up and you don't care anymore/ and you hate all the people you used to adore..." Where was this song when I was a kid? Oh wait, I was too busy listening to Metallica... sigh. And therein lies the answer.

The trilogy of songs in the middle -- Invasion Hit Parade, Harpies Bazaar, and After the Fall, -- comprise the album's hefty middle and represent some of EC's best storytelling song construction. After the Fall is particuarly stunning. This is a soft ballad featuring flamenco guitars focused on two lovers; the woman has gone to the dark side of lust and the man suddenly finds her unattractive. I am not certain I understand the plot of the song, but the emotions are spot on.

Couldn't Call it Unexpected No. 2 is a brief New Orleans jazz bridge that slides into Sweet Pear is positively majestic. You can hear in this song the hint of Elvis' future collaboration with Burt Bacharach. (Was my grip too loose, my grip too strong, that made you want to run away?) Couldn't call it Unexpected No. 4 is a solid, retrospective on the dissolution of belief set to a minstrel's accordian with a jaunty beat. Classic. Oh, and I forgot to mention Sulky Girl, an extraordinary ode to a man taken with a pouty lass. ('you're no match for that sulky girl'...)

There are a few less-than-remarkable efforts, such as Georgie and Her Rival, a jaunty number with no particuar point. Broken, a self-conscious poetic turn, left me unmoved. Playboy to a Man, which (like Sulky Girl) was co-written with Paul McCartney, is good, not great. (apparently that's pm screaming in the background.) Where Sulky Girl strikes a chord in its depiction which is haunting in its depiction of the attractiveness of the pouty sorts, this is sort of flat.

With the 2 CD format, you get a chance to enter the studio a bit. Just Another Mystery, which apparently was written in a flurry with Invasion Hit Parade, Harpies Bazaar and After the Fall, is good enough for prime time and leads off. I have long loved St. Stephen's Day Murders, which was featured on the Chieftain's "Bells of Dublin" album in the early 1990s and is included here. There's a trio of unplugged tunes as well, including The Other Side of Summer (blah, prefered his high-speed SNL version), Deep Dark Truthful Mirror (magnificent) and Hurry Down Doomsday (surprisingly good). The Home Demos are neat, and considering the robust production on the final album they provide an interesting counterpoint. An early version of Starting to Come to me, which later was included in "All This Useless Beauty", is stripped down and bare, with a Dylanesque acoustic styling.

Overall, an excellent album. Probably should've gotten to know it more than a dozen years ago when it came out. Better late than never.

Uneven, but full of little surprises
I should begin by saying that I'm a huge EC fan -- about 10 years ago I figured out that he's Probably God, and I stand by that. This is a very uneven, strange, paradoxical album full of things that will grate on your nerves, but also full of nice surprises.

Highlights: Check out "The Other Side of Summer", evil twin to a Beach Boys song. This one captured the imagination of my teenage daughter with both its catchy tune and its wry lyrics (don't miss the friendly jabs at John Lennon and Pink Floyd!). "Georgie and Her Rival" is bouncy and strangely haunting; it sticks in your mind and pops up at odd times. "Playboy to a Man" is raucous good fun, and if the lead vocal sounds strange, that's because it's Paul McCartney, uncredited and in full shouting mode. "How to Be Dumb" is a not-so-subtle dig at former Attractions bassist Bruce Thomas. And so on.

Like most of life, this album is rich, strange and rewarding. Definitely worth exploring.

A Gorgeous, Frequently Electrifying Album
This is a great album: excellent songs passionately sung (true of all E.C.'s work) with especially lush and lovely arrangements.
As with all the Rhino re-releases, the bonus disc is fine too, especially the live tracks. I've seen some very dismissive comments about this album even from Costello fans, but I don't know where they're coming from. I put it up there with his best. ... Read more

Amazon.com

The latest in an illustrious series that includes Elliott Murphy, Marshall Crenshaw, Paul Kelly, and John Hiatt, Freedy is an exquisite singer-songwriter for the critics to champion and the masses to disregard. Butch Vig's crisp sonics and the restrained, almost old-fashioned rock and folk caress of the music make Johnston's deceptively easy-going tunes easy to fall in love with. "Evie's Tears," "Two Lovers Stop" and "Bad Reputation" are favorites. --Jeff Bateman ... Read more

Reviews (17)

This Perfect CD
Haunting is really the only word to describe this CD. Freedy writes amazing lyrics about love and loss that stick in your head and just don't leave. Bad Reputation is probably the most well known song, and even though it has a harder sound than some of the others it is a good introduction to his work. The best of his songs are dreamy with an undercurrent of bitterness and anger. His beautiful guitar work masks the real venom in some of his lyrics until the 4-5 listening. This is a CD that continues to grow on you, and you discover new meanings and words each time you listen. Characters reappear within the CD and you are never quite sure who is telling the story, but you want to hear more. Oddly enough most of this this album is also the soundtrack for the movie Kingpin.

MAYBE THE MOST UNDERRATED ALBUM OF ALL TIME
Wow is all I can say. Each of Freedy's albums are great, but this may very well be his best. Every song on this album is excellent and different from one another. "Bad Reputation" is Freedy's best known song and for good reason...he's never sung better and the lyrics are amazing. Moreover, many people aren't aware that some of the songs are linked to others. For example, the person in "Gone Like The Water" is the same person Freedy sings about a few songs later in "Disappointed Man." Freedy himself has admitted as much in interviews. Moreover, "Evie's Tears" (another unbelievable song) obviously has a connection with "Evie's Garden" which appears later in the album. I cannot say enough good things about this album. The title track and "Delores" are other standouts, but then every song on here is a standout. However, if this really were a perfect world, an album such as this would be at the top of the charts instead of the Backstreet Boys!

Another overlooked gem.
The music industry is a funny place. There is often no commonality between true musical talent and record sales. Often the music found at the top of the charts is not the best music available, but instead the most widely played, the most overtly commercial. It's reasoning like this that a fine singer-songwriter like Freedy Johnston is routinely overlooked. Depending on one's perspective - it's a large shame, because Johnston is worth checking out.

A record with a title like "This Perfect World" can likely only be two things: a complete celebration of life, or a piece of art steeped in irony. In Johnson's case, it's the latter. He's written twelve accounts of peaceful melancholy, most often found in the form of detailed character sketches of folks whose lives are anything but perfect. One anonymous narrative voice muses about having a "bad reputation/and it isn't just talk talk talk." Another character, Evie, garners two nods with "Evie's Tears" and "Evie's Garden." Johnston's sound is very understated, similar to that of a Neil Young or Bob Dylan record. It's not a happy record, but in terms of sound, it's very relaxing and peaceful.

Given its timeframe (mid 1990's) it's an interesting footnote to a modern sound which never broke through like a grunge, ska, or bubblegum pop did. One can only wonder if such a songwriter would have been given his due acclaim. In the end, like all art, it's an artifact of particular time period and mood. In the context of the 1990's, it's some of the best music available from that decade, and some of the best music which unfairly never received its due praise. In a perfect world, an artist like Freedy Johnston isn't overlooked. In this one, it makes for a fine story of a fine singer-songwriter, and a fine album overlooked by so many.

We met in a lonely summer
"There does have to be some mystery and that's where it is. Everyone's interpretations are different. Everyone's emotions are different." ~Freedy Johnston

I love the way this album takes off from the first song and then the lyrics really take hold of your heart. It is really catchy and the music just swirls around you catching you in each wave and pulling you in. Once you start listening there is no escape, you just want this music to keep playing. I could listen to the first song again and again! There is magic there.

"Cold Again" sounds like a song Sting would love to sing although there are so many added dimensions and a level of acoustic bliss I really liked. I could listen to this music without any words although the harmony between the voices fills out the spaces between the loneliness and isolation.

"Evie's Garden" really paints some beautiful pictures. This song was quite a surprise because at the start, you wouldn't imagine this song being included in this collection. I love the lyrics and longing for the past. This song seems to connect with the lyrics in Evie's Tears.

"In the middle of Evie's garden
In a simple iron chair
Wind's blowing and she is singing
Begs the moon to disappear."
~Evie's Tears

You will hear what you want or need to hear in these stories. A unique collection of stories washing across your mind in waves of music.

"Bring back the rain, we'll go walking..."

You might want this now
Starting with "Bad Reputation" about "been breaking down," with "your face everywhere" in a crowd, this album reveals as much insecurity as any one person ought to exhibit up on a stage, but the music supports self-destructive introspection. "Evie's Tears" is another example of heartbreak, this time on the faith of Catholic girls. The tunes and sound are lush enough to provide some form of comfort for situations like "Can't Sink This Town" in which "I thought you said you were lonely" seems to be aimed at someone who will stick closer to their community than to some strange individual who offers the illusion of some kind of escape.

I once heard or read what "This Perfect World" was about:

I see her in your face
Hear her in your voice . . .
You think I'm made of stone.

Dying is the problem: "They say I soon will be gone away." Saying good-bye lasts longer than the person that song is about.

"Cold Again" is a bit complicated, musically, and lacks the warmth that wasn't obvious in the earlier songs, until they are compared to this projection of dejection. "Two Lovers Stop" is about jumping off a bridge together. "Two lovers stop their hearts, better than to be apart." I think he called this tenderness. "Across the Avenue" is more cheerful, though it is based on the illusion that he will actually meet someone who has gone away, but he still thinks he sees her across the avenue. Similarly, "Gone Like the Water" is about someone who has gone, but it rocks like a train along the riverbank heading for N.Y.C. This might make more sense than any of the other songs on the album, being as simple as the lives lived by countless millions of people.

"Delores" sounds enthusiastic, mostly about "she's looking right at me," though she is crying about something. The electric guitar solo adds a lot of energy to the ending, though the song just fades out after that instrumental part. Toning down to "bring back the rain" and "bring back the wind" for the flowers in "Evie's Garden" settles back into the groove that predominates on this album. "Disappointed Man" sounds a bit tougher, in the city, and the music has more happening than in the lush songs, but the big question that wraps up this song seems to be merely, "Where've you been?"

The song "I Can Hear the Laughs" isn't much different from the rest of the songs, in an "it hurts so bad I have to smile" way. Freedy Johnston is so much like himself that I'm not sure how different he could be if he wanted to be, but I like this. ... Read more

Amazon.com

Puddle Dive is something of a transition album for DiFranco: she's (gasp!) smiling on the cover, she's got accompaniment on nearly every track, her creed is clearly stated for the first time ("I sing sometimes like my life is at stake / 'Cause you're only as loud as the noises you make" [on "My IQ"]), and there are even some songs here that find joy, even if it's just for a moment ("Names and Dates and Times," "4th of July"). There's also, to a much greater extent than on previous albums, the frenetic guitar strum (accomplished with taped-on plastic fingernails) that is one of the hallmarks of DiFranco's maturing sound. It's the strum that complements DiFranco's stop-start, breathy vocals so well, and the combination of the two has always served to distinguish her from the hordes of folkies on the coffeehouse circuit (that is, if DiFranco's tattoos, piercings, and haircuts hadn't already done the trick). On Puddle Dive her maturing song craft (check out the bluesy "Back Around") and increasing consistency put her even further ahead of the pack. --Randy Silver ... Read more

Reviews (28)

formerly gushing fan
I was happy to read some of the lower reviews here, some criticism to mix it up. Any old fan can just gush on about how AWESOME there fav artist is, and certainly Ani has more than her share of fanatical followers. I was one of them; now I've moved on to more vital artists.
Most real Ani fans agree that "Out of Range" is her best, most gutsy, accessible album; the best album to start with. But I like to champion "Puddle Dive", for the simple reason that it best shows off her skills as a songwriter. Listen to those lyrics-- they're about nothing! Tiny everyday insignificant moments-- getting a speeding ticket, snot, coffee, making a new friend. And yet that's the talent of a songwriter, to take those moments and make them universal and important, to fit them into the bigger picture. All these songs just seem to fit together for me, as much a real album as she's done. And its a great snapshot of her in transition. "Puddle Dive" still astonishes me at times.
I haven't bought or even listened to anything since "Castles"-- she's just too prolific, and there's so much other important music out there. But her first six+ albums, all the way up to "Pretty Girl", are incredible, important stuff.

we bleed to renew life every time it's cut down.
i bought puddle dive and out of range at the same time, around late june of this summer. and it took me some time to get used to them, at first. my ani difranco collection was completed by these additions, but the switch from her later works to these was almost shocking. eventually, i completely fell in love with it, the way you are alomst forced, by ani's style, outrageousness and laughter, to smile. i definitely recommend this album to anyone who needs a bit of an up on life, or just has a craving for some loveylovely music.

One of Ani's Classics
OK, so you bought NOT A PRETTY GIRL and went wild. Then you bought IMPERFECTLY and you still want more. So PUDDLE DIVE should be next on your list.

Right from the opening track -- her voice hits hard vibrato that you ... didn't know was humanly possible -- and the acoustic guitar is so fierce it makes your fingers hurt, just listening. And that's just the first track!

Later, you'll get to hear the deceptively sexy love song (always with her unusually phrased lyrics) called ANYDAY and the very passionate WILLING TO FIGHT.

Not an album to be missed, if you love Ani DiFranco. I remember a period of time when it seemed to be her most popular.

Her 2nd worst album A.K.A Kah-kah
This is almost the worst thing she has done. There isn't a single song that grabs and holds you. Only Blood in the Boardroom is even close to catchy. With that song, if you're not a girl, you can't relate. So, I suggest you run from this album. Run as fast you you can. In fact, run to the store and by "Little Plastic Castles". My personal favorite album of ALL TIME. But don't waste you time, even looking at this one.

A late purchase in my Ani collection
This was one of the later Ani albums I bought, starting with Out of Range, jumping to Little Plastic Castle (which was brand new at the time)and jumping around from there.
After her recent change of style (from 6up on) I was looking for more of that familiar "out of range" sound.... THIS WAS IT! Not quite as razor-edged as Dilate, not as simple as her self-titled debut, this album was like digging into the memories of that first year back in High school I spent absorbing all things Ani.

A few hits, a few minor misses, and as always, her prophetic, insightful lyrics. ... Read more

Amazon.com

Recorded prior to her Columbia signing, Colvin once supported herself by selling copies of this superb acoustic collection of material that would emerge on the Steady On and Fat City albums. The stark setting naturally highlights both the artist's gorgeous voice and songs like "Diamond In The Rough" or "I Don't Know Why" in such a pure, heart-rending way that it can never be captured in the studio. A rare and unexpected treat for Colvin devotees. --Jeff Bateman ... Read more

Reviews (12)

Almost renders "Stedy On" obsolete!
"Live '88" was the cassette tape that Shawn Colvin used to sell at her live shows before she landed a recording contract with Sony. It features eight of the ten songs that wound up on her fine debut album "Steady On," and when it finally saw a CD issue in 1995, it all but rendered that album obsolete.

The reason is fairly simple. The presentation on "Live '88" better fits that songs than the studio production of "Steady On." Here Shawn is accompanied by just her remarkable voice and her acoustic guitar. Call it Shawn Unplugged if you will.

As good as "Steady On" is, this is the CD on which you should hear these songs. The lone exception to the above rule is "Another Long One" which does benefit from the "pie tin" sounding production given it on "Steady On."

So, I guess the solution is to get "Live '88" first, and get "Steady On" when you can. Not only does "Live '88" have the superior version of these great songs, but it also has a breathtaking cover of Paul Simon's "Kathy's Song." Even if it were the only decent cut on the album, "Live '88" would still be worth getting for it alone!

Almost renders "Steady On" obsolete!
"Live '88" was the cassette tape that Shawn Colvin used to sell at her live shows before she landed a recording contract with Sony. It features eight of the ten songs that wound up on her fine debut album "Steady On," and when it finally saw a CD issue in 1995, it all but rendered that album obsolete.

The reason is fairly simple. The presentation on "Live '88" better fits that songs than the studio production of "Steady On." Here Shawn is accompanied by just her remarkable voice and her acoustic guitar. Call it Shawn Unplugged if you will.

As good as "Steady On" is, this is the CD on which you should hear these songs. The lone exception to the above rule is "Another Long One" which does benefit from the "pie tin" sounding production given it on "Steady On."

So, I guess the solution is to get "Live '88" first, and get "Steady On" when you can. Not only does "Live '88" have the superior version of these great songs, but it also has a breathtaking cover of Paul Simon's "Kathy's Song." If it were the only decent cut on the album, "Live '88" would still be worth getting for it alone!

Emotion and Earthly Beauty
Having known Shawn Colvin just from her overplayed studio efforts, I was unprepared for this album, which not only approaches but achieves true greatness. She should NEVER return to the studio, given the capabilities on display here: a voice of lyrical sweetness and flawless intonation, perfectly integrated guitar playing of great imagination, and song-writing capabilities that are, if not exactly on the Joni Mitchell level (whose are?), impressively mature.

Oddly enough, the true stand-out here is a version of Simon and Garfunkel's "Kathy' Song" which, if it doesn't cause you to tear up, you're some sort of heartless automaton. There isn't a weak track on the album, and repeated hearings leave one with an odd hybrid of awe and love. One can only wish she'll see fit to record in this manner again. Very highly recommended.

The ultimate "girl-and-a-guitar" album -- buy it immediately
Prior to purchasing this CD, I was a lukewarm Shawn Colvin listener. Basically, I knew her from "Sunny Came Home" and "Polaroids", and although I liked her, I wasn't in a rush to buy her discography. Then I stumbled on an Amazon review titled "Renders Steady On Obsolete" or something like that. It was such a rave that I purchased "Live 88" -- NOW I'M A RAVING SHAWN COLVIN FAN! All that the aforementioned reviewer said is true, plus this: While Shawn Colvin isn't the guitar virtuoso of a Patty Larkin or the songwriting genius of a Dar Williams, this album will blow you away as much as Patty or Dar ever did. The "unplugged" format showcases Shawn's voice, which is heart-rending on "Shotgun Down the Avalanche" when she sings "I will raise up my voice/Into the void/For you have left me nowhere to go". If that doesn't raise the hairs on the back of your neck, demand your money back! "Kathy's Song" is a fave, and even though I recognize that the lyrics of "I Don't Know Why" are a bit trite, I still mist up when she sings "And everytime that you look that way/I would lay down my life for you". If you're ever forced onto a desert island with a solar-powered CD player, be sure to take this one. Ten years (and one bad sunburn) later, you'll still be happy with your choice!

Shawn Colvin signing live: why listen to her any other way?
There are some artists where hearing them sing their songs with just a guitar is not just a treat, it is the preferred mode of listening. My contention would be that Shawn Colvin is just such a singer. All you have to do to acknowledge the point is to listen to the first two tracks on his album, "Diamond in the Rough" and "Shotgun Down The Avalanche," and compare the "Live '88" versions with the originals on "Steady On." That should prove the case. This album contains a nice mix of songs written by Colvin along, as well as with her songwriting partner and producer, John Leventhal. My only complaint, albiet a minor one, is that there is only one cover song, Paul Simon's "Kathy's Song." Fortunately, Colvin has an album of cover songs.

Even with the publicity of her Grammy award-winning "Sunny Came Home" and her touring with the first summer of Lilith Fair, Shawn Colvin remains more of a cult figure in terms of both her reputation and the affection of her audience for her work. She is one of those artists that you can get people hooked on quite easily. "Live '88" is not the first Shawn Colvin album you would want to listen to, but it will become one of your favorites. ... Read more

Amazon.com

Rather than an official PJ Harvey album, this is a raw, nerve-shredding side project by Harvey and her chief collaborator. The singer lets it rip in primal scream fashion on the third track ("City of No Sun"), which will immediately deter all but the most dedicated of fans from fully exploring the pair's intriguing art punk visions. "Civil War Correspondent" is one relatively accessible point of entry. --Jeff Bateman ... Read more

Reviews (20)

a gem of a find for PJ fans
"Dance Hall at Louse Point" is an overlooked gem. I am a big PJ fan, and after hearing this cd, I've become an admirer of John Parish as well.

Granted, it's not for everyone, but PJ's solo music isn't for everyone either, is it? Therefore, anyone who appreciates PJ will surely appreciate this collaboration. Parish's music has a raw, bluesy sound that mixes with PJ's soulful singing perfectly. There are some extraordinary, haunting tracks that I love, like "Rope Bridge Crossing" and "Civil War Correspondent". "That Was My Veil" is an exceptionally beautiful song and is a little easier to swallow than the rest.

As I listen to this, I imagine sitting in on a private session between Parish and PJ. They're free to play whatever they want, whichever way they want, and that music, unrefined and unrestrained, is what you get in "Dance Hall at Louse Point." The result is stunning.

It was Spring or Summer '65...
Of all of Polly Jean Harvey's albums this one seems to receive the most negative reviews. OK, so it's not an "official" PJ Harvey album. And no, it's not another "To Bring You My Love." But it is another great CD. In fact it actually features one of Polly's best songs, "Taut" and John Parish is quite an accomplished musician and composer. In terms of lyrical content and moody blues this album has a lot in common with "To Bring You My Love." Yes, a few of the songs are structurally weak, but most of them are still better than the majority of "Stories From The City, Stories From The Sea." This is one hell of an album with a ferocious rock out vibe. Isn't experimentation a good thing? Why not judge for yourself?

she's like a god. a good luck charm. or a vice.
Interesting record. Lots of great stuff here, if not totally satisfying. The music written by long time foil/collaborator/benefactor John Parish. The lyrics written by PJ. PJ has said she loved this record because it challenged her writing skills and she felt she grew quite a bit from the experience, as she was working differently than she had in the past.

There are a few PJ Harvey records I would recommend before getting this one. While there are those who think it is among her best work and love it the most, I think the "typical" fan prefers some of her other titles more. Plus, given the fact that much of the music was beyond her influence, listening to this album first fails to give you a sense of her own musical perspective.

Next to '4-Track Demos', I think this album is her most challenging work and is probably best to explore a little later on. That being said, highlights for me include 'Heela', 'Civil War Correspondent', 'Taut' (though I much prefer live versions from '98 era), 'That Was My Veil'.. well, there are a few more good ones here too. So, I guess I like this album even more than I thought. Lol!

Polly Jean and John alone
Words and music, the basic building blocks of song. That's all you'll find on this departure from rock vocalist Polly Jean Harvey. Together with guitarist John Parish, they create stark beauty in its simplest form.

A lovely disc for fans of PJ, or for anyone who likes singer-songwriter type music.

Bizarre Blend of Acoustic and Modern
I don't like every song on here, but it has enough good ones to make it worth buying.

This album is a truly bizarre blend of acoustic and modern.

Like "Send His Love To Me," it's sort of "bluesy" and has an air akin to the bygone days as "Civil War Correspondent" conjures.

Outstanding tracks include the haunting and spell-inducing "Girl," the aching "That Was My Veil" which ends with a harrowing "You told me lies! Lies! Lies!" and of course, "Civil War Correspondent":

"Save your tears for the next who dies... I shout but he don't hear..."

These lines are sung with a passion I've never heard from any other woman in the rock industry. Ever.

The other songs, like "City of No Sun" and all the others, are not as good as the ones I mentioned.

Buy this album is you like the blues and a passionate female voice. If you are expecting "Dry" or "To Bring You..." (her other albums) stay away from it. It will disappoint you... ... Read more

Amazon.com

Good on Elvis for risking the ridicule of a blinkered pop world with this unprecedented (for him, certainly, and most anyone short of Kurt Weill) and quite lovely album of bitchy, wise, and funny art songs accompanied by strings. His freshest, most evolved work in years. --Jeff Bateman ... Read more

Reviews (20)

Makes my "desert island" list
Juliet Letters definitely makes my "desert island" list. If ever stranded on a desert island (with CD player and a lifetime supply of batteries, of course) this is one of a handful of recordings I would choose. Costello's sense of melody, honest theatrics and storytelling is a rare and welcome gift. And accompanied by the Brodsky String Quartet, well...Tension, release, complexity, simplicity, the beautiful, the raffish. And ah, the melodies that strike the heart and live there long after the music ends. Each time I listen to this CD I am filled with gratitude and awe.

Further Proof That Beethoven, Shostakovich, and Stalling...
...were really rock-and-rollers. And this is their legacy: Elvis Costello, in musical and lyrical collaboration with the esteemed and equally adventurous Brodsky Quartet, has created an engaging song cycle loosely inspired by an article about a Veronese professor who actually collects letters sent to Shakespeare's Juliet. Each song suggests some form of epistle: a graffito, a brash direct mail come-on, a suicide note, a divorce decree, a letter from the front. Costello's voice is perfectly suited to the rich, vibrant Brodsky strings. In some instances they sound like five stringed instruments; other times they are five voices. Exquisite. This is not a classical record. Listen to "Jacksons, Monk and Rowe" and tell me that isn't Motown you're hearing. Where other artists (some of whom are quite close to Mr. Costello) strive to create modern classical music, Elvis and the Brodskys succeed by eschewing convention in favor of what's right for each letter. And there are a few musical quotes that will bring a smile, as well. Particularly in "I Almost Had a Weakness." Bear in mind the label that issued this disc (Warner Bros.) as you listen to that track. This may not be everyone's cup of tea, but you owe it to yourself to hear it. If only to renew your faith in the potential of rock-and-roll.

Give it a Try
I've been listening to a lot of Philip Glass and Steve Reich lately,and its caused me to go back to this album to give it another go.Previously I thought that it was an interesting experiment which hadn't worked out very well.Now I think that it is a good album for rockers and classical music lovers to use to stretch their ears a little.So called crossover albums are usually horrifying-does anyone else remember that album that Procol Harum did with the Edmonton Symphony Orchestra? Elvis flatly denounces the concept in the liner notes.And not everything on this album works.It isn't the brilliant work that some of the other reviewers seem to think that it is.But it is a worthwhile experiment and a work that should be given a fair chance.Rockers and classical music lovers tend to be snobbish and dismissive of one another.This is a good work for them to live with for a while.When Elvis and the Brodsky's click-on "Jackson Monk and Rowe" or "Romeos Seance"-the results are as beautiful and valid as anything either of them have ever done.
Three stars because some of this simply doesn't work. But this is a work anyone who likes Elvis or the Brodsky's should have in their collection.

I know Elvis...
I am a great admirer of Elvis Costello. Like many of us, I like it better when he is with the Attractions, rocking out than when he is with Burt Bacharach getting self conscious and arty. I am also a classical musician, deeply skeptical of "crossover" albums. In fact, I don't think I can name one crossover album I like. Except this one. And I love it. I think this record has several of Costello's best lyrics AND melodies. "Taking my life in your hands" would make Lennon, McCartney, and Mahler all equally proud. It defies genre and comes scarily close to what I am tempted to call "pure expression." Of course, that's a ridiculous notion, but this song is such an emotional and aesthetic slam dunk that I am awed. Also I love "Damnation's Cellar" and "Who do you think you are?" There are some duds here, and I'd have to say the first two tracks will scare a lot of people off. Hang in there. It was a year or two after this album was released that I learned to love it, and time after time, it holds up better for me than any other Costello release.

Brave, but not for everyone.
I give this a forth star because I still pull it out for the occasional listen. But it remains one of the most difficult CD's in Elvis' careening musical experimentation. What usually happens is I find myself wondering where these songs would have fit had they been recorded for other Costello albums. "Jacksons Monk and Rowe" obviously would have made it as a "Get Happy" song. "For Other Eyes;" "Imperial Bedroom." A folksy arrangement might have sent "Damnation's Cellar" to "King Of America." And so on and so forth....

But the song sequence works wonderfully and the playing of the Brodskies never sinks to pedestrian. These folks obviously understood that they were going to have to throw preconceived ideas about playing with a "rocker," just as Elvis was trying to (as he put it) avoid the dreaded "crossover" sound. My major gripe with the album is that Elvis' voice isn't always up to the task ("North" fares much better in that department). And anyone looking for a "typical" Costello platter is in for a major shock. Of course, anyone trying to define a "typical" Costello disc is probably going to have a rough go of it.....

That doesn't stop "The Juliet Letters" from featuring some fine work, including "The Birds Will Still Be Singing," which deserves a shot with a voice like Josh Groban's or Michael Buble's. Or maybe now that Elvis has his new beau, she'll do a full set of her favorites from the Costello/MacManus discography. Now wouldn't THAT be a hoot? ... Read more

Reviews (40)

wow!
Where to start? Tori has been my favorite artist for around 3 years now, and I'm just beginning to buy the singles. "Winter," the song which made me fall in love with Tori so, the single, is her best. I can't really express my thoughts on this too well without rambling, but all of the b-sides on this cd are incredible. Combining the haunting nature of "The Pool," the rhythmically driven "Take to the Sky," the upbeat pleading in "Sweet Dreams" and the classic "Little Earthquakes" feel of "Upside Down," this and "Hey Jupiter" are the must have singles for those of us who thrive off Tori Amos' music.

Buy, beg, borrow, or steal to get this CD
This CD single is truly incredible. Most artists would give their teeth to record five songs this good over their entire careers. Winter is one of Tori's earliest yet most beautiful songs, as any Tori fan surely knows. Each of the other four songs is worth the price of the CD in and of itself; getting all four together seems like stealing--that is how good they are. The Pool is rather weird, but in a totally good way. The few lyrics of the song are blended into an atmosphere of dark, haunted, shrouded passions; I consider The Pool to be more akin to a deep-felt emotion than a mere song. The remaining three songs are stellar, quintessential Tori. Coming on the heels of her first album, they capture her boundless spirit, energy, and genius, while also somehow managing to betray similarities to her later work on Boys For Pele. Take to the Sky sports some intense lyrics; its jaunting pace is forcibly seized and intensified by what sounds like Native American war drums as she approaches each chorus. Sweet Dreams has elements of darkness wrapped inside its seemingly happy title; Tori casts her blinding light of musical passion on the hypocrisy of her fellow man yet seems to admit that she herself is not immune to humanity's innate faults. Finally, Upside Down ensures that this CD is to forever be a masterpiece. Only Tori can write such poignant lyrics as these. The song seems to fit in nicely with the mood, message, and stylings of her Little Creatures album. All of these songs should be on an album, really, so that all of her fans can easily find and enjoy them. Tori fans simply must own this CD single; it represents Tori at her most musically pure and honest best.

Wow!
This is one of my favroite Tori Amos singles. It has both beautiful and upbeat b sides and a title track that's astoundingly good. "Winter" is known to anyone who has heard it is a beautiful song with great strings and piano arrangment, plus Tori's beautiful vocals. "The Pool" is mostly instrumental and has a bit of a creepy feel to it, but is still a very enjoyable song."Take to the Sky" is an upbeat,quirky song that could have easily fit on the album. "Sweet Dream" with it's odd beat and strange lyrics is also an album worthy track. "Upside Down" is a beautiful song with a bit of a similar theme as "Silent All These Years". Overall a great single.

Sweet Dreams
Tori Amos is easily my favorite artist in the past decade. Her music takes me to another plane of reality. I found her music extremely comforting to listen to when I was in my darkest moods. "To Venus and Back" was my first Tori Amos album I bought. "Little Earthquakes" came second. One of my favorite songs on the album was the sparse ballad "Winter". It is amazing that "Winter" is ten years old yet it sounds amazingly fresh and holds up well against the trends in music. I bought the single "Winter" one day when I was on a Tori rampage and bought a slew of her singles. What I really appreciate about Tori Amos is that she includes b-sides tracks that you don't find on her albums. Now singles have gone the way of cassette tapes and eight-track tapes (can't say I miss them). On the single for "Winter", there are four b-side tracks. I have heard most of them live when I saw Tori come through Minneapolis in the past three years. The songs are absolutely amazing. "The Pool" is one of those songs that literally sends chills running down your spine. Very haunting and lovely to listen to. Very Delerium-esque almost. I would love to see Tori perform the song live. The production value is excellent with every song. "Take to the Sky" is excellent especially if you have seen Tori perform it live. Same with "Upside Down". "Sweet Dreams" is a quite good. I have yet to see Tori perform the song live. I hope I don't have to wait very long for Tori to hit the road again. She is an incredible performer.

My favorite Tori single!
My all time favorite song is "Winter," so of course I had to own this single! But it's far from being the only good song on this potent little CD. Some of her best b-sides ever are present. "The Pool" is a haunting masterpiece that sounds a bit like a religious chant, although the lyrics speak therwise! "Take to the Sky" is quite possibly my favorite b-side of all time; it's both moving and catchy. The transition from "The Pool" to it is rather jarring. "Sweet Dreams" is a b-side now recieving attention because of its inclusion in Tori's Greatest Hits album, "Tales of a Librarian." It's supposed to be a political commentary, but to tell you the truth, I don't really see that.The disc finishes off with the fan favorite "Upside Down," and leaves you very satisfied. Needless to say it's a must for all Tori fans, but if you simply love music you must own this CD! ... Read more