Amazon.com

Cousteau is not the first or last bunch of young men to havelit upon Scott Walker's epically lachrymose solo albums as a design forliving. However, very few other bands have trudged in Walker's wearyfootsteps with quite this much poise. Cousteau is possessed of aconfidence rare in debut albums, and the really good news is thatCousteau is often nearly as great as Cousteau clearly think itis. Their stock-in-trade is the grand pop ballad, a form that has beensadly neglected as too many new groups have drifted towards irony tojustify a fondness for strings, sweeping tunes, and heartfelt lyricalsentiment (The Divine Comedy, for example). The songs on this albumare, without exception, lovely--"The Last Good Day of the Year,"indeed, is worthy of being sung by Glen Campbell--and Cousteau plays itresolutely straight, falling in behind the alternately soaring andswooping vocals of Liam McKahey with a versatility that would do eitherthe Bad Seeds or Tindersticks proud. --Andrew Mueller ... Read more

Reviews (29)

A seductive, rhythmic album laced with 1st class melodies
Nick Cave immediately came to mind when I first heard Liam McKahey sing the first notes to "Your Day Will Come". Although the songs were nowhere near as morbid or melancholy as any Nick Cave song, the vocal comparisons to him is quite evident throughout the cd.

I thoroughly enjoyed Cousteau's self-titled album. When I first listened to this album, my impressions were that this would be the perfect cd to listen to during the after hours, when all the bars and clubs have shut down for the night during the weekend. I could almost see this band playing ina smokey basement to a small crowd who are not ready to go home yet.

Every song on this album is a winner. Liam McKahey's voice is deep and warm. He also reminds me a bit of Leonard Cohen at times. It shows in the songs that a lot of care went into the writing of the lyrics as well as song structure. I just don't hear that on the first listen with a lot of albums coming out today. I certainly recommend buying this album for anyone curious about Cousteau.

Above Average. A Classic Debut
I purchased this album when it was first released. I heard the song "Last Good Day Of The Year" on a late night video program. I was immediately taken by this mysterious song. I liked the fact that it had a mellow pop sense to it with a feel of modern rock. Every song on this album is spectacular enriched with an array of top notch musicianship including flugelhorn, violin, guitar, drums, etc. Although this album is extremely well produced Liam McKahey's vocals make this effort outstanding. He ranks with the all-time great male vocalists. His vocals are the finest on the scene, he's smooth and soulful. He sings his songs with ease, control and dynamics. He belongs with the luminaries such as; Marvin Gaye, Roy Orbison, Freddie Mercury and Stevie Wonder.
All the songs on this classy album were written and produced by band member Davey Ray Moor. The overall feel of this album is mesmerizing with a soulful easy jazz pop sound.

Fine stuff
Just about everything on this album is worth a listen. This is a refined effort, for sure, which suggests these guys have been working together for a while. As some of the other reviewers say, the album has a jazzy, bluesy, smoke-filled room quality. Highly recommended.

Smooth, sexy, bluesy, loungey...
I bought this CD 2 months ago, and it has spent very little time outside my CD player. It's like Burt Bacharach, Barry White and Chris Isaak got together and jammed. It's bluesy, jazzy, dark and sweet with a glorious lounge-singer, lava-lamp, velvet-and-dark-chocolate feel with brilliant, romantic and sometimes sarcastic lyrics. It's like nothing else out there right now. Everyone can relate to the sentiments expressed; they're universal and yet original (take "Wish You Were Her," for instance). The music is superb, the lyrics are sheer genius, and yes, my God, that voice...

Welcome Cousteau
How refreshing to hear melody that you really want to listen to over and over and lyrics that have their own special meaning, a life of their own even without the music. Bundle this with sensitive arrangements and a wonderfull baritone who sings as if he really feels it. This is truly modern day musical expression. Congratulations to all involved -to Davey Ray Moor whose wonderful creative genius gave birth to it all, to Liam who makes you want to listen ever so closely and to the band for creating the great wholesome sound that will span the changing tastes of many generations of music lovers. ... Read more

Amazon.com

Life on Other Planets is proof positive that you just never know what a band has in them. While the notoriously blunted Supergrass have always produced vividly screaming pop, their songs never followed an arc, instead flashing their moments of knuckleheaded brilliance before shuffling off in another direction. While Life on Other Planets, their fourth disc, has the band’s goofball hallmarks--random coughs, braying animals, and mashed potato references, to name three--the songs go somewhere, and they yank us along with them. From the galloping chorus in "Grace," to the rickety handheld percussion and soft phrasings of "Evening of the Day," and the zippy distorted guitar lead in "Rush Hour Soul," Supergrass offers complete pop pictures with enormous detail and lots of instrumental extras. And the songs really rock. Plus, it's hard not to be staggered by a group that cagily writes about offbeat topics like expired witches ("Brecon Beacons") and life among the dead ("Prophet 15") while remembering to make those bridges and choruses soar. --Kim Hughes ... Read more

Reviews (37)

Nearly perfect. Instantly catchy. A must have!
The long-awaited fourth album from Oxford's "Supergrass" is a strong, well balanced album that's nearly perfect. I wish that some of the songs, such as "Grace" were longer and that some of the intros were shorter. Those are minor quibbles of course, and I feel a little silly at mentioning them, but I'm just giving an honest opinion.

It's hard to choose the stand-out songs, but "Seen The Light" and "Grace" are certainly right up there, with maybe "Rush Hour Soul" and "Za" right behind. Wonderful, wonderful, wonderful.

Let's hope it's not another three years for the next album.

My new Supergrass favorite!
I have (and treasure) In It For the Money and I honestly didn't think it could get better than that, it's been one of my favorites since it first came out. Life on Other Planets, right now, I'm loving more than In It for the Money...."Grace" is by far my favorite although "Za" and "Rush Hour Soul" are right up there. Their sound is unique and the album is catchy I find myself humming the songs all day - it's not getting old. I'm so happy for them that this album has been a sucess....not like we expected any less.
I've never been able to see these guys in concert but I've heard they are absolutely amazing....maybe this tour will be the tour! All I know is that I haven't been happy with the music scene right now and Life on Other Planets does it for me and gets me connected in the way only truly good music can.

dissapointing
While LOOP is a pretty good record in its own right and if anyone other than supergrass had released it, I would be giving it 4 stars. Supergrass's first 3 albums were so brilliant that it baffles the mind that they are not modern day superstars. After seeing them live for thr first time in 2000, it is also easy to see how they have gained such a reputation as a great live band, as it was by far the best conert I have ever attended. LOOP lacks something that I cant quite put my finger on. Their self titled 3rd album was so experimental and anti commercial that I think the boys have tried to overcompensate too much on LOOP. Most of the tracks are 3minute catchy radio friendly tunes without much depth (a good example is the downright awful Grace). The thing that annoys me most about LOOP is the production. The band have clearly dumbed down their sound, and have chosen not to show off their exellent musicianship. What i mean is that the drummer is one of the best in the world (see his work on IN IT FOR THE MONEY), but on this album you hardly even notice his work. Having said that, there are some great tunes on LOOP, the band are at their thoughtful/ experimental/moody best on the last part of the album.(ie Prophet 15 & Run). Supergrass you are without doubt kings among men, but next time guys please leave the silly 3 minute pop tracks out!!!

This isn't Brit-Pop, this is Rock music
Back in the mid-90's, I was hooked on the Brit-pop craze that conquered the US with the likes of Blur and Oasis. Blur was my favorite. While I haven't heard those CD's in years, I remember seeing Soundgrass' "Pumping On Your Stereo" on MTV2 four years ago. It literally raised the hairs on the back of my neck. Only Roger Daltrey's scream and finale to "Won't Get Fooled Again" has ever done that! After getting burned by bands such as Spacehog, I decided to stick with what I know (Classic Rock, Seattle Bands). A couple of weeks ago, a friend bought L.O.O.P.,(along with the other three releases). Let's just say this is the first time since I was nine (I'm 33) that I've been totally blown away by a rock band. It's as if the members of this band took the Beatles, Who, Stones, Bowie, T-Rex, Byrds, early Traffic, Thunderclap Newman, Tom Petty, Velvet Underground/Lou Reed, Jefferson Airplane, etc. and stirred it into one giant kettle. The outcome is a totally original sound. Their music is so complex, take "Rush Hour Soul". The bulk of the song is Hunky Dory Bowie-esque, but the chorus is late 60's Pink Floyd. How can you do that? This is an amazing band, and without a doubt the best on the planet right now. While Supergrass is selling platinum albums in the rest of the world, the shallow US music market is hooked on rap and bubble gum pop. All that matters now is how pretty you are and how many ways you can make money selling your image. What a shame.

bring on the hits
The last Supergrass album was a bit of an experimental hodgepodge. It had bits and pieces of greatness and ideas for a few albums. It ended up sounding like a band going in ten different directions at once. They are one of the true Britpop bands of 1995 to still be going as strong as ever, and they even bothering touring in America every few years. Life On Other Planets immediately sounds like a more cohesive piece of work. They have focused on their greatest moments of the past and turned it into real songs. Their ability to update some of the unfinished business of mid-Bowie (Aladdin Sane) and turn it into something of their own is amazing. Of course Supergrass has more time to work on guitar sounds and probably better studios. "Seen The Light" and "Grace" are some of their best songs ever. There is a lot of good fun and games with Supergrass: "Never Done Nothing Like That Before" is them at their punk best and wildest. Many of their contemporaries have no sense of humor. They seem to have used more piano in their songs from their secret fourth member. They even use Beatlesque harmonies in the last song "Run" which blows away most groups in the vocal department. What can you say? Every song is a hit!

(www.freewilliamsburg.com) ... Read more

Reviews (9)

Don't mess with "Texas".
I'm not sure what their newer albums sound like, but I sure love this one. It's kind of pop-country, not "Shania Twain" pop-country, but like a more upbeat "Cowboy Junkies". The songs are very well crafted, many about love or faith, and she has a great voice to match. Plus a few tracks have a nice slide-guitar on them. All the songs are good, but I'm most impressed by "I Don't Want A Lover", and especially "Everyday Now". That is a great song. Some of these songs are on their "Greatest Hits" disc, but that's an import. This cd is well worth it though, or maybe you're like me, and have it on vinyl.

A Fan from Paris, France
In the past four months the song "I Don't Want A Lover" has been playing on a radio station in Paris, France where I live. I did not know the band's name until I visited USA this month and was happy to find it with the help of a store in Montpelier VT. I am buying 2 copies to bring back with me to France. Sharleen's voice is beautiful and the music is soooo good! Hope my comments help someone learn about this album.

this CD proves that some bands need more practice
For those of you who loved their Ricks Road CD, this will surely disappoint you. The three good songs on this was #1,6,and 10 which should have been added to Mother's Heaven( their 2nd CD) and which would have then made a terrific first album instead of this junk which has fewer catchy lyrics and overall terrible songwriting.Some of these songs even get too monotonous. After the very first song (which is also the best and has a faster beat, the rest of the songs are a let down because most are slower and usually boring in comparison. You want the best of Texas, then stick with the Ricks Road CD which has more of an even feel throughout(great from start to finish).

Three years and still the best
Was introduced to Texas' Southside three years ago and have listened to it almost everyday. Sharleen sings very deep, low, and soulful; especially on "Say a Prayer" which happens to be my favorite song on the album. "...Prayer" has the spirituality and intensity of singing around a campfire without any of the fluff or nonsense. Every song on this album is well-written. The slide guitar that appears in a few of the tracks is haunting. This is by far the best album Texas has produced. It has an intensity that will endure the test of time. No one can mimick the raw power of Ms. Spiteri's voice!

12 Years later, still my favorite CD
It's the soulful Ry Cooder sound and the smart lyrics that make this disc ageless. I love this CD and I recommend it highly to you. It's my D.I.D.
I just purchased my third copy of this disc. I play it so often it just wears out.
Join us - the select few in North America who know this band is one of the best. You may not know them because their US record label couldn't promote a cure of the common cold, but buying this CD will enlist you as a select member of the secret Texas admiration society. ... Read more

Reviews (26)

one of the most enjoyable listens of the 90s
though "moseley shoals" is ocs' second album, it's nothing like their first, admittedly mediocre record. they have churned out an album that is decidedly traditional classic rock, refusing to incorporate repetitive "alternative" rock sounds. in fact, upon first listen, you might get the feeling that you've heard all these songs before, which might turn some listeners away. well, you probably haven't, but ocs shamelessly recreates that 60s-70s feeling like the black crowes or lenny kravitz. regardless, these guys do it so well. the songs are all great, catchy, and crafted to perfection, yet somehow maintain a very human touch. though the musicianship is really flawless, every song pours emotion from the heart. these guys truly enjoy what they do and it's hard to ignore such genuine happiness. songs like "the circle", "one for the road", and "get away" exemplify this most obviously. the only reason i hesitate to award this disc the overly-employed five stars is that it isn't one of those groundbreaking records that leaves an indelible mark on music. don't let that discourage you from listening to this record though as it's enjoyable from start to finish.

Taking a trip to Moasley
Forget the Britpop battles of Blur and Oasis, Moasley Shoals is THE album of the 90's!

Mistaken by many as the First of the 'Scenes albums, it's actually their second. But one thing is for sure - its their best. It's not very often that you'll hear a polite word from the Gallagher brothers (of Oasis fame) but this is one of their favourite albums - The Scene supported in their early years.

You may not recognise the name, but you'll sure as hell recognise the music on this album - it's some of the most well known musical genious around. Great melodies, empowering lyrics, and some dammed fine tunes to boot! Everything from the sensational Riverboat song, to the rockin' Policeman and Pirates, oh, and the fantastic The Circle. There really is something for everyone on this one cd, yet it doesnt reek of the manufactured pop sound that is flooding the "music" scene just now. It's 7 years old, but who'd know?! If you like Moasley shoals, you might want to take a look at "songs from the front row" - their "best of" album. Its got a couple of tracks from this album on it, but some more stunning songs too!

This is Special
When i first got this cd, I initially thought I had wasted a few dimes. But when I really listened to it, I found myself thinking of a concert with OCS and Kula Shaker together, and George, John, Paul and Ringo standing on the side of the stage saying YES!!!!!!!!! This is where we wanted you all to go! So few went, even fewer did it well, But OCS and Kula Shaker did it the best.

This is excellent music.

This is so bad its funny. Worth hearing..
They are my favourite rubbish group.They are so talentless its genuinely funny.Mix Paul Weller mod sensibility with Spinal Tap and you have Moasley Shoals the BritPop "Smell The Glove".I admire their ability to produce music that is both entertaining and toe curlingly rubbish.

Grazed, crazed and holidazed
This album, which I found in a bargain San Diego CD store in 1996, changed the lives of me and a few of my musician friends. Its amalgamation of Traffic, BOC, The Jam, the Small Faces, the 'Oo and the Stones just drove us wild, especially the guitar stones, production and stark lyricism.

Few British pop groups have the ability to evoke the '60s idols without sounding overly nostalgic (i.e. Oasis) or overtly trendy (Blur aping Ray Davies). Tunes like "Day We Caught The Train", "Riverboat Song" and "You've Got It Bad" make for thrilling rock tracks, and there's a few stony slower numbers as well. ... Read more

Amazon.com

If you haven't caught up with Lush for a while, you may be astonished when you put this on. Songs. Hooks. Choruses. Singing--more or less in tune. Looks like Lush stopped glanced up from gazing at their shoes and saw that there was an audience wanting to be entertained. So they dug out their old new wave albums and got themselves inspired. The opener, "Ladykiller," is just that: a stone killer that sets the lyrical mood for the whole record--relationships gone sour, the way "boys" act, and how women can be strong. Real life or what? Musically, it's as though a picture has just finally come into focus. Lush always denied their poppy side. Here they've given it full rein, and the effect is glorious, catchy as hell, filled with clever arrangements, and only "Last Night" has any kind of spook quotient. Wonderful stuff. The new wave of new wave of new wave? No, just a new lease on life for Lush. Welcome back. --Chris Nickson ... Read more

Reviews (16)

A tour de force that, sadly, also crippled Lush for years.
Lovelife was a landmark in the development of Lush as a band -- from the tentative, dreamy coos on 1990's Gala (a collection of EPs) through the experimental Floyd-isms of 1992's Spooky and the harder rock-industrial-ambient hybrid on 1994's Split. Starting with Split, we found Lush going towards a more song-based approach instead of the breathtaking but amorphous sonics of its first two albums. Lovelife is the pinnacle of the band's journey into master songcraft. Unfortunately, it's also been the band's last work for over three years, having lost drummer Chris Acland a year after Lovelife's release.

But the album itself is nearly perfect -- the aggressive, sinewy rock on "Ladykillers", the breathless pop rush of "Heavenly Nobodies", the giddy girl-band references on "500", the almost country-ish "I've Been Here Before", the achingly lovely, confessional "Tralala" (beautifully simple lead guitars by Emma Anderson), and haunting Miki Berenyi songs in "The Childcatcher", "Mamasan" and "Last Night", showing Berenyi at her strongest and most assured, fully achieving the genius she hinted at on Split's haunting "Light from a Dead Star". The only downer on Lovelife is "Ciao!", a duet with Pulp's Jarvis Cocker, whose sickeningly apathetic vocal style is completely at odds with the freewheeling expression and pure emotion of the Berenyi/Anderson duo. The album would have been perfectly fine without this tasteless bit of rockabilly duet; Cocker ends up marring what would have been the first flawless album in Lush's catalogue.

It would be a real shame if Lush were to call it quits now. Though the prospect of following up this album appears daunting, the one thing Berenyi and Anderson seem capable of is growth, destorying past expectations and resetting their artistic scope. One can only wish that there will still be more of this band in the next decade.

Forget it's Lush
Many indie bands have an album that is so far removed from their earlier work that, in spite of its quality, it disappoints fans. For the Cocteau Twins, it was FOUR CALENDER CAFE, for Pale Saints it was FINE FRIEND. Lush's hour came when the foursome released LOVELIFE in 1996. The band's turn to a Britpop-like sound alienated many, and it is perhaps the lowest point in the band's all-too-brief career.

(However, critics who claim that LOVELIFE is the band's only shift from their shoe-gazing sound are ignoring the sublime SPLIT, which saw the band in a more industrial production.)

Nonetheless, LOVELIFE is a good album if one just shoves aside memories of Lush's previous albums. There are some really good songs here, such as "Olympia" and "Papasan." Most of the album is simple have-a-good time pop, like the opening track "Ladykillers" and the infamous "500," the band's tribute to the diminuitive Fiat Cinquecento automobile.

The album does have some misses. As funny as it is on the first listen, the Miki and Jarvis Cocker duet "Ciao!" drives one crazy on repeat hearings. "The Childcatcher" is disappointing for anyone who has heard the much better version on the limited edition ALL VIRGOS ARE MAD compilation.

Sure, LOVELIFE isn't the best rock album ever, and is disappointing in light of Lush's earlier output, but it's pretty darn good on its own.

could be lush-er (is that a word? whatever)
Lush is one of those great bands of the 90's that never got proper recognition (at least in north america anyways). This album has a few good tracks on it, but does not compare to the pure blissful shoegazeing trip that spooky and split induce. This album is more pure pop.....less intriguing...but still worth a listen.
What the hell is with the artwork anyways?
RIP chris A.

not alone?
This is one of my top albums, after I first heard it on the radio I knew it had to be mine forever. It reflects perfectly the feeling that floats around girls in fear of becoming spinsters, or the contumacy for Saturday outings in the hope of coming back home not alone. It contains the quintessential British superficial-deepness, neither wanting to think about the problems, nor letting you explode with joy (because you know there is something else behind the dancing queen).

And, of course, the duet with Jarvis Cocker (Pulp) is one of those sexy duets that deserve a place in pop history (almost as a kind of Gainsbourg-Birkin duet with country arrangements). I think there is a connection between those two British groups (Pulp and Lush), but you can find similarities in other groups that combine that apparent carelessness with melancholy (...).

If you are fond of bittersweet-but-catchy melodies, this is your record, but listen to it only once in a while. It has the power of making you want to dance while you're listening to it, and make you want to sob when the music leaves you...alone. So don't listen to it before going to bed, but before going out, and put on your sexiest clothes!!!

Killer ladies.
This was their final album, and an overall great piece of work. Their early stuff was alot more "shoegazer", whereas this has more of a brit-pop sound. Both "Ladykillers" and "Single Girl" were big songs off this, but my favorite by far is "Last Night". That song is everything I love about "Lush". Also, "500 (shake baby shake)" is near perfect alt-pop. New fans should get the hits "Ciao", but anyone should like "Lovelife". ... Read more

Album Description

1999 & 10th studio album from this great English alternative rock/ indie pop that was deemed 'the next Smiths' back in the '80s. Brian Eno produced the record, which features the singles 'I Know What I'm Here For' and 'Just Like Fred Astaire'. 11 tracks. ... Read more

Reviews (18)

It's Hard to Receive that We're Happy
"It's hard to receive that we're happy" is a lyric from Shooting My Mouth Off (a song not available on all versions of this record--this is the one you want, you do not want to miss Shooting My Mouth Off) and typifies much of the album. I agree with whoever said Millionaires doesn't have the anthems like Sit Down etc, but it has something hugely original and beautiful. Unique. Music for me, like most people who will read this review, has been a large part of my life's emotional solace and fulfillment. Being proud to be a member of Gen X, though I barely make it into the category, I spent my teens with Kurt Cobain, Pearl Jam, Smashing Pumpkins, Radiohead. All of which I still love with a passion. But being away from my parents now, from going to college and meeting wonderful friends, by sitting in a single dorm room with the sun flickering through a raindropped tree...somehow I no longer need to constantly play Dave Matthews' Crash. Instead this semester, after loving James' older stuff, I found an imported copy of Millionaires, I put it on. My friends, this is a record for intelligent people, who love deeply. Who can get so angry they want to pour the blood of Kurt Cobain over the head of God, who weep for the hatred of the world and themselves, and have spent a lot of time with their demons...but...somehow...have found happiness. In this world...real joy. Please, by all means, don't let this be your introduction to James. Let that be the Best Of or Laid, but then buy Millionaires anyway you can. It's hard to receive that we're happy. But we are. Smile. (But don't stop weeping either.)

Sheer Musical Genius
If you're looking for an album full of magnificently crafted tunes, an album containing not a single bad song, an album that withstands repeated listenings without ever becoming dull, look no further than "Millionaires". This stunner of an album is, in my opinion, not only the best album James have released, but also the best album any band have released. Ever.

It opens with what I consider to be the band's best ever song, almost the best song I've ever heard, if it hadn't been for Radiohead's mindblowingly excellent "Fake Plastic Trees". "Crash" is simply manic. I don't have a clue what it's about, (it could be just a random stream of meaningless words), but it's fantastic. After the opening eight seconds of wonderful "ooh-ooh"'s from Michael Kulas and producer Brian Eno, it explodes into life with a killer melody. The lyrics are mad but great anyway, Jim Glennie's bass-playing is great too, the chorus is outstanding and gives me a huge smile every time I hear and sing along to it. The "This is hell, this is hell" part is the truly fantastic highlight of a truly fantastic song.

Following on from "Crash" is a gorgeous, shimmering love song called "Just Like Fred Astaire". The melody is beautiful, the sentiment equally so. The lyrics are sometimes a bit silly (Meteors may strike the earth/Nations live and die), but for the most part they're good (They say love is just a disease/A plague for the naive/These days no one believes...Come dance, the water's rising).

The third standout track is "We're Going To Miss You", a chilling but intoxicating song, meant as a spell on people who wish to do James harm. The verses are dark and shivery, the chorus is epic and brilliant - an anthemic chant of "Here's a mirror with your name on/Saying we're gonna miss you when you're gone". It was the third of the album's three singles, (the other two being "Just Like Fred Astaire" and "I Know What I'm Here For").

Of the remaining tracks, the best are probably "Surprise", the sad and beautiful "Strangers", and "Afro Lover" - a mindless up-tempo pop song. The rest are almost as good. The final two ("Someone's Got It In For Me" and "Vervaceous") are the only ones that fall into the "just okay" category.

In short, this album is unbelievable, a piece of musical genius from an underrated Manchester septet. Buy it!

More for Eno fans than James fans
I had read several reviews saying that "Millionaires" was James' best album to date. I had no problem paying the import price, but I admit that I was very disappointed when I heard the album. It was produced by Brian Eno, and as much as I like Brian Eno's music, I feel that this album is way to "Enoesque". This album sounds more like Eno's "Another Green World" circa 1999 than a follow up to Whiplash. (By the way, "Another Green World" is excellent--find it and listen to it.) Unfortunately, the Eno sound completely dwarfs the band's; it's not quite an Eno album, and not really a James album either.

I'm gonna miss them when they're gone...
I agree with the majority of reviewers. This is right in there with Seven. I mean you could spend 40 bucks on other CDs but this is what you really want. It's haunting and uplifting all at the same time. Eno's atmospheric production and Booths strong soaring, aching lyric are sublime. Strong from front to back. My favorites are the slower creepy numbers that cut right through you with depth and rolling/swirling power. Maybe it's good that most folks don't realize that James has continued to produce such solid tracks. How many in the world eat caviar on Wednesday nights?. The best things are always the most uncommon. The world is asleep. Hearing James' Millionaires is being awake.

The album that never made it
Everyone knows James for one reason: Laid. Tim Booth will most likely go to his grave known as "that guy who sang 'Laid.'" And for anyone who has heard Millionaires, they know full well that it's a crime to treat James with such a one-sided view.

After the Laid album broke the bank in the early-mid nineties, James had to follow up with something just a good. And they did! The album was Whiplash. Unfortunately, whoever was in charge of distributing the album in America didn't lift a finger to promote it. It sank without a trace. Hence, that is why you need to pay an import price for Millionaires, the 1999 album from a band that just couldn't get attention from America any longer.

Download the song Just Like Fred Astaire and listen to it. Listen to it numberous times you will wonder why such poor acts as Matchbox 20 and 3 Doors Down hog all of the attention and critical praise while James got the shaft. It is the romantic song to end all romantic songs with its dense instruments, pinch-me-I'm-dreaming lyrics, and musical climaxes.

But James can be your party band too, as they prove with Afro Lover and I Know What I'm Here For, two highly dancable tunes that can rival most synth-pop acts. But most memorable is the song Crash, the CD opener. You are literally jolted awake with the guitars and the falsetto voices that do no less than to lift your spirits.

In all honesty, all of Millionaires is good. James can boast more than any other post-Smiths band out of Manchester in terms of blending pop sensibilities, a polished sound, and high emotion. So get ahold of this CD somehow. You are getting gouged with the import price, but you might as well get gouged with style. ... Read more

Amazon.com

Tim Burgess has been living in Los Angeles since 1998, and one listen to his solo debut makes it clear he's a long way--mentally and physically--from Manchester. Known as the Jagger-lipped front man for Charlatans UK, Burgess includes only one tune that sounds anything like them, the sly and appealing ode to the West Coast "I Believe in the Spirit." From there it's a sunny swirl of surprisingly overt pop, with songs made to pump out of a beach-bound convertible. Motown soul is layered over the record, with hints of Dylan (see "Years Ago") on the side. There's also a steadier version of the Lenny Kravitz-esque falsetto Burgess recently (over)used on the Charlatans' Wonderland.Some of the songs here are a little overripe; "Oh My Corazon" and "Say Yes" suffer through choruses that go for giddy, but end up with a slightly misplaced cheeriness. Still, Burgess nails tracks like "We All Need Love," and the finale "All I Ever Do" is damn near perfect. With two additional tracks for the US release (this record has been available in Europe since 2003), I Believe rewards open-minded listeners with gentle-breeze melodies and the sound of a man finding bliss in unexpected places. --Matthew Cooke ... Read more

Album Description

1994 Japanese mini-album on EMI featuring eight rare tracks:'Stop Whispering' (U.S. Version), 'Thinking About You','Faithless, The Wonder Boy', 'Banana Co.', 'Killer Cars'(Live), 'Vegetable' (Live), 'You' (Live) and 'Creep'(Acoustic). ... Read more

Reviews (19)

beauty
this is a wonderful addition to any radiohead fan's collection. "killer cars" is probably one of the greatest rh songs of all times. the fast version of "thinking about you" makes the cd worth its high price. all of the live songs are great, and thom's solo version of "creep" is very . . . um, tasty. buy this, it's great.

a bit expensive but worth it for the RH fan
This EP import was originally released in Japan after the release of Pablo Honey. It's all unreleased in the USA. It includes Stop Whispering(US version), Thinking About You(fast version), Faithless The Wonder Boy, Banano Co., Killer Cars(live), Vegetable(live),You(live), and a acoustic version of Creep with just Thom. A real gem in your RH collection, but probrably a waste for the people who only like RH's big hits. Live songs are all good and the b-sides are so-so.

Tip
Do yourself a favour and visit www.amazon.co.jp if you want this album for cheaper. It costs about 2,745.00 japanese yen, the equivalent to about 26$ US dollars. It'll take longer to ship to the states, but you will be getting it for less money. Just a tip. :)
Oh, you can also do this with amazon.co.uk and all other imported items...check into it before buying!

Best Radiohead Album Out There
I love this album. I am a huge Radiohead fan...and this album is my favorite. Althought its only 8 tracks long its worth the investment. The accoustic version of "Creep" alone makes this album a worthwhile investment. The tracks from "Itch" are from Radiohead's earlier more rockin', Pablo Honey days. If you only like the band's newer more ambient stuff...you may not enjoy this album as much...but I still say give it a spin...especially if you can pick it up used. If you like Radiohead's earlier work better than definately definately buy it. Its GREAT!!!!

I'm Itching for Radiohead
Sure this import is not cheap. What import is? But, if you love Radiohead like I do, any amount of money is worth it for 8 great songs. Yeah, you've probably heard Creep done acoustic. It's still great to own it on CD. Banana Co and the live version of Killer Cars makes this EP worth your hard earned cash. Buy this only after you own OK Computer, The Bends, Kid A, Amnesiac, Pablo Honey, not in that particular order. And then start saving for Airbag/How Am I Driving. ... Read more

Amazon.com

The third in Ultra Records' pioneering, yet dependably commercial downtempo series, Ultra Chilled 3 features more of the silky, jazz-flecked techno that's seen an explosion of popularity in recent years. The first of the two-disc set is packed with safe and sane choices from Beth Orton, Bebel Gilberto, and Koop, along with a Norah Jones-sung cover of Roxy Music's "More Than This." There are a few gems, starting with Alpha's melancholy remix of Coldplay's "Yellow," and ending with Sondre Lerche's quirky and carefree "Dead Passengers." In keeping with the general trend of the series, the second disc explores riskier ground, with Nightmares On Wax's stony trip-hop leading into Flunk's acoustic-tinged cover of New Order's "Blue Monday." Later, Chin Chillaz drop some rumbling dub behind "Trinity," while Freddy & Herman threaten to wake everybody up with an actual dance beat on "Aquarius." Depending on how tired you are of the downtempo scene, Chilled 3 is either a handy collection of post-yoga relaxation mood music, or an opportunity to burn a few great tracks before selling it back. --Matthew Cooke ... Read more

Reviews (15)

Big improvement from the second volume
I recently was perusing the chill out bins at one of my favorite record stores when I stumbled upon the third volume in the Ultra Chilled series. I was surprised to see a third volume, and a second compilation released in the same year. I loved the first volume (as predictable as it was), loathed the second because it was even more predictable than the first volume (good songs though but too predictable and the artists and bands were on other chill out compilations that I owned), and now the third volume. I must say that I will give Ultra Records props for not torturing me again with another compilation filled with artists I already see on my other compilations. Either someone saw my review for volume 2 or someone at Ultra Records finally grew a brain and realized that not everyone enjoys listening to the same damn song found on other compilations or the same artist and band in general. Now while the third volume is actual improvement from the second, it isn't completely flawless. The first disc I found to be utterly in disarray. The songs did NOT flow well together. David Waxman who mixed and edited the cd needs to take some major mixing lessons from David Visan from the Buddha Bar series, and fast. The first disc is just a complete mess. The only bright moments that I did like was tracks #1, #2, #4, #6, and #11. I loved Charlie Hunter and Norah Jones' version of Roxy Music's "More Than This". Great cover. I found the Alpha Remix for Coldplay's smash hit "Yellow" quite compelling and different from the version I am so used to hearing. The second disc of "Ultra Chilled 3" is ten times better than disc 1 and "Ultra Chilled 2". Frankly I think "Ultra Chilled 3" would have been better off as a single disc compilation with disc 2, but oh no. Ultra Records had to put that horribly mixed disc 1. Being a big New Order fan, I was pleasantly surprised by Flunk's cover of the '80s classic "Blue Monday". The vocalist kinda reminds me of Beth Orton, EVTG's Tracey Thorn, and Portishead's Beth Gibbons. Stunning cover. The track list in general flows well together. Despite my disdain for disc 1, disc 2 was good enough for "Ultra Chilled 3" to get a 4 star rating. Flawed but still good, and a whole lot better than "Ultra Chilled 2".

Without a few artists, this would be a total waste!
Other than the songs from Bebel Gilberto, Koop, Jazzanova and Norah Jones, this CD is total garbage! That's the last time I buy another Ultra CD. I really hated the 2nd Ultra Chilled and I almost hate this one even more because the songs I liked, I already heard before. Someone ought to preview this music before it's released because there are a LOT of stinkers on this 2-CD set. If you haven't heard anything from the artists I mentioned above, save your time and BUY their individual CD's(Especially KOOP's masterpiece!!!) because all of them are excellent and skip even listening to this abomonation. The rest of these songs sound like lifeless, soulless and uncreative [crud]! However because of the inclusion of the artists mentioned above, I'll have to give it a 3.

all good things must come to an end
What the hell happened to this cd? After #1 and #2 came out i was itching to get my hands on this one... and when i was done (yes i gave this piece of *poo poo* some 2 hours of my life)listening to this one... i returned it. Trust there are about 3 or 4 good songs, the rest arent even average...they SUCK.

Sometimes the first is just a primer..
The first disc of Ultra Chilled 3 seems to the trained chillout DJ ear as elevator music when compared to some of the mixes done by other DJs like Morlack and the others from the PsyShop crew. But on further listen, I decided to plow straight through to the second disc. 03:2 is excellent, and in my opinion could stand alone if Ultra had decided to go with a one disc compliation instead of two. I really like the track choice of the entire set, but I think the star reduction (in terms of rating) can be accounted to the mixing of the first and the beginning of hte second CD in the case. All in all, I think that it is a good record.

Flunk and Cinematic Orchestra are Real Jems
The two best songs on the collection. The rest of it is so-so, good for pretty, relaxing background music. ... Read more

Reviews (11)

A near-perfect CD with super vocals, beats, and arrangements
I first discovered The Beloved with the release of this album. In the summer of '93 I used to hear "Sweet Harmony" every morning on my drive into work, and I was hooked. I later bought their first album (Happiness) and their latest (X) when it was released. This is the album to start with if you're interested in The Beloved. The songs on this album are mellow, beautiful, and very danceable. Grooves that reach out and pull you in combined with flawless musical arrangements make this album a must have. As a whole, the album only has one subpar track out of eleven. "Paradise Found" is a bit boring at over 7 minutes. But the rest of this album is amazing. My favorite tracks (believe me, it's difficult to pick) are "Spirit," the aforementioned "Sweet Harmony," "Outerspace Girl," and "Dream On." But, like I said, the rest of this album is amazing as well. Jon Marsh's lead vocals make the music seem even more soothing. "Let The Music Take You" is the title of one of the tracks and it's good advice for those who buy this album. The mood of it is very relaxing and free. It's a beautiful album that gives you a great feeling when you listen to it, so let it pull you in and put you in a good mood. Consisting of Jon Marsh, his wife Helena, and on this album a host of other musicians, the Beloved are the best group nobody has ever heard of. This is a meticulously crafted album. I currently own over 350 discs and this one makes my top five. Need I say more?

This is a great album!
My two favorite songs on this album are "Sweet Harmony" & "Dream On", I originally had this on a single then had to by the cd & it's great. I would recommend this album to anyone. The music is dream like & the lyrics are flowing. I just wish that this band was more popular in the US. Unfortunately really great music always gets passed over for what's popular.

Perfect
I dare anyone to put a review here with less than 5 stars on this.

There is some amazing music on this disc!
I worked for a dance club in college, and Outerspace Girl was a favorite among dj's. There are other songs on the album that are amazing, but this song is really my favorite. There's just something about it that puts you in better mood, every time. I absolutely love it!

spaced out seduction
The Beloved are on a much higher plane of thinking than most pop bands. Your awareness and outlook are raised by listening to this cd. My first exposure to the band was with Beavis and Buthead...the obnoxious duo liked the video for "Sweet Harmony" because everyone was naked but then hated it in the end because they didn't show what they were looking for. Still, I liked it and was given this cd by a friend. A lot of the tracks stand out to me but some are a little over the top (Rock to the Rhythm of Love and Let the Music Take You). The two I consider my favorite would be You've Got Me Thinking and 1000 Years from today. They are a little slower than the rest but incredibly beautiful musically and lyrically. The songs on here are very sensual and have a spaced out feeling to them...like I said on a higher plane. Listening to this always makes me feel good...especially now in light of recent events.

"...try to find a place we can all belong...if we unify we should really try...make a better world...let's come together right now (oh yeah) in sweet harmony" ... Read more

Reviews (6)

Heaven sent
I woke up and looked out of the window and lo! it was raining and the clouds looked like porridge.
I grabbed my iPod and frantically searched it for something to cheer me up. The fannies jumped out at me.
Needless to say the Fannies did their job.In my head the sun is shining and this remains the greatest testiment to one of our greatest bands ever.
Long live Teenage Fanclub.

Generous and selfless
There's a Teenage Fanclub song called 'Norman 3' (alas, not on this collection) that follows its first verse with 'Yeah, I'm in love with you, I'm in love with you, and I know that it's you'. After this simple chorus you expect a second verse but you don't get one. Instead the chorus is repeated, without variation, another TEN times - way beyond any conventions of songcraft. At first you feel surprise, then you start to believe that the singer is really in love, then a kind of euphoria takes over as you start to share the same feeling. Another song of theirs (on this collection) starts with a selfless expression of love that must be unique in rock music: 'I don't want control of you. Doesn't matter to me. The very heart and soul of you are places I wanna see'.

Teenage Fanclub sing songs of love. Love for their partners, love for nature (the Scottish Highlands in particular) and love for the planet. Their songs are generous and selfless. They have no trace of archness, hipness or postmodern irony about them. Their songs have gorgeous melodies, aching harmonies and neat arrangements played on jangly guitars. Although they have learnt a great deal from the Beatles and the Byrds, they are definitely their own men. In my humble opinion they are the finest songwriters working today. This CD is an excellent collection of some of their best songs. You should buy it.

A forgotten band on the landscape of good pop music...
Over a decade ago, amidst the grunge period in alternative music's hey day, Teenage Fanclub was quietly releasing albums on the same SubPop imprint that birthed hundreds of alt/grunge/punk bands that we've all come to know and love. I remember hearing a song of theirs on a compilation, thinking how out of place it sounded among other more disjunct and chaotic members of the imprint, and how a band like this would never reach the pinnacle of success seen by bands with less skill and purity that they possess...because Teenage Fanclub makes the music that you don't fall in love with at first sight, you ease into it until it becomes a comfort....like an old recliner in the living room that's been worn down to your shape...

I've always said that Teenage Fanclub is what the Beach Boys would be if they grew up today and didn't surf. And while this can't really be the perfect album (being a best of...retrospective kind of effort), it's a worthy addition to the collection of anyone trying to get caught up, or needing a crash course in one of the most underrated bands in the world.

Teenage Fanclub played before the Brit-pop invasion, and they're playing just as well after we saw it come and go. Their mix of relaxed lyrics and jangly guitars don't really fit into a genre other than pop, but it doesn't have to. They create the kind of sad, sweet music that manages to have some prestige to it, rather than just sound cheesy or hollow.

"Your Love Is the Place Where I Come From" is a short acoustic number that tugs at all the right strings, while "Ain't That Enough" is the closest proof I can find to the Beach Boys comparison stated above. But even looking at the song titles, "The World'll Be OK", "I Don't Want Control Of You", "Don't Look Back", they sing with reckless abandon about love, loss, peace, etc.....things that should warrant a roll of the eyes but strangely work in their context.

Buy this, and if you like what you hear, go buy the album "Songs from Northern Britain". Find out why Teenage Fanclub has lasted the test of time, and never had to change their tune.

Teenage Jubilation
There were no bands more fun, more diverse, more intelligent, and more talented then the members of Brinsley Schwartz and NRBQ. That is unless you were a Teenage Fanclub fan. While I disagree with a couple selections, this CD is still great enough to prove that they will be forever remembered. Get it and you'll feel good.

Meaty Pop
Somehow the greatest albums always elude your collection; their discovery, devourment and gospel spread providing temporary entertainment while espousing the truthful glee I displayed on the back of my WLOZ t-shirt, "A Drop of Honey in an Endless Sea of Top 40 Vomit." Run out now and get your copy of Teenage Fanclub: 4760 Seconds

My circuitous route to Scot Pop heaven was begun in the Connells lyric that starts their latest (and final?) release, "Old School Dropouts".

Morning lands like aeroplanes wrecked inside my bed.
Your favorite Teenage Fanclub song is knocking around my head.
In fits and starts remembering the things I should regret
but I don't want to sanitize my thoughts just yet.

I downloaded the Fanclub album from emusic.com just a month before this wonderful source of entertainment was sold and torn to digital shreds in the wake of the music industry's rush to sell bite-size britney pieces for 99 cents. This album is solid, meaty and deserving of your full attention while you ponder why you would ever feel so wonderfully happy and intelligent all the while belting out lyrics that could make Taylor Hanson proud.

OK everyone, grab your lovely white iPod earplugs and start singing;

She wears denim wherever she goes
Says she's gonna get some records by the Status Quo
Oh yeah... Oh yeah... ... Read more

Album Description

1992 compilation featuring solo work alongside tracks with The Teardrop Explodes. ... Read more

Reviews (4)

A few great tunes, but generally disappointing....
I bought this CD after hearing three of the songs that appear on it ("World Shut Your Mouth," "Trampolene," and "Charlotte Anne"), thinking that Julian Cope must be a true musical genius to have penned and recorded such inspired pieces--and thus concluding that his greatest hits CD must overflow with more of the same. Unfortunately, the three aforementioned tunes are the clear highlight of the collection, and, to my ear, only two or three of the remaining cuts even come close to them. The early material from The Teardrop Explodes is pretty forgettable for anyone who doesn't associate it with the time and place whence it arose, and my pop sensibilities, so satisfied by the three aforementioned tunes, make the later material somewhat unpalatable.

He comes from another planet, baby
I pity the poor kids these days, the music lovers of that generation! Tens of albums (yeah, yeah, cd's...) going out every day... every 18 years old got a music label in his parents' garage, making sounds that no one will ever hear. 10 years ago, when I bought my music (yeah, yeah, vinyl albums) there was limited access, so we got the good and the bad, but most important, we got the good! I checked out Julian Cope' Floored Genius, because I forgot the name of one of the songs... and I was amazed and ashamed to discover that it only has 1-2 reviews! So I'm doing it for the sake of my generation, telling you, asking you to check this one out. I know how hard is to go 10-20 years back in time and trace those marbles, but you can't afford to miss this one: I'll try to make a long story short: Julian Cope was born in England, where he still lives today, and in 1979, he formed a group name teardrop Explodes, the band did well in the post punk era in England at that time, and put out some of the best songs and records of that genre. If you want, the teardrop explodes were the important link between the Sex Pistols and the Smiths. Later on, Cope moved on and continued in a career of his own, producing unbelievable albums, one at the time. When I think of it, I can't really think of one album by the teardrop explodes, or as solo artist that doesn't contain at least 50% of great songs. The album "Floored Genius" is a very good collection of those years, as a group and as a solo artist. There are not enough words that I can use to tell you how good this collection is nor can I point its highlights, because it's all-good! For those of you who are interested in something more than Blink 182, who want to know where is it all comes from: Do yourself a favor, buy this one and change your life!

An outstanding overview of a brilliant career
I bought this on a whim several years after hearing & loving the fabulous "Charlotte Anne." At first I was a bit disappointed, since little of the record bears much resemblence to that song. After a few listens however I was hooked. Five years later, I'm still hooked.

The music is very diverse, but consistently outstanding, and the chronological arrangement shows his evolution as an artist from the late 70s with The Teardrop Explodes to to the very early 90s. Highly recommended.

Julian Cope Discussioon List
If you're a Julian Cope fan, check out The Culture Bunker by emailing the above address! END ... Read more

Album Description

Fifth single off their critically acclaimed sophomore album, 'The Bends', originally released in 1995, backed with two non-LP tracks, 'Talk Show Host' and 'Bishop's Robes'. Slimline jewel case. ... Read more

Reviews (8)

Wonderful
Street Spirt (Fade Out): A true Radiohead classic. If you haven't heard this song, you're really missing out. Easily one of the ten best songs the band has ever done. I'm don't think it needs to be described; just know that it's amazing. 5/5

Talk Show Host: Another classic. Driving repetition of a guitar riff until it climaxes, complimented by eerie vocals and lyrics. This one pops up at live shows more often than Street Spirt does, surprisingly, so there are various live versions floating around on the net that are much better than the recorded one. Was featured in the modern remake of Romeo and Juliet.

Bishop's Robes: This would have fit nicely onto OK Computer. A softer song that focuses more on aural landscapes than anything. Very emotional and very good. 5/5

This is easily the best single Radiohead ever released.

I'd give this 6 stars if i could
its official, this is one the best singles i have ever heard. period. Street Spirit has that really deep sounding acoustic/electric guitar line that gives me chills. It took time to make me fully appreciate it, but when it hit me, BAM! This song is great for when you're feeling depressed.
Talk Show Host has an amazing keyboard line in it. It has this weird, cloudy atmospheric feel to it. It produces emotions in me that i rarely ever feel. There isnt exactly a real chorus to it either. its amazing, just a steady flow of gray heaven.
Bishop's Robes is a very dark song. Its emotional intensity stunned me the first time i heard it, the way Thom delivers the line "I am not going back", its just powerful.
I think this single will effect you just as much as it effected me if you allow it to. Even non-radiohead fans will appreciate it.

Amazing
Street Spirit is a trademark Radiohead song. And in this instance, it is accompanied by two superlative B-sides, even though "B"-sides is hardly a fair tag given the quality of these songs. Talk Show Host is a somewhat experimental dig at the media while Bishop's Robes is a smooth, simple track which sees Thom looking back at his schoolboy days with a measure of melancholy. A thing of beauty.

The Best Radiohead Single Ever Issued
Most import singles are not worth the price of admission unless one is an avid fan of the band in question. This is the anomaly. The single itself is a great song. And the two b-sides found here are among the best songs Radiohead have recorded...including their albums. 'Talk Show Host' is a staple in their live performances, and it is a classic track. 'Bishop's Robes' is also superb, and the only other place to find it is on a Japanese e.p. that's way too expensive. If you only buy one Radiohead U.K. import CD, make it this one.

Their best pre-Amnesiac single
Street Spirit #1 has been called their best single for quite some time because it contains 2 of their best songs, not just b-sides.

We all know Street Spirit, great arpeggio guitar work and an aura of desperation and depression. Great stuff when your depressed. But the original version of Talk Show Host and Bishop Robes are 2 great atmospheric songs. Talk Show Host still makes it into their live show.

A must for any Radiohead fan. ... Read more

Reviews (10)

Awe-inspiring
This E.P. is so beautiful. "She's A Superstar" and "A Man Called Sun" are my favorites, but every one of the five tracks is flawless. What wonderful textures. Even better than "A Storm in Heaven."

Brilliant!
This is the perfect ambiance for writing, eating, kicking back, whatever. Lush, dreamy tracks are incredibly inspiring. Richard's voice floats and melds with the music, rather than trying to dominate it (ie, the warbling for On Your Own). Personal favorite is Man Called Sun- beautiful vocals fade to the background and for the last few minutes it's intrumental. Despite the five tracks, this EP is about half an hour (if I remember correctly) and the last track, Feel, goes for about ten minutes. The odd thing is that you don't even notice! All the sudden it just ends. My only regret is that it isn't longer. Beautiful work.

Amazing
"A Man Called Sun" may be the best produced song ever. Previously "Riders On The Storm" by The Doors got my vote, but this song is just about perfect.

Solid smooth groove
I love the last two songs ENDLESS LIFE and FEEL. Lyrics didnt really mean a thing to Verve at this time. They were just used as another instrument to compliment the atmosphere of the music. Using pauses, drawing out words flow like the guitar. I really like the drumming on FEEL, it has a hypnotic quality that draws you in and keeps your head bobbing. the song is 10 and half minutes long but it goes by fast. A MAN CALLED SUN is very spooky and very good.

the verve ep is a must have for the verve fans
If you like the laid-back, atmospheric grooves of A Storm in Heaven, this EP is for you. Although there aren't any real rockers on this cd, fans of The Verve's more subdued early efforts will find this release is every bit as good as the band's best work. Granted, the studio version of Gravity Grave (the album's first track) is not as sonically powerful as the live version that appears on the No Come Down EP, but, instead the focus shifts more towards the atmospheres,bass grooves, and Ashcroft's elemental delivery than raw power. An excellent cd. ... Read more

Album Details

Brett Anderson and Company Return for their Fifth Album with a New Lease on Life. The Press Has Documented that this is the First Suede Album that is Not Influenced by Any Hallucinogens and it Shows. That Isn't to Say all the Effects Are Gone, but Anderson's Voice Sounds Stronger Than it Ever Has and He Can Still Reach High Notes with Ease. The Songs Are More Worldly Than Otherworldly, More One on One, More....romantic. The Disc also Includes Plenty of Exclusive Enhanced Material that Documents the Recording Sessions in Pictures and Video Clips. This Limited Edtion also Includes the Bonus Tracks "You Belong to Me" plus the Hidden Track "Oceans", which Can Be Found Near the End of the Last Track Space. ... Read more

Reviews (37)

Although more up and poppy, this is still a beautiful album
After several years of waiting, Suede finally gives us their fifth studio album and, I'm happy to say, "A New Morning" was worth the wait. Track 1.) Positivity is pure pop brilliance that gets instantly stuck in your head. Producer Steven Street adds just enough strings to make respectable an otherwise poppy Tony Hoffer (the first producer) production. Track 2.) Obsessions is like a "Coming Up" version of "New Generation" with Alex Lee on harmonica for good measure. You'll be humming the chorus all day. Track 3.) Lonely Girls begins with a Simon & Garfunkel style, strummed acoustic guitar, piano and viola, then later bongos and full strings come in to fill out the sound for an over-all Bowie-esque feel. Track 4.) Lost in TV is a great song made up of acoustic guitars and organs that has a poppy melody reminiscent of a Lightning Seeds songs and chorus vocals that allude to Queen. Track 5.) Beautiful Loser is a disappointing song for me and is in stark contrast to the lovely, mellow Lost in TV that precedes it. It's written in the gritty and raunchy fashion of "She" or the b-side "Bored," but not nearly as catchy or addictive as either of those. The really interesting thing is Brett sings on this song in a style I haven't heard him use before. Toward the end his vocals take on a raspy, throaty quality that I can only compare to Paul McCartney. Weird. Nonetheless, it's probably my least favorite song on the album, followed by my second least favorite song on the album, Track 6.) Street Life. This is more rehashed "Head Music" era Suede. Fast tempo with typical Suede-styled vocal distortion like the chorus on the b-side "Together," only not nearly as technically well done. This one is growing on me though.

Then comes the second half of the album, where things get really interesting. While the first half is very poppy, after the style of "Coming Up," the second half sees Suede exploring new territory and sounding like they never have before-and the result is fabulous. Track 7.) Astrogirl is an interesting song. It makes full use of strings and lounge-style piano. The chorus is full of chords and key changes that bring Pulp to mind, and the song in general sounds like Bowie-always a good thing. Track 8 includes two songs on one track, "Untitled" and "Morning." Track 8a.) Untitled is a lovely little song that is atmospheric and melodic from start to finish. Richard and Alex sing lovely backing vocal harmonies throughout. Track 8b.) Morning is another simple song using acoustic guitar complete with finger-sliding squeaks and a cheesy synthesizer. If Michael Stipe sang this song it could be easily mistaken as an R.E.M. song-that's a fist for Suede. Track 9.) One Hit to the Body starts out nice and mellow then picks up a little momentum in the chorus. I hate to keep comparing these songs to other groups, but if Martin Rossiter sang this one it would be a Gene song. Which perhaps doesn't say much considering that Gene sound a lot like Suede in the first place. Track 10.) When the Rain Falls uses a funky bass and lounge piano for a sound that I instantly liked. The harmonies have a 70s feel to them and Brett speaks some of the lyrics toward the end, which is also a first for Suede. After a short break, Track 11 begins, which, like Track 8, includes two songs on one. Track 11a.) You Belong to Me is a bonus track included only on the limited edition, first pressing of "A New Morning." It's a poppy piece with synthesized strings and Brett falsettos, not nearly as prevalent on this album as normal. Brett kind of sing-speaks the lyrics in a Kevin Rowland of Dexy's Midnight Runners style. After about 10 minutes of silence, Track 11b.) Oceans begins with a crackly recording that sounds like vinyl. This is a hidden track and a gem of a song that would be right at home on "Dog Man Star." The annoying thing is you have to either wait or fast-forward through "You Belong to Me" and the 10-minute silence every time you want to listen to it. It's one of those songs that always seems to end to soon.

Over all "A New Morning," which varies from pop, to mellow summer tunes, to late-night lounge acts, is definitely better than "Head Music" and I think after repeated listens it will surpass "Coming Up" as well. It can't really be compared to either of Suede's first two albums, and quite honestly, until Bernard Butler rejoins the group, Ed Buller produces, and Brett gets addicted to heroin again, Suede will never make another "Dog Man Star." Holding "A New Morning" up to the standards of "Dog Man Star," it would only be a 3-star album. Comparing it to everything else out there on the radio today, it's by far a 5-star album. But, we know what Suede is capable of, and so I give it 4-stars. "A New Morning" will go down in history as an important Suede outing. Brett's voice is sounding better than ever, though I miss all the falsettos. Steven did a fine job producing. The mixing is nice too, though I'd like to hear the bass lines a bit louder. Basically, "A New Morning" is Suede stripped down, writing melodies that are both catchy and melodic. Even when multiple instruments are used, the production keeps the sound short, sweet and tight. Reading the reviews about a "new, happy Suede" I though I'd hate this album, but I was wrong. It's an album that any Suede fan will enjoy, if not eventually love.

Old Habits, New Directions
Suede's fifth release, A New Morning, is a mixed bag of familiar themes and new maturity. On the plus side, there's simplicity, grit and depth in Brett Anderson's vocals. These are the first songs he's recorded since a stint in rehab, and his renewed commitment to singing is palpable. The faux-Bowie phrasing and glam androgyny is gone, revealing a finer vocalist than previously apparent. In addition, there are some skillfully empathetic tracks, notably "Lonely Girls", "One Hit to the Body", and the extra track "You Belong to Me". Still, there are remnants of their by-now knee-jerk analysis of pop decadence in tracks like "Streetlife" and "Astrogirl" (if you're familiar with the band, those titles tell you all you need to know). Regardless, A New Morning is good news for fans - it's both a retrenchment and an honest step in other directions.

a shock
what the hell has Brett done to his voice? . Brett has obviously made a concious effort to make his voice less "operatic", and in doing so has killed off one of the things that MADE Suede such a great band in the first place. Oh and they used to have ace tunes as well, not the bubblegum radio friendly pop scattered throughout this poor album. Get back with Ed Buller fellas!, oh and visit your dealer while your at it!

Suede offer up a decent but disappointing final album
In the wake of their late-2003 break-up, this is Suede's final album. And while a solid album, it's rather weak and certainly their worst effort. Anderson's voice no longer has the coked-up whine and snarl of old, which works on the more polished songs but sounds rather thin on other songs. Overall Suede seem to have been going for a more mature sound here, and it shows. However, some of Anderson's lyrics are almost self-parodic, such as the "beat of the concrete streets" and "you belong watching CCTV"...topics he'd written about many more times and much better in the past. However, there are some great songs on here, such as Positivity, Beautiful Loser, Lonely Girls, the suite of Untitled......Morning, and the near-perfect Astrogirl.

Waking up
Listening to this album, you get the feeling the reference in the title is to the rest of Suede's catalogue. After that lurid, exhilerating, sometimes incomprehensible dream, you have this album; lucid and stark. The theme is best shown in the split track 'Untitled/Morning' where sickly romanticism ("Like flies on a windscreen / and like insects in glue / we could - _stick together_ - if you wanted to") gives way to the clean chords and simple lyrics of 'Morning.' The album as a whole, though, doesn't share Morning's cautiosly upbeat tone. Suede's ballads have always taken place in tired urban settings, and never has this world been dealt with less romantically than here. The lyrics are much sparer and the music less lilting; there are no violin ballads like 'Everything Will Flow,' or surreal romps like 'So Young' or other songs from the earier period. Many of the songs sound simply weak at first listen, they're so understated, but in particular 'Lost in TV' and 'Untitled' have a quiet power which becomes apparent after a couple of listens. 'Astrogirl' gives a hint of the old days, and is a really terrific song. The closing sequence is perfectly ordered; the centerpiece of 'Untitled/Morning,' followed by the faint promise of relief in 'One Hit to the Body' and ending with the fully realized, vocally lush 'When the Rain Falls,' which sounds like an offer of truce with the world. The extra tracks on the end aren't up to much, though, only confirming my theory that the 'minor' songs were the ones that suffered with Butler's departure.

I dock one star because I still prefer Suede's more fantastic work, but you have to respect what they've tried for and accomplished here. This album is really cohesive and interesting, and not a bad listen either. ... Read more

Amazon.com

Radiohead's American follow-up to OK Computer is essentially a glorified single for "Airbag," the song that also opens the album, with six new tracks appended (including an instrumental). They're mostly cut from the same cloth as the album, but briefer and flinchier--Thom Yorke's voice, gentle and clear as it is, seems like it can barely push past waves of horror into audibility. Once again, they plumb a few Pink Floydian tricks--the tapes of not-quite-clear voices that open "A Reminder," the pacing, descending riff of "Pearly"--and, though none of the new tracks is quite up to the level of OK Computer (they could well be outtakes), they fit together into a short, despairing suite. --Douglas Wolk ... Read more

Reviews (91)

Even the songs that didn't make OK Computer are awesome
While I'd recommend that you buy "OK Computer" or "The Bends" before you start delving into Radiohead's singles, "Airbag/How Am I Driving" is about as good an EP as you can buy. "Meeting in the Aisle" and "A Reminder" are particularly good, assailing the listener with dense soundscapes that Radiohead is known for. What I wanna know is how in the hell "Palo Alto" didn't make it onto OK Computer? Why must it be destined for EP obscurity like the band's taut, brilliant "The Trickster" from the My Iron Lung single? It's almost a shame that Radiohead is THAT good.

Ok computer revisited
They might not be willing to deliver a full-length album sequel to OK Computer, but this EP should tie you over for a little while. Every track on this has been a favorite of mine at one time or another, and to this day I always listen to it beginning to end. Palo Alto is one of the best straight-forward (for radiohead, at least) rock songs I've heard in ages. Polyethelene will pull some emotional strings in part I and then knock your socks off in the aggressive part II. The instrumental piece is ethereal and pure, a wonderful departure. Pearly is haunting, and it gets better and better as time goes on.

When I first heard this CD, I was already familiar with OKC and the Bends and considered Radiohead one of the best bands in the business. This release pushed them to the top of the heap for me. For the first time in my life, I felt that there was a uber-legitimate band in the process of creating musical history. Now, after the release of Kid A and Amnesiac, and having seen this band live at the gorge in Washington in one of the most life-affirming experiences I've ever had, I have to say, Radiohead is the best. Period.

Awesome EP
I picked this up new at a record store last month for 8 Bucks. after nearly dying at how cheap it was i listened to it and was generally amazed. the songs are great and most of them are better then the stuff they actually did put on OK Computor. Palo Alto stands out from the rest by far proving to be one of my personal favorite Radiohead tracks.

Some tracks R even better than some OK COMPUTER cuts!
Radiohead have put out an astonishing number of grade-A non-album tracks. They could be pooled together to make one incredible (double) album. This mini album contains some of their best ever in my view. Features some anguished and soaring vocals by T. Yorke.

"Airbag" is a bizarre yet stunningly gorgeous song loaded with shimmering guitar, a quirky funk beat and who-knows-what-all kinds of electronics. It portrays the rush you would feel having survived a major collision thanks to an airbag. Ostensibly a single in this format, it is also the brilliantly uplifting opening track on OK COMPUTER (widely held to be their masterpiece). *****

"Pearly" - Garage-y guitars plus some spacey ones define this sort of underground sounding tune drenched in anguish. ****1/2

"Meeting In The Aisle" - like the swimming mirage you see while looking down the dark corridor of a building towards a sunlit doorway. Totally spaced-out. *****

"A Reminder" - seems to disengage itself from the reality of a crowded room for some fleeting, deeply felt moment. One of their best. *****

"Polythylene (parts 1 &2)" - Part 1 is a melancholy intro picked on acoustic guitar and sung beautifully by Yorke. Part 2 is intensely dramatic. Seems to portray the hopeless inevitability of modern life spinning out of control. Even Yorke's vocals seem to waver out of control yet they still maintain his characteristic artistic perfection. *****

"Melatonin" - a sterile, almost sickly lullaby washed in synths as a rhythm section plugs along like a wind-up toy. ***

"Palo Alto" - Wildly brilliant Faustian (as in the band) guitar delivery plus a few crunching power chords blast away the grind from "a city of the future." One of their greatest, most off the hook guitar songs. *****

Radiohead-heads who collect their singles and EPs reap some of the greatest rewards!

An aside: The packaging is notable for its rather mocking "questionaire" and 2 short-short stories which are like desperate little slices from an unsatisfied life. In addition, the quote from Noam Chomsky's THE CHOMSKY READER reveals a great deal about the perspective behind some of Radiohead's observations about modern life.

cool stuff!! - 4 1/2 stars
what a cool ep! radiohead's always been a band to put lots of work into their music, and this is no exception.

"airbag" - of course we all know this fabulous song, but this time, there's a surprise! instead of the familiar sounds of "paranoid android" coming after it, we venture into a whole new musical journey.........

"pearly" - yes!! what a great song. a hypnotic rock song. can't ask for more, right?

"meeting in the aisle" - a trancey techno hypnotizing song. very good!

"a reminder" - wow. this song is amazing.. thom wrote it as a kind of letter to his young self, from the perspective of an old unhappy man. lyrics and music are great.

"polyethylene" - one of the most beautiful openings in music i've ever heard, which breaks out into a jam thing, very much like "the aeroplane flies high" by smashing pumpkins.

"melatonin" - so beautiful.

"palo alto" - a pablo honey-sounding straight-up rock song. quite cool. ... Read more

Album Details

Taken from the Hit Album "Heathen Chemistry". ... Read more

Reviews (2)

Never underestimate Liam's songwriting talents
So, Liam gave us fans a little taste of what was yet to come on Standing On The Shoulder Of Giants with his songwriting debut "Little James". This time he really shows us what he's capable of, with this beautiful love song. It's an acoustic ballad, with simple but meaningful romantic lyrics. A tribute to the feeling of being in love and being loved back. Liam's Lennonesque vocals sound awesome. This song is right next to John Lennon's best romantic songs in my book. Noel also shows us that he can still write beautiful acoustic ballads with "You've Got The Heart of a Star", one of the best acoustic songs he's written in the past few years. It's one of those "B-side-shoulda-been-A-side" kind of songs. And the live version of Columbia is the bomb, kind of different from the original version on Definetely Maybe. It shows us how Oasis can change the arrangements of a song and still make it sound just as good.

Liam's First Single Excellent
Who Needs Noel? Well, maybe that is an overstatement. Liam, however, does a great little two minute ditty on this track. B-sides You've Got the Heart of a Star recall Noel's Singer/Songwriter talents and the live version of Columbia is Spot On! ... Read more