Scarlet's Walk
Average Customer Review:
Audio CD (29 October, 2002)
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Editorial Review

From the confusion and chaos that marked one of the most harrowing episodes in American history comes Tori Amos's masterwork. Scarlet's Walk, the follow-up to her critically acclaimed covers LP, Strange Little Girls, was written on a cross-country road trip shortly after the terrorist attacks on New York City and Washington, D.C. Over the course of 3,000 miles and 18 tracks, the crimson-haired singer encounters rogue lovers ("A Sorta Fairytale"), reformed porn stars ("Amber Waves"), and an entire cast of characters who embody the spirit of a country suddenly searching for an identity. The album serves as both an ambitious travelogue and as a graceful rejoinder to the bitterness and frustration that inspired it, with Amos wading through swells of sadness ("I Can't See New York"), anger ("Don't Make Me Come to Vegas"), and insecurity ("Your Cloud") with velvety grace. --Aidin Vaziri ... Read more

Reviews (305)

pure genius to a guy who gets her.....
I think I discovered Tori sometime in 1996 or '97, and quite accidently.I was at a buddy's house enjoying a few brews and his girlfriend put on Little Earthquakes, in the background.Can't quite remember which song it was from that record, although it may have been "Girl", but I was effectively drawn away from my Sam Addams, and naively asked if Kate Bush had a new release out(yeah..yeah, I know...shut up!).I really liked Kate back in the Eighties, but that's for another review on another day.Upon learning that this was Tori Amos, and as I kept being distracted by this mesmerizing music playing in the background, I had to ask if I might borrow said disc for a further, closer inspection.... and am I ever glad I did!
It's now eight or nine years, ten cds, three bootlegs, a dvd, and two concerts later, and I can officially name Tori as my favorite female artist, and certainly amongst my top three favorite performers of all time.She's really something special, and that rabid fan base of her's is for good damn reason.She's the absolute genuine performer - nothing faked - and that rare and elusive quality simply can't be taught or be "put on".Tori's a natural, and in my opinion, a genius.....
And what a body of work she's produced over the years!Beginning with her first real splash on the scene with Earthquakes, which rightly remains a fan favorite, to her equally well received sophomore effort "Under The Pink", in all it's majestic glory, to the eclectic, angry, and experimental "Boys From Pele", to Choirgirl Hotel(which was a personal favorite until Scarlet, but still ranks as a close second), and the contraversial Venus and "Strange Little Girls"(Venus rocks, but Girls is definately an acquired taste), to her most recent cerebral "Beekeeper", she has continually stretched her boundries, often garnering much critism as a result.To all those naysayers out there.... sorry, but the world doesn't need twenty variations in the style of "Under The Pink", good as that record may be.An artist needs to be able to explore new boundries as he or she sees fit, and to that end, I enthusiastically shout, "You go, Tori!".....
Scarlet's Walk is an exquisite record, start to finish.Upon first listen, it may seem somewhat monotempo and bass heavy to a fault, but keep listening.As with all great works of art, the true value doesn't always reveal itself immediately.There's real depth here, and I think it's evident that Tori put a lot of effort and care into this very big, eighteen song strong release.
Tori seems to be leaning more and more towards the ideals of the "concept album" these past few years, and I applaud her for that.She stands by the courage of her convictions, which is carried through into the music she creates, by virtue of her brilliant songwriting, musicianship, and vocal talents.
Conceptually, the record deals with America, in various settings and capacities.Tori mapped out a real life road trip for herself throughout The United States, looking for inspiration to compose by.She certainly found it.
The record begins with "Amber Waves", a sordid tale of a past her prime porno queen gone somewhat introspective in self professed guilt.Tori has a way of getting into people's heads and stating the truth in what she finds, and this song exempliflies that, quite uniquely.Next comes the big "hit" of the record, "A Sort Of Fairytale", which features the talents of her band really kicking things into a bass-heavy overdrive that's undeniably catchy and echoes back to Choirgirl and Venus somewhat.The quirky "Wednesday" follows, giving the mood of the record a needed lighthearted feel, with typically obscure Tori lyrics.And so it goes through the hypnotically moody "Crazy", and the touching Native American-esque chanted "Wampum Prayer", through the mambo-jazz catchiness of "Don't Make Me Come To Vegas" and "Sweet Sangria".All great stuff.
One of Tori's real strengths is her incredible vocal range, which she has ably displayed throughout the years in her recordings, and in concert.There are a ton of great examples here of her vocal abilities, but in my opinion, there's no equal to "Your Cloud", which qualifies as one of Tori's most beautiful songs ever.My god, this song's gorgeous!Tori uses vocal layering throughout the song's choruses which is stunning, and I wondered how in the hell she would reproduce this in concert without the aid of backup singers.I have her concert dvd, "Here In Sunny Florida", which features this song, and she actually managed to one up the studio version, much to my astonishment, by extending the song to allow for all the vocals to be sung in natural free form, to stunning effect.Caused a tear to form, let me tell you.
Next comes "Pancake" which is a funky rocker that always gets the toe tapping, and then we're faced with the emotional, scary, and powerful "I Can't See New York", obviously in response to the tragic September 11th events that changed our lives and opened our collective eyes.An intense song, both lyrically and instrumentally, which Tori sings from the perspective of being up there within the events as they transpired(from her mind's eye), and trying to make immediate sense in thepersonal loss of someone special.Or perhaps, herself.As heavy and empathetic a song as Tori has ever recorded.
The remainder of the album follows with equally poignant material.At eighteen songs long, this may sound like a listening exercise in exhaustion, and for some, it may well be.

Scarlet's Walk ranks among Tori's best works, but it's not easy listening by any stretch. It is, however, very rewarding to one who would put in the time to get to know this great record.There's nothing else like it out there, even within Tori Amos' music.She really shines here, and this is her masterpiece!
Enough said....

A truly amazing and angelic journey
I must admit, I was hesitant about buying anything from Tori Amos, as I was not that engaged by her previous works...kind of thought she was just a bit too 'out there' for me, and I have always had a problem with artists who seem to want to work out their problems with their music...well strike me down NOW!!!

From the opening notes of 'Scarlets Walk', I was instantly drawn to her magic, and have since gone back and given the early Tori a relisten.I know a lot of reviewers are saying this is a more 'back to form' CD, and I must agree...and I think a big step forward as well.Tori has the most expressive and angelic voice - one that can take you from the clouds to the grave all in the same 10 minutes.I mean that in a positive way, because she expresses a lot of well thought out joy and sorrow all at the same time.You just want to listen to the next song, because although you have a pretty good idea of what you're going to get, Tori puts her twists into the lyrics and arrangement...great stuff!

I am not big on a lot of the 'new' female singers lately (e.g. Alanis, Gwen Stephani, et al...) - seems like a lot of pent up anger spewed forth by talentless hacks.Granted, there are a lot of male singers like that too, but this was starting to seem like some weird movement, and made me go running for my old Pat Benetar and Stevie Nicks CD's....but I don't want to live in the past, so on to Tori...what a relief!

Anyhow, if you want something a little different but not way out there - with the added bonus of excellent songwriting and arranging, take a walk with TA across America - this CD will soon make it to your frequently played list!

What a beautiful journey.
This was the second Tori album that I heard all the way through and I fell in love with it.This is a good CD to listen to when you're feeling down or when you want to relax.I love Your Cloud, Gold Dust, A Sorta Fairytale, Amber Waves, Scarlet's Walk, and Taxi Ride..those are my favorites.I would recommend this CD.Take the walk with Scarlet, you'll be glad you did.At least I know I am and I will take it many more times as I listen. ... Read more

Asin: B00006I4YD
Subjects:  1. Pop    2. Rock   

Central Reservation
Average Customer Review:
Audio CD (09 March, 1999)
list price: $17.98 -- our price: $14.99
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Editorial Review

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

Reviews (154)

I wish I lived on a reservation ...
... a central reservation.

I discovered Beth Orton on the soundtrack to the Madonna movie, "The Next Best Thing."The song was "Stars All Seem to Weep," and I just loved it.I quickly bought its parent album, "Central Reservation."

Of Beth's 3 proper albums, this is my favorite.The songs are so relaxed and so intimate.Along with Hope Sandoval (Warm Inventions and Mazzy Star), this is good chill-out music.And Beth is a very intelligent songwriter and lyricist.

I like all the songs of the CD, but especially "Blood Red River," and it's weird because at first I HATED it!"Stolen Car" is good pop/rock, while "Sweetest Decline" and "Couldn't Cause Me Any Harm" are good ballads.There's a sprawling epic in "Pass in Time," and some electronica thrown in on "Stars All Seem to Weep.""Blood Red River" is a slow, haunting, heartbreaking folk ballad, which demands you listen to its poetic lyrics.

Far from a boring album; so many musical styles to keep you interested and listening.

One of the best albums I own
This album would definately rank among my Top 10 favorite albums of all-time. Deep, sublime, and full of feeling, every song has something meaningful to say.A definate recommend.

cd delivers all the way through
This cd was a pleasant surprise as the second Beth Orton cd I have been exposed to- the first was a disappointing Daybreaker cd that started off really well only to drop off in the middle and end with a dull whimper.Cenral Reservation however is a solid cd that offers an interesting selection of music from start to end.Musically creative and lyrically brilliant, this may be Orton's best cd.The highlights of the cd are Sweetest Decline (how this wasn't a huge hit is beyond me) and Pass In Time with additional vocals from Terry Callier that work perfectly even though the song is a little too long.What makes this cd work are the ample up-tempo songs well placed among the thoughtful, endearing ballads.Orton also effectively communicates each song to the listener with her earthy voice which works well with the musical composition of the cd.Overall, a high quality effort from Beth so if you like bluesy female vocalists this would be good cd to get. ... Read more

Asin: B00000I73X
Subjects:  1. Adult Alternative Pop/Rock    2. Alternative Pop/Rock    3. Folk-Rock    4. Pop    5. Rock    6. Singer/Songwriter    7. Trip-Hop   

Not a Pretty Girl
Average Customer Review:
Audio CD (18 July, 1995)
list price: $16.98 -- our price: $13.99
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Editorial Review

Ani DiFranco's fondness for cheeky self-effacement marks her fourth album, Not a Pretty Girl. Having redefined our whole concept of cult following, the funky, punky singer/songwriter has parlayed her prowess for six-string blues guitar into an unique alternative acoustic sound. This album marks real growth for the musician. Songs like the title track or "Worthy" are more fully realized than many of her earlier pieces that lean toward artful scat or spare guitar and vocal arrangements. It also precedes DiFranco's more experimental work, a characteristic recurrent with increasing frequency on subsequent recordings. --Nick Heil ... Read more

Reviews (73)

TRUE*PUNK*ROCK*SOUL*SPIRIT
In an America where punk is buying more and more into commercilization and mainstream culture, Ani DiFranco is a true-punk-rock-soul-crusader. A unique girl and her accoustic guitar daring to give corporate America the finger is more punk, in my book, than any group of over-pierced, over-tattooed, boys pretending to play power chords on over-distorted guitars. Cheers Ani!

A talented girl
This is and probably will always be my favorite of Ani DiFranco's albums.It is the first one I bought, so a large part of it is probably nostalgia,but regardless it is an Ani classic.One of things I love so much about Ani is that she puts every single part of herself into her music: love, hate, fear, angst, and famously, views on every social and political issue you could think of.She doesn't have a line she won't cross, she truly puts herself out there in a way that artists rarely do today.

"Someone whose not afraid of themself"... 3.5 stars
This was the album that really... ummm.... made unhappy... some of Ani's original fans. Even when it's still mostly acoustic, it often times has a kind of electric feel to it. Plus just the fact that it is more produced than anything she did previously, I think that somehow took the "she is mine" feel towards Ani away from some people. On this album she often-times doesn't sound like someone who just popped over to your apartment, sat down (with her acoustic guitar) on your floor and started baring her soul at the same time as she is crawling into the deepest recesses of your own. This is definitely an album that needed the studio and other musicians.

My own feelings towards this album have changed over the years. At one point I thought it was one of her very best discs, but now I think it is second-tier. There are great songs here. Some of my favorite Ani songs are here actually, but for some reason now I am not pinned-to-my-seat enthralled with this entire album the way I still am with many of her albums. Having said this, how could anyone completely dismiss this album, original fan or not? Sorry I Am could have been a top-shelf track on any of her previous releases.

The Million You Never Made is Ani's best F-U song to the major labels who were (and possibly still are, I guess, but wouldn't you think they know her answer by now??) courting her. I still have high hopes that someday Ani will perform a handful of concerts with Carla Bozulich, and when that glorious mini-tour comes, there is no way they can spare Million You Never Made from the intensity of their attack.

Even as I reach this point in my review I still haven't made up my mind as to how many stars to give this one. Overall I don't rank it with her pinnacle albums, but 3 stars seems low for what is, afterall, quite a good album.

... Read more

Asin: B0000058MQ
Subjects:  1. Pop    2. Rock   

Tidal
Average Customer Review:
Audio CD (23 July, 1996)
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Editorial Review

Tidal is the debut album by Fiona Apple, a New York singer-songwriter-pianist who was 18 years old at the time of its 1996 release. Apple is obviously talented--she has a dark, smoky alto and a knack for an arresting turn of phrase--but she's still several years away from realizing her potential. For every fresh lyric she writes ("Daddy longlegs, I feel that I'm finally growing weary of waiting to be consumed by you"), she provides two examples of embarrassingly precious schoolgirl poetry ("Adagio breezes fill my skin with sudden red," from the same song, "The First Taste"). She also has yet to refine her moody piano chords into actual melodies, though "Shadowboxer" comes close. --Geoffrey Himes ... Read more

Reviews (274)

And remember that depth is the greatest of heights...
If you look back on the second page of reviews, you will see my 2004 two star review. Don't read it; it's wrong. I gave this album a few more spins, because I was desperate for thoughtful lyrics by a solo voice. Fiona is the one. Tidal, a calmer cd than When the Pawn..., is one that I listen to repeatedly now. Not only because the lyrics are astounding and can be linked to so many aspects of life... also because her voice is so soulful and at times calm. The music glides over you like a wave.

My favorite songs are "Sullen Girl," "Criminal," "The Child is Gone." These took awhile for me to get into, except Criminal. The Amazon critic says she doesn't write tangible melodies, but he is wrong. With her beautiful voice, the scattered notes stay in a flurry in your head. It isn't conventional pop or rock songwriting so one can't confine her greatness to a genre.. believe me. Just put the cd in loud in your stereo, and you will hear it. Tidal is a classic.

Tidal is Terrific
Fiona Apple is one of the best female artiss of the 90s. Her album has deep lyrics , smokey balads and amazing vocals.
She is an awesome singer ,talented pianist anda gifted songwriter

Sleep to Dream 5/5 This song has deep lyrics that talks about a relationship that was taken for granted

Sullen Girl3/5 It is a sad and powerful song about a depressed girl

Shadowboxer4/5 a smokey balad about a brake up

Criminal5/5Great song . Fiona's biggest hit ever

Slow like Hoey 4/5 Song about someone wanting you back but you dont want them back

The First Taste 3/5 Song about someone wanting someone back

Never is a Promise 5/5 This is a song about never promising someone back

The Child Is Gone 4/5 soft balad with misery

Pale September4/5 Beautifal Song and beautiful lyrics

Carrion 4/5 light song


THIS ALBUM IS AMAZING!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

A Beautiful And Astounding Debut
I was first compelled to explore the music of Fiona Apple after hearing the complications her third album "Extraordinary Machine" has had in getting released, due to her record company's refusal to put it into manufacture because of the lack of any 'radio material'. I for one was disgusted by this, and my disgust was confirmed even more when I finally bought this album. I always kind of knew that buying an album by Miss Apple would be a wise move, but I didn't know just how good...

Let's just get a few things straight; this album is absolutely f**king incredible. Nothing less than an alternative female rock masterpiece, and undoubtedly one of the greatest albums I've ever purchased. "Tidal" is its name, released in July 1996, when Fiona was a mere 19 years old. It was certified Gold in December of the same year, and has currently racked up US sales of 3 million. Apple possesses a raw yet smooth voice, which is rather smoky and jazzy. Her music is primarily rock but boasts hints of jazz and pop. Her songwriting is incredible, totally something else. She's quite the poet.

The album opens with the amazing "Sleep To Dream." The thumping beat that opens this song soon manifests into a raging and man-hating rock classic! Fiona's vocals here are amazing, and the song has great lyrics. "Sullen Girl" is one of the most amazing songs on the album. It's such a beautiful and tranquil song. It's a really brilliant break-up song, with visual lyrics such as "Calm under the waves in the blue of my oblivion." There's some very relaxing sounds swirling around in the background towards the end of this song, making it very memorable and a perfect song to relax to. Fiona is like a mermaid in this deep ocean of a song. "Shadowboxer" is a real grower, which I didn't really like much to begin with. After a few listens, though, I absolutely love it. This song is so powerful and moving, and it all comes from that amazing voice. Here, Fiona's vocals bellow all over the arrangement which works amazingly with the piano. The song tells the story of a destructive relationship, with almost a hint of physical abuse. This may not be the case, but the ambiguity adds furthermore to its intrigue.

"Criminal" is one of the songs that was released as a single from the album, and perhaps the most well-known. The song is an uptempo rocker with lyrics about how Fiona sees herself as a criminal because she toyed with a boy's emotions. It's a great song, but it's actually not one of my favourites from the album. "Slow Like Honey" is another beautiful and relaxing song, and the most Jazz-like song on the album. The piano creates this unusual atmosphere in the song as Fiona sings a Joni Mitchell-type classic. This song may take a while to really grab you, but once it does you'll be listening to it on repeat for hours. I just can't describe it anymore, but it's very surreal. "The First Taste" is the most experimental song on the album, and features a catchy piano riff that kicks in after the unforgettable line, "I do not struggle in your web, because it was my aim to get caught. But daddy longlegs, I feel that I'm finally growing weary of waiting to be consumed by you." One of the best parts of the song comes when Fiona sings, "Full is not heavy as empty, not nearly my love, not nearly my love, not nearly." Close your eyes at this point and you'll find yourself somewhere totally different. "Never Is A Promise" is probably the most beautiful song on the album and runs for almost six minutes. It's a slow and moving song that features little snippets that may last only a second or two, but which are so memorable that will be drawn back again and again. The lyrics are amazing, the most noticeable being ones such as "I realize what I am now too smart to mention - to you." What I love most about this song is the vocal style Fiona adopts; almost weary, lagging and tired of being hurt. Beautiful and astounding.

"The Child Is Gone" is a mid-tempo number with a swaying piano riff and some unusual lyrics. I'm not quite sure what this song is about, but I do like it. This album has 10 songs of pure genius, and while some are better than others, they're still all pretty damn good. "Pale September" is one of my favourites due to the amazing piano melody that Fiona incorporates into the song. It almost sounds like a lullaby, but rather ominous too; like something doesn't bode well for the future. The lyrics, however, contrast this; they're absolutely stunning. If you read the lyrics slowly and take in each word while Fiona sings them, you'll be transported - visually - to another place. "Carrion" is another great song, but probably my least favourite from the album. This is the last track on the album, and it closes the album in fine style. Fiona's vocals are very hushed, almost whispered, which creates an intimate setting between the listener and herself.

OVERALL GRADE: 10/10

Fiona Apple has only had two albums released to date, the aforementioned "Tidal" and its 1999 follow-up "When The Pawn..." I bought both albums at the same time, and actually liked the latter much more. Tidal took a while to grow on me, but after repeated listens I can't stop listening to it. It's really impossible for me at this stage to saw which album I like the best - that kind of answer can only be given, at least in my case, in about a year. What this album brings for me is beautiful melodies, gorgeous vocals, thought-provoking lyrics and just something different to my already alternative CD collection. Only ten songs on this album, I hear you cry? Fear not, because in the case of Fiona Apple, less is most definitely more. ... Read more

Asin: B000002BE9
Subjects:  1. Pop    2. Rock   

Solace
Average Customer Review:
Audio CD (28 January, 1992)
list price: $18.98 -- our price: $13.99
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Editorial Review

Solace, Nova Scotian Sarah McLachlan's second album, is considerably more mature and musically sophisticated than her 1988 debut, the promising if limited Touch. In fact, this disc is a must-have for McLachlan fans whose first encounter with her work was with her extremely popular later releases, Fumbling Towards Ecstasy and Surfacing. The opening track, "Drawn to the Rhythm," is a habit-forming gem of a song that soars on her smooth and heady soprano and Ronald Jones's addictive drums (though the drone of the billatron in the chorus seems incongruous). The rumbling, electric "Into the Fire" grooves with a funky bass line; the lovelorn "Path of Thorns" and "I Will Not Forget You" are straight-ahead and bluesy. Always wise beyond her years, McLachlan displays a new awakening with introspective songs such as the Sinead O'Connor-esque "Lost" and "Shelter." The hymnlike "Mercy" is the least interesting song--spare in comparison to the others--but it is a wondrous showcase of her multifaceted voice. Without a doubt, Solace is a testament to McLachlan's ever-swelling talent. --Rebecca Robinson ... Read more

Reviews (87)

Emotional Beauty
If you loved Sarah McLachlan's emotional and soul-rending 1994 release "Fumbling Towards Ecstasy," you should at least like "Solace."The music in this 1992 release bears stylistic similarity to the latter album, though the music is a bit less refined and the lyrics slightly less poetical than the later release.However, the skill and that wonderful voice are there to be appreciated.

The opening song establishes the poetic and beautiful attributes of Sarah's music.While "Drawn to the Rhythm" only modestly demonstrates Sarah's vocal and writing skills, it is a lovely, enjoyable song.The song is principally acoustic, but there is an instrument that appears in the chorus that may be electronic because I am unfamiliar with its sound.

The next song is out of place between the first and third songs."Into the Fire" has a harder guitar beat and Sarah's voice sounds as though it is competing with the instruments.The words are less poetic and complex, and this song, while listenable, ends up looking sad next to all the quality music on this CD.

You can hear the pain that would be brought to high art in "Fumbling Towards Ecstasy," listen to "The Path of Thorns."This song is about the end of a relationship, poetically comparing the relationship to a path, now overgrown with thorns.The song is poetry set to music, with stylized descriptions of how she tried so hard, and he never noticed, or cared.I am unable to listen to this song without feeling her despair over a failed relationship for which she had no responsibility.This song may be the best song on this CD, and lucky for us, it is also the longest.

Another outstanding song is "I will not Forget You."The lyrics are full of longing and romance and pain.Sarah's words are full of depth and feelings that should not have been felt by someone as young as she.I initially read the lyrics to mean that she was in love with someone who was not helping build the fire of that love.However, the words about the sea lead me to believe that it is not another woman that competes for her lover's soul, but another interest.Women have long lamented that the sea takes the soul of their men from them.

There are Sarah McLachlan songs that I can fall into, because they speak so much to me, and I suspect they speak to others who take the time to listen."Lost" is one such song.The backing vocals add depth to Sarah's angelic soprano voice, speaking of being with others, while being lost.You feel her loneliness as she seeks someone to lead her into the light of togetherness; the light of love.

Sarah speaks about other feelings besides love, loss and loneliness."Back Door Man" speaks to those who have been discriminated against, for whatever reason.Here Sarah unleashes her voice in anger, while lamenting the treatment that some people face.This song contains the most drama and loudest vocals of any song on this CD.The instruments are powerful as well, but Sarah's voice powers in front of them, refusing to be denied.

Sarah understands abuse."Shelter" is an introspective song that may or may not speak from personal experience.The song requests protection for those who may be subjected to things that they should not.I hope I never learn where such pain comes from.

A somewhat more surreal and dream-like, perhaps almost nightmarish, song is "Black."The words are faintly spoken, as though heard in a dream.The instruments are bizarre and confusing, in counterpoint for sure, but blending together into the muzzy feeling you get in a dream.The question is whether she is truly in a dream, or in a dark mental place, or somewhere else.This song is the most experimental and unique one on this CD.I prefer challenging music, and this song falls into that category.However, typically this type of music is not popular.

There is a point where emotion becomes too much to describe, as you reach deep inside you.Sarah continues to reach deeper into herself than most people know exit in "Home."I am unable to provide a definitive interpretation for this song because it could mean so many things.The song is about childhood and the loss of innocence, regardless of the source of that loss.Sarah sings beautiful pure notes on the word "home" that are wonderful to hear.

"Mercy" is a bit of a puzzler to me.The song has a hymn-like quality, and allows Sarah to display her vocal talents.The song is very sparse and less emotional than many of the other songs on this CD.This song is styled as a lament.

This CD ends with a cover of the Donovan song "Wear Your Love like Heaven."Sarah brings her breathless style to make this song her own.However, the words contrast highly with the complex poetry of her songs.

Sarah McLachlan has a beautiful voice that fits well with poetic and emotional music.She realized that ability even better in "Fumbling Towards Ecstasy," which is so beautiful that it almost hurts to listen to it.If there was a painting as beautiful as some of Sarah's music, it would strike you blind with its intensity.However, this music is not for a casual listener.It takes time to fully appreciate Sarah McLachlan's music.It is comforting to know that with all the awful music on the airways today that there are talents such as Sarah McLachlan to speak to that part of you that you may barely realize exists.

A Fine Album!
What originally turned my attension towards Sarah McLachlan was her terrific song "Building a Mystery" which opens the the "Lilith Fair" 1997 DVD concert. I bought the DVD because of the contributions from Sheryl Crow and Indigo Girls. I then discovered that Sarah was a singer and an artist that could not be ignored. Her performances there are simply outstanding. Her great songs, her unforgettable voice and charm; convinced me.

"Solace" was her second album; first released in 1991. There are some very fine songs here; especially in the first half on the CD; the CD loses a little steam towards the end.

My favourite track is "The Path of Thorns", but other songs like "Drawn to the Rhytm", "Into the Fire" and "Lost" are just as strong as most of her later recordings.

Outstanding
It took me a while to enjoy listening to this whole album since I am used to listening to her recent work - Afterglow.This is truly an outstanding album, it ranks as the 3rd best Sarah McLachlan album for me(with #1 Fumbling Towards Ecstasy, and #2 Afterglow).

I can't say much about the album, because some of the reviews here said what I would say for this album.

Drawn to the Rhythm: 5/5

Into The Fire: 4.5/5

The Path of Thorns (Terms): 5/5 - first song from Solace I heard, this is the song where she sings low, truly unique than the rest

I Will Not Forget You: 5+/5 - LOVE IT, My #1 favorite of all her songs.

Lost: 3.5/5 (this is a first for Sarah McLachlan to have male background singers singing, which I found odd... I would have given this a 4.5 if it wasn't for that, but that's just me

Back Door Man: 5/5 - I truly enjoy this song, this song sorta reminds me of Stupid from Afterglow, she "screams" in the chorus of both songs.

Shelter: 5/5 - really sad and it's actually the second Solace song I heard after 'Path'

Black: 5+/5 - this is my second favorite song, Fear from Fumbling is like a remisniscent of this song... all in all, deep lyrics and creepy instrumentations are a good match.

Home: 4/5 - this is also another weird song,, but good because of the transition of intruments that take place through this song... first with a piano, then guitars, and lastly, percussion.

Mercy: 5/5 - I consider this the last song from the album. This was the last song I heard from the entire album as well, and WOW sums it up... I was captured and taken into her voice.One like I have never heard before.

This album has 4 contenders to have the #1 spot on the album, which are: The Path of Thorns (Terms), I Will Not Forget You, Black, and Mercy.I pick 'I Will Not Forget You'.Wonderful lyrics, unforgettable chorus and the guitars. ... Read more

Asin: B000002VLB
Subjects:  1. Adult Alternative Pop/Rock    2. Alternative Pop/Rock    3. Canada    4. Folk-Rock    5. Pop    6. Rock    7. Singer/Songwriter   

Hunger
Average Customer Review:
Audio CD (30 September, 1997)
list price: $13.98 -- our price: $13.98
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Reviews (8)

The ultimate child star who managed to make it as an adult
As is so often in Hollywood, stars who become famous as children often don't find success when they grow up because audiences would prefer to remember them as the youthful symbols they once were. In music, I guess it's the same story. Some child stars like Michael Jackson and Stevie Wonder manage to continue to make music as they get older, sometimes even better than what they created in their youth. Janis Ian should also fall into that category. Her song "Society's Child" was a hit song in 1967 when Janis was only 16. While it was a great song in its own right, the fact that it was banned by most radio stations for its interracial subject matter was enough to make Janis a celebrity before she graduated high school. Proving that she wasn't a shot in the dark, Janis continued making music after "Society's Child". But there were times when she couldn't cope with the fame and, at least twice in her career, has turned her back on it all to both live her life and hone her musical skills. She first came back in the mid-'70s with "At Seventeen", proving to be one of the most astonishing comebacks in music history. She again retired in the early '80s, this time staying out of the business for 12 years. She then returned in 1993 with BREAKING SILENCE, an album that dealt with the realization of her latent homosexuality. Once again, Janis Ian was praised like she was the next big thing in music. But perhaps her third go-round in music has been her most satisfying and permanent, for she's probably making some of her best music ever, and she's now in her 40s. 1997's HUNGER was a slight bump in the road to her '90s comeback, but not a devastating one as some have seemed to say. The reviews for this album have been mostly negative, saying it is too long or self-indulgent. In some cases on HUNGER, it's true, but those incidents are rare. Most of the album is of the what-you-hear-is-what-you-get quality, meaning there's hardly any production values and those looking for such may be disappointed with HUNGER. For the more open-minded, the bare-bones approach works in spades. Melancholy songs with titles to match like "Empty", "House Without A Heart", "On The Dark Side Of Town" and the title track could only have worked with a low-concept production like this. Too much sweetening would have made the songs sound too melodramatic at best. While regret may be the most prominent subject on HUNGER, the title emotion is also one that is more than present on here. "Welcome To Acousticville", "Searching For America" and "Honor Them All" all have Janis searching for something, be it freedom of expression ("Welcome"), feeling of belonging ("America") or family pride ("Honor"). The first two are often the reasons why people don't like HUNGER, because they think some of the songs could have been trimmed by a minute or two. But the rambling nature of such songs actually suits them wonderfully, and are reminiscent of the famous epic story-songs that Bob Dylan virtually invented. Not many people can create great music after over 30 years in the business, but Janis Ian has proven to be one of the few people that can. Maybe those sabbaticals she has taken from music before has helped her fine-tune her style into something so timeless, she could record well into her golden years if she wanted to. True, HUNGER may not be one of the best albums of her third time in the music business (the honesty of BREAKING SILENCE is almost irreplacable it seems), but Janis is one of those artists where even her least-inspired music is worth a listen. Her most recent album GOD & THE FBI has received some good reviews lately, so if anyone has recommendations for that one, I'd be glad to get them. In fact, I HUNGER for them.

listen to this album!it's incredible...
janis just gets better and better with each album. i became a fan with "between the lines" and have never regretted picking up one of her albums. her guitar work is magic! and she is definitely not afraid to voice her political opinion.

janis ian is a wonderful talent. this album is a mature tour de force and i highly recommend it.

fave track: getting over you

I Hunger For More Janis Ian
Hunger is an exceptional album. Janis takes hold of you and doesn't let you go till the last chord fades on the last song.I then reach over and hit the play button and take the ride again. Be sure to listen to my favorite track "Welcome To Acousticville". It's just Janis and her acoustic guitar playing live, some of the best blues I've ever heard. This cut is how you would hear Janis in concert,just her and her guitar.That's all she really needs.I highly recomend Hunger. Janis Ian is remembered for "At Seventeen". If you haven't heard anything from her since then, you are missing a lot of great music. ... Read more

Asin: B000000NNN
Sales Rank: 90506
Subjects:  1. Contemporary Folk    2. Folk & Traditional    3. Folk-Rock    4. Pop    5. Singer/Songwriter   

Blood Red Cherry
Average Customer Review:
Audio CD (10 July, 2001)
list price: $17.98 -- our price: $14.99
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Editorial Review

Three years after her last album, Happy?, thedouble-platinum-selling Jann Arden returns with her most rhythmic record, andalso her most emotionally naked. In collaborating with her longtimeguitar player Russell Broom, Arden sets her dreamy excursions of loveand lust to a stronger pulse, working with drum loops to drive herfiercely erotic and romantic fantasies. It's these songs that carry thealbum, not the occasional oddity like "Janeen," a warning about asociopathic lover, or "Another Human Being," a treatise on the horrorsof African famine and disease, or even "I Only Wanted Sex," whichinadvertently offers the point of view of the guy from Arden's biggesthit, "Insensitive." What's particularly involving about the writing isArden's us-against-the-world vignettes of deep intimacy ("Sleepless")and her frequent expression of primal needs in alternately adult andinfantile fashion ("Cherry Popsicle"). If, as in the stunninglybeautiful "In Your Keeping," it's hard to know if she's addressing aparent, a lover, or God, in the end it doesn't matter: This isprovocative stuff, fit with wings to take you almost anywhere you wantto go. Isn't that what the best music always does? --Alanna Nash ... Read more

Reviews (13)

Magical
This is the cd that I go back to time and time again.It is my favorite!My personal favorite is 'Mend".It's a celebration of how love and a relationship can survive given the careless way we treat each other and our emotions.There is not a single song on this album that I do not like.It gives me countless hours of enjoyment.The music and the words are meant to touch your inner heart and stimulate your mind.Who could ask for more?

Just when you think you know her!
We don't hear Jann on USA radio stations so I have to keep tabs on her releases.I heard Jann sing on "Live With Regis" about a year ago and she sang "Cherry Popsicle".Although it wasn't a great live performance even by the reaction on the show--I knew Jann's work and knew I'd get the album eventually.

The songs that grabbed me on this one are:"Sleepless", "Into the Sun", "Another Human Being", "Janeen", "Taste of This" and "Mend".This album has a different sound both musically and vocally.The vocals are more restrictive on "Blood Red Cherry" as they do not 'showcase' Jann's powerful range as we heard on "Living Under June" and "Happy". We only get brief glimpses on such songs as "Another Human Being", "Janeen", and "Taste of This". This album's synthesized instrumentation partially overwhelmed her vocals, and the emotive lyrics sometimes came across as a whiny country twang.

Overall I did enjoy the album.Many reviews from those who disliked "Living Under June" have raved about this album.The only way to make a decision is to buy them both.Jann Arden has proven to be versatile and just when you think you got a hold on her style she sings "Best Dressed" and you think it could be a Dolly Parton song.Looking forward to her next album as always.

Great CD
You won't regret buying this CD.This artist has appeared with her music on Felicity, thats where I first heard her.This is a great CD, I love it! ... Read more

Asin: B00005LCFX
Subjects:  1. Adult Alternative Pop/Rock    2. Pop    3. Rock    4. Singer/Songwriter   

No Angel
Average Customer Review:
Audio CD (01 June, 1999)
list price: $18.98 -- our price: $13.49
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Editorial Review

Dido's debut is molded from Sarah McLachlan's intimate soul, Sinéad O'Connor's Celtic yelp, and Beth Orton's morose resolve--with all the sharp edges rounded out. Sculpted by producers Rollo (her brother) and techno-scientist Youth, No Angel is dream-pop mixed with Portishead-esque trip-hop; the results are midtempo ballads that would feel at home in Seal's neighborhood. The melancholy opener, "Here with Me," incorporates acoustic rhythm guitar, fluid strings, and a snare-driven tempo that simulates the slapping of rain off a windshield. "My Lover's Gone" is ethereal and misty, sounding at once ancient and modern with its synthesized ocean sounds and seagull cries. The only clunker is "Don't Think of Me," a passive, soft-bellied cousin to Alanis Morissette's "You Oughta Know." These songs play out beautifully in that quiet zone between slumber and consciousness--where you can see everything behind closed eyes. --Beth Massa ... Read more

Reviews (742)

Yes Angel.
I suspect this debut is something she will always have a hard time matching, because it's so good, and it seems to really touch alot of people. Dido says that she makes music that she wants to hear, and she's clearly not alone. I think this appeals to so many people because the music is a mesh of pop, folk, and electronica, and of course the voice and the lyrics are a plus too. "Here With Me" is a popular favorite and good opener, and no matter how many times I hear "Thank You", I always love it. That song just puts me into a trance. The rest is all very good, and it all leads up to my favorite song "Take My Hand". It starts very mellow, and builds up to a great beat, and is really quite an emotional and lengthy bonus track. So I say that a day without "No Angel" would be hell.

No Angel - An Albumn for A Rainy Day
This is a great albumn to listen for a rainy day. That's just the feel I got from listening to this albumn. Most of the songs in there are cold and even sad. And Dido's voice is perfect for those songs, a little detached, and a little cold.

The surprising thing is that most of the songs are even quite catchy. After listening to the albumn a few times, you would be able to sing along with it.

This is definitely an albumn worth buying.


Purple_Garden

Thank you, Dido
I picked up three different CDs using amazon.com's Marketplace Sellers over the past two weeks, in a combination of pleasure-related and work-related listening.

The last of the three is Dido's No Angel. This CD was released back in 1999, and for several years I've had a soft spot for "Here With Me", the lead single off of this CD. Last year I picked up her more recent Life For Rent, and was impressed with that disc's musical depth, so I picked this one up to get a feel for her earlier material. This disc show's Dido's potential. The emphasis here is on lyrics...I don't think that Dido's voice is truly remarkable (nothing wrong with it though), but her lyrics are thoughtful. So far, my favourite off of the album remains "Here With Me", but I'm enjoying "Hunter" and "Don't Think of Me" as well. As with Life For Rent, I suspect that No Angel will grow on me over time.

For some reason, Dido's music reminds me of Coupling, the British sitcom. Not sure why that is, specifically...was there a Dido track used in the series somewhere? ... Read more

Asin: B00000IAU3
Subjects:  1. Pop    2. Rock   

Boys for Pele
Average Customer Review:
Audio CD (23 January, 1996)
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Editorial Review

Boys for Pele, the title of Tori Amos's epic third album, is as awkward and confusing as the music inside. Though it sounds like a recruitment slogan for Little League soccer, the name actually refers to the lost temples of feminine divinity. Pele, you see, is the Hawaiian volcano goddess; the boys, well, they're the sacrifices that quell the rumbling lady's rage. Attempting to regain fires stolen long ago, Pele rewrites the crucifixion to star a girl Jesus and in doing so conjures a forgotten matriarchal mythology. While Amos's characters--Jupiter, Muhammad, Lucifer--are male by name, the aural landscape into which they're thrown is as symbolically and expressionistically female as Georgia O'Keeffe's skull-and-roses paintings.Pele is a complex and formless--and often impenetrable--work of gothic-pop chamber music, both beautiful and ghostly in its nearly complete reliance on Amos's rolling Bosendorfer grand piano, chilling harpsichord (which she bangs like a courtly punk rocker), and acrobatic voice (as earthy as Joni Mitchell's and as otherworldly as Bjork's). Unfortunately, she takes us only halfway: her songs engage and challenge us to understand, but the imagery offers few clues to help us crack their frustrating opacity. Pele ends up as much a pretentious and self-indulgent trip as it is a synthesis of talent, imagination, and skewed vision. Still, there's reason to celebrate that an album as formalistically and thematically alien to pop audiences as Pele would win such quick success upon its original release. --Roni Sarig ... Read more

Reviews (309)

Dark boys, heavy days, glorius talent
Tori Amos got her some horses to ride on in the first track, and from there on it is one amazing trip through this whirpool of lost love, dark contemplation and scratching on surfaces.

BOYS FOR PELE ( Pele being the Hawaiian volcano goddess and Tori's alter ego on this album ) is a new, but sensual and enigmatic journey in her music. Released in 1996 this album alienated many fans. Gone are the 'girl and her piano' sound of Little Earthquakes and Under the Pink.

It spawned singles like "Caught a lite sneeze" and "Hey Jupiter", but the pace, I believe, is being set by songs like the organ/harpischord driven "Blood Roses" - a tragic account of a failed relationship...."I've shaved every place you've been boy.....Sometimes you're nothing but meat". Also "Talula" and one of my favourites, the short but sharp "Way Down".

All in all a wonderful album. I see it as a grand and swift transition from UNDER THE PINK to FROM THE CHOIRGIRL HOTEL.
New fans should steer clear, but once you start to "get" Tori it is one hell of an honest, dark and splendid ride.

Favorite Tori Album
I love Little Earthquakes (I like these songs live, though). But I love BFP. What a masterpiece. I love all of the anger and passion. I just feel it. She is so amazing. This was the very first Tori album I bought, and of course did the usual back cataloging and now have the entire library. Even though there is a lot to take in, you eventually get something new with each listen. I learned a lot about Tori through this album. Though I am a guy, I relate to her anger in this album. This is the most raw Tori album, and because of the no holds barred, this is one of the best albums ever made by any artist. (yes, there is a bias). But, I love Tori, and if you are new to her music, just go ahead and start from the beginning, but you will need to listen to this album MANY times to really get it. Trust me, you will get it and you will love it!

got me hooked!
Boys for Pele is my favorite record of all time! I had both Tori records beofe this one but this one got me hooked and this was also the year I got to witness Tori live and the rest is history. it's been about 9 years since this album came out???!!!! the songs on this record are quite timeless cause they are still with me. Blood Roses was always a stand out track for me. and ofcourse they are so many Tori Classics and fan favorites on this cd! forget the greatist hits record just start here! I still put a smile on my face when I hear songs like Horses, Not the Red baron, Caught a lite sneeze. and some songs I didn't love when I first got the cd like Putting the Damage on. I guess this review is pretty much pointless cause I could never tell you how much this album really means to me in words. ... Read more

Asin: B000002J88
Subjects:  1. Pop    2. Rock   

Live Through This [Bonus CD]
Average Customer Review:
Audio CD (12 April, 1994)
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Editorial Review

This whole album is filled with scathing fury, mostly directed at the impossible situation that confronts women when they are asked to be both wild sources of pleasure and unblemished mother figures. Live Through This uses the same recipe of punk and metal wrapped around pop melodies that made Nirvana so captivating, but Hole uses the methodology in a more conventional manner. The metal ingredient tends to dominate, perhaps because it's the simplest to master, and too often the album resembles early Heart or late Joan Jett--particularly when Courtney Love opens up with her big, wailing voice. Love externalizes her anger, blaming all her problems on the rest of the world. Self-confrontation makes for far more interesting songs. --Geoffrey Himes ... Read more

Reviews (207)

Great
When I heard about Kurt's death I thought at a point it was his wife cause I knew nothing about her but she was a very wild person. I heard she had a band and I thought to myself I wonder if its good. I came home and started to listen to it, I was amazed not only by her voice or the tunes but the lyrics also.

This is their best album they have made. If you like chick bands or grunge then this is a must listen to.

Courtney proves she is a "Rock Star"
This is quite possibly the best album I have ever bought.I don't think that I have ever listened to any other album where each song was so perfectly and beautifully put together.This album contains absolutely no mistakes.Even in the song "Rock Star" where there seems to be a few slip-ups, the rawness is of this album is so remarkable that it will haunt you.The powerful lyrics, Courtney's pounding yell, the beautiful melodies performed by the masterminds of Hole, all come together wonderfully in this masterpiece.The album in itself is truly haunting, most of it being written in a time in Courtney's life where there was much emotion, her pain and feelings come out and let you into the complex figure of Courtney Love.Every line draws you closer to understanding Courtney and how she must have felt while undergoing such things.In the song "I Think That I Would Die" the line "I want my baby, where is the baby?I want my baby, who took the baby?" is incredibly haunting knowing that Courtney's daughter was taken from her not long after her birth.This album shows Hole at its best, and believe me, Hole's best is something spectacular.

awesomeness
one of the best cds i have ever listend to. great songs, messages, overall amazing. helps prove courtney was not riding on kurts coattails. ... Read more

Asin: B000003TAY
Subjects:  1. Alternative Pop/Rock    2. Grunge    3. Pop    4. Rock   

Liz Phair's Exile in Guyville proved that a debutante-attractive woman rocker singing about oral sex could earn the attention of the mostly male rock press corps. But Whitechocolatespaceegg confirms--much as her second album, Whip-Smart, attempted--that Phair can be a pop tunesmith as well. Her songs snap and crackle with giddy doses of '80s new wave, Buddy Holly pop, and Stones rock; her husky voice mostly overcomes its previous, potentially off-putting wobble. And while the clangy "Johnny Feelgood" recalls Phair's earlier tough-sex scenarios, "Polyester Bride," which eavesdrops on a conversation between an advice-giving bartender and a wide-eyed female patron (maybe this season's answer to Semisonic's "Closing Time"), is more demonstrative of Whitechocolatespaceegg's thematic maturation: less titillating but no less womanly. And no less feisty. --Neal Weiss ... Read more

Asin: B000009OGW
Subjects:  1. Adult Alternative Pop/Rock    2. Alternative Pop/Rock    3. Indie Rock    4. Lo-Fi    5. Pop    6. Rock    7. Singer/Songwriter   

Few women have expanded the vocabulary of rock as bewitchingly as Kate Bush; among male stars, only Prince may have taken as many risks. Hounds of Love saw Bush reining in the kookier aspects of The Dreaming, channelling them into epic electro-pop that tackled big issues of life and death and God with gripping drama and intensity. "Running Up That Hill" was one of the great singles of the '80s; "Cloudbusting" was string-driven, magically pretty; "Jig of Life" showed that Bush is one of the few pop artists who can flirt with Celtic mysticism without sounding twee or trite. Forget the riot grrrls: Bush is the real thing.--Barney Hoskyns ... Read more

Asin: B000002U9E
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Pop    4. Prog-Rock/Art Rock    5. Rock   

1989's Sensual World remains Kate Bush's most mature, entrancing album. Expectations ran high for the long-awaited follow-up to her 1986 breakthrough The Hounds of Love, and she met them with this sometimes breathtaking, often introspective work. On songs like the erotic title track and the dramatic "Love and Anger," Bush charts the many rhythms of relationships with a keen eye for detail and less frilly bluster than usual. Elsewhere, with the tense "Between a Man and a Woman" and the lush "This Woman's Work" she virtually lays the foundation for Tori Amos's future success. Musically, Bush broadens her palette with the smart additions of Irish piper Davey Spillane, Balkan singers The Trio Bulgarka, and jazz bassist Eberhard Weber. --Michael Ruby ... Read more

Asin: B0000026IP
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Pop    4. Prog-Rock/Art Rock    5. Rock   

On her 1975 debut, Smith was full of piss and vinegar, seriously interested in bringing together high art and low three-chord rock & roll.As a result, her free-form poetry meshes with covers of "Gloria" and "Land of a Thousand Dances," and the album centers on two long, highfalutin' pieces, including the three-part suite (warning! warning! art!) "Land." (The CD version appends a messy live take on The Who's "My Generation.") Led by Richard Sohl's piano, the arrangements don't exactly rock, and some of Smith's songwriting gets buried in its stylistic affectations (there's a great song under "Redondo Beach"'s fake reggae). But the point of Horses was Smith's persona of volume, cunning and exile, and it comes through distinctly. --Douglas Wolk ... Read more

Features

• Original recording remastered

Asin: B000002VQQ
Subjects:  1. Pop    2. Rock   

Hounds of Love
Average Customer Review:
Audio CD (25 October, 1990)
list price: $11.98 -- our price: $10.99
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Editorial Review

Few women have expanded the vocabulary of rock as bewitchingly as Kate Bush; among male stars, only Prince may have taken as many risks. Hounds of Love saw Bush reining in the kookier aspects of The Dreaming, channelling them into epic electro-pop that tackled big issues of life and death and God with gripping drama and intensity. "Running Up That Hill" was one of the great singles of the '80s; "Cloudbusting" was string-driven, magically pretty; "Jig of Life" showed that Bush is one of the few pop artists who can flirt with Celtic mysticism without sounding twee or trite. Forget the riot grrrls: Bush is the real thing.--Barney Hoskyns ... Read more

Reviews (101)

A masterpiece.
While its a term that is often misused, "Hounds of Love" is an album that shows Kate Bush as a mature artist-- this is not to imply lifeless or without edge, as this usually means, but rather that Bush has fully come into her own as a performer, providing an album performed with confidence, full arrangement, and cleverness.Lyrically, it is her best imagery, at times her most distant and yet her most personal, and her vocal delivery lacks any sort of harshness that could sometimes be present in the past.

Back in the days of vinyl, this was a two-sided album in the truest sense, the first side titled "Hounds of Love", the second "The Ninth Wave".The latter is apparently some sort of concept story about a woman drowning, but its quite honestly pretty loose.

The first side is filled with mid-tempo pieces-- Bush has reached a state of fully realized pop, with the fantastic "Running Up That Hill (A Deal With God)", the title track, and "Cloudbusting".Perhaps the highlight of all of these is the fantastic arrangement and superb confident vocals from Bush.Drastically different is "Mother Stands For Comfort", featuring a fantastic vocal and superlative bass playing, but somewhat marred by an obnoxious breaking glass sample.I've always found "The Big Sky" unfortunately to be a bit too pop for me, its a reasonable song, but what it does, other pieces on this one do better.

The second side is puncuated by much sparser arrangements, the result being that Bush's voice really gets a chance to shine on pieces like "Under Ice", where her vocal floats above dark strings and the stunning "Jig of Life".But really the entire side of the album is a long highlight and rather brilliant, barring the somewhat annoying "Waking the Witch" and "Watching You Without Me", where samples and overproduction get in the way of otherwise fantastic pieces.

Small flaws aside, this is likely the best of Bush's work and a superb place to begin looking at her work, highly recommended.

Wow - A Real Classic
I really enjoy this album. It's actually my Dad's, but I think of it as a shared CD now, since I play it so much.

Anyways, my Dad loves Kate Bush and has raved about this album for as long as I can remember. So, one day, as I was on the computer, I decided to play it. I'd heard it all before, but never really paid attention.

The album is fantastic and one of my favourite albums ever. Kate Bush has a great voice and every song is worth listening to. It's very original.

10/10 - A Timeless Classic

Generally haunting favourite of both casual and serious fans
"Hounds Of Love" by Kate Bush
Genres: Rock, Prog-Rock/Art Rock, Alternative Pop/Rock, College Rock
Release Date: 1985

This entirely self-written and produced album was a huge success for Kate both in England and overseas, the single "Running Up That Hill (A Deal With God)" being a hit in America. She produced it all inside her own private studio at her house in England, and when released in September of 1985, it knocked Madonna's "Like A Virgin" off the top of the album charts.

The success is understandable, as this is Kate's best album to date. However the two halves of it are very different. There is the first half of the album entitled "Hounds Of Love" and features the more commercial, pop-orientated arrangements and tunes on the album. The second half is a mini concept album called "The Ninth Wave" in which Kate tells the story of a drowning woman which may end with her surviving and waking up, or dying and being reborn. This was extremely ground-breaking and sounds like nothing else that came out of the '80s and is therefore not dated in the least today. It's a shame that movie plans for this concept fell through. Everyone who brought this album the first time around probably brought it for the four hit songs packed on side one, the only non-single being a strange song ("Mother Stands For Comfort" that would only be out of place with the rest of "The Ninth Wave" for the mood ring synthesizers. It too could have been a hit single with the crashing glass sounds (used also on "Running Up That Hill" and an earlier Kate masterpiece "Babooshka"), cold piano, and warm electronic waves. All four singles are spectacular, and even groundbreaking on "Cloudbusting", a beautiful if not instantly catchy number full of strings and heavy drums about a machine that makes it rain. Kate rocks out on "Hounds Of Love" and "The Big Sky" and performs with sensual and energetic catharticity on "Running Up That Hill". Full, bewitching and layered pop/rock is not where the album description ends.

Riding the death-whale that is "The Ninth Wave" Kate moves on to haunting territory with the sentimental sounding "And Dream Of Sheep" (Kate sings and plays the piano beautifully) that leads onto the tense and brilliant "Under Ice" which stirs up the imagery of a snowy day with a tragic accident waiting underneath the ice on the lake, through to the calm but ominous and eventually terrifying "Waking The Witch", then onto the mellow "Watching You Without Me". Sampling is used very expertly on all of those tracks. Kate then experiments further with the Irish sounds used on 1982's "The Dreaming" album with the dramatic, unforgettably epic "Jig Of Life" (Complete with recited poetry by her brother John during the climax). Then the creepy "Hello Earth" breathes down your neck like a scene out of "Nosferatu" during the dark cathedral chants before Kate is reborn in some way through the light and bouncy "The Morning Fog".

Arguably the best and most enduring album released in the 1980's, this is widely regarded as Kate's masterpiece. It shows off all her best qualities and in their best light.

Best Tracks: Every single one. "Running Up That Hill (A Deal With God)" is the most catchy, and "Under Ice" the most instantly memorable from "The Ninth Wave". ... Read more

Asin: B000002U9E
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Pop    4. Prog-Rock/Art Rock    5. Rock   

The Sensual World
Average Customer Review:
Audio CD (04 October, 1989)
list price: $11.98 -- our price: $10.99
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Editorial Review

1989's Sensual World remains Kate Bush's most mature, entrancing album. Expectations ran high for the long-awaited follow-up to her 1986 breakthrough The Hounds of Love, and she met them with this sometimes breathtaking, often introspective work. On songs like the erotic title track and the dramatic "Love and Anger," Bush charts the many rhythms of relationships with a keen eye for detail and less frilly bluster than usual. Elsewhere, with the tense "Between a Man and a Woman" and the lush "This Woman's Work" she virtually lays the foundation for Tori Amos's future success. Musically, Bush broadens her palette with the smart additions of Irish piper Davey Spillane, Balkan singers The Trio Bulgarka, and jazz bassist Eberhard Weber. --Michael Ruby ... Read more

Reviews (64)

Mixed bag, but "This Woman's Work" alone makes it worthwhile
Let's be honest here, any review ofthis album is going to view it in light of "Hounds of Love", the album it followed.And in many ways, thats likely an unfair record to compare anything to, being as it is probably Bush's masterpiece.Having stated that though, this album should have had an easier time standing up to it, but it has a few flaws, not the least of which being a sort of muddy sound, this causes the separation between the vocals and instrumentation to sometimes not work well, and some songs ("The Sensual World", "Never Be Mine") have parts of their vocal partially obscured by the backing.Bush also developed an odd, wide vibrato vocal technique she uses on a few songs that somewhat gets in the way of the piece.

Now mind you, there's nothing that can stop the wonder and amazement of "This Woman's Work".Likely the best song in Bush's entire catalog, it is a piece of delicate and amazing beauty, of jaw-dropping instensity, with a slightly overblown orchestra arrangement from Michael Kamen that somehow works flawlessly, it is a piece of delicate and amazing beauty that begs for hearing.

Other standouts on the album include the amazing "Rocket's Tail", featuring a breathtaking a capella intro (by Bush and the Trio Bulgarka) before evaporating into a stunning guitar solo (courtesy of Pink Floyd's David Gilmour) and the funky, albiet somewhat poorly realized "Heads We're Dancing" (featuring monster bass playing from Mick Karn).And a couple tracks ("The Sensual World", "Deeper Understanding", "Never Be Mine") are decent enough.Still, there's a bit too much unengaging material ("Love and Anger", "Reaching Out") to let this album reach to the heights of previous work.

"This Woman's Work" really is worth the price of the album alone, but this is far from the best of Bush's work.

Usually accessible, combining her other album's best points
"The Sensual World" by Kate Bush
Genres: Rock, Prog-Rock/Art Rock, Alternative Pop/Rock, College Rock
Release Date: 1989
Label: EMI

"This is probably my most feminine album," said Kate Bush when asked about "The Sensual World" upon it's release. She's right, and this comes through in the decidedly more erotic lyrics and the music. From listening to the opening title track with wedding bells, lush instrumentals, sexy echo-drums, and sensually erotic lyrics, which was modern then, yet ahead of it's time, it's easy to think that Kate has grown up since "Hounds Of Love". However, the bashful romantic of "The Kick Inside" is still there only just under the surface, and she comes out to the top to play on a few occasions.

The first of those occasions is "Love And Anger" a catchy, rocking and worldly single which features the first of two memorable guitar contributions from Kate's personal friend and the man who discovered her, Dave Gilmour of Pink Floyd. At the end she seems to literally laugh in our face for thinking that Kate Bush was all mature and grown. "The Fog" is a song who's meaning reflects the production. It is (sort of) about tough love; the production is soft yet the strings are as big as the deep and dark water Kate sings of. It's grown-up yet vulnerable, beautiful and acoustic-sounding, with those enveloping strings responding to a spoken contribution from her father (credited as Dr. Bush).

We move onto "Reaching Out", featuring sentimental lyrics, softly epic strings, and a very impressive vocal performance by Kate. "Heads We're Dancing" is incredibly dark and sounds like it could have been included on "The Dreaming" from seven years earlier. It's a tale of a woman in 1939 who dances with a charming man at a ball in Germany, who she later finds out is Adolf Hitler, much to her horror. It is dark and scary, yet doesn't really sink in for quite a few listens. Nonetheless, it shows aspects of Kate's genius in their best light. The Peter Gabriel style "Deeper Understanding" is the only track that sounds dated and maybe even a little cheesy, and is sort of a love-letter to Kate's computer (of course with a darker side), complete with beautiful vocals by the Bulgarian band Trio Bulgarka discovered by Kate and used again on "The Red Shoes" four years later. "Between A Man And A Woman" also sounds dated, but not too much, and is only slightly more light-hearted than "Head's We're Dancing". She scalds an outsider for trying to interfere with a delicate relationship, despite their good intentions. It's a type of song only Kate could do.

"Never Be Mine" is a little forgettable the first time around, but comes through atmospherically after repeated plays. The beautiful afternoon lake-side feeling to the song is complimented by the same mood-ring synths of "Mother Stands For Comfort", and still sounds oddly acoustic. The most instantly memorable track is the glam-rock "Rocket's Tail" (named after her cat). It starts off with Kate singing a-capella backed only by the Trio Bulgarka for the first two minutes (showing how good they are better than any other song they accompany Kate on), until David Gilmour bursts through stylishly with incredible guitar work reminiscent from his heyday in the 70s. "This Woman's Work" is her most beautiful ballad since "The Kick Inside" and was used in the 1988 film "She's Having A Baby". It was a hit for Kate, and a lot of peoples favourite. But casual fans or newcomers should not expect the album to be ten other "This Woman's Work"s.

The album on LP and Cassette closed with "This Woman's Work", but the CD features a bonus track, "Walk Straight Down The Middle", which is characteristically (of this album) atmospheric, dark, catchy and memorable, but dated. Like her closing "The Dreaming" with donkey braying like something from the more haunting parts of "Pinocchio", she opts to end the affair with the strange vocal experimentation of peacock sounds, also characteristically more feminine than the donkey from seven years ago.

The only thing consistent about this album is it's brilliance. Unfortunately the inconsistencies are the best things: instantly memorable songs and ageless production techniques. This takes away very little from the album, though, which is one of Kate's best and most sensual works to date. Kate has always made heart-stopping music, and it can be heart-stopping in so many ways. "The Sensual World" fits in between "Hounds Of Love" and "The Red Shoes" (four years after and before each one respectively) extremely well, and is a perfectly unique piece, but unmistakeably Kate. A wise purchase for a newcomer, if bought after "The Whole Story" which only chronicles the first eight years of her career.

Best Tracks: "The Sensual World" for being so sexy and memorable. "The Fog" for it's strange strong/vulnerable beauty. "Heads We're Dancing" for it's scary darkness. "This Woman's Work" for it's unmatched beauty.

A good sampling of "This Woman's work".
I find this to be a good album from Kate Bush. It has a nice vibe, and is very consistent in mood, but what keeps it from being great like her previous album, is that nothing really stands out. Still very good though. "Sensual World" and "Love And Anger" are two of the better songs up front. One of her best tracks ever is included, "This Woman's Work", however I heard Maxwell cover it a few years back, and his version is actually just as wonderful. Overall this is a good disc to pick up used, or a good buy for the fanatic. What she really needs though is an updated and remastered collection, since her "Whole Story" best of is from 1986. ... Read more

Asin: B0000026IP
Subjects:  1. Alternative Pop/Rock    2. College Rock    3. Pop    4. Prog-Rock/Art Rock    5. Rock   

When I Was a Boy
Average Customer Review:
Audio CD (03 August, 1993)
list price: $11.98 -- our price: $10.99
(price subject to change: see help)
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Reviews (37)

In the Words of Kate Bush: Wow, Wow, Wow, Unbelievable!
The eternal feminine drives us on...

Well, it does seem that women artists do often manage to go places inaccessible to their male counterparts.I've been hearing about Jane Siberry for years and have (inexcusably) put off listening to her work until just recently.Like Kate Bush and Laura Nyro, she creates an entire poetic universe that you enter into willingly but not without some risk.

Interesting how this album builds.On first hearing, I found the first couple of songs ("Temple" and "Calling All Angels") instantly captivating but found much of the rest of the album, challenging.The songs seem to become a bit more amorphous as the album progressed, with some of the later tracks sounding more like aural collages than true songs.

But with each additional hearing, the album gels more.The more "difficult" songs don't seem quite so formidable as one gets accustomed to their subtleties. "Angel Stepped Down," "Vigil" and "At the Beginning of Time" are darn near brilliant in fact.After several listenings, I find the album is a near perfect whole, with each track leading into the next almost seamlessly.

I'd rate this Siberry effort right up there with such classics at Kate Bush's THE DREAMING, Nico's THE MARBLE INDEX and Laura Nyro's ELI AND THE 13TH CONFESSION.Which is to say, Jane Siberry rates pretty high in my own personal pantheon.Now on to the rest of the Siberry oeuvre.

A Musical Journey That Captures Much of Life
Many of these reviews sound over done, but this is the real thing - an musical journey that is so intimate about love, death, spirtuality, with the joy of music thrown in, that it makes me happy to be alive.

Not for everyone, but neither is introspection!

amazingly wonderful
I had never heard of Jane Siberry until about a month ago. I discovered her quite by accident while station surfing my cars FM dial. Heard a guy on the radio say: "And now, Jane will perform another song for us. Ladies and gentleman, live in studio, once again here's Jane Siberry". A gentle melodic piano started .....and then a high and airy voice broke in. The song went on about how "Love is Everything" they said it would be. Halfway through, my eyes started burning from the tears building up and Iknew right then and therethat I just HAD to have a copy of this song. Got home and looked her up at CDNOW, saw the song was on the "When I was a Boy" disc and imeadiately put it into my shopping cart. It is now my favorite CD.

Listen folks. Take it from one who is not easily moved by silly love songs. This CD is pure bleepin magic. There is just something about her voice (technically not all that good) that reaches right into your heart and soul. There really isnt a bad song on "When I was a Boy".... some are just nicer than others. I dont know if any of her other work is better or even as good as this, but I certainly am looking forward to finding out. ... Read more

Asin: B000002LSF
Sales Rank: 10010
Subjects:  1. Adult Alternative Pop/Rock    2. Alternative Pop/Rock    3. Canada    4. College Rock    5. Folk & Traditional    6. Pop    7. Singer/Songwriter   

Horses
Average Customer Review:
Audio CD (18 June, 1996)
list price: $13.98 -- our price: $13.98
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Editorial Review

On her 1975 debut, Smith was full of piss and vinegar, seriously interested in bringing together high art and low three-chord rock & roll.As a result, her free-form poetry meshes with covers of "Gloria" and "Land of a Thousand Dances," and the album centers on two long, highfalutin' pieces, including the three-part suite (warning! warning! art!) "Land." (The CD version appends a messy live take on The Who's "My Generation.") Led by Richard Sohl's piano, the arrangements don't exactly rock, and some of Smith's songwriting gets buried in its stylistic affectations (there's a great song under "Redondo Beach"'s fake reggae). But the point of Horses was Smith's persona of volume, cunning and exile, and it comes through distinctly. --Douglas Wolk ... Read more

Features

• Original recording remastered

Reviews (48)

misplaced joan of arc meets late-night joan of arc, love
It gives me great pleasure to think that if anyone ever tried to cover any of the songs they would be making a complete joke of themselves. Ironically, "land of a thousand dances", a cover of a song made popular by wilson picket, and van morrisons "gloria" have got patti's guts all over um. If Neil Young was about one thousand times sexier maybe his "down by the river" could be a male equivalent. But, Patti Smith transends any gender issue despite the fact she and janus will never be matched in the female frontman category. If I had to attempt to show anyone the power of rock and roll I would just play "free money" and walk away. Also, the ballad "birdland" despite its 9 minute and 14 second span is probably the most captivating song on the album. She is simply put, fierce and fearless. Too many of our precious baby boomers missed this classic album in 1975 and now they scratch their heads as their own precious little one's slam good charlotte and simple plan into thier sad souls.

Mass with the High-priestess
SIX STARS
For me this was the most important album of the seventies.
Patti Smith's debut album Horses came on the scene with a fury.
Eight songs (plus a bonus track) take you on a long mystical journey.
Patti Smith initially fell into the broad catagory of punk but Patti Smithis in a catagory all of he own. Her lyrics are very literate and poetic and yether words and music can at times have the raw power of punk.

This Beat/Punk mass begins appropriately with the song "Gloria" and with the same "appropriateness" begins with the line

"Jesus died for somebody's sins but not mine"

It starts out slow but then Patti begins to rock. Patti comes across like an icy blue Janis Joplin because like Janis she puts heart and soul into every song.

The second song "Redondo Beach" is somewhat down beat and slightly morbid but through out the album an atmosphere is established - and through the joy and the pain expressed one is reminded of many of Allen Ginsberg's poems.

The third song "Birdland" is by far the most moving. And here takes us from the lows to ecstasies it is intricate both lyrically and musically and to my mind is the best example of Patti Smith at her craft. The song inspired by the son of Wilhelm Reich takes off as though part incantation part revival meeting. If you listen to this song alone and give it your complete attention you will find yourself emotionally exhausted by the end of it. The first portion of lyrics are as follows (limitations of the space given prevent me from printing out the entire lyrics here but it must be heard to truly appreciate its vision. There are parts of the song that literally give me chills up my spine.

Birdland

His father died and left him a little farm in new england.
All the long black funeral cars left the scene
And the boy was just standing there alone
Looking at the shiny red tractor
Him and his daddy used to sit inside
And circle the blue fields and grease the night.
It was if someone had spread butter on all the fine points of the stars
'cause when he looked up they started to slip.
Then he put his head in the crux of his arm
And he started to drift, drift to the belly of a ship,
Let the ship slide open, and he went inside of it
And saw his daddy 'hind the control board streamin' beads of light,
He saw his daddy 'hind the control board,
And he was very different tonight
'cause he was not human, he was not human."

Oh my.

The fourth track "Free Money" gives us somewhat of a break from the tension and the artistic and literary references but only slightly and is sung by its end with great urgency.

The fifth track "Kimberly" is a beautiful poemsparsely backed up by music. Once again we feel as though we are in the hands of a master.

The sixth track "Break it Up" Smiths voice goes from pleading to sweeping and one point even singing while she pounds on her throat. It is as if like Harry Partch, Patti smith is out to create her own form of music.

The seventh track "Land/Horses" is perhaps Patti Smith's most ambitious and once again the priestess pulls out all of the stops as story teller, conjurer and giver of rapture.

The eight track is Elegie. As the title suggests it is somber but Patti again does some marvelous things with her voice to emphasize every phrase.

There is one more track but at this point stop. The last track is quite worth while but my advice it to letthose 8 songs linger in your mind for a while before yougo on to the next.

The last track is My Generation the famous Wh