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Turn It Around Average Customer Review:  Audio CD (28 May, 2002) list price: $13.98 -- our price: $13.98 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Reviews (2)
How many albums have you bought recently that you can actually play from beginning to end without getting bored? By the time you get to the last notes of "All The Money In The World" you'll want to press the repeat button to take it back to the top. I might even go as far as saying that songwriter-singer-guitarist Joe Hutchinson is the new Ray Davies or Pete Townsend. "THE BEAST WITHIN", "ALL THE MONEY IN THE WORLD", "TURN IT AROUND", "SO SPACED OUT" and "LEAVING HOLLYWOOD" will find their way into your top ten list and park themselves there for a LONG, LONG TIME. Some influences I can hear are Material Issue, The Who, Oasis, Rolling Stones, and other British Pop and 60's stylings. Hutch are the real deal... "TURN IT AROUND" is easily the BEST ALBUM OF 2002. ... Read more Asin: B0000648RK |
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Revolver [UK] Average Customer Review: Audio CD (25 October, 1990) list price: $18.98 -- our price: $13.49 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review Revolver wouldn't remain the Beatles' most ambitious LP for long, but many fans--including this one--remember it as their best. An object lesson in fitting great songwriting into experimental production and genre play, this is also a record whose influence extends far beyond mere they-was-the-greatest cheerleading. Putting McCartney's more traditionally melodic "Here, There and Everywhere" and "For No One" alongside Lennon's direct-hit sneering ("Dr. Robert") and dreamscapes ("I'm Only Sleeping," "Tomorrow Never Knows") and Harrison's peaking wit ("Taxman") was as conceptually brilliant as anything Sgt. Pepper attempted, and more subtly fulfilling. A must. --Rickey Wright ... Read more Reviews (570)
Asin: B000002UAR |
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11 Average Customer Review:  Audio CD (05 October, 1989) list price: $11.98 -- our price: $11.98 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Reviews (6)
The release starts off on a rockin' note with their first single from 11, "A Girl Like You." The guitar and drum driven tune combined with awesome lyrics and harmonies make this a great rock attitude anthem. Another single, "Blues Before and After" is another awesome drum and guitar drivin' rock anthem. Slowing down to a simple strum on the guitar, "Blue Period" is a bit more solemn and reflective, though it does has a slight upbeat 60s feel to it. And, hey, there's Belinda Carlisle singing the harmony! Back to the rock theme, "Baby Be Good" begs one's lover to be good while one is away. The harmonies and minor harmonics in the orchestration are very cool, and the chorus vocal hooks are addictive. "Room Without a View" focuses on worthlessness of focussing and reflecting so intently on the past. Again, one of the big fun features is the vocal harmonies in the refrain that are great to sing along with. Kind of along the same beat as "A Girl Like You" but a tad more mellow with a swayin' 60s feel, "Yesterday Girl" is a fun romp, though the lyrics are more about standing still. "Cut Flowers" takes a more plaintive turn, pleading to give those simple things to the one you love before they're gone. Unfortunately, I'm completely lost on the reference, so I'm not sure exactly what "William Wilson" is about, though the lyrics do touch on how life used to be simple before meeting this person. "Maria Elena" is a bit more simple in it's profession of love for Maria Elena. The tune takes a slight country turn orchestrally, however it is only very slight. However, the closing tune, "Kiss Your Tears Away" takes a stronger country rock turn, however the harmonies in the refrain pull it back to an almost Toad the Wet Sprocket sound. Overall, I give 11 a strong 5 star rating and place it in my top 50 releases of all time. The attitude and rockin' feel (especially in the first 6 songs) really do my attitude some good any time I listen. This is one of those releases where the songs were so good and stuck with me and meant so much to me personally, I haven't been able to bring myself to purchase any other Smithereens releases. For me, this release is perfect, and I don't want to have anything else that might mar my love and appreciation for this release and artist. As a recommendation, you really have to like well-produced guitar and drum driven pop tunes. The vocals are serious and reflective, however the tunes are definite fun and attitude driven. I'm not quite sure who to compare them to, since this style is a bit divergent in my average music listening style and taste. Let's just say that if you liked upbeat and positive late 80s and early 90s music, get 11 - it's a definite classic that will be sure to satisfy, especially for those who need a good old-fashioned attitude adjustment. At one time I knew what the title 11 referred to, but I have long since forgotten. However, I will not soon forget the music and attitude the Smithereens introduced to me with this release. Most definitely, this "Baby Be Good."
Asin: B000006N4U |
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Bellybutton Average Customer Review:  Audio CD (29 June, 1992) list price: $11.98 -- our price: $11.98 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Reviews (40)
Asin: B000002URU |
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Bedtime With the Beatles (Pink Cover) Average Customer Review: Audio CD (30 October, 2001) list price: $17.98 -- our price: $13.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Reviews (4)
Asin: B00005R62Y |
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A Rush of Blood to the Head Average Customer Review: Audio CD (27 August, 2002) list price: $18.98 -- our price: $13.49 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review Coldplay required a lifetime to make their wonderfully assured debut,Parachutes. But it tookless than two years for the moody British quartet to deliver a masterful follow-up. As a band Coldplay have advanced to a stage where they outshine nearly every oneof their rivals in terms of imagination and emotional pull. A Rush of Bloodto the Head is a soulful, exhilarating journey, moving from the catharticrock of "Politik" to the hushed tones of "Green Eyes" without once breaking itsmesmerizing spell. Singer Chris Martin takes his voice on soaring flights,reaching places only JeffBuckley previously dared to go. And the music is nearly flawless, apersuasive cross between PinkFloyd and the Verve.Even if they haven't come up with another "Yellow," you would be hard-pressed tocare. This is exquisite stuff. --Aidin Vaziri ... Read more Reviews (854)
With the huge success of the band's freshman CD "Parachutes" came the fear that their sophomore effort wouldn't be able to measure up. Not so. Beautiful and powerful all at once- particularly "Green Eyes" (being a green-eyed girl myself, I'm fed up with all the blue or brown eyed girls getting all the swoony songs- every other song about green eyed girls makes them out to be evil!). I can't get enough of this London band, who announced at their concert that they couldn't believe how America has embraced them. Humility, charm AND indisputeable talent. Get this CD and DEFENITELY see Coldplay live when you get the chance.
This record excels on many levels along with the aforementioned. It works more as a pop record and therefore seems more appealing to the casual listener. It also contains the groups strongest songs to date. However, despite its brillience, it is not perfect by any means. Among its flaws lie within lyrics. The greater emphasis draws people in. And on a couple songs, like the title track, the lyrics try to be way too philisophical and fail to accomplish their goal. Also, the record contains a couple straight forward rock songs. They are not bad but not what Coldplay excels at. All of the flaws seem to make this record feel less complete, inviting track skipping and quick boredom. These are not qualities that Parachutes had and therefore AROBTTH is a slightly inferior record. I must urge people to pick this up though since it is still very very good. Don't expect the utter brillience from the first album to carry over however. TRACK RUN-THREW Asin: B000069AUI |
$13.49 |
Should be 2.5 bt 4 a band that made parachutes i'll round up
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Room for Squares Average Customer Review: Audio CD (18 September, 2001) list price: $13.98 -- our price: $9.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review Singer-songwriter John Mayer fills his debut, Room for Squares, with pep talks to and advertisements for himself. Even when questioning his young life, Mayer's doubts come off glib; not one second of "Why Georgia" convinces that "the stirring in my soul" keeps the artiste awake at night. Between his Dave Matthews-wannabe vocals and the accomplished but bland lite rock of his band, he could be just as easily offering tunes for hire to a coming-of-age network series as making a stand for himself and his worldview. The premise of "City Love"--that Mayer couldn't find his way around Manhattan until finding a girlfriend to root him to the place--is nice but not edifying. "My Stupid Mouth" is similarly fuzzy; letting us in on just what he said to alienate a dinner partner would've gone a long way toward fleshing out the song's pat self-deprecation. Ultimately, Mayer comes off less like a commiserating friend than a blabbermouth who's forever forgetting there's someone else in the room. And instead of whining about a discarded lunch box ("83"), dude, learn to brown-bag it the way the rest of us did. --Rickey Wright ... Read more Reviews (971)
However, this guy is getting a lot of flak from critics and it's particularly disturbing to me because I was an English major and I'm deeply committed to the necessity of criticism. Except when it comes to John. First with this CD, and then with his new one, which I haven't heard, everyone's annoyed with the way he balances on this line between art and commercialism. He's too contemplative to have a Justin Timberlake kind of following but he can't get any real artistic credibility--his musical hooks are too catchy, his voice is too reminiscent of the dreaded Dave Matthews (I don't know of another artist with a fanbase as rabidly possessive!), his lyrics too trite, and he's just too cute overall. And I'm saying, why? Who cares? I don't listen to John Mayer because I think it'll delve into the depths of my tortured soul--and maybe critics should stop assuming that John intends it should be so. Why must a pop artist who doesn't dance or appear on the cover of "Esquire" have motives of 'heaviness'? I, for one, keep "Room for Squares" in rotation as a sweet, diverting CD that makes me feel good. I think many of his lyrics are really clever, whether or not they stand up to whoever these critics want him to be. I don't think he's a musical or philosophical genius--which is maybe why his music feels so comfortable. He could easily be a friend of mine from high school, who has achieved something that makes a lot of people happy. Good for him.
Asin: B00005OAIE |
$9.99 |
oh god i hate this man.
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On And On Average Customer Review: Audio CD (06 May, 2003) list price: $13.98 -- our price: $11.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review Jack Johnson has found himself a groove. Indeed, the Hawaiian surfing champion turned alternative pop-folk star really hasn't changed things one iota for his sophomore release. Fans of Brushfire Fairytales should be delighted with the results. The groove is a mellow one--most of the 16 tracks here are semi-acoustic--and that easy-going spirit filters into Johnson's lyrical philosophies. "What will be will be / And so it goes" he sings on "Times Like These," the opening track. Thankfully, Johnson is never too mellow, and there's a "Don't worry, be happy" vibe to most of his music. "The Horizon Has Been Defeated" even has a pseudo-reggae feel to it. Although classified as an alternative musician, the singer-songwriter's compositions owe much to past hits. "Traffic in the Sky" is reminiscent of Jim Croce's "Operator" and Looking Glass's one-hit-wonder, "Brandy." On the splendid "Taylor," Johnson sounds an awful lot like Donovan. And "By The Way" recalls the Lovin' Spoonful. -- Bill Holdship ... Read more Reviews (206)
The best song is easily "Tomorrow Morning", but other must listens include "The Horizon Has Been Defeated", "Dreams be Dreams", "Times like these" & "Cupid". Johnson's unique approach in thought and musical direction is very admirable, and his attack on our corrupt society comes off fantastically on "Cookie Jar". The only problem with this disc, is that the songs sound very much alike, especially the background music. He never raises his voice above a soft whisper, but I guess thats for the dramatic effect of the album. You would be foolish to pass on this release, I highly recommed it.
Asin: B00008NG5V |
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Achtung Baby Average Customer Review: Audio CD (19 November, 1991) list price: $13.98 -- our price: $12.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review "I'm ready / Ready for what's next," Bono announces at the outset of Achtung Baby, the album that proved the so-called "band of the '80s" was capable of blazing into the '90s by replacing its flag-waving arena-rock stance with screaming synths, clubby rhythms, and industrial skronk. The group advances its sound without losing accessibility on "Who's Gonna Ride Your Wild Horses," "Even Better Than the Real Thing," and "Mysterious Ways," while pushing the envelope a bit more on "The Fly," "Zoo Station," and "Acrobat." The moody ballad "One" is arguably the finest song the band has produced, full of sorrow, compassion, and hope all at the same time. --Daniel Durchholz ... Read more Reviews (348)
With this CD, U2 changed from the sincere, idealistic boys from Dublin into a much more complex, confusing band. Regardless of which style of U2 you prefer, Achtung Baby is a must-have - its dark, powerful reflections on jealousy, loss and desperation blend perfectly with lighter but equally potent songs like "Zoo Station" and "Who's Gonna Ride Your Wild Horses?" Bono sounds great, especially on the beautiful ballad "One" and the rest of the band is in top form as well. Anyhow, I very strongly recommend Achtung Baby - from the opening tones of "Zoo Station" to the calm, powerful "Love is Blindness," this is U2 at their best.
Abandoning the soap box for a new attititude, an appreciation for irony, and a distinctly electric sound that defied the unplugged trend that was taking over popular music at the time, this record was touted as one of the many "reinventions" of U2. That said, it has everything that has always defined U2 - post-punk political angst ("Acrobat") and well-written ballads ("One" and "So Cruel"). But on this, their seventh studio release, the band found a groove ("Mysterious Ways") and a sense of humor about themselves ("The Fly"). Although the lyrics represented a shift toward more familiar subjects like relationships, Bono continued to wax philosophical over Edge's haunting guitar ("Love Is Blindness"). And as for those 1980s-era detractors who would assert that this record represented a selling-out of U2's sense of spiritual underpinnings for pop tendencies, I would answer that they simply do not understand the beauty of subtlety ("Until the End of the World").
From the very first sounds of the album's opening track, 'Zoo Station', it's clear that this will be a very different experience from The Joshua Tree or anything else they released before. The song is by far the heaviest and hardest track on the album, which makes for a great opener and a great introduction to the 'new', more produced, more experimental U2. That is not to say that the band mates' celebrated skills are nowhere to be seen; in fact, The Edge's guitar sounds better than ever, but he abandoned the clean tone that made him famous during the Joshua Tree / Rattle & Hum period for a much harsher, more distorted sound. What attracted me to U2's music was always the sound rather than the songs, and on Achtung Baby the sound is all around perfect. That can be felt on the album's catchier, mellower pop tunes, like the hit ballad 'One' and the successful single 'Mysterious Ways', as well as on the more experimental pieces - 'The Fly', 'Love Is Blindness', or 'Even Better Than The Real Thing'. U2 made a completely new band out of themselves in 1991, in terms of both music and subject matter; politics are nowhere to be found on Achtung Baby, and even the love songs have become more complex and sarcastic. U2 and Bono are darker here than they ever were. But all that does not mean that they lost they skill for making catchy tunes; on the contrary. Each song on Achtung Baby is a perfect pop song, and it produced a number of hit singles that equals its massively successful predecessor. Thus the ideal balance is struck between the qualities of each member of the band and the production team - Bono's pop poetry, The Edge's explosive guitar, Eno's always expanding experimentation, Flood's electronics. That balance will not - could not have - lasted for more than one album; Eno would take over on Zooropa, then Flood would have his own on Pop, and Bono would reclaim the group on All That You Can't Leave Behind. All of these albums are great for their own reasons, but not one of them could be compared to the inspiration of Achtung Baby. Even the most cynic of U2's haters should give it a listen; it really is one of the masterpieces of its time. ... Read more Asin: B000001DTM |
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Stereo (w/ Grandpaboy Bonus Disc) Average Customer Review: Audio CD (23 April, 2002) list price: $17.98 -- our price: $17.98 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review As frontman/songwriter for the late, great indie rockers the Replacements, Paul Westerberg was anointed the voice of a generation. And while that might look nice on the résumé, it can have its drawbacks; over the course of three solo CDs, Westerberg has struggled to regain the acclaim he once enjoyed. But the fortysomething rocker comes awfully close on his first CD in almost four years. Actually make that two CDs--Stereo consists of two separate projects and as a result showcases distinct aspects of Westerberg's songwriting skills. The raucous Mono is all spit and fire, and featuring a haphazard sound, finds Westerberg, a.k.a. Grandpaboy, and band tearing through an efficient and often exhilarating set of postpunk rave-ups. The best of the lot is the endearing "Let's Not Belong," which, with its tale of mismatched--and hence perfect--love, is laced with Westerberg's trademark tongue-in-cheek, heart-on-sleeve appeal. Stereo, his "solo" CD, is somewhat less rowdy but no less emotionally emphatic. His voice is often raw and sometimes backed only by a plugged-in guitar, but Stereo features insistent love songs (the aching "Don't Want Never") that sneak up on you and, like the best of Westerberg's work, linger. --Amy Linden ... Read more Reviews (80)
So, after two long years, we finally get a new disc, a two for one deal even, the best since Wilco's Being There. Rumour has it Tommy Stinson (ex of "That Band") plays and is pretty clearly heard on harmonies [if you had bought Bash & Pop or Perfect (both out of print) maybe Tommy wouldn't be working with... EWWW Axl Rose.] Stereo, the main disc is a continuation of Paul's maturation as a songwriter. The songs are spare [there are drums on only half the tracks] and if you skipped Suicane, you're probably going to skip this, too. That's your loss. Westerberg continues to write songs as touching and real as "Unsatisfied","Skyway","Achin' to Be","Darlin' One" and "Sadly Beautiful". For example, "Only Lie Worth Telling" wouldn't have sounded out of place on the last couple 'Mats albums. "No Place for You" sounds like something Tom Petty left off his last, except Westerberg doesn't have that snear in his voice that Petty does. That's fair since Petty stole the line "Rebel Without a Clue". [I think Train would do a pretty good take of it,too] "Boring Enormous" is a phrase only Westerberg COULD turn into a song. "We May Be the Ones", with its repeated "I want to know" could be a tribute to the Gen Xer's who used to "trash that baby boom". "Mr Rabbit" is a playful little ditty with the repeated "Every little soul must shine" sort-of chorus. Hang on after "Call That Gone" for a rocking uncredited piece that sounds an awful lot like that other band... Mono is the more rocking, electric disc. Mono sounds closer to demos than a "polished professional release" (not that Stereo is polished either). "High Time" and "2 Days Til Tomorrow" are the most polished things, but for a man. an unnamed drummer (or a drum machine) and a Les Paul, the songs here are pretty darn good. "Let's Not belong" is a good example: deceptively simple and darn catchy power pop as very few can write them, one you'll be humming and driving everyone at work nuts with."Between Love and Like" and "AAA" are more great examples. "Kickin The Stall" is a great Stones-ey work out. I hope Paul doesn't go through with the threat of "AAA": "I ain't got Anything to say to Anyone Anymore..." These are two great discs, each with their own strengths to love and debate for years to come. I am sure there are dozens of "He likes Stereo" "She likes Mono" arguements waiting to happen.
Stereo is a very somber disc full of serious acoustic-based songs that serve as a perfect backdrop for a Sunday afternoon. Standouts are Only Lie Worth Telling, Boring Enormous, Mr. Rabbit, and Call That Gone? Mono is the rowdy rockin' disc made by Grandpaboy, a ghost of the Replacements. High points from that disc unclude High Time, Silent Film Star, and Let's Not Belong Together. It's enough to silence the fans who claimed that Paul forgot how to "rock out." It took a while, but Paul finally made the ultimate album, the best of both worlds, without the aid of his old band. Check it out, it's pretty glorious. ... Read more Asin: B000063UL8 |
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Don't Tell a Soul Average Customer Review: Audio CD (25 October, 1990) list price: $9.98 -- our price: $9.98 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Reviews (40)
First off, let me say that this is a great record. A lot of people find this album to be lackluster but I disagree. It's got all the ingredients of any good Replacements album which, simply put, are great songwriting and great music. It does lean more towards a pop style of music than their previous albums, but I don't mind pop if it's done well (which it certainly is here). The playing is also a bit more restrained here, but there's still enough of the Replacements' trademark recklessness that comes through. Like all their great albums, the songs are eclectic and no two sound the same. Following the low key vibe of "They're Blind" with the rave up, energetic stomp of "Anywhere's Better Than Here" are perfect examples of the various moods that they are capable of. The only real problem with the album is that it does suffer a bit from the typical, overly polished, 80's style production. There's a lot of reverb on everything, especially the drums, which sort of saps the raw energy that tends to give the Replacements an edge. However, the songs are good enough so that it doesn't really matter that much. In some cases, the production even works to a song's advantage such as contributing to the haunting feeling of "Rock N'Roll Ghost." In the end, I think "Don't Tell a Soul" is a really solid album that holds up over time and repeated listens. Is it their best album? No. But is it a bad record? Definitely not. Is it worth checking out? Absolutely! In comparison with their other albums: 4/5 stars P.S.-"Talent Show," the first track, is one of my favorite Replacements songs. ... Read more Asin: B000002LGD |
$9.98 |
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Definitely Maybe Average Customer Review: Audio CD (30 August, 1994) list price: $11.98 -- our price: $10.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review With the swaggering chords of the opening "Rock'N'Roll Star," Oasis announced that big, brash Brit rock was here to stay--at least for a few years. They wore their rock & roll with an angry young sneer, a Mancunian petulance wedded to a vision of cathartic release. Their supersonic two-guitar attack took them "Up in the Sky," where they would "Live Forever" or burn out in a blaze of alcoholic glory. Noel Gallagher's songs weren't subtle--or shy of overt plagiarism--but, spat out in the Lennonesque snarl of little brother Liam, they took on a venomous power that had millions of young Brits taking them at their own arrogant word. In the U.S., meanwhile, the response was more Maybe than Definitely.--Barney Hoskyns ... Read more Reviews (144)
DEFINITELY MAYBE displays all the promise that Oasis had when they were just starting (a promise that has since been betrayed by their mediocre most recent work). The ingredients: loud and aggressive guitar work from Noel, some timeless melodies, and the trademark sneer and arrogance in Liam's singing. Liam's voice seems even brasher in this album than it did in the follow-up, and it works darn well. The songs just exude confidence. The best tracks are probably "Live Forever," "Supersonic," and "Slide Away." "Live Forever" is probably a better single than "Wonderwall"--great tune, great work by Liam. The melody is pure exuberance and arrogance, especially on the memorable chorus. "Supersonic" has a monster guitar riff, and it's one of the best pure rock songs they've ever done. "Slide Away" is a monster of a love song--loud, brash, but with lyrics and a melody that pull on your heart: "Now that you're mine / We'll find a way of chasing the sun / Let me be the one who shines with you / In the morning when we don't know what to do." The last track, "Married With Children," is quite soft and gentle. It says quite a lot that Oasis managed to pull off two such different songs ("Supersonic" and "Married With Children") on one album. There are a couple throwaway tracks ("Digsy's Diner" comes to mind), but overall the album is just as good as WHAT'S THE STORY (MORNING GLORY)? This album is highly recommended to anyone who liked "Wonderwall" and the other singles off the second album. Both albums have their weak spots, but the strong songs compensate very well. Also recommended to Oasis fans: Travis's THE MAN WHO (similar melodically, but much quieter.)
"(What's The Story) Morning Glory?" is easily Oasis' finest hour, but we owe a lot to Definitely Maybe because it's the album that made Liam and Noel the icons they are today! Definitely Maybe soon became one of the fastest selling albums in the UK of all time. Fuelled by critical praise and fantastic songs, they ripped the charts apart. It was just what Britain needed. The 1990's was my favourite decade for a number of reasons. Oasis are definitely one of them - maybe the main reason. "Rock 'N' Roll Star" opens the album spectacularly. With hard drums and loud guitars, this represents everything that Oasis are about. It's the first song on the first Oasis album, and it's where it all began. Sit back and soak up the nostalgia. "Shakermaker" was Oasis' second single and charted at No.11 in the UK in July 1994. Guitars and drums roll around the arrangement perfectly here, clapping adds rhythm and Liam's vocals are so zesty and full of life. "Live Forever" was the best single to be released in 1994, easily. The classic guitar solo, the high vocals, the memorable chorus, the lyrics, the simple yet effective video. It's everything you could ever want from Britain's top band. "Up In The Sky" maintains the album's upbeat tempo and live-life-to-the-full statement. This was the song to listen to in your car in the summer of 1994, booming it out from the speakers, driving like a loony! Absolutely fantastic! "Columbia" is a monster rock anthem that begins wonderfully driving its force into the brains of everyone it encounters, forever etching the guitars on their memories. The singing is kept to a minimum, focusing on wonderful brash guitars and "Yeah! Yeah! Yeah!" screams towards the end. "Supersonic" was Oasis' first-ever single in the UK and peaked at No.31 in April 1994. A catchy guitar starts off the song before the song rocks out with "I need to be myself! I can be no one else!" The lyrics are just awesome and the chorus is just so full of energy and an attitude that represented Britain in the decade. "Bring It On Down" starts wonderfully like someone running in a race, and soon fires up to became yet another rock anthem. It's not really one of my favourites, however. "Cigarettes And Alcohol" has some rather poor lyrical content, but if you can get past this and focus on the brilliant guitar riffs then you might see it in a totally different light as one of the best songs on the album. "Digsy's Dinner" is the most uplifting and happy song on the album. It uses Beatlesque styles in both its lyrics and the melodies. It's a good song, plain and simple. It's not hard rock by any means. "Slide Away" runs for almost six and a half minutes and is pure Gallagher excellence. The lyrics are good, and they have a certain catchiness to them that makes this a particular standout. The album closes with the fantastic "Married With Children." It's a wonderful acoustic song with some rather comical lyrics. The acoustic style of the song makes it totally different to everything else on the album, and separates it from the razor-sharp edge of the other ten tracks. I heard some people moaning about how the songs from this album did rather poorly in the UK charts, but you only have to look at how many times they re-entered the charts over the course of almost three years: Supersonic peaked at No.31 in the UK, re-entered the charts 5 times and spent a total of 14 weeks on the chart. Shakermaker peaked at No.11 in the UK, re-entered the charts 5 times and spent a total of 15 weeks on the chart. Live Forever peaked at No.10 in the UK, re-entered the charts 6 times and spent a total of 18 weeks on the chart. Cigarettes And Alcohol peaked at No.7 in the UK, re-entered the charts 9 times and spent a total of 35 weeks on the chart. OVERALL GRADE: 9/10 Definitely Maybe is an album for anyone's collection, whether you are simply looking for great music or a fantastic rock band. At the time, this was the fastest selling debut album in the UK ever. This record was soon broken by Oasis' "Be Here Now" in 1997 which sold a staggering 700,000 copies in its first week of release - incredible if you remember that the UK has five times less than America in population terms! Could you really imagine an album selling 3.5 million in seven days in the States?! I know I couldn't! Of course, Be Here Now, sold so many copies as it was the follow-up to the second biggest selling album in the UK ever, "(What's The Story) Morning Glory?" with sales of almost 4 million in Britain since 1995. All in all, Definitely Maybe is essential Oasis. Ignore it at your peril!
Overall, a fantastic album, and there is nothing like Oasis when they were young, very hungry, and also very talented. Not to say they're not talented now, but the raw energy that comes from reckless youth is induplicable (is that a real word? it is now!), and their music is far more mature and couth now so there is no use comparing apples and oranges. "Definitely Maybe" has definitely stood the test of time, and continues to do so. Oasis is hated, and highly underrated in the States but our English speaking buddies across the Atlantic know what's up, and they know and believe Oasis is a great band. "Definitely Maybe" is very highly recommended. ... Read more Asin: B000002AS3 |
$10.99 |
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Rialto Average Customer Review: Audio CD (15 September, 1998) list price: $11.98 US | Canada | United Kingdom | Germany | France Editorial Review Pretension and melodrama have been key ingredients of British pop for years, but while many bands have sported the right pout, listened to the right soundtracks, and written the right kind of populist lyrics, their music has been sorely lacking. Enter Rialto, whose lush self-titled debut threatens to reverse the trend. The record impacts with the drama of Pulp and the melodic thrust of Oasis. Strings glide, harpsichords twinkle, and guitars cut lonely, aching swaths across the band's sonic vistas. Even when the vocals croon about unfaithful women and missed opportunities, Rialto's songs are never too precious or self-important to forsake the kind of hooks that keep listeners hitting the rewind button. --Jon Wiederhorn ... Read more Reviews (22)
They don't all start out with a catchy tune, and are easily skimmed over through the first few listenings. However, they all develop with unique twists of tune that will keep you coming back for more. In the end, it is always the more subtle songs that grow on you. After repeated listenings, Quarantine, Lucky Number, and When We're Together surface as the dominant tracks. Lucky Number is a true gem; the violent funky beat is a true surprise, and has become one of my favorite overall songs. Most CD's have only one or two quality songs, but this album has at least six really compelling songs - and the others aren't bad (by any means), they just aren't Earth-shattering.
Asin: B0000065K0 |
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Road Movies Average Customer Review: Audio CD (10 April, 2001) list price: $13.98 US | Canada | United Kingdom | Germany | France Reviews (16)
Asin: B00005B2Y0 |
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Candy-O Average Customer Review: Audio CD (25 October, 1990) list price: $11.98 -- our price: $10.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Reviews (34)
Each and every song on this CD is catchy and makes you want to turn the volume up a notch or two. I'm personally not that crazy about "Nightspots", which I consider the weakest track on the disc, but it's still listenable. "Shoo-Be-Doo", with it's segue into the title track, and "Dangerous Type" get my vote for the best tracks on the disc. The latter song conveys a sense of darkness and foreboding, as if something really bad is going to happen if singer Ric Ocasek keeps up his relationship with the girl in the song. Greg Hawkes' mesmerizing keyboard work is at its best in this track, as well as "It's All I Can Do". Last but not least, the cover of "Candy-O" gets my vote as one of the most erotic album covers of all time. The cover art by Antonio Vargas, who illustrated for Playboy in the 60's and 70's, is incredible. I'd have bought the CD just for the picture alone, but guess what? The music is fantastic too!!
Asin: B000002GWX |
$10.99 |
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Who's Next Average Customer Review: Audio CD (07 November, 1995) list price: $13.98 -- our price: $12.99 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review A mix of old favorites and buried treasures makes this edition of Who's Next a definite must. One of the defining albums of 70s hard rock from one of the 60s most successful bands, the original album includes some of The Who's best-known work, such as the anthemic "Baba O'Riley" and "Won't Get Fooled Again", the by turns sorrowful and angry "Behind Blue Eyes", and perennial favorite "My Wife". The new tracks on this album are equally worth hearing, including "Pure and Easy" (an alternate edition of which is available on Odds & Sods) and the original version of "Behind Blue Eyes". A hard rock classic, Who's Next is required listening for rock fans of all ages. --Genevieve Williams ... Read more Features Reviews (270)
So I was mighty skeptical when the remastered version included seven previously unreleased tracks (one of them is an alternate version of "Behind Blue Eyes"). So skeptical, in fact, that I didn't listen to the additional tunes for the first six months I had the CD. But on a long stretch of interstate with a good opportunity to crank the music and really take it in, I did just that. And I'm very pleased. "Naked Eye" and "Water" are scorchers, every bit as good as what's on the original LP. "Pure And Easy" is softer and somewhat more pop-oriented. "Baby Don't You Do It" reminds me in a way of Jan and Dean styled surf music from the early 1960's. "Too Much of Anything" also makes a lasting impression.
"Behind Blue Eyes" is about the villain in the Lifehouse project. "Goin' Mobile" features some of Keith Moon's fastiest and most frenzied drumming. Session pianist Nicky Hopkins (who also guested on Jeff Beck and Rolling Stones records) helps out the Who on "Gettin' In Tune" and "Song Is Over". Roger Daltrey's vocals are fierce, especially the scream at the end of "Won't Get Fooled Again". Bass player John Entwistle composes 1 song here- "My Wife" (on which he features brass). Pete takes care of virtually everything else (save the violin on "Baba O'Riley") from guitar to synthesizer to lead vocals on "Goin' Mobile" and dueting with Roger on "Song is Over". Other songs included with the rerelease are "Water", "I Don't Even Know Myself" (which wound up as a B-side on "...Fooled Again"), "Pure and Easy" (whose theme can be heard at the end of "Song..."), "Naked Eye", "Baby Don't Do It" and an alternate take of "Behind Blue Eyes" (featuring Al Kooper on organ). Also, the Lifehouse sessions box set is due out sometime this year! I look forward to its release.
Asin: B000002OX7 |
$12.99 |
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Through The Past, Darkly (Big Hits Vol. 2) Average Customer Review: Audio CD (27 August, 2002) list price: $18.98 -- our price: $18.98 (price subject to change: see help) US | Canada | United Kingdom | Germany | France Editorial Review This second greatest hits collection serves up the band's classic mid- '60s period, capped off by the death of Brian Jones for whom this collection is dedicated. Having made their breakthrough with hits that challenged the status quo, the Stones were in no mood to calm down. The insistent chaos of "Have You Seen Your Mother, Baby, Standing in the Shadow?" "Jumping Jack Flash," and "Street Fighting Man" display the Stones at their most powerful, while "Dandelion" and "She's a Rainbow" are the Stones succeeding with psychedelia. "Paint It, Black" and "Ruby Tuesday" strike a perfect balance. A decent introduction to an essential period of Stones music. --Rob O'Connor ... Read more Features Reviews (14)
Paint It, Black - Featured only on the US version of "Aftermath". Not on UK version. Ruby Tuesday - Featured on US version of "Between The Buttons". Not on UK version. Also featured on "Flowers". She's A Rainbow - Appears on "Their Satanic Majesties Request". Jumpin' Jack Flash - Non-LP single. Mother's Little Helper - Appears on U.S. and UK versions of "Aftermath". Also appears on "Flowers". Let's Spend The Night Together - Appears only on US version of "Between The Buttons". Not on UK version. Also appears on "Flowers". Honky Tonk Women - Non-LP single. Dandelion - Non-LP single. 2000 Light Years From Home - Appears on "Their Satanic Majesties Request". Have You Seen Your Mother, Baby Standing in the Shadow? - Appears on "Flowers". Street Fighting Man - Appears on "Beggar's Banquet". So, if you pick up Through The Past, Darkly and the UK versions of Aftermath and Between The Buttons (and avoid Flowers), then you'll have all of these tracks with as little redundancy as possible.
As with the rest of the ABKCO remasters, the sound has been improved a great deal over the old '86 CDs--there's a lot more detail audible in the mix on this CD, at least on most of the tracks. "Honky Tonk Women" in particular sounds a lot better, at least to these ears--the guitars are nice and scuzzy, the drums boom, and the bass thuds along in the middle of the mix... and it's in stereo, for once. (The cowbell still sounds tinny, so to hear it in all its proper glory, you'll just have to find the old vinyl single.) And it sounds like they also used the speed-corrected "Street Fighting Man," which has never sounded this good on CD before (except maybe on the new "Beggars Banquet" CD). And the packaging has also been restored to its proper glory--the photos are now all in color, and the tribute to and epitaph for Brian Jones has also been put back. Unfortunately, I still have a few minor issues to pick with the nice people at ABKCO. I don't care that "Have You Seen Your Mother Baby" is in mono, as no stereo mix of the track apparently exists, and at least it sounds a little less messy and chaotic than on previous vinyl and CD issues. On the other hand, it seems odd that "Aftermath UK" is the only new Stones CD to carry a stereo mix (however wonky) of "Mother's Little Helper," and even more odd that while on other CDs it has been speed-corrected, on this one it seems to play at the old slower speed, with a lower pitch. And would it really have hurt ABKCO to note that "tracks 5 and 10 are in mono and the rest are stereo," rather than just slap a "stereo" label on the CD? Regardless, this CD is a great listen. It's not an indispensable part of the catalog, and it just missed out on being a definitive collection of their late '60s singles by being released just a couple of months before "Let It Bleed" (making the B-side of "Honky Tonk Women," "You Can't Always Get What You Want," unavailable), but it's still a pretty fine record. Any record with both "Paint It Black" and "Jumping Jack Flash" would have to be.
Asin: B00006AW2H |
$18.98 |
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