Reviews (12)

A Great CD
I've listened to The Outfield for many years, and I especially like "Voices of Babylon". Again, Tony Lewis and John Spinks shine on this disc. Tony Lewis is back with his multi-range vocals and superior bass, while John Spinks' guitar work is excellent as well. The title track is my favorite song, and "My Paradise" is a good up-beat song. The ballads "Part of Your Life" and "Shelter Me" are staples of this disc. This disc keeps up the tradition that The Outfield set with previous releases; an excellent mixture of vocals and insturmentals, especially Spinks' guitar. I highly recommend this disc. It's one you'll want to listen to several times.

Great music is the Outfield
I was going to give this CD 3 stars rating, but since this album has Alan Jackman's final work, I gave it 4 stars. (After all, Alan Jackman was the reason I got into this band in the first place) Good, solid pop-rock band with great, almost flawless sound (vocals and all). The title track is especially strong, but the most noticable track is undoubtedly My Paradise. In Jakarta (where I used to live) it became a Top Ten hit, in New Zealand it was unheard of. Some of the tracks are pretty catchy (in a good way)and it's a shame that they didn't become mega hits. Take for an instance Night Ain't Over. If you like The Outfield then you must get this one. FAST.

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Reviews (27)

A Grand Slam!!
The Outfield burst on the music scene in the mid 1980s with this high-energy album. Led by guitarist John Spinks and vocalist/bassist Tony Lewis, the Outfield quickly established themselves as one of the best bands of the 80's. John Spinks' guitar playing is phenominal, and Tony Lewis' incredible vocal range is displayed on all of the tracks of this album. The signature songs on this disc are "Say it Isn't so", which shows off Spinks' excellent guitar work, "Your Love", and "All the Love". The ballad "Every Time You Cry" is especially good, as is "I Don't Need Her". Each song combines the great guitar work of Spinks and the unparalleled vocals of Lewis. Listeners will be sure to enjoy the great mixture of insturmentals and vocals that this disc provides. Pick this CD up and enjoy a trip back to the 80's.

Brit-pop trio's helpful contribution to 80's music
The Brits had their shot at 80's rock in the form of The Outfield, consisting of guitarist John Spinks, lead vocalist and bassist Tony Lewis, and drummer Alan Jackman. And with producer Rick Chertoff at the helm, he worked similar magic that he did on Cyndi Lauper's landmark She's So Unusual and The Hooters' Nervous Night.

The first single, "Say It Isn't So", demonstrates the sound, John Spinks's guitar, which at times sounds like the Edge's, harmony vocals by Lewis and Spinks, and a catchy rhythm guitar that occasionally reminds me of the Police. It's a wonder why this song didn't make it on the charts. The hooks are worthwhile and that feeling of being dazed by some kind of girl works: "I'm staring into a space that was filled by your face" and "I'm walking in the midnight sun once again"

Then comes "Your Love", a well-deserved Top Ten hit, which contains that memorable first line: "Josie's on a vacation far away..." Keeping an illicit affair going makes for the synonymous use of "lose" and "use", as in "I don't wanna lose your love tonight." The video for this song incorporated the painting of the album cover art.

"I Don't Need Her" starts with that churning Edge-like guitar before telling of conflicting love. "I'm so glad I don't need her" he says, but then, it comes down to "But in the end I just can't leave her/Can't leave her tonight."

The last single, "Everytime You Cry", is a swaying hold-those-lighter ballads, and one of my favourites on this album. A bittersweet ballad: "When you say goodbye, I die just a little bit-cry just a little bit more."

"61 Seconds" seems to be on one hand the numbing sensation of being the clockwork 9 to 5 man and how the scheduled and timely office world is defined by numbers, in this case the hands on a clock. "There's a clock on the wall/a mirror reflecting it all/just an imageless photograph/There's a space in a frame/Can you imagine a man with no name" 61 seconds is "all it takes for the nine-to-five man to be more than one minute late"

The catchy "Mystery Man" could've been another single, especially with that "In the middle of it all-" and repeat. This is an action spy song describing a secret agent on missions in various places and the protagonist is his contact.

However, "All The Love" became the third single, making the Top Twenty, and it's one of those "I should've..." songs of a dying relationship. The full title was "All The Love In The World" and when those words on the first night become the same words on that last day, they sound hollow.

The chorus rhythm of "Talk To Me" has shades of "All I Have To Do Is Dream" by the Everlys "Taking My Chances" is a slower number that veers towards filler. "Nervous Alibi" is a languid "Where were you out last night?" interrogations to a girl. He tells her "Don't you know I hate those clothes you wear/For I've seen men undress you/And with their eyes caress you/Another nervous alibi."

Yet another memorable group contributing to that unmistakable 80's sound on a debut album that succeeds despite the few filler tracks.

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Reviews (49)

Greatest Band of the 90's
Collective Soul's third album, Disciplined Breakdown, remains Collective Soul's most underrated album to date. Critics were quick to jump on Collective Soul when this album failed to reach multi-platinum status as its predecessors, Hints, Allegations, and Things Left Unsaid and their self- titled album Collective Soul, did. In fact, Disciplined Breakdown was finally certified platinum on July 9, 2001- over four years after its release. Disciplined Breakdown's comparatively low record sales aside, this album, while not their best effort, is certainly not their worst. In fact, this album boasts two #1 hits ("Precious Declaration" and "Listen"), and is a solid effort from top to bottom. Many die-hard Collective Soul fans claim Disciplined Breakdown as their favorite album produced by the band. At certain moments throughout this CD, their thoughts are completely valid. Disciplined Breakdown flows from track to track in a more orderly fashion than any other Collective Soul album to date. The songs are not as arena rock oriented as were the songs from Collective Soul, but instead work on a more subtle level. While being far from a true experimental album, Disciplined Breakdown was Collective Soul's first step away from the vintage Collective Soul sound of 1995's self-titled release. "Full Circle", "Crowded Head, and "Everything" are certainly not typical songs for this band whose hits range from "Shine" from Hints, Allegations, and Things Left Unsaid to "The World I Know" and "December" from their self-titled titled album Collective Soul to the newer songs "Run" and "Heavy" from the 1998 release, Dosage. Unfortunately, these songs, and the rest of the album, do not represent Collective Soul to the fullest extent and prove the theory that Collective Soul should stick to what they do best- writing great songs- and not worry about attempting to satisfy their inner manic creative process through "experimental" songs. I'm not saying that these songs are awful, or even close to awful. In fact, they are well crafted pop songs that just don't measure up to Collective Soul's classic songs. Some of the explorations of sonic change that Collective Soul makes are simply brilliant, such as "Forgiveness", "Blame", and "Giving". These tracks, along with straight-forward favorites such as "Maybe", "Listen", and "Precious Declaration" make this album a must have for any Collective Soul fan.

Soul Moving Stuff
The greatness of a band is not in their hits, but in their albums...and this is a great one. Even after Collective Soul's fifth CD, Blender, I still find Disciplined Breakdown to be their best to date. Each song gives you the sensation that it is JUST THE ONE you were waiting to hear. There seems to be more musical depth here than in their other CDs. I'm amazed at how this album can stir the soul yet soothe it simultaneously. Ed Roland's lyrics aim for the head and the heart highlighting truth, love, faith, forgiveness, etc. Actually, many of the songs seem to ponder the journey itself with all it's choices, fears and wisdom to be gleaned while traveling the road of life in search of all that is great and sweet. Although the meaning of the lyrics is more general and vague than those of other albums such as Hints, this is not necessarily a bad move on the part of Collective Soul. For one thing, the subjectivity leaves the lyrical interpretation up to the listener, creating a sense of discovery. Maybe this is why this album feels so fresh yet so familiar. This album has great aesthetics in content as well as musical form. If you're unfamiliar with Collective Soul, this is your starting point.

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Reviews (306)

Absolutely Amazing!
There's is not a word in the dictionary that would do this album justice,it's that good!

This emotionally gripping,thought provoking and completely original piece of work absolutely blew me away,far away.

Tori takes you on a journey of self discovery that will touch you at your deepest most hidden core and never lets go.

As far as trying to pick a favorite track,it's almost impossible, because EVERY SONG IS GREAT in their own unique way.

WINTER,MOTHER, and SILENT ALL THESE YEARS are 3 of the most touching ballads ever written, ethereal and gut wrenching, all tied together by amazing piano playing.

CRUCIFY and ME AND A GUN are introspective and thought provoking.

TEAR IN YOUR HAND is a quirky, yet very beautiful song.

Suffice to say, if you like music, any music.....then you MUST OWN THIS CD,it's a must buy for anyone who has a human feeling or emotion of any kind.

The best way I could summarize is just this;

IF YOU LAY DOWN AND LISTEN TO THIS CD FROM START TO FINISH, I MEAN REALLY LISTEN, YOU WILL BE A DIFFERENT PERSON WHEN IT'S OVER THAN WHEN IT BEGAN.

Sex, lies and . . . erm . . . ghosts in nunneries . . .
The best album of 1992? Quite possibly. Whatever, 'Little Earthquakes' remains a timeless piece of work, the success of which a generation of 'kooky' female artistes would attempt to emulate - read Sheryl Crow, Alanis Morrisette, Meredith Brooks etc. They succeeded generally to only a minimal extent in recreating the intensely personal style of Amos' lyrical themes, but what makes her so fascinating and so unique is how interesting her musical palate is. Albums that are good just for their lyrics in many cases cannot sustain repeated plays. Listen on 'Little Earthquakes' to the jangling guitar in 'Happy Phantom', the 'Irish war drum' in 'Winter' and the exquisite use of male voice in the epic title track. But of course a good melody is essential and there are few better than Tori at writing these. Indeed despite four excellent albums following this she has recorded few, if any, more beautiful songs than 'China' and 'Tear In Your Hand'. Another reason for 'Little Earthquakes'' continuing popularity is that any fillers are conspicuous by their absence - the great songs just keep on comin'. After a fine opening trio of songs, the fourth track is a prime opportunity to unleash a potato peeling, but then comes the breathtaking 'Prescious Things' which, again, remains one of Amos' greatest moments. After many listens the sudden drum beat still startles as it erupts from the breathy piano introduction. Of course 'Me And A Gun' is also worthy of a mention - an uncomfortably stark account of when Amos herself was raped leaves the listener no place to hide because this accapella track is bereft of musical accompaniment. Sexuality and relationships are themes that run throughout this remarkable record and as such it is a bruising experience, but also a strangely pleasurable one as it leaves the listener utterly purged.

classic & amazing but slightly overrated.
on toris "debut" (disreguard YKTR) she makes a classic & breathtaking record that has won me over. & if you do notice i did give this albam 5 stars because that's definatly what it deserves.

but...

i don't understand why a lot of tori fans are so obbsessed with this one oppose to her ABSOULUTLY AMAZING later works such as boys for pele, chiorgirl, to venus & back, strange little girls, & scarlets walk.

i can understand why fans love under the pink so much (i do myself) because it is one of the most beautifully constructed records ever made. but little earthquakes falls kind of short is a lot of places although it's still amazing.
if i were introducing soemone to tori, this would not be the fisrt record i'd play for them. the first one i'd play would be chiorgirl & then under the pink.

Reviews (145)

Slamming for the new kids
Disposable for the old fans. The two new songs with David Lee Roth weren't anything to write home about ("Me Wise Magic" was a decent song, but not up to standard), and the original idea was much better. Imagine the bang for your buck: two discs with 17 or 18 songs each from both eras of Van Halen. This way, early DLR gems like "Mean Streets", "Jamie's Crying", "Women in Love", "Hot For Teacher", "Ice Cream Man", "Drop Dead Legs" or "I'll Wait" would be included. This is not to mention the Hagar chestnuts like "Best of Both Worlds", "Summer Nights", "Spanked", "Black and Blue", "Runaround", "Not Enough" or "Feelin'". See the dilemma? There's probably a good 7 songs from each era they have neglected, almost all as good or better than the hits they included. I'd love to see an album like that put together, but it's easier to burn one. Besides, we couldn't risk any songs from "Van Halen III", the short-lived Cherone experiment...

Ack! They should've stuck to the original plan
[This review is for the domestic release]

In the mid-nineties, Van Halen finally released a "best of" compilation after nearly twenty years of being together. Vocalist Sammy Hagar had just left the masters of rock and roll, and they must have figured releasing such a compilation then would help sales. Originally it was planned to have one disc of all David Lee Roth material, and one of all Sammy Hagar material. But NO! They made the foolish choice of sticking songs from both eras onto one disc.

Cramming two decades of music onto a single disc is NEVER a good idea, people.

Look at all the hits this is MISSING!
-You Really Got Me
-Jamie's Cryin'
-Feel Your Love Tonight
-Ice Cream Man
-You're No Good (never a hit, but one of my faves)
-Beautiful Girls
-Everybody Wants Some
-Oh Pretty Woman,
-And The Cradle Will Rock
-Love Walks In
-Finish What You Started

Look at all those missing tracks! How could they not stick to the original plan? And how could they separate Eruption from You Really Got Me? Sure, most of the hits from Roth's era are present, but THAT many omissions is simply inexcusable.

I LOVE Van Halen, people, but I can't believe how much material this so-called best of deprives people of. It also seems like they couldn't decide whether or not to make this a best of or a greatest hits (the title says best of and there are a lot of non-hits from the Hagar era, but with Roth they stuck to nothing but hits.) People, if you want to get into Van Halen, get their albums, not this horrid collection. It's blasphemy to call this the best of Van Halen.

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Reviews (478)

One of the best heavy metal albums of all time
The significance of this album is unquestionable. This was the 80s metal album that united those who liked hair metal (Poison, Warrant, etc), and thrash metal (Metallica, Megadeth, Anthrax, Slayer). It's an excellent mix of blues, hard rock, attitude and machismo.
Guns N Roses were one of the most essential and important bands of the 1980s. Axl Rose's aggressive and shrieking vocals were very adequate (despite the fact that he burned out too quickly and cheated his fans), and Slash's blistering guitar solos are amazing, and he's certainly one of the best guitarists ever. "Welcome to the Jungle," "Sweet Child O'Mine," "Paradise City," and "Mr. Brownstone," are already rock radio classics that still sound juts as awesome today as they did back in 1987. You can still feel the power of the band in those songs, and for other songs on this album like "Night Train," "Out To get me," and "Rocket Queen." What a great album. I listened to this all the time when I was 6 when I'd steal my Dad's tape of it, until my parents took it away from it because of all the 'dirty words' on it. It is one of the most essential albums of all time, especially in such an era like the late 80s where bad music was just as normal as apple pie.

Best rock album of all time
Everythings been sauid about this album, but check out this guys post:

Yo hip-hoppa's, how ya'll be?? You know, just like everyone, when I turn on the radio, I wanna hear nu rock, nu metal and hip hopp!! Yet all I keep hearing is dumb old bands that have NO prupose now and have never had any purpose at any point in their careers actually!! Why is the airwaves clogged up with this junk anyway?? "Welcome To The Jungle" has a horrible riff, dumb lyrics, and is the theme song for the Cincinnati Bengals, the wrost football team ever!! "Sweet Child Ov Mine" is a cheesy toon about remembering childhood, "Mr. Brownstone" is about a cooky neighbor, and "Paradise City" goes on for about 6 minutes too long!! Enough with all the annoiyng guitar solos, their sooo annoying!! Axl also has the most whiny voice ever. Plus the bass playa sounds like he's just tapping his bottom string and not playing, listen to the intro of "It's So Easy" and ya'll see whut I be meanin'!!! For good music, look to bands like Limp Bizkit, Linkin Park, Disturbed, KoRn, Bubba Sparxx, Eminem, Puff Daddy, Puddle Of Mudd, Seether, Saliva, Nickleback, Drowning Pool and the new talent like Clay Aiken and Smile Empty Soul :]!! Skip this WASTE of plastic!!! Peace out G'N R dudes....

First, DO NOT take this f*g seriously. He doesn't like guitar solos, and he listens to Eminem. Paradise City is the second best song on the album, and in no way is it to long. remember, most of the 2nd half is the outro solo, which, by teh way, is AMAZING. Second, if anyone's familiar with music here, you'll know that Bass is to support the band. To add bottom. Limp bIzkit and Linkin Parks bassists are 10 times worst than Duff (bassist for GNR) Plus, the intro to It's So Easy is played on the guitar you dumbass. it sounds like the bass, but it's not. Third, Mr. Brownstone is about the bands drug addictions, not some cooky neighbor.
This guy is obviosly a p*ssy a*s teen who doesn't appreciate real music. I mean come on, look what he said: " You know, just like everyone, when I turn on the radio, I wanna hear nu rock, nu metal and hip hopp." This guy doesn't appreciate rock n roll, so he has no buisness posting a review about music he hates. i think all Gnr fans should go post crappy reviews for nu bands liek Linkin Park and Limp Bizkit. I think i speak for all true rock fans, when i say that Appetite For Destrucion is a CD of true talent, and is, in my opinion, the greatest rock album out there. Long live GNR (the originals atleast!)

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Reviews (176)

The Best Van Halen Ever. At Least Six Stars!
This is the only Van Halen album I have, but it's so awesome, I don't care. Amost every song is kickass, and Eddie is amazing.

Runnin' With the Devil - Although the solo is a little weak for Eddie's standards, it is made up for with thae awesome intro that this song holds. Pure Hard Rock. 10/10

Eruption - Eddie Van Halen is a true god. Hopefully, with all the hip hop garbage today, he won't be forgotten. Best on the album. 11/10

You Really Got Me - A milkion times better than the Kinks' original version. Great solo, great vocals. Very Cool. 10/10

Ain't Talkin' 'Bout Love - cool riff, cool guitar lead. Alex Van Halen's shining moment. 9/10

I'm the One - It has two solos. Enough said. 10/10

Jamie's Cryin' - I used to hate it, but now I love it. Killer riff. 9/10

Atomic Punk - Eddie is so incredicle here. My second favorite song on the album. 10/10

Feel Your Love Tonight - Not really too fond of this song, as in I don't listen to it that often. It's still good, though. 8/10

Little Dreamer - Again, not too familiar. 8/10

Ice Cream Man - I LOVE this song! It is simply awesome! 10/10

On Fire - Michael Anthony really shines here. Good stuff. 10/10

Average - 9.5/10. If that doesn't answer your question as to whether you should buy this album, then you might as well just take a chance and buy it. Long live Van Halen.

Peace everybody, and keep rocking.

An Electrifying Debut (4.5 stars)
Van Halen's 1978 eponymous debut is one of the best guitar albums in the history of rock, and has a collection of some of the most energetic songs in their career. In fact, many of the songs on this album are regularly played on rock radio, like "Runnin With The Devil," "Jamie's Cryin," and their version of the Kinks' "You Really Got Me."

Eddie Van Halen's blistering riffs are the highlight on the album, definitely, even when David Lee Roth's vocals border on annoying (like in the liast 2 songs), and he is credited for introducing the finger-tapping technique to the mainstream (though Genesis' Steve Hackett also used it in the early 1970s). His solos on "Eruption" are almost impossible to duplicate, and his solos on songs like "Ain't Talking About Love" only add to the adrenaline rush produced by the band's music. It only gets 4.5 stars because the last 2 songs are sub-par, but it's one of the most essential hard rock albums ever, and a good album to getif you're into excellent guitar playing. Also kudos to Alex Van Halen and Michael Anthony for supplying an adequate rhythm section.

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20 Years On...I Keep On Loving This Album!!!
"Hi Infidelity" is the quintessential album from REO Speedwagon. This marked the zenith for the band, topping the charts for 15 weeks in 1981 and containing four top 40 singles.

"Keep On Loving You" was the consummate radio friendly power ballad (it was their first #1 song on the charts). It served as a precursor for their mainstream sound that was to follow them into the early half of the decade (They would top the charts one more time in 1984 with "Can't Fight This Feeling" from "Wheels Are Turning" album). In 2000, they assembled a collection of their greatest ballads.

The band had been recording for about a decade when they reached the masses with this album. This album has it share of upbeat rockers. The album opens with the hard driving, "Don't Let Him Go" (#36) as well as the top five "Take It On The Run.(#5)" The track, "In Your Letter" has a retro 1950's feel to it. It also made the pop charts at the time (#14).

"Tough Guys" is one of the most relentless tracks on the album. It rocks from start to finish and interestingly enough, begins with a vocal segment from the television program, "The Little Rascals." (Madonna would employ this technique in her song "White Heat," which included a spoken prologue from James Cagney in her tribute to him on her 1986 album "True Blue.")

"Follow My Heart," "Out Of Season," and "Someone Tonight" also serve as competent, well-crafted tunes. The one track I tend to not enjoy as much is "Shakin' It Loose."(Don't get me wrong-it is not a bad track; it just sounds too generic. It could have been recorded by Styx or Journey or 38 Special!). Nevertheless, there is a continuity to the album and it is absolutely clear why this album graced the charts for well over one year.

The album closes with the highly sentimental "I Wish You Were There," one of my favorite ballads on the collection. (This would be an excellent tune that could wind up on a soundtrack to a love story with a "coming of age" theme to it.)

Digitally remastered, this 20th anniversary collection contains the original artwork (including the classic album cover), and the complete lyrics to all ten songs. "Hi Infidelity" includes a well-balanced mix of hard rocking and mid-tempto ballads. It is an absolute must in any music library whether one is a fan of classic rock or infectious, coherent, pop music.

An excellent breakthrough from a classic R&R band
REO Speedwagon broke into the Billboard Top 10 and America's teenagers started to hear this band due to this classic album released in 1981. From the slow song "Keep On Loving You" which always reminds me of those dances in the high school gym. To other gems such as "Tough Guys", "Don't Let Him Go", "Take It On The Run".

REO Speedwagon had its glory days in the sun before going back into obscurity in the mid 1980's but for a couple of years they were Rock and Roll royalty and hearing this album (CD) it is not hard to see why. Highly recommended!

Heard it from a friend who heard it from a friend who...
...heard it from another that this album is great! I was a freshman in high school when this one was released. I'd never heard much from REO before, but it was impossible to ignore this album. Hi Infidelity was a "must have" for most people. It's THAT good. It's got the popular ballads, but there are also some great rockin' tunes like Tough Guys, Shakin' It Loose, and Someone Tonight.

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Reviews (7)

Somethin's Not Right Here
Although this was the album that rocketed Motley Crue up to the top of the charts in 1985, I just can't get it. Considering its two predessesors are two of the greatest albums known to man, this one should be, too. But it's not. It is MUCH lighter and pop-oriented than Shout At The Devil, and it just doesn't have that Motley Crue sound that they used before and later. And also, this is some sort of a concept album I believe, but I just acn't get the concept. One song they are singing about gambling and money, they next they are talking about the the pains of going on tour. I just don't understand much of it. City Boy Blues, Smokin' In the Boys Room and Louder Than hell are great, but a lot of it is filler. If you are just a casual fan, stay away from this one.

This album is "Louder Than Hell".
Though I do admit both "Shout At The Devil" and "Dr. Feelgood" are better albums, this is the one I actually listen to the most. That may be because I have it on cd, cassette, and vinyl, but I think it's mostly because it's just a great listen all the way through. It includes the big hits "Home Sweet Home" and "Smokin' In The Boys Room", but I actually like some of the other tracks even more. "Tonight (we need a lover)", "Save Our Souls", and "Raise Your Hands to Rock" are all excellent. The extra tracks on here are all decent, but it's the original ten that will rock your socks off. It's simply classic "Crue".

Welcome to the Crue's Theatre...
Step inside the Motley Crue's "Theatre of Pain" and let me tell you a story. Twenty-two years ago back in 1982, a band named Motley Crue made their music debut with their album, "Too Fast For Love." One year later, in 1983, they released the smash album, "Shout At Devil." With their very successful tour in support of the album, the group's popularity had risen to super stardom. To capitalize on this fame, in 1985, they came out with one of their best albums to date, "THEATRE OF PAIN." Together, this band consisting of Vince Neil, Nikki Sixx, Mick Mars, and Tommy Lee, they created an album unlike any other Crue album before its release up to this date. The album is very musically unified along the group's experimentation with different types of sounds and instuments. Nikki Sixx, the main writter if the album's material wrote some of the Crue's best songs to date.

The albums's opener, "City Boy Blues," is a Crue classic and deserves an A+ all the way. The lyrics are great, Tommy's drum beats are phenomenal and the rhythms by Nikki and Mick are out of the world with some excellent lead guitar solos. The next track, the remake of "Smokin' In The Boys Room" is just outstanding and is definitly one of the Crue's best songs to date and is outstanding live. The ballad "Home Sweet Home" is the Crue's best ballad to date hands down. They have some great ballads but this one is so much more better. The opening sequence is a piano playing and Vince's vocals are so passionate and the guitar work is undoubtably fascinating. This was the Crue's hit single of the album along with "Smokin' In The Boys Room."

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Reviews (127)

It's kind of scary how good this is!
Van Halen's "sneeze and you'll miss it" masterpiece of an album. Clocking in at a whopping 33 minutes, "1984" wastes no time giving you a lesson in Van Halen 101.

After years of nagging, Eddie Van Halen convinced David Lee Roth that it was okay to include keyboards on an album. Not only did Roth give in, they ended up writing one of Van Halen's greatest songs, "Jump", on the very instrument that Roth loathed.

There isn't a bad song on this album, although, if "I'll Wait" had been left off the album, I would have never missed it. "Panama" and "Hot For Teacher" are the type of songs that other bands spend their whole career trying to write, and often never can. Van Halen has two of these songs on one album.

The pinnacle of Van Halen's career, "1984" remains one of the greatest rock albums of all time.

A triumphant exit for Diamond Dave.
This album was the last one that David Lee Roth recorded with Van Halen and he definitely left on a high note. This is a very fun album, with the classic feel-good song "Jump." This song seems to have set the tone for a lot of bands in the years following. "Panama" is one of Van Halen's most beloved songs and can still be heard often on the radio. "Top Jimmy" is one of my favorite songs ever by Van Halen. It's a great country/blues number that is one of their best foot-stompers. "Hot For Teacher" is another highlight, with it's great intro and fast, furious playing. You can tell they probably had a lot of fun doing this one, including the video for the song. Every song is cool on this one and if you've never heard this before, this is essential 80's hard rock that you should definitely check out. If you're already a Van Halen fan, make sure that this is in your collection!

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Reviews (21)

Celebrating 25 years of glorious Cheap Tricks!!!
The latest release from "the pride of Rockford" demonstrates (once again) what fans have known all along--Cheap Trick is the world's greatest live rock and roll band. This generous collection reflects the scope of the band's songwriting talent, ability to choose covers that fit, and absolute ownership of the stage. The sound is clean and more "hi-fi" than the group's "Music for Hangovers," which is one of the best live rock albums ever, but the sense of celebration that permeates "Silver" is infectious and makes this release seem like an event. That's appropriate, given the nature of the show documented here--a "homecoming" replete with special guests, additional instrumentation and orchestration, and the inclusion of talented friends and family members. From Bun E. Carlos's thunderous opening on "Ain't That A Shame" to Tom Petersson's wall-of-sound 12-string bass (his work on "I'm Losing You" hits your ears like a ton of bricks. Extra heavy bricks), from Robin Zander's peerless voice ("Time Will Let You Know," "The Flame," or "Voices" will stand as proof that there's no one better) to ringleader Rick Nielsen's great guitar work and undeniable rapport with the audience, this 2-disc set is loaded with elements that draw the listener into this very special show. One other note--as cool as it is that Slash, Billy Corgan, and Art Alexakis dropped by to take part in the festivities, none of these guests contributes anything that makes it a "better Cheap Trick performance." Billy Corgan's words of appreciation serve as the best guest moment, and it's cool to note the "age means nothing" aspect of how this band rocks after 25 years, especially in the presence of the aforementioned contemporary stars. Cheap Trick plans to release a DVD of the "Silver" show, and since we can't turn back time and head to Rockford, this is the next best thing. For now, however, this EXCELLENT CD will more than suffice. "Who D' King"? That's easy--Cheap Trick!

Cheap Trick Will Never Let You Down
You know,I don't know how Cheap Trick does it. They have been one of the most entertaining bands of the last 25 years, and 'Silver' proves it. Recorded live in Rockford, Ill., the band got together with family, friends and former members (or should I say "member"--Jon Brant) and celebrated their existence in front of a very appreciative crowd, and blew everbody else away. By burrowing deep into their catalog, Cheap Trick showed how Power Pop should be performed. Choice covers ("Ain't That A Shame", "I'm Losing You"...), classics ("I Want You To Want Me", "Surrender"...) and lesser known gems ("Woke Up With A Monster", "Hard To Tell"...) meld together to form a magical live experience. Special recognition goes to "Time Will Let You Know", a duet between Robin and Holland Zander. Easily the best song on this album, this ballad should have been released as a single--it would be a monster! I've seen Cheap Trick live 3 times, but I'd have given my left leg to see this show. "Silver" is the best live album of the new millenium so far!

There all here and LIVE!
I saw Cheap Trick live in Rockford before the went on the japan tour and they were wild, crazy and fun. Talented lead vocalist, crazy, goofy and talented lead guitar backed by heavy base and drums, this was good rock and roll. When they slow it down for songs like THE FLAME they got very emotional.

Reviews (301)

Pure, undistilled ecstasy...
I don't quite possess the vocabulary to describe this CD; I'm not sure there's words in the English language to describe the pure emotion concealed in the poetry of the beautiful lyrics and the melody of Sarah's incredible voice. I can, however, say that this is one of the most stunning CDs I have ever heard... and I will say exactly that, because it's true. Sarah has a positive genius for capturing the essense of what makes us human in her songs, lending them a depth that sets them apart from many shallow "contemporary" artists of the day. Her words have impact. You can't help being drawn in by their honesty and sheer poetic grace.

It's impossible to choose favorites on a disk like this, because all of the songs are unique and beautiful in their own way. Still, certain songs are so hauntingly lovely that they deserve a special mention: "Hold On", "Elsewhere", "Ice", "Fumbling Towards Ecstasy", "Fear", and the hidden track, a piano version of "Possession", stick out in my mind as masterpieces by this wonderful artist. The last two tracks I mentioned in particular have an elusive quality of lucid, haunting beauty that strikes me to the core each time I hear them. They are truly stirring in a way that can only be experienced, not described.

This is no ordinary album, and it's one that you simply can't afford to miss. If you don't own it, what the heck are you waiting for! Get it right away... no CD collection should overlook this priceless gem.

A Must Have Purchase
Forget Lilith Fair. Forget, while still a very good record, the overplayed music that the subsequent 'Surfacing' brought. 'Fumbling Towards Ecstasy' is a fantastic cd. Lyrically and musically it's a very good disk. Sonically, it's a great album. Pierre Marchand did a fantastic production job w/both instruments and vocals. McLachlan does a pretty incredible job at her layered vocal tracks and singing her own harmonies.

Though not the most 'up' album in thematic terms - but who cares? 'Solace' seemed to have a water theme running through most of the songs. 'Fumbling...' seems to have a theme of fear that dominates the record.

Each song conveys McLachlan's emotions - and to get that across is pretty substantial, regardless of musical style. Stand-out cuts include (in no particular order): "Fear", "Elsewhere", "Possession", "Ice" and "Good Enough". "Ice Cream" seems a bit too lightweight for this disk - considering the other material.

I highly recommend this disk. 'Solace', 'Surfacing' and 'Rarities, B-Sides and Other Stuff' are good purchases too.

Reviews (89)

Collective Soul Shines On....
"Shine" may have catapulted Collective Soul into the national spotlight, but their self titled release in 1995 took the success of Hints, Allegations, and Things Left Unsaid and multiplied them four fold, producing tried and true rock n' roll in the process.
Collective Soul, despite being of accused of being a rip off band, has gone on write and record 8 tracks that have risen to become #1 hits in the 90's. Count 'em - More than Metallica, more than Pearl Jam, more than Radiohead. While "Shine" started their dizzying rate of churning out hits, their self-titled album, which includes favorites like "The World I Know", "December", "Where the River Flows", and "Gel" (all of which hit #1), set the standard for modern rock as we know it. Virtually every track on this album is a must listen, and songs like "December" and "The World I Know" are timeless classics. Sure, some of these songs sound dated- they are over 6 years old. Collective Soul proved they could rock hard when hard rock ruled, but at the same time showed their ability to create timeless classics such as the aforementioned "December" and "The World I Know". While these two songs are definitely the highlights of the CD, songs like "Simple" and "She Gathers Rain" capture the familiar sound that Collective Soul has, in time, made their own. Collective Soul's rhythmic guitar work and hard-edged rock 'n roll were first captured in their self-titled album, which remains they're strongest work to date. In some ways, it seems they stumbled upon a sound that, while being modern, was classic in so many ways. "Simple" exemplifies the riff-rock that Collective Soul fans have grown to love and never tire of, while the laid back, straight forward tune "Reunion" captures the raw soul of one of the greatest bands of the 90's. I could continue and name each song and explain why and how it contributes in a subtle, but nearly perfect way to this record, but I have neither the time, nor the energy. Trust me, this album kicks major ass. Each track captures Collective Soul at their peak performance. It is true that they are better musicians nowadays, which is a natural thing to happen as a band matures and has played together longer, but my admiration of the song writing on this CD grows with every listen.
Simply put: this album set the standard for modern rock in the 90's, but please don't lump this band with the likes of Matchbox 20, Fuel, the Goo Goo Dolls, or any other band that produces meaningless music for the masses. Collective Soul has had an incredible career in the music business after being called a one hit wonder when "Shine" came out. This album disproved their critics 4 times over.

Phenominal mid-1990s rock album
There are several bands and artists that helped rock music survive grunge, but none more than this great band with this classic album. This is the perfect hybrid of modern and classic rock. With 5 (count 'em, 5!) rock radio hits, this album and band made a huge splash on the rock music landscape at a time it was really needed.

Need I rave about such hit tracks as the rockers "Gel" and "Smashing Young Man" or the slower tracks "December" and the absolutely stunning "The World I Know"? These tracks are all modern classics in my book. However, I also have to rave about such tracks as the rocking opener "Simple" (one listen to that when I first played this CD and I knew I was in for a special treat). Another fav is the second to last track "Bleed", a slightly above mid-tempo track with a killer bass line.

Another reviewer referred to this album as progressive rock with an edge. I couldn't agree more. For sure this album stands up as one of the classics of the 1990s decade. Both commercially and musically, this album is a winner.