Everything I Bet You
Average Customer Review:
Audio CD (12 March, 1996)
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Reviews (1)

The Honeydogs Rock!
Ispired by Kiss but truly influenced by the Replacements these guys can dig it from country to blues...they can do about anything. Just hope they get another album out soon. PLEASE!!!! There music just gets better and better. It's worth the few bucks to listen to these Minnesotans! ... Read more

Asin: B0000018MK
Sales Rank: 59036

Let's Go Scare Al
Average Customer Review:
Audio CD (01 June, 1999)
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Reviews (6)

Excellent Album

If you haven't heard The Gear Daddies they are definately worth a listen. I agree that they were ahead of their time.
I think there's something they everyone can relate to in their music which gives it that real and soulful feel.
Leader singer Martin Zellers vocals along with the different styles in each track make it an great album.
I am from their home town of Austin, Mn so I have been listening to them from the beginning.
Please give them a try if you're looking for something different. Here is the website if you'd like more info.

http://www.martinzellar.com/

So Good, it's Scary
Had "Let's Go Scare Al" been released a half a decade or so later, The Gear Daddies would have got swept up in all of the "Alt-Country" hype that sprung up in the mid-1990s. As it turned out, this woefully underrated Minnestoa combo was just a few years ahead of its time. Combing rock, folk and country styles in good blend and spinning bittrsweet tales of small town life (empahsis on the "bitter"), nobody could do it like them. The best songs on "Lets Go Scare Al" include the haunting "Statue of Jesus," the observational "Heavy Metal Boyz," the catchy "Blues Mary" and the lenghty "Strength" that closes the album. In between are more songs that are just as good, especially if you like your lyrics gloomy and desperate.

Overall, The Gear Daddys were Alt-Country before Alt-Country was cool and they are definately due a revival.

Honest Country
While mainstream country was beginning to rebound on the pop charts with the discovery of cookie-cutter superstars such as Garth Brooks and Faith Hill, bands like the Gear Daddies were pioneering indie-country. The Gear Daddies music is twangy and chock-full of small-town working-class heartaches and struggles that has made popular country music somewhat of a joke. However, in the hands of Zellar and co., these same themes rise to a level of integrity that country music hasn't seen since the old days. You get the feeling that, like Johnny Cash before them, the Daddies are telling their tales of hardship and simple joy firsthand. With each song, they paint a picture of a complete character: be it the woman who makes due with what life has given her and finds comfort in simple pleasures in "She's Happy", or the well-intentioned father in "Statue of Jesus" that just can't seem to stop repeating his mistakes. This album is nothing short of incredible. But sadly, like seemingly every other groundbreaking act to emerge in the late 80's to early 90's, Zellar and the boys were for the most part ignored by major media. Don't let that fool you. This album has just recently been reprinted after years of unavailability, and is by far the Daddies' best. So...unless you are a huge fan of GD's silly but heartwarming Zamboni song (on "Billy's Live Bait" and in the top 10 in hockey arenas) go for "Let's Go Scare Al" while you still can get it and you will not be disappointed. ... Read more

Asin: B00003L4CC
Sales Rank: 76359

Live: Two Guitars, Bass and Drums
Average Customer Review:
Audio CD (11 April, 2000)
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Features

• Live

Reviews (4)

Haunt my dreams
I'm not really big on the current music scene in the Twin Cities. Other than the post-punk scene in the late '80s, early '90s, there really hasn't been anything to come out of the land of 10,000 lakes that has interested me. The artist that I have had some interest in is the former Gear Daddies lead singer Martin Zellar and his band The Hardways. I bought "Live: Two Guitars, Bass and Drums" a few years ago when I first listened to the cd at my local record store. I loved what I heard. Martin had not strayed far from his days as part of the alternative country band Gear Daddies. The only difference is that the music is bluesier. I am not a big fan of live albums but I love "Live". I hadn't listened to it in ages until I recently popped into my cd walkman and listened to it on my commute to work. I immediately fell back in love with the band's music. The songs are incredibly infectious and sticks in your head for days, especially "Haunt My Dreams" and "Blown Kisses" (my two personal favorite tracks on the cd). I also love the ultra catchy "Drank so Much", the ultimate drinking song in my opinion. My only flaw with this live album is the band's cover of that horrible Neil Diamond/Barbara Streisand song "You Don't Bring Me Flowers". It is a hidden track on the cd. I hated the original version and I honestly can't say I like Martin Zellar's version any better. Otherwise, I enjoyed all the songs performed live on this cd.

Mixed Feelings
Seeing as though I'm listening to it all the time, 4 stars might not be doing this album justice. It's definitely a "must have" for fans of Martin Zellar and his music, but I just thought it could've been even better.

The first problem I have with the album is the song selection. Of course, there are superb tunes like "Haunt My Dreams" and "George and Tammy", but there are also a few songs that I just wouldn't want to hear at a live Hardways show. 12 of the album's 15 tracks were written by Zellar. Coincidentally, the other three are the worst on the album. "Mystery Train" grows on you after a few listens, but "The Way I Talk" is just dumb and "Let It Roll" sounds like a cheap rip-off of Chuck Berry's "Johnny B. Goode".

Even some of the songs I do like I felt could've been replaced with better ones. "Cross My Heart" and "Lay This Down Gently" are great songs, but I would've rather heard live renditions of "Something's Gotta Happen" or "Force a Smile". "Wear Your Crown" is a signature Daddies tune, but I can think of at least a dozen others that I like better.

The second problem I had with "Live", and this is really nitpicking, is that I was disappointed in the lack of interaction between the band and their audience. Part of the fun of seeing a band perform live in a smaller venue is feeling like you're part of the show. Aside from a few stray comments, Martin and the boys just went from one tune to the next. I just wish the atmosphere and the personalities of the guys would've come across better.

If you're like me and you haven't gotten around to seeing a live show, this is as close as you're gonna get.

It's Just Like Being There!
I can't improve on what Angie wrote about the new Martin Zellar and the Hardways Live CD. But I can add that the whole CD was recorded at O'Gara's in St. Paul on two unbelieveable evenings of music and fun. You can hear the fun in the music and in the audience response. It's just like being there, and better yet, it sounds just like the studio version (except with audience background) of most of the songs because what you hear is what you get whenever you hear Martin, Danny, Nick and Scott - on CD or live! It's a party every time you play it... you'll want to play over and over again. ... Read more

Asin: B00004SWHK
Sales Rank: 163503

Born Under
Average Customer Review:
Audio CD (24 January, 1995)
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Reviews (6)

Don't waste your money
I went to a recent concert of MZ and the Hardways. It was okay. Not great, but okay. So I purchased the album. Three words for you: overproduced, pretentious and schlocky. Another pseudo-rocker who is counting on his good looks to go somewhere. Chris Isaac of the 21st Century. An average band, an average song writer. If you have $15 extra bucks, spend it somewhere else. After listening to this album a couple times, it's likely to end up on the shelf, collecting dust and remaining unlistened to. The fate that it rightfully deserves.

This Stuff is Just Amazing
I've been a fan of Martin Zellar's ever since I came across some music from his old band, The Gear Daddies. After listening to his solo debut, I'm an even bigger fan. The songs on Born Under make up some of the best songwriting I've ever heard. "Something's Gotta Happen" tells the story of man who wants desperately to provide for his family, but he caves in under the pressure. "Problem Solved" is about a woman trapped in a relationship with a controlling man. "Summer Kind of Sad" is told by an alcoholic who can't believe his partner stuck with him through all he put her through. These are all common themes, but the words and emotion in which Zellar expresses them are mesmerizing.

I also have to make special mention of the standout track on this album, "Force a Smile." This song is the most beautiful tune I've ever heard. Just an accoustic guitar, a cello, a subtle snare drum, and Zellar's one-of-a-kind voice. Awesome music.

Born Under combines excellent musicianship, heartfelt and emotional stories, and great songs, all on one album. By the way, if you've read this far into my review, it means you haven't run to your local music store or started ordering it from a great place like Amazon.com. WHAT ARE YOU WAITING FOR?!

Another Huge Talent No One's Heard Of
Like Steve Wynn (ex-Dream Syndicate), ex-Gear Daddy Martin Zellar has more talent in his little finger than Fred Durst and the members of your average rap-rock outfit have in their entire bodies. Sadly (and why does this seem like deja vu?), hardly anyone has ever heard of him. And that's a shame because Zellar's tunes, at times delivered with a melodic, almost country-rock-like flair and verve deserve to be heard. Currently residing in the bargain bins of your favorite music emporium. Highly recommended and worth seeking out. ... Read more

Asin: B0000009PK

The Trinity Session
Average Customer Review:
Audio CD (25 October, 1990)
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Editorial Review

On their sophomore effort, Canada's Cowboy Junkies manage to make a one-day recording session in an old church one of their most satisfying listens. Featuring the sultry voice of Margo Timmins, the precise musicianship of her brothers Peter (on drums) and Michael (on guitar), and bassist Alan Anton, The Trinity Sessions is a spare, evocative, countrified-rock classic. Their inspired reworking of both "Blue Moon" and "Working On A Building" reveal the Timmins family to be talented interpreters and insightful neo-traditionalists. Mixing the ambitious songwriting of Margo and Michael Timmins with subdued covers of Lou Reed's "Sweet Jane" and Hank Williams' "I'm So Lonesome I Could Cry," The Trinity Sessions is an exquisite collection that holds up quite well under repeated listenings. --Mitch Myers ... Read more

Reviews (68)

UNIQUE ATMOSPHERIC SOUND
This elegant, spooky and emotionally gripping music can loosely be placed in the same category as Daniel Lanois' masterpiece Acadie and perhaps be described as folk or country based atmospheric rock. There is an understated elegiac tone throughout, especially in songs like Misguided Angel, 200 More Miles, Dreaming My Dreams and the exquisitely sorrowful To Love Is To Bury. They turn Lou Reed's nervous, pulsating Sweet Jane into a dreamy folk song and the traditional Mining For Gold into a spiritual anthem. Their own compositions like the aforementioned Misguided Angel, To Love Is To Bury and 200 Miles are as good as the well chosen classics that they interpret with such brilliance. I'm not familiar with their other work, but albums like this don't come around very often. It was recorded in a church in Toronto which probably explains the unusual overall sound. A classic if ever there was one.

Silky mix of R&B, rock, and country/folk
Hold on to your socks.

Margo Timmins's voice is silky, sensual, and at times disturbing in the dark, brooding, and often obsessive lyrics redolent with tenderness, anguish, and remorse.

Though original in its arrangement, the band clearly pays its dues to those that they were influenced by: Hank Williams, Elvis Presley, Patsy Cline, and Lou Reed, amongst others. The album is a beautiful "thank you" note to musicians that they were powerfully touched by, but these are more than just "covers": The Cowboy Junkies take known material and present it in completely new ways, that show both their imagination and versatility. There is also original material, as well as one "traditional" piece sung a capella.

The quality of the recording itself is extraordinary: the album was recorded in a church in Toronto (hence the name) and the reverberations that are apparent only serve to underscore the range and silky, almost liquid, texture of Ms. Timmins's voice. With a good pair of headphones, close your eyes and you will feel yourself to be a couple of feet away from the band as they play in front of you. The intimacy of both the themes and the proximity of the musicians is overwhelming.

solid gold
This is one solid recording. The Trinity Session is worthy of being called an audiophile's delight. The sonics are fabulous, and the music ain't bad either! Margo Timmins voice is haunting. Whoever recorded this disc knew what they were doing. This should be manditory listening for engineers. [Those that aren't already deaf.] I'd be hard pressed to pick a favourite track, they are all great. "Blue Moon, Song for Elvis, and I'm so lonesome I could cry," come to mind. While I love, Mott the Hoople's "Sweet Jane". The Junkies give it a new lease on life. I know Lou Reed wrote it, never been a big fan of his style, with the exception of "walk on the Wild Side. Okay, I'll admit his version isn't too bad, but The Junkies do it so well. ... Read more

Asin: B000002WCL

Gold
Average Customer Review:
Audio CD (25 September, 2001)
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Editorial Review

Torrential creativity has fast-forwarded the artistic evolution of former Whiskeytown frontman Ryan Adams from country-rock boy wonder (see Faithless Street) to despondent troubadour with a 1960s fixation (his solo debut Heartbreaker), but it may also explain why listeners often need to wade through some pedestrian material just to find a few pearls of poetic excellence. Gold is no exception to that trend, a sometimes engaging middle-of-the-road roots-pop album that's both overlong (70 minutes) and at times overindulgent. There are high spots--such as the bouncy, breezy opener "New York, New York" and the plaintive ballad "When the Stars Go Blue" (which features a vocal turn reminiscent of Morrissey)--but much of the disc gets lost in forests of indistinct guitars and plodding percussion that never nudges Adams into actually rocking. Gold is the work of a notoriously prolific songwriter who hasn't yet learned to play to his strengths, one whose execution doesn't yet match his vision. --Anders Smith Lindall ... Read more

Reviews (116)

Sheer craft
One of the most significant albums of the year for the sheer pleasure of craft it evokes, Gold is a uniformly strong set of songs. Quite ambitious, it reaches across and touches just about every viable stop along the singer/songwriter spectrum. From jangling acoustic-strummed rockers such as New York, New York and Firecracker that are the logical extension of Adams's Whiskeytown days, to Elton John-esque piano-led ballads like Le Cineague Just Smiled and Sylvia Plath, to rocking rave-ups like Nobody Girl and Enemy Fire, to the more reflective songs that dominate the latter part of the album, to the decidedly Rolling Stones-esque Tina Toledo's Street Walkin' Blues, Gold positively brims with pure songwriting fury. Adams is clearly a gifted musician and writer. Over the course of its 16 songs and 70+ minutes, Gold touches on many bases, and can be a bit overbearing at times in its sheer ambitiousness. However, it's that very quality that makes Gold one of the year's biggest successes. From the looks of it, Ryan Adams has a very successful career ahead of him, and Gold will be looked back at as the point where he really started to show what he was capable of.

An important and addictive album
Like many rock music fans, I often find myself returning continously to my old Stones, Dylan and Neil Young albums when the highly formulaic rock music of today fails to even spark my interest. Ryan Adams' latest release certainly is a refreshing dose of the folk/rock/country-blend that made Dylan and these other artists so appealing in the first place. While highly reminiscent of Van Morrison and (especially) Neil Young, as basically every reviewer has pointed out, Adams writes heartfelt, catchy and sometimes moving love songs and effortlessly weaves them into different syles and genres fairly successfully. While the first track and single "New York, New York" is an urgent, upeat folk-rock track, it is in no way indicative of the entire 70 minute album. "La Cienega just smiled" is laid-back alt country, while "The Rescue Blues", which to me sounds like a re-write of the Stones' "Bedroom Blue"s off of Exile, has blantant gospel-blues flourishes. Perhaps the strangest, and most appealing song, on the album is "When the Stars Go Blue", featuring Adams singing in a Morrissey-esque croon with a simple arrangement and truly touching lyrics. If you have ever experienced the type of latenight break-up loneliness that he describes so vividly here, you love this song as much as I do. He picks up the pace a bit with some long, extended guitar jams in "Nobody Girl", which is followed by a fascinating, abstract character sketch in "Sylvia Plath". I am usually exhausted by the time I get to the final six tracks. I can live without "Enemy Fire" (track ten), but the energetic "Gonna Make you Love Me" and the absolutely stunning "Wildflowers" are true highlights. "Harder Now..." is classic Neil vocally and lyrically. It would fit nicely on After the Gold Rush--featuring the fantastic lyric "when I threw that drink in that guy's face/it was just to piss you off". Adams' full range of emotions are at the forefront of this album, alternating between bitterness, anger and all-out depression. I redemptive sense of true love, however, tends to romance the listener out of the dark thematic terrain. All of the criticisms of this album are fair. It runs a bit long and the influences are fairly direct, almost bordering on Lenny Kravitz-style parody. But with a certain New York punk band that will remain anonymous (clearly ripping off the Stooges and Lou Reed) garnering huge critical support, I cant understand why Adams' stylistic choices are under such attack. By far, the most interesting and satisfying album I have heard by a newer artist this year. 5 stars.

-
i never thought i could love a cd so much in all my life. his music is creative, sexy, honest, thoughtful, unique...this is an excellent cd and even better than his first solo work. out of all of his solo albums (heartbreaker, gold, demolition, rock and roll and love is hell parts 1 & 2) i rate this as the best. those who have heard the corrs' cheap rip off of 'where the stars go blue' will be surprised to hear the original version written by ryan adams. he shines on tracks 1, 4, 5, and 7. track 8 is the longest and best on the entire cd because it contains so many moods and styles. his creativity is astounding. ... Read more

Asin: B00005QY5Y

The Early Year: Pine Box & Dance the Night Away
Average Customer Review:
Audio CD (22 April, 1997)
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Editorial Review

Collected here as a double-CD set, this Northampton, Massachusetts, band's first two independent releases (Pine Box and Dance the Night Away) testify to the power of sparseness, subtlety, and song craft. Like contemporaries Wilco, Son Volt, and Palace, they come to country via rock & roll, intertwining the styles in their own distinct way. The 27-song set (including a few brilliantly chosen covers) fuses pop sensibilities with lazy strumming, mandolin, pedal-steel, and a 2 a.m. smoke- and whiskey-soaked haze. The sound is understated, fitting for a band that played live perched on barstools, huddled around an old Tiffany lamp. By turns hauntingly bittersweet and foot-tappingly catchy, this collection is as warm as an old quilt, with just as much character. --Donovan Finn ... Read more

Reviews (2)

Early Scud Mountain
Yeah, this is really good. Just like to add for the viewers that this is not much like "Massachusetts" in that it does not have a whole lot of backing instruments (including drums & electric guitar). Mostly just acoustic numbers with minimal amount of hoopla. Great songwriting and a few covers as a bonus.

beautiful american music
these early songs will touch your soul and stir your mind. Joe Pernice's voice has the uncanny ability to ooze through every pore in your body and force you to feel his every emotion. if you hear it once, you'll never be the same. ... Read more

Asin: B0000035IR

O Brother, Where Art Thou?
Average Customer Review:
Audio CD (05 December, 2000)
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Editorial Review

The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels. --Don McLeese ... Read more

Features

• Soundtrack

Reviews (440)

O Brother, I have found thee.
Let me tell you first off, being a 13 yr old girl, in the middle of the pop world, I hate country. I would beg my parents in the car to let me listen to my Pop/Rock/Rap stations, but one day my dad popped in this Cd, and now we all sing along to it on road trips, or trips to the store.

1)Po Lazarus... man, this 1950's was originally recorded by a prision chain gang, the song being written by James Carter. I just wish that the chopping didn't drown out the lyrics.

2)Big rock cany mountians.... the original adult version. This funny song is no Willy Wonka favorite.

3) You are my sushine... Such a sad, touching song. I love this song, with it's syncappated country sound.

4) Down to the river to pray... this is my favorite song to sing and listen to. I love picking out all the bacground harmonys. it is a beautiful song, with Aloson Krauss as lead vocalist.

5) Man of Constant Sorrow.. a catchy, great song. If you've seen the movie, how could you think of anything other than George Clooney's eyebrows?

6)Hard time Killing Floor Blues.. a beautiful song. Chris Thomas King's voice is so rich. Very thought-prevoking

7) Man of constant Sorrow.. a beautiful guitar instrumental that gets you in a mood for music appreciation.

8)Keep on the sunny side.. the titel says it all. A happy true-bluegrass number

9)I'll fly away... an old hym that is very moving, though I like the higher pitched version in the movie better. Wonder why they changed it?

10)Didn't leave nobody but the baby.... Ahh the sirens, the vocals are supurb, but when u really listen to the lyrics, they are quite desturbing.

11) In the Highway.... if u haven't seen the movie (u need to) then u will not understand why there are three little girls singing.

12)I am weary (let me rest).... one of my favorites, the Cox family is very talented.

13)Man of Constant sorrow... I love this violin instrumental. It is my favorite song. A violin player myself, i guess I appreciate it, but it's just so beautiful!!

14)o death.... O DEATH!!!! Ralph stanley's haunting tenor voice is perfect for this song. It upsets my mom, but I love it. It makes me thankful for life.

15)In the Jailhouse now... a funny, uplifting song, with a suprising yodel. you should hear my family on this part, haha.

16) Man of Constant sorrow... The full band id behind them this time, and I like it better than Just the gitar accompaniment (sorry tommy) (see the movie)

17)Indian War Whoop... don't worry, it's not what it sounds like. it portrays the village idiots... once again, WATCH THE MOVIE

18)Lonesome valley... while this is kinda a weird song, u have to admit, the vocal harmony is amazing.

19)Angel Band.... this is a beautiful song. The stanley brothers are very good. In the movie i liked it better, but it's still wonderfull.
I hope u found this movie.

The greatest movie soundtrack EVER!
With the country music airwaves currently being dominated by fresh, new artists like Faith Hill who fit better in the pop circuit, it is refreshing to see an album composed entirely of traditional bluegrass and country do as well as the soundtrack of O BROTHER WHERE ART THOU. Even further impressing is the fact that although none of the songs were released to radio, the soundtrack was propelled to the #1 spot on Billboard's country album charts solely from people hearing the music in the movie theater. This soundtrack is a phenomenal album that is proof to country fans everywhere that although traditional country has appeared to have gone out of style, it is still very much alive and well.

The O BROTHER WHERE ART THOU SOUNDTRACK is composed of nineteen songs recorded by some of the most talented country/bluegrass artists in the business, including Gillian Welch (who also served as musical director for the motion picture), Emmylou Harris, Alison Krauss, and the Cox Family, and and is truly a gathering of musical talent. Also included in the soundtrack is music by musicians who appeared in the film as well as working on the CD, such as the Whites and Tim Blake Nelson.

The O BROTHER WHERE ART THOU SOUNDTRACK is truly, as the CD ads claim, "The ULTIMATE American roots collection!" So, grab your acoustic guitar, fiddle, and Dapper Dan hair pomade, and let the soundtrack from O BROTHER take you on a journey through one of the greatest periods in country music history.

Music the way is should be
This is perhaps the best soundtrack ever made. It is a stunning mix of mostly acoustic tracks by most of the best bluegrass artists ever. There is work on here from Ralph Stanely, Allison Kraus, and Emmelou Harris, to name a few. This CD won a lot of Grammys the year that it came out, and that is because it was the best CD of that year.

Highlights include the Big Rock Candy Mountains, Man of Constant Sorrow, In the Jailhouse Now and O Death. If you have ever wondered what bluegrass sounded like but have been afraid to try, this is the CD for you. It will show you the magic that this genre of music can provide. ... Read more

Asin: B00004XQ83

Yankee Hotel Foxtrot
Average Customer Review:
Audio CD (23 April, 2002)
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Editorial Review

Named in honor of the three-word codes used by short-wave radio operators, Wilco's fourth album sounds like a late-night broadcast of some weirdly wonderful pop station punctuated by static and the sonic bleed of competing signals. Songs that begin with simple, elegiac grace--"Ashes of American Flags" and "Poor Places"--end in a cathartic squall of distortion. The results can be initially jarring, but it's these tracks more than the sturdy jangle pop of "Kamera" or "Heavy Metal Drummer" that demand, and reward, repeated listens. Mixed by studio experimentalist Jim O'Rourke and produced by the band, Yankee Hotel Foxtrot harkens back to a time when the words "pop" and "sonic adventurism" weren't mutually exclusive. The Beatles and Kurt Cobain knew this, and clearly so do Jeff Tweedy and company. --Keith Moerer ... Read more

Features

• Enhanced

Reviews (539)

Wondrous
If you look at the evolution of Wilco in terms of The Beatles (as many people, myself included, seem inclined to do) then you have to view Summerteeth as their Rubber Soul and Yankee Hotel Foxtrot as their Revolver. A wondrous glowing record of uncommon passion and depth, it ranks with the true greats of the past ten years. It is great to see Tweedy & Co. stretch out in the studio, and in the album's unquestioned masterpiece, Poor Places, take their songwriting to the stars and beyond. Yankee Hotel Foxtrot's simple intricacies grow with each listen, and I can't think of any modern artist whose work is more essential. Now I'll just sit back and listen and anxiously await their Sgt. Pepper's Lonely Hearts Club Band.

I would also add to the comments of others here - if you got the MP3s of this album that have been floating around please buy the album. Wilco truly deserves the attention, and the subtle details of the CD really flourish when they are listened to properly.

Confused
I do not understand the critical acclaim this album is receiving. Having listened to Wilco from the beginning of its existence, and Uncle Tupelo before then, I saw great potential in Jeff Tweedy and hoped he would grow as an artist. Sadly, YHF is very disappointing. While its artistic attempts are very clear, it fails to stand up musically. Using hackneyed studio techniques to obscure Wilco's charming simplicity - once treated as a point of pride, now treated as an obstacle - the album takes you on a repetitive, pretentious journey. While many are comparing this album to the Beatles' 'Sgt. Peppers', or The Beach Boys' 'Pet Sounds', I think it unfair to attribute Wilco's YHF with comparable importance when nothing new or daring appears on this album. Always trying to justify their artistic integrity to themselves, there is a rampant musical insecurity that runs within this half of the Uncle Tupelo dynasty. YHF destroys the natural emotion and energy Jeff Tweedy exudes, portraying a simpleton's idea of art instead of honestly sharing his music with us. On the positive side, his lyrics are courageous, severe and sad, by far Tweedy's strongest work as a lyricist. I only wish he could be so bold as a musician.

Tweedy's Uncompromising Sonic Beauty
Since so many people have reviewed this album already, I have no illusions about saying something for the first time nor plan on repeating what has already expressed fully and well.
I do still -specially for those people reading this after listening to YFH's follow-up the also impressive "A Ghost Is Born- need to point to a couple of important things that this album show about Wilco's consistently surprising output.
This album clearly demonstrates that Jeff Tweedy's musical vision and commitment to shed songwriting skins is remarkable and an inspiration, specially in the current midst of so many Rock and Pop icons continuing to repeat themselves, who at best flavor their "butter" differently but go on churning the same formula, forgetting to take the kind of risks that made them important in the first place.
Now, unlike many people have mourned earlier, I don't think this album is an absolute departure from what Wilco has been hailed for before. Although this is not "Summerteeth" or "Being There," Tweedy's love for Pop has not been renounced, "Kamera," "Heavy Metal Drummer" and "Pot Kettle Black" proved that.
More than abandoning former song-glories, Tweedy has evolved, has taken all that he can do and pushed it further into a new atmosphere. Where Jay Bennet was so instrumental in what the albums that preceded this one sounded like, Jim O'Rourke is now Tweedy's full musical partner.
And O'Rourke is no Yoko breaking a great band -actually Yoko did not either!- but rather someone who helped Tweedy say well what he was already prepared to say. His production deepens and thrusts these songs to a higher level. " Ashes of American Flags," "I am Trying to Break Your Heart" and "Radio Cure" are magnificent examples of a composer and a producer making music together that reaches farther that either one would have managed on his own.
This is a great album, not the end of a certain Wilco but the evolution of a sound into brave, new and exciting new possibilities. ... Read more

Asin: B00005YXZH
Subjects:  1. Pop    2. Rock   

A.M.
Average Customer Review:
Audio CD (28 March, 1995)
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Editorial Review

Comprising frontman Jeff Tweedy and other former members of alt.country legend Uncle Tupelo, Wilco was an apple that didn't fall far from the tree. A.M., the band's debut, continues that older group's brand of updated country-rock (emphasis on "rock") and emotionally powerful songwriting. However, many of the best creations here--the driver's-licenseless drunk in "Passenger Side," the bar-band celebration of riverboat gambling on "Casino Queen"--sport an unprecedented sense of humor and are unexpectedly catchy, too. Best of all might be "It's Just That Simple," in which Tweedy turns the mic over to the high and mournful singing of bassist John Stirratt.--David Cantwell ... Read more

Reviews (35)

Wilco!
Okay, so this isn't Summer Teeth or Yankee Hotel - but this debut album shows that Jeff Tweedy was a musician on the rise. Although not as produced as the three follow up albums, this album has a certain charm all its own. With more of a sense of humor than its brothers, the album features such great sing-a-longs as "box full of letters" and "passenger side" - a glorious ode to drunk driving. Pick it up if you're a Wilco fan to see what it was all about once upon a time. If you aren't a fan, its a great album with which to get your feet wet.

The "Yin" to SON VOLT'S "Yang"
A lot of people love either SON VOLT or WILCO and hate the other. I can't understand it, personally. They are both necessities in your music collection. Buy "A.M." and set it next to "Trace," Son Volt's debut. I think you'll be pleasantly surprised.

While "Trace" is more sober and serious, "A.M." prefers a bit more tounge-in-cheekiness. Tweedy taunts hard-luck gamblers in "Casino Queen" -- "I split my paycheck/ With my wife that I just met/ She's lookin' like a wreck," he shouts. And the lamentations of the drunk in "Passenger Side," is laugh-out-loud funny -- "You're gonna make me spill my beer/ If you don't learn how to steer."

But Tweedy knows how to be both silly and inspiring. Songs like "Box Full of Letters" and "Pick Up The Change" will linger in your mind long after they're over. They're both catchy and thought-provoking. The line that really sticks with me is "I just can't find the time to write my mind the way I want it to read." Get this album, and you'll find plenty of lyrics and hooks that speak to you, too.

From the ashes of Uncle Tupelo....
came Wilco. Wilco began as a vehicle for Jeff Tweedy, who was basically the understudy to Jay Farrar in UT. AM pretty much continues in the vain of Tweedy's past work, mixing mid-tempo rock with a little twang and a blue collar sensibility.

Some would have you beleive that this is Wilco's finest work, although I beleive that this is just the starting blocks of one the most artisticaly successful bands of this century. AM is a collection of solid, well written songs that would stand proud in any artists catalog. PASSENGER SIDE(in my humble opionion, the one for the ages from this release), BOX FULL OF LETTERS, PICK UP THE CHANGE and CASINO QUEEN remain some of my favorites after numerous spins

Tweedy would find his true voice with the next release, BEING THERE, and then continue to push his boundries in new and exciting ways that may have offended some of those originally drawn to his music. For those who have been along for the ride, it's as exhilerating as it can get, for those who lost the faith along the way, they always have AM as a souvenier. ... Read more

Asin: B000002MWY

Let Me Come Over
Average Customer Review:
Audio CD (23 June, 1998)
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Reviews (15)

Best album of the 90's.
That's right. Better than U2's Achtung Baby, Nirvana's Nevermind and Radiohead's OK Computer. This record never lets up as the hits keep on coming. Acoustic driven, plugged into a Marshall, melodic power pop the way its meant to be played. Bill, Chris and Tom made a startling leap from previous work on this record. Beautiful, filthy guitars pop up here and there, reminescent of the Replacements, but it is the passionate vocal performances and just better songwriting that separate BT from the rest.

Every song has some outstanding quality about it. My favorites include Larry, Mineral, Mountains of your Head, Frozen Lake, Stymied and Velvet Roof(a harmonica spiked rocker). Even after eight years, I still play it often. This is a must have for any collector of great rock n' roll records.

One of the essential cds of the 90s, PERIOD!
Let Me Come Over is a flawless album, a record of one of the very best bands of the 90s at their creative height. The cd contains several amazing songs that take the genre (alternative rock...etc. whatever you want to call it) to a whole new level. The 'Mats passed it...Dino Jr. caught it and Buffalo Tom ran it into the endzone. Every cut is amazing, and the band has never sounded better! Best cuts: Every song is good but these are the best: "Larry" "Daryl" "Frozen Lake" "Stymied" "Mineral" and, perhaps the best song of the 90s: "Taillights Fade." This is an essential record of the 90s..if you don't own it, your record collection is incomplete.

blazing..
to see bt live around the time of this recording was to experience an event. The venues were lifted, dropped, rattled. The kids filed out, grinning, shaken and ringing. IF you were there too, then you know...
This album is about as good as fuzzbox power pop gets. If you were around listening to pop music in the early 90's, and missed them, ya better keep your mouth shut about it, cause your canon is incomplete. Yes, there were a few really good bands then. BT was one of them.
I blew out a set of headphones with this. ... Read more

Asin: B000006NTT
Sales Rank: 17398

Big Red Letter Day
Average Customer Review:
Audio CD (21 September, 1993)
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Editorial Review

The first two albums by Buffalo Tom showed that the Massachusetts triohad studied its heroes (Dinosaur Jr., Husker Du), learned their guitar-rockvocabulary, and mastered the ability to put it across. But the band didn't havemuch original to add, and although Let Me Come Over and Birdbrainwere pleasant listening, they were quickly forgotten. Big Red Letter Dayis more dynamic, peeling away the layers of fuzz guitar to reveal acousticguitar and Bill Janovitz' simple but compelling vocal melodies. The albumemphasizes the lyrics, which stand up to the scrutiny, and "SodaJerk," "Would Not Be Denied," and "Anything That Way"are the best songs the band has written. --Jim DeRogatis ... Read more

Reviews (20)

"Jerked My Fountain"
I was first introduced to Buffalo Tom through "My So-Called Life." Dutifully tuning into ABC on a cold Wednesday night in late 1994, I saw a band that I had heard of but never heard. I was riveted by the guitar and drum of "Sodajerk" and "Late At Night" and their infectious melodies. I bought the album the next day and it has been in constant rotation for the last 7 years.

Buffalo Tom, panned as Dinosaur Jr. Junior early on, really came into their own with this album. It features their only minor MTV and alt-radio hit "Sodajerk" but it also features some other very underrated songs, including "I'm Allowed" (a driving guitar song in good juxtaposition with "Sodajerk"), "Torch Singer" (a catchy little number containing the title of the album in its lyrics) and "Late At Night" (a great bar rock song).

I've tried for 7 years to see Buffalo Tom in concert and I've never quite been able to catch up with them. It just may not be meant to be, but I'll tell you this: I'm not gonna give up. If they are half as good live as they are on this album, it'll be the best concert of my life.

An outstanding album
It would seem crazy to review an album seven years after it came out, but this album deserves as much praise as any piece of recorded music I've ever heard. This album epitomizes the mature Buffalo Tom. Their earlier works (in particular the first two with J. Mascus) come across as Dinosaur Jr., Jr. But all of the Buffalo Tom characteristics blend together here better than in any of their efforts. The bitter, but literate lyrics, the catchy guitar riffs in their hard rockers ("Sodajerk," for one which is catchy enough to have been used in two marketing campaigns; not bad for a band that too many people have never heard of!), the poignant reflective tone of some of the slower ones ("I'm Allowed," "Anything That Way.") Bill Janovitz' vocals on the edgier songs adds that extra bite to them, while the Chris Coulborn efforts give the band a chance to highlight a different style (he's used much more in subsequent albums.) This is, in my opinion, one of the most well-crafted albums I've ever heard.

"The moon was full your whisky sour"
I bought Big Red Letter Day back in the early 1990s during my first year in college and it was one of my most played CDs at the time. Playing it now 11 years later, it still sounds great. Even though it was classified as "alternative" with "Sodajerk" getting decent play on MTV's 120 Minutes during its release, it is really just good, solid rock 'n roll with some Husker Du and Dinosaur Jr. influence and a smidgen of country sound here and there. No song jumps out on this album, but there is nothing weak here either. It is a good CD to pop in and hit "repeat all."

Buffalo Tom was a trio formed in 1986 in Massachusetts who built up a following with fuzz-laden guitars, effervescent melodies and muscle-building tours. Big Red Letter Day was the band's major label debut. The band made a little news when a magazine that had a regular "Cute Band Alert" section, changed the title to "Cute Drummer Alert" especially for BT drummer Tom Maginnis (I think the other two guys are cute, too). Guitarist Bill Janovitz does most of the vocal duties. He has a good, no nonsense rock 'n roll voice. Bassist Chris Colbourne provides vocals on "My Responsibility" and "Late at Night," seemingly about troubled fatherhood. These songs are a little less testosterone-driven. Colbourne does not have a very strong voice but the songs are catchy. I still find myself humming "Late at Night." Some songs are a little slower than others, but there are no true ballads here. Other tracks just rock like "Tree House" that ends with some gospel singing by the Water Sisters. Big Red Letter Day is a solid CD that has aged very well. ... Read more

Asin: B0000018AT

Brushfire Fairytales
Average Customer Review:
Audio CD (29 January, 2002)
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Editorial Review

Fans of Willy Porter, Ben Harper, and G. Love will all want to check out Jack Johnson's engaging folk- and blues-inflected pop. Born in Oahu, Hawaii, Johnson, a former surfer and film-school graduate, has a knack for acoustic ballads whose calm surfaces hide a subtle but strong lyrical undertow. "It seems to me that 'maybe' pretty much always means 'no,'" sings Johnson on "Flake," which features crony Harper on slide guitar. Production by J.P. Plunier (who also handles Harper's recordings) is simple and uncluttered: acoustic guitar and drum tracks share the foreground with Johnson's easygoing vocals, which evoke everyone from G. Love (who recorded Johnson's "Rodeo Clowns" on his Philadelphonic album) to Nick Drake to Willy Porter. And while Johnson may not have Porter's guitar chops, these songs have a relaxed beauty and understated depth that reward repeated listening.--Bill Forman ... Read more

Reviews (415)

Infectious!
What can I say about Jack Johnson and his music. I got into him about a year ago and haven't looked back. His music is unique and unlike anyone else's. I am a 33 year old father of 4, and have always been interested in all styles of music. I think Jack has found a style that incorporates all of my favorites into one. "Chill", would be the best one word description of his music. All of the songs on Brushfire Fairytales are great. You never have to skip a song. He names his influences as Taj Mahal, Bob Marley, Nick Drake, Cat Stevens, Toots & the Maytals, and more recently Ben Harper & G. Love. Probably the best thing about Jack Johnson is the way he is personally. He isn't trying to be a rock star. His wife goes on tour with him. He allows taping of his shows. He thinks internet trading is great. In fact, recently I've gotten in to collecting his live shows. I have 4 so far. They are great! Anyway, enough said. This is a great CD. And by the way, his much anticipated new CD comes out May 6, 2003. I can't wait!

Jack Johnson is one of the freshest, best sounding musicians
From the first note of the riff at the beggining of "Innaudible Melodies", "Brushfire Fairytales" is an amazing album. the entire thing is a non-stop groove of great singing, great bass, great guitar, great drums, and even a little Ben-harper-slide in there on "Flake". I've been listening to this album since i bought it in March 2001, and it has rarely left my CD player since. if you don't have this album, go get it right now! i guarantee you will not be disapointed. Jack is really blowing up big now, and you don't want to miss out on this one. The tunes are amazing, and his live shows are great! if you haven't been see a show! he has some coming up on the west coast in Oct. and east coast in Nov. 2002. check his official site for details. also there is a lot of live music to be had for free. again, his site. Jack, Adam, and Merlo are in the studio in Hawaii this August and Sept. working on the 2nd album, which should be even better! I can't wait. Peace and good vibes. :)

Awesome.
This guy has an incredible amount of talent, both of his cd's have struck me well. You can listen to all of his songs, and be content. Their all good in their own way. Highly recommended. ... Read more

Asin: B00005V8PZ
Subjects:  1. Pop    2. Rock   

Tomorrow the Green Grass
Average Customer Review:
Audio CD (11 June, 2002)
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Editorial Review

At its best, listening to the Jayhawks make music is a beautiful American experience falling somewhere between drinking a cold Coke on a hot day and driving through the Rocky Mountains at sunset. Perhaps it's in the clarity of Mark Olson's tenor melodies and their accompanying ghostly harmonies, or maybe it's in Gary Louris's immensely raved-up country rock licks. Or perhaps it's the impression left by lyrics that never reveal the whole storybut tell just enough to tear at you and make you understand their feeling--the loneliness, the sorrow, the hope, or the peace.

The Jayhawks were at their very best indeed on 1992's Hollywood Town Hall. Their guitars were sharp, the words perfect, and the melodies unforgettable. With Tomorrow the Green Grass, however, 1994's version of the great country soul group is decidedly less filling, even when still savory. The addition of violins is a nice touch, but a misstep where the music's muscle is concerned. The guitars are still gorgeous, but muddier and less hook-laden than before. The lyrics still haunt, but they're more disjointed and less gripping this time around. And the melodies are both a blessing and a curse: more easily catching and chart-ready but with a lot less meat on their bones. Call it cosmic American music in the sugary Milky Way galaxy. Or else just remember how much Gram Parsons always did look sort of like David Cassidy. --Roni Sarig ... Read more

Reviews (40)

What An Album Not Enough Stars Available!!
I own about 500 CD's and this is definitely the best one that I own. Tremendous harmony vocals, beautiful sounding guitars wrapped around a brilliant set of songs. The opening track "Blue" starts as a pretty acoustic number, and the harmonies of Gary Louris and Mark Olson with the string arrangements take it to new heights. The following track "I'd Run Away" takes the Jayhawks in a more rocking direction with sharp guitar parts, violin and a rollicking piano. In both cases the music is greatly satisfying, and sets the tone and pace that the rest of "Tomorrow The Green Grass" lives up to. This album changed the way I think about music from the perspective of somebody listening to or playing music.

Come clean Mark Olsen, you are Gram reincarnated
I came to the Jayhawks the wrong way round via Rainy Day Music but having already a working knowledge of Burrito Bros, Gram Parsons I was astounded to hear how the early Jayhawks with Mark Olsen are the aural spitting image of Gram Parsons but tighter and with a better ear for melody. The vocals are not overproduced like Eagles harmonies but a great natural live sound. Track 7 Bad Time is as finer pop tune as you would find anywhere. The lyrics shift from endearing to whimsy in the flash of an eye and are driven along by some great guitar work. (particularly 12 string) Miss Williams Guitar and Ten Little Kids are real fun almost bluegrass and Blue is another driven country rock tune. Every track is a winner and the Jayhawks are a knockout

Why all the fuss?? It's only okay
Not sure which song has anybody excited here. I bought this one a few years back and listened to it 10-12 times before it found it's way among the rarely listened-to CD's. This is fine music, but nothing very memorable. The cover of Grand Funk's "Bad Time" is very good, but doesn't improve on the original. The opening track, Blue is also a good one. The singing, playing all just okay and the songwriting also just fine. There are several tracks that I just skip by. It's very easy to find better music than this. ... Read more

Asin: B000068FUM
Subjects:  1. Pop    2. Rock   

Cruel Inventions
Average Customer Review:
Audio CD (29 June, 1992)
list price: $11.98
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Editorial Review

Quietly, almost imperceptibly, Southern California thrush Sam Phillips has built up an exceptional body of work. Cruel Inventions is but the third in a gently swelling series of consistently creative, intriguingly off-center pop-rock recordings. As with all of her "Sam" recordings (prior to the mid '80s, she'd achieved considerable success in Christian music circles under her given name, Leslie Phillips), this 10-song set from 1991 is branded by a kind of chamber psychedelia (courtesy of her hubby, producer T Bone Burnett). With Van Dyke Parks, Marc Ribot, and special guest Elvis Costello helping to shape the soundscape, Phillips wafts above the cushioned din, gazing down on scenes that inspire incongruously harsh denouements. Songs such as "Lying," "Raised on Promises," and "Now I Can't Find the Door" leave one feeling unsettled...and enthralled. --Steven Stolder ... Read more

Reviews (15)

Lyrical, smooth and plaintive voice, adding up to a great CD
Sam Phillips is probably best known for three things: (1) she used to put out Christian music under her given name, Leslie Phillips; (2) she's married to rock producer T-Bone Burnett; and (3) she played the icily mute assassin and girlfriend to Jeremy Irons in "Die Hard 3." All of which is fine, except that it overshadows her fabulous work as a contemporary singer and songwriter.

Under her nickname "Sam," she's released a number of CDs, starting with 1989's "The Indescribable Wow," 1992's "Cruel Inventions," 1995's "Martinis and Bikinis," and others.

Her CDs show a definite progression, starting with the soft crooning sounds of "Indescribable" to the more subtle and plaintive songs of "Inventions," to a more Beatles like sound of "Martinis and Bikinis." Depending on what you're looking for, then, "Cruel Inventions" may not be to your liking.

What "Cruel Inventions" offers is a collection of dreamy meditations accompanied by incredibly catchy musical arrangements. Phillip's voice is pure and heartfelt, almost like a less scratchy version of Kim Carnes.

Best of all, the quality of songs is pretty even throughout; if you like any of the songs on the CD, you're likely to like most or all of them.

CARRY OBSESSION TO MARKET... I'M SO CONFUSED...
Weighing in on anti-capitalism apparently in "Go Down" ("arches of commerce made the sky corrupt"), exploring desire and deception in "Lying" ("if I said I believe my eyes, and science can move my soul... if I said I'm not afraid to die, and I don't need you... I'd be lying..."), simply finding an entertaining niche, expanding her creative body of work, Sam Phillips has once again delivered a considerable piece. Phillips still very subtly explores faith-related issues in all her works, which is clear. It is not obvious, but the depth and intelligence of the lyrics as well as the questions the songs raise make it clear that listeners are not grappling with a flash in the pan talent. We are listening to a serious musician who not only has a wealth of things to say and questions to pose, but also has a storehouse of fantastic songs... Best of here includes "Lying", "Go Down", "Cruel Inventions", and "Standing Still". This album picks up where Sam's previous albums left off, very creative, inventive, and thought provoking.

No Sophomore Slump Here!!
There was definintely no secular sophomore slump for Sam Phillips. This release was praised highly by critics and well received by us 'educated ones' who like artistic music and deep lyrics. While by today's standards, it may sound a little dated, but this was a phenominal progressive-rock-alternative-pop release in its day. There is not a bad song on this disc!! I especially love the opening lyric to "Go Down" - "Face the blue and wish the roof would open up, but the arches of commerce made the sky corrupt, go down." "Go Down" is probably my favorite song, it's just an acoustical masterpiece with very minimalistic instrumentation. Equally an acoustical masterpiece is "Cruel Inventions". I really love "Standing Still" - which should have been a huge hit on radio. I love the complex, deep, poetic, and sometimes confusing lyrics of "Tripping Over Gravity" - another beautiful gem in this collection. "Private Storm" is a powerful ballad about inner turmoil that EVERYONE on the planet can relate to in one way or another. "Private Storm" has some chillingly honest lyrics such as " We lock the hurricane indoors, looking for shelter, we deny and ignore, afraid that our words bring clouds we talk in code..." and "...Time doesn't heal, scars turn into wounds as we walk lightly - silent screams in the storm." "Raised on Promises" is a more upbeat pop-rocker correlating the 'Promises' many Christians hold on to and the reality that exists in human life - showing that nothing in life is certain - whether you claim promises or not. The last song was a big alternative hit at my university at the time. It's witty and focuses on the ignorance of a narrow mind as she states, "In a white room, in a white head, in a cobweb of enterprise, where the dreams sleep and fears keep." and also, "...half-lived, half-ignored, an endless chase in a small place, one world, one white flag, one shopping bag and restaurant, no surprise there, only lies there!" If you are a fan of deep, thought-provoking lyrics and acoustical-progressive alternative-rock, this is your release!!! ... Read more

Asin: B000000WHT

Jars of Clay
Average Customer Review:
Audio CD (24 October, 1995)
list price: $17.98 -- our price: $13.99
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Editorial Review

Touted by some as Christian music's answer to The Rembrandts, this Nashville four-piece delivers artful, acoustic-based rock. Shipped in to produce two tracks, Adrian Belew captures the band's sweet intensity and clean melodies on "Flood and Liquid," which features a jaw-dropping Gregorian chant sample. --Jeff Bateman ... Read more

Reviews (210)

Superb
This was one of my favorite records for the longest time. Sad to say, I overplayed it and am now rather sick of it, but the music is so good that I still listen to it occasionally. The songs are all excellently written (especially Love Song for a Savior, which is a true modern classic even more so than the others). I love every one except for Like A Child, which is too cheery and major-key for my taste. The production is skillful and unique, combining strong layered rhythms with echoing atmospheres, rich, almost neo-classical acoustic texturing, and of course Dan Haseltine's warm voice (well-supported by strangely modulated background vocals). In addition, the lyrics are very well-written (a rarity among "Christian" bands), and manage to deliver their spiritual themes, without a preachy tone, in elegant yet simple language. Jars of Clay has produced four studio albums, all of which I highly recommend. I'm not sure this is their best work musically (that crown belongs to "If I Left the Zoo", I think), but lyrically they have never been better, and whether you're a Christian or not, it is an absolute must for any CD collection.

"Arms nailed down
Are you dying for nothing
Flesh and blood
Is it so elemental"

A treasure in Jars of Clay
I can not count the number of times I have been listening to this cd and feel as if God is whispering some message into my ear through these beautiful lyrics. This cd is truly God-breathed, and I never can stop wondering with awe that these songs were written by 19 and 20 year olds! These songs are unbelievable in their content, with the amazing voice of Dan Hasletine singing these lyricaly simplistic songs, but deeply moving with their subtle messages, all with imaginative and unique melodies (I absolutely love the Gregorian chant in Liquid, and the string solo in Flood!) Jars of Clay will never cease to amaze me with their philisophical approach to human frailties, perspective of religion as a precious relationhip with God, and of course their awesome music! Their creative appraoch to using strings, and Dan's wonderful, wonderful voice have certainly made me find a treasure in Jars of Clay.

Boom, Boom, Chicka, Chicka, Boom, Boom, SNAP!
How long can a synth drum beat boom if a boom could chick chick boom? Unable to afford a $100 drum kit, Jars of Clay decided that it'd be best to self-produce all but 2 of the songs on this album and I can't say I agree with that decision. "Liquid" and "Flood" reflect the social atmosphere of the world with bands like Nine Inch Nails (same producer) and Pearl Jam at their prime. Well mixed, well played and well performed, these two songs are what attracted me to Jars' sound and have made me a fan since '96. But the other lyrically AMAZING and HORRIBLY produced songs on this album leave a bad taste in the mouth. After listening to "Like a Child", "Art in Me", "He" and "Boy on a String" you are going to despise two things. First, the idea of over-dubbing inaudible little children's voices and that stupid crappy synth beat. As a Jars fan, it makes me cry to think of the potential these four songs could have if decently recorded. When the drum beat kicks in on "He", you just pretty much give up. It's not until "Worlds Apart" do you hear the chance that this band is more than just special. As one of the all time best songs in my life, "Worlds Apart" sneaks in and Stairway to Heavens us to death, it's breath taking. In all, this is a debut album that marks an important journey for Jars. If you don't mind a good old bumpin while listening to an album, I highly recommend it. ... Read more

Asin: B00000053E

The Eleventh Hour
Average Customer Review:
Audio CD (05 March, 2002)
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Editorial Review

After releasing three widely acclaimed discs and receiving a plethora of awards and accolades, Jars of Clay return to their roots on The Eleventh Hour, revisiting the guitar-driven pop formula that launched their careers. Gone is the experimentation of If I Left the Zoo, replaced with more direct approaches, like the pounding rock of "Revolution" and the acerbity of "Whatever She Wants." Matt Odmark's fine guitar work and Dan Haseltine's Everyman vocals resonate with gut-wrenching soul searching and joyous redemption, as the haunting doubts of "Silence" are answered by the hope of the closing "The Edge of Water." Once again, Jars of Clay have released an insightful masterpiece on the human spirit and those in-between days that define our struggle for faith, and it stands as a road marker for just how far these four talented lads have come. --Michael Lyttle ... Read more

Reviews (125)

"The Eleventh Hour is Jars¿ best album since their first"
Jars of Clay seem to do best when they produce their own work. Perhaps past producers weren't able to capture the musical bliss and the keen sense of lyrical power the band possesses, but Jars' newest album, The Eleventh Hour, shows just how talented this band is.

Many of the new songs take us back through time to when Jars produced their first self-titled album. The music is just as sharp, if not more creative, as in times past. And that is music to this band's ears. Especially since their past two albums did not do nearly as well as the first, in terms of national radio airplay. Sure, Jars has always had a presence on Christian radio, but to reach nonbelievers with their hypnotic music of faith and beliefs would be a far greater accomplishment. Already, stations in large markets are spinning the first two singles released by the band, I Need You and Fly. And for the first time in a long time, Jars may have a chart-climbing single on secular, main-stream radio since their smash hit Flood back in 1995. So what makes these singles more likely to succeed?

Those familiar with the song Worlds Apart are aware of the amazing song writing capabilities the band holds. A praise and worship song written for God, about tearing down the walls and worlds around us to simply allow us to focus on Him is a great song with a great message. But the wording of it kept most big-time stations from playing it. I Need You seems to just fit into society today. It doesn't mention God by name, but anyone with a brain is forced to recognize that the subject of the song is the Lord. And after the attacks of September 11th, and the times of uncertainty we live in, this song not only makes sense, but appeals to the emotions and state of condition that many Americans may find themselves in today. The song's haunting and addictive chorus speaks volumes about the power of God and how the choice to simply call on Him can impact a person's life. The guitars and drums develop a rhythm that not only drive the song, but entangle the mind into the direction of the song. The music builds, higher and bolder, as it develops.

The band's second single, Fly, is, simply put, a great rock song. Once again, the lyrics engulf the listener with descriptions and concepts that are not only exciting, but enticing to both spirit and soul.

Disappear and Revolution continues the trend of great rock. The first feels like a great love song, with the chorus taking us on a virtual ride that would be more than romantic in any relationship. The search of really knowing someone: "I'd really love to climb, way into your heart, to see what I could find. I'd walk into your skin, swim through your veins. See it from your eyes. I'd really love to try." The second of the two deals with anger and pain that individuals store up inside, and then try to do something about it. The song's main message states that "You don't got to fight, to make yourself belong . . . You've got to begin with who you know you are. To be a revolution." This song is most reminding of the vocal and music style of Jars' Flood.

Silence is a quiet song that makes more noise than any other track on the album. The subject is that in a relationship with God, sometimes it seems like God goes quiet on us. The chorus hauntingly echoes the cry for help, "I gotta question. Where are you?" And for a moment during this song, we can all relate to the circumstances the song was written in.

Another great song on the album, These Ordinary Days, reminds us that without a meaningful relationship with God, life can become ordinary and bland. And when it happens, we tend to start looking for other things to fill the void His absence leaves. "I don't know where. I don't know how. I don't know why, but your love can make these things better."

Overall, The Eleventh Hour is Jars' best album since their first. By leaving their music more open to discussion and realization, they have opened the door for more stations to spin their music, and the chance for more people to pick up a copy without the stereotype of "Gospel" music in the record store. Which is a good thing for nonbelievers.

And perhaps they should keep producing their own work. After all, no one knows them better than themselves. Well, no one more so than God.

Not their best, but still great
Even though I was late in being a fan of Jars of Clay, I now have all their CDs and enjoy almost all of their songs. It's hard to believe that they clicked right from the start with Fade to Grey being the first song they wrote.

For those people who only like Jars of Clay for Flood and didn't like the rest of their self-titled album, you probably won't love this CD. With that being said, this album has a very Jars of Clay feel to it but it isn't the same as their previous albums. Not that it is better or worse than Much Afraid and If I left the Zoo, but it is different. I was disappointed that the strings played only a small part, unlike the first CD in which they were prominent in every song. However, in every song the other instruments make up for it.

If you're a fan of the group, there is no reason to not have this CD or even the DVD. If you don't like the CD at first, play it again. I feel more and more of the meaning of the song every time I play it. Also, even though they don't specifically say 'Jesus' and 'God' in their songs, you feel that they are singing about Him and what He has done in their lives. This CD is a must for every pop christian music fan.

JoC, meet Classic Rock, Classic Rock meet JoC
Who is this band? Where are my stringed instruments and WHO BOUGHT THE DRUM KIT!?!? Jokes aside, this incredibly versatile band bent one more time for a market that had now opened up. For years, KLOVE would not play heavy alternative sounding Christian rock that only devil worshipers listened too. But with the growing popularity of AIR1, Jars now had a venue to break into. So sell those violins and pick up the Fender because here comes "Disappear"! It's like waking up from a bad piano/acoustic playing dream, to a screaming guitar. "The Eleventh Hour" and "Edge of the Water" are signs of just how comfortable JoC are with their musical talent. But then 'it' comes. You get to track #5 and you hear the opening acoustic strum, followed by the all too popular JoC synth beat. A sense of urgency falls over you as you are pummeled by the train on the 11th Hour album cover. As "I Need You" gets into the chorus, shivers shake your soul. A worship song to end all worship songs, "I Need You" expresses the reality that most Christians face now. We've abandoned God and now we need him desperately. The layering guitar work and ambient vocals shroud this album in a layer of mystery. When the mist clears, your experience with the Eleventh Hour will find you asking a lot of questions that the world can't answer. Only He can. ... Read more

Asin: B000060PCC
Subjects:  1. Pop    2. Rock   

60 Watt Silver Lining
Average Customer Review:
Audio CD (19 March, 1996)
list price: $16.98
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Editorial Review

The American Music Club frontman delivers an elegant, unexpected solo debut that echoes Prefab Sprout's pop perfection.Adult consumers in search of smarts and sophistication will find both in Eitzel, who writes like a slumming angel and gets a quasi-jazz backing from string bass, piano, percussion and Mark Isham's trumpet. Highlights: "Always Turn Away," "Cleopatra Jones" and "Some Bartenders Have the Gift of Pardon." --Jeff Bateman ... Read more

Reviews (11)

what a weird album...
I have to admit that despite being a longtime fan of Mark Eitzel, I've had a hard time over the years getting a handle on this record. The songwriting is as amazing as always - tortured, beautiful loser-style epics with enough gallows humor and soul to prevent whininess. But the arrangements are just plain weird. Not in and of themselves - this kind of vaguely jazzy, keyboard-based adult pop is everywhere. But up until this point Eitzel always preferred a more raw type of backup, whether it was American Music Club's guitar-powered soundscapes or his own solo acoustic shows. To hear him head into Sting territory makes me really wonder what was going on behind the scenes of this album's genesis - did the record company hold a gun to his head and demand an Adult Contemporary smash? According the excellent Eitzel bio Wish the World Away, this is indeed the direction Eitzel wanted to pursue - maybe he was sick to death of his past sounds and wanted to do something nobody was expecting.

The point is that I've listened to this record numerous times and have yet to get into it, to have my soul speared by it, as much as his other albums (both solo and with AMC). This is by no means a bad record - the arrangements are sophisticated and pulled off flawlessly, the songs are strong and his singing is great. His cover of "No Easy Way Down," an old Dusty Springfield song, is amazing and "Everything is Beautiful" is as fine a song as he's ever written. But hearing the Everything But the Girl-ish "Southend on Sea," with its cheesy trumpet licks and almost funky rhythm, is a little...unnerving. Maybe that's the point.

I wouldn't recommend this album for beginners to the catalog of one of America's greatest songwriters. You'll either love it and be disappointed by the fact that the rest of his output is nothing like this, or you'll hate it and dismiss his whole career out of hand. Start with Songs of Love Live or AMC's Everclear (or, better yet, California - if you can find it) instead. 60 Watt Silver Lining is better for those already addicted.

A Beautiful Record--Good Luck Trying To Find It
Long before the official word came down on the fate of American Music Club, enigmatic frontman Mark Eitzel released this lp, the first of two solo offerings for Warner Brothers. Gone is all that was musically characteristic of AMC. No pedal steel or wailing walls of dissonance here. Jazz percussions, bass, piano and a almost non-existent guitar take the listener through the 12 tales of heroic bartenders, vulnerable blaxploitation superstars and other assorted denizens of the dank San Francisco bar scene. With his deep, crooked croon, Eitzels voice is the voice for those with a thirst and a raw hunger for L-O-V-E! The production is less ragged then the early AMC lps and more spacious than the final two. This openness serves all of his trademark aches, pains, doubts and miserabalist shenanigans well. By your lonesome or with the person you love/hate the most, this is THE Summer evening record. A must! Unfortunatley this record is out of print and the future of this and all other Eitzel-related lps is in limbo. Seek this record out! Then search for the others. The legacy of one of the most important, potent and origianl voices of modern music depends on it.

Breathtaking...
I simply cannot begin to describe how perfect an LP this is. 'No Easy Way Down' and 'Everything is Beautiful' are touching enough to reduce anyone to tears.

I can only hope that Eitzel's life and songwriting career will not go the same way as that of Nick Drake. Having seen him perform live in Edinburgh, it amazes me that a man of such talent can remain relatively unknown for so long!

This - like virtually all Eitzel / AMC releases - is a must buy. ... Read more

Asin: B000002N4P

Mad Dogs & Englishmen
Average Customer Review:
Audio CD (05 October, 1999)
list price: $18.98 -- our price: $14.99
(price subject to change: see help)
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Features

• Original recording remastered
• Live

Reviews (17)

Rock "N" Rolls first big band.
Joe Cocker's "Maddogs And Englishmen" is without question one of the greatest live rock albums ever made. Recorded in 1970 at New York's Fillmore East, Leon Russell assembled an allstar band and choir to back up Joe on a nation wide tour that played to full venues and rave reviews. If Joe's opening rendition of "Honky Tonk Woman" does not get you off your seat nothing will! Great live cuts like "Feelin Alright[featuring awesome Leon Russel guitar work], "Cry Me A River", "She Came In Through The Bathroom Window", "Space Captain", "The Letter" and "Delta Lady" document the frenzy surrounding Joe Cocker in his young prime making this live recording along with the Allman Brothers "Live At The Fillmore" as the two greatest early 70's rock concerts ever recorded. If you have not seen the movie documentary of this tour I highly recommend you do. If you enjoyed "Woodstock", you will surely enjoy "Maddogs And Englishmen". A forty piece rock n roll band is not something you come across everyday, so sit back and enjoy this digitally remastered musical time capsule in the name of "COCKER POWER".

More than just a tambourine-shaker
So much happened in pop music from 1964-73 that looking back at it, all most people see are the highest peaks. We tend to forget the overall sense of discovery and excitement as the musicians of that time pushed ever forward to try something new, or to revive something old in a new way.

A case in point is this utterly enjoyable album by Joe Cocker, a document of a brief but memorable tour with a band that featured about 10 singers, 3 drummers, 2 horn players, and a great piano-organ-guitar-bass section featuring Leon Russell, Chris Stainton and Carl Radle. There were a lot of musicians on stage, making a stew of music that combined tambourine-shaking white and black gospel, sophisticated Ray Charles-type blues, and British rock. Very quickly, this style went out of style. Leon Russell's time in the limelight was short, as was Delaney and Bonnie's and they were the primary exponents of this sound. In truth, Joe Cocker was probably a strange choice to front a band like this--it's more of a Leon Russell production in many ways. But the combination works magically on this album. Cuts like "Honky Tonk Woman," and "She Came in Through the Bathroom Window" rock out, while the middle section of the album featuring a couple of Ray Charles classics, "Drown in My Own Tears" and "Let's Go Get Stoned," and other R&B songs seem very close to Cocker's heart. Russell gives us the great "Delta Lady" and "Superstar" (sung by Rita Coolidge), and his piano dominates the album's biggest hits, "The Letter" and "Cry Me a River," in which he proves that almost any pop song can be sanctified. A few cuts fall short--the version of Dylan's "Girl from the North Country," sounds terrible, and Russell's "Give Peace a Chance" is the kind of repetitive chant that quickly became a self-parody of this style. But another hippie gospel number, "Space Captain" is a lot of fun, with the choir's well-timed oohs and aahs.

The thing that continually lifts up "Mad Dogs and Englishmen" is the quality of the musicianship. Cocker is in great voice, the choir is very effective, the horn players make 2 players sound like 10, and the rhythm section is tight as a frog's eyelids. It's not surprising--there is a direct line on this album extending from Delaney and Bonnie, where a lot of the backup musicians came from, to George Harrison, who used many of the same rhythm players on "All Things Must Pass," and who played live in the Bengla Desh benefit with Leon Russell, to "Layla" in which Eric Clapton teamed with several of these musicians to become Derek and the Dominos. Like Eric Clapton, Joe Cocker was just passing through this musical community, but when they came together, brief as it was, they made something rather magical.

Joe Cocker And Leon Russell Create A Hot Roadshow
Joe Cocker teams up with Tulsa native Leon Russell and a cast of over forty for a concert tour, and what a party! The live set contains a mix of Russell compositions and blues/R&B/pop/rock standards, all performed with the feral intensity of a man possessed. It's clear that the magic couldn't last in this form, and it didn't, although Cocker did go on to make many fine records, and even some great ones, after his jaunt with Russell. ... Read more

Asin: B00001X58X
Sales Rank: 6206

No Depression
Average Customer Review:
Audio CD (01 July, 1991)
list price: $13.98
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Editorial Review

The album that named a movement (and a magazine), No Depression rocks and twangs in just about equal measure, though the rock side wins out most of the time. Even when a song downshifts from full-on punk to banjo- and mandolin-graced interludes, it usually shifts back again, seemingly even louder and angrier than before. Beyond the influential sound, though, are some great songs--whether they're raging originals like "Graveyard Shift," where the job's literally a killer; an earnest, acoustic cover of the Carter Family's title track; or a decidedly desperate portrait of Leadbelly's "John Hardy."--David Cantwell ... Read more

Reviews (21)

spin lends some credibility
Spin magazine has put No Depression in the top 90 albums of the decade. That's cool. It certainly makes a lot of sense to me. This album is in a small handful that has defined my taste in music. I was a DJ at my college radio station and had the pleasure to listen to a lot of new music. This album blew me away. "Whiskey Bottle" is one of my favorite songs of all time. And the loud-soft dynamic may have started on this album instead of with Nirvana's Nevermind. Common debate with friends over the course of Uncle Tupelo's career: Farrar or Tweedy--better songs? As Son Volt and Wilco continue to unfold, it is clear that Farrar isn't very willing to stray far from the roots of Tupelo. Tweedy has tossed twang out the window on "Summer Teeth." Tough decision. One thing is certain, fans can enjoy double the music output since the breakup of Tupelo. Anyway, No D (as I call it) is a great debut and will always have a special place in my expanding collection.

farrar is straight from the heart
Practically nobody heard this record in 1990, including me. The critics didn't catch up with Uncle Tupelo until they broke up. But this was their finest moment, and it is Jay Farrar's band. There are several unbelievable songs here, including "Graveyard Shift," "Whiskey Bottle," "Life Worth Living," and the covers of "No Depression" and Leadbelly's "John Hardy," but the whole album is incredibly powerful, an anguished cry from the heartland working class. Tweedy basically adds a lighter, faster touch with "That Year," "Train," and "Flatness," but it's a minor subtheme. The country touches are very light -- "No Depression" is basically a post-punk rock record, but the touches of banjo, mandolin, steel guitar and fiddle, along with the voice and lyrics, carry a lot of weight. Farrar & Co. put out two more great records, the punkier "Still Feel Gone," and the all-acoustic "March 16-20, 1992." Something went wrong with "Anodyne," and I guess Farrar thought so too, because that was when he split up the band. He put out one more great record, "Trace," with his new band Son Volt, in 1995. Since then he's been treading water (and I'm not a fan of Tweedy and Wilco). I'm looking forward to Jay's solo "Sebastapol," due out later this year. I hope he rediscovers the social conscience that was so powerful on "No Depression" and "March 1992." And if you missed the first three Uncle Tupelo albums on Rockville, you'll be happy to know that Farrar & Tweedy have obtained the rights and masters, and are negotiating their re-release in 2002!

The seminal Alt/Country Album
The only drawback about this album is its sound quality. Apart from that, this album should be listed as the definition of the Alt/Country genre. This album, which is impossible to tire of, addresses traditional country themes (alcholism, labor, loneliness, waste, and inequality) while deceiving the listener. Graceyard Shift rips right off from the start reminding us of the Replacements as its hard chords seem more rockish, while country-ish twangs pervade the background. And Tweedy sings of man's great lament in the industrialzed society, loss of self, dispersed power, Foucault's panopticism.
The irony of Uncle Tupelo is that the m