BEST OF SUEDE 2 DISC EXTRAGALACTIC STRENGTH FOR ALL YOU BOPPERS OUT THERE

 If anything would convince you how sadly underrated this band was in the U.S. it's this collection. Suede wasn't just a 90s "Britpop" band, even if they unintentionally heralded the coinage of the term. 


They were - and are - exciting, loud, shocking, suggestive - and beautiful. This collection includes singles on the first disc and other tracks and B-sides on the second. All tracks were remastered and some of the early songs - So Young, Pantomime Horse - really shine, especially on a quality sound system. 

It's also a collection carefully compiled by the band itself (and particularly Brett Anderson, the singer) over several months, and the order of the tracklisting shows this; it's perfect and should be listened to _at least once_ in the order here. 

One detraction: Stay Together is the edited version (missing one chorus and the ending with the "rap"). But given the amount of space this is understandable. 

Suede is a band much compared to the Smiths and to early Bowie, and in some sense they are similar - lyrical depth, unique guitar sound and that certain charisma associated with Morrissey and Bowie - but they stand apart as their own sound entirely and should not be missed by any music fan. W.irving

MANU CHAO......PROXIMA...ESTACION................................................

 I'm a huge fan of Mano Negra and Manu Chao and it's been interesting to see how the sound has evolved over the years. "Clandestino" is an immense solo album, and "Proxima Estacion:Esperanza", while lacking some of the spiritual depth of the first effort, is still a great album exploring different themes. The whole CD sounds like a journey, and is a great CD to add to your road trip collection. Manu definitely takes a lighter approach mood-wise with this album compared to "Clandestino", which is refreshing - otherwise we'd have "Clandestino II". Still, the tracks are standouts in their own Manu way. "Denia" isn't full of Middle Eastern instruments, yet with the minimal vocals, Arabic calling, smooth guitar and steam whistles somehow I feel like I'm on a train in Morrocco anyway. "Papito" is nothing but silliness, and there's nothing wrong with that. Not every song has to be talking about the plight of the world for him to prove he's "matured" as an artist. He does take the musical background of "Bongo Bong" and instill it in a number of tracks here ("Mr.Bobby" & "Homens"), and the music starting with "La Primavera" (a track that I prefer over the hit "Me Gustas Tu") continues throughout the CD as well. There could have been a bit more originality there, but needless to say, there's some great laughs, some high energy, and some mellow moments, which makes this definitely one of the CDs that travels with me whenever I go anywhere. I wish I knew all 5 languages (Spanish, French, Portuguese, Arabic, English) that appeared on this album (I only know 3), but that doesn't take away from enjoying Manu at his zany best. Hope another one comes soon...Pma

Merry Xmas etc etc etc

 Hi every body!!!!!!!!
I hope you are all well and looking forward to Xmas? I know I am, its the one time of year I can buy loads of cds without my wife getting on my case, bless her. I've been really busy for the last few months, how time flies. Anyway back to more important matters ie  the Xmas cd bonanza. I've got some great bargains over at Amazon  I always buy the second hand cds most are as good as brand new and it saves on the postage. But you need to hurry if you want them delivered before Xmas
ps check out the blog its linked to Amazon. I know times are tough out there= equals bargains
If I DONT POST AGAIN BEFORE XMAS HAVE A GREAT TIME
Dave  

I did this with a stick and some paint in southern Ireland

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FUN DAY...FUN DAY...FUN DAY...FUN DAY...FUN DAY...FUN DAY....

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All these 10 albums sold really well, well millions actually ! But are they any good? I'm not going to tell you if I like any of them or not. You will have to decide if you want to part with your hard earned cash! 

MICHAEL JACKSON...............THRILLER....................

 Where Off the Wall was pretty much straight good times, Thriller introduced dread into Michael Jackson's solo work. By 1995's HIStory, this element curdled into overwhelming self-regard and out-of-touchness, but here it's bracing. While Thriller offers its share of cute ("The Girl Is Mine," a duet with Paul McCartney that was the album's first single; "P.Y.T."), the most memorable cuts remain "Billie Jean," "Beat It," and "Wanna Be Startin' Somethin'," all of which meld musical imagination and worried-mind lyrics.

There's also the title track, which takes a cue from Parliament's concept pieces in employing Vincent Price to warn that nonfunky forces will "terrorize y'all's neighborhood." Thriller, of course, continues to battle with the Eagles' first greatest-hits package for the title of biggest-selling U.S. long-player ever. Bonus material on this edition includes "Someone in the Dark," from Jackson's E.T. children's album, and a Quincy Jones interview in which the producer cites "My Sharona" as the inspiration for "Beat It"--and, even better, the real-life Billie Jean's claim that Michael was "the father of one of her twins." --Rickey Wright

THE BEATLES.........SGT PEPPERS LONELY HEARTS CLUB BAND......

 Before Sgt. Pepper, no one seriously thought of rock music as actual art. That all changed in 1967, though, when John, Paul, George and Ringo (with "A Little Help" from their friend, producer George Martin) created an undeniable work of art which remains, after 30-plus years, one of the most influential albums of all time. From Lennon's evocative word/sound pictures (the trippy "Lucy in the Sky With Diamonds," the carnival-like "Being for the Benefit of Mr. Kite") and McCartney's music hall-styled "When I'm 64," to Harrison's Eastern-leaning "Within You Without You," and the avant-garde mini-suite, "A Day in the Life," Sgt. Pepper was a milestone for both '60s music and popular culture. --Billy Altman

ALANIS MORISSETTE...............JAGGED LITTLE PILL..............

 Her intensely personal lyrics grabbed the headlines, but the bravest departure here is the way Morissette's unique vocals stand naked in the mix--a technique that drives home the painful honesty of tracks like "Right Through You," "Forgiven," and "All I Really Want." Sheryl Crow or an earthier Tori Amos are fair analogies, but Morissette is a genuine original with a rare ability to make listeners care, think, and question. --Jeff Bateman

THE PRODIGY...........THE FAT OF THE LAND.........................

 An album even the technophobic couldn't ignore, The Fat of the Land made Prodigy one of the first U.K. rave acts to infiltrate pop culture. Hard-core hip-hop-derived breakbeats, layers of unabashed (but creative) sampling, and meaningless shouted lyrics struck a chord beyond the electronic-music community. The inclusion of "Firestarter" and "Breathe" (both previously released hit singles) certainly aided the disc's widespread success, but it was the ferocity (and controversy) of "Smack My Bitch Up" that caught the world's attention. Guest Shahin Bada's Indian vocalizations convey the sense that dance music has come a long way from "Pump Up the Volume"! "Diesel Power," featuring Kool Keith, and "Funky Shit" set a wicked groove; the cover of L7's "Fuel My Fire" recalls the energy of the Sex Pistols. In fact, the dark aggression of The Fat of the Land bears closer resemblance to both rap and punk than the hedonism of techno. Leader Liam Howett simply gives up 10 solid songs with bombastic production values, transforming dance music into the art of noise. --Lisa Ladouceur

FRANK SINATRA........................SONGS FOR SWINGING LOVERS......

 Sinatra already had one youthful career behind him by the time he made Songs for Swingin' Lovers! His were no longer the lustrous pipes of the kid crooner from Hoboken--the voice that made bobbysoxers swoon--but from the first notes of the opening track ("You Make Me Feel So Young") he seems to have discovered a musical fountain of youth that fully justifies the exclamation point in the album title. There's a buoyant new spring in his step, accented by Nelson Riddle's lighter-than-air arrangements, that makes the Columbia records of Sinatra's younger days sound stiff and stodgy in comparison. Even chestnuts like "Old Devil Moon," "Pennies from Heaven," "Makin' Whoopee," and "Anything Goes" are rejuvenated by his vibrant touch. Put this alongside his previous Capitol album, In the Wee Small Hours, and you have the definitive statements by both sides of Sinatra's mature musical personality: the lonely "saloon singer" and the swaggering, sophisticated swinger. Sinatra's carefree confidence achieves its supreme expression in "I've Got You Under My Skin," a performance that builds steadily to an ecstatic climax. Cole Porter may have hated his lyrical embellishments, but by the time the singer jauntily breaks the "fourth wall" on "Anything Goes" ("...may I say before this records spins to a close..."), you can't deny he's taken the title to heart. --Jim Emerson

COLDPLAY.....................PARACHUTES........................

 Music doesn't come more touching than this. With their debut single alone, the emotion-fortified "Shiver," Coldplay prove they can shift between elated and crushed in a breath, as singer Chris Martin pours out music's oldest chestnut (unconditional yet unrequited love) with the shakiest of voices and a backdrop of epic guitars. For 10 tracks on Parachutes, he adds newfound meaning to the most tired and overused rock sentiments--love found, love lost, love unrequited--over acoustic guitars and emotionally fraught rock. And for once, all the clichés ring true because Chris Martin genuinely sounds like a man picking over the bones of his life, coming up with just as many reasons to be cheerful as seriously depressed. Not that Parachutes is a depressing album--there's too much conviction to the guitars and hope in Martin's words for that. Instead it's a beautifully tender balance that comes as close to perfection as anything that's come before it. --Dan Gennoe 

GUNS N ROSES...........APPETITE FOR DESTRUCTION...........

 A glimpse of the future, and not because of its huge influence and umpteen million sales. The poor-little-rich-boy protest "Out ta Get Me" intimates that Axl Rose's egotism and martyr complex were soon to grow bigger than his head; still, Appetite's night-train wreck of punk and metal sounds and sensibilities make it more than just an emblem of its time. Whether GN'R are dancing with Mr. Brownstone, penning a callow kiss-off letter to some chick named Michelle, or passing out on somebody else's sofa, this was and remains a savage journey to the heart of the American--or at least the Hollywood--dream. --Rickey Wright

SOFT CELL................NON STOP EROTIC CABARET........................

 Almond, the singer, is a drama queen, an insatiable sexual creature, a passionate philosopher of the seedier side of life, and a human wrought with angst. That combination is masterfully portrayed in this brutally honest exposure of himself. 

What makes Soft Cell so utterly unique is the aforementioned complemented with their poppy, synth-rock sound. Sure, "Tainted Love" is a great song, (especially the bonus track #11 of "Tainted Love/Where Did Our Love Go" mix); however, Non-Stop Erotic Cabaret is so much more than that song. I'm extremely fond of the song "Frustration." It most certainly sets the tone for the rest of the CD. Let me not forget the darkness of "Sex Dwarf;" although I smile during this song, there is a uncomfortable element to it as well.
I would have to include Non-Stop Erotic Cabaret in a top album of all time list. Psm/Boker 

MADONNA......................RAY OF LIGHT...............................

Never underestimate Madonna's power of persuasion: By nearly all critical accounts, Ray of Light, Madonna's first album of new material since 1994's Bedtime Stories, and her first since motherhood, is her richest, most accomplished record yet. While Ray of Light is being tagged as Madonna's big leap into electronica, it's important to note two things: First, her music has always had close ties to dance culture, and, second, her collaborator William Orbit is no Chemical Brother. Though it has all the latest blips, bleeps, and crackles electronica has to offer, Ray of Light is still largely an adult album, completely within Madonna's realm. Still, Orbit's tasteful sonic constructions provide Madonna with her most adventurous, hippest musical backdrop ever. What's more, the arrangements and production are understated enough to highlight an even bigger development: Fresh from singing lessons on theEvita set, Madonna's vocal range, depth, and clarity have never been stronger. But larger pipes don't necessarily make for deeper, truer music. Never a master lyricist, Madonna's words have worked best when they've practically been slogans ("Vogue," "Express Yourself"). This time she goes for more emotional depth, and even tries her hand at ethno-techno-mysticism ("Shanti/Ashtangi"). She largely stumbles, however. The tone conveyed on songs like "Nothing Really Matters" is a self-centered pat on the back that belies her claim to a newfound altruism. It's enough to make you wonder, now that Madonna's given up being our material girl, if maybe she's set her sights on becoming the center of our spiritual world too. --Roni Sarig 

ELVIS PRESLEY..................30#1 HITS.........................

In 1987, RCA released a one-disc Elvis compilation called The Number One Hits that featured 18 tracks. So how did the label come up with 12 additional number ones (13 if you count the sensational "A Little Less Conversation" remix that brings the King into the 21st century as a bona fide dance/electronica star)? Well, the '87 compilation featured only Billboardnumber ones. "In the Ghetto" and "Burning Love" never reached the top there, nor did "Way Down," despite every copy of that 45 selling out on both sides of the Atlantic following Presley's 1977 death. Instead, the new compilers have used the major pop charts in both the U.S. (including Cashbox) and U.K. to determine inclusions. The tracks have all been remixed from original masters, which proves awesome at best (some of the songs have never sounded crisper if, at times, slightly antiseptic) and problematic at worst. Purists will definitely quibble. "A Fool Such As I," for instance, sounds like Elvis rerecorded his vocals. Hank Garland's great guitar solo also sounds different. It might be an alternate take. That's definitely the case with "The Wonder of You." A few lyrics are even different, meaning this isn't the same version as the original 45. Of course, none of that should matter to the youngsters who've been singing along to "Hound Dog" on the Lilo & Stitch soundtrack, or to any other newcomers. Despite the complaints, this is arguably the best single disc Elvis primer to date. Real fans will want to explore much deeper for treasures to be found, but albums like this guarantee that this is one king who will deservedly live very long, if not forever. --Bill Holdship 

.........FACTORY RECORDS COMMUNICATIONS 1978-92............

 Limited edition 2009 four CD collection, a tribute to the great Factory Records label as well as a dedication to the label's founder, the late Tony Wilson. The project celebrates 30 years of arguably the most important label in UK pop history, collating rare and obscure tracks from a diverse range of acts. Features 63 tracks including cuts from New Order, Joy Division, The Durutti Column, Happy Mondays, Electronic, A Certain Ratio, Section 25 and many others. Sleeve notes written by Paul Morley. Rhino UK.

THIS LAST NIGHT IN SODOM.................SOFT CELL..................

 these guys from their mega-hit "Tainted Love" from their first LP. However, people who know the duo's other material know that Tainted love was the exception and not the norm.
These boys sing about depression, sex, sleaze, porn, murder, drugs, self abuse and self destruction.
Last Night in Sodom is sort of a slight departure from the previous works in that there is some guitar in some of the songs. The songs are more angrier in tone as well. "Mr Self Destruct" may be the closest Soft Cell has come to making an actual rock song. "Slave to This" is a chilling dirge where Marc Almond's lyrics are never more angry and desperate in this artsy track. "Meet Murder my Angel" is a great song that describes the mind of a killer before he takes out his victim. It is very creepy much like "Martin" is from the "Art of Falling Apart" CD. "Down in the Subway" is a catchy song in which Almond almost makes killing himself sound like fun or a happy event..heh. "Where was your Heart" is about a girl "giving it up" and losing her virginity to someone who never cared about her and just wanted to have sex with her. No, as you can probably tell there is no "Tainted Love" part 2 on this CD.
Hey, its great stuff from an 80's group who was way ahead of everyone else during this time period in ideas and also in sound. Almond is a great singer and his study of theater really shows when he sings. David Ball is one of the best keyboard players off all time......a must have. William. D. Ackerman

EXTRAS.............................THE JAM...................................

 In about 1990, I wrote to Polydor Records and asked them to release a load of Jam material that I had sitting on bootlegs, B-sides and various live tapes. I have no idea whether my letter worked, but two years later, this came out. And I was very glad. 

The high points of the album are The Butterfly Collector and Tales From The Riverbank, which most Jam fans agree, was a better B-side than its A-side, Absolute Beginners. A Solid Bond In Your Heart also makes interesting listening, as you realise that the band made the right choice releasing Beat Surrender as their last single. Its still better than The Style Council's eventual release though....

While I was over the moon that 1992 saw the first Jam album of "new" (if you can call it that) material, it was also a missed opportunity. Apparently Polydor has lost all the early tapes of Jam B-sides like Carnaby Street, The Night and See Saw - songs on which Bruce Foxton all sang lead vocal. There are also other Jam songs that still have not seen the light of day on CD yet, notably the fan-club version of Riverbank, Rain (a Beatles cover) and other tracks like the 12" of Precious. How about an Extras II?? David Gibbs

LAID......JAMES............LAID......JAMES......LAID..........JAMES............

 Along with the more overtly quirky Pavement, James sought to bring the eccentric folk-rock of the Incredible String Band into the alt-rock era, and did an especially fine job of it on this 1993 release. Still reeling from the U.K. chart success of their "Sit Down" single and Seven album, the Manchester veterans (who started out a decade earlier on their hometown Factory label) crafted this thoroughly accessible yet thoughtful collection. Especially infectious are "Sometimes," with its headlong strumming and chanted chorus, and the title track, with Tim Booth's vocals at their mannered best. Meanwhile, "Skindiving" finds the band venturing into the kind of experimental terrain that would later gain Radiohead enormous acclaim. Laid is a fine album from a chronically underrated band. --Bill Forman

SILENT ALARM............................BLOC PARTY......................

Styled more along the lines of a revolutionary cell than a band, Bloc Party approach the medium of rock'n'roll with the sort of high seriousness usually reserved for philosophy lectures. Yet on Silent Alarm, this "autonomous unit" of smart, wiry London youth don't just succeed in reinvigorating the art form--they come pretty close to reinventing it from the ground up. Whereas early singles like "She's Hearing Voices" found the band still attempting to chisel their own image out of familiar post-punk reference points--The Fall, Joy Division, and Gang Of Four, to name but three--newer tracks such as "Like Eating Glass" and the prickly "Price Of Gas" find Bloc Party pioneering a freshly-minted template of staccato percussion, expansive soundscapes, and cryptic lyrics that artfully straddle the political and the personal. Russell Lissack has forsaken that overdone hallmark of post-punk, brittle tortured-fretboard skronk, in favor of an effects-laden guitar sound that adds genuine prettiness to Bloc Party's edgy rush. But it's Kele Okereke's vocal that's the band's most flexible facet, morphing from frothing anger to breathless desperation. "Are you hoping for a miracle?" he bays, on "Helicopter". Yes? Well Silent Alarm ably fits the bill. --Louis Pattison 

BENTLEY RHYTHM ACE..............BENTLEY RHYTHM ACE.............

 One of the many lesser bands to crack the States in the electronica "invasion" of 1997, this duo had the style label execs thought American audiences would eat up. It's easy to see why, as BRA layers on heavy doses of rhythm and groove then toss odd, cheeky samples throughout. Fatboy Slim anyone?
Actually, they could take a lesson from labelmate and fan-fav Slim; the man knows the importance of a hook. His tunes may be simpler, but they're more infectious. BRA are stuck in the middle, developing tracks with twisting, lively basslines, fluctuating beats- and not much else.

They come close a few times, and get it right with "Let There Be Flutes," thanks to, er, flutes, and "On Her Majesty's Secret Whistle," featuring, uh, whistles. Kudos are in order for the madcap, justly named "Return of the Hardcore Jumble Carbootechnodisco Roadshow." But the rest of the tracks make you wish they could have added that "something " to make them rise up. Bentley Rhythm Ace deliver the groove but forget the flourishes. B-

SELECTED AMBIENT WORKS 85-92...........APHEX TWIN.................

 Aphex Twin's "Selected Ambient Works: 85-92" is very odd. It's extremely catchy with a lot of depth. It's dated but somehow sounding completely fresh. It's haunting yet sounds futuristic. And of course, it's a lot of fun while sounding deadly serious. The very first time you hear "Xtal" you'll think it sounds so familiar to you, like you've heard it before....somewhere. Nearly every song on it is like that. The high quality songwriting is present in every song. The masterpiece (and coolest) song is laid smack down in the middle. "We are the Music Makers" starts off with some deep,skittering bass and thin drums. Ten seconds later you here a sample pulled from Willy Wonka & the Chocolate factory and a rhythmic dream awaits you. If every song was a different fruit, then "We are the Music Makers" is the Snozberry. This remastered edition is incredible. I don't know what older ones sounded like, but this is very good sound quality. Get It!!! Mr. Trombone

DIAMOND DOGS..........................DAVID BOWIE.......................

 George Orwell's classic tale of totalitarianism, 1984, was the inspiration for a project that David Bowie hoped would further solidify his standing as a rock visionary. Bowie was a natural artist to helm a musical companion to Orwell's allegory, since his own music exhibits an innate alienation. The concept ultimately broke down, but the music didn't. "Rebel Rebel" has become a rock staple, while "Sweet Thing," "Candidate," and the forthright yet experimental title track (Bowie as puppet master) offer additional highlights. Still, despite such benchmarks and its conceptual flaws, Diamond Dogs is best listened to as a thematic collection. --Rob O'Connor

A BOY NAMED GOO...............GOO GOO DOLLS........................

Having undergone numerous not-so-subtle musical transformations since their first album in 1989, the Goo Goo Dolls have matured into a powerful trio that seems to instinctively know its way around a catchy tune. With vocalist Johnny's Paul Westerberg-influenced delivery and songs packed with exciting dynamics, the Goo Goo Dolls have really hit their stride. However, the stride they've hit is probably not going to appeal to most fans from their punk rock years, and some may actually think A Boy Named Goo has more in common with a harder-rocking Eddie Money than, say, the Ramones. --Adem Tepedelen

BROADCAST..........................HA HA SOUND.......................

 Broadcast is one of the few current bands that I give two nickels about, and this disc proves that they continue to evolve and grow. I remember being a poor teen who could only afford (or convince his parents to purchase) one or two 'tapes' a month. Of course, I listened-the-heck out of those tapes, which is something I do less often now, seeing how I have more CDs and less time to listen to them (if only I could make the $ without working). Upon buying Haha Sound, though, I listened-the-heck out of it for five days straight - this disc reeled me in, and I was forced to explore what was going on. Come on!! You can't even tell what instrument is being played half the time, or how it's being played. Some moments on this disc are the poppiest Broadcast moments ever (pop='emotionally affecting', not 'sell-out'), yet others push the rollercoaster of weirdness to greater heights. Broadcast, like every great band, has influences and roots in the past, yet they continue to push forward and create music that couldn't have existed at any other time. This is what, years from now, will put Broadcast heads and shoulders above the legions of revivalists and imitators littering the scene right now. With this album, Broadcast continues to move ahead, while taking rock and pop with them. Mike

BABY IM A WANT YOU................................BREAD...................................

This album brings together some of Bread's best ballads and a few strong rock songs too. They often seem to start an album with a rocky song, and 'Mother freedom' is arguably the heaviest song they have ever done. It is also excellent and catchy, and I don't really like this sort of music, so that is saying something! 'Down on my knees' is also fairly upbeat and catchy, but not as good. 
The ballads again stand out, and Griffin writes some of his best. 'Dream lady' has an infectious melody, and nice backing vocals, with the guitar plucking away. 'Just like yesterday' is one of his best piano ballads ever, and I love 'Games of magic' for its melody. Another ballad, without any drums. 

Gates is also on form. 'Diary' is his 'Aubrey' of the album, with a beautiful set of lyrics, definitely my favourite by Bread, and a gorgeous string arrangement, with subtle backing vocals by James. 'Baby I'm a want you' is really well known and deservedly so, for it is beautiful. I love 'everything I own' also, particularly the middle eight, where I am still not sure if a guitar is being played, or it is actually a harp. 

Only one song is noticeably weaker for me, the substandard 'this isn't what the governmeant'. Apart from the clear pun this is an irritating dirge of a number, that should have been left off and replaced with something else. 
Still highly highly recommended! D. Moses 

GARY BAGSHAW STRIKES AGAIN

BY GARY BAGSHAW

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THE GATE.......BY GARY BAGSHAW

my very good friend Gary Bagshaw  

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SKETCHES OF SPAIN.................MILES DAVIS.....................

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants.Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, andQuiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

THE BACK ROOM.............................EDITORS.......................

Sure, The Editors are a bit dour, what with songs like "Blood" and "Bullets" and "Fall" sporting baleful themes. And the oft-noted similarity between them and Interpol will be apparent to listeners on the near-instant basis of the bands' singers, who share a bellowy, stentorian voice, which means, really, that both are fond of Joy Division's Ian Curtis. The Editors, in fact, come closer to Joy Division (geographically they're nearly kin, being from Manchester). Deploying an instrumental color palette of their dark early-80s predecessors, The Editors win with chiming guitar work--as on "Someone Says," which shifts rhythms a la Interpol even while sounding wider-ranged and better-lit. Vocally, Tom Smith can wobble the edges with tremors of urgency stoked by Chris Urbanowicz's guitar atmospherics and occasional outbursts. "Fingers in the Factories," a lyrically mirthless little number that interjects a stellar combo of simple beat and bright-toned guitars to charge up the labor-related lyrics, driving Smith to an emotional charge, something that lots of post-Echo and the Bunnymen ensembles have difficulty doing convincingly. The Editors manage energy in the service of drama, a near-necessity in rock. --Andrew Bartlett

LEST WE FORGET: THE BEST OF MARILYN MANSON...........

Culled from the band’s ten year, six album career, Lest we Forget: The Best of Marilyn Manson features some of the greatest rock anthems of the last decade. Opening with "The Love Song" from Holy Wood, it proceeds to the first of a handful of cover songs which have made it as singles. The decadent, beefed up version of Depeche Mode’s "Personal Jesus" may not vary much from the original but the band do it the appropriate Goth justice; "Tainted Love" adds a menacing, industrial-glam to the electric northern soul of Soft Cell’s version; and the one that broke them into the UK mainstream, "Sweet Dreams" by the Eurythmics sounds as good as ever. So, they do a good cover but it’s really the fists in the air crowd-pleasing anthems that back up the band’s iconic imagery. The high-energy signature tune, "Beautiful People" and tracks like "Disposable Teens" or "The Fight Song" typify the band’s intelligent approach to rock’n’roll posturing. While many may have all the albums already, Lest We Forget is the perfect addition for anyone who likes the odd song but was too fearful to delve any further in the world of Marilyn Manson. --Georgina Collins

UNKNOWN PLEASURES POSTER...JOY DIVISION...........

A poster every young man should have

THE COMPLETE PEEL SESSIONS 1978-2004.........THE FALL......

Exhaustively, inevitably, ultimately, it's six hours of the long march along MES and his band of dozens. For a Fall compilation, unusually insightful (rather than inaccurate, fawning, or cryptic) liner notes accompany this compendium of John Peel's favorite band. I only wish captions were included. It would've been nice to have a Pete Frame-type of family tree of Fall members, or at least pics of each of the lineups, however. Also, the six plain-wrap cd's look identical, and you cannot see the disc listings on the back, but only by flipping the cases open. My discs keep falling out of the cardboard box as well, eager to be played! Any Fall fan will find what to like and what to skip, but after dutifully hearing it all over the course of a week, general comments for anyone considering this investment of time and money. A fine value for the committed lifer, but start with "50,000" for the double-disc appetizer. I assume any listener to this six-disc box, on the other hand, has fifty or so Fall CD's (at least) already. By the way, this completely supersedes the earlier 2-disc "Words of Expectation" issued a few years ago.(I purchased the import; Amazon's domestic cost for the set compares favorably, much less than list price.) 

Sound quality's great, and even the frequent doldrums encountered throughout this audial slog are made a bit more endurable by the presence of fidelity. Lyrics often emerge more articulately than on studio versions, and since the vast majority of the tunes that have album versions benefit from either the freshness of their early takes or the lack of polish shown in these radio sessions, the production that is stripped from many of the Fall's best and some of its worst songs generally plays to the band's frenetic advantage. 
The Fall's official website carries much more comprehensive reactions to the minutiae of these songs, and I will not take up too much space here enumerating the high and low stretches. 

Suffice to say, Disc One has the punkiest artifacts, and these again sound better than their often dated production from the studio versions at the time. It's evident how quickly the Fall found its own style(s), for by sessions 3 and 4, the early 80s atonal assault can be heard superbly especially with Paul Hanley's drums powering "Container Drivers." Disc Two brings you through what I hold to be one of the darker periods of the band ("Garden" especially rumbles on fearsomely) pre-Brix into her arrival and transformation into a more poppy-ish sound. Continuing through Disc Three, lesser known songs such as "Gut of the Quantifier" "Faust Banana" and "Gross Chapel--British Grenadiers" and "Athlete Cured" shine unexpectedly. Disc Four pairs a chugging "Cab it Up" and "Deadbeat Descendant" to a catchy effect. By the early 90s, another fallow period gives songs like "A Lot of Wind" even less energy than on the album versions, and such listlessness dominates more often as Disc Five progresses. The 1990s is an up-and-down period for the band, and its mangling of Xmas carols, for example, is less fun than it may have seemed at the time. Session 19, however, taking material from "Light User Syndrome" cd, marks a bit of a revival and the Peel versions of "He Pep" and "Hey Student!" do make good use of background vocals, including Brix again (trying to sing more than her screeches often heard elsewhere on live renditions of many of her earlier tunes) on some of the better selections from the mid-90s. Disc Six is nearly agony to get through Sessions 21 and most of 22. By now, the disintegration of the longtime line-up can be felt, and "Antidotes" offers no remedy. Only the Saints' "This Perfect Day" salvages the first half of the final disc. Of course, the 2003 and 2004 sessions, with the newest Mrs. Smith and another energized, if no less stable, band, show a welcome maturity (and a cover of The Move's "I Can Hear the Grass Grow") and a return to caring about the sound as well as the image for MES and his hired help. 

P.S. 3 stars for packaging; 5 for sound; 4 for content, as the mighty Fall does drag more as any fan knows for long stretches of this sonic marathon, best taken at shorter one-hour sprints. I still wish that John Peel's favorite session men (and women) had recorded Peel's favorite song, the Undertones' "Teenage Kicks"! But all 96 songs are here, at last. John. L. Murphy

1984...NINETEEN EIGHTY FOUR......GEORGE ORWELL...............

Among the seminal texts of the 20th century, Nineteen Eighty-Four is a rare work that grows more haunting as its futuristic purgatory becomes more real. Published in 1949, the book offers political satirist George Orwell's nightmare vision of a totalitarian, bureaucratic world and one poor stiff's attempt to find individuality. The brilliance of the novel is Orwell's prescience of modern life--the ubiquity of television, the distortion of the language--and his ability to construct such a thorough version of hell. Required reading for students since it was published, it ranks among the most terrifying novels ever written.

TINDERSTICKS DEBUT............TINDERSTICKS.................

The Tindersticks' first album is an eccentric, mournful, off-kilter, but marvellously original masterpiece. Stuart Staples' Vic Reeves impression may not be to everybody's tastes, but the chances are that if you don't hate it on first listen, you will grow to love that strange, melancholy baritone that imparts so much feeling into the Tindersticks' brilliant music.
The album gets off to a stuttering start, but when the first abortive bars of Blood kick in around track five, it begins to blossom into a beautifully wistful, brooding and slightly twisted work of art. As Staples croons "There's an ugly crowd inside me that specialise in violation", you begin to wonder just what it is he is singing about. City Sickness is one of the stand out tracks on an outstanding album, another slightly disturbing, but infectiously brilliant window into Stuart Staples' world. Patchwork is another gorgeous song, the heart of its melancholy beating in the line "I tried love, it never looked that hard", while Marbles is sheer brilliance, the band weaving a marvellously weird tapestry of sound, while Staples mutters about love being "a series of complicated dance steps, once learned, never forgotten". Later on, Jism sounds like The Gypsy Kings on acid, a dark, twisted tale of jealousy and revenge, the denouement coming when Staples asks "Is there anyone else? I'll understand - and kill them". The album's high point, however, comes with Raindrops, an unutterably bleak, hauntingly beautiful ode to dying love. As the violins swoon and the piano murmurs, and Staples whispers "We sit and watch the divide widen, we sit and listen to our hearts crumble" if you don't feel a lump in your throat, you are not human.

As the final bars of The Not Knowing fade into the ether, you seem to awaken from a sad, beautiful dream, with the feeling that you've lost a part of yourself, and will never be able to find it again. Embrace it.

POD................................THE BREEDERS.........................

As most would expect, the first CD by Kim Deal's band The Breeders bears significant resemblance to her previous band the Pixies, but with some key differences. Unlike the Pixies, the Breeders are more subtle, relying on a much more subdued approach that creates an almost tangible tension between melody and noise throughout the entire album. Steve Albini's production only furthers the stiff tension in the Breeder's songs allowing the listener to hear every note in its rough, unaltered, natural state and appreciate the full depth of each individual sound. Showcasing some impressive songwriting talents, Kim Deal proves she was much more than just a bassist and occasional vocalist for the Pixies, drawing upon some interesting personal influences to craft her new band's sound. For example, the violin aided, atonal ballads of "Oh!" and "When I Was a Painter" would fit perfectly on any Raincoats album while "Opened" captures all the wild guitar power and rhythmic fury of early Sonic Youth recordings. Deal even goes so far as to undertake the brave task of covering a Beatles track, casting Lennon's classic in a new chaotic light. In fact, John Lennon would prove a perfect comparison to the Breeders. Lennon's interest in making unmixed and rough music but that still retained a pop melody seems like a perfect parallel to what Kim Deal is striving for with the release of Pod. But regardless of where Kim Deal is coming from with this album, there are some tracks like the gut wrenching "Iris" and sonically sinister "Glorious" that immediately make the listeners jaw drop in awe. With every song a perfect combination of pure pop and sub stooges guitar riffs, Pod accurately shows that music doesn't need to be overproduced and studio enhanced to be catchy but can remain edgy and still get stuck in your head for days. Drumb

SHINY BEAST BAT CHAIN PULLER...CAPTAIN BEEFHEART..........

The result of a short-lived late 70's association with a major label, reviewers at the time didn't give "Shiny Beast" a lot of sympathy. Too bad, 'cause this is clearly one of the Captain's most accessible albums, managing to be exquisitely tuneful while sacrificing none of his unique brand of home-grown American Surrealism. It's also one of the best incarnations of the Magic Band, mixing all of the threads evident from "Trout Mask Replica" on -- fast meter shifts, slashing guitar, octave-spanning blues hollers, strange lyrics -- with the tender, even (dare I say it?) mellow influences of Bruce Fowler's trombone and Art Tripp's marimba. "Owed T'Alex" wonderfully evokes the San Berdoo/Lancaster California desert Biker world the Captain grew up in, while "Suction Prints" could have come straight off "Trout Mask" (if that album had had better production). The title tune is sheer over-the-top Beefheart madness, a blistering fever-dream of environmental disaster that will leave welts on your mind. If you liked "Doc at the Radar Station", you _must_ have this. William. Michael Brown 

HALF MACHINE LIP MOVES.....................CHROME....................

This is the only chrome album you need. this is very unfortunate, because it's such a good album, you're gonna be tempted to try to buy another chrome record, you'll think "i know what that guy said, but come on the other albums have to be worth something..."no they don't. This is a great example of a band reaching a very early pinnacle and plummeting from it into the abyss of crappy heavy metal ripoffs. About the album itself, sure kraut rock does this same stuff a few years earlier, but come on...isn't fist full of dollars the same plot as yojimbo? the fact that they are compared to faust and amon dull shows how few people where doing this amount of psychedelic mindmessing back then. this album rocks your socks off and dissects your brain. ignore the bozo who complains about the crappy drumset. if you're looking at this you like punk rock/kraut rock (something out of the ordinary), whatever. leave the people with the 4000 dollar instruments at the music store, let them have there 5.1 audio bs, you could play this on a one speaker fried casio boombox and it would still sound good.

ENDTABLES......................THE ENDTABLES...................

2010 collection from the late '70s Louisville, Kentucky Punk Rock legends. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979, they recorded six tracks at a Louisville studio, four of which came out on a seven EP on their own Tuesday Records. This release features those six tracks plus an unedited version of 'Process Of Elimination' and six live tracks. Drag City.

STORY OF MY LIFE...............PERE UBU...........................

Hi everybody I hope your all having a great day! Its a beautiful day here in the UK, the sun is shining and this morning my postman delivered a PERE UBU cd THE STORY OF MY LIFE. Guess what? its fab apparently it was there first major label release, it bombed but so what ! at least its not been played to death on the radio. It is  a great album. I loaded it on my BRENNAN JB7 when I got home from work and its been on repeat all afternoon. Go out beg steal or borrow the cash to buy this great album P's its really cheap at Amazon

HOW THE WEST WAS WON......LED ZEPPELIN................

I was fortunate enough to get this from a local independent record store 3 days before its release. Immediately after hearing it, I knew that the planet was in for a treat. This, and the accompanying DVD, were hyped up among Zeppelin fans. After listening to this CD, I can safely say it is getting all the hype it deserves, maybe even not enough.
Though I enjoyed The Song Remains the Same album and film, this blows that out of the water. The sound quality is excellent, this has more to offer, and is just better in every way.
This collection of performances from 2 shows in 1972 (June 25th at LA Forum, June 27th at Long Beach Arena) represent Led Zeppelin at their live best. Listening to it makes me wish I had been born early enough to witness Led Zeppelin in concert, and I envy those who were there at those shows, witnessing a night of history. The versions of "Whole Lotta Love," "Dazed & Confused," and "Bring It On Home" are all at least 10 minutes and are sure to please every Zeppelin fan out there. "Whole Lotta Love" is here in all its live glory, containing the medley of covers that extended it to 23+ minutes, pure Zeppelin bliss. As expected, "Dazed & Confused" features Jimmy Page playing his guitar with the violin bow, and is yet another stellar version of this song to add to our CD collections. The acoustic set here is also present, featuring excellent versions of "Going to California," "That's The Way," and "Bron-Yr-Aur Stomp." The latter was a personal highlight for me, as the song is a tribute to Robert Plant's dog, he calls out the dog's name, Strider, at the end. I also have a dog named Strider, so it's cool that my dog has the same name as the dog of one of my favorite singers (for the same reason too, Plant loved JRR Tolkien, and my dog's name was thought of after seeing Lord of the Rings). The medley of "La Drone"/"Immigrant Song" kicks the set off with a bang, and an excellent version of "Heartbreaker" follows, with Page totally kicking but during his solo, incorporating Bach's "Bouree in E Minor" into it. There are stellar versions of "Stairway to Heaven," "Since I've Been Loving You," and "What Is and What Should Never Be" on here as well. As expected, the 23-minute "Whole Lotta Love" medley is a definite highlight, as is "Dazed and Confused." Drummers are bound to be impressed by the late, great John Bonham's extended drum solo on "Moby Dick."
Although the Houses of the Holy album had yet to be released, those in attendance were treated to previews of some of the songs, and the versions of "Over the Hills and Far Away," "Dancing Days," and "The Ocean" all kick massive behind. A just-under-10-minute version of "Bring It On Home" closes off this CD with a bang, and leaving the listener in awe.
Also when listening to it, one cannot help but notice how good the sound quality is. Any Zeppelin fan knows that Jimmy Page, producer for all the albums and a key songwriter, settles for nothing but the best, and only that. When Led Zeppelin's catalogue was first released on CD, the sound quality was inferior, so Jimmy Page himself remastered the Cd's, showing that he not only cares about the old fans, but the young fans growing in the 90s discovering the group (like this one). With BBC Sessions, Jimmy was in charge of that, and gave us a great sounding album of BBC material. And once again, he has proven his loyalty to the fans (and to himself and his band) and given us an amazing-sounding live record with great material on it. THANKS, JIMMY!!!!!

All that said, How the West Was Won is an absolute must-own for any Led Zeppelin fan, no questions asked. If you like Led Zeppelin, you are GUARANTEED to enjoy this. Don't worry about price, because when you hear it, you will know for yourself that this CD is worth its weight in gold. Buy it and enjoy it for a long time to come. BGFN8

A BEARD OF STARS......TYRANNOSAURUS REX..............

A Beard of Stars is where T.Rex finally says goodbye to the forgettable folk rock elements of the previous albums and gives listeners a taste of some noticeable signs that the band was headed for a change. You can hear this change in both the songwriting and the background arrangements.

"A Daye Laye" is pretty good. A very pretty vocal melody with nice arrangements in the background. I really like how Marc Bolan elevates his vocal range during certain lines, and the "freak out" style of guitar playing reminds me of early Wishbone Ash a little bit. "Woodland Bop" is a depressing dance tune... sort of, ha ha. Definitely do NOT make the assumption that Tyrannosaurus Rex is trying to write dance music here- far *far* from it. It's darn near impossible to describe! I love the dramatic guitar lines during the chorus- it's intense, heavy and leaves a lasting impression.

"First Heart Mighty Dawn Dart" really shows that T.Rex is well on their way to commercial success in about a year. The guitar playing in the background reminds me of the style the band would utilize during their glam rock days in the near future. The guitar sound has finally been established- the signs are there, but subtle obviously (because the music presented on A Beard of Stars is *still* in the psychedelic folk rock style, or rather, in between folk rock and glam rock). Some moments of Marc Bolan's vocal work on "Pavilions of Sun" remind me of his popular work from the Slider album and specifically a song like "Rabbit Fighter". I can hear a resemblance in the verse melody at least- a more emotional higher register in Bolan's vocal range. A great psychedelic guitar solo near the end, too.

"Organ Blues" feature a sound that to me seems to be *drastically* ahead of its time, and reminds me of some of Brian Eno's late 70's experimental work. What beautiful arrangements too! They are incredibly rich and clean- I really like what Marc Bolan was doing here. I admit the songwriting on this particular track isn't up to Marc Bolan's usual standards, but it's forgivable given the fact everything else about the song is just terrific.

"By the Light of the Magical Moon" has easy to understand lyrics, dreamy Hendrix-inspired guitar solos, and just a beautiful vocal melody overall. I have no problem saying this next part with authority- there's NOTHING from the 60's or 70's that sounds quite like "Wind Cheetah". It's indescribable because of the way Marc Bolan changes his singing style in order to make it work. It's unbelievably odd if you ask me. The guitar playing in the middle gives it a distinct haunted house feeling. It actually reminds me of Frankenstein, ha ha. I love it.

The title song is a *perfect* indication that Tyrannosaurus Rex was beginning to change into T.Rex in BOTH the background vocals and the guitar playing. Trust me- the moment you hear those vocals, the realization will set in that the trademark T.Rex sound you have come to love is right around the corner. Actually it's surprising that Electric Warrior wasn't the *next* album because a good portion of this album feels like the prequel to it. "Great Horse" is the next track, and surely you must be a stronger man than me if you're able to hold in your emotions when Bolan sings such a tender vocal melody. "Dragon's Ear" is slightly uplifting except... the uplifting vibe comes with an eerie atmosphere and a deep, ominous singing voice courtesy of Marc Bolan.

This album is seriously a big improvement over Unicorn is every conceivable way. "Lofty Skies" really takes advantage of Marc Bolan's emotional side. Actually, as you can probably guess, the entire album feels extremely personal. I wonder what kind of mood Marc Bolan was in during the recording of this album? The guitar solo at the end of this song is *unbelievably* good. "Dove" takes what would otherwise be considered a relatively simple vocal melody and makes it sound ominous and chilling. The 5-minute "Elemental Child" show the band writing an older, 60's style rock song in the guitar riff (think early Rolling Stones) but with an amazingly catchy vocal melody and a melodic guitar jam at the end.
Overall, A Beard of Stars does THREE things that really stand out to me. One- Marc Bolan really improves as a singer in both his ability to write vocal melodies and especially his ability to be personal and connect with his listeners. Two- the guitar playing is more frequent and interesting than it was a year earlier. Three- the background arrangements that would later be defined as distinctive and highly original have begun right here, on this album. Just a magnificent album the entire way through, seriously. It's better to think of it as a T.Rex album instead of a Tyrannosaurus Rex album. B. E. Jackson 

COPPER BLUE...........................SUGAR............................

For Bob Mould, forming his new band Sugar and recording COPPER BLUE, the group's Rykodisc debut, was like "starting again at zero." After two critically acclaimed, darkly introspective solo albums, following nearly a decade as guitarist with the legendary hardcore band Husker Du, Mould was ready for a new beginning. Armed with an exceptionally diverse body of musical expertise, a new batch of songs, ex-Zulus' drummer Malcolm Travis, and Athens, Georgia, native bassist David Barbe, Mould took the plunge. The result, COPPER BLUE, is perhaps Mould's best recording since the mid-eighties, combining the dense, melodic noise of his previous recordings with a sharp, bright, hypnotic musicality. Surging with melody, the album's ten songs are simultaneously coarse and beautiful, a spontaneous, appealing blast of sound.
On songs like "Hoover Dam," "Slick," and "Man On The Moon," Mould's satirical, sometimes nonsensical lyrics create a counterpoint to the songs' evocative melodies and fierce delivery. Yet tracks like "Changes" and "The Slim" are as dark as anything he's ever written. While the opening "The Act We Act" may hark band to his formative years with Husker Du, tracks like "A Good Idea" (a thinly disguised tribute to the Pixies), the boppy acoustic "If I Can't Change Your Mind" and the late-night finale "Man in the Moon" are far different from the work of his former band.

New Musical Express voted COPPER BLUE 1992's Album of the Year; Spin ranked it at #6 in its Top 20 Albums, and the Village Voice Pazz & Jop Critics' Poll placed it at #7. Bolstered by the success of singles like the irresistible "Helpless," the quirkier "Good Idea," and the Top 40 crossover "If l Can't Change Your Mind," the album sold over 350,000 copies, setting the stage for a successful world tour and for BEASTER, the band's next release.

LIFE'S TOO GOOD..................SUGARCUBES.......................

Rare is the debut that displays such fully formed talent as Iceland's Sugarcubes' first album. Highlighted by the Cocteau Twins-influenced single "Birthday," two other provocative singles, "Deus" and "Coldsweat," and by the incredible vocal gymnastics of Björk Gudmundsdottir, Life's Too Good brilliantly shows a new band staking out its own sonic space. Einar Orn contributes an electronically reprocessed trumpet, and a few awkwardly charming and ranting vocals as well, but this is clearly Björk's show. Her vocal range is staggering. The CD reissue adds six extra tracks, several of which are sung in Icelandic. --Rob O'Connor

ROSELAND NYC LIVE...........PORTISHEAD.............................

Usually, groups wait until they've released at least three or four records before putting out a live album, but PNYC was too good an idea for Portishead to turn down. Recorded with a full orchestra on a cold, rainy day shortly after the release of their second record, Portishead, the project doubled as a live album and the soundtrack for a BBC documentary. In addition to being economical and perhaps lucrative, the disc demonstrates how sampled and sequenced music can be re-created in concert without losing any of the charm or dynamics of the original recordings. All it takes is a 22-piece string section, some horns, and a band whose tightness is exceeded only by its creativity. At times the performances onPNYC sound even more breathtaking and cinematic than Portishead's original recordings, as humming theremin, skittery scratching, and gliding strings mingle with stealthy guitar lines and sultry vocals. For Portishead, sour times seem like a distant memory. --Jon Wiederhorn

GREATEST HITS.....................CATATONIA..................

  2002 it was announced that Welsh indie group Catatonia would be splitting up, but lead singer Cerys Matthews would be pursuing a solo career. Now this struck me as a great shame, mostly because their last album, Paper, Scissors, Stone was their best album to date. Right from the very start this was a band with promise, although unfortunately their debut album Way Beyond Blue was lost amidst Brit pop mania. That doesn't mean to say that it's not misrepresented on the Greatest Hits, with the lively Sweet Catatonia and You've Got A Lot To Answer For featuring on the first disc alongside Lost Cat and Bleed. However, it was the critically lauded International Velvet, that topped many British critics' lists of the best records of the year, that was Catatonia's breakthrough. Hitting off with their breakthrough glorious throwaway track Mulder and Scully was definitely a good idea. The band's most popular song Road Rage (and a personal favourite) is also included, as well as the less popular tracks from the album, Strange Glue and Game On. With their third album, Equally Cursed And Blessed Catatonia expanded their sound with sweeping ballads such as Dead From The Waist Down, the pop of Karaoke Queen and the irreverence of Londinium. My only really complaint here is that one of their best songs, Bulimic Beats, from that album wasn't included on the second CD. However, it wasn't a single or a rarity so it's understandable. The band's fourth album isn't well represented on the first disc due to the fact that the only single released was Stone By Stone, which unfortunately only scraped into the British top 20. Still, a selection of the best are included on the second CD so passive fans will get a change to listen to a more melancholy Catatonia on Godspeed and the wonderfully anthemic Mother of Misogyny.
Surprisingly the second disc is well worth owning and doesn't seem like a cop-out to persuade more people to part with their cash. As well as including the potential singles from the last album, there are also some rarities that are unavailable elsewhere such as the brilliant Do You Believe In Me? Thankfully, given the fact that the band's singles are only culled from four albums, Cerys's forays away from the band are also included. From the simply magnificent, bitter, weird and wonderful The Ballad Of Tom Jones, a duet with Space, to her duet with Tom Jones himself on a cover of Baby, It's Cold Outside.

Quite simply, Catatonia were one of the most interesting and diverse bands of the British indie scene of the 90's, and it's a shame to see them go, but with Cerys's solo album being released soon maybe it's not goodbye after all. Mr. B. G. Fowler

FILMS ABOUT GHOSTS..................COUNTING CROWS..........

I am not the biggest fan of Counting Crows, feeling that the two albums after "Recovering The Satellites" were inconsistent at best and never added them to my collection. I also dumped the live album into a used store bin soon after I'd bought it. But for "August and Everything After," Adam Duritz and company struck a chord in the year that Nirvana was king of the world (and Kurt closed the window on that chapter at roughly the same time), and radio was being ruled by the likes of Whitney Houston and Toni Braxton. It didn't hurt that Counting Crows were making music that echoed the best of Van Morrison or Bob Dylan. Another plus was having a producer like T-Bone Burnett, who understood the traditional intimacy of the Crow's sound. He helped make "August" sound like a bridge between the rage of grunge and the introspection of R.E.M.'s then hugely successful "Automatic For The People."

Like the Autumnal tree that graces the cover of "Films About Ghosts," the best work of Counting Crows gives one the feeling that some sort of somber change is always lurking nearby, often with a chill to accompany it. Think of how "A Long December" resonates long after the song ends. Same with "Mrs. Potter's Lullaby," which was the best song on "This Desert Life." Again, the comparison to Van Morrison is an apt one as Adam exorcises a certain amount of pain during his best songs.

This has often led to a criticism of the Crows in that a lot of their music sounded "whiny." That argument is easily dispelled by "American Girls," "Angels Of The Silences" or the statement of band unity, "Hanginaround." Each of these songs are concert pleasers and show the Crow's more playful side, something each album had for those that waited for the simple pleasures of a buoyant rock song.
The new songs here are worth having as well. "She Don't Want Nobody Near" is a close cousin to "Anna Begins," maybe to the point that you wonder if it's the same woman ten years later. Choosing San Francisco legends The Grateful Dead as their second source for a cover is a clear nod to the Crow's Bay Area roots, and they pull off "Friend Of The Devil" with flair. By maintaining a continually assured quality of musicianship and a sort of insider's effacing sense of self, Counting Crows may not have maintained the levels of success that the six-million selling "August and Everything After" dropped into their lap on the first try, but "Films About Ghosts" also proves that they have nothing to be embarrassed by. At 72 minutes and no duds in the bunch, it's as strong a collection of folk influenced popular music that one could hope for from the nineties. Tim Brough

THE DAY THEY SHOT A HOLE IN THE JESUS EGG...THE FLAMING LIPS.....

This is an incredible collection of Lips early stuff. The other companion collection, "Finally The Punk Rockers Are Taking Acid", discs 1-3, are the first recordings by the Flaming Lips, and it is very good. If you are a huge fan of the Flaming Lips like I am, both of these are good to have for historical purposes. The Flaming Lips have a rich history of inventive music and if you just start at The Soft Bulletin, arguably where they are roughly at stylistically, and have the three most recent recordings, that one and Yoshimi, and At War With The Mystics, then wouldn't you be a bit curious as to how they arrived at this point? 

I was curious, and I live in the area where they grew up in central Oklahoma, and pretty much ignored them up until about a year ago. Now I have all of their Cd's except for one of them.

You should be curious if you consider yourself to be an explorer of artistically viable music. The Flaming lips have obvious influences from the classic/acid-rock era including Pink Floyd, the Beatles, and many others. But this collection reveals how they developed their ideas from a Punk Rock Acid Rock perspective, and, depending on your frame of mind, and how receptive you are to noise/Acid/punk and their newer musical ideas, you should find The Day They Shot A Hole In The Jesus Egg rewarding--I did.

Disc one includes the "Priest Driven Ambulance" album, which was their last pre-Warner Bros. album, and also their last album without Steven Drozd on the drums. It is looser, and much more guitar driven than their recent recordings, although all the recordings prior to Soft Bulletin are more guitar/noise driven. There are plenty of mind-blowing ideas and many beautiful songs. The bass is more prominent in the mix. The rawness is there but the punk-influenced Acid sound is there and it plays very well. Some of the stand-out songs from disc one are played again as out-takes, different versions and they are on Disc Two, the Mushroom Tapes. This disc took me a few plays to enjoy but I now listen to it more than the others. There are some songs that are beautiful, such as the Stones-influenced Five Stop Mother Superior Rain, with its slide guitar work, harking back to Stones Wild Horses, or Pink Floyd.

Anyway, I won't go into the details. Listen and experience this collection on your own. With an open mind, you'll be richly rewarded. Earsby