Reviews Written By: A1GROSX3EC048Mprovided by Amazon.com |
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 | Siouxsie & the Banshees - Superstition | |
 | "Poppy, melodic Banshees" | 2005-11-18 |
| Yes, this album is a far cry from the earlier releases such as "Juju." It's not dark, it's dreamy. It's intention is not to scare you away or give you nightmares, but to draw you in and allow you to explore its melodies. I think that's why Banshees fans tend to either love it or hate it. If you're open to different (in this case more lighthearted) sounds, you'll probably love it, but if you exclusively like darker music, you'll probably want to pass on this. I am in the former camp, and this is one of my favorite Banshees albums. "Goths" beware -- it's beautiful, melodic pop-rock. It still has the Banshees quirkiness, but it comes in a softer and more accessible form than before. The melodies of "Kiss Them for Me," "Shadowtime" and "The Ghost in You" in particular are exquisite and instantly memorable. The only thing that would have made this album better is the inclusion of b-sides such as "Staring Back" and "Return," which are some of the most beautiful and dreamy songs I've ever heard. If you consider Banshees singles such as "Peek-a-boo," "Cities in Dust" and "The Killing Jar" to be among the band's best work, do not hesitate in picking up "Superstition." If not, you'll definitely want to check out the audio samples before adding this one to your cart. | ||
 | Altered Images - Bite Plus (+6 Bonus Tracks) | |
| "Pop confections galore" | 2005-11-01 |
| It's a shame that Altered Images has somehow slipped through the cracks as one of the most original, fun, sonically and visually most interesting pop bands ever (back when pop didn't mean talentless and unoriginal). Sure, they dabbled in Siouxsie-esque goth rock early on, but at their core, they were always a highly melodic, quirky pop band. This is apparent on their first two albums, "Happy Birthday" and "Pinky Blue." With "Bite," the band underwent a makeover in image, sound and lineup, and fortunately, the new formula worked just as well. This is polished, melody-driven 80's pop, much sleeker and more restrained than what the band had previously produced. Clare Grogan's vocals are not quite as giddy and chirpy, and the production, much of which was done by Mike Chapman, makes the songs shine. The lead single, "Don't Talk to Me About Love," is simply one of the most beautifully arranged and performed pop songs ever. "Bring Me Closer" is a fun disco-dance number. "Another Lost Look" and "Love to Stay" are sweet, dreamy pop gems, while "Change of Heart" channels Blondie when Blondie was channeling 60's girl group. Actually, the entire album channels Blondie, which is definitely not a bad thing. There were originally only eight tracks on "Bite," so the bonus material included on this CD is more than welcome. "Surprise Me" is manic bubblegum reminiscent of the material on "Pinky Blue." "Last Goodbye" is more fun pop that's so good you have to wonder why it wasn't originally included. "I Don't Want to Know" is yet another winner that sounds like what might have happened if the Shangri-Las were still making music in 1984. If you love good, fun pop or new wave music, don't hesitate to pick up this CD. And while you're at it, pick up "Happy Birthday" and "Pinky Blue," and prepare to have some fun. | ||
 | The Raveonettes - Pretty In Black | |
 | "Less bite, but still lots of fun" | 2005-10-30 |
| On their first full-length release, 2003's Chain Gang of Love, The Raveonettes offered up a collection of songs that sounded like the result of a jam session between the ghosts of Buddy Holly and Joey Ramone. Its bubblegum melodies were filled with distortion and bizarre, spooky street imagery, creating a package that somehow worked. Pretty in Black, the follow-up, finds the Danish duo and their now fleshed-out band turning down the noise and incorporating a bit more variety, which will probably leave half their audience disappointed and the other half pleased. The Raveonettes have never been shy about citing their heroes. Their name is a constant reminder of their love for Brill Building '60s girl-group pop (take out the "-ave-"), which marks some of the high points of the album. Sharin Foo coos through a fluffy, surprisingly faithful cover of The Angels' 1963 hit, "My Boyfriend's Back." You almost have to wonder why it's there, but it becomes irrelevant as it is just as infectious and fun as the original. For their "Ode to L.A." (and to retro girl-group pop itself), the band sought out former Ronette and seasoned bad girl Ronnie Spector for guest vocals. It's an overt effort to mimic the lush, "wall of sound" style that Phil Spector mastered with the Ronettes, and perhaps that's why it works so well. The band makes no secret of the fact that these songs are the result of an intense love of the music that inspired them. The first single, "Love in a Trashcan," is a swaggering guitar number with disposable-yet-memorable lyrics about girls falling for trashy, no-good guys. When Sune Rose Wagner proclaims, "If you touch that girl, you know it's OK/People say she's a whore anyway/I think she looks like a nice vamp/Looking for love in a trashcan," you know you're in for music that doesn't take itself too seriously. Almost as fun is "Twilight," which employs a churning disco stomp that truly allows The Raves to rave. "Here Comes Mary" combines a lilting melody with disturbing lyrics, and could be the equally grim sequel to The Shangri-Las' "Leader of the Pack." It's a novel idea to follow up on the aftermath of that musically infamous motorcycle crash-quite possibly the most melodramatic moment in rock 'n' roll history-and the result is captivating. Also downbeat, the folk balladry of "Uncertain Times" manages to be dreamy, dark and hopeful all at once, boasting the lyrics, "And if the atom bomb should end us both/I'll be happy to go to the stars with you." Some songs don't fare as well. "The Heavens," a sleepy ballad that Wagner says he wrote for Elvis, had he been alive today, is nice after a few listens but ultimately a dull, forgettable opener. "If I Was Young" suffers from the same problem. "Somewhere in Texas" is a wasteland of a song that succeeds in conjuring desert imagery but not in going anywhere musically special. Overall, The Raveonettes justify the changes they made to their sound on Pretty in Black enough to make it a must-have disc for fans and a worthwhile listen for curious observers. The noisy bite of Chain Gang of Love is noticeably absent and will no doubt be missed enough by some to consider this material a letdown. But what the album lacks in intensity it makes up for in variety-and variety makes for a more interesting rave. | ||
 | Tom Petty & the Heartbreakers - Tom Petty & the Heartbreakers - Greatest Hits | |
| "One of the best greatest hits packages..." | 2005-01-30 |
| If you like rock and roll, you'll be hard-pressed not to like Tom Petty and the Heartbreakers' greatest hits.
The great thing about Tom Petty has always been that he knows how important a good melody is to a song, and that is apparent on every song included here. "I Won't Back Down," "Listen to Her Heart," and "American Girls" are just a few prime examples. Not only are these songs instantly catchy, they have a certain rock 'n' roll innocence that is rarely heard today. "Don't Come Around Here," my personal favorite, is perhaps the most unique song in this package. It's a bizarre new wave track with a trippy drum beat. Mr. Petty also sounds a bit drunk and/or stoned here, which only contributes to its charm. And who could forget the Alice in Wonderland-themed video, which concludes with Tom (as the Mad Hatter) and his cronies somehow transforming Alice into a giant cake and eating her. Wonderfully strange stuff! The later stuff on this collection, such as "Into the Great Wide Open" and "Mary Jane's Last Dance," are more roots-rock-based. While different from the band's earlier, more-peppy sound, these songs are just as catchy and worthwhile. From beginning to end, this CD is a winner. Don't skip a single track. | ||
 | The Divinyls - The Divinyls | |
| "Different, but a success" | 2005-01-25 |
| By the time this album came out, gone were the days of Christina Amphlett wearing rat pins, frumpy schoolgirl outfits and a mass of seemingly unwashed hair. She was now a full-fledged sexpot, and wasn't afraid to show it. That is why it was hard to dive into this album without expecting disappointment. The band worked so well before that this one, with all of its changes, had to be a step down, right? Not really. While it's not as good as "Desperate," "What a Life" and "Temperamental," "diVINYLS" is a stellar collection of music. The songs are sleeker and sexier than before, really giving Christina a chance to show off her rocker babe charm. "I Touch Myself," the one everybody knows, is a perfectly crafted pop song. It is disappointing, though, that this is the one they're known for as it is rather unrepresentative of their overall sound. "If Love Was a Gun" is a beautiful slow song in which Christina goes from sounding fragile and on the verge of tears to like an enraged siren. "I hope there's an angel watching over you," she repeats with conviction, and you can't help but wonder whether she means it as a heartfelt prayer or a bitter warning. "Follow Through" is a song that really grows on you -- at first it seems rather unexciting but after a few listens you start to feel it. It's got a mellow vibe that's complimented perfectly by Christina's pensive lyrics and subtle vocal delivery. "Bless My Soul" is the closest thing to a real rocker here, and with its tongue-in-cheek rock-n'-roll-is-sin-lyrics, it is a lot of fun. "Love School" and "Lay Your Body Down" are melodic, moody and sexy. If you never saw Ms. Amphlett as a temptress, take a listen to these. "Make Out Alright" and "Bullet" are smooth mid-tempo numbers, while "Need a Lover" has a toe-tapping groove set to whimsical lyrics regarding Christina's search for romance through fairy-tale circumstances. There is nothing here that has the urgency of "Boys in Town," the new wave melody of "Only Lonely," or the hard-hitting rock of "Temperamental," but it is nevertheless an essential Divinyls recording. The other albums are Christina straddling the line between holding your hand and spitting in your face. Here, she is giving you a nice big kiss. | ||
 | Garbage - Beautifulgarbage | |
| "A Marvelous Progression" | 2003-11-23 |
| I liked the Garbage of their debut and of Version 2.0. Amidst all the obvious angst and depression lurked timeless pop/rock classics such as Only Happy When it Rains, Stupid Girl, Milk, vow, Special and When I Grow Up. But BeautifulGarbage was the album that to me sold Garbage as a band I could love. Don't get me wrong, slowness and depression can sometimes be good in music--but not when you're overloaded with it. That's what's so great about BeautifulGarbage, it gives you so much variety. Shirley's admiration for rock legends such as Debbie Harry and Chrissie Hynde are more apparent here than ever before, and the songs are melodic, catchy and clever. My favorite band of all time is Blondie, and many of the songs here could be Blondie songs. For example, when the lush 60s girl group melodies of "Can't Cry These Tears" started to play, I was instantly reminded of Blondie's magical "In the Flesh." Other songs like the psuedo-rap/rock "Shut Your Mouth" and the 80s bubblegum of "Cherry Lips" only add to this uncanny similarity. But this is not to say that BeautifulGarbage is a mere attempt to mimic a Blondie album. All of the material here is original and stands alone. Even the airy pop of "Untouchable" is very listenable, and seems to knowingly poke fun of today's contrived "pop divas." The enormity of emotion delivered in the hard-hitting "Silence is Golden" can almost bring you to tears as Shirley's voice morphs from forward assertion into wailing misery. "Breaking up the Girl" and "Parade" are well written, catchy and straightforward rock songs. I applaud Garbage for shedding some of the gloomy, "woe is me" aspects of their first two attempts while still keeping their edge. The slightly happier Garbage knocks the manically depressed Garbage out of the ring, and I hope their 4th release, scheduled for early 2004, picks up where BeautifulGarbage leaves off. But even if it doesn't, I'm sure I'll love it because any way you slice it, Garbage works. | ||
 | Blondie - Curse of Blondie | |
| "Not a Curse but a BLESSING" | 2003-10-04 |
| If you love any other Blondie album, there's no reason you shouldn't love The Curse of Blondie. After a seemingly endless wait, filled with delays and "curses," Blondie have followed up their 1999 reunion album, No Exit, with a collection of material that delivers more cohesively than ever before. As they have always done (yes, even in their pre-Autoamerican days), the band includes a diverse and eclectic set here that dabbles in pop/rock, dance, punk, rap, reggae and jazz sounds. Shakedown--A nasty, gristly blend of rock and rap with crunching guitars, a melodic chorus and salacious verses delivered in a way that only Debbie can do There's not a bad song on this CD, and it features Debbie's vocals at perhaps the best they've ever been. It's interesting to note that she sings many of the songs in a higher register than on No Exit. This is classic Blondie and well worth the long wait! | ||
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