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Chris M - 5/29/2010
Darwin Deez are one of those bands of the moment that just seem to create an album that is perfect for the here and the now. If I had listened to Darwin Deez a couple of years ago I don't think I could of connected with the album the same way in which I have now. It just feels right and it fits.
I first heard track 9 "Radar Detector" playing over a scene in a TV show. I was so immediately smitten with the song that I jumped onto my laptop to search the internet and find out who it was by. I searched for the lyrics and eventually after pursuing several incorrect avenues I found Darwin Deez.
After some further research I decided to buy the album on vinyl. It's a great buy because a)the music is perfect for this medium; and b) it includes a code that you can use to download a digital mp3 copy of the album for free.
From the sugar coated "poppiness" of "Radar Detector" I was surprised and duly delighted to discover an emotionally and musically balanced album. By this I mean the ten tracks deal with a wide spectrum of emotions and borrow influences from a number of genres - punk, indie, pop etc. This album is literally ten songs of perfection with not a weak one to its track list. It is an uplifting, breath of fresh air which will bring a little sunshine, cover it with a cloud, rain a little and then bring back the sunshine. Sounds just like a British summer day, which would make it the perfect soundtrack to the upcoming season...
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Tim Playford - 5/24/2010
Brilliant band, with so much to offer. A rare example of great British music.
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steve phillips - 5/6/2010
Whilst a fan of Diana's from the X-factor days, I wondered whether my memories and love of her quirky and engaging style would be reaffirmed given the significant time lag from then until this album release. I needn't have worried. Pure unbridled brilliance crafted on virtually every track which drips with quality throughout, from the first single, Once, to the final track, Chasing You.
For me, the album is a 'grower' and with it gets better with every listen and there's quite a few potential chart 'singles', but the stand-out track has to be the hauntingly beautiful, 'NUMB' which demands to be played over and over again. I don't always agree with music press critics, but echo their plaudits for this impressive album which heralds a genuine talent, who delivers big time. Buy it, you won't regret it. I have. PS I'm a young 56, yes 56 years old.
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Joanne Holmes - 5/3/2010
There is the hint of old BSB stuff but they have tried to move along with the times and have added a bit more hip hop dancy backing tracks. Takes a bit of listening but certain songs e.g. Helpless, if I knew then are really good.
As a lifetime BSB fan I'm not disappointed.
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Alex Thomas - 4/28/2010
Nickelback have been bunched together with the whole 'post-grunge' crowd and I think they are so much more than that!
Having listened to their previous albums, since SILVER SIDE UP, I was intrigued as to what direction the new album would go in especially with Mutt Lange of Def Leppard and AC/DC fame was in the producer's chair.
It is different from their previous albums because there is more production work put into it which can be deemed as a bad point but in fact, being a fan of Def Leppard, then I love every minute of this album from the sex-ridded 'Something In Your Mouth' with its rough guitar licks to the pleasant 'Never Gone Be Alone'! This is Nickelback doing what they do best except brought up a notch!
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Jonathan FeBland - 4/22/2010
There are three geniuses involved in this recording. Beethoven, Liszt and Leslie Howard. When I first heard these CDs, I thought good, in fact very good... how interesting to hear the Beethoven Symphonies for Solo Piano!
But as I have listened to and studied these recordings by now several times, they just seem to get better and better. The interpretations are immaculate. I am not saying that the piano technique is flawless as that would be ridiculous, but it is about 99.8% spot on.
It is actually the interpretation, the tempi, crescendos, rubato that kind of thing which is much more important than sheer technique and this is given with real musical taste.
What an amazing accomplishment that Liszt should somehow be able to transcribe these works. At the time he was probably also the only living pianist who could perform them. A real contribution to music history.
Of course we all know the Beethoven Symphonies forwards and backwards by now, so this was truly refreshing to hear these perfect compositions in a completely new setting.
Jokingly a friend of mine remarked while listening to the 6th Symphony: "This is so good that someone ought to consider making an Orchestral version of it!"
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Paul Mc Kay - 4/22/2010
This girl has been linked to everyone from Emmylou Harris to Buddy Miller, singing vocals for John Hiatt, Faith Hill and Etta James among others.
Her pedigree simply falls into submission when compared to the actual vocals you meet when this album starts to play. Ashley's passion for Black Gospel just shines as she soulfully belts out each track with a voice and power that captivates the listener.
Of all the albums this 3 time Grammy winner has recorded, this 90's album simply screams the words "classic" and "fabulous", using her raspy raw vocal cords of course.
If someone wants to know where the likes of Mahalia Jackson can ever find a successor, this is one great contender for the crown. She may not be black and she may not be dead, but the passion for gospel and passion for her Lord shine out from every track. Just try listening to Power in the Blood without cranking it up to 11 as Spinal Tap might suggest.
I think you'll struggle to keep this lady quiet. Please take some kindly advice. Switch off every other device you own, get comfy and drink in the power of this lady and this voice. Oh and the music ain't have bad either. After all this was her first Grammy winner record!
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Alex Thomas - 4/20/2010
Marilyn Manson will always stand for "every parent's nightmare" and "every government's and religion's enemy" (Wikipedia) but he deserves all the credit because, especially with this album, he put all his time and effort into the creation of what is simply a masterpiece.
Released when nu-metal was all the rage back in 2000, this album is one of the definitive hard rock/metal albums to be released in the last 10 years and is full of beautiful imagery in the excellent songwriting. A band, who came from 'Antichrist Superstar' and 'Mechanical Animals', really excels with this album especially on 'The Nobodies', 'The Love Song' & 'Disposable Teens'. But it is the hidden gems that shine through like 'The Death Song', 'Lamb Of God' & 'Target Audience'.
If you want an album that is more than just hard rock and has more to offer then this is the album and definitely worth buying because you will not be disappointed. This is Marilyn Manson at his rawest, best and most poetic and easily his best ever album alongside 'Mechanical Animals'.
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Alex Thomas - 4/20/2010
There's something a miss with music these days as it is hidden under a cloud of 'X Factor' wannabees who we all know do not stand a chance at having a long career playing songs that, eventually, even they don't like over time so it is still good to find that bands are riding past this and still holding up the flag for 'HARD ROCK'!
So being a fan of classic rock from Led Zeppelin to Queen and then newer stuff like Nickelback and Creed, it was a great to hear on Kerrang!, a band like Halestorm!
The first obvious factor is the singer, Lzzy Hale who has this beautiful rock voice and yet comes across between an angel and rock vixen and so the album brings you back to the 80s with an album trying not to sound too much like Whitesnake/Romeo's Daughter and yet still finding a voice for itself!
The lead single is 'I Get Off' and sets you up for the rest of the album with stomping drums and raging guitars with sexual charged lyrics that just makes you want to keep listening because Lzzy is astounding!
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Galen Cromar - 4/16/2010
If one was to consider some words and terms to describe Wes Anderson's films, perhaps a few that spring to mind are off-the-wall, distinctive, and colourful. The soundtracks to his films are no less so.
Here we have Indian music blending with early 60s mod/British Invasion, an almost comical singer/songwriter tune, and a 70s French pop-song-tribute to one of Paris' most famous streets.
Wes Anderson's wacky choices of music make for a colourful backdrop to his films, but also for an exceptionally enjoyable listen.
The opening track 'Where Do You Go To My Lovely' by Peter Sarstedt is a rhythmical, melodic, acoustic guitar waltz with occasional accordion input. The lyrics are humorous and thought-provoking at the same time.
The inclusion of three Kinks songs is a good move. 'This Time Tomorrow' and 'Strangers' are acoustic ballads, the former a questioning of what the future holds, the latter dealing with companionship. Two songs that fit the introspective tone of the film very well.
'Powerman' on the other hand is a hook-laden, up-tempo, uplifting rock song that's guaranteed to enliven.
The Indian music on the disc is a beautiful and integral part of this soundtrack. 'Arrival in Benares' is a song composed of sitar, xylophone and flute, an instrumental with a wonderful sunny feel. 'Memorial' is a shaker-driven, stripped down chanting song. 'Prayer' is a delightful accapella version of a traditional hymn.
The Classical music inclusion is emotive as well, with such tracks as Beethoven's rousing 'Symphony No. 7 - Movement IV' and the tranquil 'Suite Bergamasque' by Debussy.
The concluding track 'Les Champs-D'Elysses' is a toe-tapping, piano-driven, French-language tune with a catchy chorus. Guaranteed to raise a smile.
In conclusion, then, this CD not only stands as a fine soundtrack to an enjoyable, engrossing film, but also as an endlessly diverse, emotive album that will by turns relax, entertain, and cheer.
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Anne - 4/6/2010
Incredible item for Björk fans!
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Michael B - 4/1/2010
I believed this to be The Streets' first album when I heard it, I have since learned Original Pirate Material was the first. That album didn't inspire me to like The Streets but with their second album it seems a little better on the selection of beats and refrains to Mike Skinner's lyrics, which are clever but he is no Eminem and any comparison shouldn't be made. Us Brits do things a lot differently, I personally prefer American TV and American music with a few exceptions, Doctor Who being one. Now while I like this album I am not a die-hard fan and I will know some people will think Mike Skinner is a God and should be worshipped, I think it's something different and every group/person in the music industry has one classic album, the Beatles have two with Abbey Road and the other one with the long name, Mike Skinner has one. If you feel you should get a Streets' album, I can highly recommend this, even though I have 5000 tunes all on random
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Sean Anderson - 3/31/2010
Pete Molinari is a relatively new artist to the scene, gaining popularity as he receives ever more mentions in sources such as music magazine 'Mojo', 'The Sunday Times' and numerous other newspapers. Of Maltese-Italian-Egyptian descent, but born in Kent, he represents the true nature of British diversity. However, he also engrossed himself in American music as a child and later visited New York, which reflects in his work as an interesting country style with a distinctive British twist.
The title track of the album, the acoustic 'Virtual Landslide' is oddly included as a bonus and is the same version that was earlier released as a single. It demonstrates well Molinari's vocal range with rigid pitch changes and assertive lyrics: 'Going down to Mississippi, I'm gonna ride that train, And if you don't come with me, I'll soon forget your name'. To me, Molinari's voice was instantly intriguing has a nasal quality and smacks of Bob Dylan, yet seems less harsh, and might not admittedly be to everyone's taste.
A more catchy track is the album's opener 'I Came Out of the Wilderness', which has a double beat, clanging simple guitar chords that match Molinari's voice and underneath a bassy chugging train-like thud that induces foot-tapping. The instrumentation sounds like it comes from the 60s and is ironically refreshing because it might remind you of a time when music was not over-produced and the lyrics were clearly audible. The effect is hardly surprising considering the album was recorded in Toe Rag Studios, opened to offer something unique, only using analogue eight-track equipment with magnetic tape and echo chambers.
A similar number to the opener is the third track 'Adelaine', which features interesting shifts. After a guitar solo, he sings in an increasingly high pitch, 'So cut some slack, And say goodbye, God knows you got your pride,' then switches to a suddenly lower pitch: 'You ain't sorry, so don't say a word!' from his attitude can be well inferred.
The slower songs on the album are equally worthy of praise. In the second track 'Oh So Lonesome for You', he demonstrates his consistent ability to convey and invoke emotions through the tone of his voice. As he sings, 'And my heart inside me is torn. Ah, you said it true when you said we're through,' he sounds hesitant and about to crack up and then charmingly extends an 'oh' as if to break up, before repeating the line, 'I'll be oh so lonesome for you' as a plea with a tinge of hope.
Other favourites of mine include the beautiful 'One Stolen Moment', the intimate and introspective 'I Don't Like the Man that I Am'. The piercing harmonica is wonderfully played on 'Sweet Louise' and 'Dear Angelina' is notable for its use of numerous instrumental layers including what one of the musicians christens a 'Pugwashy' organ. I imagined it as a sweet little Austro-Bavarian melody, which really stood out on the album.
The closer (if I exclude the bonus track) is the magnificently haunting 'Lest We Forget', a song about the two World Wars; it makes for excellent listening on a day of remembrance. It produces a heroic image in places and reminds us that we should feel grateful for those who have sacrificed themselves, but Molinari manipulates the lyrics well to teach that no one in war is truly innocent and all war is evil: 'For Queen, for God, for Land, you've got blood on your hand. For glory, power and pride, you laid your heart aside.' Further powerful imagery includes the line: 'You aim and shoot the dove.'
What is remarkable about the album 'A Virtual Landslide' is that I can tell that Pete Molinari actually means everything he writes. He is studious in his approach to music and equally meticulous in production, ensuring that the instruments are mixed to create the perfect sounds at the relevant points and that nothing is drowned out (producer Liam Watson deserves credit here). He has no interest in being a sell-out, saying to music recording magazine 'Sound on Sound' that he's not 'one of those elitists' and he doesn't care if '10 million people like it or one million people like it' as long as he believes that he has made a good record.
And a good record he has made! Throughout the album, Pete Molinari is clearly an inspired artist who cares about his work and it may have the effect of bringing country, which is in Britain a somewhat niche genre, to a much wider audience.
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Joe Stevens - 3/29/2010
"We live in a world where it's more okay to follow than to lead... being a leader in this age is being a threat... a voice who spoke of vulnerabilities and other human emotions and issues never before heard before so vividly and honest. " These just a few quotations at the ending of In My Dreams, the opening track of the spectacular debut album from the Cleveland born rapper, KiD CuDi. Man on the Moon represents the evolution of a music genre that some would call ageing and repetitive, an incredible debut album which shows maturity in its lyrics that you would only expect from a veteran musician. KiD CuDi doesn't follow the routine formula for a rap album, he speaks his real feelings, however vulnerable they may make him appear at times, and due to this creates a real sense of emotion in the listener which many modern rap albums struggle to succeed at.
It's funny to think that a little over a year ago "A Kid Named Cudi" (his first mixtape) dropped and became an instant hit all over the USA. After being discovered by Kanye West and instantly signing with his label "GOOD music" he sent shockwaves through the music industry with his classic Day 'N' Nite filling clubs all over the world. Those looking for an album filled with dance hits such as the Crookers hit remix of Day 'N' Nite will be surprised to find an album that has its fair share of more subdued, serious and truthful songs. These are the songs that really cause Man on the Moon to stand out from the eternal stream of rap albums that swarm the music industry every year. KiD CuDi uses Man on the Moon as a vessel of discovery for the listener, showing his fantastic ear for great melodies and exceptional taste in beats. Anyone who has listened to KiD CuDi's mentor Kanye West's "808's & Heartbreak" will be familiar with CuDi's style of electro beats, strings and samples along with guest producers such as Emile, Ratatat and MGMT.
The album is split into 5 acts and a total of 15 tracks, all coming together to create a storyline excellently narrated by fellow rapper Common. These short narrative sequences offer a deeper insight into the mind of this intriguing musician, producing a connection between the listener and himself however different and far apart their lives may be, a very impressive feat for a young and developing musician such as himself. With Man on the Moon, KiD CuDi solidifies his place as one of the most revolutionary rappers/musicians to grace the genre and industry this decade, producing his own artistic masterpiece merging emo rap vocals, melodies, beats and electric samples to seamlessly create an outstanding debut album that deserves true recognition in the often routine and bland progression of today's music industry.
Man on the Moon truly is a modern classic, and I for one cannot wait to see KiD CuDi develop even further throughout his career. CuDi is a well needed breath of fresh air and truly deserves to be supported so that his creative and refreshing music can continue to spread and inspire music lovers and musicians all over the world.
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ray mcsweeney - 3/27/2010
Classic corny rock. I LOVE IT.
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Steve G - 3/19/2010
This is a superb dance track from Rumania - her voice is great and the beats are thumpin'. The album has only been released in Eastern Europe but I guarantee that this will be on the dance floors in the rest of Europe by this summer. This is a "hot" one indeed.....
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Chris M - 3/14/2010
This 1938 dramatisation of H.G.Welles War of the Worlds is not only a classic example of the highly theatrical style of radio at this time but also vividly demonstrates the power of the media. This play performed by Orson Welles and his Mercury Theatre was broadcast via radio in the United States on 30th October, 1938. The following day after the broadcast(Halloween no less) the New York Times wrote 'Radio Listeners in Panic, Taking War Drama as Fact: Many flee homes to escape 'gas raid from Mars' - Phone calls swamp police at broadcast of Wells fantasy.' A wave of mass hysteria had seized radio listeners. Many had tuned in too late and had missed Orson Welles' introduction explaining that this was simply a dramatisation. The play was delivered in a realistic news report style in the fashion of the times. Interspersed with musical interludes and featuring eye witness reports and 'expert' opinions, listeners were convinced that Earth was under attack from extra terrestrial beings from Mars.
I first experienced this original broadcast in a lecture at university. My lecturer aimed to demonstrate the power of the media by highlighting how easily thousands of regular everyday New Yorkers in relatively modern times had been duped into believing the impossible. Obviously no listeners today could be fooled by this ageing broadcast, which naturally shows its age due to the very different - dare I say alien - style of radio produced in the 1930s. But what if the news channels on TV reported an alien invasion today? Would we believe them? Perhaps we would....
The play lasts for approximately an hour and listening to it is a really enjoyable and interesting experience. It loosely follows the story of the book and fans of the recent Tom Cruise film will recognise the plot as well. But I should stress that this is a unique adaptation, different from both the book and the film. However if you enjoy the story in any of its forms then you will surely enjoy this version. Everytime I listen to it I try to imagine that I'm doing so in New York in 1938. It must of been terrifying! This CD is so cheap to purchase and for the richness of the experience it's an absolute bargain. Buy it now and prepare yourself for an invasion from Mars!!!
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Dominic Carter - 3/6/2010
A mind-blowing cocktail of Beyonce and Sasha Fierce. Queen Bey has outdone herself once again with an album which reaches for the limits of both R&B Music and Pop Music. The soulful sound echoes the meaningful lyrics in songs, such as Ave Maria and Smash into You, building on the success of hits Halo and If I Were a Boy.
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sam sansom - 3/5/2010
This is a must for old and new fans alike. If you're an old fan looking to replace worn out vinyl, or someone new looking to check out his most famous songs. They're all here, Parchman Farm, Young Man's Blues and Seventh Son, among the sixteen tracks. An inspiration, and essential for anyone remotely interested in the sixties, Georgie Fame, jazz & Blues.
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Sean Anderson - 2/27/2010
The Beautiful South is one of my all time top bands and 'Welcome to the Beautiful South' has some stunning instances of their work at its finest. One of my other favourite bands is The Kinks and, while they differ in terms of how they sound there is one shared trait: the ability to tell a story.
The intelligence of the songwriting is reflected in the layers of each song on the album: many of the tracks sound light-hearted and melodic, but this is superficial, disguising a nasty reality and intensifying the effect. In everyday life, people and events might not be what they seem.
'Song for Whoever' begins the album and lulls the listener into a false sense of security with the longing and sincere voice. However, The Beautiful South's characteristic humour is conveyed through the pencil case metaphor. The song is very easy-listening, with subtle and slow instrumentation and the commercialised single version, which features in best-of compilations, preserves only this segment. This is a shame because the underlying theme of revenge is revealed as the song picks up in tempo and Paul Heaton's vocal range comes to the fore. 'Late at the night, by the typewriter light, she ripped his ribbon to shreds.' Something here is achieved in a song that might normally be achieved in a film: all the way through, the charming slime bag has got away with exploiting women to 'reap his Number 1s' and, in a moment of genius, his latest girlfriend has crept down in the middle of the night and destroyed the ribbon of the typewriter that he probably loved more than he did her.
'Have You Ever Been Away?' successfully captures a character that many people know in their lives. Someone who likes to relax on the sofa in the evenings with a newspaper after a dinner of roast beef or fish and chips, rants about Britain for the British and then retires to bed by eight o'clock. Paul Heaton also seems to use the songs as an attack against nationalism, willing to put his hands in the air and admit the British too have made mistakes: 'I'll crap into your Union Jack and wrap it round your head. take a look at all the blood we've shed.' Since his Housemartins days it has been typical of Heaton to weave such political and anti-Establishment messages into songs. It is a refreshing change to hear such poignant lyrics amidst the sea of endless love songs.
'From Under the Covers' is another character cross-section. Heaton is, as usual, fearless in using straightforward and gritty such as, '.We're coughing up the phlegm. and we'll vomit and we'll choke.' This is grim working-class life under a grey, polluted sky, with little escapism. In a typical Beautiful South ironic - and very witty - twist, the layabout's headboard becomes his gravestone. He has achieved nothing, but died where he liked being the most.
From the same working-class environment comes the couple whom Heaton portrays arguing in 'You Keep It All In'. It captures a lingering obedience to the institution of marriage. They stick together through thick and thin without really talking things through, but there is an underlying patriarchy that sees the woman as a victim of domestic abuse: '.All I wanted to do was knife you in the heart.' The band should be praised for such fearless forays into topics that might be considered taboo even in an age of liberty and openness.
'Woman in the Wall' also deals with dysfunctional domestic environments. If the music is listened to alone, it has an upbeat and almost infantile quality to it, yet upon hearing the extremely dark lyrics, it makes them even more perverse. 'But he only knew his problem when he knocked her over and when the rotting flesh began to stink.' The childlike music serves to invoke in the listener the husband's naiveté under the influence of drink, convincing himself that she is still alive even though he has killed her: he is living in his own bubble.
The remaining tracks all have a fair share of cynicism, humour and catchiness. These include 'Straight in At 37' and its insight into the fickle nature of the music industry: 'Why don't your videos have dancing girls, with hips that curve and lips that curl?' And 'Oh Blackpool' has one of the catchiest albums from the entire album. You will soon find yourself singing along to, 'I'm out tonight, I can't decide between Soviet hip and British pride' even when you're not listening to it.
Overall, the title of the album is an apt one: this welcome into the wonderful imaginations of the Beautiful South will have you wanting to come back for more. If you're tired of soppy love songs, come and learn more about the possibly less than desirable lives of the people who write them, courtesy of the Beautiful South's ability to tell it like it is.