5 comments about Boys for Pele.

1. Tori Amos doesn't answer to anyone. I mean, come on, just look at the album cover. But i can't get over the scope and beauty of this album. It occurred to me that it reminds me of Joni Mitchell's bravest and most misunderstood work,Don Juan's Reckless Daughter. Mitchell was raked over the coals by the critics, only to be applauded almost two decades afterward for the album.
   
   Boys for Pele suffered the same fate. Rolling Stone was horrible to Amos, giving her two1/2 stars. But i think it was a personal thing, as was the case with Mitchell. Amos just isn't an artist who is going to give any free handouts. True, this album is complex and hard to understand at that times but that's part of the brilliance of Amos' music.
   
   Can't get over the heartbreaking "Hey Jupiter" with it's echoing chrous reminiscent of Prince's Purple Rain. And even more heartbreaking and moving is Putting On the Damage, with the line, "doing my best Angie Dickinson", which would make Elvis Costello wish he had thought of it first. The stunning single from the album, Caught a light Sneeze, with the haunting background vocals, sounding like a chorus of nuns having a seance. Her eerie use of electric guitar simply crashing in and out on songs like an ocean's wave.
   
   Amost has commented about the smbolism of fire on this album. Yeah, i would say so. There is nothing safe about this at all, which is exactly why this album is so important. I remember the music that was released the same year as this (one in particular) but this is the one that will stand the test of time.



2. After parting with her boyfriend and producer Eric Rosse, Tori was left alone and vulnerable. The overbearing presence of men in her life forced her to change her approach to music, and ultimately, to transform as a musician. This is Amos' debut as a producer and with help of sound engineers Mark Hawley, Marcel van Limbeek and Rob van Tuin--who mixed the record--she created her most confident work to date. Tori reached new heights with "Boys for Pele" and experimented with different tactics for the first time in her career. In terms of songwriting, instrumentation and recording, it could be considered her masterpiece. Just like Polly Jean Harvey turned to religious lyricism on her pivotal "To Bring You My Love", Tori used religion as a message of overwhelming patriarchy and romantic loss in her life. Both women worked extensively with men (John Parish and Eric Rosse were somewhat a guidance for them), but Tori decided that it was her time to stop answering to a patriarchal figure and do things on her own.
   
   The album was recorded in a church in County Wicklow in Ireland as well as in New Orleans. The religious undercurrent of those places haunts "Pele". The acoustics of the church are complementary to the intimacy of the record. Tori's piano playing got more intense and she didn't follow the pop structure to the same extent as on "Little Earthquakes" and "Under The Pink". Harpischord and clavirchord add a nice touch to her usually Bösendorfer-driven sound. She also hired a choir, a brass band and a string orchestra. Musically, "Pele" is beneficially homogenic and coherent. Lyrically, Amos was swimming in obscurity. Certain references made to her friends can be heard throughout the record (Neil Gaiman in "Horses" and Trent Reznor in "Caught a Lite Sneeze"), as well as clear afterthoughts on her break-up and religious upbringing, but for the most part, you won't understand what she's talking about. Needless to say, you'll love her all the more for it.
   
   The record starts with "Beauty Queen" that serves as an intro to the brilliant "Horses". Amos soon turns bitter in "Blood Roses", one of the more lyrically direct tracks on "Pele" which probably discusses Rosse among other things ("I've shaved every place where you've been boy"). Tori's greatest piano melody to date is witnessed in "Father Lucifer", one of the highlights for which she had an ecstasy trip with a shaman that, oddly enough, resulted in her having an affair with both Satan and Jesus (in her own words). Typical Torisms follow in "Professional Widow", one of the more harrowing songs Amos has crafted. It discusses various subjects and ends with one of the most memorable lyrics she's written, all set to seemingly angry harpischord playing. The biggest highlight, however, is a song that wasn't even let to grow--"Mr. Zebra" clocks in at a little more than a minute, but is a pure gem with its brass section and excellent vocals.
   
   "Marianne" and "Hey Jupiter" showcase Tori at her more unconventional piano playing, the former being a song about her friend who died of drug overdose and the latter being a result of Tori's overwhelming loneliness during her tour. "Caught a Lite Sneeze" is the greatest single that Amos has released to date, serving as both an emotional breakdown and a catharsis. It contains marvelous drum programming, heartbreaking harpischord melody and piercing background singing. "Muhammad My Friend" is the most obvious of the patriarchy-beating tracks, where she changes Christ's gender and sings with mellow vocals. "Way Down" and "Agent Orange" represent the shorter material on record that serves as separator of longer tracks. Jazzy influence that was always welcome on her early material is now sadly reduced. There are only trances of it to be found on "Pele". "Little Amsterdam" is an absolute standout with perfectly set mood (filled with a great beat and some radio channeling in the background).
   
   "Talula" brings back the harpischord, but it's not as effective as in other tracks. The problem with "Boys for Pele" is that it can at times seem underwhelming. But these moments are rare, as Tori is on her artistic peak here, churning out some of the best material of her career. The quiet, soothing pieces such as "Not the Red Baron" and "Doughnut Song" may lower down the mood of "Pele" and as it ends with two rather silent tracks, it seems as if the whole album is a quiet endeavour. Overall, "Boys for Pele" is a highly satisfying effort and a rewarding piece of music. It is a tad too long, but contains a handful of highlights to keep things interesting. It became a fan favorite and one of the most successful albums that Amos has made. If it seems puzzling at times, it's because it wasn't meant to be self-explanatory. But that hardly makes it a bad record. What's really confusing are the choices Amos made on subsequent records where she stopped being a protagonist and became a part of the sound texture. Still, "Pele" gives you a taste of how good she can be.



3. I wonder.
   This is a great album. Not as catchy as most of her material except for "Caught A Light Sneeze" but the others are excellent. I bought a cassette version for my car (that came w/ a tape player!) and have listened to it over and over. It is becoming my most listened to album now. Good for long drives and even a quick trip to the liquor store!;-)
   It is like a nice long and deep conversation w/ a good friend. A quiet, beautiful and sensitive friend. Listen with care. You are amazing Tori Amos.



4. This is the first, but not the last Tori Amos album I have bought. It is amazing and weird. The harpsichord was a stroke of genius, and brings a new light to one of my least-favorite instrumental timbres.
   
   Amos uses her voice as an instrument and as a canvas on which to splash color and texture. She is a true musical artist, as opposed to a commercial, typical diva that we have had way too many of.



5. Let me say this first: Boys for Pele, in its entirety, is perhaps my favorite album of the 1990's. Though my concept of musical tastes is increasingly diverse, Pele remains at the top.
   This could be the best journey through the end of a relationship I've ever encountered. There are a lot of different ideas flowing on this particular LP, From the haunted opening of "Beauty Queen > Horses" to the subtle, somber, and yet somehow hopeful "Twinkle," this album will surely not disappoint. From anger to sadness, acceptance to understanding, it's all here. Lyrically it's a "typical" Tori Amos album, a bit on the abstract side, but reading between the lines is what draws me to her earlier releases. A lot of these songs have a strong backbone in the harpsichord, which gives it a timeless quality, and it's difficult to look at this specific release in individual tracks. The whole concept behind Pele is not like that of her other releases, it's almost as if she opened her journal and put everything she had on tape. In fact, I have the tree (on the disc itsself) tattooed on my back. This album is a gem to be cherished for years. I think I owe Tori my sincere gratitude.
   
   "Thank you to Pele, and those who brought me to Pele."

5 comments about Leave Home.

1. Almost as good as "Ramones". Better production, but the songs are a little samey. For anyone getting into the Ramones, the first four albums are all essential, then get "Too Tough To Die" and you're set.
   
   As a hard core Ramones fan from the beginning a note should be made that the live material is NOT from the Roxy in 1976. I was there. They did not do "Chain Saw" and "Glad to See You Go" hadn't even been written.



2. This is the best album by the Ramones, PERIOD! Sure, the first one (Ramones) was great, Rocket to Russia was excellent, but Leave Home is the best of the bunch. If you are new to The Ramones, I suggest that you get this album. It also includes a live recording, when they played at the Roxy, in California. This is awesome and I urge you, if you don't have it, to get it now.



3. That's my opinion, anyway. This has always been my favorite Ramones album. A lot of people prefer the 1st one or Rocket To Russia. I love them all but there's something about this one that really grabbed me. Johnny Ramone's guitar sound is so great on this one. Every song is a killer and it's great to have Carbona back in its rightful place. That song was impossible to find during the 80's and 90's.
   
   Check out Mighty High...In Drug City if you like glue, lobotomies, pills, etc.



4. After carving out the constitution of 70s punk rock with their self titled debut, the Ramones went on to crunchier, more hook-filled pastures with this, their sophomore release. Leave Home sees the group refining their obsession with distorted sledgehammer power chords, American trash culture, and chewed-up bubblegum pop. These songs are fun, exuberant, hilarious, trashy, furious, and in their own bizarre way, poignant, with infectious melodies twirling their way around face-smashing guitars and gutter-rat harmonies. Like its predecessor (and its follow up, Rocket To Russia), Leave Home plays like a greatest hits collection: That opening salvo, with the vicious joy of "Glad To See You Go" followed by the gonzo therapy rock of "Gimme Gimme Shock Treatment" followed by the gloriously hook-filled "I Remember You" followed by the heroically moronic romance of "Oh Oh I Love Her So" followed by the snarky drug anthem "Carbona Not Glue" followed by the roaringly catchy "Suzy Is A Headbanger" followed by the bozo anthem "Pinhead" followed by the tongue-in-cheek bounce of "Now I Wanna Be A Good Boy" followed by greaser pop of "Swallow My Pride" follow- look, the whole album is great, okay? Just get it!



5. A friend of mine heard a Ramones song or two and was intrigued. As someone who followed the band from its beginnings through its middle-age of forgettable albums and to its eventual demise. I wanted to buy him an album that would grab him buy the lapels and not let go. I settled on Ramones Leave Home as the one that best captured their early raw power, urban disaffection, and straightforward embrace of inanity. This did the trick.

5 comments about Under the Pink.

1. After "Little Earthquakes" turned to be both a critical and a commercial success, Amos turned to making another strong record in 1993. With Eric Rosse as her producer and a guidance, she went to the studios (one in New Mexico and one in LA) to create some of the more mellow material of her career. The problem with "Under the Pink" is that it contains some filler and lacks the strength of her debut. Instrumentally, it shows Amos at her more relaxed and lyrically it is a visible step towards the more obscure territory that has blossomed on "Boys for Pele". Tori enlisted several sound engineers and a string orchestra as well as some other guests to back her up on this album. She noted in the interview that the title refers to the "concept of girl" and it seemingly discusses femininity, as well as other topics. The problem with the songs is that when they rely on instrumentation alone, they offer little content. These moments, however, aren't frequent on "Under the Pink".
   
   The album starts with the mellow "Pretty Good Year", a powerful track completed with a string section. The record continues with "God", the only religiously oriented track on the record. Excellent guitar sounds and a brilliant vocal delivery from Amos make it a true highlight of the record. When "Under the Pink" gets quiet, it usually settles down between haunting ambients and calm atmospheres. "Bells for Her", one of the more haunting songs on the record lasts too long considering how little it offers. Things really fall into place with "Past the Mission", a duet with Trent Reznor where the two sing a serene chorus over a rather laid back piano melody. The aforementioned calm atmospheres are best evident in "Baker Baker" and "Cloud on My Tongue". While "Baker Baker" manages to offer some substance, "Cloud on My Tongue" is just filler that could have been left off of the record. It's these calmer atmospheres that bring "Pink" down to being a rather mild effort.
   
   "The Wrong Band" is a one of the catchiest songs on the record and certainly one of the more playful. Tori noted in the interview that she was interested in discussing violence among women and this is best witnessed in "The Waitress", one of the rare lyrically direct songs on "Under the Pink". Tori's biggest classic, "Cornflake Girl", continues the record. It shows Amos as a piano virtuoso, with its marvelous lines on her instrument of choice. "Icicle" shows a more classical approach before turning into another overplayed number. On the other hand, the excellent "Space Dog" is an absolute standout on the record. It is both instrumentally lush and lyrically impressive (yet another reference to Neil Gaiman) and owes a lot to Tori's drummer, Carlo Nuccio. The closing track shows a more self-indulgent side of Amos, considering how long it is and how unfinished it sounds. The downside to "Pink" is that it leaves no room for Tori's band to properly kick in and her piano pieces aren't as interesting as they are on "Little Earthquakes" and "Boys for Pele".
   
   Overall, "Under the Pink" is a very good effort that offers a lot of originality and substance, but it is essentially flawed. It is natural for an artist to make several missteps on a follow-up and Amos is wise enough to stick to the formula that worked the first time around. It's too bad she didn't consider a more instrumentally rich and lyrically direct approach to her songs, as a lot of "Pink" sounds unclear and/or bland. "Under the Pink" showcases Amos at her shift to a different territory and reaching new heights. It is highly recommended to the fans and people who are interested in the essence of the artist, as it is mostly exemplary material. After all, "Under the Pink" is a truly inviting album that has a lot of charms to keep the listener from turning away.



2. My tastes are ecclectic but musical excellence is critical. The female pop style is grating on my ear for a variety of reasons, and I would not have sampled Tori Amos except I got sucked into her Wicki Bio.
   
   She hasn't changed my mind about the genre, and I sometimes wish she would let her normal voice out a little more but I understand she has to sell records. But even the vocal style cannot cover the music.
   
   Incredibly (to me) she has made my standard playlist.



3. Though a radical departure from her first solo release, Pink is the next logical stop along Amos' evolution. It's a fantastic work, a treasure I'm pleased to own, even all these years later.



4. What can one say about "Under the Pink" that hasn't been said already? However, I find glowing five star reviews here for this album that I think aren't really deserved. At best, this is a four star album as it contains some of her biggest hits, but also features some real turkeys.
   
   There are some that consider "Under the Pink" to be one of Tori's masterworks. It isn't quite. The primary problem here is that throughout the album, it seems that Amos is searching for some actual tunes. Often she hits upon something reasonably tuneful ("Cornflake Girl", one of her biggest hits), but then you'd have to wade through another three interminable tracks (of dubious subject matter, at best) to find another tune worth remembering.
   
   See, heres the thing. Tori Amos is a goddess who can create the most spellbinding music, with unforgettable choruses and/or musical interludes (just listen to all of "Boys for Pele" and tell me you aren't blown away). Which is why listening to "Under the Pink" isn't as exciting as it could be. Strangely, it seems lifeless and rather directionless, and of all Amos' albums, this by far has the least personality.
   
   My favorite track on this is "Pretty Good Year", which you have to see alongwith the video (it just doesn't have the same punch without it). Another Amos classic is here - "Past The Mission". This song is historical because it's the first time on record that Amos dueted with anyone (Trent Reznor of Nine Inch Nails - a god in his own realm). The only other time she would repeat this would be in 2005 on the hideous "The Beekeeper" (which, alongwith this album, marks the lowest point in Amos' illustrious career). "Past the Mission" is a wonderful musical oddity - the song kicks off without any build-up and is as straightforward as you could expect.
   
   However, its sad that there are so many clunkers on this album. The worst is the closer "Yes, Anastasia" - which has got to be one of the most godawful things Amos has ever put to record. Seriously, its abysmal. I can stand pointless plink-plonk on a piano for a while, just as much as the other Toriphile, but this track tested even my well cultivated patience. That said, the album ends on this sour note, which does not really add to its memory value.
   
   Another snoozefest, "Bells for Her" is one of those pretentious pieces in Amos' oeuvre that is best forgotten. And next to last closer "Space Dog" isn't very nice either. Consider these lyrics : "Rain and snow our engines have been receiving / Your eager call there's colonel Dirtyfishydishcloth / He'll distract her good don't worry so". Also, this other gem from the lullaby "Icicle" : "Greeting the monster in our easter dresses / Father says bow your head like the good book says". I'm not sure if this makes sense to you, but I think that even if it did, it doesn't justify the substandard music its' set to.
   
   "The Waitress" on the other hand is famous for its one liner (you have to listen to it to find out), but it's the three primary tracks - "Pretty Good Year", "Cornflake Girl" and "Past the Mission" that make this the famous album it is. I can't even think of what this would sound like without those tracks.
   
   Get this one, for sure. It isn't her best, but if you're a new fan of Tori Amos, you might want to check out some of her later work first before getting this one.



5. In the1990s, Alternative Music began to take over the mainstream music scene. As far as Alternative Rock goes, this was originally a term that was a "catch all" to describe those genres (such as Indie, Grunge, etc) of music that didn't fit into the mainstream Rock. Eventually this music would become so common that it would become mainstream. In the late 1990s, the common element of many of these sounds was a strong guitar-laden presence. Eventually the problem with this sound is that it would prove to be "cookie-cutter" and sound all alike. Since the definition of Alternative Music (and Rock) refers to those genres that don't fit into the mainstream, not everything is necessarily lumped into the guitar-laden sound category. One artist that falls into this "other" category is Tori Amos. In a way, Amos could be considered one of the pioneers of the Alternative Music revolution. Amos' sound is a piano-oriented sound. In a way, while being a pioneer of Alternative Music, she could be considered an alternative to the alternative sound (i.e. guitar-laden Rock). While I wouldn't consider Amos' music to have a "radio-friendly" sound, she still managed to build what could be called a cult-following. While the piano-oriented sound is one reason why Amos is grouped into the Alternative Music scene, it is ultimately Amos' songwriting that propelled her into this category - and thus leading to this cult-following. Amos is known to "push the envelope" with her lyrics tackling such subjects as religion, sexuality, feminity, and personal emotions. This was demonstrated on her debut album, "Little Earthquakes" and is also on demonstrated on the follow-up album, "Under the Pink". In my opinion, "Under the Pink" definitely shows Amos' talent as a musician. Her piano work and vocals are outstanding. While the purpose of this review is not to be judgmental to Amos' messages on this album, it is important to know in the area of religion, Amos may push the envelope over the line for most people.
   
   In a lot of ways, "Under the Pink" is a reflection of Amos' own femininity from both a lyrical and musical concept. While it is evident from many of the lyrics, it is often evident from the music (for the most part it is a soft classical piano sound with its moments of "strength"). This is best seen from looking at each track individually.
   
   "Pretty Good Year": This opening is a perfect example of blending the soft classical piano sound with the strength - thus demonstrating Amos' femininity. Amos employs the use of a strings section to bring out the "strength".
   
   "God": Amos tackles the subject of religion here. While doing a good job at combining piano and guitar, the bottom line is lyrically this song may offend people - namely with lines like "God sometimes you just don't come through" and "do you need a woman to come after you". While in a way, I think Amos might be joking and demonstrating her femininity, this is something the listener will need to decide on their own.
   
   "Bells for Her": This song is a haunting ballad. This song demonstrates incredible talent of Amos on the piano and the vocals. Listen to how Amos makes the "bell"-like sound on the piano and compliment it perfectly with her voice.
   
   "Past the Mission": This is a more radio-friendly song than the first three. Amos makes good use of her vocal range. The high notes sound more upbeat while the chorus is in a deeper, more serious voice. Listen to the use of the piano and how it adds a haunting sound to the bridge about 2+ minutes into the song.
   
   "Baker Baker": This song uses an analogy to baking - and I guess this expresses Amos' femininity in some way. This is another piano-oriented song.
   
   "The Wrong Band": Amos employs a "rag time carnival" like sound - again blending her voice with the piano superbly. Amos does a good job at discussing two friends - "Ginger" and "Heidi".
   
   "The Waitress": This song brings more of classic alternative rock feel to it - a la Alanis Morrisette-like. It is a commentary that Amos has on a waitress she encountered. Like "Pretty Good Year", Amos demonstrates her femininity by combining the soft piano sound with a powerful sound.
   
   "Cornflake Girl": Another radio-friendly song that became the album's most popular song. While this song uses guitar, bass, and drums, it is still Amos' piano sound that shines. The title "Cornflake Girl" reflects her femininity.
   
   "Icicle": From a musical standpoint, this song has a lot to offer - especially from the two minute piano introduction. In fact this song has some of her best classical piano work. However the theme of female eroticism contrasted in a religious atmosphere is probably going to offend a lot of people. Again one must make their own judgment.
   
   "Cloud on My Tongue": This is another example of Amos employing the use of strings to augment the piano sound - done very well.
   
   "Space Dog": This is another example of Amos using her vocals to augment the piano sound. Her vocals bring true female emotion to the song. This song has a beat to it. Again this song uses guitar, bass, and drums to help enhance the sound.
   
   "Yes Anastasia": The perfect "wrap up" to the album. This song has a theatrical quality - namely because of its length and the use of the piano and orchestra. Toward the end of this track there will be the contrasting of the soft and loud sounds - that became an Amos trademark on this album.
   
   The album includes all of the musician credits and most of the lyrics (the beginning to the lyrics of "Icicle" are distorted). Overall from a musical sound standpoint, this album was cutting-edge for the alternative music sound. From a lyrical standpoint, as mentioned - one must make their own judgments on the messages that Amos gives.

5 comments about In My Tribe.

1. i saw this band on sabrina the teenage witch..i never heard of them before but i really like the sound of their music so i will definately be buying their cd sometime in the near future...



2. This cd is so melodic and perfect that I recommend it to EVERYONE regardless of their musical taste. Verdi Cries is my favorite piece off this cd - it is so beautiful of a song. Don't Talk is very nice as is Gun Shy. Like The Weather is a great radio hit and so is Peace Train which was unfortunately taken off subsequent releases. I can listen to this over and over because every song is unique and superb. Honestly, this is one of the best cds ever released by any band - it is perfection. Natalie Merchant is at her VERY BEST.



3. I bought this on a whim eons ago at the almighty Tower Records without ever hearing of them or their music, and put it on and immediately was blown away. Rare for me to find an album that does that to me. I was a fan for the rest of Natalie Merchant's run with the band and continue to follow her career.



4. This albums is really one of the best from the eighties. All of the songs on here are good and have a unique quality about them. It not only showcases Natalie's sweet voice, but the rest of the band is commendable as well. I would definitely recommend this CD for anyone. However, this one sounds especially good on vinyl, if you can find it.



5. "...if I'm the only witness-to your madness, offer me some words to balance-out what I see and what I hear..." ("What's the Matter Here")
   On a crisp winter day in San Diego (circa 1988)I discovered what would soon become the proverbial soundtrack of my life.
   "In My Tribe" represents the pinnacle of Natalie Merchant's singing and songwriting career. From the insistent tale of an abused young neighbor in the afforementioned "What's the Matter Here" to the yearning of a missed opportunity in "The Painted Desert", this album caught Miss Merchant at her most lively and earnest, before she inexplicably decided to sing everything post-Maniacs in a low monotone.
   Personally, I don't miss "Peace Train". I think the album flows much better without it. The absolute stark beauty of "Verdi Cries" to this day makes me weak in the knees and remains my favorite song to ever to close out an album.
   If you buy this CD, don't just hear it, but listen. You will be better for the experience.

5 comments about Q: Are We Not Men? A: We Are Devo!.

1. Having recently attended a once in a lifetime reunion of Devo, I decided to update my vinyl and cassettes to CDs. Are We Not Men? We Are Devo is the pinnacle of the Devo library, a wonderful celebration of those who don't conform to Madison Avenue's and Hollywood's ideals...but a human ideal in which one can strive to be the truest and purest human...a human that examines, studies, and asks questions. While it seems almost impossible that a mere collection of music can truly represent these issues, especially confronted with the cultural void presented by top 40 corporate radio and music channels that don't play music anymore, Devo smacks the listener in the ear with reality. If you want some good punk-based technocrat rock that flies in the face of today's conventions, do yourself a favor and purchase this CD. You won't regret it.



2. While the Devo phenomenon as a whole may be somewhat time encapsulated, this debut album has absolutely remained as cutting-edge and vibrant as the day it came out some 30 years ago. Though the band already had a great satiric concept going (de-evolution), when they teamed up with Brian Eno for this project, the stuff of demented genius was created. The sound straddles punk, new wave, and the simplistic pop ditties of the sixties. The jumpy, jagged, hypercaffeinated tunes perfectly convey Devo's warped take on pop culture, and also serve to further pop as an art form. This is not a disc that I play in heavy rotation, but it sounds fresh every time I hear it, and only gets better with time.



3. Devo emerged fully formed on this, their first album. And it's still their best album. The stand out songs are "Mongoloid", "Jocko Homo", and "Uncontrollable Urge". They introduce the concept of De-evolotion on this LP. They would futher explore and develope it on future releases.
   
   Devo was a band that would not sit still. Each LP brought with it a new look and sound for the band. Here they popularised the yellow suits, the future would bring the energy domes and the smart patrol.
   
   Q: Are We Not Men? A: We Are Devo! Was the start of Devo's comentary/parody of modern life. As vital now as the day it was originaly released.



4. Devo came from Akron, Ohio... where I lived until recently. Their appeal and early success was a complete enigma to most locals. But Akron was scraping the bottom of the cultural and economic barrel at that time, so if local talent was attracting national attention it was counted as a blessing regardless. Certain influential artists (David Bowie, in particular) and critics suspected that the band was at the forefront of something revolutionary.
   
   I've seen them linked with Kraftwerk back in their embryonic stages, and there's some logic to that. But the thing that I think is sometimes missed by people from other parts of the country is the absolute contempt that this band inspired in local people when they started. Kraftwerk may have been amusing or ridiculous to the Steve Miller Band fans of the world in 1978, but when you put on a Devo record, folks actually got mad. They'd listen for a few minutes in disbelief, and shake their heads, and then they'd get that impatient look that says, "Okay, this isn't funny anymore"... then their faces would get red and they'd demand that you turn that garbage off *right now*. Devo had an unbelievable polarizing effect, and they were extremely controversial. When they played live, they were threatened with physical violence.
   
   I can still remember listening to Q. Are We Not Men? for the first time... and not exactly liking it, but being stretched by it. So I listened to it again. When you hear these songs now they sound pretty conventional, but at that time the whole album just sounded demented and disturbing. I may have been too young to catch all of the humor (I had probably just figured out that the sixties Batman television series was a comedy). Eventually, I liked it. And by the time the next album came out, I was a fan.
   
   As the band "devolved" they became more of a synthpop unit, which was okay with me since I liked the music they were making. But this Brian Eno-produced debut is more of a straightforward rock and roll record ("Gut Feeling" and "Come Back Jonee", especially), with lots of guitars and Chuck Berry era influences. It holds up better today than most of their successive albums, and certainly better than much of the popular music of the time.
   
   Lyrically, Devo is a smart aleck science. There's a loudly subversive philosophy involved that informs everything the band produces. Back when it was still vague, it passed for profound... but eventually the band couldn't poke fun at the system and participate in it at the same time, so they gave up and caved in to everything they claimed to despise. Now they work in L.A. and write toothpaste jingles.
   
   Incidentally, Devo's greatest hits packages are totally worthless. If you want to get into this band, you have to survey the albums. This is probably a good place to start.



5. I am surprised that I not only like this album, but that I still play it quite often. I love the songs Mongoloid, (I Can't Get No) Satisfaction, and the Devo classic, Jocko Homo. It's actually a very good album, strange, unique, and not really as classifiable as most people think. Devo gets thrown in with the New Wave/Punk bands, but their music was more unique and interesting than the slew of New Wave bands. I was never really a fan of Whip It (especially the video, which is one of the cheesiest things I've ever seen), but Devo released many albums in their lifetime, and their debut here is one of their best.

5 comments about She Wants Revenge.

1. I really enjoy there music, heard them the first time at a local Goth bar. It can be mello, upbeat and very seductive, especially Tear You Apart and Out Of Control:-)



2. used CD, great condition came in the time they said, and shipping charge wasn't bad



3. Loved 80% of the tracks. Great album. I'd highly recommend, but FOR 18 AND OVER.



4. Alright, I get it....
   they sound a lot like depeche mode and Bauhaus but here's the thing. I was born in the 80's but I didn't start listening to the music from the 80's until I was in my teens. I get that some groups are more iconic than others and yeah, when I hear a group that sounds way too much like someone I idolize I don't like it. Now having said that, I really liked this cd. I stumbled on it and I gotta say it became one of my favorites. I love depeche mode, I have no idea who Bauhaus is (sorry but I don't) but I think that music is such a personal thing, its like sometime you have no control as to what you're gonna like and even though I heard and like depeche mode before SWR I like SWR more. Music like art is subjective and just 'cause someone says that it sux doesn't mean its true just like if someone says its a masterpeace doesn't mean its true. So you don't like, alright that's your opinion....and this is mine, I REALLY LIKE IT:)



5. It sounds like a lot of 80's bands, but that is the sound they were going for and they never denied their influences. They lyrics are witty and well-written. Some of the stuff sounds like it was made on a Casio, but it adds a certain kitch quality. Very catchy and addictive and I'm glad there are new bands making new wave type music, it's better than most of the crap coming out nowadays.

5 comments about Schoolhouse Rock! Rocks.

1. If you liked the groovy educational kids show you will perhaps pick and choose through this decent sized compilation of mostly 90's alternative acts covering some learning fun, but few songs possess the power to transcend fanboy roots (most artists welcome the warm cheesy style found in the show) and simply stand on it's own musically ala Blind Melon's "Three Is A Magic Number", where even multiplication tables sung by Shannon Hoon sound sincere.



2. This is an extremely useful cd in teaching students their multiplication tables and parts of speech. It also has Science and Social Studies songs!



3. I bought this years ago, thinking it was the original. Recently I broke it, and that brought me to Amazon. What a great cd! I teach 5th grade, and most of what is on this album (can we call them that anymore?), I can use in our studies! Plus, when you drill in the original, then play these updated songs, you get some real interest! Highly recommend for educators and others who grew up on the originals...



4. The heartfelt/fun/educational twist is just lost in the souless renditions by these bands to fulfill some sort of contractual obligation. This compilation manages to make some non-involved advertising creep happy without giving anything to the kids. Trust your kids to find the heart of the originals. They'll be "practical" soon enough.



5. great covers of the unforgettable and educational songs from the 70's cartoons by rockin bands.

5 comments about Songs of Faith and Devotion.

1. this album was released in 1993, the height of grunge, where the styles of the 80's and all the wonders of synth pop were finally drowned out. Depeche Mode release "Songs of Faith and Devotion", a highly anticipated follow-up to their most commercially successful album "Violator".
   
   as a commercial success it did not do as well as the previous album. the contents of the album are a different story. Here is where the band has finally incorporated a more organic sound to their music and guess what, IT WORKS!. the first release "I Feel You" was a change of pace as a loud distorted guitaer kicks things off and many were surprised.
   
   in my own humble opinion Martin Gore probably has written some his strongest material.
   
   Many were expecting "Violator pt. 2" or something like that. had depeche mode done that, it would have been a let down and a major disrespect to their fans, as depeche mode have always progressed their sound on each album.
   
   stand out tracks are "I Feel you", "In Your Room" "Condemnation" "Get Right With Me", "Rush" and "One Caress"
   
   sadly the devotional tour would test the limits of the band as alan wilder left after the tour and dave gahan's struggles with heroin were in full swing.
   
   all in all this is a strong album and a must own for depeche mode fans.



2. It is amazing to listen to this album from 1993 and see how truly current it still is....this album features every dimension of the Depeche Mode sound, from haunting orchestrations to soul-searching lyrics and vocals to straight forward modern music with catchy beats & melodies....
   
   In a time where every so-called artist sounds the same and is manufactured for quick release at your local Wal-Mart or other big box, bands like Depeche Mode stand as a lone voice in the wilderness of so much crap. People think they know "modern/alternative music"? HA! Depeche Mode invented it and they continue to re-invent....Songs of Faith and Devotion is a classic....best tracks include "Walking in My Shoes", "In Your Room", "Get Right With Me", "One Caress", etc....



3. A bold - and to many listeners, shocking - venture into the transition of musical frontiers, from a band already renowned for a seemingly very different genre, Depeche Mode's Songs of Faith and Devotion hit the music world like a proverbial earthquake upon its initial release in 1993.
   
   Some fans rejoiced, others fulminated, and many more were for the most part just plain confused, as the line between the band's former (and considered to be, signature) style of music and that of more traditional rock seemed to blur for a moment.
   
   To say, however, that Songs of Faith and Devotion is simply Depeche Mode's experimental crossover into a more rock-oriented genre would be both an injustice and an understatement. At closer listening, one begins to realize that this album is not about Depeche Mode becoming a rock group; rather, it is about the band's artistic journey into new lands of spirituality and darkness, touching upon subjects of a more noetic nature than those in previous albums, and with a greater depth and emotion than is found on the songs of most other albums.
   
   Amongst the very best of SOFAD:
   
   In Your Room (one of the greatest songs ever recorded)
   Walking in My Shoes
   Higher Love
   Mercy in You
   One Caress
   Judas
   
   This album is, in my opinion, one of the 3 greatest ever done by Depeche Mode - along with Violator and Black Celebration.
   
   SOFAD is an audio journey most definitely worth taking - and returning to time and again, no doubt.



4. I tend to find that the people who don't like "Songs of Faith and Devotion" are in two categories: Electronic purists who are so set in their ways that DM doing a guitar based album is a travesty (although hints started with "Black Celebration"), people wrongfully accusing it as an attempt to stay relevant (followed "Violator" and most of these are songs that Pearl Jam and the likes never have & never will make). But beyond that, there isn't one single bad song on "SoFaD." It may take awhile to digest it though, I'll admit. It took awhile for me to get used to the "noir-gospel" of "Condemnation," but I now really love that song. The lyrics are not really embarassing, and "I Feel You" is one of Depeche Mode's greatest songs ever (that says a lot!). Another classic is the six-and-a-half minute "In Your Room." Martin Gore sings on a couple of slower-toned, orchestral tracks like the dark yet beautiful "Judas" and string-heavy "One Caress." Sure, the single version of "Walking in My Shoes" is better than the one on here, but that doesn't make this "not worth owning." Not only this, every song still sounds like Depeche Mode. The songs I didn't mention are still wonderful too, and I particularly like the punch of "Get Right with Me" and the pseudo-industrial "Rush." Gore is usually great when he writes the type of dark lyrics on this album, part of its greatness.
   
   In short: It's worth owning because it's a wonderful band at a creative peak, it's cheap, and even if the cover art is lackluster the music will help you overlook that (but I think that's why some people presumptively dismiss & mock the album). Hey, the first two albums have my favorite cover art and are my least favorites that the group did.



5. This album is excellent, lots of good reviews so mine will be about one song from the album, Mercy in You. This song for me, has been what DM has meant to me over the years.
   
   I would lose my way again
   Be led hopelessly astray again
   Just so I could pray again
   For the mercy in you
   
   These words are such a strong statement to do wrong, to do bad, if only for the forgiveness that is offered, to return again. This has been for me a taunting of religion, of sin and how foolish and at the same time rewarding the whole process is. Alot of events in the lives of DM happened after this album and Ultra was released with the abscense of Wilder.

2 comments about 20th Century Masters - The Millennium Collection: The Best of Big Bad Voodoo Daddy.

1. I bought a compilation album which had Voodoo Daddy on it; I loved the song and wanted more of their sound and this is a great compilation of their greatest hits. Listen to it; if you like it, buy it.



2. I love Big Bad Voo Doo Daddy, but I am disappointed to see that this "collection" of hits is actually pretty much a rehash of over half their songs from their self titled album Big Bad Voodoo Daddy and the other half are from their This Beautiful Life CD, nothing else. Almost anyone that owns BBVD has these two, so why pay another $10 for this one.
   
   On the other hand, if you have never heard of BBVD, or are making your first purchase, this would probably be a good one to make. The songs still rock, and are the best of these two albums (imho). So Newbies, go ahead, get it! You won't be disappointed at all! That I can promise. Its just not for current fans since they already have all these songs from the other two CD's. I really wish that this album contained more of a mixture.
   
   I'm still giving it a 4 star rating because the music still rocks! And I would definetely have to recommend it to newcomers to the sounds of BBVD.

5 comments about Dude Ranch.

1. Dude Ranch by Blink 182 was a cd I liked about ten years ago but listening to it now, this type of music is childish and pointless. Dammit and Josie are the best songs on the album, the rest are filler and lame. The lyrics was this band's downfall, the harmonies are not there either. Great for its time but ultimately this cd gets thrown out after the novelty wears off.



2. In a fit of nostalgia I pulled this CD from the pile and listened to the entire thing today. High energy like poppy-punk should be, it doesn't take itself at all seriously and it really made me miss the mid-late-90s. This CD pre-dates Travis Barker joining the band, and as much as I appreciate his technical precision, I have to say that I prefer my Blink with the more unpolished garage sound of these earlier performances. Even if post-2000 Blink reminds you of the phony, drunken frat kids that wore it out, don't let that keep you from trying Dude Ranch. It will become one of your favorites too.



3. ok blink rocked hard. boring is the best song, untitled is also sweet.
   
   other blink songs; obvious, stftk, give me one good reason, reckless, dumpweed, asthenia and also not now.



4. A must have album.If you're new to Blink182, then this is a good album to start out with.Awesome songs like "Dammit" "Josie" and "I'm Sorry".Most of their songs are sex jokes."Voyeur" is...well, the name it's self explains what the song is about."Degenerate" is about Tom Delonge (Blink182 guitarist) is running around in the middle of the night drunk,naked,passes out and is found later in a guter.Later on in the song he sings about going to a farm to tip some cows.Finding that he left his pants down.He bends over to pull them up and finds a farmer pointing a gun at him.So mostly the songs are kinda "inapropreat"
   
   The album Cheshire Cat is no different.In one song they sing about wetting themselves all the time.
   
   But mostly you will find in allmost all of their songs that they're all about girls and love.Very "Pop-Punk"
   
   But if you enjoy that kinda stuff and a good laugh then this album is for you.If you like Fall out boy and Panic!At the disco you'll probably like this band.



5. I ordered the game for my daughter on 11/28/06 quite confident that her wish list items were bought and I could forget about it. I never recieved it and was never informed by Amazon that it was returned as undeliverable. So on Christmas day when she opened her presents, she asked where it was. I told her I ordered it and we started looking about the house as to where it was. After going on the computer to the website I then found out that it was returned and my credit card had been reimbursed. Shame on them. I will not use them again. I believe they got too big for their britches and the customers are the ones paying the price.