3 comments about Oh (Ohio).

1. OH (Ohio) cannot be described as a triumphant return to form for Kurt Wagner and the boys (aka Lambchop) because they never went off form in the first place. The reality is that Lambchop are genetically incapable of releasing substandard albums. It could be said that Oh (Ohio) is Lamchop's best work since Is a Woman but that would only mean that it is better than their previous album, Damaged. On every Lambchop album, there are a couple of songs that are less good than the rest but that is only because the rest tend to be rather outstanding, as in, among the greatest songs in contemporary music. As for the requisite AGSCM songs on this album, they are 'Slipped, Dissolved and Loosed', 'Popeye' and 'Please Rise'. These three are superlative. 'Slipped, Dissolved and Loosed' is that rare beast that is perhaps greater than superlative. It is musically, lyrically and everything else-ily unimprovable: a spellbinding confection of brilliance. Wagner's voice, much-maligned, never sounded so beautiful, so moving. Popeye's 'sha-la-la-la, you're getting on' chorus is achingly wistful but the driving, percussive instrumental coda at the end serves as a wonderful antidote. Kurt Wagner is, together with Will Oldham, America's greatest living songwriter, better than Dylan, better than Young, better than Reed. Slipped, Dissolved and Loosed is yet another of his songs that proves it. Lambchop, though critically acclaimed by many over the span of Wagner's career, remain the most underrated musical act in the world and the negative reviews in some quarters for this marvellous latest opus leave me astonished.



2. This is not a good Lambchop release. There is something missing. It feels like a rarities/B sides project. Only Slipped Dissolved and Loosed, I'm Thinking of a Number, A Hold of You, and to a lesser extent, Please Rise approach the grandeur of Lambchop's best stuff. Popeye takes a long time to reach its dramatic coda, but I'm not sure if the payoff is worth the wait. The rest of the songs are not very good, some are downright bad. The faster songs feature rudimentary, workmanlike drum playing. (Remember when Lambchop employed two drummers?) Wagner's vocal performance is inconsistent, his voice prominent in the mix on some songs, and buried in the back on others. I have seen Lambchop live several times and have all of their CDs. This is the weakest one. Too much of it sounds phoned in.
   Something more adventurous, please.



3. Ever since I heard Lambchop--it was Nixon--for the first time, I was hooked. Americana being a new label for me then, I approached them skeptically but was blown away by their music, both Kurt Wagner's lyrical mischief and boldness, and the palette of sounds available in such large band, an array of possibilities you don't always hear.
   
   Pretty much everything they put out up until Is A Woman, I thought, was extraordinary ... never quite the same but maintaining a certain mood and musical thread. After that things were not bad but following albums, although each of them contained gems, did not carry the creative weight of its predecessors.
   
   Ohio is a return to what Lambchop does best, the languid melodies full of nuances and thoughtful twists are back. The melancholy in Wagner's voice is more poignant, I think, and he sounds more determined, as laid back as he's always sounded, to touch you deep inside your heart.
   
   The band is stunning, a tribute to risking being so many and never making a ton of money--until Nixon, Kurt work sanding floors to support himself--that pays off big dividends in this album again. I believe there's a remarkable difference where each instrument in a band comes from a member rather than a studio session player. These guys inhabit and bring their personal touch to these songs, something virtuosos for hire don't always bother with.
   
   Speaking of the songs, although hard to pick some over others, some beauties must be mentioned. Sharing a Gibson with Martin Luther King Jr., Ohio, Popeye, I Believe In You or I'm Thinking of a Number, can be included in a serious Lambchop collection.
   
   All in all, Lambchop's back--although they never went astray--with a powerful album. Power that grows from Wagner hardly raising his voice beyond a whisper and a band that's less concerned with shining individually that glowing together.

5 comments about Bachelor No. 2.

1. Bachelor No. 2 was a comeback album for one of the breakout hits of the 80's, Til Tuesday's Aimee Mann. With hits like "Love in a Vacuum" and "Voices Carry," the Boston-based band seemed to be on the verge of superstardom; however, the band broke up and Aimee tried for years to establish herself as a solo act more interested in artistic merit rather than commercial success. It wasn't until 1999 when Aimee, after establishing her own record label, broke through and succeeded in her goal. The intricate detail in her writing is evident in every track on this album, particularly on the song, Deathly, my personal favorite due to its moving orchestration and the way she uses her voice like an instrument to draw the listener into the emotion of the piece. Other standouts are Cigarettes and Redvines, The Fall of the World's Own Optimist, Save Me, the song nominated for an Oscar from the soundtrack of the movie "Magnolias," and Calling it Quits. If you haven't heard much from Aimee and are looking for some sort of comparison, I believe that she and Sarah McLachlan have a lot in common. They tend to take a long time in between producing albums, they try new approaches when they do produce their music, and they are both geniuses as writers as well as performers which their albums plainly demonstrate. Aimee Mann is a fantastic artist who writes deadly-accurate lyrics. You would do well to purchase this album along with her other, "Lost in Space."



2. This CD never gets old. I love a lot of the stuff that Aimee has done, but this is my favorite from start to finish. "Red Vines", "How Am I Different" and "Deathly" (to name 3) rank with Aimee's finest work--thoughtful, original lyrics set against highly melodic, catchy, almost Beatlesque rock. What strikes me about Bachelor #2 is how it stands up to repeated (and repeated) play. I buy a lot of music, and this is definitely one of my Top Ten of the last ten years or so. Take my word for it. If you like good music, you'll love Bachelor #2.



3. I am pretty sure that Ms. Mann considers her lyrics/songs on Bachelor No.2 to be profound and poetic, but in reality her songs are relentlessly repetitious and simplistically negative, not to mention virulently and bluntly anti-male. She really needs to listen to the songs of Mindy Smith and Patty Griffin to get a handle on how to write songs.
   
   Ms. Mann has a lovely voice and her Christmas album is good and even brilliant at times. But this album buries emotions, truth, love, hate, sorrow, hurt etc under a mountain of negativity.
   
   I understand that Ms. Mann has quite an assertive and strong personality who fights record companies and probably anyone else who disagrees with her. Nevertheless, she should take some advice and start singing songs written by other writers--her lovely voice is betrayed by the mediocrity of her own songs.



4. Aimee Mann has on a regular basis provided fantastic songs, but yet uneven albums. Despite being under the name of her former group, Til Tuesday, the album Everything's Different Now really was a solo album and is among the best break-up albums ever. Since then she has shun on occasions but the albums have often been lacking a few good tracks to be labeled as being great.
   
   Bachelor no. 2 is an exception. From the very first tones on the first track, very Beatles like production, to the end of the record, there is not a single weak note. The production is mostly sparse but yet a sonic 3 dimension feel is still present. This may be due to the old fashioned stereo image used, something that has become maybe sort of a lost art.
   
   The standout tracks for me are How Am I Different, Driving Sideways and Deathly. The other songs would in most cases, however, be standout tracks on other albums. I recommend this album and Everything's Different Now for anyone interested in Aimee Mann material, those albums simply do not disappoint.



5. This is a truly amazing record that just grows on you. Upon first listening my favorite track was How Am I Different. After awhile I liked Red Vines best and later Satellite.
   
   Currently my favorite track is Ghost World, a song I put aside at first as trite. This album is always changing, evolving with each listen. Those of you not impressed on first listen or thinking this material is light weight or all sounds the same please give it a chance.

5 comments about Cowboys from Hell.

1. When I first heard about this band I didn't think
   they were going to be that great. When I heard
   Cemetery Gates on the radio I couldn't believe
   that a band this heavy could be so melodic.
   Dimebag as he was known to some played with
   fierce passion. These guys wouldn't qualify
   as boyscouts but their music can't be ignored.
   
   I'm a professional guitar player so I listen to
   music differently from others. As a professional
   and a fan I'd say Dimebag was a premire player
   in the heavy metal field. He also loved his fans,
   that's why he gave his all when he played.
   
   His untimely death was a shock and I'm sure he's
   missed by millions of people.



2. Pantera's "Cowboys From Hell" is one of the greatest and most influential albums in the history of metal. When you look back at all the bands influenced by this album between 1990 and now, it's pretty amazing. But, influence aside, this album is just generally awesome.
   We got Phil Anselmo on lead vocals, who can go from a deep, distorted growl to a high-pitched wailer of a note! Vinnie Paul is definitely an impressive drummer who adds some great fills and rhythms to the songs. Rex Brown mostly stay low-key but his basswork runs smoothly through the album.
   Then there's the guitarist: Dimebag Darrell. A legend of our modern time, taken away from us far too young. But as for this album, he really shines here, ripping out some blazing riffs, melodies and solos throughout the entire album. Here's what I think about some of my favorite songs on an album that shattered metal!
   "Cowboys From Hell" has a great build-up of an opener, and kicks out some great, heavy riffs, full of infectious grooves, and a great guitar solo, along with the shout-a-long chorus to boot.
   "Primal Concrete Sledge" is the thrashiest song on the album, and only lasts 2:13. With the fast-paced, low, chugging guitar riffs, pounding drums and a Middle Eastern-tinged guitar solo, this is a great one. Plus, it features some of Phil's fastest singing around.
   "Psycho Holiday" is the complete opposite of "Primal Concrete Sledge", adding an incredible amount of funk and grooves, it almost sounds like Metallica combined with Red Hot Chili Peppers. Bouncing, heavy riffs, polyrhythmic drumming and a guitar solo that lasts for a headbanging minute, this is sure to please all metalheads.
   "Heresy" is another song in the thrashier vein, with more wild and high-pitched vocals from Phil and fast, chugging riffs, mixed with great drumming.
   "Cemetery Gates" is a beautiful, Southern-rock styled ballad-turned-rocker with melodic acoustic passages, some beautiful singing and then hardcore screeching by Phil, an eerie electric riff and an amazing guitar solo. A definitely masterpiece.
   "Domination" is a cross between fast grooves and chugging melodies, with one of Dimebag Darrell's greatest guitar solos and awesome verses sung by Phil.
   "Shattered" is another song in speed-metal territory, with fast, complex riffs and some of Phil's greatest upper-range singing around. A real feast for a thrasher!
   "Medicine Man" has some cool basswork, a catchy groove and deep singing by Phil, along with another signature heavy chorus!
   "The Sleep" is the second epic-ballad-turned-rocker, after "Cemetery Gates". Featuring an exotic chord strum, dark, horror-themed lyrics and more deep, melodic singing by Phil, like on "Cemetery Gates", this is another great one!
   "The Art of Shredding" closes the album with some more great riffage and a grooving bassline, high-pitched screaming from Phil and a somewhat random frenzy towards the end, that rocks out until the end.
   As you notice, I didn't rate "Clash With Reality" or "Message In Blood", because I really don't listen to those two much, even though they're still great songs. Well, to summarize my review, if you want a great metal album with lots of talent, grooves and songwriting, "Cowboys From Hell" is a great choice. Thanks for the time, and peace.



3. The first time I heard Pantera was in late 1990 early 1991, the song was Cowboys From Hell, I thought wow these guys are pretty intense. I then heard Cemetary Gates, this song blew me away and I had to go buy the album. When I bought this album I was truly impressed and enjoyed it very much. Looking back at Pantera's discography this album was by far not their best, but Pantera was still a work in progress. If you want to check out Pantera you should start with Cowboys so you can hear the progression of their work. The title track, Primal Concrete Sledge, Psycho Holiday and of course Cemetary Gates are the standouts on this CD and you will notice that this is the last Pantera CD to feature Phil Anselmo's Rob Halford like vocals. After Cowboys, Phil stuck with his dinstinctive deep gravely sound.



4. ook elvis was great at what he did right sure why not then a bunch of years later the wonderful band called pantera now they had a few demos with a difrent singer he wasent that good so they hired phil this cd started heavey metal like elvis started rock n roll people didnt like it but it was the kids who loved that is why this is the first heavey metal cd to date not inckluding thoese 80s thrash band but woell by this cd if u are metal head like myself



5. Cowboys From Hell (1990.), Pantera's first recognised studio album (their fifth if you count their four album releases during the 1980's which the band now totally disregards)
   
   At the turn of the 90's nobody would have expected Pantera to become one of the greatest metal bands of the decade and in fact of all time. The band had released four inconspicuous glam metal styled releases in the previous decade which brought them very little success. However, being remembered as a little known glam act was not to be Pantera's fate. At the end of the 80's the band were able to complete a drastic stylistic change to their sound, making themselves much more heavy and brutal. After then being turned down by numerous record companies, Pantera were finally signed to Atco Records (a division of Atlantic) and were able to release the beast that was `Cowboys From Hell'...
   
   `Cowboys From Hell' is the start of a new era as far as metal is concerned. By altering their sound, Pantera all but created a new metal genre which we now come to know as groove metal or post-thrash. With `Cowboys From Hell', Pantera took the choppy and gallopy ryhthms of bands such as Metallica and Megadeth but added a great deal more heaviness, emphasis and groove to the mix. This coupled with the high pitched wails and screams of vocalist Phil Anselmo gave Pantera very brutal and uncompromising sound. This album was one of the heaviest things around at the time of it's release. `Cowboys From Hell' is a seminal metal classic in every sense of the word. The songwriting throughout the album is superb and I wouldn't say there was a single weak track on the whole work. I wouldn't say that this was Pantera's definitive, most genre defining work - that honour goes to the follow-up `Vulgar Display Of Power' - however, this for me is my favourite Pantera album. In terms of songwriting strength, I think this album wins out over all of the subsequent Pantera albums. Also, in my opinion, Dimebag Darrell, the legend himself gives his best display of guitar work on this album. Even though his guitar sound is a little more high pitched and shrill than on the later albums, he plays a fantastic array of inspired riffs, crips fills and majestic solos. In short he shows off his guitar work on this album more than any other and it is awesome to listen to. `Cowboys From Hell' is a little more thrashy than later releases, where the bands groove metal style would become more prominent. Vocalist Phil Anselmo also sings in a less aggressive style than on later album, however he does a fantastic job throughout the album. Vinnie Paul's drumming has its trademark stamp of impressive double bass and general aggression throughout the album. Rex, on bass, for me does a great job. Often the most overlooked member of the band, playing bass in a one guitar metal band is a lot harder than a band with two and he gives a great undercurrent to Dime's riffing.
   
   This metal masterpiece gets underway with the title track `Cowboys From Hell'. This is definitive Pantera, heck it's a definitive metal classic! Dime's immortal riffs impress from the word go and this high energy opener makes for obligatory moshing every time its played. `Primal Concrete Sledge' is a short follow-up. Fast, low pitched, growling guitar work from Dime is supplemented by an unstoppable barrage of double bass from Vinnie. Phil Anselmo mixes up vocal styles very well in this song. `Psycho Holiday' is another classic off this album, the riffs are great and effortless and Anselmo's vocals scream through the speakers with intent. Dime fires out an inspired solo mid-way through. `Heresy' is another awesome song, this was one of the first Pantera songs that I ever heard. It is very gallopy and thrashy in style, especially with the main riff. There is yet another fantastic solo from Dime mid-way through. `Cemetery Gates' is the epic of the album, clocking in at over 7 minutes. A clean undistorted opening allows Anselmo to give a more understated vocal performance. This song, about the death of a lover has some more great riffs and solos. It also has an edge to it that shows of the band's glam past, however it is one of the best tracks on the album. `Domination' is an unstoppable juggernaut of a song, displaying Pantera's pioneering style brilliantly - espicially powerful is the outro with pounding chords and some high tapped guitar lines from Dime.
   
   Next up is `Shattered'. A shorter song, it is another good thrashy tune with plenty of aggression and strong vocals. `Clash With Reality' is one of the more underrated tracks from the album and combines plenty of heavy, racing riffs with a cool melody. `Medicine Man' is much more darker in vocal and musical style. A stripped down verse led by the bass gives way to a gripping chorus with more high pitched vocal wails. `Message In Blood' is more signature Pantera with a heavy bonecrunching feel. `The Sleep' combines a more acoustic and cleaner sound to Pantera's music. The song's chorus is especially impressive and memorable. Then we finish with `The Art Of Shredding', which is for me another great showcase for Dimebag. He `really' does show us the art of shredding on this brilliant finale to one of the all time great metal albums!
   
   So there we have it, an album of uncompromising heaviness and immense songwriting. Pantera never looked back from changing their sound and `Cowboys From Hell' was the start of a series of awesome releases from the band throughout the 1990's. This album is for me though their finest effort, a classic from start to finish. The album is well produced and each band member sounds great. Pantera defined a new aspect to the metal genre as well as a new generation of metal fans and deserve their lofty position in the minds of many. If you're looking to start listening to Pantera, I would recommend this album and the follow-up `Vulgar Display Of Power' as the place to start. I guarantee new listeners to this album will be hooked instantly, just like I was when I first bought it. An album not to be missed!
   
   R.I.P. Dimebag Darrel
   
   MY RATING: 10/10

5 comments about The Historical Conquests of Josh Ritter.

1. smooth, witty, scrumptious cd. prepare to sit in a rocking chair with a beer and glory in ritter's wise, folksy extractions of life. viva idaho.



2. Amazing CD. This is the first Album of Ritter's that I have ever listened to and now I am an avid fan. He has a little Bob Dylan feel with a more polished voice and memorable lyrics. Ritter is able to jam out and slow it down.



3. Josh Ritter's lyrics and melodies make him, in my humble opinion, a more likely candidate for the new Dylan sound than even Bright Eyes. His music lacks a certain pretension other artists in the same eclectic genre maintain. I find his work wonderfully underproduced and beautifully crafted. I am never disappointed in the integrity of his work. Its the perfect music for watching the rain, roadtripping, or reflecting on the past.



4. Great album.
   Got it today and it's now on the third spin.
   Great songs, great lyrics, great musicianship, great sound.
   
   This may be the best of Ritter's albums so far, even for those who fell for any of the previous albums (like me) and expected never to hear anything as good as the songs "You've got the moon", "Kathleen" or "Bone song".
   
   Well, he's done it.
   
   Every song in this album is better than the previous one, every lyric is clear as crystal and the previous albums, though great in their own, are a step below this one.
   "Right Moves", "Temptation of Adam", "Waiting for love"... well, 14 awesome songs, great production and Josh Ritter with amazing musicians, sounds and songs.
   
   I'm a record producer and a musician myself and, let me get this straight:
   i wish these were my songs and my production.
   Thankyou Mr.Ritter



5. I first heard Josh earlier this year performing on "Artists Den," and my ears were buzzing with pleasure. I immediately sampled tracks off his albums, and I recognized that the songs I liked the most from the show were all on "Historical Conquests." His earlier work is certainly smart, but this album had exactly what I was looking for: fun yet thoughtful music. The added intrumentation gives the songs rich layers, though occasionally some sounds can be grating. The bonus disc sounds like a group of tracks that didn't make the grade for this album, so don't stress if you missed out on it.

5 comments about Euphoria Morning.

1. Chris Cornell didn't sing great melodies to start off with. Ultramega OK and Louder Than Love were both much more about screaming and yelling, not remotely pretty. Melody started to come in around Badmotorfinger, especially on the incredible "Outshined". Then Temple Of The Dog foreshadows this album in a way.
   
   Superunkown combined the melody of Temple Of The Dog with early Soundgarden for a masterpiece, while "Down On The Upside" went back to outright screaming except for the brilliant "Blow Up The Outside World". That brings us to Euphoria Morning.
   
   If I had only heard Louder Than Love or Ultramega Ok and you told me that Chris Cornell had an album crooning ballads, I wouldn't believe you. This album is beautiful. The highlights are "Flutter Girl", "Follow My Way", "Sweet Euphoria", and my favorite-"Pillow Of Your Bones"-stands up against any of Cornell's best work.
   
   While Cornell definitely completed the melodic path he had started with Superunknown, it's too bad that right after this album Cornell abandoned the melody for Audioslave except for the classics "Like A Stone" and "I Am The Highway".
   
   So Superunknown it is not, but as "Flutter Girl" was actually an outtake from Superunknown, there are pieces of that album all over Euphoria Morning. If you like the more melodic songs from Soundgarden like "Fell On Black Days" or "Black Hole Sun", then you should definitely listen to this album.



2. I think the great thing about this album is its general moodiness and attitude, from "Flutter Girl" (an anti groupie song - "you dont wanna know where I live, you dont wanna take what I give") and the wry "she's going to change the world, but she can't change me" to the "you say I only love you when Im down... one thing you should realise, is Im down all the time". The only downside on this album I think is Steel Rain, which really really drags. On the whole an interesting, introverted album.



3. I've had the argument with my wife often enough that modern music fails to measure up to the epic offerings of the late 60s and early-mid 70s. To my mind, to my ears, there simply wasn't any music being produced that could stack against the classic offerings of the Stones, Zeppelin, Bowie, the Beatles, Floyd, Tull. What happened? Making and recording music is easier than it was back then--surely we should be seeing MORE not LESS quality...if, that is, quality bubbles up--which has been a glass-half-full belief o mine for as long as I can recall.
   
   Well...it might be as my wife contends that the media is mostly to blame. That video killed the radio star and a profusion of choices and offerings mean that the Supergroup can't last as long as it did in the past. That today's Big Thing is inevitably doomed to be tomorrow's Has Been. This could me almost entirely true.
   
   But we live in the age of niche markets and total accessibility, so quality sometimes bubbles and simmers there on the burner toward the back of the stove.
   
   There are powerful musicians and voices still.
   
   Lately, I've been captivated by Chris Cornell's work. And this album is, I think, the best work of his storied career. $10 is a paltry price to pay for inspiration and magic: Buy it!



4. Este disco definitivamente es especial, buenos matíces, una sensibilidad hermosa... un poder de transmisión único.... temas como Dúlce Eufória, Acto de desaparecer, o Aún llueve... son realmente una obra de arte... con una voz que se entrega... gracia señor Cornell por tanta belleza.



5. Fans of Chris Cornell have been given a masterpiece with this album. Pure music filled with creativity and originality and one of the sweetest yet scariest voices known to mankind. This album is so good on so many levels. It has a wide variety of musical textures and colours but Cornell sings so beautifully and with so much passion on each and every song. The music is very dark for the most part and Cornell uses alot of dark imagery throughout his lyrics. He has also captured great performances from a super band worthy of following up the musical muscle of Cornell's previous band Soundgarden. This is a classic album that will be talked about and listened to for years to come.

5 comments about Figure 8.

1. There is no doubt in my mind that this sits at the same height as The Beatles' greatest work and should be listened to by everyone who likes them. While it is admittedly much more down in the lyrical content, the melodies are sublime and joyous in a way. I started out with Either/Or but this is much, much better, and next I'll be getting his self titled.
   
   Regardless of whether you like his early albums, here Elliot Smith is at the peak of his compositional powers and you should definitely listen to this album.



2. What most people will find here, is a collection of marginally depression, hookless indy pop. After a time, the songs largely start to run together and sound the same. Not a bad album by any means, but certainly not worthy of the praise it receives in this listener's opinion.
   
   
   Trust me, you can skip this one.



3. When I was about 12 or 13 years old I heard a song called Happiness by Elliott Smith, I thought it was the most unique and haunting song I had ever heard, I became obsessed with it, this was when Napster was huge and I didn't have to buy whole album when I liked a song, I never looked into who Elliott Smith was and I assumed, because I had never heard of him, that he was a one hit wonder, a couple of years later I picked this album up on a whim, it shook me up, top to bottom this album was the best thing I had ever heard, his lyrics gave me goosebumps, his music stayed fresh no matter how many times I listened, after searching all my life I had found what I was looking for, and Hapiness wasn't even the best track
   
   Today I own all of Elliott's albums and continue to find genius no matter how deep I dig, even the songs that never made it on CD are great, here Elliott has artistic control over orchestras and every track is full of complex and beautiful music, these tracks are mixed very well and are very clean compared to his other CDs, it makes it his easiest album to get into, buy this one first.



4. Steven Paul Smith was born on August 6, 1969 in Omaha. He later changed the name Steven to Elliott. He felt it sounded less "jock-like."
   I do believe Elliott Smith had a really amazing if not sad and lonely kind of voice. I can feel a bit more uplifting type of mood coming from Elliott Smith's Figure 8, his best and last studio record before he died. Ever since the end of his band Heatmiser, his solo work became more personal and less abrasive. It's hard to imagine at one point he was part of just another small punk/grunge band, who not many have heard of.
   Many would prefer "Either/Or." Which seems optimistic at times, but kind of sad to me. At this time few singer/songwriters could match Elliott's level of intensity through lo-fi "folk-punk" intimacy. That release sparked interest in the director of Good Will Hunting, Gus Van Sant- who used some of Elliott's songs for his picture. They met while Elliott lived in Portland. Also this exposure proppelled Elliott Smith to major-label status from Kill Rock Stars to Dreamworks. And then came XO in 1998. And Figure 8 in 2000. In my opinion this is his best. It flourishes with rich, multi-layered and more lush tracks. Not as intimate as his earlier solo works w/ the exception of "Everything Means Nothing to Me." This does seem happier though, at least compared to his other works. Definately one of the best solo albums and one of my favorites of this millenium. A wonderful timeless album from one of the better singer/songwriters after those "grunge era" days. My favorites here include: "Son of Sam"- "Junkbond Trader" -"Stupidity Tries" - "Easy Way Out" - "In the Lost & Found" -(for this song Elliott uses the same Abbey Road piano Paul McCartney played on "Penny Lane")
   Elliott Smith has always been a long time Beatles fan. Even covered their song "Because"- which is on a import of Figure 8. I really do feel he approaches a kind of greatness w/ this almost perfect solo work. I just wish he was still alive creating more.
   It's just really sad the way Elliott Smith died. Two stab wounds in his chest from a kitchen knife. And I believe the coroner at the time never came to a conclusion whether it was a homicide or a suicide. His death was on October 21 2003.
   I give Figure 8- 5 stars. It is my favorite Elliott Smith album, if you haven't heard Elliott Smith before you really should give this a listen. Or pick up "Either/Or" if you like a softer sound, but both are essential from him.



5. I would agree with Patrick Burnett's comments from 5 years ago. I recently ended a relationship and Elliott has been on repeat since the summer. His music fits perfectly with those moments where you feel like there is nothing left. But in a way, the beauty behind his music lifts your spirit like nothing else. "Everything Means Nothing To Me" was the first song I ever heard from Elliott just last year and it is a small portion of the brilliance found throughout this whole album.
   
   The acoustically amazing "Somebody I Used to Know" and "I Better Be Quiet Now", the very Beatlesque "Pretty Mary K" and "Happiness" are just a few of the standouts in my mind. "Bye" is such a haunting album-ender that gives me chills everytime I hear the echo of the piano.
   
   "Figure 8" has such a wide variety of sound that only a musical genius like Elliott Smith could create. His soft angelic voice along with beautiful melodies make this an album that will forever be labeled "perfection" in my mind. Rest in peace Elliott, your spirit lives on.

1 comments about This Is It & I Am It & You Are It & So Is That & He Is It & She Is It & It Is It & That Is That.

1. much more focused than the first album. this is a cd that will jump at you at first listen and reward you with each additional listen. every song has become my favorite song at some point. 'ruler' is amazing. 'roads, where we're going we don't need roads' is amazing, (as well as a 'back to the future' referenc, so more kudos to marnie!).
   i want people to buy this. i want people to enjoy this. i want her to make 50 more cd's like this.

5 comments about Elephunk.

1. "Sellout" is a word that I don't care to use very much anymore for several reasons. It has been used ludicrously in such situations as Bob Dylan switching from acoustic to electric guitars. Or when the overwhelmingly awesome metal band Mastodon had one of their songs played on one of Tony Hawk's video games. Come to find out they received no money for their contribution, but still the "sellout" cries abounded. Often people miscall artistic maturity "selling out". It's a fact of life, many people do not like to do the same things when they were younger. And yet when I look at the BEP, it is one time when the word that I hate to use anymore is the only one that applies.
   
   When the BEP started, they seemed like a credible hip-hop alternative to all the gangsta skullduggery cluttering the airwaves. Then something corrupted them - a little thing that was 365 days long called 1999. This was the year that vacuous bimbo pop took over with a heavily manicured iron fist. From there, it was all downhill. They hired their own uber-diva named Fergie, who by the way shares the same name as Al Bundy's favorite toilet.
   
   Not only was the music they produced bad, it took bad music to levels that could drive Chuck Barris into commiting seppuku. For example, "Let's Get Retarded" is a double entendre that both glamorizes alcoholism and insults the mentally handicapped. Maybe it takes a certain type of mean spiritedness to combine two forms of idiocy like that. Wasn't this the sort of crap they were initially against? But they weren't done yet.
   
   The slut anthem "My Humps" has Fergie bragging about her surgically enhanced protrusions. What is really sad is that she is NOT a sexy woman - not when it comes to her materialistic, trashy, and unoriginal persona. This song may not be on the album I am reviewing, but I am trying to make a point about how cynical and shallow the music industry is - and how they presume the music buying public is also cynical and shallow. Which maybe they are since they fail to live up to basic human decency by demanding something better.
   
   Whether you know it or not, you do deserve something better.



2. Sexy, Labor Day (It's A Holiday), Where Is The Love? and Hey Mama also dominate in goodness.
   
   Latin Girls is somewhat of a misstep but even they are few and far between.
   
   If you like R&B, Rap and Pop get this. There is also a Rock-ish song called Anxiety that my cousin LOVED when this CD came out.
   
   3.8 stars



3. Outstanding CD. Most CD's have only a couple of very strong songs and a number of medicore. Elephunk has only a couple of songs that aren't outstanding.



4. I dont know what those all the people who gave it one star were thinking but it rocks i just got it and lets get retarded and hands up are some of the best songs it is a must have cd



5. This is one of the best CD's in my collection. Espically excellent if you like to pump the bass in your car.

5 comments about Bake Sale.

1. This CD is classic late 80's hip hop with a new feel. This duo is soooo slept on. People wake tha Eff up. I love real hip hop and this piece is a throwback to the Eric B & LL when they first came out. If u are a hip hop head this is a must add to ur collection.



2. Oh man when I first heard "Black Mags" I was on a Cool Kids hunt. Everything I heard from these cats was ridiculous so of course I had to grab "The Bake Sale". To start it off, no beats do not make a great album but they darn sure help to get you there. "The Bake Sale" had awesome production, heavy bass and they don't use your ordinary beat structure. Their beat production is darn near hard to describe but they are ill.
   
   Lyrically these dudes are nice but this is where they get a star dropped. No doubt are they sick lyricist and I am loving these Chicago cats from my favorite Kanye to the legend Common and the more recent Lupe. But with the Cool Kids, they try bring it on every track and they have a nice beat flow but sometimes they end up saying things that just doesn't make sense. They need more to talk about I guess you could say but their concepts run short by the end of the album and there is only 10 tracks. Overall though, this is a heater for sure with a few minor problems but nothing to get upset about. I heard some new songs from Chuck and Mikey and they seemed to have grown a bit, that's some good news. Basically, if you heard "Black Mags" and you liked what you heard, you're curious, pick it up for sure cause it is worth it.



3. Pop this CD in and you will almost think you are listening to an old school album from way back.
   
   This album is very well written and the beats are great. Some good bass for rattling your car. It is good to hear an album that does not cater to the mainstream of pop crap today.



4. If you like your hip-hop retro style square in the roundhouse of 1988, well don't look further, these here Cool Kids and their wackity wack, "The Bake Sale," will keep your toes tappin', head bobbin', and body poppin' right through Fall, into Winter, Spring and back to summer 'till ya hot again boi!
   
   Actually, goegraphically dislocated hip-hop duo dj's or whatever one calls them, rapping Mikey Rocks from Detroit, MI and Chuck English providing the beats from Chi-town, mix all their influences and talents creating this unique mash-up of...hmmmm...I'd say LL Cool J, a little Nelly, a whole lot of Slick Rick the Ruler, and you've got some class A hip hop for the new generation hip hop hipsters.
   
   As far as the music goes, El Kids O' Cool, come screaming out the gates with a club dance heavy bass beat and all these spoken word replacements for actual beats. Clap, Clap, Bass. I'd say that's kind of innovative and works well. "Yo, what up man? / If you cool what you do? / Warm it up then / Can't hold it when it's hot / put it down then / i left my kids in day care / pick 'em up then / I'm trying to buy some new / What you trying to spend / All i've got is five dollars / So you broke man?" And so the conversation goes with the verbal interchange between Mikey and Chuck evidently about getting dinner one night. This song is a bonefied killer. Freakin' brilliant.
   
   Then there's track 9 "Bassment Party," that starts with the line stolen from you know that other popular rap song, "...they say if you don't got no money take your broke arse home." This one goes back old school hip hop even with that keyboard dramatic flash used in some of the early stuff from Grandmaster Flash and Run DMC's music. I'm not sure what they are really talking about when they are saying, "Now let me tell you the rest of it / All you trying to get like me / So if U ugly keep your hands by your side / and if you're not then put them in the sky / Hey, Where's the party / Say you heard me say it / Right around my waist." So I was right there with the whole ugly keep your hands by your side and I was dancing by my computer playing these MPwhatever numbered things and it was kind of like a MMW houseparty of one and I'm feeling 19 again and then there's that line, "...right around my waist." I don't understand? Most parties usually occur in one's house like when we have Clem and Cletus over for bar-b-que pigs and whatever else you can throw on the grill right? U still with me? But the last time I recollected the only thing going on around the waist at parties is just loosening up those big 'ole Texas rodeo belt buckles to allow for some waist expansion for the continual downing of the Shiner Bock. So I'm confused because that's not really a party right around the waist? It's more kind of hickish sad I guess...but Texas none the same boi!
   
   So if you are still with me here and U are a digger of all things old school hip-hop mixed in with some new world production and really talented singing-rapping, get down with the Cool Kids' Bake Sale. If you have kids or want to blast this around the office though I recommend the radio version as you kind of don't want your 5-year old rappin' at school about the party right around his waist if you know what I mean. If you can clarify the whole party around the waist thing, leave a comment here boi, while your listening to your new Amazon download Cool Kids' songs, boi. ...mmw



5. These guys are great. It remains to be seen if this is fluke but I like what I hear so far. They managed to capture the 88 sound to a T! Hints of Gucci Crew, MC Ade and even Dynamix II are here.
   
   They give props to the Beasties at one point too.
   
   Standout tracks:
   - Mikey Rocks
   - Black Mags
   
   The way they rap over the semi-screwed 808s is terrific. Blast this in your ride or thump the walls in the house, this album is going to catch you nodding.

5 comments about One Hot Minute.

1. Now, to set the record straight, I only started listening to RHCP's music after Californication and I was weaned on hits like GET ON TOP and DON'T STOP. The poppy (for lack of a better word) sound of their music from that album onwards were what got me hearing them in the first place. I never knew what albums like One Hot Minute and Blood Sugar Sex Magik sounded like. So I thought why not start on some of them.
   
   So there I was, listening to One Hot Minute and I thought it really sucked. I was convinced it sucked because it sounded so different from their latter albums. I also knew the hype of this album before I plunged in, Dave Navvaro taking over as lead guitarist and all that, so I was prepared to hate it alot.
   
   But I started listening more. Then I started listening more after that. The sounds really weren't bad after a few listenings. Then as I listened to my favorites again (Coffee Shop, My friends, Aeroplane, Walkabout), I began thinking that this album might just be the best I've heard from the group. What a turnaround!
   
   The pace of the songs are sort of slower to my relatively untrained ear and the sounds are darker and sadder like they said, but the catchy guitar rhythms started surfacing in the songs and me, being a guitar player who likes catchy riffs, really found myself swinging to the unique beats of this album. They were that good.
   
   Make no mistake, this album is very different from Californication and upwards, but I guarantee you will find yourself liking the sounds nevertheless.
   
   Now, I don't even recall me liking CAN'T STOP and GET ON TOP. That's a great testament to the greatness of this album.



2. Listening to this album for the first time in literally 13 years, I am shocked at how much I enjoy it. I remember liking this early on in High School, but as with a lot of things I enjoyed back then, I imagined it not holding up over the years. Plus, since then, I've stopped enjoying Blood Sugar Sex Magik, their most famous and (at least on Rate Your Music) most highly rated album.
   
   This album has little of the funk that ended up boring me with Blood Sugar Sex Magik, just enough to keep the sound interesting. Instead, it has a lot of the fuzzy guitars that were prevalent in mid-90's Alternative music. The songs are quirky, the sound changes from track to track, and the album is almost heavy at times. It has an enjoyable experimental feel to it.
   
   I was intending to listen to this album as a trip down memory lane, but I think I'm going to put it on a semi-regular rotation.



3. I really don't care much for the people behind the music, but the music itself.
   
   Looking at it that way, this is probably the best of the Chili Peppers catalog. It's a wonderful, fluid, albeit slightly chaotic mix of funk, metal, jazz, progressive, psychedelia, gothic, and punk, filled with thick grooves from Flea, textured guitar from Navarro, powerful drumming from Smith, and suave to aggressive vocals from Kiedis.
   
   A true, bold experimental record, and the epicenter of a mixed reaction amongst the Chili Peppers fan base, it is still a good album to listen to and worth the listen. It's nice detour from the typical, predictable songwriting pattern that they follow with Frusciante, and this album shows how creative the instrumentalist can be in how the utilize their knowledge and talent at their respective instruments, and how well Kiedis can write very thought-provoking, nostalgic, personal lyrics that are more than just verbal expressions of the sound.



4. I think this is a great album.not there best but there most rocking!so i give it 4.5 out of 5 stars.the only song i cant stand is pea,why bother putting a song like that on an album?I say this album is half rock and half funk.



5. One Hot Minute is a disc I really wanted to like. The collection is diverse and at times exciting. Also, I wanted to see how Dave Navarro would fit into the RHCP style. Unfortunately the whole package is uneven, sometimes underdone, and forced. There was obvious tension between Dave and the rest of the Chili Peppers. It took them over a year to record this mess of an album. One Hot Minute still has some very compelling material to make it at least worth owning. Warped kicks it off in a more Jane's Addiction style with old school metal riffs and Flea's funky bass. Anthony does a good enough job to keep the song from failing. Warped is a four minute assult until it slows down to it's conclusion, a very bold song to start. Then aeroplane gives us a hummable chorus which was why this was a hit song. Deep kick is less focused but I really like it since it has grown on me. This song deals with the past experiences on the band's regret of heroin addiction. They may regret doing the drugs, but they aren't apologizing for it. Then their best track My Friends is depressing but simply beautiful. Then things turn for the worse with the generic hard rock of Coffee Shop followed by filler like Pea and One Big Mob. Walk About starts off intersting enough but then it disappears completely from my memory. Tearjerker is a good song but rather sappy, and only can listen to it occasionally. Then the half-baked title track struggles for over six minutes. Falling from Grace somehow gives trancey wah wahs followed by nice playing from Dave during the chorus. Shallow be thy name is just as stale as a song gets, nothing redeeming about it. Then the album closes with the beautiful Transcending, one of my personal favorites. One Hot Minute is definitely not a very good release, nor is it a lost cause.