No comments about Now or Heaven.

5 comments about Squeeze - Greatest Hits.

1. THIS IS PROBABLY A GOOD CD BUT WITH AMAZON ERASING MY VIEWING/BROWSING HISTORY EVERY FEW WEEKS IT MAKES IT REAL HARD TO ENJOY ANY CDS I HAVE BOUGHT FROM AMAZON!! THE EXTRA WORK TRYING TO FIND MERCHADISE IS REAL ANNOYING SINCE THEY CONTINUE TO ERADICATE MY BROWSING HISTORY..MESSAGE TO AMAZON...QUITE DELETING MY BROWSING HISTORY CAUSE I NOW HAVE NO DESIRE TO PLAY ANYTHING I HAVE PURCHASED FROM THEM THIS YEAR AND WILL PROBABLY QUITE BUYING ON AMAZON ALL TOGETHER...JUST LIKE "PULLING MUSSELLS FROM A SHELL"!!! TOOTLES!



2. If you were a child or a teenager during the 1980's then you would know that Glen Tillbrook and Christopher Difford were the John Lennon and Paul McCartney of that era.
   
   Recently they have released a new album of their many wonderful hits "The Essential Squeeze". It is 34 dollars and change, and like this album the songs are not fully complete.
   
   These are the songs that are the most recognizeable:
   
   If I didn't love you
   
   Up the Junction
   
   Cool for Cats
   
   Tempted
   
   Annie Get Your Gun
   
   Slap and Tickle
   
   Hourglass
   
   Another Nail in my Heart
   
   Black Coffee in Bed
   
   Goodbye Girl
   
   Take Me I'm Yours
   
   Is That Love?
   
   Pulling Mussels
   
   These 13 songs were the ones that were played on the radio. Tempted, Mussels, Another Nail, and Black Coffee were the songs that were played on the radio the most.
   
   I am not saying that this is not a good collection of songs, it is. However if you are not willing to shell out the money for this CD or The Essential Squeeze then you can download these songs from ITunes.



3. This CD is great. I'm not sure what made me want it, but, i'm glad that i now own it. It's great to put on while i'm cleaning the house, or playing around outside. Black Coffee in Bed is an awesome song.



4. Ever since my peers and I had 'Cool for Cats' entrenching our generation delegation (X maybe), I have heard some other offerings of Squeeze (UK Squeeze). Curious, I bought this album. I love it.
   In the words of Molly Meldrum, "Do yourself a favour."
   Jim.



5. This album has 10 or so great songs out of the 20 on it and the remainder are for die hard fans only.
   
   Better to buy the 45s Singles Album if you really just want the Greatest Hits.
   
   Regards, Tony

5 comments about First Impressions of Earth.

1. First Impressions of Earth is the sound of a band trying to grow. After the Strokes 2003 release Room on Fire was critically slammed for simply retreading the ground covered by their debut album, the band spent two years focusing on making a record that would sound, well, different. Whether this was necessary or not is debatable; Room on Fire was a perfectly fine sophomore effort by a band that was overly hyped to begin with, and if you're dating Drew Barrymore and being hailed as messiahs of Rock, why change?
   
   The Strokes' attempt to throw some new musical tricks into their tried-and-true style garners them mixed results. Some songs on First Impressions of Earth sound genuinely fresh and interesting, while one can hear in others the almost palpable strain of a band forcing itself to grow.
   
   When you first start up the disc, the most noticeable difference from previous Strokes offerings is the vocal mix; singer Julian Casablancas' lyrics are actually intelligible, and his voice is surprisingly audible above the standard-Strokes droning bass and sharp guitars.
   
   The album starts up with promise; opener "You Only Live Once" is vintage Strokes, with a dance-able beat and urgent, staccato guitar bursts framing Casablanca's narrative. The next song, single "Juicebox" revolves around a ridiculous James Bond-esque bass line and sounds unlike anything else on the album. Why they chose this for airplay is beyond me, as it is possibly the most divisive song on the record.
   
   The next two songs "Heart In A Cage" and "Razorblade" are excellent tunes, benefiting from Casablanca's clearer singing and the melodic guitar playing. On the latter song Casablancas sings "Oh no, my feelings are more important than yours / oh, drop dead, I don't care, I won't worry / let it go."
   
   This self-centered musing encapsulates the main lyrical theme of First Impressions of Earth; Casablancas is world-weary and incredibly cynical. His one-dimensional lyrics can sometimes become grating, as on "On The Other Side," where he whines "I hate them all, I hate them all / I hate myself / for hating them."
   
   This album is ambitious, to be sure; its nearly twice as long as Is This It and Room on Fire, and the musical chances the band takes far outstrip the simple yet effective formula of those two releases. Songs like "Electricityscape," with its cascades of drum rolls and funky guitar lines show the Strokes growing up and trying out some new ideas.
   
   But, as with all ambitious musical projects, there are some failures. On "Evening Sun," they take a stab at a slow (for them, at least) song, with a jittery cymbal rhythm anchoring the song. Here, Casablanca's voice is actually a detriment to the song; his voice is not particularly great, and when he shifts into screaming mode, its positively painful without an interesting beat to mask it.
   
   "Ask Me Anything" is the most obvious sign of the Strokes trying to do something new, and not a good one. The song uses a single instrument, an increasingly annoying synthesizer, and has Casablancas singing "I've got nothing to say." Indeed. It almost screams, "Look! We can do a slow, arty song too!" Unfortunately, it's just boring.
   
   Ironically, the best song on the album, closer "Red Light," most resembles tracks off the previous Strokes albums. Overall, First Impressions of Earth is neither an unequivocal success nor a complete failure. It offers a definite new sound, a refreshing change from their previous albums, but some missteps along the way as the band tries desperately to please its critics. Songs like "You Only Live Once" prove that the Strokes can still be original and relevant without compromising their unique sound. Hopefully their next album will be more of the good kind of growth, instead of sounding forced and self-conscious.



2. In my opinion, this is the first album, before the next album, which will be The Strokes finally coming into their own. Although I have written reviews for both the other albums and I gave "Is This It" five stars, and "Room on Fire" 3 stars, I do feel good about where this band is headed. Now that I have listened to both the other albums many many more times I realize that this album is SOO much more evolved than the other two. The songwriting is better, the arrangement is way more savvy, and the lyrics are in a totally different place, much more visionary and less adolescent. I am so confident about the next album, I am going to go ahead and give it Five Stars right off the bat. The reason this doesn't get 5 stars is just because it doesn't seem as sure of itself as it could be. There is a lot here...if you look for it. But it doesn't seem nearly as confident or complete as "Is This It." To me it still seems like they are feeling their way into a new style. Very enjoyable. And it is rumored that they are starting on the next album at the end of this year. But who knows...also, if you want to supplement your Strokes craving, go and buy Albert Hammond Jr.'s album which is totally stellar as well.



3. The Strokes first album was very good, their second good too but a bit same-old same-old... but this third album is GREAT. Incredible guitar licks, captivating melodies that don't grow old, personal heartfelt lyrics, great drumming, airtight rhythm section. As good as the first two albums were, this is somehow definitely an improvement in all areas. The songs are often longer, with more varied drumming and rhythms, and plenty of time for all that great guitar-playing. This album is a classic. Reminds me of bands like U2 and the Beatles at their peaks. If Casablancas could only sing a bit better, this thing would be darn near perfection!



4. I am new to the Strokes, but really wanted to like them after playing Reptillia on Rock Band. The music has a nice sound to it. It is sufficiently different enough, that I did not tire of it. The thing that kills this album is the limited vocal range of Casablanca. His voice is utterly average and it breaks all of the time. You get the feeling that someone in the shower could sing as well as he does. Lack of range and inability to hold a note are not good traits for a vocalist. He sounds best when he is just "talking loudly" during certain songs versus actually trying to sing. Sometimes his voice degenerates into words that cant be decifered. The vocals are somewhat akin to Thom Yorke's, except that Yorke has much more talent and he sounds better. Its a shame because Casablanca limits the otherwise decent music.



5. I love this CD, it's one of the few that I can enjoy end-to-end, still, to this day, a few years after its release. The Strokes strike the right balance between pop music and rock and roll. It's neither cloying or artistically alienating. It's just good rock music, and there isn't much of that left.
   
   If you have been listening to the band since the first CD, you'll hear a maturity in the lyrics and the sound.
   
   The Stroke's first CD was great. Their sophomore was no slump. This third one is clearly better than its predecessors, and that's why this is one of the few bands that I'm actually excited to hear about.
   
   I hope they have a lot more to come.

5 comments about Wild Planet.

1. It was a friend's party, senior year in high school, a hot June night after graduation 1980. A girl I knew arrived in a black cat-suit, dominatrix boots, and a purple telephone extension cord wrapped around her slim waist as a belt. I kissed somebody--I don't remember who. And this crazy, goofball tune pounded away on the host's JVC...
   
   "Has anybody seen/ a dog dyed dark green?"
   
   People seemed to know "Rock Lobster" from the year before. I guess I'd missed it. But listening to this album a week later, I found other tunes stuck out more, and one's stayed with me ever since. "Give Me Back My Man" is remarkable, and I don't care how dorky that word sounds in connection to the B-52's. The guitar work--a lonesome drone in a minor key--builds with the plaintive vocals to a hypnotic climax that's sublime--the ultimate woman's crie de coeur. Did I just say that? Yup.
   
   Equally good, though more expansive, is "53 Miles West of Venus". The 50's Sputnik kitch aside, this song succeeds for the same reason "Give Me Back" does--stacatto guitars in a minor key, with wailing female voices pushing the limits of "harmony". Fantastic. It's all here--the humor, the silliness hiding a quirky musicality not unlike Gang of Four. Fantastic, too, to come back to them in adulthood. Some things are too serious to be left to the serious. Give me back my bouffant!



2. The B-52's-Wild Planet *****
   
   
   While the bands self-titled debut album, The B-52's, will always be the bands strongest and most legendary outing, Wild Planet is not far behind, and was quite the sophomore release. Mixing space age New Wave, classic Punk, what I consider the start of Alt. country, 1960's garage rock, and disco,(you know the standard formula for a rock album), The 52's made yet another classic album.
   
   From the ultimate couch potato anthem, and really a song that we can all relate to 'Private Idaho' which may just be the bands greatest track, and the incredible album opener 'Party Out Of Bounds' and 'Runnin' Around' and the manics of 'Devil In My Car' and 'Strobe Light' the band manage one of the strongest albums of 1980, and really one of the strongest of the decade, one that would destroy all that would come for the rest of the 80's.
   
   Wild Planet may not be as infamous as the debut but it is every bit as essentiale with it's killer grooves, over the top subject matter (that when you really think about it isn't that crazy) and the amazing vocals meshed with a really good time how could you go wrong with Wild Planet?



3. This is my favorite B's "rock" geared album ever! Putting both "Whammy!" and Mesopotamia" aside for the moment (these are my favorite "experimental/electronic" geared B albums ever)no album after "Wild Planet" has remotely come close to the timelessness and overall punch this record has--everytime I play it. Two of my favorite tracks are "Dirty Back Road" and "53 Miles West of Venus".



4. The B-52's second album, 1980's "Wild Planet", is thoroughly a blast, and probably the best showcase for the late Ricky Wilson's imaginative, propulsive guitar playing--one listen to the track "Runnin' Around", with its weirdly off-kilter, yet driving riffery, and it's clear that Sonic Youth picked up a thing or two from this guy.
   
   And that's not to take anything away from the rest of the band. Drummer Keith Strickland consistently keeps up a great beat on this mostly uptempo album. The only really laidback tune here, "Dirty Back Road", is fantastic, with a breathtakingly tuneful melody and marvelous unison vocals from Kate Piersen and Ricky's brother Cindy. And the inimitable Fred Schneider, with his enthusiastic-yet-unsettled vocal stylings, gets plenty of room to shine, as on the manic, riff-packed classic hit "Private Idaho", and the wacked-out "Strobe Light". Even the album-closing "53 Miles West Of Venus", an instrumental-plus-title chant, has an irresistibly toe-tapping quality. Things get a hair too silly on "Quiche Lorraine", but that's just a minor quibble. "Wild Planet" is an insanely catchy, joyous album--a definite classic of the so-called New Wave era.



5. This is another super fun and greatly unique album. This and the first album are rock classics with their own special appeal. The B's rock.

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

1. 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.



2. 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.



3. 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.



4. 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. Wow. I was 14 when this came out, and it really got to me: I remember staying up all hours to get a chance to film (not record, film) DEVO's early films and videos on Don Kirshner's. Just the perfect antidote to Foreigner.
   Yes, it is a real grounbreaker of an album and, strangely, has an original flavor that DEVO shed as quickly as they recorded their second album. The Akron anarchy still shines through on this one, though: the sense that these guys were having such a great time playing their joke on the spudboys at Warner Bros, and disbelieving they were getting the chance. 'Course, having Eno -- while he could still take a joke -- and Connie Planck involved in the production was a big help, too. For this album, it all REALLY worked. And the album got (for 1978, when, remember, Foreigner still reigned) kind of big, at least among the colllege and art school kids. Too bad that after this, the Smart Patrol really did have nowhere to go except into Noo Wave parody.

5 comments about Ace of Spades.

1. You've got to love Motorhead. These guys have been around since the mid-70's, have forged their own style and pretty much stuck to it for 30 years. It is basic rock n roll at it's most primal with band leader Lemmy leading the charge. Most fans consider "Ace Of Spades" to be the band's all time classic album, and indeed it is a good one, although not without it faults. The title track is probably the band's most recognizable tune (they have never really had a hit at least here in the U.S.) and the rest of the album is also quite strong. There are a few clunkers on this one though, I really don't care much for "Fire Fire", "Dance", "Jailbait" (talk about clichéd lyrics), but there are also some classics like "We Are The Road Crew", and "The Chase Is Better Than The Catch" along with the title track. Moterhead were a little bit ahead of their time in many respects and never reached the commercial success that many of their imitators would later in the 80's and 90's. I find "Ace" to be a good, but not necessarily classic Motorhead album, but a lot of the band's fans would probably disagree.



2. As I sit here listening to the Ace of Spades album I can't help but say a few words even though another positive review of this classic album isn't at all necessary.
   You've undoubtedly heard of this album, own it or at least have heard the title track. Ace of Spades is the most popular and famous Motorhead album. It's their British Steel, Number of the Beast, Dark Side of the Moon, Agents of Fortune, etc, etc. And like those albums, it's very strong and very solid. It's not the best album Motorhead has done, nor is it the only one someone should buy. These guys continue to put out great stuff(look no further than 2004's Inferno for that).
   One of the best qualities of Motorhead is that there is no B.S. with these guys. They achieved their legendary status by simply being themselves and never having to compromise. Wanting to continue in the tradition of the original concepts of Rock and Roll music-music that is loud, wild, energetic, tough, dirty and bugs the hell out of parents-Motorhead have made it their mission to be the rowdiest, dirtiest and loudest rock band in the world. And they pull it off in....ahem....Spades.
   Motorhead hate being categorized as a heavy metal band. In many ways they are quite different than the metal bands of that time, but they do share the same intensity of those bands, even surpassing many of them. Because of it's volume and energy, it's quite easy to see why they earn this label. It is easier to think of them more as a very loud and energetic biker type rock band. The album cover pretty much sums up the sound of the band-Rough looking outlaw looking types who don't look like the kind of guys you wanna screw around with.
   Ace of Spades is a very good intro to the newcomer. Some disagree with me, but I really don't feel there are any filler songs on this album. It is a great starting point, but don't think it's the only great album they did.



3. Motorhead-Ace Of Spades *****
   
   Before I start my official review I just want to say that Motorhead is without a doubt one of the all time greatest bands in the history of rock n' roll. Much in the same way The Ramones are one of the best and have a amazing following yet are not hardly ever given their dues, Motorhead is in the same category.
   
   This is by far Motorheads best album. Ace Of Spades is an unrelenting, take to prisoners, punch you in the face and buy you a beer afterwards sort of rock n' roll album. Lemmy wrote so of his best straight up rock lyrics here, while not as politically charged as some of his later work the lyrics still are great. His vocal performance is rough and satisfying as always. His rumbling bass playing along side Philthy Phill's killer drum grooves and Fast Eddie Clark's amazing, and I do mean amazing guitar work is incredible.
   
   From the rumbling opening riff of the classic title track, 'Ace Of Spades' through the sloppy 'Fast And Loose' (though I think sloppy was the point), the honest 'Jailbait' and the cliche' yet okay when done by a band like Motorhead 'Bite The Bullet' Ace of Spades is a damn near perfect album.
   
   Some versions of the album come with three bonus tracks. These were originally released on a Ep with the band Girlschool. 'Dirty Love' 'Please Don't Touch' and 'Emergency' are all great additions to the end of the album and always make for a great and interesting listen.
   
   It just doesn't get much better than this. This is the kind of rock n' roll album that can truly wear the badge of rock n' roll. It is unapologetic, loud, fast, angry at times and not during others. So if your looking for a Motorhead album this is the one!



4. Motörhead has the reputation, much like AC/DC, of having made the same album again and again. But a quick comparison of Ace of Spades with other notables from Motörhead's catalog, notably Overkill, which has a somewhat more atmospheric bent, and later releases like Inferno and Kiss of Death, which are very bluesy by comparison, reveals a band that has pursued a number of variations in style, and all to great success.
   
   With that in mind, Ace of Spades is representative of the most commonly perceived Motörhead style. Much of the album is in the speed metal vein that they helped to create (despite the claims that "We are Motörhead. We play rock n' roll."), though there are some clear blues influences ("The Chase is Better than the Catch," for example), and punk ("The Hammer" and many others) as well. As such, the album is an unrelenting assault on the senses. Its goal? To beat you into submission! And to this end it is successful.
   
   I find, however, that despite its claim to fame, this is far from the best Motörhead album. All three of those mentioned above are stronger in their execution and songwriting though, much like The Number of the Beast to fans of Iron Maiden, this one lays claim to a special place in the hearts of the fans and in metal history.
   
   In addition to the quality of the album as a whole, the bonus tracks here are a worthwhile addition and add a great bit of fun at the end of an already strong album.



5. If you a metal fan you already know about his album. It should be in everyones collection. Fast raw heavy thick energy. If the ramones are tin foil, this album is concrete and steel. The pace of this album is like sprinting a marathon.

5 comments about The Life Aquatic with Steve Zissou.

1. Concerning the missing/edited tracks:
   
   As some have noticed, the two included Sven Libaek songs have not only been re-titled for the soundtrack, but they've been shortened. "Shark Attack Theme" is actually a 3:53 song called "Inner Space" from the album of the same name. "Open Sea Theme" is actually a 3:01 song called "Thatcherie," also originally found on the Inner Space album. Furthermore, a song from that same album called "Island of Birds" is also used very early in the film but has been left off the soundtrack.
   
   If you're like me, you want your soundtrack to include these songs in their complete forms, with their correct titles. Determined use of Google will reward you, especially if you head in the direction of two specific domains ([...]).
   
   And, as some have also noticed, the beautiful song that plays during the Jaguar Shark scene near the end of the movie has been left off the soundtrack. This is completely unacceptable, of course. The track is by Sigor Ros, and it is called "Staralfur." It is quite legally available for free on the internet, the best copy of which I was able to find at ([...]).
   
   If you go to the trouble to add these tracks to the soundtrack, you'll have a 5-star album on your hands. You shouldn't have to do this of course, and the people responsible for this soundtrack (Anderson, Poster, Leib) have been rightly criticized because of it.



2. Bought this CD because I liked the movie, wish there were more songs from the movie but not bad overall.



3. I got this as a christmas present from a friend. I like most of the music on this album. My problem with this album is the 2 Sven Libeak pieces. They are both shortened, and wow are they shortened. The 1st song on the album " Shark Attack theme " ( Which is actually called Inner Space ) is shortened by over 4 minutes. It's originally over 5 minutes long, and on this album it is 0:57, WOW . The other Sven Libaek track is also grossly shortened to just over 2 minutes. And Wes Anderson even writes a little memo inside the album about Libeak and how he's happy to include his music on the album. Jeez, it seems like they'd have had enough space on the cd to include 7 more minutes of music. Specially from someone as amazing as Sven Libaek. Shame on you Wes Anderson
   
   Anyway, aside from those, it's a pretty good soundtrack. The Mark Mothersbaugh instrumentals are my fave aside from Libaek. " Gut feeling " by Devo is one of their best songs. The Seu Jorge Bowie covers are great and relaxing, and 30th century man by Scott Walker is pure excellence.



4. Though filled to the brim with well known actors, "The Life Aquatic" is truly a Bill Murray film. As an actor he is so underrated. This film while receiving some bad reviews is a completely wonderful jaunt exploring the world of documentary film makers. It might poke a little fun at the likes of Jacques Cousteau but it is all in good fun. The score is absolutely wonderful with pieces from David Bowie and original score from Mark Mothersbaugh (Devo)as well as the soulful Seu Jorge. Look for great performances from Jeff Goldblum and Willem Dafoe....This film is just a lot of fun.



5. I've always been a fan of Wes Anderson movies, and this was another brilliant one. The soundtrack is great, and every song fit each scene perfectly. Especially the Jorge tracks. I was definitely disappointed that the Sigur Ros track that plays when they finally find the shark, and Zissou starts to cry, wasn't included. It was the most moving song and from the most poignant scene in the movie, so it seemed strange not to put it on the soundtrack CD.

5 comments about Message in a Box: The Complete Recordings.

1. I love The Police and this is the definitive collection. A must-have.
   
   But there's one tragic flaw: at least in the version I have (the original boxed set release from 1993), there's a serious mastering error at the beginning of "Roxanne," arguably the most essential track in the bunch. It sounds as if the analog master tape was not up to full speed when the digital master was being recorded -- the pitch and tempo are slightly off as the track starts and then it slides up to the correct pitch. No!
   
   I haven't heard any later pressings of the boxed set so I don't know if this problem has been remedied... but if you buy this, you might still want to spend the extra 99 cents to get the Outlandos d'Amour MP3 of "Roxanne."



2. What a great idea this is! Basically this box set gathers the band's five excellent albums together which are "Outlandos d'Amour" (1978), "Reggatta de Blanc" (1979), "Zenyatta Mondatta" (1980), "Ghost In The Machine" (1981), and "Synchronicity" (1983) plus many b-sides that range from studio recordings not included in the albums or live tracks.
   
   Of course all tracks have been remastered so if you are thinking about getting the Police albums, this is the way to do it! But to complete the collection you should also get the excellent double live album that was released in 1995 too! So don't forget about that. It includes two concerts. One from 1979 and the other from 1983.
   
   For fans of the late 70's new wave movement or rock in general this group featuring Sting on vocals/bass, Andy Summers on guitar and sometimes vocals, and the awesome drumming from Stewart Copeland is essential listening as their fusion of reggae, rock, and other styles became hugely influential.
   Thanks for taking the time to read!
   Later...



3. The complete works of The Police in a four disc collection. A great classic compilation of the recordings done by The Police. If you are a fan then this collection is well worth it.



4. Message in a Box is an amazing box set, with every song The Police have ever played, and it is all neatly placed in chronological order. The Box Set also comes with a biography of the band, from their humble beginnings as a pseudo punk group, to the amazing Reggaesque group that epitamized there career. Sting and The Police were lyrical geniuses, and were candid when discussing anything from temptation(Don't Stand So), obsession(Every Breath You Take), and even the misery of war(Canary in a Coalmine, and Invisible Sun). For any classic rock listener out there, I highly recommend this band, it just kicks butt!



5. I first started listening to The Police when I was in middle high school and never got tired of them. Most of the songs on this CD set reminded me of specific times throughout my middle to high school years.They also became subjects of conversations I had with friends in college about the bands we listened to while in high school. The Police still rocks!

5 comments about Just Can't Get Enough: New Wave Halloween.

1. This CD has Halloween music that I have not found elsewhere. As a matter of fact, some of the songs on this CD are now my top favorites!
   The best songs on this CD are:
   Every Day is Halloween
   Dead Man's Party
   Pet Semetary
   Time Warp (of course.. but you will probably find this on many halloween CDs)
   
   Some of the songs called Halloween were so bad I didn't include them in my playlist for my party.
   
   
   But all told, the great songs on the CD are GREAT so it is worth it if you want cool music for your party, or if you just love Halloween music!



2. I ordered the cd 2 days express and 2 days later Amazon sent me an email saying it was going to be delievered late! I ruined my Halloween Party!
   I was so dissapointed! The CD is great the service was horrible!



3. Anyone who enjoys the Halloween season, and if you are really into it you know it begins on September 1st and doesn't let up till sometime on November 1st when you get the time to take down your dozens of decorations...this one is for you. Of course it's edgy you know with the New Wave title, and for fans like me who were searching for alternative Halloween rock that caters to a mainly hard rock/alternative, punk, whatever other label fits, and new wave audience. If all that appeals or has a feel for you, then you will have a great time like me listening to these on a daily basis for a couple months.
   
   This one along with a standards CD which would include the song "Monster Mash" etc.. and the excellent by Rob Zombie and co. called "Halloween Hootenany" make an excellent accompanyment to a thrilling, chilling holiday. Being in the Midwest, or in my case the Cental (Central...I need to figure out how to edit that boo-boo!) U.S. and the changing of the season's makes it all the more fun. Watching scary movies from the 80's and listening to this music is the most fun you can have in the fall by far!



4. the first track is just fine. "time warp" i must say if you want that track get the rocky horror picture show sound track or the rocky horror show original london cast.now as for this cd for the most part it is just
   a lot of filler and a god awful cover the price is $11.98 at that price
   i think you might as well just thow it out the car window.



5. This is one of two Halloween cds I keep in my car year round. Sometimes when you're coming home after a hard day or just driving around on a beautiful day, there's nothing better than rolling down the windows and blasting this disc.
   
   It's not as thematically relevant as Halloween Hootenany (my favorite Halloween cd!) but it's definately a great runner-up.
   I wouldn't say all the tunes are "New Wave". I prefer to think the title referes more to it being a new wave of Halloween music instead of the type of music on it. If you're looking for something with more to offer than the standard Ghostbusters/Thriller/Bad Moon Rising/Etc compilations, this is your ticket.

5 comments about How It Ends.

1. After hearing Devotchka in 'Little Miss Sunshine' and during the trailer for 'Everything is Illuminated' I decided to investigate them further. If you like eastern-euro music, gypsy music, or are a fan of Gogol Bordello, Beirut, or enjoy the music of 'Le fabuleux Destin d'Amelie Poulain' then you will love this CD. Sometimes you buy cd's that you listen to right when you buy them but then they hit the cd shelf for all eternity, but this is a CD i find myself frequently re-visiting. It is a beautiful array of eastern-european music with both elements of accordian-folk and 'gypsy' rock. I love it!



2. This is a fascinating, addictive mash up of styles that never sounds forced. Elements of a number of bands surge above a basic template of Eastern European folk music The excellent "Twenty-Six Temptations" sees the lead singer with crooning warble taking a page from Tom Waits, and album highlight "We're Leaving" accompanies Calexico south of the border. Elsewhere, notably on "Charlotte Mittnacht (The Fabulous Destiny Of...)" they bear a striking resemblence to the underrated American band Pinetop Seven. Other influences might be The Smiths, Neutral Milk Hotel, Nick Cave, and Serge Gainsbourgh. Although Devotchka sounds at times like a talented opening act for a bigger band, by the end of the album, they have proven themsleves to be that bigger band, worthy for a shot at the title.



3. For me, How It Ends is a somewhat uneven album - I'll specifically note which songs I like and don't like below - but I find myself listening to the pieces I do like over and over (and over).
   
   The album starts off a bit iffy for me. "You Love Me" is forgettable. I don't hate it, it's just not particularly better or worse than any other song I'd hear on the radio.
   
   "The Enemy Guns" signals a change in pace and style and message, and it is a welcome one. There's a visceral energy here that got me to keep listening.
   
   "No One Is Watching" is a 28-second instrumental, which would suggest to me a transition track, but it doesn't match up with the prior or next tracks in any way, shape, or form. It's an interesting sound, but is too short to "get into" and doesn't get us from A to B. Throwaway track.
   
   "Twenty-Six Temptations" is the first track that made me think there was something imaginative happening on the album. A bassline produced by tuba? A high, haunting voice over a latin rhythm? It's a song that made me work to understand it. That's a rare thing, and appreciated here.
   
   "How It Ends" is beautiful - sparse and repetitive in a proper way, excellent use of crescendo just after the chorus, sad. Another keeper. It also follows "Twenty-Six Temptations" in a good way, thematically.
   
   "Charlotte Mittnacht (The Fabulous Destiny of...)" is a wonderful instrumental piece. Whereas "No One Is Watching" just sort of sticks out, "Charlotte Mittnacht" acts, for me, as a surreal followup to "How It Ends" as well as developing in its own right. Can you have trance music without the thumping electronica? Trance polka? Because this is a polka, but polka as conceived by someone living inside the painting Starry Night.
   
   "We're Leaving" keeps up the energy. I'm once again jarred as, after the Parisian/Slavic (if it sounds odd combining those two, listen to the whole piece to understand why) feel of "Charlotte Mittnacht," we come across a Mariachi band. In contrast to the happy brass, the lead singer's voice is desperate solitary here, and it works excellently. What begins as a carpe diem message slowly drowns in its own history, and the singer who exuberantly leaves is left alone.
   
   "Dearly Departed" on the other hand, annoys me to no end. It may because the lyrics here are just insipid. I don't look to DeVotchKa for great lyrics, but after the lonely power of "We're Leaving," it just sounds obnoxious and thin to hear a drawn out "Sweetheart / How I miss your heart / Beating next to mine."
   
   "Such A Lovely Thing" picks up the pace yet again, a rollicking, near-drunk romp through several ethnic styles that spirals faster and faster as the piece goes on, nearly spinning out of control but managing to just continually raise the bar for five minutes.
   
   "Too Tired" gives us a moment to calm down with a crooning love song(set to a glockenspiel so high it might be a music box). Again, the oddly paired elements blend beautifully here.
   
   "Viens Avec Moi" is an off-key wonder. Make the normally high voice an effective bassline, pair it with a frenetic accordion, and just dance (dirty). I wish U2 could have heard this song when working on Zooropa.
   
   "This Place Is Haunted" does nothing for me. It's nice, it's pretty, but doesn't stick out in my head hours later. Worse, it sticks out at first because it is so different than "Viens Avec Moi." No time to come down, just jumping into harps and softness. On its own, it may work, but the poor placement on the album is problematic for me.
   
   "Lunnaya Pogonka," another instrumental piece, is once more action-packed, but a creepier piece, one that takes its time coming up and then shows you the aftermath. A better followup to "Viens Avec Moi," and probably would have been the best way to end the album - it takes us into DeVotchKa's crazy layering of sound, but then lets us down and shows the lonely end to the party as well. The most varied piece on the album.
   
   "Reprise" is OK. Sorry to damn with faint praise, but reprises work best when the album as a whole has a consistent arc to it. These songs did not, and so the concept of a reprise seems tacked on to me.
   
   I find myself giving a couple of songs five stars, a few more than that four stars, and then a couple of twos. As a whole, I think the album could have been arranged with more thought, but I ultimately think it worth four stars.



4. I purchased this CD when it was first released three and a half years ago and am still listening to it on a regular basis.
   
   The vocals remind me of Roy Orbison (one of my favorite classics) and the instrumentation and production are lush and very atmospheric.



5. I had never heard of this band until yesterday.
   
   I was just looking around the web and happened upon a website that had one of their songs on it "How It Ends". I only got to hear about 4 seconds of the song, but it was enough to make the hair raise on the back of my neck and send electric chills that I haven't had from music in a long long time.
   
   It made me go out and get all of their stuff and so far, I love it all. I haven't heard anything this amazing since The Magnetic Fields.
   
   His voice is abosulutely amazing and soul piercing.