5 comments about Not So Soft.

1. Another beautiful album from Ani! This is her second album and last album which has just her and an acoustic guitar. The lyrics are amazing! The spoken word title track gives me chills, and so does "On Every Corner"...there are many brilliant political protest songs on here, some of her best ones in fact! There is such passion and honesty in her voice and I love it! I'd defineity recommend this or anything by Ani.



2. One of Ani's classic albums, this isn't one to skip. I sometimes wonder what Ani now thinks of her earlier albums such as this one. Always an intellectual with soul and compassion, she can't help but to have grown as a person since the release of her earlier albums. I wonder if she herself still relates to all her earlier songs the way she once did. I know I do. Most people at age 40 can't even write songs with the depth and emotional power of these songs, so it makes it even all the more impressive to think how young Ani was when she wrote these.
   
   I assume over the years she has outgrown (or at least doesn't really enjoy performing) some of her older songs, but in the case of some of these great songs, I just think maybe she is so prolific that she just doesn't remember her own songs anymore. Roll With It is one example I'm thinking of here. I should look up some recent setlists to see if she has played this one at all in the past couple years. Over 10-years-old now, Roll With It has never (since it was written) been more appropriate to the USA's current mess than it is right now. This song deserves to be performed again if it has been years since she last brought it out.
   
   Anticipate, Roll With It, Gratitude, The Whole Night, Next Big Thing, etc... this album has everything a classic Ani album has... lyrics that will pull you together, lyrics that will break you down, great guitar playing, and expressive singing. Not So Soft itself, always one of her best spoken-word pieces was great when first unveiled here, but now that there have been so many fantastic, yet drastically different live variations of it, this studio one doesn't have the impact it once had. The words are still perfect, but in the years since, it has been delivered better elsewhere.



3. Ironically, given the title, this is one of Ani DiFranco's softest albums!

   It's very good. Acoustic, simple and honest -- it predates some of her more passionate folk/rock, and tremendously predates her synthesized stuff.

   Songs like ROCKABYE are gentle, soothing -- but of course, always intelligent! This one reminds us to that we all need to comfort ourselves sometimes.

   GRATITUDE is an honest look at date rape -- that actually manages to be humorous. I know that seems impossible, but Ani can pull it off! I won't give away the joke -- it's too good the first time you hear it. I don't want to spoil.

   This is one of those albums you'd say is 'one of the best out there' if it were made by someone else. But since it's Ani DiFranco, and she's made too many outstanding ones even to count -- it makes it tempting to say she can do even better. But you can't deny it's an absolute keeper!

   So glad I have it.




4. I like Ani but sometimes it sounds like she is playing the same guitar riff through every song. I like how she sings about songs with meaning.



5. This is the album that got me hooked on Ani Difranco so long ago. Every single song is an old friend to me now. After sitting in the mud in the pouring rain at Calgary Folk Festival in the early nineties and gaping at Ani's stunning performance, I scrambled to buy this CD from the table nearby. These songs ring with poetry, melody, harmony, and rhythm. This is an Ani Difranco classic. Any who don't appreciate it must, in my opinion, be crazy. At the time I thought..."Why haven't I heard of this woman?" Friends looked at me with pity when I asserted that she would one day be a household name...without selling out. To them I say HA...FOOLS....DOUBTERS...she's done it!

   Favourites of mine include "Make Me Stay" for it's crackling self-esteem, "On Every Corner" for tackling AIDS at a time when others weren't, "Small World" for the long note near the end, "Not So Soft" because I can quote it verbatim (same inflection), "Roll With It" for its protest weight, "The Whole Night" for its bold sexuality, "The Next Big Thing" for the line 'my thing is already just the right size', and "Looking For the Holes" for its lyrics. Did I miss any? ah yes..."Anticipate" because Ani tore up her guitar one day, playing this song in Calgary, Canada in the pouring rain....and I found my favourite musician. Buy it.....it's vintage Ani.

5 comments about Crucify.

1. I was in high school in 1992 when this was released. Having insomnia, I was up late on a Friday night, flipping channels when I came across this stunning redhead at a piano. If I'm not mistaken, the show was ABC's In Concert. I'll be darned if I remember which song she was playing, but I do remember she also did "Me and a Gun", which was unlike anything I'd ever heard before. The true story of her rape at the hands of a fan, its effect was immediate and gut wrenching. The next day, I went in search of the album at the music store. Alas, they were sold out of Little Earthquakes, but they did have this EP in stock. I was disappointed, but I looked at the track listing, shocked to see "Angie", a Rolling Stones cover. At the time, the Stones were my favorite band, so I needed no further prodding to purchase Crucify. Her version of "Angie" proved to be amazing, as were her covers of Led Zeppelin's "Thank You" and Nirvana's "Smell Like Teen Spirit". "Crucify" turned out to be an excellent song about guilt and the search for salvation. But the song that blew my mind and made me an instant devotee of this songstress was the absolutely magical "Winter". To this day, "Winter" remains one of the most powerful songs I've ever heard and is still my all time favorite Tori song. It's about growing older, about losing some things, about falling behind, about the loss of innocence and probably a million things I'll never quite understand. Needless to say I was hooked and haunted the record store until they replenished their supply of Little Earthquakes. This EP keeps a special place in my collection, simply because it was my first exposure to Tori.



2. Cucify by Tori Amos is a great cd single. This cd also contains three covers: The Rolling Stones beautiful ballad Angie. Led Zepplin's Thank You, and Nirvana's Smells Like Teen Spirit. Tori successfully makes each song her own, this woman is amazingly talented. She plays the piano like no one else and the way she sings these covers gives you chills. Gorgeous and haunting ballads, this is one EP you won't regret getting. Buy it today!



3. We knew she could bare us emotionally with her own compositions, then she manages to unleash that same power revisiting covers. It was foreshadowing.



4. The Crucify EP, more than a single and less than an album, was my first taste of the way Tori worked back then. She was probably the most prominent and consistent EP-artist in the '90s, as nearly every single she put out was released in this format, with at least two, and usually three or four, extra, non-LP songs on it. If you were a completist, as I was (and still am), this made collecting Tori both frustrating and quite rewarding. To wit: while you would always get a profound feeling of accomplishment from finding some, say, UK release of 'Silent All These Years' in the import section of the local Sam Goody or Hastings, there was always, in those final years before the internet and sevices like this, at least one that you just couldn't get no matter how hard you tried. The Crucify EP was never one of these; ever since its release, it has always been right up front with the LPs, where you can always find it.
   Of course now, in the days post-ebay, post-amazon, finding all of Tori's myriad EPs is easy; all it takes is money and an internet hookup (and the nerves and patience to dig through ebay and wait out any number of auction opponents). Still, in spite of the fact that you don't even have to go to that much trouble to find Crucify, and in spite of the fact that it will never cost you fifty or seventy-five dollars, it stands up with the best of those rarer, more costly EPs. The single mix of the title track that begins the record is excellent, the kind of track that reminds one that the 'remix' isn't always a waste of studio time, and that it can sometimes add another dimension to a song, or bring out an element of it that isn't emphasised in the album mix. This is followed by the album version of 'Winter,' which would wind up with an EP of its own; while there's no particular reason for it to be here, it fits the context and is just a damn good song anyway. But the reason to buy this record, for most of us, is the three tracks that follow: the covers. These are stark, simple recordings, just Tori and the piano, and they are perfect in their simplicity. Her version of the Rolling Stones' 'Angie' is breathtaking; a slow-burning, passionate rendition that exceeds the original in emotional quality and brings out the melodic potential of the song that the Stones neglect; pardon the cliche, but she truly makes it her own. Ballads simply are not their specialty; they are (one of) Tori's, so she had little trouble taking a seemingly tepid ballad by a non-ballad-oriented act and making it a thing of great passion and beauty. Next up, she did something that really took nerve: she took the ultimate rock anthem of the age, and, with no more than her voice and 88 keys,without changing a word, converted it into damn near a new song. Supposedly, Kurt Cobain liked Tori's 'Teen Spirit,' which is nothing like his original, but for lyrics (you can understand them in this version, by the way). I've always believed that there's no point in covering a song if you don't have something new to contribute to it, some variation upon the standard interpretation. Note-for-note remakes are for bar-bands, 'tribute bands' and the like; when a genuine artist covers a song, he or she should be able to present it to you in a new way, from a perspective other than that of its originator. Tori's 'Smells Like Teen Spirit,' haunting yet comprehensible, does this beautifully.
   Which brings us to the end: 'Thank You,' by Led Zepplin. The Zep had a more profound influence upon the young Myra Ellen Amos than any other musical force, perhaps; it certainly shows in her vocal style, and her tendency toward mystical epics on record. Either way, her version is etherial, evoking mental pictures of sunrise beaches and highland mists as well as any Zep original. When I saw her live, at the Backyard in my home town of Austin, Texas days after Hurricane Katrina, she did Zep's 'When the Levee Breaks' in tribute to the people of the gulf coast; it was one of the highlights of the evening. Tori probably does Robert Plant better than anyone these days, quite possibly including the man himself.
   In conclusion, even though there's no difficulty in finding it, and it doesn't cost an arm and a leg, the Crucify EP is a wonderful piece of work, entirely worth the trouble you don't have to go through to find it.



5. Tori and piano provide a short, yet sweet 5 song collection.
   
   The CD begins with two original tracks and then serves up three powerful covers, the first of which is a cover of the Rolling Stones classic "Angie". Amos then goes on to cover Kurt Cobain's "Smells Like Teen Spirit". This acoustic version is haunting yet beautiful. The final track on the CD covers Led Zeppelin's ballad, "Thank You". Yet again Amos provides a worthy redition of a past song.
   
   Overall very well done. Not intended to lift your spirits, but rather a reflective, mood setting work.

5 comments about Trailer Park.

1. From the OBJECTIVE reviewer...Beth has a unique voice...kudos...and this album highlights perfectly her folk sensibility with the touch of electronic influence she probably picked up from William Orbit.



2. After seeing Beth Orton live at Field Day I was impressed by her accoustic solo music, as well as her lively personality. I was so excited to buy this cd based on what I had heard, but was dissapointed when I received it. Very little of the folkish guitar work that I had fell in love with was audible on the CD, and Orton over-layers her work with poppy base and drums. At some points on this CD she reminds me of radiohead (faintly) or Beck (especially on "tangent"), and at times delivers the folk feel that I found so appealing, but for the most part comes off as poppy and frankly, boring. Though this CD is certainly worth buying for tracks 1-3 and 10 and 11, it lacks replay value.

   Perhaps I am being overly critical because I had such high expectations for Beth. I would reccomend buying this CD, however, see her live. She is a great musician and a charming personality.




3. This album always gets hyped as folk meets trip hop, which superficially sounds like an interesting meld. The truth of it is, however, that the "hop" never comes, and all you're left with is a long, slow trip into tired folk. Beth's vocals, during the very few seconds she manages to perk up, have a similarity to Carol King. Some might view that as a recommendation. The unobtrusive atmospherics make this pleasant-enough as background noise for when you're doing something like reading, but if you're doing something more active (like, say, washing the dishes) you might want a less somnambulant soundtrack.



4. A lot of bizarre labels have been attached to the music of Beth Orton: Folk and rock, to be sure, but also trip hop, beat hop, treat beat, beat bop, seat crop, and lounge. It doesn't matter that i made up half of those words just now, and it doesn't matter that you even try to put Beth Orton into some tidy little pigeon hole, because her music is impossible to nail down. What is Beth Orton's music? It's beautiful, soulful, witty, heartbreaking, and damned near perfect. She's not the next anyone. She's the first Beth Orton.



5. Started with Daybreaker and worked my way backward through Central Reservation and just received Trailer Park. All three are excellent.

   All three are different and unique in their own way. I think that Beth's voice is clearer and less edgy on Trailer Park than her later work which is a very pleasant surprise as the lyrics - which are excellent - can be understood. In some ways this CD reminds me more of Daybreaker than CR as both span alot of musical territory from straight acoustic guitar to orchestral movements.

   There are few artists that I can honestly say that I take great pleasure in all of their CD's, Beth is one. Yeah I know I haven't mentioned "Best Bits" which I have also received but have not really listened to - but this is a remarkable string of CD's.

   There are those who simply do not like Beth's voice and those who don't want to spend the energy to listen to music that is better with active brain activity. That means that you really have to listen to the music to really get what Beth is doing - it really is not suited to backround music. If you don't fall into either category you will more than likely fall in love with Beth like I have.

5 comments about Daybreaker.

1. Her whiny voice, dreary music style, and jaded lyrics are enough to put me to sleep. 3 tracks were good but none of them incredible: "This One's Gonna Bruise," "Concrete Sky," & "Daybreaker."



2. She is the female David Gray. If you like his music and songs like BABYLON just rush out and get this album. The best song is the last, the incredible, haunting THINKING ABOUT TOMORROW. Like some here say, this requires repeated listenings and all of a sudden you're listening to it every day.



3. She'd been waiting for us, she'd been creating for us. Following Beth Orton is an eternal game of "catch up". The one thing you'll see time and time again through the customer reviews of this album is that you've got to give it time. I'll weigh in on that thought with an observation. Usually we associate a plethora of producers and mixers with an attempt to make a silk purse out of a sow's ear. There are many creative hands, all much-respected in music circles, contributing to this project. Beth herself seems aware of the impact this may have on a prejudicial audience, judging from the layout of the liner notes. It's virtually impossible at first blush to dissect the project by looking throught the liner. One has to study it time and time again (ideally while listening to the album) before one can get a grip on all the various collaborators and their exact contributions, or even the words to the songs themselves. As a result any opinions formed stand a greater chance of emanating from exposure to the music itself.
   
   An album of music and a liner of notes that had so frustrated me proved, over time, to be just right after all. All those hands weren't trying to tart-up the less-than-worthy. They were actually trying to reign-in one of the most rich pieces of work to come forth in this decade. I suspect that much like the listener they didn't quite know where to start. Nonetheless, I'd say they succeeded.



4. I picked this up on a whim, when it came out, and it would be my introduction to Beth Orton. I won't say too much, since it's been mentioned, but give this one several listens. It's very soothing from the start, but nothing catches you. But just listen again. It's probably my favorite album. It's one of those records if you listen to it, her voice is just incredibly human. Her lyrics switch between deep in a simplistic way, and sometimes possibly cheesy because of that simplicity, and then sometimes some abstract artsy imagery. If anyone else were to sing them, they would seem hollow and fake, like the soundtrack to a crappy movie, but her voice is what makes the lyrics - they provide a depth of emotion that makes them shine. The melodies and the instrumentation just fit the part so well. Like I said, nothing catchy, but it's soothingly melodic and haunting - but they do their jobs well - even when the instruments seem to overwhelm her voice - they do so in a way that still allows her voice to come through. Once you've gotten your ears around the songs on this album, you'll find they still retain their beauty in acoustic and live formats - without the sparkly, tinsle of studio.



5. I had never heard anything by British singer/songwriter Beth Orton before this CD. My introduction to Beth was on the inflight entertainment of a British Airways flight where 3 cuts off this CD were featured; `Concrete sky', `Paris train' and the title track `Daybreaker'. Those were enough to convince me to get the CD.
   
   Melancholic and atmospheric soft acoustic folk/rock with a dash of electronica best describes this beautiful CD, a #40 hit on the billboard album charts. Like a number of reviewers have mentioned, repeated play reveals more subtleties of this stark serene beauty.
   
   `Paris train' is a lilting ballad with gently jangling guitars and forlorn strings. In a similar vein is `Mount Washington'. `Concrete sky' is more upbeat (but still delicate) with Ryan Adams harmonizing on the chorus.
   
   One of my favourites is the horn drenched delicate `Anywhere' with a faint jazzy/Caribbean atmosphere and swirling strings. Jaw-droppingly beautiful!! The upbeat `Daybreaker' filled with pulsing and haunting jerky synthesizer effects, and hollow beats is another highlight. A trip hop delight!
   
   `Ted's waltz' is a delicate ballad with faint shuffling percussion, shimmery guitars, and a wistful vocal performance from Beth.
   
   Introspective, serene and beautiful. I'll be looking out for more of her music.

5 comments about When I Was Cruel.

1. I'd never really heard Costello growing up in the 70s and 80s, so thought I'd better educate myself one day and picked up "When I Was Cruel". The title looked cool.. but after I heard it, wow! I was so impressed. This album is fantastic - catchy lyrics that are really clever when you start checking 'em out and the tunes are down-and-out heavy riffed melodies with a lot of soul. If you hear the cd once, you'll want to hear it again. Read the lyrics too - this guy is a poet. This is the first Costello album I'd ever heard. Since then I've picked up another few, but none of them have impressed me like this one. If you don't get another album by Elvis, get "When I Was Cruel"! I don't think you'll regret it. Elvis is a real cruel dude!!!



2. I always liked Elvis Costello, but never owned any of his CDs. We had some LPs a long time ago, but were far from big fans (very casual). Now it is 2007, and I decided to give him another listen. I started with a very best of, enjoyed it so much, that I then decided to buy all of his CDs. I think he has so many awesome songs and is turning out to be one of my favorites with such a WIDE variety of music. When I Was Cruel is definitely one of my top 5 favorites along with Delivery Man, Spike, Trust, and Brutal Youth. It is so hard to choose since I like a majority of his music now. I think When I Was Cruel deviates from a classic EC album, and plays more like something modern on an alternative or college rock station. Many of the songs have wicked baselines, and a unique sound. There are some slight jazz and blues undertones, but it stays more in a progressive/alternative realm. If you like any of his music, give this a listen with an open mind. I think every song is great, and well worth your money.



3. I was a big EC fan from early on. Maybe I didn't keep up with him, I admit.
   
   But then I heard "when I was cruel, no.2".
   
   This man is beyond genius. This track is so profoundly creative and genius, words cannot describe.
   
   It led me to hunt down the Mina track from which he sampled. But besides that, this one track references Eric Sate', and ABBA!
   
   In Japan, they designate some people as "national treasures". EC is the closest thing we've got to that.
   
   This is my desert island song.



4. Elvis Costello is quite literally the most unique and interesting man in rock-n-roll today. He hit the music scene in the mid-1970s, and no one quite knew what to make out of this strange man with the big glasses and funny stage name. At one point he was labeled Punk, and another New Wave. But, Elvis Costello (born Declan Patrick MacManus) was never easily buttonholed into any category. About the only thing you can say is that he is Elvis Costello.
   
   This album is Elvis Costello's twentieth, and came out in 2002. It contains fifteen tunes carrying that great Elvis Costello sound, which is sure to please his fans - well, it sure did me. Overall, I think that this is a great album, and an excellent addition to anyone's music library. I highly recommend it.



5. It pains me to say that Declan McManus (his real name) no longer has the chops to fill an album with hits. Sure, he can still write great lyrics, but this album is sadly lacking in melodies. Without the foundation of hummable tunes, the music collapses. I think Costello deserved to be inducted into the Hall of Fame, but I was disappointed...ARRGHH!!!

5 comments about Live from New Jersey.

1. Words cannot describe....if you love Mr. Yorn the way I do, you will love this recording. There is some great dialouge along with amazing renditions of all your and my favorite songs.
   Pete...looking for a really good woman? Look no further.
   I'm such a rebel...I kill myself.
   That's sarcasm for the confused among you who might actually read this pathetic review. What am I doing writing reviews? A....Get a life Girl! Do guys actually say stuff like, "I want to run thru Moorland Fields with you"? Dude, I got my Nikes on...



2. I had never listened to Pete Yorn until this past Spring when a neighbor of mine played it at a get together. This is an outstanding live performance by any measure. A must-have for any audiophile, which I guess I consider myself to be. I purchased "Music for the Morning After" after I listened to this CD and, in my opinion, Pete Yorn is much, much better live. Similar to The Grateful Dead in that respect. Buy it, you won't be disappointed.



3. Anybody out there roll their eyes when you hear a music fan say a musical performer is better live than on CD? I did and still do when I hear people say that, as very few artists are truly that good in concert in my experience, then I heard Pete Yorn's Live In New Jersey; and my eyes stopped rolling.
   
   Coming on the heals of Yorn's forgettable second record Day I Forgot, Live In New Jersey is an entertaining showcase of this singer-songwriters folk rock appeal. The first highlight of the album, Pass Me By from Day I Forgot, indicates the level of live performer Yorn is as instead of starting out with songs from his more lauded debut effort Musicforthemorningafter, Pass Me By is unleashed into a dazzling rollicking rocker that Yorn didn't quite get right in his original studio recording of the song. Hearing Pass Me By immediately throws the rest of the concert up in the air as all of a sudden a previous PY dud seems to have a few shots of sparkle thrown into it.
   
   From that unexpected starting point, the set on Live In New Jersey reveals an awareness by Yorn of what songs truly excite his audience. Come Back Home, the first single off Day I Forgot, seems to have been in fact forgotten by Yorn, as it's not on Live In New Jersey (It was also not played at the two Pete Yorn concerts I have since attended) showing an artist comfortable enough to listen to his audience. Meanwhile the set-list makes room for album cuts such as Long Way Down, Closet and All At Once with more songs coming from Yorn's first record. Also a few spirited covers are added to keep the proceedings moving.
   
   A reason for the CD's quality comes in Yorn's introduction to the previously unreleased Bandstand In The Sky, a song written in response to the passing of Jeff Buckley. Instead of being a downer, a good time version of the song is rolled out that Yorn refreshingly acknowledges to his audience is slightly changed so to be better live. Such audience awareness differentiates Yorn as instead of being an overly serious singer-songwriter, his embrace of being a live performer lifts his live experience into that rare meeting of great craft with great showmanship.
   
   Even the slower song June has an audience clap along heard revealing Yorn to be continually committed to engaging the crowd. This showmanship turns Live In New Jersey into perhaps Pete Yorn's best current CD showcasing a consistent set-list from an emerging talent with songs that often do sound better live than their original studio versions. Excuse me while I stop my eyes from rolling, it's a knee-jerk reaction.



4. This is an incredibly solid live album. All of the songs sound amazing with Pete & co. playing them live, but some of them sound even better than the album versions. Highlights include Burrito, Bandstand in the Sky, Suspicious Minds, June, Crystal Village and Lose You.
   
   The two disc, 20 track live set from Pete's home state is incredibly amazing. It packs so many great songs, and it's incredibly cheap. A great introduction to an amazing singer songwriter, or an awesome addition to a fan's collection.



5. It's a live album, no big suprises here. However, this is a very good live album. They kept Pete Yorn's pre/post song dialog which makes for some interesting stories or backgrounds of the songs. Sound quality is good. Definitely recommend.

5 comments about Tonight and the Rest of My Life.

1. Nina Gordon's solo debut sparkles and pops like a firecracker. Every song, fast or slow, reaches a point where it explodes with enthusiasm and angst. Not as melodic or melancholy as Nina's recent "Bleeding Heart Graffiti", "Tonight and the Rest of My Life" oozes attitude.
   
   This is one of those albums I picked off the shelf because I particularly liked the cover art. I had never heard of Nina Gordon nor did I know she was previously a member of Veruca Salt. But I was quickly impressed with the music and how infectious many of the songs were, like addictive candy. The ballads got me hooked. The perky guilty pleasures kept my spirits up. This album has a great balance of slow and fast, and is a wonderful example of the silver lining theory. The theme of every song seems to deal with the best way to cope with a particular matter, usually regarding to love and relationships.
   
   For those that loved Nina's Veruca Salt days, there are a couple of rockers here, such as the harshly honest and desperate "New Years Eve" in which Nina intends to ignore the festivities in an attempt to forget about a lost love. "Badway" is perhaps the closest Nina gets to her harder-rock past and her voice sounds fabulous with its growl and rasp. Though not as easy to dance to, it's the more radio friendly pop tracks that really showcase Nina's vocal abilities and help her shine. The opener "Now I Can Die" is a cute and quirky confession of perfect to-die-for love, complete with occasional sparkly percussion and a sweeping chorus that's easy to sing along to. "2003" is the perfect coastal drive song and is as carefree and bright as a breezy afternoon. "Hold On To Me" is a beautiful ballad with strong lyrics and conviction, but it's the title track "Tonight and the Rest of My Life" that really takes the cake: The chords are warm and dramatic and the lyrics are comforting and strangely inspiring. The biggest surprise is "Hate Your Way", which starts incredibly muted and lazy but then bursts into an assertive guitar driven promise that though Nina can't stand a man she's still a fool for him and it doesn't matter what anyone says or thinks.
   
   Years after I purchased this, I still come back to it often and enjoy it from beginning to end, occasionally playing certain songs twice or more because they're so darn good. Nina's voice is charming and full of life, cute but haunting at the same time. This is definitely one worth picking up, even if it's just for the cover art.



2. I, too, am a fan of Veruca Salt. Nina Gordon makes a departure from what I expect much of Veruca Salt's music to sound like. But, overall, this is a great first solo album. I purchased it very soon after its release. I enjoyed it then and I still enjoy it now. I believe this album reflects a certain degree of musical maturity that Nina Gordon has developed.



3. I was a fan of Veruca Salt, so I just had to get Nina Gordon's first solo album. It has a lot of the pop sensibility of her old band, but her songwriting and singing seem to have grown quite a bit. I realized, however, that so much of what I like about the album comes from a very strong Aimee Mann influence (particularly the early 90s I'M WITH STUPID). If I remember correctly, there's even some personnel or a producer in common. The stand-out tracks are "Fade to Black" and "New Year's Eve."



4. First off, as qualifiers, I am a big fan of Veruca Salt. I am also interested in lots of different female vocalists ranging from 'kill all rock stars' grungy to highly produced Avril. There is a point in listening to the highly produced stuff when you ask yourself a couple of questions: "what is unique about this song/album/style" and for me especially is there any "catch song"--one that stands out on the first listen, that you want to listen to over and over, and holds your interest into the rest of the album. Avril had "complicated", Juliana Hatfield had "my sister", Veruca Salt had "seether". Sometimes these songs are the released singles, sometimes they are not. I listened to this album twice looking for the song. It is not here. Like a previous reviewer, I guess I liked "badway" the best, and the album did seem to pick up a bit near the end---but not enough to move it over to my ipod. MY general opinion of this is "produced to the point where there is nothing unique left". I paid a penny for this album, so I don't feel put out. And- I also purchased Nina's second album... which at least from my 30 sec listens, I will probably find more to my liking.



5. Catchy/melodic songs. Great lyrics. Great singing - Nina's pitch is perfect, as well as her vibrato, no matter what the dynamic is. She can rock out or do a 180 and tap into her sweet, feminine side. Stacy Jones on drums, no need to say any more. Oh, and I love Veruca Salt too!

5 comments about The Greatest.

1. Intense and powerful music. If you enjoy Cat Power check out Arrica Rose's music; particularly her newest album: La La Lost.



2. Chan Marshalls raspy, mysterious voice has brought us to a new level of her music in a modern sense. With Songs like "Lived in Bars" and "the Greatest" Marshall gives us a modern day song with her personal touch that no other can seem to reach. This CD is a must own if you are a Cat Power fan.



3. I agree with most reviews here, it's a great album. The only thing I want to make clear this is the same CD but comes inside a card sleeve that's why the cover in the picture looks different. Otherwise has a great price that's worth's paying.



4. Cat Power 's vid for 1998's " Naked As The News " was an intense music experience , equally disturbing and powerful with , let's say P.J.Harvey's " Down By The Water " or Bjork's " Army Of Me " . Then , her hypnotic vid for " Cross Bone Style " was the equivalent of an indie wet dream - strange and beautiful - . Up until recently the singer had been known for being a mess on stage and heartbreakingly beautiful and melancholic on record . 2003's " You 're Free " , her best work so far , featured few fully rounded songs . She mostly delivered fractured ideas of a song , small odes to pain and isolation .
   
   Fast forward to 2007 and Chan Marshall returns sober and happy yet arguably a less exciting songwritter . " The Greatest " is an album that doesn't do justice to her virtues as an artist . On tracks like " Could We " she wins points in structure but lacks the feeling of her past work . Her voice still has that haunting quality it always had and the tittle track is just pure magic but while there's something undeniably special about the girl ( just notice the warmth of personal redemption she brings to the vid of "Lived In Bars ") her breakthrough album just doesn't live to it's hype .



5. I loved this CD. It moved me, amazed me, and made me want to grind all over my sig other (now fiance). I think this CD might be one of the reasons that we are getting married.
   
   That said, I was heartbroken when I heard her cover of "How Can I Tell You" by Cat Stevens used in a diamond commercial. Now, I can never listen to another CD by Cat Power without wondering if she wrote that song because she *had* to, or because she wanted to sell X?
   
   This is why I hate it when singers allow their songs or performances to be used in commercials. It puts the stench of impure motives on everything they do from that moment forward. As Bill Hicks said "You do a commercial, you're off the artistic roll call forever. End of story."

5 comments about Come to Where I'm From.

1. Joseph Arthur doesn't fit in a box. He has his own, changing constantly, freeing himself all over again.
   Some call him a singer songwriter, some indie, others plain artist (he often does his own cover and booklet art).
   Whatever you decide to call him, he is an extremely talented musician. Beautiful melodies, haunting lyrics.
   Rest assured, once you've opened up to his music it doesn't let go. I bought his first album Big City Secrets back in 1996 and have been a fan since. Every new album is a surprise (thank God he found a record company who allows him the freedom). What is he doing this time, what has he come up with, who is he working with?
   On this album amongst others: T Bone Burnett, Jim Keltner, Ben Findley. Twelve great songs by Joseph Arthur.
   And if you have the chance to see him live, take it. Just don't expect to hear the songs the way they are on the album. Joseph will most definitely surprise you once again.
   A true musician with all his heart and every cell in his body.



2. If you are trying to decide on which CD to purchase...this is a fantastic choice. The first song "In the Sun" starts you on a journey inside and keeps you there. JA goes deep into his thoughts and if you like that sort of thing, you'll love this CD.



3. This is my favorite joseph Arthur CD. Maybe its because it is the first I owned - but I like all of his CD's and you can't go wrong with any of them.
   
   This is the kind of album you can listen to many times and gradually, overtime, you will find more things to like about it. It grows on you with different songs emerging gradually - giving it tremendous depth and long, satisfying, listen-ability. Stylistically he is so diverse that there will surely be something for everyone of this album.



4. This is the latest cd of his that I have bought since becoming a fan. It is very good, although I can't say I find it more enjoyable than his newer ones. But it's still pretty adicting. There is a good mixture of different types of music in here but it's not as extreme as redemptions son. HIs voice is more rough and grough sounding here also than on any other cd, but most of the time is sounds very good. In my opinion the first song "in the sun" makes this cd worth the price of admission alone, it's definitly a classic. But anyways, rather than rank each song one by one I would rather say that I pretty much can split these songs up into three categories. Fun/pop, slow/dark/seious, and signature Joe Arthur sound (being mostly him and his guitar singing about previous relationships that usually make for his most popular songs. Here is how I split them up:
   
   Fun pop songs) Chemical, history, cockroach, exhausted and tattoo.
   
   Slow/dark/serious) Invisible hands, eyes on my back, and The real you.
   
   Signature Joseph) In the sun, ashes everywhere and speed of light
   
   *Creation or a stain is in a class all it's own where he sort of raps, or sings fast. Think of subturanean homesick blues updated.
   
   Well know you know what to expect at least, it's an enjpyable album, but doesn't stick with you like others. At least it didn't with me.



5. The songs on this album were the first I heard of Joseph Arthur and I was immediately mesmerized. A few were on the soundtrack for "Hell's Kitchen" with Angelina Jolie and Rosanna Arquette and when I heard them I had to know who it was. Joseph Arthur is haunting, for lack of better words. I've noticed lately, he's going a little more mainstream, which is slightly disappointing. But I think he's incredibly talented and I would definitely recommend this album.

5 comments about A Few Small Repairs.

1. I bought this c.d. in the nineties and loved it. I recently rediscovered it and love it all over again. She is a talented musician.



2. What a great CD. Such a fresh sound. Really sounds like she is having fun when she is singing. What a unique style. I will seek out other SC CD's after hearing this masterpiece.



3. In the late 90's Shawn Colvin was one of many in the "angry female singer with guitar" genre. However she is one of the few to not only outlast but to PREDATE this trend. Shawn has been running her own show from the ground up for years and put out consistantly (albiet long-awaited) solid work throwing back memories of Carly Simon and Carol King in terms of emotional poingnancy and clarity. Her work is evocative in its lyrics and in its overall sound and feel.
   
   A Few Small Repairs was the album that put Shawn Colvin on the mainstream map and it's not hard to see why: The album title is taken from the first song (and the biggest single) Sonny Came Home: A hard-edged, slightly-lilting guitar hook filled with urgency immediatly pulls one into the emotional trip this album takes. Shawn seems primarily concerned on this album with finding meaning in life and doing what it takes to be happy. This takes many forms: Sonny Came Home is clearly one woman's escape from an abusive spouse. Several other songs on the album point to this "broken relationship" theme.
   
   This is all pretty standard fare but in my opinion the true emotional center of the album comes from "If I Were Brave." Colvin speaks an indesputible truth: She is trying to do the best that she can and try as she might...her song uses biting irony to show that sometimes you can't be more than you are by simply putting on a "brave" facade for the world and trying to live a life that is not true to your nature. This reviewer has seen clarity of prose and verse like this only amongst some of the finest songwriters of our time.



4. This is a good cd but this artist has so much more substance live. Her accompanying guitar player was very expressive. I saw them live on (I think) soundstage and she was really good. These songs took on a different light in a live context.



5. Having recently delved into the folk and folk-rock genres, I came upon Shawn Culvin. Had I known she was the singer-songwriter who sang "Sunny Came Home" I'd have probably gotten her CD a long time ago, since that song was hugely famous in my pre-teenage years. The aforementioned "Sunny" is brilliant in every sense, and definitely deserved its Grammy wins for Song of the Year and Record of the Year. The rest of the album is surprisingly consistent; "Get Out Of This House" is darn near as listenable as "Sunny Came Home," but not quite. "The Facts About Jimmy" is brilliant as well. A Few Small Repairs is definitely a worthwhile addition to any serious music fan's collection.