5 comments about I Tried to Rock You But You Only Roll.

1. Something about Leona Naess's music grabbed hold of me and won't let go. This was as good or better than her most recent effort; she makes it seem effortless to create such memorable music; breezy, ingenuous pop at its best. Especial favorites are "Hurricane," "All The Stars," "I Tried to Rock You," "Sunny Sunday," "Mayor of Your Town." An instant classic. Needless to say, wish I'd given this five stars instead of four. That happens to me a lot ...



2. Leona's performance on ''i tried to rock you but you only roll'' is quite good..I liked it and i will follow her new works..



3. Another female singer/songwriter in a field of thousands is better than 80% of what's out there but 20% of thousands is still a lot to compete with. Maybe being Diana Ross' stepdaughter will help her stand out from the pack...plus she's pretty cute.



4. After hearing Charm Attack just over a year ago, I managed to get hold of Leona Naess' first album in a second-hand store and was slightly disappointed. Whilst it had a few great cuts - Earthquake, Chase, Anything - it felt a bit rushed, but showed a lot of potential. On her second album, Naess has produced the kind of album that most female singer/songwriters can only dream of: heartfelt, intelligent, fragile vocals and catchy. Marking a vast change from Comatised in a lot of ways, this album applies a drum loop and electronic beats to a lot of songs, whilst also retreating to the softer love songs familiar to the first album.

   Perhaps most important is the fact that there isn't one duff track on here. Each one is good in its own right, although Boys Like You (a clever hark back to The Cure's classic), the title track, All The Stars and Hurricane stand out. Of course, the question becomes why isn't Leona Naess more popular than she already is? An artist of this quality usually receives their fair share of hype, but Leona has received comparitively little. Whilst it's easy to compare her to other female chanteuses out there she's more upbeat and less poetic than Sarah McLachlan. And she's certainly a lot better than a great deal of the Lilith group following in Sarah's wake. For one, she's cleverer. She knows her relationships inside out and she isn't afraid to wear her heart on her sleeve but, unlike Alanis Morissette per say, she doesn't seem so jaded about love that she can't sing soft tracks that carry you along with her, such as Mexico or Serenade. If comparing Leona to anyone it would probably be as a cross between Amanda Ghost (who also employs dance beats) and Nerina Pallot (vocally they're very similar), which is a high compliment indeed.

   In short, this is a brilliant album, and well worth buying even if you were disappointed by Comatised. From reviews of her third album though, Leona shouldn't need much help getting the hype she deserves sometime soon.




5. This is the second album from Leon Naess, and it shows some definite growth from the inconsistency of "Comatised". She has a smooth voice, and her upbeat pop songs and cool ballads are guaranteed to please. Unfortunately you probably won't recognize anything on here from the radio, which is a shame because several songs are quite worthy of attention. Although I hate drawing such connections, if I had to compare her sound to anyone, Leona most closely resembles the more upbeat works of Sheryl Crow or possibly at times even Emm Gryner.

   The first four songs are definitely the strongest, with the upbeat "Mexico" kicking off the set. The drawling "Mayor of Your Town" and "All the Stars" follow it up beautifully, and the quartet is capped by the wistful title track. The best of the rest include the slower "Baby Eyed Blue" and "Hurricane". One of the real strengths of this album are the sensible and impassioned lyrics, and when put to Leona's voice they're truly a pleasure to listen to.

   Given the development from her debut to "I Tried to Rock You", it's evident that Leona is a singer/songwriter very much on the rise. She is a promising young artist, and I hope that her popularity someday catches up with her talent. Three cheers, and I'm very much looking forward to her new album. (due out soon!)

5 comments about 99.9 F°.

1. What makes Suzanne Vega such an interesting artist is that she's not just one of the best rock poets out there but she's prepared to push things to the edge. Usually, it's in her subject matter which deals with unusual, occasionally disquieting issues - prostitution, child abuse, death, divorce, even lesbianism - delivered, very cleverly, via strong often ecstatic melodies and driving, tightly metered lyrics that make the impact of what she's actually singing about so hauntingly effective.
   
   But on 1992's "99.9F" she and her husband, Mitchell Froom, took things one step further - adding challenging and, for the time, highly adventurous arrangements to her essentially folk-rock melodies. And it worked... with the hard, often harshly "industrial", multi-layered rhythms adding to the impact of her songs and perfectly complementing her almost deadpan approach to them. Different, exciting, at times (as on the exquisite "In Liverpool") quite beautiful, and, with only a couple of exceptions, very effective it's not only stood the test of time but begs the question why she hasn't worked with more similarly adventurous producers to take things even further.
   
   Not that there's anything wrong with her sparse, equally intriguing but musically "safer" output since then - both "Nine Objects of Desire" & "Songs in Red & Gray" are superb albums - but, as 99.9F showed, her highly distinctive, almost detached delivery coupled with the sheer power of her compositions are ideally suited to a more innovative & adventurous approach... time for a collaboration with one of the new generation of perceptive electronica/dance master mixers?



2. Love this cd... have had it for years... always a joy to listen to. To the few who criticize Suzanne's departure from her earlier folk styling, her venturing toward lyrics which are more mood/image evoking rather than narrative are missing one of her finest talents... ie., as a word smith and poet. My favs on this disk are the very songs that are more abstract. I also think the band did a great job with these songs.



3. Nothing remarkable but several nice tracks. If you like Vega you will like this CD.



4. Suzanne Vega's fourth album "99.9F" was produced by her husband Mitchell Froom, and his completely different approach to recording brought new life into her music. After the releatively pale album "Days of Open Hand" new inspiration was needed; and Vega really do sound inspired on this album. Many tracks feature odd mechanical sounds and noises, and there is an overall greater variety in style and moods than on her previous albums.
   
   The odd sounds on tracks like "Rock in This Pocket", "Blood Makes Noise" and the title track may at first seem a little weird, but especially "Blood Makes Noise" and "99.9F" have become some of my all-time favourites; though different, these are still very melodic songs.
   
   More traditional Vega songs are the catchy "In Liverpool" and the up-beat "When Heroes Go Down"; both highlights and both were chosen for singles.
   
   There are also a handful of quieter tunes, and among those "Bad Wisdom" stand out.



5. Having rhapsodized about Vega's "Nine Objects of Desire," it's interesting to go back and listen to this precursor. As several people have noted, this was where Vega moved away from folk into a more industrial sound, with an emphasis on machinery and a harsh, metallic background/underscore. The creative friction results from this inhuman setting interesecting with all-too-organic lyrics that contain numerous references to blood, illness, and the frailty/fragility of the human body, especially in regards to AIDS. ("Blood Makes Noise" "99.9 F" "Bad Wisdom") Vega's brisk intelligence and quick wit give numerous tracks a special urgency, and the bizarro-carnival melodies of others fascinate even if the lyrics are on the cryptic side ("Fat Man and Dancing Girl" "As A Child"). And one song is so peculiar lyrically ("As Girls Go"), the only logical reaction to it seems to be to shrug. If you love "9 Objects," consider this an intriguing if somewhat chilly example of an artist stretching to expand beyond her comfortable "folkie" boundaries, towards becoming something truly breathtaking.

5 comments about 4-Track Demos.

1. Its a 4 track demo, so the fact that some songs are early versions of things later improved upon isn't much of a surprise. There are a few tracks that are just great and do not appear on later albums (not sure why because they are damn good). So, for a non collector type like me, it was still a worthy purchase.



2. If you like "Rid of Me", then buy this CD! Although I like the polish of her final product, these demos really give you insight into her true vocal power. This stuff explodes from DEEP inside her. Uncomfortable at times. Moving.



3. These days, with everyone knowing everything there is too know about music and the musicians who make it, I have given up on trying to classify anything, or on claiming to know what's good and what's bad anymore. But this record is good. The songs are sincere, well written, and true to self. She really let herself shine and was shameless in releasing and promoting this definitive material. This isn't for everyone, but if you can put your finger on emotion and enjoy artistic expression in music, this one's for you.



4. Personally I'm a fan of Steve Albini's production on Rid of Me. Even though the album didn't quite reach the heights of Dry, which I still consider her best album. Rid of Me was a great record and I really love listening to these demos. I think any fan of hers can appreciate them. The release was a reaction of sorts to critics of Albini's production on Rid of Me and certainly a more raw take on the material. This album is easily worth owning just for "Hardly Wait." It's one of her best songs and this was it's only offical release. The song didn't make it onto Rid of Me, I still don't understand why.



5. Over the last decade, PJ Harvey has had some amazing albums. However, each one was different from the one before it, and in my opinion were not as good as the albums before them. PJ Harvey came out of virtually nowhere back in 1991/1992 with her debut album, "Dry". Incredible album. Raw, uninhibited, and very enjoyable. "Rid of Me" followed, making the Dry/Rid of Me albums like Jekyll and Hyde. "Rid of Me" was a vicious collection of rage and pain, and was an album that required some headache medication after you listened to it.
   
   This seemed not to be a problem for the fans PJ was picking up along the way, and "Rid of Me" made them beg for more. To satisfy, PJ released "4-track Demos" in the same year.
   
   I have heard some pretty intense music so far in my life, but none of it matches "4-track Demos". These versions were recorded before "Rid of Me", so it's pretty obvious that PJ was at her angriest and in-the-moment when recording the demos. Nothing sounds pleasant, and somehow that's beautiful. The guitar EQ's are made so crunchy that sometimes the vocals and guitars clash so badly you don't know whether to shut the album off or turn the volume up. Again, this is a beautiful quality of this album.
   
   Needless to say, this was a milestone in both PJ Harvey's career and the music world's career. This is an album you'll hear and say: "I've never heard anything like this before." "4-track Demos" is a must-have, especially if you own "Rid of Me". You need to hear the music that WAS...before producer Steve Albini unleashed his production demons on "Rid of Me" and drowned out most of the emotion found on "4-track Demos".
   
   So, grab some Tylenol and get ready for one unique listening experience.

5 comments about Myra Lee.

1. 1 1/2
   
   Dreadfully, derivatively dull, guitar-based simpleton ramblings sounds like the depressed goth chic strumming in her garage band on weekends from junior year. Ms. Marshall's sophomore release might have fooled many with delusions of raw emotion, when in actuality the only the that rings noticeable throughout these sludgy sessions is her occasional vocal intuition.



2. Ignore the five star reviews granted to this album by the Cat Power faithful. Like Dear Sir, this album is filled with raw tuneless dirges, sloppy guitar playing, and atonal singing. I wouldn't object so much to the amateur treatment if the work wasn't so entirely derivative from the female artists who actually originated this style of music quite some time before Cat Power. Reviewers who consider this album original would have to be unfamiliar with the singing of Lydia Lunch, Marnie Greenholz from Live Skull, and Kim Gordon of Sonic Youth, all of whom helped define this type of post punk caterwauling. Whether you enjoy this type of music or not, Myra Lee makes no serious contribution to it. "Ice Water" is probably the most successful of the bunch, though as a whole the album is unrelentingly amateurish. What's more, the song "Rockets" is repeated from the Dear Sir album (go figure).
   
   Chan has said she is unhappy with how this album turned out, and who can blame her? She's right--it didn't turn out that well. Like all her albums through Moon Pix, this album suffers from lack of a proper production budget and decent backup musicians.
   
   Anyway, don't get suckered in like I did by the endless glowing reviews her dutiful fans dole out. It's as if they hear no difference between Chan's earliest crudest work, and her best efforts on You Are Free and The Greatest. The difference in sound is like night and day. Use your ears--it's not that hard to figure out people.



3. A mysterious title for such a mysterious album. At first while getting this album I had no idea what I was getting myself into. I mean I do own some Cat Power music but this album is driven by true emotion. These emotions are not usally what people write to. This stuff is true it's driven by anger and frustration. Chan's voice gives such a great presentation of what she is feeling but also comes lightly to let you know it is going to be ok. The contrast of this album to all the others is so amazing that it could only have been done by Chan.



4. I like Moon Pix and Dear Sir better. This one has a couple of really good songs but as a whole the others are more satisfying.



5. this is my favorite album because it is true to a more raw, emotional sense. i feel it is her best work.

5 comments about Up Up Up Up Up Up.

1. This album is my favorite Ani album. I love the play of music and the funky beats that she has experimented with. The political and social themes of the album spark philosophical ideas about the world around us. And on top of that, she recognizes her emotional growth based on this awareness. She ends the album magnificently with "Hat Shaped Hat," a light-hearted funky tune that recognizes that we sometimes just need to let go. I would highly recommend this album; this is an album that I think that everyone can appreciate. Peace man, it's where it's at.



2. Though I am an avid Ani fan, this album is probably my least favorite, mostly for it's lack of flow and inconsistancy. Most of these songs are excellent on thier own, but the record as a whole feels more like a collection of B-sides than a coherant album. Many of the tracks that tie together in similarity and style, often drag and feel dull when heard in one sitting. A hand full of tracks are more experimental and engaging (Angel Food, Hat Shaped Hat) but seem odd and out-of-place.
   
   "Angry Anymore" is probably my favorite track on the album, having also come from a divorced home and understanding the need to understand and forgive one's parents- for they too are human.
   
   I wouldn't say this album is completely unwelcomed in my collection or that it is a waste to listen to- but I think it would be a poor choice for someone just becoming familiar with her music. This may well be the only album that does not leave me completely satisfied, because I absolutely love every other album I own of hers for thier own special reasons. This is not a bad album, just considerably less organized and finely crafted as some others. But I cut Ani DiFranco slack because she has put out a new album almost every year for over a decade (sometimes twice in one year). To have only one of those not be a complete success is amazing in and of itself.



3. I am a beginning Ani DiFranco fan. I bought this CD second, and as a beginning fan I was not impressed at all. Some of the songs are good. 'Hat Shaped Hat' is very fun, 'Jukebox' has a good feel to it. ''Tis of thee' has a powerful message behind it. The other songs have their moments. But overall, I don't think this is a good album if you're buying it to see what you're in for.



4. don't listen to all these bummer reviews by pissy elitist ani fans. this album is abstract & beautiful. from the humbling "tis of thee" to the devastating "trickle down" followed by the fun jam session of "hat shaped hat" which is a great closing track for an amazing album.



5. It has been awhile since I popped in "Up Up Up Up Up Up". My taste in music has changed drastically over the years. I am not the big Ani Difranco fan that I used to be. Eight years ago, I used to buy her cds on the day that they were released. My how times have changed. Still I respect Ani immensely for her DIY ethics and eschewing corporate America when it comes to her music. Next to "Little Plastic Castles" and "Dilate", "Up Up Up Up Up Up" is one of my favorite Ani Difranco cds. Songs like "Angry Any More" and "'Tis of Thee" really speaks to me lyrically. Unlike her earlier work, "Up Up Up Up Up Up" incorporates other different instruments other than Ani's traditional fierce guitar playing. The banjo, the organ, piano, and bass all adds a different layer of sound to Ani's music and gives her music new life. I personally love "Up Up Up Up Up Up". It is different from Ani's earlier music but I think it is still as good.

5 comments about Hey Babe.

1. For many, the best album Juliana Hatfield ever did, I've always found "Hey Babe" to be thoroughly lacking, particularly in comparison to later work. After several years with indie pop outfit the Blake Babies, Hatfield's first album finds her largely without a voice unique from her former band. The music found on this album is a similar jangly pop, with some more alternative leanings pointing towards the future. But the album lacks two things that are so essential to all of her future albums-- her brilliant guitar playing is virtually absent on this album (Hatfield played bass in the Blake Babies and the Lemonheads) and her vocals totally lack confidence.
   
   It's little wonder then that one of my favorite pieces on the album features Mike Watt on bass and Hatfield on guitar, "Get Off Your Knees". But while the execution is great, the piece itself is marred by weak songwriting. In fact, this is another problem throughout the album-- the pieces on here are largely weak compared to her later material ("The Lights", "Forever Baby") and in many cases are so forgettable that when I'm not playing the record, I can barely recall them ("Lost and Saved", "No Answer").
   
   Of course, it's not all bad-- Hatfield is far too good of a songwriter for that-- "Everybody Loves Me But You" is largely the pinnacle of her jangly pop, and there's a superb bass sound on it (although the vocal would be a lot better if it had any confidence behind it). "Nirvana" and "Ugly" point the way to the future-- the former with its compulsive alternative guitar crunch and glittering chorus, the latter as the first pretty ballad without that jangly sound by Hatfield-- a vehicle she'd return to over and over again throughout her career.
   
   Juliana Hatfield would do much better work in the future, this album is clearly a bridge between the Blake Babies and her solo career. Interested parties should start with the record's followup, "Become What You Are", one of her best and most accessible albums. This is more a curiosity piece than anything else.



2. Can anybody write songs like Juliana? her tunes are the best out there. On her first solo disc she has come a long way from the Blake Babys days, the songs are harder and better than the Blake Babys tunes. The sweet vocals are great, she's dropped the little girl sound from the Blakes and sounds much better now. While not quite the masterpiece that Only Everything is, it's not very far off. The bass and guitars are excellent, the vulnerable and personal lyrics are good too, with solid producing throught the entire disc. Every song on the disc is good with a wide variety of tunes that don't all sound alike like alot of discs do. This can be played over and over and is still just as good each time it's played, The Lights is one of the most beautiful songs I've ever heard. A must have disc, they don't get any better than this.



3. I've owned this album for a long time, and it still remains one of my favorite. From the catchy first track 'everybody loves me but you', this album draws you in. Some of my fave tracks are i see you, no outlet, forever baby, and one of the greatest songs to wallow in your self pity to... ugly. The song nirvana is an ode to everyone's favorite grunge band, and pretty much sums up my ideal girlfriend. If you are sick of the same old poppy girl rock, and can think for yourself, pick this up NOW!



4. this is a cool cd, and "the lights" is the best song, it always puts me in a good mood...



5. It was easy post-blake babies to assume a pop-happy LP from Juliana --- but less so to believe that such an item would withstand repeated listenings. Hey Babe does all that and more.

   With the BB reforming in 2000, things have indeed circled - JH has the new double plus CD, John P Strohm is doing so well solo and Freda seems happy with Lola, one may think 'why trouble'? Answer: just great music.

   With HB, JH really spoke with her own pure voice. Everything in this recording is personal if not perfect - this is the most real, depthful, JH album - even if others seem more so.

   I guess she's like an angel, to some people...

   ... but that's going to change, soon.

No comments about Artist's Choice: Elvis Costello.

5 comments about Holiday Songs and Lullabies.

1. I had never heard of Shawn Colvin, but I like Christmas music, so I picked this up.
   
   Weak, thin, shaky voice with limited range. Commonplace arrangements.
   
   Feh. I have close to 100 Christmas albums of all kinds, and this is the second worst of them.



2. Almost 10 years after its initial release, Shawn Colvin's "Holiday Songs & Lullabies" wears well. "Chirstmas Time Is Here" goes down like a fine wine before the fireplace, "Snowflakes in the air, Carols everywhere, Olden times & ancient rhymes of love & dreams to share, Sleigh bells in the air, beauty everywhere." Colvin's delivery is timeless and wistful. She sings "All Through the Night," one of my favorite songs that is not often considered a Christmas song, but my family has often played it at holiday time, "Sleep my love & peace attend thee all through the night, guardian angels God will send thee." It's such a gentle lullaby with Colvin's tender reading. "Love Came Down at Christmas" is another sweet track, "Love be yours & love be mine, love to God and all of us." This quiet CD is soothing and gentle, a perfect disc to play while watching the lights twinkle on the Christmas tree. Enjoy!



3. OK, before any of you Shawn Colvin fans out there slam me, I want to tell you that I too am a huge Shawn Colvin fan, and I eagerly awaited this CD's release. I am also a huge Christmas CD collector.
   
   So I was very disappointed when I listened to this CD for the first time, and pretty much every time since. Shawn was 8 months pregnant with her daughter Caledonia (the Latin name for Scotland) when she sang these tunes, and it really shows. Her voice is normally high-pitched and delicate, but on these tunes it was downright weak and often atonal. Her rendition of In The Bleak Midwinter is particularly grating, as she shuffles through it like she's about to fall asleep. This is most unfortunate in the initial track on the CD, as it ruins the effect of the rest of the CD. Her tone is cheerier but out of breath and staccato in Christmas Time Is Here, and sounds syrupy. To me it is a sacrilegious cover of Vince Guaraldi's masterpiece. Maybe she's trying to sound hushed and gentle, but it's annoying. Many of the songs are sweet but forgettable, and the first two tracks ruin the entire disc for me.



4. Soft, beautiful songs sung by the great Shawn Colvin. Listening to these songs gives you a very cozy feeling. "In The Bleak Mid-Winter" is a classic.



5. I am a HUGE Shawn Colvin fan, so when this album came out, I ran out and bought it, as I do for every new album Shawn Colvin records. I also love Christmas, so I was doubly happy. Somehow, though, this CD never got much play. I like the songs - I think Shawn Colvin's renditions of old and new classics are beautiful - but it's so mellow, and I always preferred to pop in more upbeat holiday tunes.
   
   Flash forward to 2005, when I had my first baby. My baby was born on September 29, so just around the time when I wanted to get her used to sleeping through the night, the holidays were approaching. I didn't have any baby lullaby CD's, but I remembered this CD being titled "Holiday Songs and LULLABIES"! So I put it on, and to my amazement, it worked like a charm. This CD is now part of our bedtime routine every night. Usually, my baby closes her eyes by the middle of "Christmastime is Here", and then I let the CD finish so that it can help her fall asleep if she happens to wake up soon after being put down.
   
   I know most people reading these reviews are looking for recommendations in terms of Shawn Colvin's artistry. I do love the songs on their own - and would rate the CD 5 stars just for that - but I love them even more because of how they help my baby. If you stumbled upon this CD while searching for "lullabies" for your baby, this really is a find. Christmastime or not, this CD will be lulling my baby to sleep year-round!

5 comments about Drive.

1. Bic Runga is a smart.intelligent writer with a voice like Viagra.I love this Cd so I will be getting her other releases.It's mood music for the romantic.



2. I bought this album back in '98 or '99 based on the strength of the song "Sway" alone, which I had heard on the radio and instantly fell in love with (I loved it so much that I called up the radio station to ask the name of the artist immediately after the song ended and I NEVER call radio stations!). The album overall does not disappoint either. While I think the melodies and lyrics are very good on the album, it is Bic Runga's voice that is amazing to me and leaves the lasting impression; her voice is beautiful, crystal clear, feminine, powerful and haunting. Her singing voice is truly memorable and one of my favorite female voices. I am surprised this album was not a bigger hit as it is worthy of more praise and popularity.



3. I first heard Bic Runga in the first American Pie, believe it or not. (How I'd missed her before then, I'll never know.) After the movie, I had to find out who she was and how I could get more of her. Her voice is incredible. Her clarity is like nothing I've ever heard before, and to top that off, she is a talented writer as well. Her melodies are unique, I can't every get them out of my head. Her lyrics are honest and clever. I'd recommend this album to anyone.



4. I didn't appreciate this album to the extent that I should've when it first came out. The one track that stood out most for me was "Sway". To this day, that is one song that still occasionally plays in my head. Melancholy, heartfelt and shameless to the caliber you'd expect from iconic acoustic predecessors like Tori Amos, or neighbouring Australian band George.
   I was too young and stupid to give this album the recognition and credit it deserved. I lost it for a number of years and then found it again earlier this year and was curious enough to give it another whirl. Now, I am absolutely stoked at what a brilliant debut album this is. Bic Runga has kept a low-profile in Australia since she first came out (I don't know about New Zealand). I don't think her music has been commercially embraced but I believe her style is best suited to quiet nights indoors or long drives as it has a smooth slow-rock feel. It's sorrowful and beautifully written. She writes very much like a poet and has an incredible voice. This album is definitely a remarkable stand-alone debut that deserves a chance.



5. It was an average CD. I would only recommend it to serious Bic Runga fans.

5 comments about All This Useless Beauty.

1. All This Useless Beauty is a collection of Elvis Costello songs that did not have a home. Some of them were written for other artists to record but turned down while some were just on the backburner for a number of years. In terms of the overall feeling of the disc, each track seems to shoot for an incredibly lofty goal on its own. And when you put them all together, you're not sure if you're hearing Elvis Costello's best work or not.

   This may or may not ditract you. I myself admire the fact that each song here can stand alone without depending on the weight of the others. Although they may not be the strongest songs he has written in his entire career, he does have a nice share of ballads with Poor Fractured Atlas, Why Can't A Man Stand Alone, The Other End of the Telescope, and the title track. His mysterious side bubbles up a little bit with Little Atoms and Distorted Angel. Even the amped up Complicated Shadows and Shallow Grave fit into the picture nicely, as does the extremely dramatic It's Time.

   While this is not Costello's best overall album, there are no clunkers contained within.




2. I agree with previous reviewers that this is a wonderful collection of songs. When I first listened to it, I correctly guessed that Elvis had a hand in the production. Why? Because all the imaginative and insightful bass guitar work contributed by Ma'Man Bruce Thomas constitute the quietest sounds on the CD. As one previous reviewer mentioned, "Elvis' voice is front and center", and that too is no coincidence. It's Elvis' show after all, and if he wants to slightly sabotage its perfection by skewing the production because of his little feud with Bruce, well, he can of course. Our loss is his gain. But try this at home: Carefully adjust your equalizer to bump up the bass just a little bit, and then play a song like 'shallow grave' again. Feel gypped yet? Now you too have been reminded, it's Elvis' show.



3. Unfortunately this is my only Elvis CD, but that is soon to change, especially with all these reissues. I bought it after being captivated by The Other End of the Telescope on the radio. Co-writer Aimee Mann has a similar grip on me. It's a great buy used - I don't understand why this CD was so overlooked and the price is so low now. I was very glad to hear Complicated Shadows on his recent tour - it is awesome live. The title track always stops me in my tracks. I just love his versatility. He can sing a gorgeous ballad and follow it up with a rocker that can hang in there with the Stones or anyone else. And they all spring from his bottomless pit of a catalog. Amazing. If his fan base is considered a cult, they're not getting me back without some serious reprogramming.



4. The lyrics of Elvis Costello's songs are poetic and beautiful. On this CD, I really ejoyed "Little Atoms", "All this Useless Beauty" and "The Other End of The Telesope".This is a very well-done CD, with well-written songs. A CD I can listen to over and over again.



5. This one of the best compact discs that I have ever put into my player. Elvis Costello(Declan McManus)is an inspiration to musicians everywhere. This is a must have! "Poor Fractured Atlas" made me cry the first time that I heard it. "All This Useless Beauty" is an artistic, emotional and musical beauty that will leave you utterly breathless. Get it!