5 comments about Spike (With Bonus Disc).

1. This is one that I decided was the end for Elvis. I had followed him since his first album and when this came out I snapped it right up. After many tries I gave up on it.
   
   Fast forward to 2007. I find it hard to find anything worthwhile in the new music scene so I decide to pull some older CD's. This one is stunning and I just can not figure out why I shelved it. Well the bottom line is that we all are flawed but Elvis rocks!



2. Some fans like 'Spike'. I'm not one of them. 'Veronica' is a classic and 'Deep Dark Truthful Mirror' is solid, but the rest of the songs here are hit and miss...mostly miss.



3. I think I own every Elvis Costello album ever made, and I have to say this one is probably my favorite. Some of the punkish energy of his first few albums are replaced here with a more jaded realism, but the lyrics show his growth as a songwriter. "God's Comic" has some of the funniest lines I've ever heard, and "Tramp the Dirt Down" is one of the most scathing anti-Thatcher songs ever recorded. It's a must for any music lover, especially Costello fans.



4. Though I've been an Elvis Costello fan almost since the beginning, some of his albums have been a little harder to get into than others. However, I liked Spike from the start and had it on CD already but decided to get the Rhino reissue when I saw how much the listener gets for just a little money.
   Well, not only do you get better sound quality than previously, you get a load of mostly very worthwhile demos and outtakes as your bonus. My favorites on Disc 1 are: the sneering This Town; the anti-gallows anthem Let Him Dangle; the call to introspection of Deep Dark Truthful Mirror; the playful Veronica; the melancholy God's Comic, the horn-driven Chewing Gum; the clever, hate-filled anti-Thatcher screed Tramp The Dirt Down; the horn-based instrumental Stalin Malone; the dreamy Satellite; Miss MacBeth; Coal Train Robberies; and the plaintive Last Boat Leaving. That's almost the whole disc, you say. Well, that's how good it is!
   The bonus disc offers even more songs. Many of them are acoustic, demo versions of the fully fleshed-out songs on Spike. My favorites here mirror those on disc one, but I think the addition of the vocal version of Stalin Malone and the jaunty Point Of No Return do much to make the Rhino set a must-have. About the only one that sounds out of place is You're No Good. I had enough of that when Linda Ronstadt's rendition was played on the radio ad nauseum.
   Spike finds Elvis Costello at his creative best. Though I disagree philosophically with him on many points, I respect the way he approaches issues he cares about because he seems to have real viewpoints based on rational thought rather than just parroting someone else's nonsense about whatever is the cause du jour like some musicians I can think of. The quality of his songwriting keeps me coming back again and again.
   If you have not already done so, you should add this edition of Spike to your CD collection. Its one that will never gather dust in mine!



5. This is the album where Mr. Costello breaks away from the Attractions and becomes Elvis. For the first time Elvis shows us his great sense of humor along with his obvious songwriting and performing skills. There are several glimpses of what is to come in the future, but my particular favorites are "Veronica" and the beautiful "Satellite" with Chrissie Hynde lending her beautiful vocals to the perfomance. A must for any Elvis Costello fan, or any fan of music, for that matter.

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!

5 comments about On and On.

1. The fact that this guy would probably be a hit with John Mayer fans is a blow to this guy, since John Mayer is easily one of the worst hacks making music (no, muzak) today. I was hinted to call this guy a slightly more interesting John Mayer with an acoustic guitar. Sure, it's not deep music, it won't start anything, but it's breezy, chill music (not muzak, thank god). It's definitely worth getting.
   
   The sound of Jack Johnson is a good one, it will definitely relax you. It's a very chill album, but it's soothing and makes you feel good, than rather making you feel drowsy, bored, and wanting to rip your hair out. Jack Johnson plays smooth, sharp, refreshing melodies on the guitar, and his very cool voice floats together. The rhythm section really makes it come to life, catchy, groovy, it gives it a great flavor. The percussion makes it even better. It's got great sense of chemistry, there is no arguing with that.
   
   Yeah, it's not great, but good stuff to listen to. I definitely can't recommend this album to everybody, especially since this kind of stuff is probably a fratboy favorite (ugh). No matter, it's still worth listening to.
   
   7/10



2. Been a Jack Johnson fan for a few years now, his stuff is great. Makes you want to kick back on the beach with a chair, an umbrella, and possibly an adult beverage and let the worries of the world slip away!



3. This album was way good, in fact ALL Jack Johnson music is way good. He makes some great mellow/lazy surf rockin' music. Although, this album wasn't as good as his other three. But it still was rockin' and that's the point. Anybody who plays the guitar will like Jack Johnson's music.
   Taylor had the coolest into i have ever heard!
   I also enjoyed Holes to Heaven because it had the same tune as Jack Johnson's previous soundtrack hit, Moonshine.
   And one last thing, Jack Johnson is NOT a knock off of the Dave Matthews Band!!



4. I absolutely love this album, in my opinion, it's jack's best album. and i own all of them. It's one that you can listen to over and over and it doesn't get old. Every single song is great, but my favorites are: Traffic in the Sky, Gone, Rodeo Clowns, Cocoon, Cookie Jar, and Mediocre Bad Guys. I love the mellow, chilled out, beachy vibe that's present in all of his music. I can't wait to buy his next album.



5. Recently discovered JJ in the last year or so...now I have all his CD's with this one being the latest purchase. His music and talent is great. I was not disappointed at all.

5 comments about The Sweetest Punch: Songs Of Elvis Costello And Burt Bacharach.

1. This was a can't-miss concept, and the result was even greater than I assumed it would be. Frisell proves himself as an imaginative orchestrator, never heavy-handed. The feeling of the album is light but substantive, effervescent but always grounded in the deep well of musicianship brought to the project by Frisell, Costello/Bacharach, and a lineup that includes such giants as Brian Blade, Don Byron and Cassandra Wilson.



2. Sometimes sparse, sometimes lush arrangements of a superb set of songs. Bill Frisell's signature guitar sound echoes both actually and figuratively throughout the set, and lends thoughtful interpretation. The infrequent other solos sound a little unpolished, but it's in line with the rest of the straightforward approach to this album as a whole. Being so familiar with the original album, this took some getting used to. Mind you, it took me a while to appreciate Gil Evans, too.



3. With apologies to the hip shaking, sneering, biter from Graceland, Mr. Costello is the only Elvis that matters to me. Having been introduced to E.C. only in the last 7-8 years or so, I've quickly become a huge fan. He offers a vastly different approach to rock music and music and general, and I'm thankful for his offerings. Being also a mammoth Jazz fan, I glanced upon this album about 5 years ago but didn't pick it up at the time. I had no idea I would be passing up one of my favorite albums PERIOD that I own. While only featuring Costello on two tracks this collection of songs from the "Painted From Memory" album are given the jazz treatment by guitar extrordinaire Bill Frisell. And man does he work em! With a tight linup featuring Brian Blades and Don Byron (two players I was previously familiar with) the playing on these songs is tremendous! And Cassandra Wilson lends her sultry vocals to an incredible version of the title track. This is truely one of those albums that defines "good music". Feel free to pop it on while driving, relaxing or romancing. A must have!



4. . . . that never fails to lift my spirits.

   Yes, I could do without the vocals, which seem to break the spell (although I'm even beginning to appreciate what they attempt), but the rest is so fine I end up not caring.

   A project like this is probably destined to please no one. Jazzers will disdain it as a commercial ploy. Popsters will regard it as too esoteric.

   They'd be wrong. You've got to take this kind of sui generis outing on it own terms--gorgeous, mesmeric, pop-jazz of the highest order. Nothing more, nothing less.

   With its line-up of brilliant, top drawer, scintillating players, it would be hard to imagine how this could not succeed. And it does, gloriously. Brian Blade (drums), Don Byron (clarinet, bass clarinet), Billy Drewes (alto sax--one of THE most underrated players on the scene), Curtis Fowlkes (trombone--a monster on the NY downtown scene), Ron Miles (trumpet--one of the most innovative voices on his instrument to come along in ages), and leader Frisell keeping everyone honest and focused--one could hardly imagine a suppler, more creative band.

   If things seem a little "arrangement heavy," lacking in stunning solo improv work, that's just the nature of this project. It's senseless to ask music to be something it wasn't intended to be, and this, simply, isn't a heavy improv session. Does that somehow diminish it? I don't think so. There's way sufficient group interaction and conversation to make up for any (perceived) lack of improv.

   I LOVE this disc. Really, it never fails to lift my spirits. OK, it's not William Parker or Josh Roseman, but what it is, is pretty special.




5. Whatever Bill Frisell touches seems to turn to "gold". And the sweetest punch is another in a long line of golden eggs.
   Add to that some great vocals by Cassandra Wilson and of course Elvis Costello and you truely have some sweet sweet punch. Drink it up!

5 comments about Evolve.

1. I hate what Ani Difranco has become. Her earlier music was deep and complex, she sang about interesting topics and used really interesting music styles. It was always kind of preachy, but in a way that seemed unintrusive, because of the way she was able to make her opinions somehow beautiful and intriguing.
   
   I guess she's "evolved" though... into a smug, self satisfied, holier-than-thou liberal extremist. In some of the songs I felt like she was barely making an effort to pass off her preaching as music... in one long ranting song, she simply plucked at guitar strings while stealing lines from Utah Phillips and talking about how bad average americans are and how virtuous she is.



2. this is probably the first album i've picked up since ' little plastic castle ' even on little pastic castle, ani was changing: she had gone from being just a folkie with a guitar, to princess ani the ska queen.....her band also grew....you knew ani had arrived when prince played on one of her albums....
   
   
   ani's still folk, but her sound has evolved; it's more polished and sophisticated. i love the way she uses brass and wind instruments, especially on " oh, my, my, my;" " serpentine," is a semi spoken word song, which ani as usual, goes on one of her patened rants...." icarus," i also loved alot....as well as the title track and " second intermission." ani's always been a cool poet and her singing never fails to mesmerize, but i agree with some of the reviewers that she has become more about anger than agenda...she can be very dogmatic at times....and when i listen to music, i don't wanna be proselytized.... like most artists, she names the diesease, but doesn't come up with the cure....



3. I've had this album for several weeks, and I'm still not sure of my stance on it. I've listened to it about eight times, and I really think I don't like it. I want to like it, but I just feel that it's not the best than ani can produce. I know she has better. I think this album might be the product of so many releases... (26 albums and 3 EPs in 16 years? Ani, you might be overworking yourself. But then again, I know nothing) Anyway. I love it, because it's part of my never-ending ani difranco collection, but like I said, just not to ani's caliber.



4. I started listening to Ani in 1996. I immediately loved her music. The first song I heard was "Gratitude" followed by "Untouchable Face". I own all of her albums, excluding the spoken word ones, "Knuckle Down", and "Educated Guess". Ani was my very favorite musician from 1996 to 2003. I saw her in concert numerous times. She is an exceptional lyricist, and though some find her music to be harsh and her voice unappealing, I love her singing and instrumentals also. I loved every album that she released up to this one, including "Reveling/Reckoning," which some of her older fans didn't like.
   
   I hate this album. I find it horribly disappointing. Even if it weren't Ani it would be disappointing, but the fact that it is makes me dislike it all the more. It's depressing and boring. The lyrics are not up to her usual standards, or even the standards of a lesser artist. The sound is dull and unpleasant. She should have taken a long vacation rather than record this album. Her heart is so obviously not in it. It's forced and often incoherent. It's like she had nothing to say, but she tried to say something anyway. It's self indulgent and somewhat pathetic sounding, like she's complaining in a half assed way about something she isn't even clear on. I also think the instrumental aspect is overdone.
   
   After listen to this album a few times I found that not only did I never want to hear it again, but that I couldn't even listen to Ani's older albums for quite some time. That's how disgusted I was. That was my honest reaction. I just felt so ripped off and disillusioned. I know that some people like this album, and that is almost inconceivable to me, especially considering the quality of Ani's earlier work. I did not buy another Ani album again. I did listen to some tracks off of "Knuckle Down" and "Educated Guess" online, and I didn't like them either. I have only recently started listening to her pre-evolution works again.
   
   I would not recommend this album to anyone, Ani fan or not. It's just awful. Buy something released before 2003.



5. As is the case with most Ani albums in my opinion she's got a couple jems on there and that's about it. This album didn't even have many gems the one song that stood out (And really held it's ground.) Was the song Evolve itself. That tunes was almost worth the $18, and there are a couple other tunes that aren't bad but then the rest of it as is the case with all of her other albums is kinda bland.

5 comments about Into the Sun.

1. A Great Debut Album. In fact I would rate it as high as "Little Earthquakes" by Tori Amos - its that solid. However, many reviewers have found Sean's thin voice to be a turn-off - I think it works well in this context. Like his mother Yoko Ono, the emphasis here is on the entire musical package, not the voice alone.
   
   The album is a mix of various genres - strains of The Beatles, The Beach Boys (whom Sean calls his biggest influence), and Laura Nyro waft through all the tracks, but what I found especially endearing was the whole bossanova thing he has going on here. Sonically, this is most similar to Brasil '66 and Sergio Mendes (if I HAD to pick an artist). This is a great thing, in my book, which is probably why this album is in constant rotation on my Ipod.
   
   Sean was 22 years old when he recorded this, and as a debut album it is frail, wondrous, and absolutely full of songs you can sing along to. If that's your sort of thing, by all means get this. While you're at it, do try to get your hands on his (far superior) 1998 Japan-Only EP "Half Horse, Half Musician".



2. I bought this CD when it first came out and loved it. It's not as good as his new album "Friendly Fire" (2006)which is AMAZING but it shows you how he got his wings.



3. I must say, I really quite dig the cd/dvd set of Sean's 2006 release "Friendly Fire." I dig it so much that in an inspired state, I recently ventured to the local record store and bought "In the Sun," Sean's first slbum and the album that you my dear friend are reading a review of. Now, on to the review. While "Friendly Fire" has recuring themes and a fairly uniform style from track to track, "In the Sun" is far more freewheeling and eclectic, jumping and skipping around different genres. A sense of breezy fun is what I got out of this record. Lennon even kicks up his heels and rocks from time to time on this album (outrageous!) It's a pleasant record from start to finish as well as being more fun than a barrel of monkeys to listen to. It's keen!



4. 
   I give this cd 3 and a half stars. Sean is Absolutely 1/2 Yoko and and 1/2 John, which could be good or bad depending on how you look at it. It must be hard getting any acceptance as an artist and musician having to follow a father as famous as Sean's. I want to resist comparing the two (Julian as well) but it's extremely difficult. So I won't fight it. Sean's Yoko half dominates (much like Yoko seemed to dominate John) in that most people would consider much of this album to be a little extreme and uneven. The John in Sean seems to shine through in some spots and creates some great moments on this album. At least there's no Yoko-like screeching.
   Songs from John's psychedelic period have some similarities in their use extensive texture and trippy arrangements. Sean uses some suprisingly organic synth parts (Mystery Juice, Queue), the panning (using of left and right stereo channels) is quite similar to a lot of Beatles stuff (check the placement of drums and guitar being extreme left and right respectively on Bathtub). I don't know if Sean had much to do with it, as it could just be the sound engineer's choice. Sean's voice sounds like John only subtlely on this album.
   
   Mystery Juice - A strong track with a great melody and ballsy chorus. A smart choice to begin the album with this track in that it sort of sums up the flavor.
   
   Into The Sun - Weaker track. Islandy jazz duet with his GF that goes on a little too long in my opinion.. although, the melody is strangely infectious. I like Sean's voice in his low register best.
   
   Home - A decent track. Cool use of vibraphone and neat backing vox creates a nice mellow feel. The chorus on this tune is catchy and rocks.
   
   Bathtub - A decent track. Beatle-ish production quality and mixing. Lacking both a climax and a catchy melody.
   
   One Night - Throwaway (but sometimes those are good, right?). Lacks dynamic.. and just sort of goes on... luckily it's short enough to avoid becoming tedious. Very 'singer/songwriter.'
   
   Space Ship - A stronger track. Cool finger picking on the guitar, excellent chord progression. These lyrics seem stronger than the rest. Great melody. This songs seems more developed than most of the others.
   
   Photosynthesis - A Throwaway. These are talented guys, but this little interlude doesn't do anything for me.
   
   Queue - Strong track. It sounds more like a Beatle song than any of the rest, although some compare it to the Beach boys, I think it's more Beatle-ish because of devices like the reversed instrumentation, organ intro, jaunty "penny lane"-ish beat and simple voiced harmony parts.
   
   Two fine Lovers - decent. the melody is catchy and the groove on the wah-bass combined with a few tasteful synth parts makes this track more dynamic than the weaker tracks on the album.
   
   Part one of the Cowboy Trilogy - Novelty song. Rocky Raccoon meets Bungalow Bill, only not as good.
   
   Wasted - Throwaway track. Sean improvising over two chords.
   
   Breeze - Weaker track. Good melody but drags on and on.
   
   Sean's Theme - throway track. Starts out with a decent melody and instrumentation but suffers from lack of development and Yoko-type weirdness towards the end.
   
   I'm suprised that this kid's melodic sense seems to be stronger than John's in some ways. John had a habit of sticking to one note for many of his melodies, then moving up or down in small intervals (think Lucy in the Sky "follow her down...", Julia "half of what I say", and Come Together "here come old flat..."). When he did move, it wasn't as frequent as Paul, who liked to jump around more with his melodies. Although this kid's melodies are suprisingly dynamic I don't feel that it's enough to match his father's stuff... but again, it isn't really fair to hold him to that standard.
   The stronger componants of this album are Sean's sense of melody and texture. Songs like Mystery Juice, Spaceship, Bathtub and Queue take full advantage of this texture sensibility. Songs like 'Photosynthesis' and 'Sean's theme,' where his jazz influences dominate, are probably too artsy or weird for most casual listeners to enjoy.
   Though extremely unique in sound, Sean's voice is very weak and nasal... not to mention out of tune! If you're Bob Dylan and a great poet, then it's easier to overlook this kind of thing.. but much like John, Sean's creative ideas seem to out-pace his musical talents... though not technically a good singer, John's voice was more in tune and had a very present quality to it (even though John liked to have it run through filters during the Beatle years). Sean has no power or presence to his voice, but he makes up for it with good melodic and harmonic ideas. Perhaps some voice lessons and a few years will yield a stronger voice in the future. Sean's songwriting on this album is uneven, but he's bubbling with good ideas. I'm looking forward to his next release.



5. This is the worst album I've ever heard. John Lennon is the most overrated act in history, and Yoko's an absolute joke. Sean just proves the apple never falls far from the tree. What did we expect?

5 comments about Only Everything.

1. I'm almost impossible to please, and this girl has put out what has to be one of the best records of the last 15 years. Punch this one up and hit "checkout" right now!



2. Juliana Hatfield's last album for a major record label, "Only Everything" (there was one more planned, the legendary "God's Foot", but Atlantic refused to release it) is a bit of a mixed bag. Released 18 months after the brilliant "Become What You Are", the album finds Hatfield pushing in a number of different directions, some successful, some otherwise. The results are never bad per se (well, for the most part), but quite a bit of it is not particularly inspired.
   
   Mind you, the album starts off pretty well-- the first three songs are among the best on the record, from the immediacy of "What a Life", an upbeat, driven piece with a nice stream-of-consciouness lyric and a wall of guitars, the odd "Fleur de Lys" with its groove bass line and layers of thrashy guitars over which Hatfield sings in French, and the album's moderately successful single, "Universal Heart-beat". Opening up with a bizarre distorted guitar and frantic guitar intro, it moves into a Wurlitzer piano line nimbly performed by Hatfield for the verses with a downright pounding chorus and is one of the more unique songs in her catalog. Its odd keys sound however guaranteed it'd never be more than a moderate hit.
   
   But after that, the album rarely rises above mediocrity-- be it weak songwriting ("Dumb Fun", with admittedly stellar guitar playing), poor conception ("OK OK"), or just somewhat lifelessness ("Simplicity is Beautiful"). Again, none of it is particularly bad, but not much of it is particularly good. And while at least one piece is unnervingly brilliant and inspired ("My Darling"), the batting average is a lot lower than it was on "Become What You Are".
   
   Hatfield's career would take a dramatic turn after this-- she got into a well publicized arguement wiht her label over the followup to this ("God's Foot") which led to her breaking from major labels and (probably not coincidentally) an improvement in the quality of her music. This is a decent record, but she'd done a lot better.



3. This might be the best album I won. I bought it on a whim and have been blown away by it repeatedly. the songa have a great overdriven sound, lots of distortion but incredible tone at the same time. The song



4. I've loved Juliana since I was a kid. I remember the day my brother sent me a Juliana T-Shirt and this CD in the mail from Boston. I loved it then, and I love it now. Since then I've amassed quite a collection of her new and older work, and I still feel that this album is by far the best



5. "Only Everything" might possibly be the best, and most well-rounded "Juliana Hatfield" album. Overall it's very solid, and has a good mix of rockers and softies. The hit here was "Universal Heartbeat", and along with the surrounding tracks starts the album off with a bang. "Fleur De Lys" is at least partially sung in french, and has a good grungy feel to it. Other sweet songs are "Dying Proof", "Bottles And Flowers", and "Simplicity Is Beautiful", though I really like them all. I'd call this a must for fans, and a great starting place for newcomers. Her 1992-2002 collection is excellent as well.

5 comments about Songs from the South: The Best of Paul Kelly.

1. Summer of 1993, I'm in an Sydney Record Shop, a Long, Long way from Home on Vacation in the middle of Wintertime (July). I've already found some Good Stuff (Killing Time, Men at Work). I ask one of the Clerks what's good and She tells me: "Paul Kelly, he's as Bright as Sunshine". Man, those words sang outta her mouth! By luck, I chose "Under The Sun" (Sunshine, again) and she said it was a corker. On first play I heard Those Notes to: "Dumb Things"...Hey, I knew this from the "Young Einstein" Movie. This was a very good Sign. The next day I was back at that same Record Store, and I purchased Three more of Paul's CD's!
   
   September 2007, and I'm still listening to Paul Kelly. "Songs from the South, Paul Kelly's Greatest Hits" is playing again. It's culled from 10 of Paul's Records (up til' 1997) and there are 20 Fantastic Tracks on this one. From Songs of just Paul & his Guitar: "Everything's Turning To White" & "When I First Met Your Ma" to Full Band workouts on: "Bradman" & "Careless" this is Timeless Stuff, the Best Music, always is.
   
   All of these Great Tunes are from Paul's Pen and there is not a duffer in the Bunch. I'm not here to compare Paul to ANY American Artist, as that's not fair to the Talent of this man. This is just plain Great Music, and for me it's still; "Bright as Sunshine"...FIVE STARS !!!



2. This CD is so great it hasn't left my stacker in the car! Paul Kelly is just the quintessential aussie, and this CD always makes me feel like i'm home (even though there's 3ft of snow around!) If you want to experience australiana, this CD is for you, if your home-sick, this CD is also for you!



3. I was introduced to Paul Kelly's music while I lived in Australia. It really made an impact on me. I brought it back to the states with me and introduced my friends as well. Everyone agrees he's a talented artist and much over looked in music. I highly recommend anything by him.



4. As an expatriate Australian, nothing takes me home to Melbourne like Paul Kelly. From the very fist few bars of From St Kilda to Kings Cross, I am transported to "The Armadale Hotel" in Melbourne listening to Paul Kelly and the Coloured Girls. Whenever I have the need for nostalgia, I grab this CD. I just now wish that someone would approach him about a tour to Dubai!



5. Great singer-songwriters are poets: crafting words, capturing times and places, and evoking a sense of what it's like to be living in their world. Paul Kelly does that as well as anyone does, and perhaps better than most. You always feel as though he wears his heart on his sleeve and as you track through this retrospective album, you get a sense of the passages of his life.

   But, for American listeners, there is the added dimension that Paul Kelly captures the Australian psyche (such as a self-deprecating sense of humor, a search for national identity, etc), the essence of life in Australia (Aussie Rules football, beaches, mates, etc.), and the issues of a land so very different but so very similar to the US (the plight of the Australian aborigines, the vast landscape, and the search for love in a sometimes loveless society, etc.)

   There are many reasons why Paul Kelly is Australia's most popular singer-songwriter and that his songs are known by heart by so many. This album will help you understand why. His style moves from blues to folk to rock, and this album features some of his solo work as well as collaborations with his own band The Messengers and folks like Nick Cave, but it is his voice that is so very distinctive. Absolutely recommended.

5 comments about The Alternative to Love.

1. Brendan Benson's "Alternative to Love" can simply be summed up as brilliant. I am, admittedly, fairly new to Benson's work, but had a surprisingly lovely introduction to it the first time that I listened to The Raconteur's "Consolers of the Lonely." As a recently converted member of the International Church for the Reverence of the White Stripes, but nevertheless, hopelessly devoted to the great Jack White, I had bought COL looking to satisfy my ever-growing thirst for more White material. However, I emerged from the experience more intrigued by the other leading man, Benson, than solidified in my love for Jack White. Benson's music has been called "power pop" and has most often been compared to that of the Beatles. The mood of Benson's music is most certainly Beatlesesque, however his melodies soar higher and what they lack in a certain tonal edge that the Beatles' music encompassed, they make up for in biting lyrical wit. That is not to say that Bensons' music is not catchy; it certainly is, but it also has a wistfulness to it. For it is not simply Benson's infectious melodies that make his music pleasing and lasting, but more so, it is his ability to deliver a stinging punch of a wide number of multifarious emotions while maintaining a fairly mellow musical facade that makes it so uniquely powerful, and even haunting. A brilliant bard whose voice seems to have been stifled by bigger names in the industry that have reached their ascension more quickly (and perhaps more cheaply) Benson truly is an unsung hero (no pun intended). The certain sense of longing that is intertwined in the threads of his melodies make the songs in which they are found bittersweet in nature, yet that much more heartbreakingly passionate, and (for that matter) that much more endearing. Bravo, Mr. Benson.



2. This disc came up in the best of 2006. Certainly it is in my top five. Always wanted to have a listen but had no access to the net. This album features a smooth, seamless and loveable singer songwriter in the peak of his talents. it really is a four and a half star CD and will be worn paper thin before too long!



3. This CD is one of the few that my husband and I both love. Highly recommended!



4. This stuff isn't that good. There are a couple Cars-eque rockers that are cool but other than that I don't see what the big fuss is about? At the end of the day Benson's work is all mediocre. This is another case of "famous friends" association and hype. Save your money and pick up some classic power pop.



5. Oh, how I love Brendan Benson. His album Lapalco will always be my favorite, but this is probably his best. He has taken his obsession with 60's pop, a John Lennon complex, and a corky voice, and created a sound that the phrase "powerpop" doesn't even begin to describe. The vocals on this album match Pet Sounds (...almost)! I want to isolate tracks, but it's almost impossible. Everything is OBNOXIOUSLY catchy and makes me want to sit down and write a great pop song.

5 comments about This Year's Model (With Bonus Disc).

1. Elvis Costello-This Years Model *****
   
   
   The toss up between the bug two. By the big two I mean Elvis Costello's two biggest albums, his debut My Aim Is True, and his sophomore effort, This Years Model and which is better. Many will tell you his less famous albums which he realesed after This Years Model were his best. But really I have never understood why with Costello everyone insists on comparing all his albums and constantly ranking them, honestly the man has never mad a bad record. His band, The Atractions is one of the best punk/new wave/post punk bands of all time. His song writing is simply put, prolific. As a guitar player he is fantastic as well, and as for This Years Model, the album is incredible.
   
   It was his second album realesed in 1978 this brit managed to realease two of the greatest albums in rock history with his first two at bats. Songs like 'Lipstick Vougue' evoke images of The Replacements, The Romantics, Clash, and John Lennon. Sexy, comlicated, angry, and somehow meloncolly all at the same time. 'Pump It Up' is the deffinition of new wave. 'Hand In Hand' is touching while the reggea influenced '(I Dont Want To Go To) Chelsea' is both loose and fun, and at times disturbing. Known for his brilliant imagry in his lyrics, songs like 'This Years Girl' 'Little Triggers' and 'Night Rally' dont dissapoint. The albums big hit single, well maybe not big but still hit single 'Radio, Radio' is a classic and propelled this album and The Atractions to major success and right afterward Costello threw it all away to be true to himself, which I will always take my hat of to him for that as long as I live.
   
   The bonus disk which comes with this particular issue is a must have for those who are die hard Costello fans, but not one I would recomend to the average fan.
   
   So is This Years Model better then My Aim Is True or any of Costellos other albums? Does it really matter? well no it doesn't but to answer the question, I must give my opinion and say that this is his most focused album and also his most asseble and varied, but in my opinion this is only his second best album. My Aim Is True is far superior even though This Years Model is a fantastic album!



2. My Aim is True was a promising debut, but This Year's Model, Elvis Costello's sophomore effort and first album with long-time backing band the Attractions, is an all-out stunner. Everything on this puppy, from the songs to the performances to the cover art (just look at that sneer!) drips with the aggression, menace, and black humor that have become EC trademarks.
   
   For one thing, the Attractions rule. The band packs a sonic punch that Clover (the group that backed Elvis on My Aim Is True) simply couldn't muster. They've got a raucous, full-bodied sound that bridges the gaps between punk, new wave, rock `n' roll, and even 60s garage rock. Steve Nieve's freewheeling keyboard playing is the ideal partner for the compact snarl of Costello's guitar chords, while Bruce Thomas' nimble bass lines duck, weave, and squirm beneath them. Pete Thomas' drumming lends the appropriate sense of straight-ahead urgency to the whole thing, while giving the proceedings a sufficiently rockin' backbone. Thanks to the Attractions, these songs have a certain bite that was buried on My Aim Is True.
   
   Of course, it doesn't hurt that Costello's songwriting is absolutely stellar, He may look like a harmless fellow on his album covers, but his lyrics are anything but: the guy writes with a poison pen, flinging venom-dipped darts in every possible direction without ever missing his mark. His unapologetic cynicism is matched by his dark sense of humor and deliciously twisted worldview.
   
   All of it comes together on "No Action," the album's breathless opener. At just over two minutes in length, it's a juggernaut of warped fifties melodies and pummeling guitars. Costello's vocal is both cheeky and bitter, as he spews forth a series of withering putdowns at some special someone who probably deserves every word of it. "Hand In Hand" and "Lip Service" are equally spiteful tales of derailed romance, and "Living In Paradise" ups the ante with its depictions of wanton betrayal and relentless paranoia- and it has a cheerful, bubbling melody! "This Year's Girl" matches a leering, halting musical assault with lyrics that take a sharp stab at celebrity culture, and "Lipstick Vogue" is pure amphetamine sleaze. "Little Triggers" is a broken doo-wop ballad essaying a crumbling relationship with enough bitter disillusionment to last a lifetime. "You Belong To Me" is a gleefully sardonic look at male aggression, and "Pump It Up" is a rollicking party song... with lyrics about the worthlessness of parties. "Night Rally" is a dark, atmospheric track that sees Costello flirting with images of fascism and revolution. "The Beat" (possibly my favorite track here) is tale of sexual frustration that brims with raw aggression and nervous energy. I'm also in love with the stunning "(I Don't Want To Go To) Chelsea," which uses a taut, crawling, ska-influenced groove to slowly build tension, while Costello's lyrics are pure claustrophobic sexual paranoia.
   
   So, a masterpiece then. Get it.



3. Fun songs on this sophomore effort...'Pump It Up', 'Lipstick Vogue', 'Radio, Radio'. EC rocks harder here than on his debut recording. This solidly rounds out my top 5 standard Costello recordings.



4. The merits of this album need not be discussed here. This Year's Model has been widely regarded as a rock classic for over twenty years now. What does need addressing, however, is the sound Rhino has acheived in rendering this recording on cd.
   
   The 'remastering' game that has been going on for the past decade has yielded mixed results. Record companies promising superior sound have come up short more than half the time when it comes to reissuing classics. Lucky for us, that's hardly the case with Rhino's treatment of Elvis Costello's back catalog.
   
   This Year's Model is what every fan hopes for when plunking down hard earned cash for an album he already owns. The sound is incredibly warm with every instrument coming through distinctly. It is as if the Attractions have set up shop in your living room. Seriously, the immediacy of this recording is so impressive that I had to play it on the cheapest stereo in my house just to make sure I wasn't imagining it.
   
   Revisit a classic and hear what you missed the first time around. This Rhino series will be the death of our pocketbooks.



5. i had been in a deer hunting accident. i awoke in a hospital and down the hall a boombox was playing this album very loudly. i knew everything was going to be okay.