5 comments about I Often Dream of Trains.

1. I remember the first time I heard this album. I was already fully dedicated to finding anything he had released and anything he would ever release in the future. By 1988, which is approximately when I picked up this on cassette, music was pretty over-produced and obnoxious sounding. It also was in the death throws of too many decades of taking itself seriously. Robyn Hitchcock, for me, was the perfect antidote to that entire era. Without him, life would have been very annoying.
   
   So, it was with some shock to realize almost halfway through "I Often Dream of Trains" (having never read a word about it before) that it was entirely acoustic. Robyn was, as it later turned out, returning from a self-imposed retirement stage and had a bucketful of songs.
   
   With the addition of the middle section of songs on the CD releases (all of which are instant classics themselves) "Trains" is an even fuller, richer experience. Alternating between his three favorite styles (dark laconic, psychotic, and hilarious), "Trains" is an achievement because it best represents the extremes of all of these strains. "Sometimes I wish I was a Pretty Girl" is just a one line joke, but it sounds like the ravings of a killer. "Flavour of Night" is easily one of the most beautiful songs ever written. And, the much beloved "Uncorrected Personality Traits" is a defining moment in music (you will either love it or hate it, but you will always remember that you heard it.)
   
   In short, this is a classic. It may not always be the first album of his I reach for, as it is a demanding thing to listen to, but it is easily in the top 5 records he's ever made.
   
   I was actually shocked to read Hitchcock fan's reviews on here that didn't like "Trains." I don't judge you, but I do wonder what it is that you like about the music. This is classic stuff.



2. I own several Hitchcock albums and of the one's that I have heard none come close to this one. There are several silly tracks which is to be expected with Robin but then there are the ballads. "I used to say I love you" is an example of many haunting ballads that grace this album. "Sometimes I wish I was a pretty girl" and "Ye Sleeping Knights of Jesus" are more light hearted fare but still decent songs but the ballads are where the real magic lies. Syd Barret influences abound on this one as usual.



3. I have been a Robyn Hitchcock fan since the mid '80s. I think songs like "Globe of Frogs", "Meat", "The Devil's Coachman", "Beautiful Queen", and "Cynthia Mask" are absolutely wonderful. At his best, Robyn Hitchcock mixes together emotional sensitivity, a clever use of language, and a playful spirit to create some of the most endearing alternative rock music that you'll ever hear.
   
   To be honest, I think Robyn records every single song he writes (rather than writing them, living with them a while, and then recording the ones that hold up over time). Most of his LPs include a few absolute gems, a few pretty decent songs, and a bit of pointless filler. As a result, I often find myself making mix CDs that include the best moments from all the Robyn Hitchcock CDs that I own. I suspect that a lot of his fans do this.
   
   One day I was reading reviews on Amazon.com and I saw that people described "I Often Dream of Trains" as the most "personal" and "intimate" LP Robyn ever recorded. At the time, everyone who reviewed it gave it five stars. The little description explained that this LP was a mostly acoustic effort that Robyn recorded in a friend's barn after a bit of a personality crisis. That description interested me because I think many of the weaker Robyn Hitchcock songs either get tangled in silly wordplay without ever making an emotional connection or (less often) get recorded with a more commercial pop sound that seems less genuine to my ears. This "personal" and "intimate" acoustic LP sounded like just the thing I was looking for.
   
   "I Often Dream of Trains" was a HUGE disappointment to me. It includes THREE totally stupid novelty songs ("Uncorrected Personality Traits, "Ye Sleeping Knights of Jesus", and "Mellow Together"). In two of these songs Robyn even sings in dopey accents (a southern accent in "Sleeping Knights" and a sleepy, drugged out voice in "Mellow Together"). What is so "personal" and "intimate" about wacky novelty songs?!!! Did anyone ever describe Weird Al Yankovic's songs as "personal" and "intimate"? Even worse, the CD version of this release includes additional versions of the horrible novelty tracks as a "special bonus"!
   
   Maybe Robyn should have recorded a children's album and unloaded all of his sillier tracks there instead of stinking up his regular LPs with that kind of junk. Don't get me wrong: I love a bit of silliness in my music from time to time. Still, some of this stuff comes off more like a Raffi album than like something that an adult would want to hear. It is childishness pushed to the point where it is just embarrassing.
   
   This silliness continues into several of the other songs too. "Furry Green Atom Bowl" and "The Bones in the Ground", for example, are prime offenders. You can just hear Robyn thinking, "Okay, what is a completely silly and meaningless line that I can write that rhymes with the one I just wrote?" He just doesn't seem to be trying to write anything meaningful or interesting here. Robyn comes off as very insincere with these songs, as if he just can't seem to stop making goofy jokes, even when a serious topic comes up.
   
   There are maybe two good songs on this LP. "My Favorite Buildings" and "I Often Dream of Trains" have that playful, touching element that made me a Robyn Hitchcock fan in the first place. Neither of them, however, are as good as the highlights from his other LPs. They just stand out because they aren't as pointless as the rest of the songs here.
   
   So, I would only recommend "I Often Dream of Trains" if you have a 3-year-old child who you want to turn on to alternative rock. If you are at least old enough to drive a car and you want to hear music that is "personal" and "intimate" you would probably be better off buying "Storefront Hitchcock", a live LP that includes stripped-down versions of many Robyn Hitchcock classics played mostly on acoustic guitar and joined occasionally by violin or a second guitar.
   
   Sorry for the long review. I just had to vent my frustration. I am a longtime Robyn Hitchcock fan and I felt burned by this CD.



4. Of the Hitchcock fans here, I find myself in the minority; I really feel this is one of his weaker offerings. He is in great voice, and the acoustic setting gives a haunting, ethereal quality to the work, especially on "Cathedral." So what's my problem?
   It's tough to put my finger on it...I find a few too many throwaways: "Uncorrected Personality Traits" with its barbershop reading of psychoanalysis, "Ye Sleeping Knights of Jesus," that smacks of The Stones "Girl with Faraway Eyes," (musically, not lyrically)and the Gumby (Monty Python version)"Mellow Together,"
   and some weirdness that lacks Hitchcock's usual sense of whimsy. ("Furry Green Atom Bowl," "Sometimes I Wish I was a Girl")
   There are moments of wonder here like the aforementioned "Cathedral," the haunting instrumentals and the title track that still gives me chills, but I don't feel the balance here that I have found on many of his other cd's.



5. Wow, i liked this stuff the first time i heard it, when it was Syd Barrett's. Who is this cheap ten cent knock off? and who on earth gave this moron a record deal. This guy has no real motivation to be writing this stuff...he is merely taking Barrett's words AND VOICE, changing them slightly and putting his name on it. Its musical plagerism and you guys praise him like hes innovative! Hes a cheap knock off of Barrett and he knows it himself, he even claimed to be the second coming of Syd Barrett. Hey Robyn i love Syd Barrett too, but i respect him enough not to be a carbon copy of him. Instead try to take his example and make your OWN unique sound. I highly discourage the purchase of this man's music, because it is hardly his own.

5 comments about Night on My Side.

1. Gemma Hayes is a very strikingly beautiful 24 year old from Tipperary, Ireland. She decided about five years ago to drop out of college and try playing music. Her family was pissed. After a few years working in a launderette, and playing in local pubs, she got some support gigs for David Gray and Beth Orton. She waited two years to sign a record deal. Hayes spent that time developing her unique vision. Record companies were looking for the next PJ Harvey. She ended up signing with a French label and recording her album with Dave Fridmann at Tarbox Studios. Hayes' early songs were acoustic guitar and voice, so there were many comparison with Joni Mitchell. People don't realize that she came of age when a lot of that folk music is not on the radar. The Cure and My Bloody Valentine seem to be better starting points. "Back of My Hand" has a bass line as if played by Peter Hook. Much of the record takes as its subject relationships and love affairs. Songs like "My God" are almost too personal, and full of life and melancholy. The sparseness is moving. Just as the big sound of "Let A Good Thing Go" shows her range. This record is split up into "day" and "night" sides: the first part has more electric guitars and walls of sound; where "night" is more folksy and gentle. "Ran For Miles" sounds like a modern country song. All good things must end though. Gemma Hayes covers a lot of ground in this debut record, and draws us in to her world.



2. I picked this record up by complete chance recently. I was buying a Grandaddy CD in Borders and Gemma Hayes was near it. It looked interesting so I scanned it in the listening station and ended up buying it.

   My first impression was to compare it to Shawn Colvin, but with more edge. The album seems to have two distinct halves, the first, heavier half, and the second, more acoustic half. The songs themselves aren't very commercial, and it's somewhat refreshing to just hear intimate songs performed the way the artist intended them to sound, not glossed over with the slick radio treatment that permeate similar offerings.

   These songs are unpredictable in the way bringing that off-color friend you have to a formal party might be - you never quite know what's going to happen next. You'll find yourself listening to a nice, acoustic guitar/vocal piece, and then suddenly you'll hear a dissonant cello creep in a half-step higher than the tonic, and then disappear as though it never happened. Very interesting stuff.

   "Hanging Around" is a definite highlight, offering the most radio-friendly song and production on the CD. I'm partial to the latter half of the record where the alternate tuning acoustics take over. "My God" is particularly nice.

   Ultimately, it's hard to pick the kind of audience this will appeal to. Shawn Colvin is a good reference point, although Hayes is not nearly as commercial. If that seems remotely appealing, then get it, and listen to it a few times. It definitely gets better with each listen, and you'll realize it's a multilayered record, offering more with every time through.




3. Night on my Side is a fantastic CD. You won't regret purchasing it. Beautiful and haunting.



4. Okay, I admit that I fell for Gemma's sad eyes and her intellegent, fragile face, but that doesn't mean I still can't be objective, does it? This CD, her debut, is simply brilliant. Although I've played it almost continuously, only pausing to throw in a little Black Keys and Patricia Barber now and then, I still can't decide which song I like the best. "Tear N My Side," "I Let a Good Thing Go," are both woderful examples of unique and creative rock that reaches out and insinuates itself into your subconscious. While her music is emotive and full of saddness and passion, Gemma wraps her songs in powerful melodies that happily stay nestled in your head long after the disc stops spinning.

   The only bad thing about this release is it leaves you wanting more. A lot more.




5. An amazing cd and she is even better in concert. A must have for your collection.

5 comments about Our Shadows Will Remain.

1. "Our Shadows Will Remain" is up to the same excellent standards Joseph Arthur has set with "Come to Where I'm From"(my favorite) and Redemption's Son".
   
   You can't go wrong with any of these three and if you like Joseph Arthur -you should go ahead and get them all. "Nuclear Daydream" and "Big City ..." are fine for a fan (which I am), but start with one of the three I suggest here if you are just being introduced to him.



2. I suspect I'd enjoy this album better if I hadn't seen Joseph perform most of these songs live in a much more stripped down haunting manner. "Can't Exist" is the most obvious casualty of the overproduction here, making it for me at least almost unlistenable. There is just something a bit too slick about how this album was produced as if someone was afraid of how stark the material is so they decided to sweeten it. "I Am" is another one that worked quite beautifully live and seems almost hokey on the album, which is a shame as it is almost Beckettian in its clarity. Still some great songs but too much gloss.



3. Let's get the clunkers out of the way first: "I Am" sounds like the more pretentious bits of Pearl Jam via Daniel Lanois, while "Leave Us Alone" sounds like Meat Loaf. Given that Arthur usually writes with a pretty sure hand, both songs sound like jarring missteps.
   
   On the other hand, Joseph Arthur's never been one to play it safe, so he can/should be forgiven if his reach occasionally exceeds his grasp. I've seen a couple of reviewers--here and elsewhere--complain that this album's a stylistic hodgepodge, but I rather liked the variation, which tends to be absent on, say, the more recent "Nuclear Daydream." It should also be said that it's not variation for variation's sake; from the ethereal "Echo Park" to the more earthy "Can't Exist" or "Devil's Broom," the changes are appropriate to the music. They're there to drive home the lyrics, rather than being there for their own sake. In contrast to someone like Josh Rouse (whose songwriting I love, but whose arrangements tend to fall into a middle-of-the-road sameness), Arthur's not afraid to stretch out.
   
   What all of this translates to, when all's said and done, is someone whose work bears up to repeated listening... even if the number of those listening is probably much smaller than it ought to be. Joseph Arthur is one of a small number of artists whose work I'll buy with no questions asked, because the end result--whatever else it may be--is always compelling.



4. Amazing songs, well constructed, different, mixed instrumentation, great use of drums and guitar and voice. Ranks with Hose Gonzalez as Album of 2006. Enjoy.
   
   Davo



5. Listening to this, I am reminded of the best work of Elliott Smith. And that is saying something.

5 comments about Educated Guess.

1. First of all, i do not think this sounds like a return to ani's her and her guitar albums. But I do think this is possibly one of my favorite of her albums, especially when i am in that mood, it is kind of a low key album.
   i really love animal...it proves that all the songs are not about a sad part of her life.
   it is a different album, of course, but after a couple listens, i loved it!!



2. In this album Ani does it all by herself: lyrics and music (as usual), production, mastering, mixing... and the result is undoubtedly beautiful. The melodies are sweet and flawless, the poems are strong and direct, the voice effects are enchanting. This is not the Ani you may be used to, but it's still empowering how she deeply and bravely analyzes and faces her feelings and sorrow.
   
   Stand-out tracks: Educated Guess, a mantric meditation about life and love, Swim, a bitter flash-back in a difficult love story, Origami, a powerful statement of man fragility and woman strength, Animal, a sad and sincere analysis of American society, and Raincheck, a gorgeous, jazzy song about a possible new love.
   
   Do yourself a favor and buy this wonderful album, and listen to it when you're in a meditative, introspective mood: this is still, indeed, one of Ani's 32 flavors.



3. I came across Ani Difranco's music through covers by guitar slinging folk girls, woman who were quite good at what they did and honored their influences. Then I listened to Knuckle Down, just last year. I was like, oh, so this is Ani Difranco. An all-powerful Amazon warrior, not just some sniveling girl (to quote the girl herself, all irony intended). With needs. And, I think, that is what Educated Guess is about: needs, needs not met, needs that expose us, and, finally, make or break us.
   
   If you're a fan of Difranco, you should appreciate this disc. It plays like a workshop, working through themes and ideas in her Ani accents, the language, the music, etc. Educated Guess shows the artist at work on some heavy emotional stuff, personal themes that are still open-ended enough to let the listener in. I think the disc and Knuckle Down are A and B sides of a whole emotional/creative gestalt. What she voices in Educated Guess is presented much more stylistcally in Knuckle Down, the more accomplished release only because she band jams and has polished the material with a bit of emotional distance.
   
   Educated Guess is about working through, feeling your way as an artist. Origami articulates succinctly what went down in this girl's heart. A powerful, accomplished woman will surely find it difficult to be with someone. That other person has to complete you in some way, and, well, we know that story. Animal is a sweet swipe at our fatted-calf way of life. Really, you hear the Difranco politics stated clearly, quietly, beautifully. And You Each Time ends with Ani's voice looping back through like a delicate heartbeat that goes on after the music and all else dies.
   
   If there's one thing you take from this release it's Ani's voice, looping in and out in all variety of echos and choruses. She sings to herself and questions herself and answers herself. Her voice is worked through effects in that whacked way she uses perfectly in Knuckle Down. It's all here, the creative tools and stuff that she uses in Knuckle Down, her mature masterpiece.
   
   She is certainly working, experimenting here, pushing herself as an artist to not avert her glance. She's hard on the other in her lyrics, yeah, but hard on herself because, you know, when it just doesn't work out, what do you have then. Very internal, this stuff, dark and at times smothering. Discovering that you can be, and actually are, happy either way, after it all goes down, the love love thing, is problematic to most anyone. The effects of love and loss and life.
   
   Taken together Educated Guess and Knuckle down show an artist in spiritual and emotional crisis and share a sort of creative catharsis. This is definitely mature work. Educated Guess the workshop, Knuckle Down the showpiece. But any Ani Difranco fan should appreciate Educated Guess. I guess it might depend on why you listen to her. She's a smart lyricist and a sly guitarist, doing very cool, jazzy runs and picks. Don't expect the world conqueror here. This is about the human Ani in defeat, emotional wounds exposed, keeping company with herself, working through in a groovy way. Accompanied by her guitar and that ever looping voice in chorus, high and low and scatting and squeaking, singing, telling stories, calling herself out as she shape shifts into something new.



4. Ani did this album completely alone. The fact that they're recorded on an 8 track brings a new hollow & haunting element to these songs. It doesn't sound like anything she's done before. The general mood of this album is sorrow, dread, & solitude. You can tell Ani was going through something terrible in her personal life (divorce) & the lyrics are definitely darker than they've ever been, she says on the devastating "Bodily"..."Emptiness has it's solace in that there's nothing left to take."...or on "You Each Time" which features terrifying imagery such as:
   
   "so my heart finally broke
   it was so long bent
   and it broke in three places
   when it finally went
   it wanted only to say what it meant
   so it suffered every punishment
   now it lives in a shack outside of town
   and only the wolves are out there listening
   and in her dreams they chase her down
   their moonlit eyes are glistening
   and it is you each time
   it is you."
   
   This is a very dark chapter in Ani's collection, but it's definitely worth it. There's a raw power to "Educated Guess" that's comforting to me in moments of weakness & fraility in my own life.



5. I feel so confused that so many Ani fans gave this album such an unflattering review. I guess people don't take kindly to thier favorite feminist icon using an album to expose her soft underbelly and show that even a "righteous babe" can have heartache.
   
   This album is a return to everything pure that might have been lost in some previous albums. Though I gave a good review to "Evolve" as well, it often lacks the subtly, grace and raw honestly that is ever present in "Educated Guess". She is on her own on this one, in a very literal sense. This album was recorded, played, produced and mixed all by DiFranco for the first time ever. Not since 1994's "Out of Range" & "Puddle Dive" has our little folk singer gone into the studio with nothing but her guitar to play, her soul to bare and plain old moxie. This is not a big band album. There are no tricks, aside from her singing her own back-up. There are even a hand full of poems thrown in that bring us back to the days of her self-titled release and "Not So Soft". And not since 1998's "Dilate" have we been so privledged to feel so touched by and so related to her pain.
   
   The album is not entirely depressing. "Bliss Like This" is a bubbly and misleadingly upbeat number that gives a listener a mixture of longing for a happier past and hope for a happier future. "Grand Canyon" is an inspiring patriotic poem that reminds us that it is the citizens that form a country, not solely it's politicians.
   
   To simply write off this entire recording because DiFranco isn't reaching through the speakers and grabbing the American male by thier collective junk is simply ignorant and insensitive to the mood and timing of this release. We can't all be aggressive and bold at all times. The prococious modern woman is not anymore immune to heartache, remorse or deflation than she was 50 years ago. This album, though painfully reminiscent at times, is moreso a reminder of how even the mighty may fall- but the truly strong can learn to stand again everytime.
   
   Wonderfully written, with precise, often simple melodies wherein every note and nuace seems completely intentional and delicately handled. I would not go as far as to say that this album is my favorite of hers, but it is definately close to the top of the list.

5 comments about Armed Forces.

1. Amazing! Abba meets kraftwerk as sung by a twitchy paranoid buddy holly/woody allen composite. Live stuff on disc 2 really compelling



2. On his third album, Costello's lyrics are just as sweaty, cynical and paranoid as ever, but the music was opening up very steadily. No one would confuse this with the sort of songs he was releasing ten and fifteen years from now, but there was an unmistakable sense of flowering pop. In fact, there's hardly any hint of his ahead-of-its-time post-punk style on here (excepting the lyrics, of course).
   
   But "Armed Forces" doesn't suffer from it; in fact, its very trademark transition is what makes it rank nearly on par with his first two near-masterpieces. "Senior Service" and "Accidents Will Happen" are the two best, but check out the R&B funk of "Moods For Moderns" and the sharp lyrics and attitude of the potential-disaster-turned-marvel "Party Girl." Although he'd rarely be as good as this again, he out-lasted some of his populist influences (the deadly punk movement and Buddy Holly), and not just because he managed to, um, live.
   
   Best cuts: "Senior Service," "Accidents Will Happen," "Moods For Moderns" "Party Girl," "(What's So Funny `Bout) Peace, Love and Undersanding," "Sunday's Best," "Oliver's Army," "Green Shirt," "Goon Squad"



3. While his previous album (This Year's Model) was a jugular-grabbing blast of new wave sneer, Armed Forces is a sumptuous musical buffet. Although Elvis (and the Attractions) still have an obvious affection for all things mean and rockin', this album is just as informed by pop, soul, and disco as it is by rock and punk. The arrangements are often lush and spacious, casting aside the breathless, compressed fury of This Year's Model in favor of a more textured and intricate approach. Thankfully, Elvis Costello is a great, versatile songwriter and the Attractions (Elvis included) are a great, versatile band, so it all works incredibly well. The lyrics revolve around Costello's favorite topics: Bitterness, jealousy, paranoia, fascism, cynicism, and of course, love. The result is a more varied and sensual (if not necessarily better) album than its predecessor, and a major step forward in Costello's artistic development.
   
   Armed Forces opens with the beautiful lament of "Accidents Will Happen," which sees Costello contemplating the death of a relationship while a dreamy piano-driven melody twists around behind him. "Oliver's Army" is a lush, candy-coated gem... with lyrics about military propaganda. Sandwiched in between these two classics is the hyperkinetic, unrelentingly vicious disco-punk of "Senior Service," which sees some ambitious young hothead gleefully contemplating a violent coup. There's also the pained, prematurely sober "Party Girl," and the tense throb of "Green Shirt." "Moods For Moderns" marries an infectious melody to a stomping rhythm and soul-inflected vocals, while "Sunday's Best" is a sharp, bitterly satirical, and unsettlingly catchy classic. "Two Little Hitlers" brings together the album's twin themes of political and emotional oppression, portraying interpersonal struggles as violent confrontations between megalomaniacs, and vice versa. Great melody, too!
   
   Yet another fantastic addition to the Costello catalogue, if y'ask me.



4. The bonus disc alone makes this worth most of the price. The Hollywood High live songs (9 of them) are amazingly well recorded, very energetic great performance, with an enthusiastic crowd that doesn't intrude on the music. If you remember the live "El Mocambo" bonus disc that was part of an EC boxed set several years ago, well this is FAR better than that. The Hollywood High set alone could have been released as a great live CD, possibly the only reason it wasn't was because it would be seen as too short. The "bonus disc" here has other songs (B sides, etc.) not from the original "Armed Forces" which are worthy and interesting as well.
   
   As to the original studio album ("Armed Forces", the supposedly main disc), it's great, though not up to "This Year's Model" which is easily my favorite EC album. The lyrics on the album are especially great. One problem I have though is that the sound quality should be better. I don't know what the problem is, if the source tape is somewhat degraded or if the remastering has been over or under done. It's not terrible, just seems like it should be substantially better fidelity for a recording of a successful (by then) artist at that point in time. That's why I'm knocking off one star, otherwise it would get five stars from me. But the Hollywood High part alone would get five stars, so you might think of this as a great live album plus bonus studio tracks.



5. With the legndary Nick Lowe producing, Armed Forces turned out to be an album of very catchy tunes which masks the bitter satire of the lyrics. The arrangements are especially great on songs like Busy Bodies, Green Shirt and Big Boys. My favorite track is the lilting ballad Oliver's Army, but every single song is tuneful with a unique pop appeal. Costello is amongst the most literate and versatile of rock musicians and especially on this album, the tight writing and clear melodies are prominent, whilst The Attractions must be the best band he ever recorded with. Armed Forces is classic of late 70s poprock.

5 comments about I Do Perceive.

1. Great listen. All of the music is very slow and easy. There are few tracks but all tracks are pretty long. A great CD to chill out with. If you like good music, and who doesn't? and you're not too high-strung, give it a try.



2. It's rare that I write reviews for a Cd, but listening to this album was like wow! I felt compelled to write something. First of all, i'm of a fan of American Football. I wish they had continued on as a band. Owen (Kinelsalla, however his name is spelled) is an awesome artist. This CD is one of the best purchase i made this year. This has a great guitar melody, amazing drums, and his voice is just purely innocent and sweet. Get this album if you like mellow-relaxing music.



3. 3 1/2 stars
   
   
   Progressively mellow songwriting elevates the usually emo-like lyrics as indie superstar Mike Kinsella's continual refinement of sounds continues. Fans of Deathcab owe themselves a look into this band's work, which offers a more complex version of that type of sound, guided through with controlled acoustic excellence.



4. I first heard owen a few years back and am yet to hear anyone who can even come close to his musical talent and ability to write the most beautiful songs.'accidentally' was the first song i heard and upon hearing it i froze. it was honestly that beautiful and emotional i was entranced. ever since then i have listened to owen constantly. mike kinsella (owen) has consistantly recorded masterpiece after master piece and all his albums are worthy of a purchase. i have influenced so many friends with owen and not matter what their taste, they have fallen for owen. i cannot stress enough how much you need this album and his others in your life. Mike Kinsella has set the bar at an unbelievable high standard and i cant see anyone writing better music than him.
   
   take my advice-buy this and his other 3 albums.



5. As you will notice, I did not give this cd a prestigious 5 stars. Do not let that detract you from buying it. Mike Kinsella displays, once again, that an artist can maintain a consistant style without becoming redundant. This is a great follow up to his previous ep. Yes, the songs are sad and miserable, however, that is the signficance of his artistry - the tales of betrayal and self transgressions are packaged beautifully in songs that woo the senses and show incredible mastery and skill over the instruments. The production on the album seems to be the only flaw. It is by no means bad, it's just different than previous recordings - not enough to hold me back from enjoying it. This is 4 stars SOLID and another delightful treat for the ears of Owen fans.

5 comments about The Other Side of Daybreak.

1. Don't let Orton's heart-wrenching cover of Ooh Child fool you into thinking this is little more then a glorified b-sides/remix disc exploiting her small fan base, and reminding all others of her trite songwriting abilities. She needs to stick to the minimalist acoustic thing, because when she even ventures into electronic-ville, her songs are devoid of life.



2. From the OBJECTIVE reviewer...if this was Beth's attempt to improve on her less than stellar release "Daybreaker" she failed miserably and should have left it alone.



3. Anyone who pans this album is daft. This is vintage Beth, and that means it is pure unmitigated pleasure. True, it is a remix album. But this is Beth we're talking about here: her songs can be cut a dozen different ways like precious stones, and always reveal new complex subtleties and pure folky pop goodness. This album has everything you would expect from her: tripped out electronic vibes overlaid with lush orchestral & idiosyncratic acoustic instrumentation, all nicely jibing with Beth's quirky honest lyrics.
   
   There are several great little songs remixed here: Carmella (trk 6) is one of her best, in my book. It opens with a catchy hook, and when the usual sensual bass riff kicks Beth has me spooging yet again. Bobby Gentry is great, too. It has a relentless bass line and Beth's vocal is ferocious.
   
   Other highlights: an exquisite live version of Concrete Sky. That 70's soul song "Ooh Child Things are Going to Get Easier" is superbly covered. Then- speaking of spooge- there is a video of Concrete Sky included. Beth not only rocks, she is an utter minx. Great music - some of the very best - and Beth making love to the camera in short shorts. What's not to love?



4. F*cking great album! She's so natural and beautiful and so at home with all the coolest beats around her provided by Four Tet, Roots Manuva and Two Lone Swordsmen... Extreme feel-good album which goes nice with a latest from Nitin Sawhney "Philtre", also an amazing piece of modern conscious kickass street credited singer-songwriter stuff like this one! Thanx for the great artist Four Tet for leading me to her, because I got interested of this mostly after I saw he's remixed two tracks here.



5. It's been both on The Dvision & The District! And it is so inspiring that you'll smile for an entire day! I literally did today...

5 comments about Moss Elixir.

1. This is a much more personal album than his A&M records. Gems like "I am not me" and "you and oblivion" only come around once in a lifetime. For those who have heard these songs on "Storefront Hitchcock", this album has a different take, with more fleshing out of the background. I find it thoroughly enjoyable as a "quiet time" record with brains.

   I recently saw Robyn when he came through Chicago this Spring. He is at the top of his form, and no one should miss him if they have a chance to see him.




2. ...it's just not suited for everyday listening. I love this record, don't get me wrong. I don't have such a difficult time interpreting his psychedelia like so many others do, so this record really struck me as very heartfelt, honest and very emotional. The lesson I learned with Moss Elixir is that losing someone you love is devastatingly painful, but for better or for worse, you do get over it. However, you just can't listen to an album all about death and mourning all the time...it gets to you! Be sure to occasionally switch to a happier record like Fegmania!



3. Although I love Hitchcock the eccentric, he's not as much in evidence on this album. Nevertheless this, I think, is one of his very best - it never fails to touch me. Its a dreamy but mature meditation on memories and loss, with the feel of a song cycle, perfect for a fall or winter day. Robyn introduces violin on some songs to great effect, and his guitar playing and voice have never been any better. His songwriting remains on par with his best stuff, too - check out: "This is How it Feels" "She was Sinister" "You and Oblivion." And "Heliotrope," sounding like a Childe folk tune, with this great line: "I lie beneath the grass/My eyes are unseeing/My name is gone from all their files...." Sad, beautiful and highly recommended.



4. This would have been a return to form if he hadn't always stayed good. Though it is a slight return to the confessional folk feelings of eye, its also really a melding of the lessons of pop he learned with the egyptians. Most of the songs are more fleshed out, such as Deni Bonet's violin, but not to the point of clutter. The production matches the quiet yet glittering music. All in all one of Mr.Hitchcock's best and fullest albums. That sounds slightly poppy without all the extras. Good Stuff!



5. I wish he'd resist the temptation. He produces away all the great stuff we hear in his concerts. (I really only like his live albums because of this).

2 comments about Live at the Roxy.

1. Super service by the seller. Product arrived quicker than expected. Would deal with again!



2. this is one of py's early live shows in support of musicforthemorningafter....it captures a man on a mission. recorded at the roxy on the sunset strip in los angeles, it's a great cd to have in your yorn collection.

5 comments about Achilles Heel.

1. While this album is probably my least favorite of Pedro, it has perhaps 3 of the top 10 songs Bazan has ever written in my opinion. Arizona, Foregone Conclusions, and The Poison are all fantastic songs and make this album worth checking out. Unfortunately, the rest of the songs do not live up to the genius of the other albums.



2. I've been a fan of Pedro the Lion for some time, and while this album does show some progression and experimentation, it also takes several steps backwards in song-writing and melody. While Bazan clearly expresses his newfound vocal range in a number of songs, the album misses the cohesiveness and droniness of his other albums, in otherwords, this album is short on what makes Pedro the Lion great. There are some highlight songs such as "North am-transcontinental" which is cleverly written and very catchy, but overall this album has little staying power and is a far cry from past successes.
   
   If you're new to Pedro the Lion, save this album for later and start with "Hard to find a friend" or "Control."
   
   PS - it was supposed to be two stars, but I accidentally gave it four and I can't change that. Oops!



3. Pedro the Lion really has no excuse for not sucking. David Bazan has a terrible monotonous drone in place of a voice. The instrumentation and production on this album give new meaning to the term "lo-fi." And who wants to listen to songs about amputees and alcoholics anyway?
   
   Certainly, Pedro the Lion's appeal is very limited. But those willing to gamble on his fare will find some quiet gems buried under...well, not really anything. This is essentially a bare bones album. Indie rock in the purest sense, there's nothing here but some quietly strumming guitars, light drums, barely noticeable bass and the occasional synth. And a handful of darn good stories. In each song, David Bazan takes on a new persona, confusing his experience with that of the characters he embodies, hiding his own thoughts under others' voices.
   
   There is something strangely compelling about the song set of "Achilles Heel." When the opening chords of "Bands With Managers" begin to slog through the stereo, there is every reason to hit the stop button. The tempo is obviously far too slow. The melody is headed nowhere. And somehow, the song's total lack of pretention hits, and we realize that this scene is playing out exactly as intended. We can't help but listen to David go on and on about his hopelessness and woes because he's just so stinking honest.
   
   The opener makes the electric opening of "Foregone Conclusions" seem that much sweeter. A song executed with such efficiency that we never really knew what hit us, it blends warm open-string chords with brilliant cynicism, as David takes on the character of the reluctant recipient of a conversion attempt. In a brilliant moment of irony, he sings, "You were too busy steering the conversation toward the Lord/To hear the voice of the Spirit begging you to shut the f--- up." The next tune finds a character (perhaps the previous song's evangelist) offering weak but honest defense of his faith.
   
   Other highlights include the murder mystery "Discretion," which cleverly blends rhythmic feels, straightforward pop/rock number "Start Without Me," and "I Do," a unique meditation on fatherhood (postpartem depression on the part of the father). However, the true gem of the album is the peppy "Transcontinental," which tells the tragedy story of an amputee, set to sparse and eerie synths, while the drums mock the click-clack of a train. Perhaps the album's most intriguing track lyrically, this is a fantastic, pure road song. Closer "The Poison" frames the album with "Bands With Managers" and features the same, too slow, little melody feel, but when Bazan cries "My old man always swore that hell would have no flames/Just a front row seat to watch your true love pack her things and drive away," all is forgiven.
   
   The wonders of "Achilles Heel" are true enigmas. When at their worst, the band (if it can really be called that) is an unbearable mess and at their best, a marvel of economical atmospheric magic. Thankfully, the album contains mostly the latter. And we can take the bad parts, knowing that they're really not trying to please anybody but themselves.



4. I didnt like this album at first,for some reason.I dont listen to many bands,but i am always looking for new stuff.
   David bazan is a brilliant man,and so far,all the pedro the lion fans i have met have been really cool people.This album has some really good songs,but the lyrics seem to be lacking in places.this may not be as good as The Only Reason I Feel Secure,but still,it is pedro the lion,and if you have listened to davids stuff for any time at all,you start to look at things differently.I guess it all has to do with his words & music,how far it can take you,or how far you are willing to go.If you are looking for something new,or just looking to buy another perdo the lion album,get this.though i must say it does take some getting used to,atleast for me.



5. I am a HUGE Pedro the Lion fan. I own every album and know the lyrics to every song. My excitement for the release of this album was lost when I actually listened to it. The lyrics weren't as meaningful as they were on previous albums. I couldn't get into this album, despite my many efforts. Many say that this is the best they've heard yet, but I disagree. The CD is not without it's good points of course, but overall I'd say you're better off buying one of the older albums for the real taste of Pedro the Lion.