5 comments about Invisible Hitchcock.

1. Oddly enough this was the first RH record that I ever bought. To tell the truth , I think it was the cover that won me over. Really. This sounds much more like a cohesive artistic statement rather than just a stop-gap odds and ends compilation. By the end of the Black Snake outtake, "All I Wanna Do Is Fall In Love" (why this track was an outtake I'll never understand), I knew it was just a matter of time till I purchased all things Robyn. In fact aside from a few way-out-there experimental tunes this may be my fave collection of Robyn tunes. "Give Me A Spanner (i.e. wrench), Ralph", "I('ve) Got A Message For You", "Eaten By Her Own Dinner", "A Skull...", "The Abandoned Brain", "Falling Leaves"
   and the version of "My Favorite Buildings" on here are all great songs and some of my fave Robyn moments.
   
   This album is music for Autumn nights with abundant beer (or wine if you will) and just kick back, relax, listen and enjoy.
   Sample lyric: "Trevor Go And Shave Your Playmates"



2. Robyn often sounds like John Lennon on warped psychedelics(never mind...Lennon was no stranger to that sort of thing), and here the resemblance is as strong as ever. So picture yourself in a boat on a river with tangerine trees and marmalade skies and let Robyn take you to a place stranger than Lucy in the Sky with Diamonds ever went. Most of the arrangements are sparse with awesome harmonica and backward guitar treatments. The majority of the songs here were recorded betweeen 1980 and 1983 and have definitely withstood the test of time.



3. I have actually owned the LP version of "Invisible Hitchcock" for many years (well before this CD version was released). It must have been 1988 or '89 when I first heard it. My then flatmate; Dave(where are you now?), and I would drink copious amounts and put this album on. By the end of side 1, munchies were setting in so it was the perfect break (just after the psychedelic jungle beat that is "Pit of Souls") and then on to the hilarious "Trash" which opened side 2. Ahhhhh....the memories! The superb bass line to "A Skull .....", the surreal lyrics to...well most of the songs here, and the twisted, hilarious brutallity of "Blues in A" all help make this album a timeless classic for this listener. Now that we have the CD version, there are many more tracks available that were/are not on my old dusty LP version. However, on the sleeve notes of my LP it does say that one day a second album of similiar demos, b-sides, and general recorded lunacy will be released at a later date. Maybe these tracks are them. However, I certainly recommend it for the 12 or so tracks that were on the original vinyl version.



4. The attraction of Robyn Hitchcock goes beyond the playfulness of a song like My Favourite Buildings. Underneath the tongue-in-cheekiness of the humor lies the sweet folk rock of a man who can both make fun of buildings and lament their immanent demise. The drunken barroom sounds of Give Me a Spanner, Ralph and the typically Hitchcock smoothness of A Skull, A Suitcase, and a Long Red Bottle of Wine serve up the kind of diversity he's known for. If you're a Hitchcock fan, you have to have this one, if only for My Favourite Buildings. If you have no clue who he is, this is a great intro.



5. This basically consists of outtakes from "Black Snake Diamond Role" and demos. Even so, it's a fairly consistent and varied collection. Everything from good pop tunes like "All I want to Do is Fall in Love" to somber acoustic stuff like "A Skull, a Suitcase..." to silly stuff like "Blues in A." Basically minor Hitchcock, I suppose, but an oddly likable album and really pretty representative of most of what he does.

5 comments about Breathing Tornados.

1. my ears are fine by my EYES. MY EYES ARE BLEEDING, BEN. this album should be sold with a censorship sticker over the entire cover to spare us all the horror that is the breathing tornados album art.
   
   ...are those cheerios?



2. i had the pleasure of seeing him live, when he opened for J Mascis, and he was amazing. "Burn To Shine" was soooo passionate.. buy this



3. Ben Lee's music has really evolved. I love the new sound, it's much more mature. There are so many great tracks on the album. Check out I Am A Sunflower; it's currently my favorite. Buy Breathing Tornados - You'll be glad you did ;)



4. OVERALL its pretty dull, and somewhat repetitive, but incredibly relaxing. If you wanna relax, sit back, and just chill, this album is perfect. Nothing too hardcore (to say the least), but I like it. A good buy, worth the money.



5. Okay it's 1999, just about every artist now days want to add some drum loop or some crazy computer effect in their songs. Now former Noise Addict Aussie (and Double Dare contestant!) is one of those artists who follow in that direction. But unlike other artists who uses the drum loop and samples as something "now "or gimmicky (like the awful Sugar Ray... "Every Morning" I have to listen to that ....ha ha), Ben Lee really uses it to it's advantage, breathing new life in his songs. These are not your basic four-track Ben Lee acoustic albums (Grandpaw Would and Something To Remember Me By) The opener, "Cigarettes Will Kill You", starts off with piano very reminiscent to Fiona Apple's "Fast As You Can". And has a great chorus, "I wish everyone was wrong." On song two, "Nothing Much Happens" features a monologue by Kids and Sonic Youth`s "Sunday" video director Harmony Korine. When song three comes, it sounds like Ben is getting his groove on "I Am A Sunflower" that sounds a bit like Barry White. Maybe it's the fact he's getting some from ex-My So-Called Life Star Claire Danes that Ben's lyrics sound more sensual than the other albums. Another factor in the writing of Breathing Tornados was that it was recorded in some guy's house that made some ...!? (Yes it's true, go to some site and read about it.) There are some classic Ben Lee songs "The Finger and the Moon" featuring very minimal organ and acoustic guitar with slow drumbeats. "Birthday Song" and "10ft. Tall" is just Ben with his guitar with barely any accompanying percussion. Want something jazzy or funky? Listen to "Nighttime" "Burn to Shine" or "Sandpaperback" (with Sean Lennon on guest vocals) Throughout the 12 songs on this album, Ben searches for someone he could be intimate with. Using "organic" or "electronic" methods, he sings with the passion to grab anyone listening. Sure, he does have some weird nasal thing in his voice, which may be hard for people to listen to. (C'mon he's Australian!) But give it a chance please.... This is one talented young man who may be the future of rock and roll!

5 comments about Country for True Lovers.

1. On this album, and the jazz EP "Maybe, Yes" it's hard to divine what Ms. Mandell wrote and what's a cover. Because to her own tunes and well-chosen covers alike she brings her unique brand of soulfulness, sultriness, wisdom, strength and vulnerability. I'm haunted by "Kingsport Town" and "Iowa City." I also love "I've Got a Tender Heart" and "You're All Bad (and That's Why You've Been Invited)".
   
   Now I love this album, as I love all her albums, but if you're new to Eleni Mandell I would not make this my first album. This is great, but I think "Miracle of Five," "Afternoon" and "Thrill" are better intros. On those albums nearly every song is a GEM. All her albums are chock full o' pearls, but those 3 are all all-out lustrous from beginning to end. Oh, who am I kidding, "Wishbone" is great too. Hell, they're ALL good. Look, just get them all. Treat yourself! Believe me, you're gonna end up getting them all anyway.



2. i love this cd. this is one of the most listenable country discs of the last decade. eleni mandell's vocals carry this material perfectly, her phrasing is divine. the instrumentation is subtle and tasteful. 12 songs, each one a gem, from slow torch songs to catchy uptempo melodies. get this disc and have a better life than the one you are having without it.



3. It's hard to really understand why Eleni has made an album of traditional country songs. Her artistic worth surely lies in a collision of styles, adding up to a stange and original leftfield hybrid. There's nothing remotely leftfield about this album. Maybe that's the point. As an album, as a straightahead country album, it's quite good. And it has a handful of excellent songs. But as a fourth instalment of the Eleni Mandell musical vision? It makes no sense when considered that way. But then, perhaps Eleni doesn't care that much about the evolution of her music. She made a country album because she loves country music. However, I think she has probably alienated alot of her loyal fans by doing so. Would a Tom Waits fan put up with the great man making an album of country music? Probably not. Eleni's last album, Snakebite, was her best and most extreme, and suggested she may move even further into leftfield territory. But now this confounding change of tack. In a way, her wilful disregard of what is expected, is to be admired. In another way, it's hard as a music listener not to shake one's head and wonder at what's going on. She has the freedom to make whatever music she wishes. But does this mean that she actually should? This album is very valid, in that it makes one question whether one should expect anything at all from a favoured artist. Whether it's wrong to want an artist to pursue a certain path over another. Like when Phil Ochs, at the start of the seventies, started doing covers of Buddy Holly. His fans reacted badly. Personally I wish Eleni had not made a country album, because country has been done to death. She does not contribute anything to the genre that hasn't been contributed before. I sincerely hope that this is a one-off project, that she is not now a country artist. If the next album she makes is more of the same, I won't buy it. Loyalty only stretches so far. Eleni is an original talent, and has the ability to continue to make original, offbeat music. Whether she does or not, is entirely her decision.



4. I saw Eleni Mandell in New Orleans at the Mermaid Louge under swooping cars above. She came on stage, just her with her little guitar and her bassist, and showed us what a great performace should be. Nevermind that Tulane Radio SHOULD HAVE gotten us in without a cover. Nevermind the really, really bad bands before her. She was great.
   So I got the CD. At the time I was listening to a lot of Kelly Hogan, who has an angelic voice (as you allready know). Eleni, as I call her, is a cousin of Kellys musically, but a differnt peach as well. She has soul. She has a great taste. She knows how to write and sing a song.
   She said on stage, probably a joke that she repeats often from up there, "I always say nobody should ever cover Tom Waits songs or this one." Then she sang a beautiful rendition of It's Raining. Even if you aren't a True Lover, you might like this Country.



5. Excellent musicianship, top-quality production, fantastic performance. Eleni Mandell has a voice perfectly suited for the "music of pain," and she wrings a lot out of it here. The instrumentation is blissfully simple and never distracting; a perfect companion for Mandell's spare vocalizations. If you have ever mistaken a Garth Brooks tune for something by N' Sync, but know old Hank Williams and Patsy Cline tunes by heart, this is an album you'll appreciate.

   Grab Country for True Lovers, K.D. Lang's Shadowland, and Neko Case's Furnace Room Lullabies, and you'll be set for a whole evening of two-stepping and crying in your beer when your best friend steals your girl, and your dog drives off with your truck.

5 comments about King of America.

1. In my opinion, 'King of America' trails only 'Armed Forces' and 'Painted from Memory' in a heirarchy of Costello's standard recordings. EC Top 50 cuts include 'Indoor Fireworks', 'The Big Light' and 'Poisoned Rose'. 'American Without Tears' and 'Brilliant Mistake' are other excellent songs here. Rhino's bonus disc has a number of treats including 'Having it All', 'Suffering Face' and great live versions of 'Shoes Without Heels' and 'Poisoned Rose'.



2. Only owned Costello`s "The Very Best Of" but have long been a fan of his. Then I recently watched the "Blackpool" drama series on TV and heard and liked the catchy track "Brilliant Mistake". I immediately recognised the artist and then searched and found that it was on "King Of America". Not disappointed at all with this CD, excellent stuff and with the added bonus CD to boot it makes brilliant value for money, which buyers do not often get these days.
   As usual the CD was very well packaged and arrived earlier than I expected as did my previous purchase from Amazon, which was Johnny Cash`s "American IV - When the Man Comes Around".
   Keep up the good work and service,
   Kind Regards,
   Gary.



3. this is the best album from one of the best poets of this or any other generation. it's the message that's the meaning to paraphrase McLuhan. He's the greatest



4. ...so I've heard. I'm sure, at least, that he rates it at the very top of his recorded output. And, it is so wonderful for one simple reason: songs. He really had the songs for this one. From the stark emotional beauty of "I'll Wear it Proudly" to the stoic and resigned sadness of "Brilliant Mistake", these tunes rank among the greatest this stellar, exemplary songwriter has ever written. Here, he sublimated his verbal dexterity a bit, and spoke, instead, more directly from the heart, to devastating, shattering effect...Breakup songs just don't get more lacerating and penetrating than "Indoor Fireworks"...
   
   And, I will say this, even if it's not EC's favorite album from his catalog, it certainly is mine.
   
   And, as if the disc proper wasn't enough, the bonus disc of rarities is brilliant, with many hard to find, excellent rarities. Amongst them, I'm most fond of "Suffering Face". Hard to believe it wasn't included on the original KOA. Guess EC had no shortage of primo material at the time.



5. Just got Elvis Costello's King of America reissue. I've read varying criticisms of it--1) that it's unnecessary if you have the 95 Ryko disc; 2) the colorization of the cover looks stupid; 3) that it should have been issued with Almost Blue. Of course, none of those criticisms address the album's contents or its place in the catalogue. I definitely see it as the gateway to his mid-career renaissance from Spike through North where he experimented with a wider variety of musical forms and collaborators. The Attractions album that followed "King...", "Blood and Chocolate", in context, now sounds like the last gasp of a once-great unit. It's their "Let it Be". Not bad compared with other artists' work, but certainly nowhere near their own best. ("Brutal Youth", while not heralded as an Attractions album despite their presence is weaker still, illustrating just how limited the rock combo format had become for Elvis. "All This Useless Beauty" is a splendid art-pop album that relies more on composition than attitude.)
   
   I tend to prefer the later Elvis records because of their diversity, with Spike being a personal favorite. "King of America" has a uniformity of style and substance that speaks to the ingenuity of his best concept albums ("Get Happy!!", "Almost Blue", "North", and "The Delivery Man"). Those albums revere archetypal American music forms like roots, rhythm and blues, country and jazz, giving "King of America", in title, a subtle irony. Elvis issued his first album the year the King of Rock 'n Roll died, subverting his name with a kind of vicious irony. On "King..." Elvis even employs the King's old band (billed as his "Confederates"). "The Delivery Man" is his Memphis album. Even his earliest recordings had a touch of rockabilly (note the pedal steel on "Alison" and his insistent variations on "Stranger in the House"). Despite reclaiming his family name (MacManus) for this album, his influences better suit his popular moniker. The album cover may proclaim Elvis is King with a wink and a nod, but his love of American music is sincere and "King of America" is a fitting homage.

5 comments about Under the Sun.

1. Paul Kelly has produced a brilliant album in Under The Sun. It really describes life in Australia from humorous - "Dumb Things" to Joyous "40 Miles To Saturday Night" to sad "To Her Door". The best track on the album for my money is Bradman. Those in the States may not appreciate how much this man is revered in this country. I guess he could be compared to someone like Babe Ruth in baseball. Through his amazing feats on the cricket field, Bradman lifted the spirits of ordinary Australians during the dark days of the depression and the war years. Kelly tells a masterful story in this song. It really does justice to this monumental figure in Australian cricket. Great album - have a listen! You won't be disappointed.



2. Paul Kelly is a staple of Australian radio, but sadly, besides "Dumb Things" (featured on some movie soundtrack or other), he hasn't made it onto American radio. Americans are missing one of the best songwriters available today.

   He is often compared to Bob Dylan, a pretty valid comparison. Both write intelligent lyrics that tell you a fabulous story. Both can wrangle beautiful melodies out of their guitars. But I think Paul Kelly has a much better voice than Dylan.

   Paul Kelly has several albums available. "Under the Sun" is a fabulous introduction to his music. This album has three of my favourite songs by him: "To Her Door", "Same Old Walk", and "Don't Stand So Close to the Window".

   "To Her Door" is the story of a separated couple, separated by the husband's alcoholism. She leaves him, he goes into rehab. Can they rebuild their marriage? The song masterfully doesn't answer this. We are left with the husband as he gets off the bus and goes to her door.

   "Same Old Walk" is the story of a man meeting his ex and her new lover. She's changed after all these years, from the colour of her hair to how she dresses, but she can't change the way she walks. "but then my heart unwound / I see you've still got the same old walk"

   "Don't Stand So Close to the Window" is the story of two people who shouldn't be together. Whether it's two friends who finally succumbed to their feelings for each other, or perhaps one of them is married, isn't mentioned. There is only the fear of being found out. I prefer the former interpretation, but then I'm an idealist.

   Alternately, try "Songs from the South" for another good introduction. That is his best-of compilation. It's a strong compilation that covers both his hits and the sleeper favourites.




3. Sadly, most folks in the U.S. don't know Paul Kelly. I heard 'Dumb Things' on 120 Minutes, went out and bought the cassette (does that date me?) and have been a fan ever since. 'Same Old Walk' is a terrific song, especially the imagery in the line, "I woke up at the table, the house was burning bright". Working-class songs about the everyday stuff in our lives that we don't stop to think about. Singing 'Barbara Ann' on a road trip (Under the Sun), falling in love with your best friend and not telling her ('Know Your Friends'), sneaking out the back door at dawn (the terrific 'Don't Stand So Close to the Window'). I actually think Paul Kelly would appeal to our more open-minded country-western fans, too. I lot of folks don't realize that Australia has a thriving folk and country-western scene. Some of slang is different, but the songs are still great.



4. And sings about them better than anyone else alive. If Bruce Springsteen were Australian 'Born To Run' would sound like 'Under the Sun'.



5. This is a must have CD. Pure, generic, pop-rock at its best.It is a shame that Paul Kelly is not really appreciated in this country. I have been a fan for last ten years and have most of the stuff on good old vinyl.This is strongly recommended for anyone who is willing to understand what Australia and Aussies are really about.

5 comments about Live at L'Olympia.

1. Fans have rightly complained about too many posthumous Jeff Buckley releases, but this import-only live album is something special. Buckley considered his Summer 1995 performances at the Paris venue L'Olympia, once the haunt of his idol Edith Piaf, to be among the best of his career. Incredibly, Buckley had a cassette tape of the performance which, except for a little hiss and some slightly unideal miking, sounds quite fine.
   
   The first Buckley live release, MYSTERY WHITE BOY, was a mishmash of American concert dates. Though they show Buckley still in fine vocal form--by the L'Olympia dates his voice had been weakened from excessive smoking--the selections for that album are tame and unexciting. On the L'Olympia recordings, however, he really lets loose. The album starts with an extended version of "Lover, You Should Have Come Over" that improves over even that on GRACE. The electric version of "Dream Brother" complements the album version well, and some added lyrics make its allusion to Jeff's father Tim Buckley all the more poignant. "Eternal Life" is played savagely, easily moving into a cover of MC5's "Kick Out the Jams". And the wild performance of "Grace" here lacks the control of the album, but goodness, he's doing such vocal acrobatics live!
   
   There's also a great rapport between singer and crowd here. A brief break has Buckley playing Led Zeppelin's "Kashmir" as if it were a 33 RPM record played at 45. In "Hallelujah", he makes a slight change in the lyrics to "I used to live with Leonard before I knew you." And, as insensitive as it might occasionally seem, Buckley taunts the crowd with mentions of Piaf and the little French he knows. And very touching is the way this crowd adored the singer. Buckley found instant fame abroad while he remained an underground figure in the US. At one moment Buckley has to interrupt his sound to say as if overwhelmed, "You people, you crazy people".
   
   I suppose this album was import-only because MYSTERY WHITE BOY was selling sluggishly in the US and the label thought there was insufficient market for Buckley there. Nonetheless, if you are a fan of the singer, you absolutely must seek this out.



2. Thoroughly enjoyable--it is evident by listening to this EP of the live concert in Paris that JB had the time of his life performing for his beloved french audience. Very original performance of some of his best material.



3. I was not particularly aware of Buckley until I heard "Hallellujah" on a TV show. I bought this album since it had the longest version of the song on it, of any of his albums. What a disappointment. He seems to play it as a duty, showing little respect for a truly wonderful song.
   
   He also sounded tired of some of the other songs, substituting loud sound for music.
   
   On the other hand he covered "Grace" and "What will you say" beautifully. The album itself is a masterpiece of presentation, and I am keeping it for that reason, but will look to find a better version of him singing "Hallellujah."



4. I grew up in NYC, and the east village was my place of choice to hang out. It was there that I caught Jeff Buckley playing live several times, including Sin-e, well before his recordings were made; he was a charismatic performer, to say the least. I was and remain a fan of his first full LP "Grace", a pretty, if slight album that grew with each listen. His unfortunate death at such a young age is, of course, a tragic happenstance. But facts are facts; Jeff Buckley was a work in progress when he died. He had a long way to go, before he could live up to the "musical prodigy" hype that has been bestowed upon him by cultish, obsessive teen/twentysomething girls and boys who have his posters adorning their walls. Like Jim Morrison, Kurt Cobain and Tupac before him, Jeff Buckley has now joined the ranks of rock martyrdom, and is being eagerly milked by greedy record companies and sold to horny, lonely, sensitive, misunderstood girls and boys who prefer relationships with dead icons over flesh and blood. Lets face it, if Jeff Buckley looked like "Skreech" from "Saved by The Bell", would anyone other that the extremely dedicated still be talking about "Grace" today? I am not knocking the artist, mind you, only those who milk the bones (record companies and fans, alike) of an artist who simply did not live long enough to fulfill his potential. Let the man RIP, already! Incidentally, this is the best Jeff Buckley live album to get...



5. It has been 9 years since his death and record companies are still releasing some new stuff about him.This album is his third live album and for me it's the best.Although it was recorded from a casette found after his death,the sound is absolutely perfect and you can easily feel the atmosphere.This album was recorded on 6th and 7th of July 1995 at the Olympia Theatre in Paris in 2 soldout concerts and has 11 great songs featuring covers of the MC5's 'Kick out the jams' and Led Zeppelin's 'Kashmir'.This is precious for any Jeff Buckley fan,but if you have no idea about him this is a good place to start.

5 comments about Baby I'm Bored.

1. Evan Dando steps up here with his first solo release. The sound is great and seems to stray from the lemonheads sound quite a bit. Singer-songwriter jems captured with a good backing band who doesn't over-power Dando's already perfect simple pop songs. The "alt-country" sound which the Lemonheads picked-up with "Lovey" is apparant here, but done in a different way. The sound is generally mellow and rocked-out. Get this homies.



2. While some have been critical of this album for numerosu reasons, mainly that it is post-recovery, I still find everythign Evan Dando touches to be gold. The songs are pure musical perfection, and Evan still holds the same brilliant musical spirit as ever before. I have listened to Evan for many, many years, and a bad Dando album is till 100 times better than anythign else for me. I love it, and think it is a great album. "All my Life", and "In the Grass Wine Colored" are classics, to be sure. No matter what Evan sings, I find myself unable to shake it from ny head many hours later. Thanks, Evan, and keep writing. I have been through addicition, drug years, punk/power trash, etc, right there with you, and out the other side I am glad to have musicians like you blessing my ears.



3. Ive seen Evan's' solo act as well as The Lemonheads.I grew up with all the Lemonheads albums,and was fairly optimistic about this release.The lyrics are generic for the most part.Its sad to see Evan's songwriting skills have been so damaged by his self destruction.The album has about three great songs though.



4. Alas, I never heard the Lemonheads and perhaps they were something I would of liked. But after hearing former frontman Evan Dandos' solo project I somehow don't think so.
   It's not that there is anything horribly bad in this record, but thats it's problem, there isn't much of anything in this record. The songs sort of plod along in an unchangeing dirgelike rhythm (you could tap your foot to this entire record at more or less the same speed). The music is unremarkable unadorned chord strumming and the lyrics are quasi-wistful innocuous sad sack garbage that I seriously couldn't remember a line of five minutes after the record ended. In fact, I couldn't hum a bar from one of these songs right now and I listened to it this morning.
   In short, unless you suffer from a severe case of insomnia, pass this record over for something else.



5. Well, at least you can't accuse Dando of not growing along with his fans. If you rocked - kind of, sort of - to the Lemonheads when you were in your early twenties, now you can mellow out in your early thirties with Baby I'm Bored. None of these songs are particularly memorable but they capture the tone of pre-midlife-crisis angst perfectly: not so much depressed as resigned. Sure, life isn't as exciting as it was when you were back in the dorms but you know, uh, it's the only game around. Anyway, perfect for that moving-out-of-the-loft party you've got next weekend in Williamsburg.

5 comments about EITHER/ OR.

1. Emerging from the shadow of Kurt Cobain in the late 90's, Elliott Smith was perhaps the greatest singer songwriter of his generation. Smith's genius was his unabashedly honest, naked, poetic lyricism that was so beautifully complemented by his unpretentiousness acoustic guitar. Like none that came before him, Smith delivers note after note of haunted, sparkling melancholy. Far from gloomy, his songs radiate with incredible emotional intensity. Combining an unbridled punk rage within the guise of an acoustic folk song, his songs speak for themselves. Reflective and introspective, each song unfolds like a delicately wrapped package, revealing itself slowly. Smith's songs present themselves like late night thoughts that just won't go away. Concerning themselves with drug abuse, depression, and troubled relationships, Smith exorcises his inner demons and releases them in a beautiful, blinding, luminosity, albeit born from dark, painful emotional despair.
   
   With the release of two critically acclaimed Indie Rock albums in the late 1990's, Elliott Smith slowly rose to prominence in the Indie rock underground. Yet he was still relatively unknown. That would soon change. Director Gus Van Sant, a friend and fan of Smiths, and a native of Portland, approached Smith about using his music in his upcoming film. Smith agreed and several songs (Say Yes, Angeles, Between The Bars, No Name #3)on Either/Or would go on to be featured in The Miramax Motion Picture Good Will Hunting. Smith also composed a song for the film "Miss Misery," which would go on to be nominated by The Academy for Best Original Song. Smith symbolically revealed himself to the world within the spotlight of national television when he performed Miss Misery live at the Annual Academy Awards. Either/Or is the last lo-fi album that Smith released, before a bigger record contract with Dreamworks afforded him the opportunity to expand his sound with lush instrumentation and arrangements on his subsequent albums. Perhaps, his most accessible album, Either/Or expands upon the raw beauty of his previous two efforts into a refined, elegant work of art.
   
   The release of 1997's Either/Or would see the continuation and finale of the same iconic sound that had become instantly recognizable. The angelic, whispery thin voice and fingerpicked acoustic. The last in the trilogy of three lo-fi albums characterized by their elegant rawness and delicacy, Either/Or is slightly more refined and upbeat than his previous self titled effort. It is perhaps his most accessible album. Lyrically, confronting love head on rather than cryptically(Between The Bars, Say Yes). Like his previous albums, Smith played all the instruments himself on the record, he has never sounded better than on Either/Or. Each song stands alone more successfully, and the album feels cohesive. His melodies are simple, but his lyrics are simply timeless. While his life slowly spiraled out of control with his worsening drug and alcohol addictions, his music was getting better and better. Or perhaps more and more honest. Songs like Between The Bars, Angeles and Say Yes expose a tender and sensitive side. Smith has always bared his soul, but with each album it becomes more and more poetic and graceful. Lyrically, Smith says what he needs to say, and he does it so tenderly, elegantly and quietly. He emphasizes all the right words, even if the word is f*ck. There is an undeniable honesty in his best work, that people can instantly relate to, which is perhaps what makes him so special among fans. No more so than on Either/Or. There is a poignancy, a tenderness, and a sadness all at once. Smith was someone special, he was struggling and he wanted to share that, and that is perhaps what truly made his music beautiful. Maybe he never knew where he would end up, or how long he would be playing music, but he wanted to share it while he had the chance and it is in that graciousness that every artist is celebrated. For their contribution.



2. Ballad of Big Nothing stands out as the best song on the album. Speed Trials, Cupid's Trick and Rose Parade are the others that gave the album some flavor. 2:45 AM musically is cool, but the lyrics didnt do anything for me. I felt the accoustic songs on XO were better.



3. While this album will definitely grow on you, fans new to Elliot Smith should consider the more fully produced Dreamworks "XO" or "Figure 8" as an introduction. If you're looking to dig a little deeper, this CD will not disappoint. Like a fine wine, it get's better with age. Angeles, Alameda, and Rose Parade are my favorites, but the whole album has Elliot's hauntingly familiar melancholy, balanced nicely with comfortingly sweet harmonies.



4. as everyone knows, elliott smith had a hell of a gift....



5. I purchased the cd because of the posted reviews. Those reviewers obviously liked the self centered, self indulgent, depressed, simplistic lyrics. It seemed to droan on and on for ever....It wasn't worth the time.
   Sorry---I'm over 30 and am not interested.

5 comments about Ways & Means.

1. Paul Kelly is Australia's most acclaimed singer-songwriter, though he is barely known outside of his native land. He is sometimes compared with Dylan or Springsteen, although this perhaps sets up false expectations. What can be said is that his style is closer to them than to the more `pop' approach of someone like Bowie. Since his early pseudo-punk records of the late 70s and early 80s, Kelly has produced a series of albums (some with his band the Messengers, but more recently as a solo artist) full of narrative style songs in the pop/ rock genre but with increasing country/ folk/soul/ bluegrass influence.
   
   WAYS AND MEANS is the most band-orientated album Kelly has produced for some time, and subsequently has less of the singer-songwriter style to it than recent works. Thematically it can be seen as a riposte to the gloomy view of love and life depicted on his previous album, the delicate and beautiful NOTHING BUT A DREAM. This rather sombre album was a small and focused study structured with a careful musical and thematic progression (somewhat ruined in the US by the addition of the excellent, but incompatible, `Roll On Summer' EP). Its successor, by contrast, is happy and uplifting and is a sprawling work spread over two discs, lurching disconcertingly between musical styles, its organic and slightly chaotic feel captured in the broad strokes and clashing colours of the cover artwork. Despite this, or perhaps because of it, the album works marvellously well as a joyous and often riotous exploration of love; while the music may ramble, the theme of love - sign posted on the cover - is adhered to throughout. But rather than indulging in the more predictable tragic love of much popular music, Kelly instead focuses his exploration largely on the happy side of love - a topic far harder to write well about. This makes for an album to warm the winter gloom, or to relax to on a summer's afternoon.
   
   To set the mood, Disc One opens the album with the retro fun of a surf/rock style guitar instrumental that sounds like it is a lost Shadows track. We are then given a taste of the abruptly shifting musical tone of this record with the narrative style country-folk of `Oldest Story In The Book', followed by the bluesy rock of `Heavy Thing'. These three contrasting but equally excellent tracks make for a scintillating opening to the record, whetting the appetite for the rest of the album. But perhaps the highlight of Disc One, and one of Kelly's all time great songs, is the gentle beauty of `Won't You Come Around', with its delicate musical build-up, lovely guitar work and catchy chorus. This is a classic Paul Kelly song, reminiscent of his earlier work; indeed, it wouldn't sound out of place on his 80s albums with the Messengers. The rest of the disc continues the musical schizophrenia with the heavy rocking `Crying Shame' and the mad fairground piano of `To Be Good Takes A Long Time'. The set ends with the haunting `Nothing But A Dream', a precursor to the slower musical style that dominates Disc Two.
   
   The second disc continues the theme of love, while adopting a more measured and coherent musical approach than the first. While this creates a different mood, one of greater introspection, it is no less successful, and contains some moments of tender beauty. Chief among these is the gentle and wonderful `Your Lovin' Is On My Mind', a song full of both sadness and joy. Other tracks adopt a more ominous sound, with the insistent acoustic and slide guitar of `Curly Red' and `My Way Is To You'. But there are still light-hearted moments, such as the self-deprecating `King Of Fools' and the fun of `Young Lovers'. The album finishes with another instrumental, the cheerful and vaguely nostalgic-sounding `Let's Fall Again'.
   
   Overall, and unusually for Kelly, WAYS AND MEANS is defined more by its sound than its themes or lyrics. And in this it is a great success, managing to capture the obvious enjoyment of the musicians involved. This is probably Paul Kelly's best backing band since the Messengers, and they gel so well that they already sound as though they've been playing together for years. All of Kelly's albums over the past decade have been extremely good, but this is perhaps the most fun he has injected into a record since the light-hearted WANTED MAN back in the early 90s. While his last record, NOTHING BUT A DREAM, was a small masterpiece, WAYS AND MEANS is somehow too broad and unfocussed to receive the same accolade, but this does not make it a poorer record. If anything, it is more enjoyable. And as ever with Kelly's work, there is enough musical and lyrical depth to allow it to improve with each listen. Put simply, this is a fantastic record, and I can't praise it highly enough.



2. This is the first Paul Kelly album that I have ever heard. I had seen a few favorable (yet small) reviews in a couple different alt-country rags as well as in Rolling Stone, and decided to give this album a shot. I was absolutely floored the first time I listened at the combination of his heartfelt lyrics and the diverse, yet cohesive vibe of the song arrangements. At the heart of it all is Kelly's warm voice. From first listen, I saw a resemblence to the delivery of Richard Davies (who I'm guessing must be influenced by Kelly); my brother pointed out to me how he can sound like a more mature Damon Albarn (check out the "Great Escape-esque" bridge and chorus of "Beautiful Feeling"). What really keeps this album in rotation for me though is the restrained-yet-diverse guitar work. Elements of electric folk leads, swampy blues, acoustic strumming, surf, banjo, and country pedal steel are deployed perfectly. Capping it all off is highly complementary production from Tchad Blake that never buries the performances of the band.
   
   I highly doubt that I will hear another album released in 2004 that will top this one. I look forward to exploring the back catalog of Kelly's long career.



3. Where do I start? Paul is exceptionally talented and deserves a much larger audience for his inspiring tales of love and lust. I'm doing my best to get his aura spread out as far and wide as this Universe will take it.....I can't remove his cds from my player, neither at home or in the car. He sees things through eyes that are intuitive and thoughtful and it is obvious his heart is full even when it is empty. The melodies and the sounds are just breathtaking. The songs attach themselves to you and stay in your head for days on end. Yes, sometimes he is like Springsteen; yes, sometimes he sounds like Dylan, but mostly he is himself which is rhythm and blues on vegimite...... These songs are gifts to bounce off the soul.....These two cds are slower and full of thought and ponder. He still has the knack of calling a spade a spade but with more knowledge and wisdom sprinkled around the corners. I have always been a lover of good storytelling. Harry Chapin had that wonderful fill of taking a moment and inventing a story about it.... Paul does this too with great abandon. There is happy in life; there is sad.. Paying attention to his lyrics and style will bring a spring to your step and have you begging for more..... Paul is seeing life through the eye of an eagle and the mind of a Guru. It is what it is, and it is fabulous. Thank you Paul.... God Speed.....



4. The samples available for this album are a good taster of the beautiful guitar work and lyrical content by a unique Australian musician.
   
   Anyone who knows life in country towns will instantly recognise the mood set by the opening track "Gunnamatta" - at once laconic and sparse with deep undercurrents of violence waiting to erupt from the boredom. This piece perfectly caputures life in country towns where racial tension, boredom, substance and physical abuse create a potent mix. Here the band nails it perfectly.
   
   What is so magical about this album compared to Kelly's other works is the band he has managed to pull together. The guitar work by Dan Luscombe, Dan Kelly and Graham Lee creates shifting moods, broad cinematic soundscapes and simple workmanlike progressions when required.
   
   Often in pop music one finds that lyrics and music have little connection with each other. I'd go so far as to say that this is a fundamental problem with most pop music.
   
   Here however, Kelly and his band bring together the two components and the result is more than the sum of its parts. In "Little Bit 'O Sugar" for example, the song is built around a warm, broad slide guitar, slightly unhinged in its chord progressions and inconclusive. Here, Kelly uses simple repetition of lyrics around the idea of wanting some "sugar" but the musicians take centre stage to build the piece into a blistering, slow burning torch song. That Kelly gives the band a purely instrumental track as the opening track is testament to the importance they play as the tracks unfold.
   
   On songs where the lyrics take prominence such as "Beautiful Feeling", the guitar work remains simple and sparse, but never derivative. Lyrically, Kelly is exploring many of typical modern contradictions of love and desire. In "My way is to You" he sings:
   
   ...
   Many times I've stumbled
   Many times I've fallen down
   But always I had
   The dream of your dear ground
   My way is, my way is to you.
   ...
   
   The love in these songs is gravitational, elliptical and earthly foundation. What takes them even further is the aural canvas created by the musicians accompanying Kelly's vocals.
   
   Here then is an album of slow burning love and lust songs for adults. Not just a great Australian album, but a great album, period.



5. Paul Kelly's previous album, "... nothing but a dream", was a sad album, melancholy and bittersweet. It talks about lost love and dying friends. "Ways and Means" is nearly a polar opposite of that album: bright, uplifting, cheery.

   On "Ways and Means", Paul Kelly tackles the ubiquituous love song. He noted that writing a happy love song is much more difficult than writing a sad one. But can Australia's best singer-songwriter inject something new into a track that is already well-worn? The answer is a resounding yes. I haven't been able to take this album out of my CD player in more than a month, and I can't imagine that will change anytime soon.

   The first single from the album, "Won't You Come Around?", is a raucous entreaty to a lover to come visit just a little earlier than originally planned. "To Be Good Takes a Long Time" is a rollicking song, reminding us that it's a lot easier to be bad than it is to be good. The saddest song on the album is "You Broke a Beautiful Thing", a not-entirely-surprised missive to someone who ruined a good relationship.

   If you're familiar with Paul Kelly, this album gives you everything that you want in one of his albums. If you are new to Paul Kelly, this album is an excellent introduction. This album showcases his lyrical genius and ear for a catchy (but never simple) melody. If you're not in the mood for such happy songs, then his previous album, "... nothing but a dream", is just as strong.

   For collectors who try to buy albums in their original country of release: do not buy the original Australian release. That album contains EMI's copy protection scheme that makes the album unplayable on many CD and DVD players. A friend sent me the Australian version. It won't play on three of my CD players, and routinely crashes my Windows 2000 computer.

5 comments about Almost Blue.

1. Costello's country excursion works well because of the excellent songs he chose. His voice is suited to the genre and the Attractions give it all they've got, supported by some brilliant Nashville musicians like John McFee on lead and pedal steel guitars, and Tommy Miller on violin. This enhanced album includes a wealth of extra tracks, mostly live versions.
   
   The fast paced Why Don't You Love Me (Like You Used To Do) sounds more like early rock 'n roll than country to me, whilst Sweet Dreams is done with feeling and lots of soul. Success is a gently lilting ballad with lovely piano.
   
   My favourites are the buoyant Tonight The Bottle Let Me Down, the moving Colour Of The Blues, this slow version of Too Far Gone, and especially the bittersweet Good Year For The Roses, a brilliant interpretation.
   
   Costello's country excursion reminds me of another highly successful country album by a UK artist, Marianne Faithfull's very authentic Faithless (also available as Dreamin' My Dreams). Almost Blue obviously won't appeal to all Elvis Costello fans, but I find it a pleasure to listen to and a worthy contribution to the genre.



2. (This review is based on the shorter, original CD)

   I don't know much about country music, but I know when I want to hear "poor me" music, I turn to this CD. I've always been a big Elvis fan and was looking for another in the ilk of his first three. This one disappointed me at first, but it got under my skin and now it's one of my favorites.

   The only times I don't like Elvis is when his music seems uninspired and he's just cranking it out, especially in the writing. I think every album/CD since (and including) Trust has had some of that. Since Almost Blue is all covers, I think it allowed Elvis to concentrate on singing songs he obviously loves.

   I'd rather have this off-beat "weird" CD than one of his later inconsistent ones. I like every song on it.




3. I love this release by Elvis. I take it as a tribute to the singer/songwriters that inspired him. The selections and arrangements make this a solid country venture for Mr. Costello!



4. when i first heard "almost blue" i was floored. whereas the "stax"/"wall of sound" surprise of "get happy!" seemed consistent with elvis' musical sensibility (and fit neatly into a still burgeoning "new wave" eclecticism), "almost blue" was COUNTRY.

   i love this album. elvis used a fantastic producer (billy sherrill) and covers some pretty awesome material. my only regret is that elvis' live rendition of the gram parson's song "i'm your toy" isn't part of the original album (it is on the re-issues) elvis, backed by the royal philharmonic, never sounded better.

   country music is part of rock's roots -- nowadays that seems neither incongruous nor foolish. but it seemed so out-of-synch back then, as if country music was another language altogether from rock'n'roll. i highly recommmend this album to everyone who believes (as i do) that "king of america" is one of the finest albums ever recorded. in just seventeen months, elvis took us from london to nashville and into the budoir.

   for anyone who still thinks this album weak or a throwaway, i think you should remember the context and the singer... his cover of "sweet dreams" along with "success" (later recorded by sinead) and "good year for the roses" make the album worth the purchase...




5. A wonderful journey with Elvis; it opened my mind to good country music. Fun to listen to, fun to sing along with, and has held up beautifully over time.