5 comments about Memory Girls.

1. I agree with everyone here that his music is beautiful, he's a master of pop hooks, knows how to write thoughtful, funny and wistfully emotional lyrics. But the problem is his singing voice. Just not a big fan. He doesn't really have too much vocal range and that's disappointing because the songs he writes are so pretty. Same thing with the Pernice Brothers (although not as bad).
   -- Mpls DJ



2. My husband found this CD through an obscure magazine that promotes music with little airplay - most of which I can understand why. On first hearing of this one, though, I was absolutely floored. I could not get the songs out of my head. With each song, I kept thinking, "Well, he probably just lucky with that one." But after hearing 4 or 5 of them, I realized this was not luck; that was true talent. Nearly every song could have been a hit single - if they only got the airplay they deserve. I can't decide which are my favorites - it depends on my mood. The music, the lyrics, the orchestration, and his voice (OH, that voice!)-- all perfecly combined make this one CD such a work of art. The occasional tinge of melancholy with the familiarity of the themes sometimes pulls me to a place I can't stay in for long, but who really cares? I almost bought a used copy of this CD like I do most, but I decided Mr. Zanes really deserves to get paid for his work. It is absolutely miraculous!



3. Apart from the Pernice Brothers' new album, "Yours, Mine and Ours", this is the best album you're going to hear that was released in 2003. The pacing and song selections are absolutely perfect, and Warren's voice is in perfect form. Don't waste your time buying the usual pop garbage that's churned out by the major labels and usual suspects. Buy this album and I guarantee you will put it in heavy rotation in your CD player!



4. Whether or not you're a Del Fuegos fan (like me) you'll like Warren Zane's work on Memory Girls. It's got the rock sensibility that makes the Fuego's music so appealing to me combined with a 60's pop strain that grabs my wife and kids and has them grooving on it right along with me.

   Welcome back Warren. It's been too long.




5. This is a terrific record... a real keeper. I heard "Hey Girl" on my great hometown radio station (WMWV FM, North Conway, NH)-- perfect horns, sharp lyrics and vocals over a sly hip-hop/funk beat... it sounded like a hit single to me but I didn't know the artist at the time. It was lodged in my brain for days, and once I found out who it was I was more convinced I needed to get the CD. So glad I did.

   Memory Girls is diverse, alive, and most of all fun.

   This record has been a remarkably effective audio serotonin booster in the car this weekend, and seems one of those records that gets better with more listens. I'm telling people about it. I love getting evangelic about music...

   Buy it!

5 comments about My Aim Is True.

1. I haven't heard much Costello, but based on what I've heard I can certainly say his first three albums were his peak. This was of course the album that introduced us to Mr. McManus, and it's quite good, one of Elvis' best. But I think the next two (This Year's Model and Armed Forces) are a ton better - there's a bit of generic punkabilly (albeit with much more interesting lyrics than most punk or rockabilly artists ever churned out) like Welcome to the Working Week, Miracle Man, No Dancing and Pay It Back. Now there are also several of his better songs. Watching the Detectives is pure reggae, predating both the Clash and the Police (Two good bands who would also delve into reggae) by a year. And I love it. (The Angels Wanna Wear My) Red Shoes is another one of those songs most fans know, for good reason too: pub-rock doesn't get much better. The frenzied, innuendo-packed Mystery Dance and I'm Not Angry are also both punkabilly, but they're also far better than any of the generic stuff, two of my personal favorites (I especially like I'm Not Angry's lyric "There's no such thing as original sin"). I think Less Than Zero is a tad overrated, but the lyrics are genius.
   Then we get to my personal favorite song, not only on the album, but of Costello's broad catalogue. I think it's safe to say that Allison is his most beloved song, and with good reason. The ambiguity of the lyrics - is this just a breakup song? Is it about murder? Possible suicide, maybe? - is played out perfectly. The chorus of "Allison... I know this world is killing you/Allison... my aim is true" continues to muddy the waters. Now I like my lyrics ambiguous (I am a Dylan fan, after all), and it's safe to say that's part of what makes this my favorite Costello song. That's not all though: Costello is if anything an underrated melodicist, and he pens a perfect one here. Even his vocals, which I normally find quite limited, suit the song perfectly.
   So a fine debut album, full of the promise that would later flower on the next two albums, but in spot s he sounds like he's just copying that other famous Elvis (not that there's anything wrong with that). And Clover's nowhere near the Attractions. While it's safe to say that This Year's Model is the place to start, My Aim is True is one to get too.



2. There is just not another way to describe this album. It is simply awesome. It is a tremendous breath of fresh air,bursting with energetic life, and some of the most creative and original songwriting imaginable. This introduces the world to one of its most distinct voices and artists: the inimitable Elvis Costello. Every track is a gem and will catch you likely the first time around; relistens are always rewarding though, and thus even though the album will become an instant favorite it will not grow old and stale after a short time. When every track is so vital it becomes impossible to name highlights... the whole album is excellent and every track worthy of 5 stars.



3. When I was a senior in high school, Elvis Costello came out with My Aim is True, and it totally blew us all away with its cynical, on-the-money lyrics and terrific pop hooks. With heavy radio rotation of songs such as (The Angels Wanna Wear My) Red Shoes (which I made sure to get not long afterward), Alison, and Watching the Detectives, as well as Welcome to the Working Week, Mystery Dance, and Radio Sweetheart, Elvis was suddenly all over the FM dial, and we heard tell of concerts in which the 'angry young man' named Declan McManus spit on his audiences and told them off. A real regret was not getting to see him play live the first time he toured here, which I didn't have the opportunity to do 'til 1983, and a couple of times thereafter - always excellent shows, I might add (alas, no spitting). I have such specific memories of riding in a car singing Watching the Detectives and listening to these tunes while crossing the Long Island Sound by ferry on a trip to Shelter Island in New York on an early summer morning, Elvis' music the indelibly-etched soundtrack to that period that will forever play in my mind. Since this LP, Elvis has gone on, as we all know, to explore and master many genres of music, but - even given his wonderful subsequent work with Burt Bacharach - none hold as much power and meaning for me, even twenty five plus years on, as this LP does. Long live this King!!



4. There is very few albums that compare to this masterpiece. Every track is superb. One of the top 10 albums ever produced. Intelligent and quick witted lyrics, addictive melodies and clean pure energy, this album has it all.
   
   The funny thing is I could issue a similar endorsement for E.C.'s next two albums as well. 1977's My Aim Is True, 1978's This Years Model & 1979's Armed Forces, may very well be the best three consecutive albums ever released by any one artist.
   
   Other artists have had larger impacts on our history and influences to or culture (Beatles, Stones & that other Elvis) But for musical excellence Elvis Costello is second to none.



5. I remember having a very bad image of Elvis, lumping him into the "new wave" phenomenon for years. Then I finally listened to this cd. The songs are nothing short of incredible. Not a bad one in the bunch. The production is stark but that just enhances the power of the tunes to stand out on their own without gimmicks. I'm not sure he ever made another album as complete as this one, though I followed him through several more excellent lps. This one's a definite keeper.

5 comments about Bliss CD 5 Maxi Single [1999].

1. I like the title track of this single, but "Upside Down" is the winner. It's rarely found, certainly not live unless you lucked up and snagged "More Pink" back in the day. This single is worth it for that track, alone.



2. "Bliss" was the first single off of Amos's fifth solo album, "to venus and back," released a couple of weeks before the album. Just as the second disc of the album is a live collection of mostly band songs, the "Bliss" single offers a further look into Amos's live solo performances, played during "secretime" of her 1998 concert tour. The offerings here are a very moving version of my favorite song of hers to date, "hey Jupiter," and a pleasing rendition of the Amos fan favorite "Upside Down" (one of Amos's favorite songs).



3. "Bliss" is, to me, a beautiful love song from Tori to her husband. When I got the single, I played it over and over. I'm still not tired of this song. My favorite line is `so maybe we're a Bliss of another kind,' because it reminds me of my true love. We have a very special Bliss of our own.

   The live versions of "hey jupiter" and "upside down" on this single are simply enchanting! I just love to hear Tori and her piano. I enjoy her with her band, but hearing her perform solo is a delightful treat.




4. Bliss is one of those songs that will grow on you and you will most likely love, I did and I still do. This single is a preview of sorts for her album To Venus And Back. Bliss is the lead off single from the 1st CD Orbiting (new studio album), and the two songs Hey Jupiter and Upside Down (both live) are in a way previews from the second disc on Venus called Still Orbiting (live album), even though they are not included. This is a must, they are all beautiful songs by Tori we have come to expect from her.



5. I would recommend this single simply for the two live tracks. "Bliss" is also a great song but the live songs blew me away. Upon hearing "Hey Jupiter" I began to understand the song more than I ever had on the studio version, and "Upside Down" is just an amazing, beautiful song.

No comments about The One All Interview.

1 comments about Notting Hill: Music From The Motion Picture.

1. The lyrics of each piece is so beautiful and meaningful that I predict that some of the pieces will be used at weddings in the future.

5 comments about The Very Best of Elvis Costello and the Attractions (1977-86).

1. Costello has had a long and distinguished career as a singer/songwriter. In fact, he is such a good lyricist that like Bob Dylan, his talent sometimes is overlooked. I believe this CD gives a good survey of his early to middle work. One of my favorites here is 'Good Year For the Roses.'



2. "Elvis Costello" was a name I always heard, but I never really made a point to listen to his music. Then I got this disc, and now I often make the point. These 22 songs are incredible, and I wish I gave them a chance sooner. I was also suprised by how many songs I knew, even if not by title. This includes his hits "Alison", "Watching The Detectives", "Pump It Up", and "Everyday I Write The Book". But what's really great, is that most of the other tracks are better. "Oliver's Army", "Man Out Of Time", "New Amsterdam", and "Brilliant Mistake" are amazing. It's hard to believe this is out of print. I guess people will have to get the 2-disc "Very Best Of Elvis Costello" instead, which I assume may be twice as good.



3. "The Very Best of Elvis Costello and the Attractions" contains some infuriating omissions--I particularly miss "No Action" and "The Angels Want to Wear My Red Shoes," not to mention "Almost Blue"--but this is probably as complete as a one-disc collection of Costello's best can be. Costello has written some of the best tunes of anyone in the entire rock era, and as a lyricist puts the lie to the considered opinions of Alan Jay Lerner, Sammy Cahn, etc., who insisted that all rock songwriters were illiterates. Songs such as "I Don't Want to Go to Chelsea," "Oliver's Army," "Radio Radio," "High Fidelity," "Alison" and "Every Day I Write the Book" are a treasure trove of incisive wit, cynicism and tenderness. Meanwhile, I understand there's also a two-volume "Very Best" that is probably the better buy, but this will more than do if your funds and time are limited.



4. I hate greatest hits collections. Hate, hate, hate, hate, hate them. The idea that an artists entire career should be compressed down to 15 or so pop singles disgusts me. However, as this is the only Elvis Costello album i own to date (but not for long), I have to review this one. Before listenin to this i was fairly familiar with Elvis Costello, through radio, the internet and what have you, and had always told myself that i would buy one of his cds when i came across one [inexpensive] enough. After receiving this as a gift recently, ive decided not to wait that long, and have changed "when i find a cheap album" to "as soon as i have any money at all, regardless of what bills i have to pay at the time." His work is really that good.. its a pefect blend of punk, pop, and soul, without trying too hard to be either one. The songs are very catchy, and the set is very complete;it really is the kind of artist anyone could enjoy, regardless of taste. I recommend that you get one of Elvis Costello's other cds for yourself, (seeing as you've made the effort to look him up already), and buy this for a friend who maybe isnt as musically open as you are. They'll thank you. You know its good, and so do I. ;)



5. So I'm listening to the radio station at work, and "Watching the Detectives" comes on. Now, Elvis Costello had never made a big impression on me -- he was always off in the periphery of my attention, being smarmy and intellectual and lightweight (perceptions I've since abandoned). At the end of the second verse I hear the lines "I don't know how much more of this I can take/She's filing her nails while they're dragging the lake". And the hair stands up on the back of my neck. And I get a chill down my spine. And then at the end of the song, when he sings "Even if it took a miracle to get you to stay/It only took my little finger to blow you away", I jumped out of my chair and did cartwheels down the hall (okay, not really... but I felt like it). And I thought to myself "This is what good pop-songwriting is supposed to be: catchy, upbeat melodies that, upon closer inspection, hide ridiculously morbid but lucid imagery". Reminds me a lot of the Police's best singles ("Every Breath You Take", "Roxanne", "I Can't Stand Losing You"). Mania hidden behind faux-reggae rhythms.

   So I get the album for that one song, only to discover that it holds several more nuggets, some of which I am semi-familiar with but never paid close attention to. "Allison" literally hurts to listen to, it's so close to the bone. In the vocals to "I Don't Want to go to Chelsea" you can hear Elvis' snarled lip and clenched teeth. "Radio Radio" has great energy (and is fun to bang out on a guitar). "What's So Funny...?" brushes off the idea that a pop-song needs to rhyme, and is so good you think Elvis actually wrote it himself (kudos to Nick Lowe, who is the most recent addition to my list of favourite pop-bass players). "Everyday I Write the Book" gets caught up in crappy '80's-style production, but manages to be beautiful nonetheless.

   So it's apparent that I'm an Elvis-newbie, and have spent much of my time with this album listening to only the popular singles. I admit it. And why not? They're all great songs. That's what a greatest hits album is for: a quick introduction to an artist's work, which should eventually lead to an immersion in their whole catalogue. Anyway, what I've found so far is pretty damn good. And I should mention that the Attractions were a great band, off of which thousands of derivatives were spawned in the eighties.

No comments about Faces Down.

2 comments about Trigger Happy Jack.

1. The leadoff single to Poe's "Hello", "Trigger Happy Jack" features two tracks from the album, one additional piece, and a pair of remixes.
   
   "Trigger Happy Jack" was my first exposure to Poe-- a bouncy piece trading soft verses and loud choruses (i.e. the post-Pixies alternative format), but with traces of dub and electronica sneaking through and Poe's matter-of-fact vocal delivery on top, the piece is catchy and a great listen. It's two remixes on here are a bit less essential-- the "Drive By Remix" adds an electronica beat to the second verse and a couple sound effects, but that's about it, whereas the "Psycho Demolition mix" is a pretty standard dub deconstruction-- it's not bad, but honestly, dub was never my thing.
   
   The other two b-sides fare a bit better-- "That Day" is one of the highlights from "Hello"-- a duet between Poe and cellist Cameron Stone, it begins with Stone plucking pizzicato while Poe rambles somewhat stream of consciousness on a series of disappointment before switching to a more meditative mode on the chorus with Stone soaked in distortion. "Padre Fear" is a bizarre, off kilter piece with Poe's vocal all over the place on top of snakey guitars and a slow groove-- it's an ok piece, but pales compared to the better stuff on "Hello".
   
   Admittedly, there's a drought of valuable new material on here that makes this one pretty much only necessary for the diehards.



2. Trigger Happy Jack, the song that made me fall in love with POE and her first album HELLO, is available here in it's many splenderous forms. The original LP version sounds like it was recorded in a rehearsal studio, so I have no objections to the much sheen-induced drive-by remix that has more of a rhythmic flair yet holding onto the howling guitar bits. The other remix is an extended, ambient selection, possible something you may hear at a strip joint or a goth club. The non-lp B-side Padre Fear is a pleasent song if you enjoyed the rest of the HELLO lp. Also appearing on this cd is the LP track That Day, a song that Poe opened with when I saw her live in 1996, and a very personal a diary like dark track that consists of only orchestral beeps and clicks, and an underlying distorted guitar that emphasises the bitter chorus. Overall, if you are Nostalgic for some mid-90s alternative, purchase this single and add the radio remix of the title track to your I-pod for instant pleasure.

3 comments about Raspberry Swirl.

1. The mixes from the US Cruel/Raspberry Swirl single are wonderful, but getting this CD for The Sticky Extended Vocal Mix was totally worth it! It's probably my favorite of the 3 mixes. Tori's singles are meant to reward the devoted and supportive. This single does just that. I just wish I could have gotten it when it was new!



2. This is a great cd, except that you can get the Lip Glossversion and the Scarlet Spectrum Feels version on the U.S. single. Soreally you are paying $10.99 for the Stickey Extended Vocal Mix, one song. If you are a really big Tori fan like me it's worth it to buy, but if ur not that big of a fan or just starting out one song isnt worth $10.99.



3. A must-have for all Toriphiles. The first mix is the closest to the LP version and will probably get the most radio play. The second is a dance version and is reminiscent of the Professional Widow remixes. The third is a very interesting dub with all sorts of cool sounds. Buy it and hear them all again and again!

5 comments about Figure 8.

1. There is no doubt in my mind that this sits at the same height as The Beatles' greatest work and should be listened to by everyone who likes them. While it is admittedly much more down in the lyrical content, the melodies are sublime and joyous in a way. I started out with Either/Or but this is much, much better, and next I'll be getting his self titled.
   
   Regardless of whether you like his early albums, here Elliot Smith is at the peak of his compositional powers and you should definitely listen to this album.



2. What most people will find here, is a collection of marginally depression, hookless indy pop. After a time, the songs largely start to run together and sound the same. Not a bad album by any means, but certainly not worthy of the praise it receives in this listener's opinion.
   
   
   Trust me, you can skip this one.



3. When I was about 12 or 13 years old I heard a song called Happiness by Elliott Smith, I thought it was the most unique and haunting song I had ever heard, I became obsessed with it, this was when Napster was huge and I didn't have to buy whole album when I liked a song, I never looked into who Elliott Smith was and I assumed, because I had never heard of him, that he was a one hit wonder, a couple of years later I picked this album up on a whim, it shook me up, top to bottom this album was the best thing I had ever heard, his lyrics gave me goosebumps, his music stayed fresh no matter how many times I listened, after searching all my life I had found what I was looking for, and Hapiness wasn't even the best track
   
   Today I own all of Elliott's albums and continue to find genius no matter how deep I dig, even the songs that never made it on CD are great, here Elliott has artistic control over orchestras and every track is full of complex and beautiful music, these tracks are mixed very well and are very clean compared to his other CDs, it makes it his easiest album to get into, buy this one first.



4. Steven Paul Smith was born on August 6, 1969 in Omaha. He later changed the name Steven to Elliott. He felt it sounded less "jock-like."
   I do believe Elliott Smith had a really amazing if not sad and lonely kind of voice. I can feel a bit more uplifting type of mood coming from Elliott Smith's Figure 8, his best and last studio record before he died. Ever since the end of his band Heatmiser, his solo work became more personal and less abrasive. It's hard to imagine at one point he was part of just another small punk/grunge band, who not many have heard of.
   Many would prefer "Either/Or." Which seems optimistic at times, but kind of sad to me. At this time few singer/songwriters could match Elliott's level of intensity through lo-fi "folk-punk" intimacy. That release sparked interest in the director of Good Will Hunting, Gus Van Sant- who used some of Elliott's songs for his picture. They met while Elliott lived in Portland. Also this exposure proppelled Elliott Smith to major-label status from Kill Rock Stars to Dreamworks. And then came XO in 1998. And Figure 8 in 2000. In my opinion this is his best. It flourishes with rich, multi-layered and more lush tracks. Not as intimate as his earlier solo works w/ the exception of "Everything Means Nothing to Me." This does seem happier though, at least compared to his other works. Definately one of the best solo albums and one of my favorites of this millenium. A wonderful timeless album from one of the better singer/songwriters after those "grunge era" days. My favorites here include: "Son of Sam"- "Junkbond Trader" -"Stupidity Tries" - "Easy Way Out" - "In the Lost & Found" -(for this song Elliott uses the same Abbey Road piano Paul McCartney played on "Penny Lane")
   Elliott Smith has always been a long time Beatles fan. Even covered their song "Because"- which is on a import of Figure 8. I really do feel he approaches a kind of greatness w/ this almost perfect solo work. I just wish he was still alive creating more.
   It's just really sad the way Elliott Smith died. Two stab wounds in his chest from a kitchen knife. And I believe the coroner at the time never came to a conclusion whether it was a homicide or a suicide. His death was on October 21 2003.
   I give Figure 8- 5 stars. It is my favorite Elliott Smith album, if you haven't heard Elliott Smith before you really should give this a listen. Or pick up "Either/Or" if you like a softer sound, but both are essential from him.



5. I would agree with Patrick Burnett's comments from 5 years ago. I recently ended a relationship and Elliott has been on repeat since the summer. His music fits perfectly with those moments where you feel like there is nothing left. But in a way, the beauty behind his music lifts your spirit like nothing else. "Everything Means Nothing To Me" was the first song I ever heard from Elliott just last year and it is a small portion of the brilliance found throughout this whole album.
   
   The acoustically amazing "Somebody I Used to Know" and "I Better Be Quiet Now", the very Beatlesque "Pretty Mary K" and "Happiness" are just a few of the standouts in my mind. "Bye" is such a haunting album-ender that gives me chills everytime I hear the echo of the piano.
   
   "Figure 8" has such a wide variety of sound that only a musical genius like Elliott Smith could create. His soft angelic voice along with beautiful melodies make this an album that will forever be labeled "perfection" in my mind. Rest in peace Elliott, your spirit lives on.