Alternative Rock music reviews

TRIVIA UPDATE: Talent doesn't have to skip a generation... Caroline's Spine drummer, JASON GILARDI, is the son of Mickey Mouse Club Mouseketeer ANNETTE FUNICELLO.

I first discovered Caroline's Spine on the soundtrack to An American Werewolf In Paris, which included the song Turned Blue. After seeing the movie I rushed out and bought this album.

It seems as though every album which comes out has a number of excellent songs on it, but is let down by one or two which just don't fit in. But with 'Attention Please' this isn't the case. Every son is as enjoyable as the last, and more importantly they are all very different.

Album highlights are Deep In Your Wake, Open Fire, Ready Steady Go, Turned Blue and the title track.

This is the kind of album that anyone would enjoy, so HURRY UP AND BUY IT! GO NOW!!!

Caroline's Spine second major label release is a fabulous mix of today's rock and meaningful lyrics. The boys from Tulsa, OK know how to play good rock music! Attention Please has a little bit for all avid music listeners. Keep Rockin'!

After reading several reviews of this lately, I have to weigh in, although I really should be at work right now, hehe.

I've been trying to like this band since Bellybutton came out. I never bought this, but would always hear several tracks from this and Spilled Milk when visiting friends. Yeah. Same friends who still try to sell me on (cheerleader-like enthusiasm) "how great Big Star is!" Or the Posies. Whatever. Now listen: I love powerpop. But the thing about powerpop is that it has to have POWER. Punchy but catchy riffs and sugary harmonies and soaring melodies and... well, anyway. This debut showcases great harmonies and interesting chord changes, but ultimately displays no power, and (sorry Jellyfans) sometimes not even the melodic catchiness that would provide the "pop". And yeah, I do love powerpop. I just hold bands like Badfinger, the Raspberries, and later punk-era bands like the Boys or Redd Kross as the measuring candy cane to which all powerpop groups must be judged. Vintage Who and the Beach Boys, please. Whipped, not stirred. Let's proceed.

I don't understand why they would choose such a dull song as "The Man I Used To Be" to lead off their debut. Odd choice, but telling. The next track, "That Is Why" is great, though. Moody feeling, beautiful harmonies, and one of the closest things to qualify as catchy as I found on this thing. Ditto for "The King is Half-Undressed". I held out hope, which sunk with "I Wanna Stay Home". Snooze. Now this is where I start to realize that everytime this disc starts to cook, someone turns off the stove. "She Still Loves Him" is a perfect example of bad sequencing. Had it come after something poppy, it might not have me nodding off. But after such a dismal song as "Home", well, zzzzz. "All I Want is Everything" is cute. Kinda Cheap Trick-ey. Now this is the closest thing to "power" as this gets. "Now She Knows She's wrong" is a good example of what happens when they get the powerpop recipe right. Yay! "Bedspring Kiss"? What? I'm sorry, I was nodding off again. Wow, I'm awakened by a tasty poptart breakfast in "Baby's Coming Back"! Darn, it was only a dream, as "Calling Sarah" finds me still slumbering.

I bought the cassette version which has some cool bonus live stuff: covers of Badfinger's "No Matter What", and two by McCartney. "Jet", and dig the "Let 'em In" segue into "That Is Why"! Live versions of "The King..." and "Now She Knows..." don't hurt me none. What does hurt my earholes (and by extension, this whole disc) is Andy Sturmer's singing. I personally can't stand that thin-voiced whine that was so popular with a lot of powerpop groups. Jeffrey McDonald from Redd Kross could pull it off, but this whine has me looking fer cheese.

I know this album came out 15 years ago, and it's kinda late to be reviewing it, but if I had read a review like this (and ignored certain friends' recommendations) I would still have some clams in me pocket. Which brings us back to this haphazardly quick review- I must be off to work! Twoannahalf stars.

And he know's nothing about popular music and really should get back to work and stop sitting around convincing himself that he does. Dumbass.

What a great album not a bad track, the world is full of idiots this band should have been gigantic. What a talented group of muscians. This and the follow up Spilt Milk are great. Do yourself a favour search on Ebay under Jellyfish there is couple of great live dvd's. Andy & Roger please collaborate on something in the future, if not just for your loyal fans it doesn't have to come out under Jellyfish.

Though not as good as Misfits IMO, Danzig is a really great band, and this album is pure bliss. But some Misfits fans might not see it the way I do. First of all, Glenn's voice sounds different than it does on Misfits and Samhain music. It's lower, and a bit less hardcore sounding. Also, Glenn seems to be taking his music and lyrics much more seriously than Samhain, and DEFFIDENTLY Misits. As Glenn said in some interviews, his lyrics on Danzig's music are more based on human emotions and trials and situations. It's really much more deep than Misfits and Samhain.
Let's put that aside, and focus on the music. The music is purely awesome, which makes it a no wonder that it was done by Mr. Danzig hinself. I'm not saying that Danzig is better than Misfits, but Danzig IS more talented than Misfits. I mean, listen! Doyle could never pull off a solo the likes of the solos on this album.
Overall, if you're an open minded Misfits fan(like me), or just a fan of Danzig's voice(like me), then you should dig this CD. Some of my favorites at the time are Twist Of Cain, She Rides, Soul On Fire, and of course Mother.
BUY IT! BUY IT NOW!!!

I've always been a fan of The Misfits, and I never heard this band until recently. I heard the song "Mother" about a year ago when I was at my friends house and he was playing Grand Theft Auto. I was sitting there and I heard the song, and I was that sounds like Glenn Danzig, so I went home and downloaded the song, Then later I went out and bought it. Now it's one of my favorite albums of all time. I strongly recommend it to anyone.

When you say "Danzig" I think of a dark, apocalyptic time, or a time or horror...one that everyone knows about, but few will speak of out in the open. No, no, Glenn Danzig is not a bad person, He and his band titled by his last name, merely sing of a different time and place, and it's usually full of truth, irony, and some dark and dirty rantings along the way!

The album starts you off with the booming song titled "Twist of Cain" that has superb backing vocals and an overall great tempo. Not of this world features Danzig's voice at an almost hapless wail, like he's on a ledge in a bottomless cavern pleading to the people at the surface above him. "Mother" is the track that seemed to bring a lot of attention to this band, though it never rightfully so, pulled them onto the mainstream commercial track with the likes of others who had come before them. They remained pretty much an "underground" band which later could be deemed as "cult classic". The overall feel on this album is not doom metal, or goth, but actually a base of a blues feel, with some added eccentricity thrown in. Danzig was never meant to be on top of the world, they were meant to be set apart from the norm, and with this album they do it with a firm shove.

This is one of my all-time favorite sets. If you only buy one Dispatch album (or even if you already own several), this is an excellent choice. Dispatch is(was) a great band, and even better live (as demonstrated by "gut the van"). I've played this album a lot over the years, and people who overhear are always wanting to know who the band is that created this great, unique sound. Part reggae, part world, part acoustic, part funk/rock, Dispatch was a band like no other. They will certainly be missed, but fortunately they've left us a number of great CDs like these to remember them by.

this is the first dispatch cd i bought. i bought after i was at a party where i meet the greatest people to party with and herd the songs "The General" and "Elias". Once i listened to it i couldn't stop. Then i found out just a week ago that Dispatch broke up in July during the same week when i was in Botson where they had thier concert. Though i haven't bought a second cd even though i have had this one for a year and a half i highly recomond the band and get excited when i see my freind put parts of the song up in thier buddy info.

I have been following Dispatc for a number of years now, and they have become one of the best badns of all time in my book, i just love the harmony, the beat and the rhythms. This new cd added to the dispatch collection is incredible, i just couldnt believe how every single song on the cd was good, not one bad one

Somewhere in the mid nineties Weezer released the seminal album Pinkerton, which is not quite as good as everyone says it is, but still really good. Then Weezer went on hiatus and bassist Matt Sharp left the band, now forget all that, that's all ancient history just like the 2000 election which I still strangely see bumper stickers for. But just like how those people refuse to peel their outdated bumper stickers off their cars people, like me, still recite these tidbits to the choir. Anyway when Sharp left I presume he took Cuomo's talent with him as this is leagues better than post-Pinkerton and if I may be so bold almost as good as that aforementioned album. Matt Sharp with the Rentals didn't choose to fill his band with a bunch of nerdy white male middle class Americans but actually chose to have a diverse band lineup that contained girls. That tidbit would be enough to make Cuomo blush and sweat in fear. On keyboards is Maya Rudolph of Saturday Night Live fame. Everything on this album is funnier (there's no jokes on this album, really) and way more fun that current SNL. As far as female keyboardists go, I'm aware of too, Maya is probably the best looking one. Besides giving the band higher aesthetical value, they deliver some great backing vocals to accompany the loaded synths all over this album. The Rentals have the cheesiest synthesizer lines this side of Atom and His Package but it works in creating that nice bubblegum value to these sets of songs. You're not going to find anything Pinkertonesque here, this is pure fun and catchy hooks. Sharp sings in a style that's pretty similar to his former group unlike the sneer he would develop in his followup Seven More Seconds, for better or worse. 'The Love I'm Searching For' really sets the pace for the whole album, some harmless pop here, some female backing vocals here, and some cheesy synth here. It all adds to one of the better power pop albums of the 90's and beyond. 'Friends With P' and 'Naive' are two good ol' sing alongs. If your looking for engrossing and moving lyrics you oughtta look elsewhere because everything on here is either simplistic and/or nonsensical (and not in the drug induced later Beatles way). If your big up on lyrics like 'if your friends with p, well then your friends with me' all backed up with the catchiest of melodies here you go.

I'm pretty biased being an old school Weezer fan. I remember waiting for their next album and this little beauty hit me. Matt Sharp teams up with the Haden sisters. (Rachel, Petra) It's got these great little rock out synthy moments and Matt collaborated with Rivers on some the most interesting Weezer songs (Blue album and Pinkerton) this is sort of Matt taking a weird turn from his other efforts, if "Say it Ain't So" and "Undone the Sweater Song" are favourites of yours then I'm sure you'll like "Friends of P" two dollars is worth that song alone.

It's a shame these guys didn't continue together. No other band reaches the guitar sounds and rythms The Rentals do. The match between the voices of the girl and the man vocalists is great!

I was quite impressed with this effort from the Jayhawks. Beyond the haunting opener "Blue", Tomorrow The Green Grass packs some solid lyrics as well as some awesome gutar hooks. A definite must have for the Jayhawks collection

classic...please give this more than 10 visits. makes me feel real good. peaceful sweet rock'in songs, love it all....top 100 album. supper will be at 6:15......

Marc Olson's last album with the Jayhawks turned out to be their finest, and while Gary Louris and the others in the band would continue to turn out amazingly decent music, there is no question that there was something magical about the collaboration between Olson and Louris. If one turns from TOMORROW THE GREEN GRASS to the almost equally superb SOUND LIES, the first following the departure of Olson for a solo career, one notices immediately the lack of several things. For one thing, Olson brought a far rootsier, country edge to the band, and while there is nothing wrong with Louris's more pop-oriented take on things, it is a difference. Also, SOUND OF LIES lacks completely the marvelous vocal harmonies that Olson and Louris managed together. After this album, one notices how nicely Louris sings, but there is nothing quite as exciting as hearing Olson and Louris knocking out the lyrics together. All in all, while I continued to enjoy the Jayhawks after Olson left, I would have greatly preferred that he had stayed.

The songs on this album are so good that it is almost impossible for one to stand out on its own. The weakest cuts would stand out on most other albums, and the strongest are strong indeed. They manage to create both a number of stellar upbeat songs. They also one amazing slow number in the beautiful "Two Hearts," but turn it around to rock very hard on the edgy "Real Light." On the other hand, "See Him On the Street," one of the strongest cuts on the album, is as alt-country as one could hope, while "Blue," that starts off the album, presages the more pop-oriented feel of post-Olson albums. All of which is to say that the Jayhawks had at this point reach a versatility in their playing that could be both exhilarating.

The songwriting of Marc Olson and Gary Louris sometimes overshadowed just how outstanding these guys were as musicians. This is an amazingly tight band, both instrumentally and vocally. Karen Grotberg joined the band on this one as keyboards, and added a dimension missing on previous albums, while the use of strings (!) embellishes a number of songs, including the great song "I'd Run Away," which I'd have to admit--if someone really pushed me--is my favorite cut on the album.

All good things come to an end, and unfortunately Marc Olson's time with the band he founded came to an end. Although I'm delighted with what Gary Louris was able to achieve with the band following the departure of Olson, I still wish the guys had found a way to collaborate for a couple of more albums first. As it is, this album ought to belong on any list of the essential albums to own.

I was quite impressed with this effort from the Jayhawks. Beyond the haunting opener "Blue", Tomorrow The Green Grass packs some solid lyrics as well as some awesome gutar hooks. A definite must have for the Jayhawks collection

classic...please give this more than 10 visits. makes me feel real good. peaceful sweet rock'in songs, love it all....top 100 album. supper will be at 6:15......

Marc Olson's last album with the Jayhawks turned out to be their finest, and while Gary Louris and the others in the band would continue to turn out amazingly decent music, there is no question that there was something magical about the collaboration between Olson and Louris. If one turns from TOMORROW THE GREEN GRASS to the almost equally superb SOUND LIES, the first following the departure of Olson for a solo career, one notices immediately the lack of several things. For one thing, Olson brought a far rootsier, country edge to the band, and while there is nothing wrong with Louris's more pop-oriented take on things, it is a difference. Also, SOUND OF LIES lacks completely the marvelous vocal harmonies that Olson and Louris managed together. After this album, one notices how nicely Louris sings, but there is nothing quite as exciting as hearing Olson and Louris knocking out the lyrics together. All in all, while I continued to enjoy the Jayhawks after Olson left, I would have greatly preferred that he had stayed.

The songs on this album are so good that it is almost impossible for one to stand out on its own. The weakest cuts would stand out on most other albums, and the strongest are strong indeed. They manage to create both a number of stellar upbeat songs. They also one amazing slow number in the beautiful "Two Hearts," but turn it around to rock very hard on the edgy "Real Light." On the other hand, "See Him On the Street," one of the strongest cuts on the album, is as alt-country as one could hope, while "Blue," that starts off the album, presages the more pop-oriented feel of post-Olson albums. All of which is to say that the Jayhawks had at this point reach a versatility in their playing that could be both exhilarating.

The songwriting of Marc Olson and Gary Louris sometimes overshadowed just how outstanding these guys were as musicians. This is an amazingly tight band, both instrumentally and vocally. Karen Grotberg joined the band on this one as keyboards, and added a dimension missing on previous albums, while the use of strings (!) embellishes a number of songs, including the great song "I'd Run Away," which I'd have to admit--if someone really pushed me--is my favorite cut on the album.

All good things come to an end, and unfortunately Marc Olson's time with the band he founded came to an end. Although I'm delighted with what Gary Louris was able to achieve with the band following the departure of Olson, I still wish the guys had found a way to collaborate for a couple of more albums first. As it is, this album ought to belong on any list of the essential albums to own.

Breakdown:

1. WINTER - First off I must say that this is my all time favorite Tori Amos song. It's so heart breakingly beautiful. The lyrics to this song are extremely relative and heartfelt. I especially love the lyrics, "all the white horses". Their symbolism can mean what they mean to you personally. It's very open. The piano combined with the string sections is magical and Ms. Amos' voice really compliments the mood of this song. Pure genius. 5/5

2. THE POOL - This song is very ethereal, seems like it would have fit well on "To Venus And Back" with its vast musical landscape. It is definitely not a song to sing along to, but to admire the artistic value. 4/5

3. TAKE TO THE SKY - This song, left off of Ms. Amos' debut album, "Little Earthquakes", is an especially catchy tune, most notably the chorus. I love the line, "I dyed my hair red today". There is a very awkward bridge in this song, but overall a very good song. 4/5

4. SWEET DREAMS - Also left off of "Little Earthquakes", this is an awesome, politically driven song. The lyrics are very quick and feisty. I love it when Ms. Amos has something powerful and poignant to say. You can almost sense her excitment in the way she sings, as she does on this track. 5/5

5. UPSIDE DOWN - This is a definite classic Tori Amos b-side. This is as well one of my all time favorite Tori Amos songs. Everything about this song rocks, from the sweeping piano melody to the in your face lyrics. I cannot sing enough praises for this song. 5/5

Overall:

I actually rate this EP 4.5 out of 5 stars. Overall, this is a great EP offered to us by Tori Amos. It's not, however, something I would recommend to someone just getting into Tori Amos, but it is most definitely one of her better EP's. If you're a fan, this is a must buy!

I just got this today and have listened to it several times. I think it's great. Of course, "Winter" is really well known, but I like it enough that it's good to have another copy of the same version. "The Pool" is haunting, but creepy. I like it though. As if Enya were channeling the restless souls of the dead. "Take to the Sky" is nice and upbeat after this.

I love this version of "Sweet Dreams," and I really like "Upside Down." That's one of my favorite songs of hers.

Definitely worth it for me.

The beautiful title track is taken from her solo debut album, "Little Earthquakes." Although marked as a limited edition, this single is pretty much readily available. It includes a hand-written lyrics booklet by Amos and some of her best b-side work. Amos herself has said that one of her biggest regrets is not including "Upside Down" on "Earthquakes," and it is easy to see why. The song has become one of Amos's fans' favorite tracks, along with "Sweet Dreams" (recently re-recorded for her greatest hits collection "Tales of a Librarian") and a show standard on her 2003 concert tour, "Take to the Sky." "The Pool" is also quite interesting in its own right, but this single is a must-have for the aforementioned songs.

this has to be my favorite album they have done. it is just fantastic. the last time i saw them, about 4.5 years ago in san francisco at stinkys peep show, spike jumped out in the crowd when they were playing dont cry for me argentina and i jumped on top of everyone and i sang the last bit of the song with him. they are an awesome band to see live! if i were to buy any of their cds, it would be this one for sure!

Great Punk Record! This is a punk rock reworking of standard rock classics and show tunes is OUTANDING. The vocals and guitar work are great as is the sense of humor the boys put into the album Good stuff! Great for parties.

This band has captured my heart. The first song I ever heard them do was "I Sing the Body Electric", and from then on they were my favourite.

This CD shows true creativity and adaptability. How can you get much better than a male punk band covering "Don't Cry For Me Argentina"? These fellows are beyond talented and offer entertainment for a lifetime!

I really wanted to like this CD. I tried, I really did. But in the end, it never got above generic rock for me. Yes, it does rock pretty hard at times, but the main thing I couldn't get past was the pretentiousness of the lyrics. Enough of the heavy-handed Biblical imagery already, Barbara! Leave that sort of thing to Dylan...he knows what to do with it. (In fact, they end this CD with a cover of Bob's "Highway 61 Revisited," and don't do the song any favors.) And while Barbara Keith has power in her voice, I don't hear much soul. Take a listen to Neko Case to hear the difference between a belter and a singer who can mix a strong voice with subtlety.

Musically, the CD is full of pretty straightforward rock riffs, a bit along the lines of Joan Jett without the growl and later ZZ Top. They're basically a competent bar band that needs to lay off the sophomoric "poetry," and honestly, I'm a bit baffled by the overwhelming response this CD has gotten here in the Amazon reviews. I guess this might sound good compared to a lot of what you hear on mainstream radio and MTV (when they play videos) these days -- that is, you'd have to not have been doing much exploring outside the mainstream over the past decade or so. To each their own, in any case, but the lyrics of these songs make me cringe. I need it played with more freewheeling spirit, more heart, more soul, and a little more creativity. A bit of a sense of humor wouldn't kill them either, for that matter.

This cd took me completely off-guard as I only knew Barbara Keith from her gorgeous debut album on vinyl. I was thrilled when at last this album became available on cd and so I ordered - completely unknown to me - also this album from the Stone Coyotes. As Barbara Keith was singing this couldn't be bad. But WOW what a surprise. This cd is very - to say the least - different from het debut but I love it. The pleasure they get from writing, singing and playing bursts out of the speakers (a thing rather rare nowadays as I have the impression that most groups are willing to sing or play anything as long as it sells).
I dare anyone, if you have a car to try this cd and not be thumping the wheel with a wide grin on your face. Love it, love it, love it....

Probably like most people, I discovered the Stone Coyotes via song downloads. after reading some Amazon reviews this free music addict pried open his wallet and purchased this CD. I'm now a fan and I'm hoping for more Stone Coyotes under the Christmas tree.
My assessment is this CD has 4 great original songs (How many best sellers have 1 or even none?), 1 great Dylan cover, and 9 very good original songs. I've played it at least a dozen times and skip nothing, although it took awhile for 3 of the songs to grow on me. It merits and unqualified 5 stars.
The band successfully pulls off rock, punk, ballads, and country. The songwriting and musicianship are excellent. Dad/Hubby is a terrific drummer, in my opinion, and Barbara Keith's appealing, emotive vocal style is a welcome relief from the blaring divas and diva wannabes.
I guarantee, if you like intelligent, mostly up-tempo, spare, yet paradoxically rich rock music, you'll love this CD.