Alternative Rock music reviews

Damn, I got this cd for free when I worked at a music store. It was an instore play and no one wanted to play it. I picked it up one day and thought the song titles looked interesting. The rest is kinda history. By the way it was the Aware version without 3x5 on it. When I saw John Mayer in concert I had to ask my girlfriend what the name of that song was. Bwa-ha-ha.

i'm completely addicted and in love. the lyrics of john's music are so captivating, it draws you in and leaves you begging for more (well me at least). john mayer is like a new, great laundry detergent. once you try it, and discover it's the best, you will never, and i mean never, go back. like other have said, he's been our best kept secret, but now he's getting bigger and its slightly sad to see it happen. again, he's amazing live and i often find my head tilted and a slight smile crossing my face while i am completely engulfed in his world.

John Mayer is truly a great addition to the musical arena, and this Aware release of the album is sure to be a classic:)

Everyone knows and loves disc one, but disc 2 didn't turn my wheels too much. That's probably because I bought it because I loved the recorded versions of the songs on disc one as I remembered them when I originally bought this album.

It ocurred to me when this reissue was released. A modern rock record from my childhood is receiving 10th anniversary reissue treatment. My how time flies! It only seemed like yesterday Rivers and the gang were jamming it out with Opie, the Fonze, and Mr. Myagi (may he r.i.p.) on MTV. For those who remember, MTV once played music videos in the not too distant past. And now, the great quartet known as Weezer is receiving royal treament.

This is classic Weez at its best, and no weezhead should be without this release. The sound quality is improved from the original release, and the packaging is wonderful. Furthermore, the second disc contains many rarities including Suzanne (featured on the Mallrats soundtrack.) My only minor gripe is Say It Ain't So is on the album disc in a remixed version. And by remix, I don't mean a hip-hop or techno remix that is a complete overhaul of the original song. The differences are subtle but quite noticeable for any fan who has spun this album as many times as I have. Fortunately, it is present in its original mix on the 2nd disc. For purists sake, I wish they would have swapped these. Also, a hi-res 5.1 mix of the album would have been a welcome addition, but beggars can't be choosy.

Needless to say, every track on here is a gem. There is not a single piece of filler to be found anywhere within its short 10-track long 30min duration. This is one of the few albums that fully meet my personal criteria for what truly great popular music should be: The songs need to be timeless and memorable. It also helps if the lyrics are singable. Furthermore, it greatly helps if the lyrics are meaningful. On top of that, a great modern rock record should, well, seriousley rock!

=w='s Blue album meets everyone one of these requirements with clever lyrics anyone can sing along to, and the Ric Ocasek production gives their Marshall stacks some serious crunch.

One of the great rock records of modern times. Pickup a copy today!

Weezer's infamous self-titled debut (otherwise known as "The Blue Album") is one of the few pieces of music from it's time that still holds up just as well today. When they made their mark in 1994, Kurt Cobain was dead and the music world had already been oversaturated by mumbling, uninspiring grunge clones. Although Weezer never quite changed the musical climate, they did, however, create a quite perfect debut, one that transcends all genres and inspires new bands even today. Few groups that materialized at this time are still around today, but Weezer remain vital, and each song on this ten track debut remains an alternative rock staple. You can't throw a cat in a crowded room without hitting someone who, whether they realize it or not, knows a good Weezer tune. So, it only makes sense that on the tenth anniversary of the release, a Deluxe Edition made it's way with all new artwork and a bonus disc full of b-sides, outtakes, demos, live songs etc. The question is, is it worth buying again?

The answer? A resounding yes. For starters, I'm sure most owners of this album have put plenty of wear and tear on it, what better time to get yourself another copy. And even if it's still in perfect condition, the bonus material is worth it alone, for the Weezer fanatic. I don't have to tell you how good the original album is. You've heard it, you know. It's perfect, front to back. The material on the second disc, while admittedly not as good as the album itself, is still worthy. Take, for example, Rivers' catchy ode to the presidents of the Weezer fanclub, "Mykel and Carli" (who passed away in a tragic car accident), with it's chorus that, in typical Weezer fashion, sticks in your head for the rest of your life. "Suzanne" and "Jamie" are probably the most well-known b-sides among Weezer fans, while a trio of demos -- referred to as "The Kitchen Tapes" -- digs a bit deeper into Weezer history. There are also live songs ("My Name Is Jonas" & "Surf Wax America") and acoustic versions ("Jamie" and "No One Else"), and to top it all off, for the diehard fans, the original mix of "Say It Ain't So" (which was released only in the early pressings of the Blue Album). Also included is a rather elaborate booklet which includes lyrics (finally) and liner notes that chronicle the early history of Weezer. The package is very well done, and surely outshines the bare-bones nature of the original release.

Overall, a good album just got even better. Despite it's price tag, the average Weezer fan just should not be without this. It might make you love the band even more. You definitely get your money's worth. And as I said before, the original album itself is just classic. Say what you will about Weezer's newer material, but this stuff just can't be beat. They definitely deserve their popularity and their place in modern rock royalty. I really think anyone and everyone can appreciate the Blue Album, an accomplishment a lot of musicians cannot acheive.

I just recently managed to get a copy of danzig's Black Aria, and all I can say about it is wow..
I had heard of it, and had been trying to track it down for about 3 years now, so when my roommate bought it the other day I have to say I was excited about the chance to finally experience it for myself, rather than from the descriptions of friends.

All in all, I must say I wasn't disappointed in the least.
Danzig, you are a musical god.

Go to emaginemusic.com and get it now! It will be re-issued February 8th. If I were to go to the moon and never return and I were allowed to bring only I album with me this would be it. I wouldn't even have to think about it!

If you have never heard this album, you are missing out on one of the most emotional charging albums released this decade. Glenn Danzig proved that he is far from a rocker with this album. To me he showed he is a musical god. He illustrates through his pieces on this album more than gothic images. He paints beauty and darkness in a single vision. I am a huge fan of his work with the Misfits, Samhain and Danzig, but this is something special. It truly needs to be re-released to give the those in the dark of the true gifts of Glenn Danzig a chance to witness it.

The sound of Steadman is a great mix of bands like Ok Go, Radiohead and Eleven. "Revive" is one of those albums that you pop in the CD player and listen to from beginning to end. It flows beautifully with mid-tempo rockers and sparkly pop numbers. The production comes courtesy of Natasha Shneider and Alain Johannes, the duo behind the awesome, strange music of one of our favorite bands, Eleven. This album is an absolute stunner.

I had "Smallville" on in the background last week (the re-runs on ABC Family) and heard this band that was almost in the background of what was going on at the end of the show. I completely stopped and started listening to the band...I squinted as the credits went flying by to try and get the name of the band...luckily I saw it and it was Steadman. I immediately went on Amazon and looked for it and ordered both of their albums. The song they featured, "Wave Goodbye" has an Oasis-feel, only better. I have received the first album "Revive" and been playing it over and over all night. I also love Robbie Williams, and find that Steadman's music has that more-sophisticated feel...chord and key changes where you might not expect them...a fresh sound and feeling...I LOVE It! This is the biggest bargain I've probably ever gotten on Amazon! Give it a try!!!!

I love this new band. I went to their website as a link from Jason Mraz's website and after I sampled their music, I was totally blown away. This is the type of music I like and they are going to be my new favorite band.

Yes, ladies and gentlemen, it is hard to believe, but these are the b-sides. 27 shining, melodious masterpieces spanning the greatest incarnations of Suede flavour their blazing accomplishment. From dysphoria and madness of Northern townsfolk to urbane transvestites and exotic undergrounders, Suede forfeits any caution, creating a maddening mixture of pop and rock, modern and classic.

"Sci-Fi Lullabies" reads almost more like a disjointed opera than any old pop band's record. Brett Anderson's heartbreaking melodies and lyrics scream falsettoed angst; the voice of an era.

Passed over by radio and MTV, the miracles on this record have rarely fallen on the inexperienced ear. There is a more sensible, subtler and sophisticated Suede than many have given credit based on previously released material. Though it's not to say Suede falls short on their studio albums- they are brilliant- but free from pressures and in-band fighting the freeform menagerie sensually emanating from the speakers is innocent and raw.

Suede does on "Sci-Fi Lullabies" what Suede does best- dramatics, sexual perversion, heroin dirges, and flashboy murders. And every track is a winner to every loser.

Sci-Fi Lullabies is Suede's b-sides compilation, encompassing 1992-1997. However, it is also one of Suede's best albums, including songs that, beyond being worthy enough to be A-sides in their own right, could have enhanced any of the albums they might have appeared on. Disc 1 focuses mainly on Bernard Butler-era material while Disc 2 takes in the Richard Oakes era. Superlative cuts include My Insatiable One, To the Birds, He's Dead, The Living Dead, Modern Boys, Together, Young Men, WSD, and Sadie.

Dollar-for-dollar, this compilation is a better deal than any of Suede's albums. In some cases, these b-sides are quite a bit stronger than the a-sides they were originally packaged with.

The first side is the stronger of the two, with 'To The Birds,' 'High Rising,' 'My Dark Star,' 'Killing of a Flash Boy,' 'Together' and especially 'Europe is our Playground' brushing the sublime. 'But that's almost all the songs on the side,' you might say. Well, yeah.

The second side is Suede in their later phase, their grittier, less artistic phase, and while I don't think it led to a decline in the quality of their albums, I do think the b-sides suffered. Still, 'Every Monday Morning,' 'Money' and 'Sadie' are excellent.

This is just Suede's best music, simply. A must-have for any collection, and especially for the fan.

Workbook is an awesome mainly accoustic album.

I've now seen him in Husker Du, Sugar and last night solo. Just him and an electric guitar. He is one of the Greatest songwriters of our time. 'New Day Rising' has and probably always will be my favourite album ever.

When I first heard this album, it was back in 1990-somesuch, and I was a young lad just getting started in the world. A buddy of mine played it for me, and I was hooked.

I can't say I've ever heard any artist similar to Bob Mould. Since I tend to judge music on how it makes me feel more than anything esle, I'll just tell you that Mould takes me along with him from the first note, and very few artists have that effect on me. Each time I listen to this album, the first notes of Wishing Well take me back to my younger days. And that, my friends, makes me happy.

i have been a fan of Sugar for quite a while, and always enjoyed classic Husker Du, but was rather late in terms of discovering Bob Mould's solo efforts. regardless, since i got this CD about two years ago, not a week goes by without listening to it. it is simply an amazing effort put forth by Mould, and to think that it came out in 1989/1990 blows me away. how many years i missed listening to this gem of a release!!! every track is fantastic...the melodies are superb, the lyrics are thought provoking, and Mould's vocals sound better than ever. there is not one weak track....the guitars are angry, the melodies are catchy, the words will leave impressions in your mind long after you're done listening....
yo Bob, thanks for a collection of music that i will never tire of and for a collection of music that has gotten me through some tough times.

For the short time the music world was lucky to have these cats, The Afghan Whigs have blessed rock with some damn good product. Having never put out a bad album, Dulli and Co. have had it on smash since "Up In It." My first intro came from 1992's Congregation which I happend across on a whim. (working at a music store allows that sort of thing!) I was blown away by the bands wistfulness and knew I was on to something truly dope in investing in their sound. By the time 1996's "Black Love" came out, it was over. No other band had me in it's clutches as bad as the Whigs. No need to even mention the masterpiece "Gentlemen", as this review is about "Black Love" and it's own inherent gorgeousness.

In discussing the Afghan Whigs among the curious or un-informed, I often draw the parallel that their music is a lot like John Coltrane's final recordings. Anytime a rock band is utilizing Fender Rhodes, Clavinets and Cellos, you're in for a twist. This is not casual music meant to serve as background fodder while you play a rousing game of Madden. No my friend. An album like BL is to be experienced every time you hear it. From the beautiful choral-like opening of "Crime Scene Part One" you know this is not your typical "Drive Thru" band rock experience. Tracks like "My Enemy", "Going To Town", and "Honky's Ladder" are rife with some of the best songwriting you'll ever hear, more akin to poetry than pop-rock. Thank God the lyrics were included! And the "ballads"? "Step Into The Light" and "Night By Candlelight" are beyond description. Hope your love life is in tact because Dulli will have you bawling and reaching for the phone at 3am, begging for that second chance! And the closing track "Faded" is an 8 minute opus that'll damn near have you shedding a tear.

I really hate sub-genres when describing music, but the Afghan Whigs defy description. I'd almost call them "soul-alt" if I had to, but then that would limit them in the sense that they are a lot of different things to a lot of different people. Just writing this reveiw makes me long to pop this cd in. Tremendous. Get all of their stuff please.

I absolutely agree with Mr. Clifford's review, I love this album and feel that the whigs really came into their own with this one. Greg Dulli is a wonderful lyricist and writer, I was so happy with this album I went out after hearing of the Twilight Singers album (their first one) and was really let down. I heard a song off Blackberry Belle and fell for it imediately, thought "man he has come back to this album's sound, awesome!". I have not picked up the Blackberry album yet, it will be my next purchase however. I have every Whigs album with the exception of Congregation, and I love them all, mostly all... Gentlemen is great but in different ways, this album with all it's dark narrative and moody, languishing crying out for forgiveness, haunting beauty I definitely give it a Fiver. It is truly a classic carved into it's own category which I challenge anyone to compare this sound and writing to? Buy it, I think it stands on it's own quite well.

Once touted as the "next big thing" (presumably because Nirvana broke into the charts with a screaming frontman), the Whigs went on to produce stuff better and more original than most in the ealry to mid 90's. Thing is, it's still great today.
Like Gentlemen, this album is beautiful in its twisted alcohol and drug fuelled portrayal of love, lust and murder. I can't help wanting to smoke and drink when listening to the Whigs!
This is dark heavy stuff, but it's not metal, it's the Stones, it's 60's and 70's funky guitar driven R&B in the true sense, it's cellos and violins, slide guitar, jangly rhythmns, dark basslines, pounding drums and venomous vocals.
Greg Dulli sounds like he has just spent the afternoon getting wasted before seeking revenge on his girl and anyone else that gets in the way. But that is the story on this album, it's a 1920's movie piece about betrayal and the rest.
I remember being a tad thrown off by some of the layered (slightly off-key) vocals and key changes when I got this way back, but I knew it was class and one of those albums that would grow on me and I'd dig it out regularly in the future.

Remember Dexter Freebish? No? Remember the song, ?Leaving Town?? Sure you do. Well, the boys from Austin, TX are back after four years of albumless obscurity. How do they fare? Quite well, actually. From the rocking opening track of ?Prozak? to the final farewell of ?Breakdown?, Dexter Freebish makes it obvious that they?ve grown, musically, in the last four years. While nothing stands out quite like ?Leaving Town?, the band does serve up a more unified, listenable experience. Seemingly influenced by 70?s funk, Collective Soul, and a dash of eastern sound, Tripped Into Divine offers a lot of good for everyone.

Like other reviewers said, if you liked "A Life of Saturdays," there's a high chance you'll like this one too. Besides the tons of time I've already played this, as of late I've had it in my car's player for at least the last week and a half. It's one of those CDs you just don't get sick of!

You will not regret it. This CD is just about as close to perfect as you can possibly get - from start to finish, every single song is solid. Neverland is possibly THE best song I have ever heard. I am from Austin, so I have listened to these guys for about 8 years - trust me, DF is just an on-fire, get-after-it, damn good time live, so come join the party. Most of the song-by-song reviews are very thorough and accurate re: their sound, so I won't repeat that here. Never seen them play? Hit their website and get yourself to a show or book now for THE ROCK BOAT or THE ROCK SLOPE.

Sweet Mother of All Things Holy! Having been a new convert to the beautiful majestic music of The Band, I decided to spread my wings a bit and try Robertson's solo work. What a colossal waste of money. The music is tripe and don't even let me get started on his vocals. I've heard dying cats sing in tune better than Robbie "I take all the song writing credit for The Band, therefore screwing my bandmates out of royalties even though it was really a collaborative effort" Robertson. Save your money. And how about only Robertson getting to include a commentary on The Last Waltz DVD! BS, they should've had the decency to include comments from the remaining members of The Band. You do not disrespect The Band! I put a curse on you Scorcese!!! You will never win an Oscar!! Bearded Hack!!

I recently discovered The Band's fabulous recordings from Music from Big Pink to Jubilation and I fell in love with one of rock's greatest treasures. The most soulful Rock Band I've ever heard. So I decide to give Robbie Robertson's solo work a try and I couldn't have been more disappointed. Without Levon Helm, Garth Hudson, the sadly departed, Richard Manuel and Rick Danko, Robertson is nothing!! Nothing!! His "vocals" are dreadful!! Levon Helm's farts sound better than Robertson's voice. God bless you all.

There's been quite a bit of controversy to Robbie Robertson's role in The Band. He wrote almost all of the material (at least officially), and he and Levon Helm have had words over the years about songwriting credits and arrangment ideas. This situation is similar to that of Pink Floyd, in that if you listen to Roger Waters's solo work, it doesn't have that Floyd sheen to it. In other words, David Gilmour had quite a lot more to do with the Floyd sound than Waters would probably like to admit to. And the same here for Robertson. This album sounds nothing like The Band. The songs are very good, the production is superb. Robertson, however, doesn't sing very well (to his credit, he rarely sang lead while in The Band), and the whole thing sounds so far removed from The Band you wouldn't have guessed that Robertson was in The Band. When you listen to Robertson-less Band albums like Jublilation, you realise that the others in the Band had a lot to do with the sound of their music. Jubilation sounds very Bandish, and is a wonderful album. So, in conclusion, this is a good album. But it is not The Band. Some will say "Robertson moved on". Others will say "he wasn't the whole Band". I agree with the later. Daniel Lanois, the album's producer, sounds like he had quite a bit of input here, similar to what The Band did in their heyday. It sounds like other Lanois produced material, like U2 and Bob Dylan (Oh Mercy and Time Out of Mind). So I would conclude that Robertson had a lot of help with arrangements, and maybe, possibly, took a few too many writing credits.

Sweet Mother of All Things Holy! Having been a new convert to the beautiful majestic music of The Band, I decided to spread my wings a bit and try Robertson's solo work. What a colossal waste of money. The music is tripe and don't even let me get started on his vocals. I've heard dying cats sing in tune better than Robbie "I take all the song writing credit for The Band, therefore screwing my bandmates out of royalties even though it was really a collaborative effort" Robertson. Save your money. And how about only Robertson getting to include a commentary on The Last Waltz DVD! BS, they should've had the decency to include comments from the remaining members of The Band. You do not disrespect The Band! I put a curse on you Scorcese!!! You will never win an Oscar!! Bearded Hack!!

I recently discovered The Band's fabulous recordings from Music from Big Pink to Jubilation and I fell in love with one of rock's greatest treasures. The most soulful Rock Band I've ever heard. So I decide to give Robbie Robertson's solo work a try and I couldn't have been more disappointed. Without Levon Helm, Garth Hudson, the sadly departed, Richard Manuel and Rick Danko, Robertson is nothing!! Nothing!! His "vocals" are dreadful!! Levon Helm's farts sound better than Robertson's voice. God bless you all.

There's been quite a bit of controversy to Robbie Robertson's role in The Band. He wrote almost all of the material (at least officially), and he and Levon Helm have had words over the years about songwriting credits and arrangment ideas. This situation is similar to that of Pink Floyd, in that if you listen to Roger Waters's solo work, it doesn't have that Floyd sheen to it. In other words, David Gilmour had quite a lot more to do with the Floyd sound than Waters would probably like to admit to. And the same here for Robertson. This album sounds nothing like The Band. The songs are very good, the production is superb. Robertson, however, doesn't sing very well (to his credit, he rarely sang lead while in The Band), and the whole thing sounds so far removed from The Band you wouldn't have guessed that Robertson was in The Band. When you listen to Robertson-less Band albums like Jublilation, you realise that the others in the Band had a lot to do with the sound of their music. Jubilation sounds very Bandish, and is a wonderful album. So, in conclusion, this is a good album. But it is not The Band. Some will say "Robertson moved on". Others will say "he wasn't the whole Band". I agree with the later. Daniel Lanois, the album's producer, sounds like he had quite a bit of input here, similar to what The Band did in their heyday. It sounds like other Lanois produced material, like U2 and Bob Dylan (Oh Mercy and Time Out of Mind). So I would conclude that Robertson had a lot of help with arrangements, and maybe, possibly, took a few too many writing credits.