Alternative Rock Music

This is definitely some of the band's finest material. Opens with a solo from Roi and ends with a solo from him as well. Nice mix of different vibes in this album. LOVE LOVE LOVE IT!

I love this CD!! I listen to at least one song daily. I love pretty much anything DMB, they have GREAT music!!

This CD is a step in the right direction. They're getting there again. Let's hope bands like Blues Traveler follow this lead.

Shake Me Like A Monkey is OUTSTANDING and there's one or two more songs but the rest really bore the heck out of me...it reminds me of being at a DMB show. 20,00 young girls under the assumption this group is a jam band, WHICH THEY ARE NOT! Any concert where I'm spending most of my time playing Wheel of Fortune on my cell isn't really that fun and as much as I said I wouldn't go back, I may just to hear Shake Me Like A Monkey live and of course, to see Jeff Coffin play.

If they continue to direct themselves toward more rock songs that would be great. The best thing working for them is Jeff Coffin. The man is brilliant and NOW they will probably rock out live. I hope he and Boyd duke it out!

Generally I like to save my reviews of music until I've thoroughly listened to the entire album. This one's been out for barely 3 weeks and I have already pretty much reached that point. This album is nothing short of great - for both longtime DMB fans and those who would want to listen for the first time. Catchy tunes, a diverse set of music...a band shows its true colors in its ability to continually transform its musical style while never completely forgetting what it has done in the past. Here's my song-by-song breakdown:

1. Grux - A short intro tune with heavy Sax. Great tribute to Mr. Grux himself, recently passed away Leroi Moore. Very groovy.

2. Shake Me Like a Monkey - Holy crap. Where do I start with this one? It's hot, its groovy, it's rhythmic, it has funk, it has spice and energy...I think its by far the best song on the album. From the drums to the amazing trumpet/sax part to the wacky singing of Dave, this song pretty much highlights every aspect of why I love the DMB so much.

3. Funny the Way It Is - Another one of the best songs on the album, it is a very catchy tune with some clever lyrics. And the lyrics are what make this song unique.

4. Lying in the Hands of God - Very happy they turned this live hit into the album version. Good singing, love the harmonies that Dave works with in his singing.

5. Why I Am - Another song that sound like its destined to be a hit. Love the lyrics referencing the "Groo Grux King", where the namesake of the album comes from. Not to mention the clever rhythms they use on the chorus with the words "Why I am", expanding the ryhythm each time they sing it. Its one of the subtle things that DMB does that sets them apart from other bands in my mind. And its those subtle things that keeps me listening to these songs even if I've heard them a 1000 times before already.

6. Dive In - A slower, "lazier" song, more mello. A good tune to relax to, and not to mention one part towards the end of the song where the electric guitar of Tim reynolds is introduced - absolutely unbelievable. I can't describe how unique the ambience and atmosphere is and what it does to the song when Tim starts playing. Its great.

7. Spaceman - Another mello laid back song. Probably my least favorite on the album...not that its a bad song, its just lacking on a unique identifying feature that other songs have had to this point. Though I do like the bass line.

8. Squirm - One of those buildup songs that gets gradually louder and more intense...its the intensity in the drum beats of this one that make it so interesting.

9. Alligator Pie - If you loved "Down By the Bayou" on DMB's previous album, you'll love this song. It's like that song, but crazy. There's something about Dave's unintelligible singing that is pleasing, and helps to make this song all the crazier.

10. Seven - Probably the most innovative of songs on this album. Any band that can play a song in 5 and 7 beats to a meter and make it interesting is a band deserving to be called great. I'm still figuring out some of the beats and exactly how Dave's lyrics are fitting on top of the 7-beat. Some splicing in of 5-beat measures makes this one interesting to those with a good musical ear (and otherwise a good song even if you aren't all that rhythmically interested). Anotehr good trumpet part in this song.

11. Time Bomb - Another one of Dave's crazy songs. It starts of innocently enough, then kind of "explodes" into a crazy and fast beat, much like a ticking time bomb! (OMG!) I generally don't like when singers scream ala Lincoln Park...but there is something oddly interesting about the way Dave screams when he sings, not like the emo screaming of bands like Lincoln Park.

12. Baby Blue - A nice guitar solo song by Dave. He always is good with those solo songs, and its more of the same here.

13. You and Me - Another song that could easily become a hit if so desired. This song almost sounds like it belongs at the end of a movie as the song that plays during the credits. In fact, the movie that comes to mind is Walle for some reason, and I think it even bears some sort of similarities with that Peter Gabriel song. IN any event, this is anotehr one of Dave's best songs on the album, one of his endlessly upbeat tunes.

The only criticism I give of the album is (a) I want more trumpet/sax/violin, (b) I want more songs, especially those that he;s written in the past few years that have been recorded live (like "Idea of You"). But other than that, this album reaffirms that DMB has lost no edge whatsoever in their creativity (and I was worried that they had "mello-ed out" after their Stand Up album)

I bought the Deluxe edition with the "Making of Big Whiskey" DVD. I wanted to share what's on the DVD since it's not specified on Amazon. That way, you can make your own determination whether you want to pay extra for it:

Runtime - 29:17

Packaging - Trifold with artwork on all panels. CD in one panel, lyrics and liner notes booklet in middle panel and DVD in last panel.

Contents - Behind the scenes look at the making of the album. Consists mostly of interviews with all bandmates, producer and session musicians interspersed with snippets of the recording sessions at different studios around the country. There are no full-length videos of complete songs. You get the gist of how the album was put together, but it's not a completely linear narrative, more like snapshots.

About 17 minutes in, the DVD becomes a tribute to late bandmate Leroi Moore. Some of the bandmates' remembrances are very touching. There are also some interesting tidbits, like Dave Matthews drew the cover artwork and the GrooGrux King bears a slight resemblance to Moore.

Altogether, it was enjoyable viewing, especially for someone like me who doesn't always read the fine print in the liner notes. However, I doubt I will be viewing it over and over like a performance video.

loved the theme song and a few others... not all i hoped it would be, hoped for more bluesy cajun sounds...

I enjoyed the True Blood series very much. It follows the book series about Sookie, sort of, but even though it isn't a true blow by blow from the books it's still very interesting and fun to watch. I believe that anyone who enjoys Vampire books and movies will very much enjoy this series.true blood

I love this soundtrack! My favorite is the first track, which is also the opening song for the True Blood HBO series, "Bad Things." Great music throughout the entire CD with a Cajun genre as you might expect since the story takes place in Louisiana! I have recommended this soundtrack to friends. You will love it, especially if you are a True Blood fan!True Blood

This CD starts off with the theme song from the show but after that it goes south pretty quick. I was actually hoping for the music that is played at the end of every show and not one of those songs were on this CD. Disappointed but then again it has grown on me a bit but not tremendously!

I really enjoyed the mix of songs on this cd. It has been alot of fun to listen to. I recommend you add it to your collection!

My wife and I cannot get over CD 1 of this collection. "Waitin' for Superman" and "Call Your Boys" are songs no fan should miss.

We don't care much for CD 2. The sound is not typical of Iron and Wine, and the quality even sounds a bit off. But, no worries; CD 1 more than makes up for it.

Sup pop compilation of Sam Beam tracks is great. The soothing tone of Beams voice and the double lp vinyl is a great addition to any record collectors collection.

This is a wonderful collection of extras and rarities from Sam Beam. The first disc is pleasant and worthwhile, though not nearly as remarkable as either The Creek Drank the Cradle or the accomanying EP The Sea and the Rhythym. It is most notable for the excellent and sublime cover of Flaming Lips' "Waiting for Superman." I suppose they had to include the "Such Great Heights" cover, but it is almost a disappointment to be reminded this is the track for which I&W is best known.

The disc 2 outtakes from the Endless Numbered Days and Shepard's Dog sessions (and film soundtracks) are highlighted by "God Made the Automobile" and "Kingdom of the Animals," exceptional tracks that are as beautiful as anything Beam has previously relased. Other excellent tracks abound on this disc, including the lovely, dark "Carried Home."

Overall, any of the major releases from I&W are probably better starting points, but if you are a fan of the music, this is an essential collection. There is probably one disc's worth of truly excellent material that is on par with the other releases.

I've been a fan since Garden State and this is a great collection, including "Such Great Heights" which is just sweetly brill.
I like to listen to this when I am in a contemplative state reading a book on a rainy afternoon and such. Mood music for a peaceful mood.

What can I say? It's iron and wine, it's awesome and you won't be disappointed. Their music is addicting and now I find myself wanting to listen to them almost exclusively. For those looking for bands with a similar sound that are also good, give Horse Feathers a try.

I was really looking forward to this CD, but, while Adele has a lovely voice, all but one of the cuts ("Chasing Pavements") is even remotely listenable. The rest are repetitive, uninteresting and boring. Too bad. I was expecting more from her.

I am enjoying most of the songs on the CD. She has a very unique sound and i really enjoy it!

My husband heard one of her songs on the radio and bought the album for me. I fell in love with her voice first and her lyrics are just as wonderful. I only wish she had more to listen to. This album is fabulous and I could listen to her sing all day. Absolutely my kind of music, and her soul touches me to the core!

I think she has an amazing voice...very different from the norm. The more I listen, the more I like!

I bought this cd after she won at the Grammy's and from track 1 to the very end, Adele's 19 does not disappoint! From track to track, her voice paired with the medoly make for a great listen. Buy this album and you will never regret it!

Elvis Costello once suggested that much of the music of the 1980's was a wasteland. One band and album I'm sure he wasn't referring to was REM and "Reckoning".

I'm not sure if "Reckoning" is REM's finest moment but it certainly is ONE of their finest albums. The band's second album (not counting their EP "Chronic Town")found them expanding on the sound from their "Chronic Town" EP and "Murmur" album giving us more with less--the arrangements are more direct and the performances even more energetic than their debut album. Veering towards Americana and all of its variety in the sounds on the album, "Reckoning" marked a major step forward for one of America's most important bands to come out of the 80's.

Greg Calbi's mastering improves on the original CD in some ways but isn't quite as strong as the limited edition Gold CD that Mobile Fidelity put out a decade ago. Detail is clearer but the album is noticeably louder than previous editions diminishing both the dynamic range and occasionally the power of some songs. That said, "Reckoning" sounds extremely good even if it was compromised somewhat during the mastering process (Calbi tried to keep as much dynamics as possible but keep in mind he was a hired hand and had to do what his bosses asked him to do). Michael Stipe's lyrics are as cryptic as ever but also a bit clearer. Mike Mills' ("Don't Go Back)To Rockville" (a song that Mills wrote for a girlfriend at while still in college)got reworked for the album at a more leisurely time signature creating a hit when it appeared on college radio in 1984.

The real gem here though is the second disc of a live performance. Although it is missing a couple of the tracks that have appeared on bootlegs that have circulated for years, it's a very good concert performance with the band on fire with energetic readings of material from their first, second and even one track each from what would be their third and fourth albums. Opening with The Velvet Underground "Femme Fatale" the band then jumps into their first single "Radio Free Europe" and finally closes with a powerful reading of ("Don't Go Back)To Rockville)"

My only complaint is that the original album was short enough to allow the inclusion of the some of the singles included on the import version released a couple of years ago. That edition included "Windout", "Moon River", another version of "Pretty Persuasion" recorded live in the studio and "Tighten Up" the classic song originally recorded by Archie Bell and the Drells. It would have made this collection a bit more complete. Yes, I realize that many of these songs appeared on the collection "And I Feel Fine" but the mastering there by David McEowen was less than ideal.


The packaging is typical for these "Deluxe Editions" where the CD packaging fits inside a slipcase. There is also a fold out "booklet" that includes an essay on the recording of the album and a full color album sized poster of the original album cover on the flip side. Overall, this is a fine set with a nice remaster done by Calbi and if you factor in the concert I reckon you'll probably want to pick up this classic album again.

With this second chapter of R.E.M. Deluxe Editions, a pattern seems to be established: each album is going to be backed by a concert cd. Fair enough. R.E.M. have always been a strong live act. This choice, however debatable (read my Murmur Deluxe Ed. review to see my point of view), may turn out quite interesting.

But first things first. Reckoning may not be as special as Murmur, but it is an equally strong album. The songwriting is not very different but while Murmur was more textured and dreamy, Reckoning is rawer and more down-to-earth. It has more of a live feel to it.

I never got much into the exquisite Harbour Coat but after that it's a 5 star album all the way. The beautiful So. Central Rain is arguably the album's finest song but I think that it is a couple of fast rocking tracks that best represent the core of Reckoning, namely Pretty Persuasion and Little America (or even Second Guessing) - there is an urgency and energy on them that you cannot find in Murmur.

This edition sounds better than my old copy but the improvement is not as big as the one achieved on Murmur. Though this is something that should be expected, after all Murmur has a lot more subtleties to bring to life on a remaster. As a bonus this first cd recovers the little instrumental jam at the end of Little America that was on the original vinyl and which I had forgotten about.

The live cd features another fiery performance by the band that will satisfy most die hard fans - after all, these Deluxe Editions are aimed at them. And I am a big R.E.M. fan but now I have to take a step back. If the concert that backed Murmur had a few flaws here and there, this one has a bigger problem. Michael Stipe is sooooo off-key on too many songs that it is painful to listen to them. Pretty Persuasion, the beginning of So. Central Rain... these are just not up to the minimum standards you should expect on a Deluxe Edition. I could bear it on a bootleg, I would even buy the bootleg, but this is a Deluxe Edition. I mean, my wife and children complained about this, they begged me to turn it off. How can I defend this? There is no possible argument.

I've got several live bootlegs by R.E.M. and I know they are a great live band, but if we are going to have the rest of the IRS catalogue backed by "full concert" live recordings, the people responsible for choosing the material must start having some quality criteria. Sometimes it's better to leave a couple of songs out of the list because these recordings don't do any good to R.E.M. reputation.

By 1984, the path of popular music was an eight lane toll road of synthesizers and drum machines. Angry drivers, were not even paying attention to where they were going. There was no soul or any answers at the end of this highway....To be outta control and speeding to the beat, meant you were in the center of nothing. In all this emptiness, you at last, were surrounded by everyone else, blind to the beautiful view all around them, as if they were machines from a science fiction movie....1984.

From a back country path deep in the South, along comes R.E.M.
This band of light and energy crossed the highway so quickly and headed back into the woods, that hardly anyone payed them any attention. I was lucky to have seen them cross the interstate, and I went exploring in the woods, searching for answers.

Deep into a green forest, I found guitars and drums and words that became strange shapes and forms. Everything else was on the outside of the woods, nothing else was as important as this. I abandoned the eighties, as something better was to be found in this forest....Here, I found hope.

"Reckoning" is my favorite album from R.E.M.
This record, rocks as much as it talks.
"Pretty Persuation" "Harborcoat" "(Don't Go Back To) Rockville" "7 Chinese Brothers" "Second Guessing" & "So. Central Rain" are enough music to fill a Greatest Hits record, from any other band. The surprise here is that this is only a second full album of songs from a band that had been touring the South, in a station wagon playing crazy gigs anywhere that would have them.

The sound has improved to the original record, and that in itself is a big deal. But at last the Chicago show that was broadcast in July 1984 (and bootlegged to death) gives us a listen to R.E.M's part of that night from the Aragon Ballroom. Opening act, The Dream Syndicate, released their set in 1984 as: "This Is Not The New Dream Syndicate Album...Live!"
Everything, that Reckoning was on vinyl, all but erupts in concert. Early R.E.M. was a touring band of faith-healers looking for converts in every town in their path. The entire show is not on this disc, but enough is here to prove to the world, what a few already knew...R.E.M. were young and spiky, but seasoned and professional, all at the same time.

As R.E.M. was the bridge from the 1960's into the 1980's, this band effected the music that would blast forth from Seattle in the early 1990's. This record, is as important as it is fun to experience.
"Reckoning" is best album of the eighties.
FIVE STARS!!!

A couple of universal arguments before considering this release:

1. The entire IRS catalog of REM albums including the "Chronic Town" EP, with the exception of only a handful of songs buried on later albums, is pretty much untouchable in the pantheon of American independent rock. Anyone who thinks otherwise is either 14 or younger, or was listening exclusively to Spandau Ballet and Visage at the time.

2. "Dead Letter Office" exists for a reason, and I'm happy it does. Maybe it'll be beefed up and reissued later, maybe not; but REM decided not to clutter their original albums in re-released form with supplementary distractions, and it was a good decision. I don't want to hear "White Tornado" after "Little America", nor do I need it on a second CD for chronological or historical reasons.

3. The live REM show attached to this reissue is astounding. It's even more powerful than the stellar show attached to "Murmur". Had it stood alone as its own release I would have considered it one of their best releases ever. I've had this classic show for a long time on cassette, and we used to tease it was a punk band playing an REM set. It's so brutal and powerful and direct and honest, you'd think this was a band with 10 confident years under their belt.

So if you buy those general arguments about the package, then you might also share my outlook on the content: "Reckoning" is the most REM of REM albums. It contains some of their most profound moments: "Rockville"'s elegantly Southern piano, the accents of bells, chimes, and found objects in "Camera" and "Time After Time" (thanks, Mitch & Don), "7 Chinese Brothers"' byzantine clang, the chorus in "Letter Never Sent", and the insane urgency of "Pretty Persuasion", where Michael's lyrics disintegrate into total chaos because they have nowhere to go. It also contains what might be their very best single song (next to "Fall On Me", personally): "So. Central Rain", which has no equal in the "dark REM song" category and would preview an even darker album to follow. There's a general vibe of anything-goes on "Reckoning", a way of seeing that seldom works with bands who don't have a clue what they're doing other than what they already know. In REM's case by this time, they were defining who they were, and came out with a picture-perfect set which laid the foundation for blah blah blah. This is easily one of the most essential albums of the 80's, and if it isn't their finest hour, it's certainly their most confident. That such confidence came so quickly, and was so bright and passionate and intense that it started a revolution, is evidence of its excellence.

It's nice to have "Reckoning" join "Murmur" as a Deluxe Edition re-release, the sound quality of the album is absolutely superb compared to the standard CD version. But the 2nd disc of both deluxe edition titles are live shows from the period the albums were released, and I just don't think the performances are that great. If you listen to the samples above, yeah the band sounds good, but Stipe is really off key a lot of the time, and the recording quality is so-so. I'd love to be able to buy just the remastered album, instead of having to shell out double the cash for a live gig that I'll listen to once.

One of the wonderful things about Neko Case is that her albums are all different from each other. Furnace Room Lullaby doesn't sound like The Virginian, Blacklisted doesn't sound like Furnace Room Lullaby etc. And Middle Cyclone doesn't sound like any of the other Neko Case albums. Nor does it sound even remotely conventional, as one other reviewer stated. What we have here is a very complex (both lyrically and musically) and lovely collection of songs sung by a performer who's voice is like something from another universe. Yes, it is absolutely mind blowing. If you don't think so you better check your pulse.

This is not Fox Confessor, not from a lyrical standpoint nor a musical standpoint, and it wasn't meant to be. While I can understand that some find that disappointing, you're missing out on some wonderful music if you were hoping for something that was going to be basically the same as the last time around. But don't worry, the next Neko Case album won't sound anything like Middle Cyclone either.

And in her case, that's a good thing. The album opens with its strongest song, "This Tornado Loves You," though the quality of songwriting is consistently good. There are standout songs, but no bad tracks - as long as you're willing to skip the stupid last track, which is just ambient birds chirping. I'm not sure why artists do this, using filler or hidden tracks. Obviously no one is going to listen to it and it's lazy.

However, there is plenty of excellent content to offset the last track. Case sounds a little more restrained than on previous albums, and those looking for the big belting songs like "Deep Red Bells" or "If You Knew" might be left a little wanting. The album took a little more time to grow on me than especially "Fox Confessor" but nevertheless, well worth your time.

You know how some books are considered literary masterpieces, but to read them is often mind-numbingly boring? I kind of see this album that way. I can appreciate that Neko Case is talented, and her talents are certainly on display here, but this album is somewhat of a bore to me. I like her well enough, especially her work with the Sadies, but she's never quite clicked with me. Of other women in a similar genre, I find Gillian Welch and Lucinda Williams much more interesting a listenable.

I'm a fan of Neko Case. I've been to see her live, she has an amazing exciting voice, but this cd seemed to have little variation. . .one long song. boring

This album reminds me a little of James Taylor's One Man Dog album. Some of the songs are rather short, perhaps not fully developed. Moods shift around quite dramatically. There are some brilliant well-produced highlights. In other places, I felt Neko Case was experimenting. It's all melodic and easy to listen to, but not all of it is attention-grabbing or addicting.

I'm impressed with her lyrics. This is not to say I understand them, but that's sort of what I like about them -- they're impressionistic, and you can make your own conclusions.

The album begins with a brilliant, poetic heartbreak song, This Tornado Loves You. The track is filled with beautiful stringed instruments and gentle but urgent drumming, Neko's clear, insistent vocals, and a reverberation that provides a sense of wide open prairies. Heady stuff, and very beautiful.

Other highlights include People Got A Lotta Nerve, a song that urges repeated play, and packs a lot of wallop in two and a half minutes. Brevity is the soul of wit, and this track proves it. Almost a novelty song, but still it's great ear-candy.

There's a great cover of a Harry Nilsson song, too. I think I may like it better than Harry's version. And a few of the slow, quiet songs are effective.

However, some of the other material isn't as gripping. Oh well, you gotta fill up an album somehow, I guess. Either the poetry gets a little too arty, or the melodies aren't as memorable, or they go on too long (Prison Girls), or they're shorter and play like an incomplete paragraph (I'm an Animal). If I had been the record producer on this album, I would have urged the artist to axe some of the material entirely, and expand, combine, or re-work some of the others to match the brilliance of the best songs here.

Maybe I'm too picky, but I look at most albums like a smorgasbord. I like this, I wish I could have a little more of that, and some is not worth a second look -- it simply does not appeal. Life's too short. I like to pick the best of many artists, and fill my listening time with the highlights. Middle Cyclone is a good album, not a great album. Some of it I will leave at the side of my plate, but some dishes are delicious, and I'll return to the buffet again and again for more of the same!

When 'One of the Boys' was released last year the general consensus among professional music critics was that it was formulaic, and although they weren't wrong, they did not understand that in order to fully embrace it you need to accept that as part of its charm. Katy Perry's career bears a lot of resemblance to Madonna's in her early years. From her modest, religious upbringing to the kitschy, semi-retro fashion sense, the connection between the two is undeniable. "I Kissed a Girl" made a global impact akin to "Like a Virgin," "If You Can Afford Me" is a cheeky "Material Girl' update, and "Thinking of You" is a poignant teenage ballad anthem not unlike "Crazy for You." Perhaps if more critics had made this Madonna-Katy connection, they could have appreciated the genius of 'One of the Boys.' As Madonna has proven time and time again, an artist's humble beginnings do not necessarily define their potential and Katy Perry is certainly a force to be reckoned with.

For anyone hesitating to buy this album, I can assure you there is no bad song out of the bunch and even though a lot of it is contrived, at least Katy draws inspiration from all the right places. The title track brings the attitude and new-wavey bounce of 'Tragic Kingdom'-era No Doubt while "Hot N Cold" and "Mannequin" keep the fun-loving spirit of the Bangles and Cyndi Lauper alive. "...Afford Me" even features a jangly-pop guitar breakdown à la The Cure. And so what if it's been done before? Every generation needs their icons and Katy has the good sense to not fix what isn't broken but instead modernize it and give it her own touch. 'One of the Boys' serves as a reminder that the art of melody isn't dead in the new millennium; the generational fist-pumping anthem "Fingerprints," the wide-eyed ballad "Lost," and smoldering sadness of "I'm Still Breathing" are proof of that. "Waking Up In Vegas" is perhaps the catchiest song of the entire set, building from spoken verses into a loud and explosive crescendo of guitars and percussion in a matter of only three minutes. This is the kind of album that only comes along once in a blue moon and it has so much to offer. Even the leftover recording sessions that have shown up in the form of bonus tracks are worth owning. While this doesn't exactly "break the mold" or "break the stereotype," it certainly shows a lot of promise and it is a good sign that there is still hope out there for pop music aficionados.

A lot artists these days don't concentrate on having great lyrics anymore, especially young female artists who often rely on their looks and image created by their marketing company to sell albums rather than on the quality of the songs. Often their albums also contain the same sounding songs throughout the album but Perry has thankfully not followed suit. All songs on the album are actually telling a story and as a bonus for those who don't illegally download or copy her album the lyrics are included in the liner notes as well. The music accompaning those lyrics is great too! I didn't realise how many of the songs on here have been hits until I got this thing home and played it.

Hopefully we see Katy Perry around for years to come!

This album is better than I expected. I got it thinking it would have one or two songs I liked, but the entire album is really well done, with catchy lyrics and melodies. It has excellent production and musicianship.

What impressed me the most was how many of these songs Katy Perry actually wrote herself. Not only is she a great performer, she is a great writer also!!

Can't wait to hear more from Katy Perry.

Lets face it guys i love lesos, just before i go to bed i like to put on a sticky copy of girls gone wild which gives an 1 hour a half of the sweetest pleasure. but there is something about this leso that totally brings me down is it that she sounds like an eskimo taking it from behind by a polar bear, a choir boy being harrased by a priest or just general bollocks anyway i would like to go over to her house at night and do a massive dumb on her and her girlfriends chest and then burn her house down while i still have time. the moral of the story is check twice before you sign a leso.

When I heard Hot And Cold on the car radio I recalled liking I Kissed A Girl during summer 2008, so I bought the album on the strength of those two songs, on the offchance that I would like some of the rest of it.

I must add here that I am a 56-year old male British accountant, with taste firmly rooted in the 60s, and the last album I bought where I unequivocally enjoyed every track was Blue Hotel by Fox in 1977.

Well, now there is another one. One Of The Boys joins a very small club - there isn't a track on it which I don't like.

Let me get my reservations out of the way first. While I very much like the quality of Katy Perry's voice - she's a husky pop shouter with a delicate breathiness in her upper register (I suspect, from Youtube clips, that she requires some studio assistance to deliver a vocal take with no tuning issues, but that's not a major problem on a record!) - I don't much care for a) the Alanis Morisette-style vocal mannerisms (viz. the register-changing yodel), b) the croaking groan at the ends of lines and c) the intakes of breath (stylistic choice, or poor mic technique and/or poor production?). I'm also not a big fan of breaking words up ar tificially (if you see what I mean).

But I love the songs - each and every one of them. Every one has a strong melodic hook, and I love melody more than anything. The lyrics, though sometimes gauche, are funny, witty, and often heartfelt (and, even when not, they still tell an entertaining story - how can you resist an album where the second line is "I can belch the alphabet, just double dog dare me")?). And they are delivered with gusto and good humour in arrangements which are mostly spot on, if occasionally a little anonymous. I was delighted to see that Katy had a hand in writing all of them (and two of them solo).

I had a quick look at critics - they seem to be centred on ciriticing the fact that these songs are exactly what they are - fun. I don't think any big statement is intended here. After some seesawing back and forth, Katy has found the image she was looking for - Fruit, Betty Grable, big eyes, Minnie Mouse bows, and good-humoured theatricality, and this is reflected not only in her visual impact, but also in the material presented.

I loved every second of this album, and I can't wait for the next one.

Snagged this for $4, when it was a Daily Deal over on the MP3 section and I still feel like a overpaid for this. You should not feel like you have to buy the whole album for congruity's sake. There's maybe 1 or 2 good songs and the rest comes off as filler. I loved Play ... this is no Play. I feel like Moby phoned this one in.

Wait For Me has the feel of a compilation of the mellower songs throughout Moby's career. For me, the highlights include the crying guitar in "A Shot in the Back of the Head" (which could have fit on Animal Rights), the desperate "Mistake" (which would have been a standout on Hotel), and choir-backed "A Seated Night," (which could have fit on I Like To Score or Play).

Though a pretty consistent album (I find many of his official releases to be a bit inconsistent in terms of album listening), it feels just a tad too long. For me, "Study War" (a poor imitation of Why Does My Heart Feel So Bad/One of These Mornings/etc.) hurts the flow of the album.

Next to Play the B-Sides and Hotel Ambient, I believe this will become my favorite Moby album.

I was one of those music fans who has given up on Moby years ago. Although I found Last Night to be pretty good, I still couldn't find myself to be head over heels like I was when I first heard Play at my local Tower Records.
The back story for Wait For Me sounds promising I have to admit. But it's overall a let down I have to admit. You'd think that Moby cooked up something really interesting after feeling inspired by David Lynch's words right? You'd think that since most of his mellow songs in the past were pretty brilliant that he'd make now an exceptional melancholic record right? Well I'd have to say wrong!
I find this record pretty much predictable. I'll admit that there are good songs on it but this is no Play. And what I mean by that is that this is no Play in the sense of how extraodinary that record was artistically on every level.
I guess like Andy Warhol once said that everybody's famous for 15 minutes. Perhaps Moby's 15 mins are up!

If your looking for good songs save your money. If you want to gel on someone trying real hard try to figure out what they want to tell with repeated little melodies?? This my friend, is the album for you!

I have all of Moby's previous albums, including his Voodoo Child stuff and I have to say I am disappointed with 'Wait for Me'. This album sounds like part 'Play' redux (with little of the energy/soul of that album) and sort of an attempt to follow the coattails of David Lynch's collaboration with Danger Mouse/Sparklehorse, 'Dark Night of the Soul'. The lyrical content seems intentionally down/depressing/dark, but the music is more of the same and more of the same, often annoyingly repetitive. The beats are slow, stale, and really the album gets monotonous in places. Moby seems to forget he's not DJ'ing at a club on this album and just lets samples and string parts go on way too long or repeat too many times.

Where Dark Night of the Soul is creative and inventive, with genuine songs 'Wait for Me' forges little new territory for Moby. The "gospel/soul singing samples over synth strings" schtick is OK, but there needs to be some change-up, some more attempt at song structure. And the one song that features Moby singing is atrocious. He never had the greatest voice, but he made do. This song just falls flat.

Incidentally, this is not the first time Moby has been inspired by David Lynch. He used 'Laura's Theme' from the Twin Peaks soundtrack on his successful track 'Go'. So, it is rather difficult for me to believe he has suddenly found Lynch interesting. It's more likely he wishes he had hitched a ride on the 'Dark Night of the Soul' train. (With apologies to Don Cornelius)

I like Moby's past music too much to give this one star, but I have to say, this one is a disappointment.

Its a pretty cool disc.. but its one that you should listen to as a whole. I like those albums.. but I'm not in the car for 60 minutes at a time to do it justice. Its a great album....I'd tell my friends to buy it.

Quite simply this is just a MUST HAVE. Just brilliant, and by far the best work The Decemberists have even done.

Hey, this is a much needed escape from the mainstream styles of so many. Yeah, I do listen to a lot of music though, and this is one of this year's best cds. I like how all the songs fit together. It even gets pretty rocky at times. The Decemberists have a great respect for the arts, one can tell, because of their diverse influences and folky roots. To them music is a passion, an art, and its full of discovery and imagination. Its not just manufactured trendiness. They bring back the art of music-writing. And I hope that everyone can be appreciative of that.

I heard the group sing on The Late Show and liked the song. I then went to Amazon to check out the rest of the CD and found it to my liking. I like the way the songs tie in with one another, almost like a rock opera. I would recommend it to anyone, especially if they like something a little different.

Although I was skeptical about a "concept album", this piece of music wound its way in and around my brain, making me wish I had been 21 in 1965 (I hadn't been born yet). The tempo of the music ranges from wafting breeze to head-banging pulses of percussion, bass, and voice. The lyrics enter a realm of mysticism that I would expect to appeal only to 13 year-old girls and out-of-date lovers of Genesis' "Selling England by the Pound". I wouldn't expect to like the lyrics myself much - but I do. Most albums only have one or two great tracks. This one has seven or eight. That makes it the best overall album I have heard since the L.A. Indie duo Supercollider gave us "Dual" in 1993 (Emigre Records).
Do not be afraid of the mystical storyline... in this isolated case. This album screams, "Talent!"

Quite Good for what it is: Over-produced Pop Rock

There's a lot to like about this new CD: catchy choruses; approachable hooks...an overall positive vibe.

However, it's hard to escape the obvious in that this CD essentially sounds like an American version of Cold Play. I don't know whether they aimed for that or the producers and record company, but it's pretty transparent to me that this was the intention. Someone is looking to be or to create the next wonder band.

The lyrics are facile and formulaic and don't appear to reflect a coherent and informed perspective. The anecdotes reflected in the songs barely transcend a pedestrian point of view; the singing is compelling but limited in range and emotional engagement; the musicianship and compositions are pedestrian as well.

Putting substantial criticisms aside, it is a solid, fun pop record that I enjoy grooving to, knowing perfectly well what it is...and isn't.

Enjoy!

I love the first album, but these powerful ballads definitely take the cake. Well worth the purchase.

This items gets a 100%. The music it's deep and beautiful like never heard before. The World must know about this band THE FRAY because it's just the best as 1' YEAH!!

The Fray's first cd, "How to Save a Life" is probably one of my favorite cd's so I looked forward to their 2nd with both anticipation and reserve because I didn't want to be disappointed with this band. The 2nd cd "The Fray" is a good effort and they didn't stray from the original style, which I count as a positive. The only unfortunate aspect I find is that I tend to skip 2 songs on this cd, where as I never felt the desire to skip any song on the 1st cd.

I am by no means a music critic so this is completely a personal opinion but the song 'Happiness' is mainly an acoustic song that seems similiar to what you'd expect from an unplugged version but then toward the ending it is filled with a choir joining in. I am not a fan of choirs in my music so this song is lost to me and that doesn't make me happy. I also have a tendency to skip 'UnGodly Hour', though I haven't figured out why yet and I hope it grows on me. The song 'We Build Then We Break' I thought sounded all too much like a Howie Day song,which throws me off a little but it is still a listen worthy song.

The huge positives on the cd are 'Absolute', 'You Found Me', 'Say When', 'Enough For Now', and 'Never Say Never', all could seamlessly flow into the 1st cd "How to Save a Life" and that is what I was hoping for. It's a very praiseworthy 2nd cd.

I've seen and heard a lot of reviews banging on this album for being too much like "How to Save a Life". Some of them also regret that "You Found Me" is the only song like "How to Save a Life" which is kind of confusing given that they're looking for some different. I agree that it's a lot like their debut, however, I don't really see anything wrong with that. Based on the quality, I'd say that there was certainly still some mining left to do there and while "You Found Me" may be the only 'hit' song here, I think the "The Fray" is actually slightly better than the debut. Favorites? Okay... You Found Me, Syndicate, and I really like Happiness.