Alternative Rock music reviews

This album should have a surgeon's general warning. Screw drinking and driving, listening to this while driving is about as hazardous as it gets. I didn't realize it till I got booked for doing 120, so I recommend you listen to this in a room where there aren't alot of valuables to break. By far the best Strung Out album, though I highly recommend Twisted by Design.

While I love Twisted by Design and American Paradox, I always come back to this album when I think of the best work that Strung Out has to offer. This is the album that made this band. Another Day in Paradise and The Skinny Years ... were good, but sound like crap when compared to this album. I've been a punk-rocker since I was pre-teen, I've gone to shows and played in shows, and I will tell you from experience that this is what every punk band wants to sound like. Suburban Teenage Wasteland Blues sounds so good you could die without having heard another punk album and be satisfied. Enough said.

Being a pretty hardcore Strung Out fan, I was first introduced to their latest album, "Exile in Oblivion". I fell in love with the vocal stylings and mix of metal and punk in this group. After snatching up more of their older albums, I purchased "Suburban Teenage Wasteland Blues" and was not at all disappointed. This record is fast, edgy, and as raw as good punk gets. It's a shining example of California punk back in the mid nineties. Favorite tracks include Firecracker, Solitaire, Gearbox, Monster, Bring Out Your Dead, Somnombalance, and Wrong Side of the Tracks (THE best track on the album I think). Any fan of punk rock should make a place in their collection for STWB.

This was the first release Alanis made after her record-smashing album "Jagged Little Pill" sold so many copies that one Australian household in six owned a copy.

However, despite being seen as belonging to the singer/songwriter tradition, "Jagged Little Pill" betrayed such traditionas all through, sounding much more like the pseudo-macho posturers Australians - deprived of arty, feminine singer/songwriters by the unsuitable environment (sparse population, infertile soils, erratic rainfall) - have always lapped up insanely. The pompous production and bland anger of "Pill" was rooted in the work of Suzi Quatro or Pat Benatar - both tremendously more popular in Australia than in the US or Europe.

"Thank You" is a real attempt to show Morissette as a singer/songwriter, and is an advance on the pompous noise of "Jagged Little Pill" that thoroughly annoyed me in Year 12 back in 1995. The song is held together by a piano line and Alanis' voice is nothing like so annoying. Nonetheless, the song has far too little feeling to suggest Alanis has absorbed the knowledge of such soul sisters as Laura Nyro or Liz Fraser or folksingers like Sandy Denny or Maddy Prior or June Tabor.

The chorus, moreover, is by any standards tepid and airy in a bad kind of way, as if Alanis wants to absorb the fakery so often seen in Eastern religions as an escape from her Catholic background. The guitar and bass are placed so far back in the production as to give the impression the the arrangers have little idea what is required to convey the song's message.

An improvement, yes, but nowhere near enough to take her seriously.

It's early 1997, your debut album has sold more than 30 million copies worldwide, you're an overnight sensation, a multi-Grammy award winning household name and expectations for a follow-up album have never been as high. So what do you do? Well, in the case of Alanis Morissette you pack your bags and take yourself off to India to seek out spiritual enlightenment - to 'find yourself' and come back refreshed. Yes, since that infamous and now legendary debut album "Jagged Little Pill" spoke the truth for a generation and spawned a million angst-ridden vixens, Alanis had to make an album that maintained her success and kept her alive in the public subconscious, didn't she? Well, maybe some people thought so, but she certainly didn't. To make an album as well-accepted on a social scale as Jagged Little Pill was going to be impossible, so Alanis laid down the law and, in the fall of 1998, unveiled "Supposed Former Infatuation Junkie" to the world. Typically, critics adored it but the public failed to agree. Yeah, so the album went to No.1 all over the world, but in the end only sold around 8 million copies worldwide. What is considered her most tragic album by the public is actually her greatest masterpiece by the diehard fans. I for one am in agreement of this album's genius.

The first single to be taken from the album was "Thank U." The song charted at No.5 in the UK in October 1998 and was a huge hit around the world. The confrontational lyrics were typical Morissette, but the light-hearted and somewhat forgiving lyrical matter was new. The anger that dominated her debut was traded in for relaxation and reflection on her sophomore. The video to the single featured a naked Alanis in one of the greatest music videos ever.

Thank U starts off with a simple and sparkling piano intro before Alanis starts singing, "How 'bout getting off of these antibiotics? How 'bout stopping eating when I'm full up? How 'bout them transparent dangling carrots? How 'bout that ever elusive kudo?" The lyrics here are really weird, but definitely make sense if you peek under the curtain of what Alanis is trying to say. She then glides into the chorus, "Thank you India, thank you terror, thank you disillusionment, thank you frailty, thank you consequence, thank you, thank you silence." Alanis then moves into the second verse, "How 'bout me not blaming you for everything? How 'bout me enjoying a moment for once? How 'bout how good it feels to finally forgive you? How 'bout grieving it all one at a time?" She then sings the chorus once more, before sliding into the best part of the song. She sings the spectacular bridge, "The moment I let go of it was the moment I got more than I could handle. The moment I jumped off of it was the moment I touched down." The song ducks down somewhat as she sings, "How 'bout no longer being masochistic? How 'bout remembering your divinity? How 'bout unabashedly bawling your eyes out? How 'bout not equating death with stopping?" Alanis then sings the chorus again and again before wailing the song out with her traditional yelp. The song slowly dies down and so ends another masterpiece from Alanis!

Thank U is perhaps Alanis Morissette's second most-loved song ever after the anthemic "Ironic" for the Jagged Little Pill album. The lyrics on this single are superb, and they really provoke an exploration of Alanis mind. We get to see what's going on inside her brain, like most of the songs on Supposed Former Infatuation Junkie. Pick a copy of this up today! Alanis rules, and you know it!

the second song on this single is excellent! get it! the second song is worth it.

I ran across this on ****** and downloaded the CD to check it out. It is a very fine set of songs, and the vocals and musicianship is first rate. But Beatles? One of the top albums of all time? No way, that's just silly. I'm not a Beatles fan, though I grew up with them, but I can hum every song off Revolver if you play the first note. I just listened to this and I can't hum anything. Pleasant music, but no hooks, nothing to grab onto. It always feels like they're about to reach one, but they never get there. The distance between good music and something that sticks is only a note or two, but it's a gulf as wide as the universe. The muse simply didn't live here, which is why this is "undiscovered". And will remain so.

While still possessing many more great songs than the average album , I can't honestly say this is among my favourite albums from the New Zealanders. Too many of these songs, while tuneful, lack the "killer hook" that gems like "Don't Dream it's Over", "I Feel Possessed","Something So Strong" and "Better Be Home Soon" had. I'm not compelled to sing along with the ferocity I feel on other material from Finn and company. The album is more "edgy" thanks to production from The Killing Joke's Youth rather than Mitchell Froom, who helmed the boards for the first 2 from the group.

HIGHLIGHTS:
"Black and White Boy" takes note of a friend's wild mood swings. ("Put a rose in my cheeks/But when demons have climbed on your back/You are vicious and quick to attack..") The song appears to "fall apart" musically like the titular character at the coda. "Fingers of Love" is heir to "Don't Dream it's Over" on this one, a slightly melancholy love song ("into waves of joy and clarity/your hands come out to rescue me/and I'm playing in the shallow water/laughing while the mad dog sleeps") while "Pineapple Head" is carried along on a buoyantly irresistible acoustic guitar. Jangly "Locked Out" was a Top 20 UK hit for the band. "Private Universe" celebrates the sanctuary that true love can be from life's demands. ("I will run for shelter/Endless summer lift the curse/It feels like nothing matters/in our private universe")

LOWS:
"In my Command" and the title track are the ones that seem weakest here.

BOTTOM LINE:
It may be "arguably their most mature" effort as the Amazon reviewer states, but that doesn't necessarily translate to a top-notch listening experience. If you're dipping your toes in because you liked the RECURRING DREAM best of disc, get TEMPLE OF LOW MEN and the self-titled one first.

3 1/2 stars

This album is Beatlesque. Others have pointed that out. Niel Finn has a voice that's almost 50/50 in sounding like Lennon or McCartney.

The songs are hook-laden.

I can't think of many other albums that have this large a collection of great songs.

I rank this one up there with Smiley Smile and Revolver. Pity so few people bought this album or know any of the songs on it.

I was a music director at a college radio station when this came out, and along with a ton of other albums this one commanded my attention.
Shoegazers??? I am sure all the label slinging yahoos are still wiping the egg off their faces. Its as if the band heard they were pigeonholed and gave them all the big finger.
Just buy it...and all the rest.

Catherine Wheel's fine second album, "Chrome" contains all of the elements that made "Ferment" (CW's debut album) so spectacular. The merger of power chords and rhythms, with textured swirling guitars, are present here too, with a slightly harder sound. I like pretty much all the songs on the album, and would be hard pressed to name my favorite, or even my three favorites. Some criticize the finale "Show Me Mary" as being to popish (indeed, I could see the Monkeys playing it). But it makes me smile with its airy quality, almost similar to "Balloon," which concludes "Ferment." Right from the start, The first three songs, "Kill Rhythm," "I Confess," and "Crank," attack the senses with the unrelenting power of a locomotive.

These are my reasons for my title of this review ("Not quite 'Ferment'"), and why I gave it four and a half, instead of five stars: 1. It doesn't have that "knockout song" like "Ferment" had "Black Metallic"; 2. "Pain" and "Fripp" would have been better four-minute songs instead of the length they are. 3. "The Nude" and "Half Life" are just OK and somewhat out of place on this album; 4. I think that while the best songs on "Chrome" are terrific, they're not as terrific as, for example, "Shallow," or "Tumbledown," from "Ferment."

Perhaps it's unfair to compare all subsequent CW albums, including "Chrome," to the band's remarkable debut, but "Ferment," as their first album, is the natural measuring stick. However, it would be a mistake to read this as a negative review in any manner, since I love "Chrome," and believe it to be the band's second best by a fairly wide margin.

Perhaps AMAZON will link Coldplay, Blur, and Oasis search hits with this record and inspire a new generation to discover the source that those bands ripped off and do a poor imitation of. Buy this album and get the real thing, for this is a Catherine Wheel masterpiece.

The standout songs here are "Crank" and "The Nude," while "Ursa Major Space Station" also has its hypnothrob charm. This is a fantastic wall of fuzz guitar, and is the most innovative use of the fuzz box since Neil Young's "Rust Never Sleeps." But the whole album is truly the first, best, and original of the shoe gazer genre, and owning it and "Ferment" marks you as "us" versus "them" in the hierarchy of music aficionados.

I had never heard of Chantal Kreviazuk until my sister let me listen to her Colour Moving and Still CD. I absolutely love the cd the very first time I listened to it. I have to admit I didn't care for every song, but even the ones I didn't really care for had good parts to them. I think my first favorite was Soul, then I fell in love with Far Away, and then I really liked M. Her voice has a little bit of Alanis to it but not enough to make it harsh and annoying. No two songs are alike, which is great. I definitely would tell everyone to give this CD a chance.

The beauty of this album is understated and completely underappreciated (not by fans of course, only critically). On her second release, "Colour Moving and Still", Chantal Kreviazuk pens ten ethereal and captivating songs, and shows great development of the talent she first presented in "Under These Rocks and Stones".

The entire album is a delight to listen to, and although none of the songs would probably qualify as a "radio hit", there are several standout tracks. The opening song "Blue" overflows with melancholy, yet is also reflective and even strangely uplifting. "Dear Life", "Soul Searching", "M", and "Before You" are all excellent, and the lyrics on songs like "Soul" and "Little Things" are simply incredible.

The bonus disc on the Canadian release is also very entertaining, if a tad too short. It includes the previousy unreleased songs "Feels Like Home", a cover of the Lennon/McCartney beauty "In My Life", and "Leaving on a Jet Plane" (also featured on the "Armageddon" soundtrack) Not necessarily essential, but interesting covers nonetheless.

Chantal is a very gifted musician, and she writes some of the best piano tunes this side of Billy Joel. (very different styles of course, but I invariably compare quality pianists to, of all people, the Piano Man) Meaningful lyrics, lush instrumentation, and a beautiful voice make Chantal one of the best kept secrets coming out of Canada. Give her a few listens and you won't be disappointed.

After the successful debut album, UNDER THESE ROCKS AND STONES, Chantal Kreviazuk returned with a new album in the fall of 1999, titled COLOUR MOVING AND STILL. It was promoted with the first single, a bubbly song titled "Before You", which has a killer chorus and makes you want to sing along in glee along to its profound words. Another single was "Dear Life", an uptempo song with another great chorus, and some very interesting and unique lyrics. The song is about being consumed by someone even though they are dishonest and untrue. "Blue" opens the album, and its kind of reminiscent of "Wayne", that same level of emotion is evident. It's a strong song to open the album with. The album is still as personal as the first, however I find I keep returning to this album. Her voice intertwins well with the mystical melodies which are amazing. "M" is a beautiful song, telling the story of a young girl who died too young, and trying to cope with the loss. "Soul Searching" is another catchy song with a great chorus that will have you humming and singing along, with very interesting lyrics once again. The song is about someone who is searching for themselves when it's right in front of them who they really are. "Until We Die" is a beautiful song about coping with death. Another standout is "Eve", a song which chronicals the life of the youngest victims that died from AIDS, a courageous child know as Eve. Usually I would pick and choose songs which are better than others on the album, but on this album, all of the songs are so personal and touching in their own ways, that every song is a gem. If you bought the album in Canada when it was released, you might have got the Limited Edition CD that came with it. On that CD were her covers of "Leaving On A Jet Plane" and "Feels Like Home", as well as a track called "In My Life" (not to be confused with her 2002 hit "In This Life"). Chantal is huge in Canada, but hasn't broke through the US yet, I reccomend everyone to listen to this album and I dare you not to be touched or affected by it. Truly a great album.

It was 1996 and Jose Manuel Aguilera, Mexican guitar virtuoso formed `La Barranca', band in which he was accompanied by Federico Fong and Alfonso Andre. They release their first album "El fuego de la noche" and it is acclaimed as one the best rock albums ever.

Same year, Saul Hernandez dismembers `Caifanes' apparently due to a legal dispute with Alejandro Markovich over the use of the name of the band. Saul decides to create a new band called `Jaguares', but now he is more cautious and registers the name for himself only. So, he invites Jose Manuel Aguilera (Sangre Azteca), Federico Fong and Alfonso Andre (Caifanes) to partake as guests on his first `Jaguares' album. The result? The best album `Jaguares' will ever have.

The lyrics are dark and obscure (if you don't believe me listen to `El equilibrio pt 1 and 2') as they have always been from Saul Hernandez, but what really makes this album a pleasant experience is the musical contribution of his guests (Saul was bold enough to credit himself alone as `Jaguares' in the booklet, he also clarifies that the musicians are only guests)

The guitar of Jose Manuel Aguilera will captivate your attention on every track of this album, actually what I consider the best two songs of the album are the contributions of Aguilera to it: `Clavame major los dientes' and `Solo somos sue�os' with beautiful and metaphorical lyrics. The contribution of Andre is impressive as it has always been since the days of Caifanes, and Federico Fong is just unbelievable.

Unfortunately the weak point of the album is the lead, the voice of Saul Hernandez suffers from the results of the operation he had, he had apparently this tumor that had to be extirpated and affected his voice. It would have been nice if he had given Jose Manuel Aguilera the opportunity to sing his own themes, but in those day (even nowadays) Saul was in his pose of `rock star' and wanted to be the point of attention of the band, a mistake that has cost his band to be suffering constant changes in their lining.

Highlights of the albums are `Dime jaguar', `A donde vamos a ir' and `Nunca te doblaras'

Overall, a very good album thanks to the contributions of the guests, but definitely nothing compared to `El fuego de la noche', album in which Aguilera, Fong and Andre had the freedom to experiment and do what they wanted and not what a lead with delirious of grandeur instructed.

Primer album de Jaguares. Saul Hernandez es acompa�ado en este disco por Jose Manuel Aguilera (Sangre Azteca), Federico Fong (Kenny y los Electricos) y Alfonso Andre (Caifanes), musicos de LA BARRANCA.

Las canciones hablan de cierta depresion por parte de Hernandez, es un disco muy oscuro, prueba de ello son canciones como "Voy a Volar" y "Huracan".

La aportacion de Aguilera en "Clavame Mejor los Dientes" y "Solo Somos Sue�os" es algo excelente.

Canciones recomendadas: Detras de los cerros, Nunca te doblaras, Clavame Mejor los dientes, Adonde Vamos A Ir.

El primer album de los Jaguares y discutiblemente el mejor. Aqui se encuentra la primera de muchas formaciones de los miembros, con Jose Manuel Aguila (guitarra), Alfonso Andre (bateria), Federico Fong (bajo), y Saul Hernandez (guitarra y voz). Tal persona puede decir que en este disco se encuentran las canciones mas oscuras de los Jaguares. "Dime Jaguar", "El Milagro", "Solo Somos Suenos" y muchas mas resonan la oscuridad y la mistica de Saul. Este disco merece mas de cinco estrellas. Y otra nota...Yo creo que Saul es un cantante mucho MAS mejor que Jose Manuel Aguila, y no se porque unos prefieren oir a Aguila cantar en "El Equilibrio".

I've always been a TT fan but Babble was a step beyond any TT album. The layers of synth, slowing building into soaring melodies is like nothing else out there. I have listened to this CD dozens of times and I am moved to chills each time. It's definately one of my top favorite pieces of music. I recommend this highly and is best enjoyed on headphones. It's a musical journey filled with haunting and uplifting balads, tribal beats and intricate groves. AMAZING! A gift to your ears and your soul.

I discovered "Love Has No Name" from Ether while watching the now cancelled (big mistake)Port Charles on ABC. They played this song mesmerizing a whole new group of fans. Who knew this album would be discovered all over again 7 years after its inception?????????? There is not one track that I did not care for, I was so pleasantly suprised!! What a peaceful, mystical ride!!!! Give us more!!!!!!!

I got this CD as a gift a few years ago and fell in love with it immediately. Gorgeous, lush arrangements with breathy, spacey lyrics and understated, driving grooves throughout, making it the perfect accompaniment for intimate moments or when you just want to chill.

Willy Porter's 3rd studio album, "Falling Forward," shows that his sound continues to evolve. His 1st album, "The Trees Have Soul," is a fingerstylist's wet dream, but the memorable choruses provided hints of Willy's ability to write more pop/rock oriented songs. The follow-up to that album, "Dog Eared Dream," showed a significant shift in Willy's sound away from the guitar pyrotechnics toward a more refined pop/rock sound that would appeal to a wider audience. "Falling Forward" is a continuation of that trend, as Willy surrounds himself with a more diverse group of musicians and takes advantage of studio magic to smooth over his sound. Knox Chandler, who plays many of the fill-in guitar parts and loops, is largely responsible, as he deftly fills in the background space with neat, unusual guitar sounds on songs like "Infinity." Other so-called "modern" instruments are also present, such as programmed drums, and Willy also nicely incorporates violins and cellos on several songs. There aren't any songs that are radio-ready, and only a few that could be re-arranged for radio, but many of them would fit well on a film soundtrack.

"Mystery": a standout track. Has a nice intro and a memorable chorus. This song has radio potential, but not in its current form. It's too bad that a producer didn't make this more of a "single" and hack the scat middle section that would have been better in a live version and edit the intro (which, though nice, is a bit long). Some backing vocals in the chorus are necessary.

"Cut the Rope": Willy uses electric and acoustic quite nicely on this one. You can also really hear the evolution of his vocals from the earlier albums. Nice chorus.

"The Line": Pleasant song, but somewhat forgettable. Decent chorus

"Paper Airplane": Another standout track, perhaps the best on the album. The song is inspired by a couple he saw making "whoopee" out the window in an apartment building across from his own. It features a great vocal performance, and fantastic guitar. On this song in particular, you can really hear how Willy has learned to fill in the holes of songs (something he could have used on "Cool Water" on the last album, though we're not likely to get a third version of that one). Of all the songs on the album, this would be my top choice for a film soundtrack.

"Infinity": A great mellow song where again you can hear Knox Chandler's influence with his guitar loops.

"Sister": Starts off promisingly with a nice funky acoustic guitar line. The chorus is alright, but mostly forgettable. Overall, the song isn't all that catchy, but it's pleasant enough. The prototypical "album track."

"Sowelu": Nice chorus on this, but the verses are nothing special. Another "album track."

"Tribe": This might be fun live, but doesn't do it for me on the album. I usually skip it.

"Hard": Starts off nicely with a harmonica (I think?) and piano combination, but doesn't really go anywhere. Another "album track."

"Anonymous Caller": Pleasant, but forgettable

"Somebody Else": Pleasant, but forgettable

RECOMMENDATION:
It's hard to say if I would recommend this album over "Dog Eared Dream." If you're really into the guitar pyrotechnics/fingerstyle playing, I would actually recommend "The Trees Have Soul." But if you're just more of a pop/rock fan, I would probably recommend this CD over "Dog Eared Dream" but by a slim margin. This album has a nice, even sound to it and represents the evolution of Willy's sound. Fans of pop/rock would think the songs are mostly pleasant, with "Mystery" and "Paper Airplane" as the ones you'd keep going back to hear.

How this genius of a musician has remained, as another reviewer describes ~ "the greatest musician you have never heard of" ~ has to be one of the music industry's greatest mysteries. Selfishly, as a fan, it is somewhat of a blessing; seeing Willy perform in a smaller, intimate setting defies description. The experience is something I will always treasure once the big time inevitably comes a knockin'. Everyone I have turned on to his music either through listening to CDs or attending concerts has been summarily blown away. He is so talented that he actually sounds even more amazing live. I'm pretty sure there are no words yet developed in the English language, or any language for that matter, sufficient to describe the talent rolled into this man's singing/songrwiting/guitar playing performance. This CD in particular, is amazing; not a song in the bunch worthy of a skip over ~ in fact this is one of those rare gems of a CD that is worthy of listening to over and over.

Willy Porter is one of the best relatively unknown musicians working today. The songs on this recording range from mellow acoustic numbers to more electrified numbers with a groove. Willy can play everything from bluegrass and roots folk to funk and jazz, and defies easy labels. On one occasion I watched amazed as a little ditty he was playing at between tunes turned into a 5 minute funk groove with a mesmerizing lyrics and playing, all totally improvised. This is a consumate musician and original song writer. He is one of those rare artists that can paint a commplete sonic image that the audience can share, and yet remain humble and full of down to earth humor.

Speaking of "self-conscious 'Clev-R-Ness'TM", it's a good thing that Kavity Killer can hide his trembling adolescent frame behind the safe anonymity of the Internet. Because unlike him, I know a few actual cowboys, and they'd be all too happy to kick his a-- in a second. Apparently this kid has it in for Lyle, which only makes sense. I mean, a pale skinny guy writing country songs about relationships? How dare he. How dare Hank Williams, for that matter. Now THAT is some stone-cold rhetoric right there. Truth is, Lyle Lovett is a Texas institution, beloved in both rural and urban areas. "Joshua Judges" is of course more of the same, and we wouldn't have it any other way. Lovett's signature folk-country has graced many a BBQ and country drive. Yes, I'm sure some of those fans DO drive Suburbans, but then again so do fans of kavity killer's beloved Van Morrison. This album features some of the most sinewy, unsettling love songs -- the kind many a cowboy has lived and could understand. If kavity killer would leave his computer, he might too someday. Would Tuco from "Good, Bad..." listen to this? I dunno; he's a Hollywood actor. But I do know that Clint does. If that doesn't settle it, I dunno what does.

No apologies for the non-kosher "direct reply" review; it had to be done.

Very strange negative fixation, indeed. Sorry to call someone out, but this person shows up rating every Lovett album! The thing that's most comical to me is that Kavity Killer reviews Lyle more than any other artist. Most people spend their time reviewing artists they actually LIKE, comparing and contrasting the quality of that artist's different albums...cross referencing other artists ("If you like..., you'd enjoy..."). Does anyone else just find it very odd that someone would spend so much time reviewing EVERY album of ANY artist with a 1*? I mean, I don't enjoy Aaron Neville's music...therefore, I don't waste my time or anyone else's reviewing ALL his albums.

We get it, dude...you only like blues music with a little bit of Paul Simon & Springsteen sprinkled in! It's kind of baffling why you waste so much time and space on Lyle Lovett.

By the way...if you like Lyle Lovett, "Joshua Judges Ruth" is a stong album. Well worth purchasing. Great musicians, great storyteller, cool voice.

This is a very good CD. More people should listen to the unique sound of Mr. Lovett. There is no one like him!!

Speaking of "self-conscious 'Clev-R-Ness'TM", it's a good thing that Kavity Killer can hide his trembling adolescent frame behind the safe anonymity of the Internet. Because unlike him, I know a few actual cowboys, and they'd be all too happy to kick his a-- in a second. Apparently this kid has it in for Lyle, which only makes sense. I mean, a pale skinny guy writing country songs about relationships? How dare he. How dare Hank Williams, for that matter. Now THAT is some stone-cold rhetoric right there. Truth is, Lyle Lovett is a Texas institution, beloved in both rural and urban areas. "Joshua Judges" is of course more of the same, and we wouldn't have it any other way. Lovett's signature folk-country has graced many a BBQ and country drive. Yes, I'm sure some of those fans DO drive Suburbans, but then again so do fans of kavity killer's beloved Van Morrison. This album features some of the most sinewy, unsettling love songs -- the kind many a cowboy has lived and could understand. If kavity killer would leave his computer, he might too someday. Would Tuco from "Good, Bad..." listen to this? I dunno; he's a Hollywood actor. But I do know that Clint does. If that doesn't settle it, I dunno what does.

No apologies for the non-kosher "direct reply" review; it had to be done.

Very strange negative fixation, indeed. Sorry to call someone out, but this person shows up rating every Lovett album! The thing that's most comical to me is that Kavity Killer reviews Lyle more than any other artist. Most people spend their time reviewing artists they actually LIKE, comparing and contrasting the quality of that artist's different albums...cross referencing other artists ("If you like..., you'd enjoy..."). Does anyone else just find it very odd that someone would spend so much time reviewing EVERY album of ANY artist with a 1*? I mean, I don't enjoy Aaron Neville's music...therefore, I don't waste my time or anyone else's reviewing ALL his albums.

We get it, dude...you only like blues music with a little bit of Paul Simon & Springsteen sprinkled in! It's kind of baffling why you waste so much time and space on Lyle Lovett.

By the way...if you like Lyle Lovett, "Joshua Judges Ruth" is a stong album. Well worth purchasing. Great musicians, great storyteller, cool voice.

This is a very good CD. More people should listen to the unique sound of Mr. Lovett. There is no one like him!!