American Alternative music reviews

Let me just start off by saying i swear on god no crosses count i am one of the biggest dave matthews band fans ever. And i buy every single thing they release i have all there cds and everything. And this live cd is one of my favorite and its only 5 songs!!!!!!!!!!!!!

Recently: 10/10- This song is amazing one of the best versions ive herd of this song other than R2T.

Dancing: 11/10- An incredible accoustic version of this song. Wow dave is amazing.


Warehouse: 10/10- Awesome version of the song. I missed the WHOO! part but its ok. An amazing song.

All Along The Watchtower: 12/10- OMG!!!!!!! This song is crazy. Leroi is incredible in this song i love it.

Halloween: 20/10- ....... This Song is the most amazing song on this cd. This is the best version of this song that theyve ever done. The intro is awesome, the energy is awesome, daves vocals are crazy as usual for this song AND THE BEST PART OF ALL...... CARTER BEUFORD THE GREATEST DRUMMER AND MY NUMBER ONE FAVORITE DRUMMER OF ALL TIME AND ALWAYS WILL HAS A AMAZONG SOLO TO END THE SONG.


ALL in all an amazing cd and if u dont have it i higly suggest u get it as soon as possible.

I have an idea...let's put 5 songs on disc and sell thousands. DMB did it. This band is the cream of the crop. A band with a lead man whose talent is so raw that he does not know what a time signature is until five years after his first composition. People, that is music straight from the heart! One cover but that is ok. I am very impressed!

I am a huge Dave Matthews Band fan there version of all along the watchtower is incredible. This CD is a must have for any fan. It's Dave and the guys at there best....all heart and soul.

I had never heard of Edwin McCain until I heard the song "I'll Be" on the radio a little while ago. I fell in love with it and would sing it throughout the day. Still though, I didn't know who was the brilliant singer. It wasn't until I saw the soundtrack for "A Cinderella Story" that I finally found out who sang this! I HAD to have the CD! I must say, although my favorite song is still probably "I'll Be", I love all of the songs on this CD. (Now I have more songs to sing throughout the day!!) Each song is different--and beautiful--in its own way. If you like "I'll Be", I'm sure you'll like the CD!

If it has the name Edwin McCain on it, trust me its a great product to buy. The songs he writes are heart felt and true to every drop of ink used to write them with..

I fried this sucker in the first few months I owned it. Had to buy another copy.

Edwin McCain is a storyteller. You can close your eyes and see what he sees. Holy City transports you to this beautiful place, haunting and mysterious yet in your back yard.

This is not a cookie cutter album either. The tracks are diverse and at times eclectic, which I love. A lot of times the entire CD sounds like the song playing on the radio SO WHAT'S THE POINT IN BUYING THE WHOLE THING? Not this time.

This is one of my all-time favs. I go back to it time and time again.

Mostly got this album for the famed 'Joan of Arcadia' song. The CD is filled with a good spectrum of Rock & Roll, some blues and mostly Joan Osbournes beautiful character. I wasn't familiar with her before, though I knew she was famous. Now I know why.

No one beats Joan for down n dirty seen-it-all singing. "St. Theresa" is incredible! It's def one of my fav songs of all time.

Joan Osborne is the real deal and she has it all: a voice from heaven and songwriting abilities that are unmatched. This CD covers an amazing range of styles and messages, and you'd think five different women performed here. Her work is smart and sexy, and she doesn't enjoy nearly the fame and respect she deserves. Relish is a relevation.

If you haven't seen her in "Standing in the Shadows of Motown", put that movie on your hit list.

I'll admit that the first couple of times I heard "Tim" that I only liked about five songs ("Hold My Life", "Kiss Me On The Bus", "Waitress In The Sky", "Swingin' Party" and "Here Comes A Regular"). These are obviously the standout tracks here and the ones with the best musicianship and lyrics, but the others are also good - they will definitely grow on you. The problem with most of the album is (and this is the reason it took some time to like) is that singer Paul Westerberg has a kind've unlikable voice at first (he sounds like he's been drinking whisky every day for the past 10 years). He's not horrible, but I can certainly see some people not liking him on their first listen (you'll grow to like him, though - he definitely has a very cool personality). Thankfully all the songs here are good, and the musicianship and lyrics are fantastic. The five songs I mentioned before all have very deep and memorable lyrics that will definitely grab your attention - "Here Comes A Regular" is an especially classic track. Unfortunately the production isn't all that good (I don't think this has been remastered yet), but it isn't bad enough to annoy anyone. The album itself came out in 1985, and you can imagine the impact it had (NOTHING sounded like it (or still sounds like it) - many bands even today are influenced by The Replacements). It has a sort of raw and edgy indie rock sound with a folk and country twist - it's pretty unique, basically. Overall I think that indie rock fans and those interested in music's history will love this album (eventually)! Absolutely recommended!

Highlights include:
"Hold My Life"
"Kiss Me On The Bus"
"Waitress In The Sky"
"Swingin' Party"
"Here Comes A Regular"
the rest are good, too

My words cannot appreciate this beautiful piece of mid-eighties rock n' roll glory. This was my first Mats album and after becoming a big fan, I have noticed that Paul Westerberg has became this metaphysical saint-like figure in the audible cosmic atmosphere called "rock music." From talking to different sorts of people, I have noticed that Westerberg has activated two extremes within the hearts of folks who have heard the Mats or Westerberg's solo stuff... they love him or hate him. How on God's green Earth can you hate a genius like Westerberg? From those who adore Paul, they have noticed that Westerberg has the ability to write songs that are about what an individual has felt or is currently feeling or going through. This is done in such a deep way, his lyrics are connected online to the human heart, mind, and nervous system.

All these songs are good. "Hold My Life" kicks off the album and this particular track is one of those songs that I am attached to. The Replacements dive into a pool of diversity on this album, beautifully blending the elements of popular American music past and present. "I'll Buy" is a rockabilly/country rocker, "Bastards of Young" is an electric anthem that is timeless, full of distorted rage and the acne of innocent youth. "Kiss Me On The Bus" is a romantic ditty, placing the listener into a realm where you mystically envision a first kiss, or remember your own. Country, folk, rock,...whatever it is. The Mats took these genres and made them their own.

Tim is the last album to have guitar-wildman, Bob Stinson, and their first major label debut on the then-hot Sire Records. I should also mention the album is produced by Tommy Ramone.

Maybe someday, Sire or Warner Bros, will rerelease this album with bonus tracks, not to mention the rough version of "Can't Hardly Wait."

God Bless Paul Westerberg

Among Mats fans in Houston Tx, this was regarded as their crowning jewel by unanimous account! Recognizing its brilliance, feels like having seen Van Gogh for a genius before the world took notice, and then seeing the bandwagon begin.

Westerberg achieved high art when he expressed the sorrow and pain and joy of growing up, all at once. So complex for such simple songs here.

My favorite line of all time 'little girls keep growing up, playing makeup and wearing guitar'. Was that not growing up 'punk rock' before it became a shopping mall fad?

In the summer they played a show in Galveston, if 'played', =30 minutes of missed bar chords before PW crashed into the drum kit. Shows over punkers! Wow, what a privilege to experienced this moment in history, the beginning and end of American underground rock, and this their crowning jewel.

It is so good, any cool 15 year old can pick it up and instantly get why it is brilliant.

It is timeless, like any great work of art, music or otherwise.

Okay, okay, you're right. This isn't the best Phish recording in the world. But it's a personal favorite. To many people, this album sounds like Phish has let the air out of their tires; it sounds "weary", void of the freewheeling, loud frolics of Billy Breathes, Junta, or even Farmhouse.
Well...that's because the album is a concept album. It's an album which is, in the words of Wikipedia, "about a guy dreaming about the rift in his relationship with his girlfriend." I haven't confirmed this anywhere else, but it makes the album make sense, and it certainly explains why it's not as rambunctuous and exciting as the others.
Songs like Horn (which disobeys all chorus-oriented pop rules and contains some gorgeous guitar playing) and Wedge (whose loping, gentle drum beat, cautious tempo and quirky lyrics create a lovely atmosphere) make this album worth a listen.
The concept is almost heartbreakingly beautiful, and the album lives up to it. Don't miss the cover, which supposedly contains a reference to every song on the album.

But it's an awesome CD for those who are not familiar with the band. I heard it when it first came out, and a lot of the Dead's fans were big on the CD as I was, it's hard to say, IMO it's my favorite Phish CD, the title track really gets your mojo up :), along with other songs "Fast Enough For You" (a slow tune), Maze, Horn (another slow tune, but more guitar based), and pretty well any song on this CD. I always found the other CDs to be really hard to get into. It's worth a listen to, at least.

Anyone who does not apreciate this album, by putting it down with harsh accusations of anti-muscianship and talentless efforts is out of their minds. This albums was original and well balenced- and musically diverse. This is the type of album that I wish every band can produce. Now I love Phish, and this is not my favorite album by them, but it is spetacular!

Yes, indeed these EPs are absolutely incredible. I recently purchased this cd and was floored by Fugazi. This was my first Fugazi purchase and as typical with many who purchase an artist's recordings, the first impression is often the strongest. I have since purchased their discography and have enjoyed all of them, but none as much as this one. What craftmanship especially after being a Minor Threat fan all these years...they seem to had finally pulled it all together. Please do yourself a favor and buy this cd - punk ethos defined.

If you follow alternative music, I would be surprised if you havent heard of Fugazi. They are known as the epitome of a band that will not sell out. They sell all their discs at bargain prices, and their concerts are always reasonably priced, for admission. This is their masterpiece, and "Waiting Room" is their finest hour. I would recomend all their albums, but this is their best punk album. As their later discs get out, they tend to defy description. However, I think its fair to say this is the album that made them relevant.

This is probably one of the best(if not the best) hardcore punk albums of all time.The songs are filled with a passion and intensity that is hard to find. On top of that they are also often quite catchy("Suggestion,"Waiting Room")and it is clear that they are great songwriters. This is also historically important, as mant of the personal lyrics and comparibly complex guitar work (as to say,Black Flag)laid the groundwork for Emo.On top of that, not a single weak track.Highly reccomended

For old-school rock fans, this CD is great. REM's best songs including "Man on the Moon" and "Imitation of Life" plus many many many many many more are on it. Just a great CD.
Why didn't Creed get this good of a greatest hits? WHY?!?!?!

First of all, get this Special Edition, by all means! Next, any REM album is welcome in these times, when "alternative" is supposed to be some cookie-cutter assembly line "emo" crap that occupies a special place on top-40 cheesy radio that was once reserved for the likes of Lionel Ritchie and Journey. That said, an overall review of this cd suspiciously finds REM standing down and disowning a single that was one of the ballsiest moves (by any band) of the '90s, mainly the "in-yo-face, shoegazin' mopers!" juggernaut that was "Shiny Happy People". Hey, if this unironic, unapologetic and unabashedly against-the-cool-grain pop tune is to be REM's red-headed-stepchild, then can The Pixies ever live down "Here Comes Your Man"? REM should be uber-proud of the fact that they did the impossible with this one, which is what they always do; put out a single that flies in the face of current trends (in this case, tatooed, angst-ridden, suicide n' heroin noise grunge) and watch people embrace it, even though they suspect it could cost them an evening's pass in the mosh pit with their trendy pals. Next, this is a "Best Of", not a "Greatest Hits", so why is the mundane snoozer "Everybody Hurts" here but not it's vastly superior version from "Monster", "Strange Currencies"? Well, probably because the terrific "Monster" has become somehow publicly maligned while the weaker, safer "Automatic" has been weirdly annointed. And, especially, where is "World Leader Pretend", long-considered by fans to be the single biggest highlight from the Warner period thus-far? Oh, well, all's good in REM-land. Apart from this, the newly-recorded "Bad Day" revisits "It's The End Of The World As We Know It" and "Animal" pays tribute to "Revolver" era Beatles. Sure, some stuff is missing, but you have it already, so enjoy! All in all, REM is one of our national treasures, and this is one fun record.

I'm not the biggest fan of R.E.M., however, upon adding this to my collection I was more than pleased with what the package contained. The included flip book is full of cool tidbits about how songs on the collection were written along with a lot of cool stories about the band in general. Plus it comes with a cool full size poster of the band. All in all, I am pleased with the immense amount of songs on the collection, the fact that the band picked the songs themselves, and the in-depth flip book that came with it. A definite buy for anyone who likes their music on any level!

I bought this disc because my brother is a big fan of this guy. He's also very much into Stevie Ray Vaughn. Trouble is, Joe Bonamassa is basically a Stevie Ray clone here. Lot's of hard driving blues rock with the guitar front and center. But there is nothing new here that wasn't done better earlier - like Stevie Ray or Buddy Guy etc. The songwriting is a bit weak. My big complaint is the lack of variety in the music. I expect guys who are basically "guitar heros" to mix it up a bit - a la Jeff Beck or Eric Johnson. There is an all too brief flourish of acoustic guitar playing that only leaves you wanting more. Sadly the album just winds up being repetitive.

This album is good to just throw in your car CD player and fire up a couple of songs while you drive.

As a guitar player he has good energy and lays down a nice guitar sound. The vocals are pretty strong on about half the songs.

My favorite track at this point is the title track.

Bonamassa has been woodshedding and honing his skills since the age of four and he's turned out a very competent guitarist who structures his guitar solos in a similar way to Robben Ford/Eric Johnson/Jeff Beck.
Every so often he slips into a minor ninth key change and enters an experimental zone where he shows he's not afraid to take chances and branch out.(e.g. on the end solo of "Headaches & Heartbreaks") in this way he sounds like Jeff Beck when in jazz mode. But after meandering around various passing tones he eventually hits on a conventional lightning fast, razor sharp pentatonic lick a la SRV/Johnny Winter. Joe is very inventive and doesn't resort to cliches like most blues guitarists. His solos are fairly long but he holds your attention throughout by infusing some unpredictable substitution scales. Bonamassa has a sound knowledge of jazz substitutions like Danny Gatton and Robben Ford.
His only failing point, in my opinion, is unfortunately his voice which is a little contrived and strained perhaps. I do understand originally he didn't set out to be a singer as in the case when he was with "Bloodline" and took lessons to enter the field.
Joe tries at times to create a Johnny Winter/Joe Cocker-like growl but i'm afraid it doesn't impress me much.He must end up completely hoarse after a live concert! He's adequate, i suppose, in this area of vocals in the same way as many guitar players like Robin Trower, David Gilmour, Snowy White etc.
But his axe work is high above standard. Listen out to his brave slide version of Rory Gallaghers "Cradle Rock" and Free's "Walk In My Shadow". Joe certainly has the best influences. He outplays both his guests (Rick Derringer & Leslie West) infact he burns them into the ground.
"Don't burn down the bridge" doesn't resemble the original Albert King version other than for the persistant riff, but the solo more or less resembles a Hendrix venture. (full tilt wah-wah pedal in action).
Joe together with Chris Duarte and Derek Trucks are probably in line to be the next great blues guitar heroes.

I bought this disc because my brother is a big fan of this guy. He's also very much into Stevie Ray Vaughn. Trouble is, Joe Bonamassa is basically a Stevie Ray clone here. Lot's of hard driving blues rock with the guitar front and center. But there is nothing new here that wasn't done better earlier - like Stevie Ray or Buddy Guy etc. The songwriting is a bit weak. My big complaint is the lack of variety in the music. I expect guys who are basically "guitar heros" to mix it up a bit - a la Jeff Beck or Eric Johnson. There is an all too brief flourish of acoustic guitar playing that only leaves you wanting more. Sadly the album just winds up being repetitive.

This album is good to just throw in your car CD player and fire up a couple of songs while you drive.

As a guitar player he has good energy and lays down a nice guitar sound. The vocals are pretty strong on about half the songs.

My favorite track at this point is the title track.

Bonamassa has been woodshedding and honing his skills since the age of four and he's turned out a very competent guitarist who structures his guitar solos in a similar way to Robben Ford/Eric Johnson/Jeff Beck.
Every so often he slips into a minor ninth key change and enters an experimental zone where he shows he's not afraid to take chances and branch out.(e.g. on the end solo of "Headaches & Heartbreaks") in this way he sounds like Jeff Beck when in jazz mode. But after meandering around various passing tones he eventually hits on a conventional lightning fast, razor sharp pentatonic lick a la SRV/Johnny Winter. Joe is very inventive and doesn't resort to cliches like most blues guitarists. His solos are fairly long but he holds your attention throughout by infusing some unpredictable substitution scales. Bonamassa has a sound knowledge of jazz substitutions like Danny Gatton and Robben Ford.
His only failing point, in my opinion, is unfortunately his voice which is a little contrived and strained perhaps. I do understand originally he didn't set out to be a singer as in the case when he was with "Bloodline" and took lessons to enter the field.
Joe tries at times to create a Johnny Winter/Joe Cocker-like growl but i'm afraid it doesn't impress me much.He must end up completely hoarse after a live concert! He's adequate, i suppose, in this area of vocals in the same way as many guitar players like Robin Trower, David Gilmour, Snowy White etc.
But his axe work is high above standard. Listen out to his brave slide version of Rory Gallaghers "Cradle Rock" and Free's "Walk In My Shadow". Joe certainly has the best influences. He outplays both his guests (Rick Derringer & Leslie West) infact he burns them into the ground.
"Don't burn down the bridge" doesn't resemble the original Albert King version other than for the persistant riff, but the solo more or less resembles a Hendrix venture. (full tilt wah-wah pedal in action).
Joe together with Chris Duarte and Derek Trucks are probably in line to be the next great blues guitar heroes.

"Wicked Back Flip" is a statement made by Paul on a bootleg when he is stone cold d-runk.

The Replacements. What hasn't been said that I could say? They got me through many deep, dark, hard and lonely nights. I drank with them, smoked with them, cried with them, and survived with them.

This album moved me in a way few have, or ever will. All I can say is thanks for allowing me the privilege of listening to this.

What made the Replacements critics darlings was their sensitivity and ability to write incredibly moving ballads. They loved the contrast to their hard rocking image. Critics consider Let It Be their masterpiece. I can see why, but to me their most memorable songs are here. I don't even care for "Alex Chilton" and think "Never Mind" is filler. I've grown to like the songs others consider filler, "Shooting Dirty Pool" and "Red Red Wine". From reading the reviews it is obvious there is no common ground on what people like and don't from the Replacements catalog. This is true for every band, but I think most evident with them. This is probably another reason they never achieved mainstream success or made the perfect album. Since I find filler on all their releases even my favorite album by them will have some filler. That is the case with Pleased To Meet Me. The songs that make this a favorite include, "Valentine", The Ledge", "Skyway", "Can't Hardly Wait", and "I Don't Know". Since Let It Be, Tim, and Pleased To Meet Me are all great and the rest of their catalog has a lot of gems as well so picking one that stands above the others may not be as objective as I would like, but I had to stick up for an awesome album.

Pleased to Meet Me marks the offical end of the idea of "Indie", the problem is the 'Mats tried to sell out and nobody bought it anyway. Cobain knew this and STILL ripped it off! Now if he could have only written "The Ledge"...
IOU is 3 minutes of everything Eddie Vedder has tried to say in the last 10 years, except you believe Paul actually means it... Can't Hardly Wait is better than anything made since.