Stone Temple Pilots Review

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Stone Temple Pilots ReviewWell I can see alot of ppl dissing this record saying it's not heavy STP and so on, but if you let the material sink in after a few listens you'll get the genius that is Stone Temple Pilots. Personally I love this album from start to finish - it's mostly straight up rock n' roll with poppy melodies, of course STP songs have always been about the melodic hook that makes them so infectious... There are also elements of Velvet Revolver on tracks such as Peacoat complete with wah effect laden guitar solo. Speaking of guitars, the guitars on this album is phenomenal, lately Dean has become my favourite rock guitar player as I now truly realize how great he is not just on this record but on all the previous ones. He plays a really superb and thrilling slide guitar solo and ending on Hickory Dichotomy that blows me away. Hickory Dichotomy is a personal highlight, but every song is beautiful in its own right. Another great, lovely, aurally orgasmic slide guitar on album closer Maver which will make you smile, well I purchased the deluxe version which includes Samba Nova which is not new to me and it seems like they didn't re-record it for this release but it's a another fantastic, laid back track. Too bad they didn't release About A Fool which was advertised at first as being on the deluxe version. The three live tracks of Vasoline, Hickory and Between the Lines are nice to own and fun to listen to but I don't think they are essential. But still, I gotta say, if you're an STP fan and by that I mean someone who also likes the less grungy/heavy material on Tiny Music (Bagman would have fitted perfectly on that album) and Shangri, this album is recommended. And I hope people give this album a few spins first to assimilate and digest the work of art Stone Temple Pilots have produced for our listening pleasure, as I doubt many people will fall in love and totally get it after just one listen. Scott sings great, Dean is on fire, Robert is amazing as always, Kretz is banging, Stone Temple Pilots is the bomb! (Both the band and album) :)Stone Temple Pilots Overview

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Boggy Depot Review

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Boggy Depot ReviewJerry Cantrell released his solo album around the same time Scott Weiland released his (see 12 Bar Blues). Though both albums were fairly well received by the press, the public seemed to pass over each one like a ship sailing through a cold dark night. It's a shame, too. Weiland focused on off-center creativity, while Cantrell did what he does best: straight ahead rock and roll with personal lyrics.
"Boggy Depot" is easily as potent as any Alice in Chains release. This is a full album by a hugely talented songwriter, who possesses a strong and fluent voice. Cantrell seemed to be the heart and soul of Alice in Chains, and this CD hearkens back to an era of quality music that came from Seattle.
The album begins with a fuzzy in-your-face riff right away on "Dickeye," and never looks back. Lyrically, Cantrell does do plently of looking back. Nevertheless, "Boggy Depot" is looser and less grinding than Alice in Chains, actually a breath of fresh Seattle air. "My Song," with its vibrating guitars and excellent bridge at the chorus, got some well-deserved radio airplay at the time of the album's release. Truthfully, though, this CD had a slew of potential radio hits, practically every song. "My Song" also displays a sense of independence in the lyrics that seems to be the order of the day for Cantrell. Other songs of personal reformation include "Settling Down," a slower ditty with intentions of living a different and improved lifestyle.
One of my personal favorites is "Break My Back," a kind of lost-in-love song, Cantrell-style. The song features warped vocals that eventually break free for a few lines, before hiding in darkness again. It's the epitome of quiet introspection and sensitivity, and a little haunting to boot. Haunting is actually a key word to describe many of these songs, although the great riffage and tunefulness throughout make that dark vibe acceptable, even homey and pleasant.
"Keep the Light On" is another gem, a perfect balance between hard, raunchy guitars and a sparkling bridge at the chorus that is tender and beautiful amid the crunchy guitars that precede it; that particular section of the song is reminiscent of a Soundgarden tune called "Switch Opens." "Between" is another great track, simultaneously bleak and fun; it's a country tune disguised as down-home rock and roll. The eight-minute-plus "Cold Piece" gets back to Cantrell-style AIC, and it's one of the best tracks on the CD. It contains despair mixed with hope, and "Boggy Depot" ends with a bold signature imprint of poignant piano and rough guitar riffage, as well as other surprising instruments.
Unlike Scott Weiland, Jerry Cantrell doesen't necessarily need to be in a surrounding band with others writing. He can do it on his own.Boggy Depot Overview

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Euphoria Morning Review

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Euphoria Morning ReviewDon't dismiss this as a typical front-man-gone-solo attempt to cash in on his former band's residual fame. Listening closely to this album confirmed my opinion that Cornell's musicianship was the cornerstone of the band's success. In 'Euphoria Morning', Cornell has clearly grown and evolved as a musician, much like the post-Beatles' Lennon, forsaking 'radio playability' for honesty and grace. The musicians with whom he recorded (especially Alain Johannes) are rock solid and lay an impressively understated foundation upon which his superlative vocal skills are showcased. While several of the songs ('Pillow of Your Bones', 'Mission') clearly have their roots in Soundgarden's burial plot, the majority owe their existence and are a tribute to Jeff Buckley, Cornell's late contemporary and close friend. Cornell's soaring falsetto and anguished wailing aptly evokes Buckley's 'Grace'. The songs on the album are not immediately catchy and will appeal to neither corporate pop radio nor hardened Soundgarden fans, but I see this as a positive trait- it sends a clear message that Cornell has neither 'sold out' nor 'bought in'. Final Evaluation: superb musicianship, excellent songwriting, very good albumEuphoria Morning OverviewJapanese edition of the former Soundgarden vocalist's 1999 solo debut with two bonus tracks added, 'Can't Change Me' (French Version) and his contribution to the 'Great Expectations' soundtrack, 'Sunshower'. 14 tracks total, also featuringthe single 'Can't Change Me'. 1999 release.--This text refers to an out of print or unavailable edition of this title.

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Pearl Jam Review

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Pearl Jam ReviewIt's quite possible that Pearl Jam is more revered in retrospect than for their musical offerings from the last 5-6 years. Their name is legendary. And their initial 2-3 albums are considered classics. But what have they done lately that hasn't sounded tired and stale?
Even though I'd been burned by PJ's albums in the past, I took a chance on this new one, simply titled Pearl Jam.
Wow. Am I glad I did. Pearl Jam has been reborn!
This album sounds fresh, alive and -- dare I say it? -- vital. They retained their trademark garage band sound and Eddie's sometimes mumbly (but powerful) baritone. But there are melodies and hooks on this album that are infectious. And the playing sounds like a Pearl Jam I haven't heard in a long, long time. It's energetic and meaty.
The album kicks off with the guitar-heavy, toe tapping "Life Wasted," which sports typical Pearl Jam chord progressions but with more oomph behind them.
"World Wide Suicide," the next track, features a sound and energy reminiscent of anything off Vs. or their debut CD (1993 and 1991, respectively).
"Comatose" begins with a Tom Petty-like guitar riff and then explodes in Eddie's growling vocal and bashing, punk-like guitars that would make the Sex Pistols proud.
One of my favorite tracks follows "Comatose": "Severed Hand," which begins with swirling, mysterious-sounding backward-played guitar noodlings before turning into another free-for-all garage band extravaganza.
"Parachutes," a Beatle-esque song featuring acoustic guitar, a jaunty beat and tight vocal arrangements, is a nice change of pace after so many balls-out tracks.
"Unemployable," the next track, is a great riff. Very catchy and upbeat. It reminds me of R.E.M. Very tasty guitar work.
"Wasted Reprise" is totally captivating. Haunting, even. It's less than a minute long, but there's something about it that I absolutely love. The lyrics are sung with such emotion: "I have faced it, a life wasted, I am never going back again."
I can't say enough about this album. It's chock-full of big, BIG guitar riffs, Eddie's over-the-top screaming, crisp production, and heart-on-sleeve lyrics. It's a Pearl Jam you haven't heard in a very long time.
I strongly urge you to buy this new album from Pearl Jam. You won't be sorry.Pearl Jam OverviewWith over 65 million albums sold, Pearl Jam returns with their first studio record in four years. 'World Wide Suicide' is the lead single and video (directed by Danny Clinch) from the album impacting prior to release date. The band will be touring the globe through July 2006 in support of the new album.

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Gish Review

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Gish ReviewIn all fairness though, this is still an excellent accomplishment from Billy Corgan and company. Yes, it is more guitar heavy than Siamese Dream, Mellon Collie, or Adore (Pisces Iscariot I didn't include because that covers all of the b-sides from Gish and Siamese Dream, therefore it isn't a good album to be used as a measure), but consider that all of their live shows are just like Gish in their raw guitar power, and when Gish was recorded the Smashing Pumpkins were still a relatively new band who only had experience on stage, not in the recording studio. I Am One, Siva, Bury Me, and Tristessa will get your speakers booming with their grinding rythms, while Suffer and Daydream seem to around the room on a wave of soft melodies. One cannot count out Rhinoceros though, for this one song captures the best of both types of SP songs. So, to pumpkins fans new and old who don't have this album, buy it for it's sheer artistry at a time when Nirvana and the "grunge" sound ruled the airwaves, but more so, buy it because it still stands out as a great accomplishment from the Smashing PumpkinsGish OverviewDigitally remastered and expanded deluxe three disc (two CDs + DVD) edition of the Alt-Rock quartet's 1991 debut album.Features the original album remastered plus a bonus CD consisting of 15 previously unreleased or alternate versions of Gish era songs, a bonus DVD containing a previously unreleased 1990 live show from The Metro, six postcards featuring never-before-seen band photos and a 24 page booklet with lyrics, liner notes and track by track annotations by Billy Corgan. Features 'I Am One', 'Rhinoceros', 'Siva' and more.--This text refers to an alternate Audio CD edition.

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Telephantasm: Review

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Telephantasm: ReviewI was really looking forward to getting this collection, 3 coloured vinyls mastered by Bob Ludwig and a DVD with all the videos on it as well as lithographs, a 7" vinyl of Black Rain also coloured and 2 CD's. The package is very well done, doesn't feel cheap at all. Everything fits nicely together and the vinyl is in a separate side of the box set to the CD's, DVD's and booklets, as it should be. So...where does it go wrong? From the first notes of the first LP or CD you're in for a big disappointment. Another release gets ruined with overzealous dynamic range compression.
Now I wasn't too concerned about how the CD's were going to turn out, I got this first and foremost for the vinyl and secondly for the DVD of the videos. Due to low sales numbers and the methodology in which vinyl records are created, vinyl editions of recent albums have seen better mastering than their CD counterparts. Don't get all defensive and launch into a CD vs. vinyl debate, because this isn't about that. What I'm saying is, the vinyl releases of new albums from Alice in Chains, Dave Matthews Band and others have received less dynamic range compression and less tools that result in dimished dynamics of the master that is to be used to create the vinyl, resulting in a more dynamic performance, one closer to what the producer was hearing in the studio one would hope.
This isn't the case with Telephantasm, the vinyl is as poorly mastered as the CD is, perhaps even worse. The sibilance does not hold up well in Cornell's high notes and Cameron's cymbals and hi-hat, it sizzles into obscurity. There is little in the way of dynamics, everything sounds like your typical 2010 CD. This is very disappointing given that there are supposed to only be 5,000 copies of this. The loudness war sucks wholeheartedly, but with top bands usually only moving between 12,000~25,000 copies of their records per year the vinyl usually escapes as the idiots in A&R at the labels and those musicians who don't know any better usually don't care about the vinyl, it's not getting into enough people's hands, therefore the mastering engineer can master with dynamics intact like most of them want to.
I compared Outshined and Rusty Cage from SIDE THREE of the coloured vinyl with my 2003 German (EU) pressing of Badmotorfinger, man what a MASSIVE difference, the sonics and dynamics of the recording are wonderful on the 2003 edition, which can still be found on the Amazon Germany website, ASIN B000057UWZ.
If you want to order one of the two copies left, just follow through the buttons, you don't need to read German to navigate, it's all the same set-up as Amazon Canada or US. I highly recommend this pressing at 24 Euros, even though you'll have to pony up 14 Euros for shipping to North America it's still worth it to get the best sounding version of Badmotorfinger I've ever heard, although if you don't spin vinyl be content with the original CD, it's also very good.
I was hoping with Bob Ludwig's name attached that the CD's might be okay, but should have know the label and project team probably said "no, we need this to be loud like other bands albums are these days, or kids won't like it" - which is TOTAL BLOODY NONSENSE. You can see a comparison between the Badmotorfinger CD and the Telephantasm CD in a post I made at the Steve Hoffman forums by googling "Soundgarden outshined telephantasm vs badmotorfinger dynamic comparison" and click on the first link that says "New release sounds like crap" and check out post #20.
The 2010 tracks are clearly boosted, well outside the scope of CD's limits resulting in brickwalling and/or limiting to prevent a massive amount of clipping. Dynamics are suffering, what a shame. It's nowhere near as bad as Death Magnetic, but it's still poor.
I will say that the CD actually sounds better than the vinyl to my ears, or maybe it's just that the vinyl sounds so poor compared to the 2003 EU pressing of Badmotorfinger that I don't even remember how bad the CD sounds.
Now maybe there is one saving grace for this package...the DVD. Nope, it suffers too. The audio isn't as bad as the CD and vinyl from a dynamic perspective, but the bitrate afforded the DVD's audio track is poor. They've gone with 2.0 Dolby Digital only at a bitrate of a little over 200 Kbps. No effort was made to visit the studio and create a 5.1 mix, they didn't even add a 2.0 PCM uncompressed stereo mix which would have been much more palatable. I'd love it if they'd included a Blu-ray of all the videos, but really the source material is probably video in most cases and the Blu-ray would only allow for less compression...but a high resolution 24-bit audio track wouldn't have gone amiss. Anyway, that's neither here nor there, it's nice to see some of these videos and remember watching the Buzz Bin on MTV in 1991 seeing Outshined...but the lack of fidelity in choosing only a Dolby 2.0 mix takes away from it. Had they used the full 448 Kbps allowed on DVD for Dolby it would have been a much more enjoyable sonic experience.
Overall I can only give this collection 2 stars. It's well put together and definitely great for collectors, but the sonic misadventures that afflict the DVD, the 3LP's and the 2CD's are just not welcome in my house, I'm probably returning mine to Amazon.
Telephantasm: OverviewDeluxe three disc (two CDs + DVD) edition. 2010 collection from the Alt-Hard Rockers, one of the most popular bands to emerge from the Grunge/Seattle Rock scene. This multi-label, career-spanning retrospective album includes beloved band hits, deep back catalogue cuts and a never-before-heard unreleased track entitled "Black Rain," taken from the Badmotorfinger recording sessions. Telephantasm marks the first time ever a collection of its kind has been collated in one place.

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Black Gives Way To Blue Review

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Black Gives Way To Blue ReviewWhen Alice in Chains released their self-titled album in 1995, it showed the band moving in a different direction from the one they'd explored previously. Jerry Cantrell was singing lead on more tracks than ever before, Layne Staley's vocals were heavily layered (double-tracked), and the grunge sound they'd had turned into a more sludge-metal type sound. Staley died 7 years after the release of that album and it appeared for a while that Alice in Chains had died with him. I worship Layne Staley, but I realize he was not solely responsible for creating the Alice in Chains sound; but, he did leave a large void when he passed away. Since Alice in Chains announced they were recording a new album with new vocalist/guitarist William DuVall, the question running through people's minds has been "Can they do it without Layne?" Well, after steadily listening to this album since it leaked, I can tell you, in all honesty, that they can.
"Black Gives Way to Blue" picks up pretty much where that last album left off. This is not "Dirt Pt. II," but Alice in Chains for 2009 and even with Staley gone, the album still retains the recognizable Alice in Chains sound. There are moments where you can not only feel Staley's presence, you can almost hear his voice. While William DuVall is technically Layne Staley's replacement, Jerry Cantrell handles a large majority of lead vocal duties...But make no mistake, this is not a Jerry Cantrell solo album. This is very much an Alice in Chains album. When DuVall and Cantrell harmonize together in the way Staley and Cantrell did so many years ago, it's pretty clear that Alice in Chains is back.
Here is a track-by-track review;
1. All Secrets Known-Begins with a terrific guitar riff and instead of launching into a brutal, blistering metal song becomes simply a subtle track about moving on. "There's no going back to the place we started from," sort of perfectly sums up their desire to record this album despite the cries of "It won't be the same" from many fans. (4/5)
2. Check My Brain-Another great riff; also the 2nd single from the album. DuVall lurks in the background, only really handling harmony duties with Cantrell, but this song rocks and is just as good as old Alice in Chains. (5/5)
3. Last of My Kind-On the third track, DuVall handles the lead vocals and his voice, by itself, works very well in AIC. DuVall also penned this track...This is a catchy, hard-rocking song; one of my favorites on the album. (5/5)
4. Your Decision-Instantly reminiscent of "Nutshell." It's a great/beautiful track with a fantastic guitar solo by Cantrell (who also handles a good
majority of the lead vocals). (5/5)
5. A Looking in View-The first single Alice in Chains released from this album. A little over 7 minutes, this track instantly got me excited for the new album. This doesn't just sound like classic Alice in Chains, it IS classic Alice in Chains. Great vocal harmonies, great music, and a terrific chorus. There's parts of this song that literally sound like Layne Staley has been brought back to life (5/5)
6. When the Sun Rose Again-A beautiful song that I intitally wasn't too fond of. Sounds like an extension of the "Jar of Flies" sound. (5/5)
7. Acid Bubble-Almost 7 minutes long; One of the best on the album, but also took a bit to grow on me...The song is character by slow verses sung simultaneously by Cantrell and DuVall, with DuVall singing the chilling bridge of the song before launching into a brilliantly harmonized chorus, and finally there's the heavy interlude. This song is a masterpiece. (5/5)
8. Lesson Learned-Has been one of my favorite tracks on the album since I first heard it. It's a great song and when Cantrell & DuVall sing "In your darkest hour, you strike gold," I get goosebumps. It's really a fantastic song. (5/5)
9. Take Her Out-This is the weakest song on the album, in my opinion. It's not a bad song by any means, it's just weaker than the other tracks...However, it does have a good chorus. (4/5)
10. Private Hell-I really didn't like this song at first, but now I find it one of the most powerful. The vocals here are very Layne Staley-esque and it's a very powerful, personal song. This, more than almost all the others, reminded me of classic AIC. In the vein of "Down in a Hole," give this song some time if you don't like it immediately. It's a great track (5/5)
11. Black Gives Way to Blue-The final track has some haunting guitar courtesy of Cantrell and piano by Elton John; dedicated to the memory of Staley, it's a beautiful, haunting, and touching song. A great track and a great way to close the album.
Jerry Cantrell has been outspoken about his goal not to destroy the Alice in Chains legacy with this album and I'm beyond proud to report that he did no such thing. This is a more-than-worthy entry in a great band's career, but more importantly...It's a great album, by itself. This is not a retread of Alice in Chains or an attempt to capture the same magic as before...This is just a fantastic album by a hard-working, musically gifted band that would be a great album no matter what moniker the band carried with them. Listen with an open-mind and be happy that AIC is moving on from the memory of Layne Staley to still give us fans great music. I guarantee that Layne Staley is smiling right now and would be pleased with the great work these four guys have done.
GRADE: ABlack Gives Way To Blue Overview

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Superunknown Review

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Superunknown ReviewI've listened to lots of music, and "Superunknown" doubtlessly stands as arguably the best album I have ever heard. Visionary, perfectly executed and technically impeccable, Soundgarden set the standard for dark hard rock with this one. I can't really think of a place to start in praising this album, but Chris Cornell's vocals are as good a place as any. From the hushed tones of "Fell on Black Days" to the cathartic wailing of tunes like "My Wave" and the propulsive singing of "Fourth of July," Cornell can simply do it all. His dark, churning, guitar riffs, aided by Kim Thayil's soaring, distorted solos, complete the powerful atmosphere of these songs. Add in Matt Cameron's nimble and inventive drumwork and the result is a musical masterpiece. The variety of this album is also noteworthy, as it mixes hard rockers like the opening double shot of "Let Me Drown" and "My Wave" with slower, more melodic numbers like the hits "Fell on Black Days" and "The Day I Tried To Live." The megahit "Black Hole Sun," while a strong song, is easily the worst track on the album, with the exception of the filler track "Half." "Superunknown" boasts all that serious music fans could possibly want, from creativity to technical precision to complex arrangements to a truly masterful and powerful overall vocal performance from Chris Cornell. A masterpiece in every sense of the word.Superunknown OverviewJapanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.

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Pearl Jam - Live at the Garden (2003) Review

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Pearl Jam - Live at the Garden (2003) ReviewLet me preface this by saying that I have been to maybe 150 shows in my life, and the 7/8/03 MSG show is the best show I have seen by any band, ever. Coming from a huge music fan, that's saying a lot.
Ok, here goes. I'll try to write it for the casual fan who may not know every song.
First let's start with quality. The video work is fine. Nothing fancy. It's a little jumpy sometimes, but good overall. The 5.1 surround sound is quite nice as well. There are lots of extras on the DVD as well, including an easter egg. It includes lots of tour montages, bonus clips (Ed pre-show solo stuff), etc. But the main part of the dvd, the show itself, is probably what you want to hear about so I'll try to be specific. I'll do a song-sy-song review below:
set:
Love Boat Captain: Good opener. The sound is a little off, but gets better during the next couple of songs. This is off the latest album. It references the 9 people who were killed during their set at the Roskilde Denmark show in 2000
Last Exit: Good rocking song that gets the crowd going.
Save You: Same as above. Good version. Off the last album
Green Disease: Also off the last album. You'll notice that the crowd doesn't go insane for some of the newer stuff, but because the MSG shows had such a high fanclub turnout, the reaction is better than expected. This is a fun, hard song.
In My Tree: This is a new, slower version of the song off of No Code. This is one of my all-time favorite songs, and they nailed the new version this time. This was the first tour they tried it this way, and it worked.
Cropduster: Also a new song. Good, but for the casual fan nothing spectacular.
Even Flow: Mike totally owns the middle jam, and the crowd goes nuts for it.
Gimme Some Truth: John Lennon cover. It was nice to see.
I Am Mine: This is prefaced by a nice speech from Eddie about Sept 11. You have to rewind to the end of the previous song to hear it. Good version as well.
Low Light: Had I not seen it a few days earlier I would have gone nuts. They broke it out in Boston on 7/3 for the first time in 5 years and the place went nuts. They also went nuts at MSG.
Faithfull: Great hard-rocking song from "Yield"
Wishlist/(Why Can't I Touch It?): Great light show for this, and the tag at the end is a Buzzcocks cover. Before the show, 3 members of PJ came out when the Buzzcocks finished their set and played this song with them. Great crowd singalong!
Lukin: 1-minute rocker from No Code that goes right into the next song
Grievance: Good hard song, was nominated for a grammy 3 years ago.
1/2 Full: Gotta love Ed w/ the mirror during this one. Great guitar from Mike on this song...very bluesy.
Black: Decent version. Great solo at the end from Mike. There are better versions, but this is pretty good.
Spin The Black Circle: Great hard song circa 95. A crowd pleaser.
Rearviewmirror: Awesome first set closer. Insane ending, crowd and band going nuts w/ the strobe lights.
enc 1:
You Are: Nice light show, great vibe to this song.
Thumbing My Way: Good slow song from the last album.
Daughter/(With My Own Two Hands): This was around the time I realized it had gone beyond being just a great show to being something special. Ben Harper comes out and sings the Two Hands tag w/ the band. I still get chills watching it. The crowd loves it.
Crown Of Thorns: Crowd going nuts by this point. It is a Mother Love Bone cover, which is Stone/Jeff's band before PJ that broke up when the lead singer died of an overdose. They played it twice on the 2000 tour (the first time being at their 10th anniv show), and twice on the 2003 show. I never thought I'd see it.
Breath: Yeah, the band is on fire at this point. Breath was the song they broke out at the MSG II show in 98 for the first time in years. It's special to see them play it there again.
Better Man: Not a particularly great version, but the crowd singing the first verse alone makes it worth listening to.
Do The Evolution: Watch the band during this...they start freaking out. Eddie gives a speech after the intermission explaining why. Considering Roskilde 2000, it's totally understandable. You could literally feel the floor moving if you stood still. MSG is raised off of ground level, and the crowd was going so nuts that they caused the whole place to shake. Watch Ed in particular.
enc 2:
Crazy Mary: 1 word: RIP. That's all I have to say
Indifference: Ed re-introduces Ben Harper. They have played this with Ben a couple of times before. This was my first time seeing this older song and I was loving it.

Sonic Reducer: Buzzcocks' member comes out. This is an old Dead Boys cover. I had never seen it live either and it was great. Maybe not as intense as it was on the early tours, but still rocking.
Baba O'Riley: Another Buzzcocks' member comes out. I will *never* forget the look on the usher's face next to me when the crowd sang the middle bridge part. He just had this huge grin on his face, like "wow, that was freaking cool as hell!!!"
Yellow Ledbetter: Nice closer, with Ed mumbling some new lyrics. Not a great version by any means, but different which is always good.
I'm not sure I can say enough about this show. I have never seen so many people leave a show speechless with their jaws on the ground.Pearl Jam - Live at the Garden (2003) Overview

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Audioslave Review

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Audioslave ReviewFirst off, there those who rather sneeringly refer to Audioslave as a "super group" are off the mark; whatever this album may (or may not) be it is nothing if not sincere. If they were in it solely for the money, Audioslave certainly could have made a more commercial album, instead they stretched their legs artistically, and while they don't always succeed, they certainly make a game of it.
By way of some background, Audioslave is made up of Chris Cornell, of Soundgarden fame, on vocals with Tom Morello (lead guitar), Tim Commerford (bass), and Brad Wilk (drums) all formerly of Rage Against the Machine rounding out the group. The funny thing is, I was never a particularly big fan of either band, but the match-up intrigued me. As Henry Rollins once said, Cornell's voice can, "peel paint off the walls", and I always liked Rage's fusion of funk and rock, personified in Morello's remarkable guitar playing. The problem was, Zach de la Rocha's self-consciously political lyrics ruined the music for me (what rhymes with `Zapatista'?). With de la Rocha's ouster, I saw a lot of potential, and while the end result is a mixed bag, it's more than worth the price.
The first three tracks on this album ("Cochise", "Show Me How To Live", and "Gasoline") are flat out rockers. There is no one thing about them that makes them stand out; it's just an all out group effort with excellence at every level. "Cochise" in particular is a brilliant combination of the stripped down grunge we would have heard Cornell recording a decade ago, and the flourishes that are Morello's hallmark.
The fourth track, "What You Are" foreshadows some of the difficulties found later in the album. Morello, gets stuck in a pretty dull chord progression for most of the song, and when he finally breaks out with a truly remarkable riff (sort of a melodic, electronic version of a catfight, if that makes any sense) it seems oddly disconnected from the rest of the song.
"Like A Stone" is the first single off the album, and rightfully so as it represents the best fusion of Soundgarden and Rage on the album. Cornell's voice is in fine form soaring to ear-piercing shrieks only to dip down to a steady rumble and then back again. In addition, Morello's guitar work is nothing short of breathtaking; I don't even know how to begin to describe it other than that it is the perfect counterpoint to Cornell's voice and some of the most original and creative stuff I have heard in a long time.
"Set It Off" seems to be Cornell's nod to Rage's political base, and while it's not a bad song (in fact it's a pretty good tune) it seems oddly out of context on the album. Moreover, Cornell, a multimillionaire pushing forty singing "...set it off now children..." is more than a little amusing.
If "Like A Stone" is a perfect fusion of what was, then track seven, "Shadow of the Sun" is the best example of what may be to come. This track goes beyond fusing elements successfully, and creates something new. Morello's guitar swoops and soars, never settling in one place for long. In the hands of a less talented musician it would be pretentious and tedious, but with Morello it's just sheer brilliance. At the same time, Cornell's singing reveals a more contemplative side, a certain maturity, which only adds to the power of his voice.
It's followed up by another excellent cut in "I Am The Highway" which contains some of my favorite lyrics. Cornell explores relativity as he stays the same as friends and lovers come and go.
Track nine, "Exploder" is a pretty good tune, but there's nothing about it that one takes notice of.
The next track, "Hypnotize" is a funny little song that I rather like; but I'm not sure that it's the right direction for Cornell. Specifically, he has a delivery that borders on the spoken word, and while there's nothing wrong with that per se, I'm not sure he has the right kind of voice for it. An Ed Vedder, for example, would be better suited to the kind of delivery he's going for. Nonetheless, I really like this one, and it features perhaps the best drum work on the album.
Tracks 11 and 12 are far and away my least favorite on the album. Both "Bring Em Back Alive" and in particular, "Light My Way" offer performances that are more reminiscent of a cookie cutter heavy metal track than anything one would expect from artists of this caliber. The one exception here is the superb guitar solo (one of the few extended solos on the album) that is completely wasted on "Bring Em Back Alive"; Morello really gets experimental on that one, and the drums are excellent, but the song just doesn't live up to the effort.
Next is "Getaway Car", which has an interesting, bluesy sort of beat, and vocal arrangements that vaguely remind me of Gospel/Soul (believe it or not).
Finally, the album wraps up with the rather forgettable "The Last Remaining Light". Frankly, the whole band seems a little bored with this one, and while it's not awful, I can't imagine ever skipping ahead to get to it.
In the end that's eight good-to-great songs, three good ones, and three I could have lived without. Generally speaking, I would be ecstatic to get eleven solid tracks off an album, and in this instance that's certainly true. While Audioslave's first effort doesn't quite live up to all the expectations and hype (could any album have?) it is still well above average, and is a great listen. If you want to hear why there may yet be hope for rock in this age of borderline psychotic rock-rap a la Limp Bizkit and the derivative drudgery of Creed or Nickelback, the self-titled "Audioslave" is more than worth checking out.
Jake MohlmanAudioslave Overview

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Colour & The Shape (Exp) Review

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Colour & The Shape (Exp) ReviewThe Colour and The Shape
In my opinion, the finest work by the group and best writing by Grohl before or since. The CD that truly turned me onto the Foos, eventually earning them the spot of favorite. The debut was great, yet a little repetitive; This one is perfect in all ways.
Every song hits an individual chord with the soul, and each selection sounds genuinely heart felt. A concept album (of sorts), the order of songs is perfect as well, creating a great finished UNIT which deserves to be listened to straight through:
A little breakdown...
1)Doll - Great opener. Short and sweet, it portrays Grohl's timid and overwhelmed feeling at the beginning of the story. Each passing song is filled with more and more confidence until the triumphant end.
2)Monkey Wrench - One of the more publicly recognizable tunes on the platter, it has an awesome beat and is one of the better songs on a CD without a weak spot.
3)Hey, Johnny Park! - My second favorite song and one which, for some reason, always seems to be overlooked. Great intro, terrific lyrics, and a very unique aura qualify this one as an A+.
4)My Poor Brain - The song that took me the longest to open up to; after listening to it enough it really starts to stick. Very powerful sound, after a peculiar start.
5)Wind Up - Another hidden gem everyone tends to pass over. Somewhat bitter and vengeful, it definitely deserves a listen.
6)Up In Arms - Cool little song. Changes from slow to fast halfway through, it really becomes quite uplifting.
7)My Hero - Gets quite a bit of radio play, still. Many interperatations exist concerning its lyrics, making it very intersesting. Great drum opening, cathcy riff, and POWERFUL lyrics.
8)See You - One of the more innocent and laid back songs. Fun to listen to and it is reported that Grohl joked that it was his "favorite" on the album.
9)Enough Space - Strange song, but like everything else, it fits. Loud sound and fast pace keep things moving in a good direction.
10)February Stars - Slow, emotional lyrics for the first half, followed up by a second half containing strictly the chorus, set to an awesome distorted sound.
11)Everlong - This is it. The most famous Foo song, most widely played, and my personal fav song by anyone. Horribly infectous da-da-da-dada-da sound, poigniant and beautifully vocalized lyrics, and an almost haunting quality all serve to leave an indelible impression on the mind.
12)Walking After You - Slow, acoustic love(?) song. Very interesting and thought provoking lyrics. A good one.
13)New Way Home - Simply brilliant ending. Caps off the concept in an ingenious fashion. Ends with Grohl's shouting of the lyric "I'm not scared" (whereas in "Doll" he claims, "I've never been so scared"), completing the whole confidently re-born motif. One of the best 6 minute songs I've ever heard.
Overall Rating: A+ (a MUST have)Colour & The Shape (Exp) OverviewIncludes the bonus tracks Requiem, Drive Me Wild, Down In The Park, Baker St, Dear Lover and Color & Shape.--This text refers to an alternate Audio CD edition.

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Backspacer Review

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Backspacer ReviewThis is Pearl Jam's best album of the 2000s. Continuing where Pearl Jam left off, the band matches the energy of their last outing with better, tighter songs. The lyrics (notably, all are credited to Vedder) are exceptional. No longer bound by anti-Bush righteous rage, Vedder seems to feel freed to sing songs with more empathy and positive energy. There are still plenty of songs about troubled souls and surfing, but the overall tone is warmer and filled more with empathy than anger.
The band's playing is excellent as always, and Brendan O'Brien's return to the fold is welcome - this album, even more than the Ten Redux cd, is proof positive that O'Brien is THE man to produce Pearl Jam's albums. He adds a few touches of keyboards and strings here and there to augment the standard guitar/bass/drums rock format, and the result is a sound perfectly suited to Pearl Jam's strongest batch of songs in years.
Pearl Jam fans who have been waiting for a new great album but weren't quite convinced by their previous cd should give this one a shot, and fans who have stuck with the band all these years will not be disappointed. This is Pearl Jam for 2009 and beyond.Backspacer Overview

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Nevermind Review

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Nevermind Review.......and "Nevermind" still sounds fresh. How? Nirvana were just that damn good. Dave Grohl's drumming was not only powerful, but lightning-speed fast (my personal pick for the greatest drummer ever). Krist Novoselic's bass skills were amazing, melodic, furious, and catchy. And Kurt Cobain, well, what can't you say about the guy? I can sit here and say all these great (and true) things about Kurt, but I'll leave it at this: there is a reason Kurt is a legend, and this was proven numerous times before his unfortunate passing. All the classics are here, "In Bloom", "Lithium", "Come As You Are" (my personal favorite from the band), and, of course, "Smells Like Teen Spirit". But the album as a whole is amazing. "Drain You" is one of the best Alternative songs ever made. "Breed", "Territorial Pissings", and "Stay Away" are punk rock perfection. "Something In The Way" is haunting (it's far superior on their "Unplugged In New York" album), while "Polly" is a glimpse of Cobain's "softer" side at it's best. Even the worst ones here, "Lounge Act" and "On A Plane", are better than anything Creed will ever do (I guess that isn't saying much, but you get the point, those two songs are still brilliant). Cobain was a brilliant singer-songwriter, he could be filled with rage and self-doubt one second ("Smells Like Teen Spirit" and "Something In The Way") and be funny the next ("Breed" and "Lithium"). From lines like "Here we are now, entertain us" to "I'm so ugly, that's okay, 'cause so are you", not many could even come close to the talent of Kurt Cobain. From start to finish, Nirvana made one of those rare albums that manages to pull everything out of the bare essentials (guitars, bass, drums) and make an absolute classic out of it. Some of these songs sound better on the band's live albums, and even "In Utero" was just as good as "Nevermind" (despite what some say), and even those two albums put together could not equal "Unplugged In New York"; but this still stands as a landmark for not only rock, but music in general. It was talent beyond anything mortal, that's for sure.Nevermind OverviewUp through 1990, a raw, raging mix of ferocious punk and heaving hard rock might have become an underground hit-but a #1 pop album? The times they were a-changin', and this was the record that changed the whole ball game, relegating pop-metal to the background and putting the grunge and alt-rock bands on top. It's been 20 years since Nirvana took over the rock world with one of the most influential albums of its time. Nevermind returns to us in remastered form on CD, in deluxe form on 2 CDs or four 180-gram vinyl LPs, or in a Super Deluxe box set! All editions contain their watershed smash Smells Like Teen Spirit plus Come As You Are; Lithium; In Bloom; Polly , and the rest of the original LP. The deluxe editions add live versions of Drain You; Been a Son , and Polly ; unreleased Smart Studios recordings of In Bloom; Immodium (a.k.a. Breed ), and Lithium ; unissued BBC recordings; a wealth of unreleased boombox rehearsals, and other ultra-rarities. The Super Deluxe set includes everything already mentioned plus two further CDs with the unissued Devonshire mixes of the entire album (minus Polly ) and the "Live at the Paramount Theater" concert from '91. To top it all off, you get the DVD of that Paramount concert-the only known Nirvana concert shot to film-plus the Smells Like Teen Spirit; Come As You Are; Lithium , and In Bloom music videos! The ultimate celebration of a watershed moment in American rock music!

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Candlebox Review

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Candlebox ReviewRemember the days when good rock was part of popular music. Things have changed a lot since the early and mid 90's, for the worse. Remember when bands like Candlebox, Live, Pearl Jam, Better Than Ezra, Counting Crows, Collective Soul, etc. ruled the airwaves. Unfortunately, while many of these bands are now making just as good if not better records today, they are now considered as the bands "that used to be good". Enough complaining, now onto the review of this CD.
Candlebox's self-titled debut starts off with the thunderous drumbeats of "Don't You" to get the listener ready for a wonderful ride through the slow to fast, soft to loud songs that encompass Kevin Martin's raw, spine tingling vocals along with Peter Klett's brilliant and distinct guitar work. Next is "Change", which is a great break-up song (from personal experience), followed by the anti-drug anthem "You". "Far-behind" is a classic whose lyrics are many times taken for granted. "Arrow" is a flat out rocker with heavy guitars. "Rain", all 6:58 min, shows the bands musical range, that includes a funky-groove complimented by Martin's singing style and some screeching guitar solos. The CD wraps up perfectly with two amazing acoustic songs, "Cover Me" and "He Calls Home". "Cover Me" starts off with a great acoustic riff and then totally explodes into the chorus. "He Calls Home" is a bit softer with a circling chorus. Just when you think the song is over, Kevin Martin's voice soars for one more minute to wrap up the album.
Oh Yeah, did I mention that I highly recommend this CD to everyone, especially those kids nowadays who think 3 Doors Down is rock music and that Fred Durst is a genious.Candlebox Overview

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MTV Unplugged in New York Review

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MTV Unplugged in New York ReviewNirvana's Unplugged remains one of the band's most majestic moments. Coming hot off the heels of the noisy In Utero album, the band decided to stop into MTV's studios in New York City and play an acoustic set that completely erased any notions that they were just a simple "grunge" band. Kurt Cobain seems completely relaxed throughout, and he gives some staggeringly beautiful vocal performances. Dave Grohl plays the drums with wire brushes and demonstrates that he was just as capable of subtle shading as he was at hard-hitting fury. Krist Novoselic proves himself to be a worthwhile musician as well, playing accordion on "Jesus Doen't Want Me For a Sunbeam" in additon to playing a very solid-yet-laid back acoustic bass. Add former Germs guitarist Pat Smear to the lineup, as well as a guest appearance by the Kirkwood brothers of Tempe band the Meat Puppets, and you have all of the ingredients of that legendary November 1993 night.
All of the most obvious choices from Nevermind are featured here, "Polly," and "Something in the Way" of course, but their acoustic rendering of "On a Plain" is both relevatory and surprising, since I would not have expected them to include this song, and what's more it actually works as an acoustic! The classic "Come As You Are" is given more subtlely and emotion here, and that flanged guitar solo sounds positively stunning on an acoustic (actually he was using a half-acoustic/half-electric hybrid). The band also delivers some of the most mature songs from In Utero, too. "Dumb" sounds both blissful and melancholy at the same time, "All Apologies" is one of the highlights here, and "Pennyroyal Tea" stands as one of Kurt's most emotionally naked moments (I actually like the version here better).
Like the Beatles before him, Kurt Cobain had the uncanny ability to take any cover song and make it his own. From Devo to Leadbelly, David Bowie to the Vaselines, Kurt made it sound like all of these songs were his own, and he does this beautifully here as well, especially on their rendition of Bowie's "Man Who Sold the World," and of course, Leadbelly's "Where Did You Sleep Last Night." The latter has to be one of Nirvana's most chilling moments of all time, especially near the close of the song, where Kurt is giving it his all. Then, with an impassioned cry of "SHIVEEERRRRR!" he pauses for a couple of seconds before finishing the line. At this moment, I have to say the silence is deafening and is absolutely haunting in the purest sense of the word. It seems ironic that a band who was known for noisy live performances could rip walls out (and hearts) with two seconds of silence. This, if nothing else, stands as a testament to Nirvana's gifts.
As life affirming as this can be to listen to, sometimes it can also be quite sad knowing that this is ultimately the last word from Nirvana before Kurt's untimely death. But if this was the band's (and Kurt's) swan song, it is certainly the best finale that one can have, and I would certainly want something this beautiful to be my farewell, too. Even ten years later (God, has it been that long already?), Nirvana's Unplugged session remains as fresh as it was at the time, and stands as one of their very best live performances (as well as their most unique). Whether you are a casual fan or a diehard, this album is not to be missed and you are doing yourself a grave injustice if you skip out. This isn't just an Unplugged session, it is an experience.MTV Unplugged in New York OverviewJapanese only SHM pressing. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. Universal. 2009.--This text refers to an alternate Audio CD edition.

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From the Muddy Banks of the Wishkah Review

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From the Muddy Banks of the Wishkah ReviewThe Amazon critic has it wrong: the chorus on "School" is "No recess," NOT "Don't be sad"! Now that we've got that cleared up....It is well documented that Nirvana could be very scattershot live in concert, usually depending on the mental & physical health of troubled singer/guitarist Kurt Cobain. On a bad night, the band could be very ragged and sloppy, even rude---some nights, they wouldn't even play their big hit, "Smells Like Teen Spirit," much to the dismay of their audience. But on a GOOD night---and there were quite a few of those, too---Nirvana were powerful, rockin' monsters. "From The Muddy Banks of The Wishkah" captures Nirvana live in concert on the various GOOD nights they had over the years, with the live tracks recorded between 1989 and 1994. Nirvana blast through 16 songs, featuring some signature tunes like "Teen Spirit" and "Lithium," as well as some lesser-known songs like "Spank Thru" and "Blew." The band sound incredible, with Cobain, bassist Krist Noveselic and drummer Dave Grohl interlocked together like a three-headed rock beast (though on some tracks, guitarist Pat Smear joins the trio, and original drummer Chad Channing is featured on a couple of tracks instead of Grohl). This is raw, in-your-face, take-no-prisoners rock of the highest order, with no bad performances anywhere, and the louder you can play this CD, the better. "From The Muddy Banks Of The Wishkah" is a brilliant document of what Nirvana could do live in concert on the nights when they *really* gave it everything they had. No Nirvana fan should go without this awesome live set.From the Muddy Banks of the Wishkah Overview

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Ten Review

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Ten ReviewThe album, named after the Jersey number of basketball star, Mookie Blaylock, has been considered as being among the finest and most influential albums written during the 90s, and with reason. Before 91, Michael Jackson was atop the charts, the king of pop. It was not until the rise of Nirvana, and subsequently Pearl Jam, that the 'King' was dethrowned. Armed with epic, sweeping hard rock anthems and the bleedingly powerful vocals from Eddie Veddar, Pearl Jam found itself atop the charts themselves.
I admit, I hated 'Ten' for the first full year of it's release. It took some time to sink in. I was too accustomed to Weird Al, Madonna and 'Sweet Dreams'... I was still submerged in the 80s, and the blistering power of Pearl Jam was simply too much for me. Yet as I grew familiar with the Seattle quintet, so did my appreciation of their music. It was not until 93's "VS" that I realized that Pearl Jam had become my favorite band of all-time. I have been ardently following their career ever since.
Song by song review:
1. Once - With a profoundly suspenseful and edgy guitar to backdrop the first emergence of Eddie's vocals, this song is immediately famous. Plus it's got a haunting oceanic intro to boot...
2. Even Flow - Arguably Pearl Jam's most famous song, Even Flow is easily deserving of such status. It explodes into a narrative about a Homeless man, and manages to maintain the ripping intensity for 5 solid minutes.
3. Alive - Another contender for the most famous song by Pearl Jam, this song roars for nearly 6 minutes. Starting somewhat slow, this song builds to a climactic guitar solo that rivals any Zeppelin or The Who.
4. Why Go - Similar to "Even Flow" in it's blinding energy, this song is a standout among standouts. A guttural, hypnotic guitar underscores Eddie's portrayal of a conflicted girl's tortuous homelife.
5. Black - Originally slated to be Pearl Jam's fourth single from the album, following 'Alive', 'Even Flow', and 'Jeremy', this could have become the biggest. A six minute operatic of love and loss, this song is among the most moving in Pearl Jam's catalogue. Deep, gentle guitars accentuate Eddie's somewhat subdued singing.
6. Jeremy - Spawned one of the most famous music video's of all time, coming in at #6 in Rolling Stone Magazine's list of 'best videos of all time'. This song carries a strength in every stroke of the strings, that you can't help but be emotionally drained and exhilerated by the end of this harrowing, disturbing epic.
7. Oceans - One of the two best songs Pearl Jam ever wrote, the other being track 11 of the same album. This song is beautiful beyong comparison, with guitar and drumwork that match the songs title. As we lilt through this song of reunion, we glide along the waves that Eddie so poignantly describes.
8. Porch - Perhaps the most forgettable song on this album, Porch somewhat departs from the overall feel that the rest of the album creates. This is not to say that it is a bad song, as we find Eddie at what could be his angriest. Nearly rapping his way through a lot of lyrics in under 4 minutes, this song is not without it's merit.
9. Garden - Underappreciated, this song is quietly suspenseful in it's beginning, until the pressure is too much, and the floodgates open. The tumultuous uprising is textured and melodic, yet like the tide goes down once more before a climactic finale.
10. Deep - Just like the title, this song opens with a gaping guitar slide and solo that breaks down the barrier between subtlety and power. Truly deserving to be placed in this perfect album.
11. Release - Eddie Vedder's personal tribute to his dad. The guitar matches his soulful wails, begging for the love of a lost father. Finishing out with the same melody that began 'Once', this CD leaves you the way it left you, only now you are an elevated human being.
Man, I love these guys...Ten OverviewNo Description Available
Track: 10: Deep,
Track: 11: Release,
Track: 1: Once,
Track: 2: Evenflow,
Track: 3: Alive,
Track: 4: Why Go,
Track: 5: Black,
Track: 6: Jeremy,
Track: 7: Oceans,
Track: 8: Porch,
Track: 9: GardenMedia Type: CDArtist: PEARL JAMTitle: TENStreet Release Date: 08/27/1991

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Alice in Chains - MTV Unplugged (1996) Review

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Alice in Chains - MTV Unplugged (1996) ReviewMTV's Alice in Chains Unplugged will always stand as a testament to how great this band was, and having viewed it recently for the first time in years, I almost forgot how heart wrenching it was. From the beginning of the concert, you can plainly see that Layne Staley is high, even as the rest of the band jokes around and plays it off, it still comes off as tragic, but that didn't stop Layne from delivering a booming vocal performance. This Unplugged session was undoubtadly one of, if not the, best Unplugged's that MTV has ever put together. The rest of the band, including Jerry Cantrell, Sean Kinney, Mike Inez, and special guest Scott Olsen, is unbelieveably tight knit. The set list is just about perfect (except there are no songs from "Facelift") including renditions of "Got Me Wrong", "Would?", "Rooster", "Frogs", "Heaven Beside You", "Nutshell", and "Brother", but the best here are the heart wrenching "Sludge Factory", "Angry Chair" (both of which Layne messes up, even though with "Sludge Factory" it is kind of humerous), and "Down in a Hole" and "Over Now" are enarly impossible not to draw a tear over. All in all, this is an absolute must have for any and every Alice in Chains fan. This is music with real emotion and soul; take that Staind.Alice in Chains - MTV Unplugged (1996) OverviewItem Name: Alice in Chains - MTV Unplugged [Region 2]; Studio:Sony

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Tiny Music...Songs From The Vatican Gift Shop Review

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Tiny Music...Songs From The Vatican Gift Shop ReviewStone Temple Pilots proved that they were no one-hit-wonder or Pearl Jam clones with their classic second album "Purple." It was with their third album, however, that the band reinvented themselves and found their own sound. The DeLeo brothers still had their signature killer hooks and riffs, but "Tiny Music" is noticeably more eclectic than its predecessors. "Tiny Music...Songs from the Vatican Gift Shop" mixes alternative rock and grunge with Bowie-like 70s retro glam, pop, and Beatles-ish harmonies and melodies to create a terrific album.
One thing that strikes the listener is that lead singer Scott Weiland sounds notably different on "Tiny Music" than he did on its predecessors. The baritone growl of "Core" and "Purple" has been replaced by a much higher pitched, more melodic voice. Not that one is better than the other, it's just different.
"Press Play" an instrumental sets the mood for the album. The album starts out strong with poppy grunge "Pop Loves Suicide." The similarly poppy grunge "Tumble in the Rough" keeps up the momentum and could have easily have been made a single. The glammy "Big Bang Baby" was one of the album's biggest hits and remains one of the band finest, catchiest songs. "Lady Picture Show" shows the band paying homage to "Sgt. Pepper" era Beatles and was another hit off the album. The soft and melodic "And So I Know" is an interesting break and sets the album up for its other centerpiece "Trippin' on a Hole in a Paper Heart," a defiant, no-holds-bar rocker that is another one of the bands finest, most memorable songs. The avant-garde "Art School Girl" shows the band branching out and exploring new terrain. Although the songs lyrics make no sense, it's still an interesting listen. The leisurely, morose "Adhesive" is a welcome change of pace. Its cool saxophone solos are a nice touch to the song, and to the album overall. The album winds down with the subdued "Ride the Cliché," "Daisy" (instrumental) and "Seven Caged Tigers."
"Tiny Music...Songs from the Vatican Gift Shop" is an eclectic, invigorating album that combines many styles in a melting pot and never looses momentum. Although this album is adventures, the mix of styles and genres works together perfectly. "Tiny Music" is undoubtedly one of the finest rock albums from the 1990s.
Tiny Music...Songs From The Vatican Gift Shop Overview

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