A Debut That Was Actually Over A Decade In The Making
920390
During the time that Carole King,along with Neil Sedaka were two of the most famous songwriters for New York City's Brill Building,the music industry fostered a very distinct separation between talents. Songwriters,musicians,producers and singers were all considered entirely separate entities. Almost no one did them all. And those that had the talent to kept quiet and continued writing hits for other singers because they knew,for one,they were living off the royalties and if one crossed these invisible lines it would be assumed their career was over with. Carole King thought not of such things,as in the late 60's she saw Laura Nyro attempt to break down the barriers between singers,songwriters and musicians-and fail on her own merritts,her songs only becoming popular as recorded by others. With this album,recorded with members of her late 60's band The City, Carole again sought to change this separatist attitude about musical artistry yet again.

  "Spaceship Races" begins the album with a very gutsy,bluesy rocker filled with the gritty guitar licks of Danny Korchmar. On "No Easy Way Down","Child Of Mine","What Have We Got To Lose","Can't Be Real" and "Sweet Sweetheart" are all stark soul balladry of the same hauntingly beautiful melodic kind Carole had been writing for years-this time accompanied by her piano,the spine chilling organ work of Ralph Schuckett and the acoustic guitar of James Taylor. "Going Back" and "To Love" have a mild country-western/soul hybrid flavor about them,with Carole even singing with a mild twang in her voice. My favorite tracks on this album however are "Eventually" and "Raspberry Jam". These are an ideal musical marriage of terrifically crafted classic pop songwriting with these elaborately percussive jazz-type grooves-instrumentally somewhere between Nyro and the Allman Brothers with some extended improvised rhythm guitar solos and piano riffs from Carole herself. The down and out funky soul of "I Can't Hear You No More" is another highlight along with her own interpretation of her and Jerry Goffin's Drifters classic "Up On The Roof"-done in the same stark manner.

  There were and are a lot of people who put up barriers between soul music and the work of the classic singer/songwriters. Fact is though,Carole King wrote songs for mostly soul artists such as The Shirelles,The Drifters and the queen of soul herself Aretha Franklin. At it's core when you get all things done,this is very much a soul album. It's soul music,and it's words and melodies feed the soul. Carole sings in the more feminine peculiar here on some of the same topics covered by James Taylor in his earliest work: a birds eye view of the mass confusion occurring within the 60's generation as the decade and it's values began to draw to a close. Her viewpoint is very observant and conversational that way. She doesn't go much for poetic or romantic language. There's an enormous level of heart and humanity about the way she presents herself here on every level. The interesting part is,this particular album was not an enormous hit. And it had the potential to prove a lot of naysayers to the singer/songwriter movement right when it first started to occur on a broader level. In only one more year,Carole would follow up this beautifully soulful album with one that transcended even what this accomplished.
4359619
This was The Carpenters debut. At that point, they still had to work and find their trademark sound, but even so, the resulting debut album is a very good one, with some memorable moments. The title track is different version of the commonly known, and the main difference is the absense of guitar, which was added later in 1973 when they reworked this track for its inclusion on the Singles Album. Karen's voice and drums were also re-recorded in that version. This doesn't mean that the version on this album isn't very fine. But this song isn't the only good track. "Someday" and "Eve" are another good examples of their potential, in which Karen shows her golden voice. The rest of the album is filled with songs that, perhaps are not very known or often played on the radio, but without doubts, fine songs.
Overall, it was a very promisory starting.
4726796
I decided to check out this album basically on a whim. Never really payed much attention to the single on the radio, but I noticed some strong reviews for it, so I went out and bought it. I wasn't dissapointed. This is a very interesting and promising band, and its a very strong debut.

Comparisons are bound to be made about the lead singers voice, and while he does sound like other famous artists, I find his singing to be very strong and unique in its own right. All the songs on the album are very well done, and they are brimming with emotion and feeling. The only complaint you could really lay against this album is that it does sound like other bands that have come out in the past few years. While that may be true to a certain extent, all music is influenced by some other form of music in one way or another. And Evans blue just makes this kind of music very well. One thing I like is that each song adds something a little different or unique to it, so it never feels like more of the same.

Overall, I'm very glad I picked this album up, i'd highly recommend it for hard rock/alt fans. I look forward to see where this band goes from here.
1348863
This was a good first effort for his debut. But most of the time Avant sounds too much like his Chicago competitor R. Kelly, since this album was recorded in the same city. The same bump and grind themes so common in R's songs are felt within this album. Steve Huff's production wasn't as well known in 2000 before his 2001 assault on three different albums. But it showed Avant's promise as an R&B singer and he has gotten better.  Album #2 is really his best.
56006
Singer & songwriter Adele's debut album is an accomplished piece of work. I've hinted at it one of my other reviews but I'll be clearer here: I'm particularly impressed that a singer so young (she's only 19, hence the album's title) would decide to look back to the great singers of yesteryears for inspiration as opposed to slavishly following the made-for-radio trends of her contemporaries. I know not everyone will agree with me but as of right now, the past is where the best music ever made is to be found.

It's my kind of music in many respects, with lots of real live instruments and lots of strings. Adele shows her confidence in the quality and strength of her voice with sparse instrumentation on a number of tracks. On the album opener "Daydreamer" for instance, the only instrument is the guitar she plays as she sings. On the next track along, "Best For Last", she does something really fresh and different, singing while she plays solo bass for the most part. There are twelve songs in total, nine of these are very ably produced by Jim Abbiss, with two, including brilliant lead single "Chasing Pavements", produced by Eg White and one produced by man of the moment Mark Ronson, (with mixed results, in my opinion).

It's all very well put together and well-intended but something's missing. It took me a while to figure out what it is and it's that old intellectual vs emotional response thing again. Intellectually, I totally appreciate, respect and even like the authenticity and artistry of what Ms Atkins has achieved here. I think she could have a stellar career ahead of her and I particularly admire the way she's (so far) refusing to conform to the stereotypes of what a female music artiste is supposed to look like. She says she's her own individual and I believe her.

Emotionally however, she just doesn't touch me. Or more accurately, her voice doesn't. Perhaps it's a cruel or unfair comparison, but while Amy Winehouse has the ability to either make me beam from ear to ear or reduce me to floods of tears - depending on the song of course - with this particular lady, I feel nothing. I hear good music; very interesting music actually, but I feel absolutely nothing and can't honestly claim to enjoy listening to it. "Chasing Pavements" and the album closer, the piano-led, spiritual sounding "Hometown Glory" (my two favourite tracks on here) both came pretty close but not quite close enough. 3.5 stars.
2766436
A noticeable if overrated debut did manage to somehow pull off making southern rock hip again and include a pinch of memorable songwriting amidst deep-fried limitations.
3350007
I clearly remember in March of 1986 first hearing "West End Girls" and thinking, in my 13 year old brain, who is this? I have never looked back. A late entry to the new wave movement of the late 70's/early 80's, the Pet Shop Boys came along around the time Erasure came along, and together, they have stood the test of time.

I don't understand the negative reviews or the glowing reviews. "Elysium" is a solid Pet Shop Boys effort, but it is neither their worst offering or their best offering. Each of their proper albums is pretty good with a few great ones in there.

It didn't take me very long to like "Elysium" at all. In fact, musically, it is similar to 2002's "Release" and, yes, 1990's "Behaviour". It's not a crime to compare it to those two albums because the truth is, that's what this album is similar to. It seems every decade the boys take time out to make a softer, more reflective and moody album, and "Elysium" is this decade's offering.

"Leaving" starts the album off in that somber mood discussing a love that has ended but still haunts the protagonist. "Invisible" looks at aging and how someone who was once considered the life of the party is now 'invisible' to everyone--much like the duo's career in a way, especially in the U.S. "Winner", the first single, is a rousing anthem tailor made for the summer Olympics earlier this year. "Your Early Stuff" is a wry and witty look at Pet Shop Boys critics (including their early fans, too, I suppose)--it's not unlike "Yesterday, When I Was Mad" from 1993's "Very" in terms of sarcastic bite. "A Face Like That" is vintage Pet Shop Boys, probably the one track here that most closely resembles something found on "Please", "Actually" or "Introspective". "Breathing Space" is just that--a ballad about taking time out in your life to get to that zen place in your mind.

"Ego Music" is yet another scathing commentary on today's musical artists and their fake generosity. "Hold On" is the Broadway musical track, replete with backing chorus. "Give It A Go" is the most unusual track here in that the boys attempt what sounds like a Motown throwback, and I actually liked it--something different, and that's a good thing. "Memory Of The Future" is a nice electro number. "Everything Means Something" to me, is the weakest track here, but its presence does not detract from the overall feel of the album. Lastly, "Requiem In Denim And Leopardskin" is a familiar sounding Pet Shop Boys track that I believe is about the demise of either punk rock or 80's hair bands.

So, is "Elysium" "Please", "Actually", "Very" or "Bilingual"? No. Those are their finest works. Is it "Introspective" or "Fundamental" or "Yes"? No. Those are their weakest works. Really, I think it comes closest to "Release"--good, a change of pace, but not their best work. At this point, I issue a challenge to the boys--make an album no one would expect--an "Achtung, Baby". It's not like you have anything to lose at this point. Everyone knows what to expect now, so throw a curve ball. I have some ideas like working with Trent Reznor, Dido, Rick Rubin, Barry Gibb, Annie Lennox, George Michael, Howard Jones, Thomas Dolby, OMD, or if you really want modern, Skrillex. The possibilities are endless, really. I liked "This Used To Be The Future" from the bonus disc on "Yes" with Phil Oakey of The Humand League--that was brilliant.

Anyway, here is how "Elysium" compares with the Pet Shop Boys' previous works:

1986 Please: Four Stars
1987 Actually: Five Stars
1988 Introspective: Three Stars
1990 Behaviour: Four Stars
1993 Very: Five Stars
1996 Bilingual: Four Stars
1999 Nightlife: Four Stars
2002 Release: Four Stars
2006 Fundamental: Three and a Half Stars
2009 Yes: Three Stars
2012 Elysium: Four Stars

1986 Disco: Three Stars
1994 Disco 2: One Star
2003 Disco 3: Four Stars
2007 Disco 4: One Star

1995 Alternative: Five Stars
2012 Format: Four Stars

1991 Discography: Four Stars
2003 PopArt: Five Stars
377598
Liza Lee is a native of Reading, Pennsylvania. She's been involved in music all her life, singing in church and other functions. "Scarlet Mark", her debut CD, is a culmination of all of her years in music study. Her music selection ranges from traditional jazz (Cole Porter, Hoagy Carmichael) to Rock and Pop (Bob Dylan, Ani DiFranco) and she handles the genres like a seasoned pro. I personally enjoyed the captivating covers of The Beatles' "Strawberry Fields Forever" (A version I found to be very sensual as well as smooth.), and Tori Amos' "Cornflake Girl". Her soothing voice will capture your soul. She's not overpowering in her delivery, but she not annoying, either.  It's a very good debut that I highly recommend.  Be on the look out for this up and coming star!
708960
One could very easily hear on The Smith's self titled debut album that the band had a sound that was both different than what was happening at the time,yet also very familiar. Interesting how sometimes in music,a mild throwback can be a gateway to it's own future. For sure it's a catch 22. But The Smiths were lucky that they had no intention of resting on their laurels. The approach of that debut had been rather slow paced and was definitely not on the harder edged side of post punk rock-focusing very heavy on song craft,melody and the emotive,highly lyrical vocal styling's of Morrissey. The band apparently had the attention of turning up the muscle on their second album. Yet seemed to look upon it as a means by which to integrate their new approach into their established context of song. What emerged was one of those second albums where sophomore slump was not going to present a problem

  "The Headmaster Ritual" begins the album with a very uptempo guitar oriented new wave sound-complete with the genres use of fast transitions of major/minor chords-with "I Want The One I Can't Have" having a more straight up jangle rock approach on the same basic tempo. "Rusholme Ruffians" and "What She Said" are both shuffling,churning 50's/early 60's style rock 'n' roll full of reverb and both the drums and guitars churning in a rhythmically moving fashion. The slower "This Joke Isn't Funny Anymore" has a very European folk/rock style where the more upbeat and countryish "Nowhere Fast" reflects more the American folk/rock tradition. "How Soon Is Now?" is the only Smiths' song I knew well before this-defined by it's bassy rhythms and high pitched,crying rhythm guitar riffs which are probably it's most identifiable element.

  "Well I Wonder" is closer to the mid-tempo sound of the debut while "Barbarism Begins At Home" has a funky dance/rock rhythm-complete with a pretty grooving bass line on the bridge while the harrowing title song ends the album with a dark folky melody and a rhythm based on the mooing of cows-apparently on their way to the slaughterhouse. This album is much more overtly political than the debut. Corporal punishment in schools and anti Thatcher sentiment appear to dominate the earlier part of the album while it concludes with child abuse (corporal punishment at home) and pro vegetarianism dominate the second part. As with the first album,the eloquent lyrical language contrasts the socially aware,if seemingly politically divided stance presented here.  Still it shows The Smiths were able to grow as they went along,and continue to make well done and even challenging pop/rock.
504545
Six years is a long time, about one-and-a-half generations in pop music and a fairly large chunk out of anyone's life, two sentiments that come into play on the Beastie Boys' sixth album, 2004's To the 5 Boroughs. When the Beasties last delivered an album, it was in the summer of 1998 as the Clinton impeachment scandal was heating up, and just as that sordid saga closed the curtain on the swinging '90s, Hello Nasty served as both a culmination of the New York trio's remarkable comeback and as a capper to the alt-rock boom of the '90s, the last album of the decade to capture what the '90s actually felt like.

Not only is the political and cultural landscape of 2004 much different than that of 1998, the Beasties are a different band in a different position. They're no longer on the vanguard of pop culture, setting the trends and styles, nor do they embody their time; like it or not, the po-faced, humorless brooding of Coldplay and Wilco is an appropriate soundtrack to the drab, dark days of the early 2000s. No, the Beastie Boys are no longer groundbreakers; they're elder statesmen, operating outside of the fashions of the time. This has as much to do with maturity as it does with changing times. Now that Ad-Rock, MCA, and Mike D are all nearly 40, they're not as interested in being the world's hippest group, as evidenced by their abandonment of their Grand Royal empire at the turn of the decade, and that suspicion is borne out by To the 5 Boroughs.

Like many musicians at middle age, the Beasties are a little set in their ways, ignoring modern music nearly entirely and turning to the music of their youth for sustenance. For the Beasties, this means heavy doses of old school rap spiked with a bit of punk, which admittedly isn't all that different from the blueprints for Check Your Head, Ill Communication, and Hello Nasty, but the attack here is clean and focused, far removed from the sprawling, kaleidoscopic mosaics of their '90s records. In contrast, To the 5 Boroughs is sleek and streamlined, with all the loose ends neatly clipped and tied; even the punk influences are transformed into hip-hop, as when the Dead Boys' "Sonic Reducer" provides the fuel for "An Open Letter to NYC." Given the emphasis on hip-hop, it may be tempting to label Boroughs as an old-school homage, but that isn't accurate, since nothing here sounds like a lost side from the Sugarhill Records stable.

Still, old-school rhyme schemes and grooves do power the album, yet they're filtered through the Beasties' signature blend of absurdity, in-jokes, and pop culture, all served up in a dense, layered production so thick that it seems to boast more samples than it does. Apart from an explicit anti-Dubya political bent on some lyrics, there's nothing surprising or new here, and the cohesive, concise nature of To the 5 Boroughs only emphasizes the familiarity of the music. Familiarity can be comforting, though, particularly in troubled times, and there's a certain pleasure simply hearing the trio again after six long years of silence, particularly since the Beasties are in good form here, crafting appealing productions and spitting out more rhymes than they have since Paul's Boutique.

If there are no classics here, there's no duds, either, and given that the Beasties' pop culture aesthetic once seemed to be the territory of young men, it's rather impressive that they're maturing gracefully, turning into expert craftsmen that can deliver a satisfying listen like this. That's a subtle achievement, something that will likely not please those listeners looking for the shock of the new from a Beastie Boys record, but judged on its own musical merits, To the 5 Boroughs is a satisfying listen, and convincing evidence that the trio will be able to weather middle age well.
1921215
Wow!
I remember seeing Falling Joys at ANU, before leaving Australia in 1990, wanting to see the world. It's hard to believe that 27 years later this doesn't sound dated. The Falling Joys, and maybe the Hummingbirds, Clouds and RatCat epitomize the magical jangly pop made at that time. Such a polished debut album.
3768970
You can tell a lot about a person from their reaction to first hearing this album.
3616194
It is just so hard to really imagine it, when a artist debuts on the Billboard scene and the music scene, they really do it for a specific reason. For Phil Collins, he seemed to do it for all the way to the beginning of what seemed like the end of his life. His first marriage ended and he just didn't know how to become as a solo act. That truly was the case for his debut, and a symbol as a star away from Genesis. He ultimately knew he had to start his way to the top, but also reflect on love and life. He ultimately though at one point that he really wasn't actually good with knowing how to use words and he would just falter in the process. Anyway, that actually happened with Phil, and that childish feel, became a remarkable, but a fair debut for his own, and thensome.
His 1981 solo debut, Face Value, consists of some of his surprising but a little dark feel with his solo effort. The songs truly arranged very nicely, but it just wasn't as serious as Phil seemed to start. His later albums did better than this one did. Still, there are just some great songs like the spooky and dark, In The Air Tonight, which was the primary focused song on Phil Collins's first divorce, as well as other songs like This Must Be Love, and the incredibly upbeat and lively song, I Missed Again. This song includes some great songs including Tomorrow Never Knows, and the deep song, Droned. Although the songs are great, they just could use some more to them.
Although this was Phil's first actual debut as a solo act, it just isn't his best. I suggest you get his later records first, including the Grammy-Winning album, No Jacket Required, or the soulful, Both Sides. This one is not the first, but a very strong debut for a sensation from the serious side.
374402
Jody Watley entered the music scene as a solo act in 1987, making her debut one of the most recognized & loved for it's time.  Her combination of high fashion, cool vocals, & funky pop tunes made her quite the sensation.

She continued in 1989 with her followup LP "Larger Than Life".  Here, there is a bit more emphasis on the "new jack" sound in which popular R&B was currently residing.  Jody manages to infuse it her typical "high fashion" style, delivering odes to independence, "real love" (no pun intended), & just being who you are.

Musically, again helmed by Andre Cymone, the "new jack" sound as stated permeates the record. So along with the more dance oriented cuts (i.e.-"Come Into My Life"), cuts such as "L.O.V.E.R." & "Friends" exude a hip hop attitude. Bouncy beats & some skittering synths, & uses of some interesting sampling all work quite well together. The latter song, which features guest raps by Eric B. & Rakim, was the first of it's kind.  Why some tried to credit Mariah Carey with this, Jody was the first mainstream R&B female artist to feature a hip hop act on a cut.

Vocally, Jody's smoky & enthralling voice continues to get better.  She manages to steer ballads such as the cool "Everything".  Alternating between sassy spoken word & soulful phrasing, as on the lead single "Real Love" Jody sounds very fresh & enthused.

Once again, the look of the record was VERY ahead of it's time. You can see where Jody Watley's high fashion execution in her music & look would be felt & used by acts such as En Vogue, Destiny's Child, Amerie, Brandy, Aaliyah, the list goes on. I really saw the inspiration in Amerie's "1 Thing" video, which to me recalled elements of the "Real Love" video.

I highly recommend the "Larger Than Life".  It is definitely more than just a nostalgia piece.  For those who can appreciate older musical textures, this record has held up well. Only maybe a small percentage of the tracks really don't go anywhere, but work within the context of the record well. This is one of my favorite Jody Watley albums & hopefully it'll become yours as well.
3335546
Originally released in 1972, this was the duo's second of just two albums. Main reason I'm giving this CD reissue a four-star rating is because I believe they gave it 'their all' into putting together a rather unique piece of work. I've seen this title in the krautrock section on most sites, catalogs, lists, etc. But, I felt Emtidi was more like 'experimental psych / folk', perhaps too artsy-fartsy or way too out-there for some. I'll be honest, this CD isn't going to stay in my current rotation stack for that long. Tracks that I was somewhat taken with were the eleven minute "Touch The Sun", the inventive title cut "Saat" and "Die Reise". Line up: German musician, Maik Hirschfeldt - guitar, synthesizer, flute & vocals and Canadian, Dolly Holmes - mellotron, piano, Hammond organ & vocals. It's a long shot, but this CD might appeal to fans of Incredible String Band, Pentangle, Tangerine Dream and possibly Terry Riley. Sort of think the reason patrons (like myself) keep an eye open for this title is 'cause it's usually listed as a 'krautrock rarity'. Been hearing for awhile now that this and their debut self-titled lp were scheduled for another reissue, with bonus tracks added. Hasn't happened yet.
4085021
Lori's cd is a beautiful debut and many of the songs are outstanding (hardly speaking a word, paying the price, and swallows me whole in particular.) I do have to say, though, that Lori's voice takes a bit of getting used to. Though she's from Boston she has a very folksy, almost country twang. Once you accept this, you will notice that her voice is wonderfully suited for what she writes (small wonder) and the style of her music. Though not every song on this cd is a standout, it's a very promising debut and I'm eager to see how Lori progresses. The good songs on this album are so wonderful I think this album is worth buying and I enjoy listening to it all the way through.
2230599
Birds Without Cages is the debut album for a talented, young singer/songwriter, Sara Lewis. Her music is piano-based, and the content of the songs largely revolves around relationships and their evolution. While there is no new musical ground that is broken here, this record is very tuneful (and you may find yourself humming songs long after your iPOD is turned off). Some of the songs have a "retro" sound, with hints of jazz or old silent-movie piano music. There are also nice guitar riffs and even a cello in some tracks. Throughout, the tone is very mellow and never angry or bitter. Overall, an impressive debut for this artist and well worth your time!

Since Amazon does not list album information, this is the track listing:
1. Running Away
2. Birds Without Cages
3. Visit Me in My Dreams
4. Be My Man
5. Cigarette Lips
6. Keep You
7. Big Bad Wolf
8. Eager Pilot
9. Crazy
10. Just Wanna Know
11. Played It Cool.