Highly Listenable - Underrated Album
923725
Lionel has been around for a long time ... grew up with him through his early days with the Commodores and then through his solo career.  Lionel has written many different types of music throughout his career -- funk, r&b, country, etc.  I'm a big fan of his music.

As one of music's elder-statesmen, this album fits in nicely with where he is now.  I don't think that I want to see someone his age performing to the youth-tinged, sexually-charged ideals of today's R&B vibe.  It just wouldn't fit!

This is a strong album musically that can be listened to and enjoyed by people of all ages, with great "I'm-into-you" romantic lyrics & laid back music versus "I-want-to-jump-you" lyrics and bump and grind music.

I love this album & I'm glad that Lionel didn't do something just to fit in with today's music scene where everything's basically the same beat and same sound, just a different face performing and a different voice singing.

Thanks Lionel.  You continue to show how it's done.
4864114
I love this album, but let me tell you why. It is both familiar and fresh.

This is a wonderful album from the Swedish indie songster Erik Mattiasson and has definitely been channeling some Elliot Smith and Damien Rice. It has all the weary simplicity of these two great artists. Erik Mattiasson is definitely in the vein of Rice, Smith and Oberst - but he manages to pull off optimistic without being childishly trite. Tracks like "Good with Mothers", "To be Someone" and "I should get away" have an alluring familiarity that feel like ghost tracks on some of my favorite albums. Its comforting.

BUT there are definitely fresh moments that remind me this is an artist on its own no matter how familiar it sounds - "Tropical Island" had a sexy lounge feel that was subtle yet perfectly placed. "Hello Benjamin" is my favorite it dances around the of line dark, catchy and simple (maybe some mod?) in a way that I can't really think of a proper peer. "Don't save me" is another excellent track.

If you can't get the whole album - which I  HIGHLY recommend - you must have:

Hello Benjamin
Don't save me
To be someone
Dream about me
3463003
I was expecting an experimental album that was mediocre, but I was pleasantly surprised with "Forevermore". It is a little less good than "Into the Now", but it's still great. I can listen to this album everyday. It's not a great album for guitar solos like their old albums, and it doesn't have enough heavy songs, but the songs are still great. Jeff's lyrics are really good and his vocals are awesome. There are a couple of Alice Cooper sounding songs on this album, including the title track, "In a Hole Again," and the middle of part of "So What!" Some other songs sound like more modern artists like Daughtry. I think they could have cut a couple of tracks from the album such as, "the Game", "Pvt. Ledbetter". "Fallin' Apart" is a good song, but it sounds too much like stuff on the radio, and "Just in Case" is a better song. I recommend buying this.
2515845
Like most of the fan reviewers on this site, I believe that "Music Of My Mind" is among the most underrated of all Wonder's albums; although generally conceded by most as a  good release and the beginning of his classic period, it is always considered minor when compared to what came after. However, not only is "Music Of My Mind" equally as strong as "Talking Book" and "Innervisions", it is superior to the bloated "Songs In The Key Of Life" and sounds fresher than any of the above thanks to its underplayed status.  The album begins with the innovative keyboard funk of "Love Having You Around" and then moves right into the epic "Superwoman", one of the most touching and emotionally complex songs in Wonder's repertoire; his use of synthesizers in the second half is disarmingly graceful.  The album then coasts from there: tracks like "Happier Than The Morning Sun" and "Girl Blue" utilize unusual keyboard arrangements and low-key vocals to project an aura of understated pleasure which manages to get under  one's skin with ease.  "Keep On Running" is another epic, which consistently builds its tension before streaking to  an incredibly hot finish, which moves right into "Evil", one of the most appropriate closing numbers on any of Wonder's albums.  The album is unified in theme and feel, more than a bit influenced by "Rubber Soul", and there is not a single weak track to be found.  Instead of the politically-conscious Stevie found on his next few (brilliant) releases, "Music Of My Mind" seems to come straight from his own soul, and avoids all of the soppy sentimentality and attempts at grandiose statement that mars his more recent work.  If you're a Wonder fan, this one is a must, and if you are just getting into  him, this is also one of the first you should purchase.
4765896
This is a particularly fine and exceptionally listenable album, that just gets better with replays. I like George Winston, but don't particularly seek him out. This album came as a gift from one of my sisters awhile back, so thank you, Con, for such a fine and thoughtful present!

I keep PLAINS in the car, for bad-radio times, and for stressful moments. It holds up remarkably well to repeated listening. Even my wife, who's normally allergic to anything remotely New-Agey, likes PLAINS a lot. Easy listening, without the negative connotations. Highly recommended.

Happy listening,
Peter D. Tillman
2997391
I highly recommend this album; it was better than expected with some catchy and dancy power pop songs.  It's been a while since I first bought it but I find myself breaking it out to jam to quite often.  The songs are hook-filled and memorable with nice vocals and awesome beats comprable to a sunny-punk vibe.  I think most people will find something to enjoy about this album--it's definitely worth a listen.  Thanks for reading.
3128573
Ah, this album is a treat. Despite everyones thoughts about the few political references, (Some hate the album just because of their political thoughts. Sad.) this is a good album.
Here's the breakdown of every song:
(HOW I RATE: *-Bad **-Poor ***-Good ****-Great *****-Excellent)
1. CH-CHECK IT OUT - ***** (BEST TRACK)
An awesome song that energizes you and makes you want more. Clever lyrics and awesome beats makes this my favorite one on the album.
2. RIGHT RIGHT NOW NOW - *****
Another great song on the album. It lacks some of the intensity that you hear in the first song, but adds some harpsicord slabs right under the lyrics.
3. 3 THE HARD WAY - **
This is one of the small holes found in "To The 5 Boroughs." It's an OK song, with analog oldskool beats, but there was just something about it that made me want to go to the next track.
4. TIME TO BUILD - ***
A pretty good track. It's pretty good lyrically. It's got a pretty good hook. It's, well, pretty good. Slightly Above Average is a good way to put it.
5. RHYME THE RHYME WELL - **
While lyrically one of the better tracks on "5 Boroughs," Rhyme the Rhyme Well is another track that could have been filled with more energy.  Just OK.
6. TRIPLE TROUBLE - ****
This track is one that supports the album. It's classic Beastie Boys! Great.
7. HEY F--- YOU - ****
Another support for the album. With a hillarious hook and niiice lyrics, this will be one of your most played songs.
8. OH WORD - ***
Oldskool that sounds a lot like an old NES mario level.
9. THAT'S IT THAT'S ALL - *
Uh. A Huge hole in the album.
10. ALL LIFESTYLES - **
A slightly better track than That's It That's All, but it's average.
11. SHAZAM! - ***
A pretty cool layout, some lyrics that blow ya' mind, but it's missing a good hook.
12. AN OPEN LETTER TO NYC - *****
As a new different sound on "5 Boroughs," this track, talking about both a pre and a post 9/11 New York, has a great sound. Everything about this track is good: Lyrics, Hook, Beat, ect.
13. CRAWLSPACE - * (WORST TRACK)
Obviously a filler track, Crawlspace is a track you may or may not like. I'm more on the disliking side.
14. THE BROUHAHA - *****
This track is great! It has the energy I was searching for in this album, while still keeping it's analog glory.
15. WE GOT THE - ***
A decent ending to "5 Boroughs," We Got The has some energy, but lacks a decent hook that it needed.
THE BOTTOM LINE -
To The 5 Boroughs lacks the energy that I was looking for, lacks many a good hook, and gets a tad sloppy on the lyrics. While half of the tracks are gold, the other half just sounds like filler. Some tracks are pure genius, while the others are... eh. They had the time to make an awesome album, but they only delivered on half of the tracks. Not the Beastie's best by far, but not their worst.
TO THE 5 BOROUGHS Wrap-up:
* - 2 Tracks
** - 3 Tracks
*** - 4 Tracks
**** - 2 Tracks
***** - 4 Tracks
THE BEASTIE BOYS: TO THE 5 BOROUGHS - ****
1656151
I became a Duran Duran fan in 1983 but that doesn't mean I'm stuck in the past or want the band to be stuck in the past. I think the reason for many of the negative reactions to this album was simply because they were stepping outside people's comfort zones. I feel this album is definitely in their top 5.  I find it easy to listen to all the way through.

The album has a varied sound, a few songs with contemporary dance beats but also some of the most beautiful melodies they've ever written, like the nearly acoustic Box Full of Honey - a lovely, memorable tune that easily gets stuck in your head for all the right reasons including the deeply meaningful lyrics. Simon Le Bon's voice is top notch on this album, both in sound and in conveying emotions(which has always been a particular gift of his, I think.  Like his voice or not, he's always been great at conveying the right emotional tone for a song).  Give this album a chance without prejudice and I think many will find it's a much better album than it's given credit for.  Paul McCartney's RAM was derided as the "nadir of pop music" when it was released, simply because it was different and it was Paul. Now with the gift of time and hindsight, it's considered by many to be one of the top 3 "solo Beatles" albums, a real classic and it's upcoming Archive release is much anticipated.

Maybe in 20 years Duran Duran's Red Carpet Massacre will get a similar critical and fan re-assessment but hopefully it will be much sooner. :)
1578064
One of Purple's best but least-known and most underrated studio albums, 'House of Blue Light' breaks new ground - synthesizers are used more extensively than on any other Purple album, but not so much that the distinctive guitar-hammond-organ-dominated sound is lost. The strengths that made Purple so great are never more evident than on this album: witty, clever lyrics, quality musicianship, great solos from Blackmore and Lord. "Bad Attitude" has an in-your-face brashness that should appeal to the younger listeners and a mini-extended synthesizer outro that is so textured and beautiful, it's only disappointing in that it fades out too soon - it would be great if it went on for several more minutes. "Call of the Wild" is an atypical Purple song in that it has a "poppish" sound; it sounds like something you would hear on commercial FM radio. "Mad Dog" is a straight-ahead rocker. "Strangeways" is totally unlike anything Purple has done before or since - lots of synthesizers, very experimental, way out in left field compared to the usual Purple stuff. I like it - it's refreshing; different. "The Spanish Archer" has to be the "dark horse" song of the album: guitar-dominated, powerful; Blackmore is all over the place - intense, emotional, almost undisciplined. Listen closely in the background as the lyrics are being sung - Blackmore is pulling sounds out of the guitar you won't believe. "Dead or Alive" is a hard-driving rocker in the classic Purple style and features high-flying solos from Blackmore and Lord. The best song on the album is "Mitzee Dupree", a blues-tinged, swinging, swaying rocker about a strpper who does strange things with ping-pong balls. Blackmore's short but blistering solo fits in perfectly here. The rest of the songs on the album don't miss by much. I understand Purple spent a lot of time making this album, and it shows. The songs are well-crafted and tightly-woven together. Overall, this is a very impressive effort and is probably my favorite Deep Purple studio album after the unparalleled 'Machine Head'. That's right, folks. As blasphemous as it may be, when I'm in the mood for some studio Purple I don't find myself reaching for 'In Rock' or 'Fireball' or 'Perfect Strangers' or even the overplayed 'Machine Head'; rather, 'Blue Light' it is. And as for comparisons to 'Perfect Strangers' other than the songs "Perfect Strangers", "Knocking at Your Back Door" and "Wasted Sunsets", the rest of the songs on 'Perfect Strangers' have little staying power and therefore, 'Blue Light' is a MUCH stronger album than 'Strangers', with a MUCH greater variety of songs and MUCH more experimentation.
1610448
Well, I admit to being an extreme rarity in the music world, since this is my first Wilco album.  That said, I love this album, and have no ability to say whether it's a giant step forward or backward.  All I can say is that, as an album on its own without a catalog to compare it to, it works extremely well, and at times is breathtaking.

A Ghost is Born is an extremely apt title for this album.  The songs all feel eerie, but they also feel rooted and, in the end, are damn good indie rock.  But a couple of the songs, and the ones that seem to generate the most controversy, are also by far my favorite on the album; they feel like a ghost trying to break out of the roots.

The first is Spiders(Kidsmoke), which I enjoy immensely.  I think it's a huge success, and the longevity of the song actually makes it stronger.  The odd guitar solos are perfect counter-points to the steady synth underneath, and it creates a fascinating marriage between 80s synth tracks and 90s indie rock.

The second is the "noise" that happens at the end of Less Than You Think.  I was actually rather taken with this when I imagined it as literally a ghost being born.  I know this sounds silly and nonsensical, but try it.  It gets very haunting and meaningful that way, and is a rare example of music being able to portray abstract ideas.

Other highlights are Muzzle of Bees (which is just a beautiful track) and Wishful Thinking, which is an example of music perfectly complemrnting the lyrics.

Overall, I find the album to be simple on the surface and deeply rewarding the more and the harder one listens to it.  Great stuff.  I'm off to listen to Yankee Hotel Foxtrot now...
3500001
Very underrated band, New album is great to.
4228413
I was in love with Boys for Pele from the moment I listened to it. Reviewers have complained that it's all over the place, but that's one of the things I love about it. You can be in almost any mood and enjoy at least a couple songs here at any given time.

Beauty Queen/Horses - A fairly mellow, relaxing song. Great way to start off an album that packs as big a punch as Pele. You catch more bees with honey . . .

Blood Roses - . . . than with vinegar. Which is what track two is. There's a lot of anger in Blood Roses. It's a good one for when you're in a dark place or in the mood to vent poetically. And the harpsichord is just beautiful here.

Father Lucifer - This is a weird one. But what else can we expect from a song inspired by Tori's hallucinogen-fueled spiritual love affairs?

Professional Widow - Widow is another angry, fast song. The sheer passion of Tori's vocals here is something that should be heard at least once.

Mr. Zebra - Kind of a wind down from Widow. Airy, light, almost childish. But in a good way.

Marianne - One of the most depressing songs on the album. You have to be in the right mindset to get through this one.

Caught a Lite Sneeze - Not one of my favorites. Some of Tori's finer vocal work, but not as interesting as the rest of the album. The good news is, it's much less heavy than Marianne.

Muhammad My Friend - A softer, breathy take on very complex subjects, such as religion and where the femminine fits into that. Or, rather, doesn't.

Hey Jupiter - Once again, you have to be in the right mindset. This is a very sobering song. It's one of the more heartbreaking songs about loss in my entire (extensive) CD collection.

Way Down - Along the same lines as Mr. Zebra, but I sense some much darker undertones in this one. Maybe it's just me.

Little Amsterdam - Possibly the moodiest, most straightforward story song on the album.

Talula - A breath of fresh air after the haunting Little Amsterdam. A jingly tune that brightens the mood of the entire album.

Not the Red Baron - A bittersweet song that, in my opinion, could have been a minute or two shorter.

Agent Orange - Another short, upbeat song.

Doughnut Song - The anger heard earlier in the album comes back, but in a sugary falsetto voice.

In the Springtime of His Voodoo - Confusing, faster song.

Putting the Damage On - Quiet. Lovely. Heartbreaking.

Twinkle - The perfect ending to the album. Leads them out of the chaos as gently as Horses led them in.
1309060
After the first couple of listens, I really did not care for it much except for "Amazing" - maybe the song of the year.  I've listened to this album for about 2 weeks straight now and have become hooked on it.  There are a couple of songs that I still hit the skip button on but overall it's a great album.  "My Mother had a Brother" may be his best ballad ever.  "Cars and Trains" has incredible hooks in it and "Round Here" is a song you feel like you should be strolling in a park to.  The best melody song on the album is probably "Send Me Someone To Love".  The dance tracks "Precious Box" and "Flawless" are long songs but have great grooves to them.
On the negative side - it should be good - it's been 8 years since his last album.  He has put a lot of pressure on himself waiting this long to come out with a new album.  I must say that he has stepped up to the plate and hit a home run.
1931856
This album should be recognized for the quality of the songs and Chicago's attempt at getting back into the mainstream. It will certainly grow on you the more you listen to it. I would certainly rate this album very high based on many factors described below. I would also counter some of the not so favorable reviews I've read on this site. The songs here represent some of the better examples from the pop/jazz/ballads of Chicago 16/17/21 and if you are a fan of those albums, then this CD should rank very high as well.

Even though Jason Scheff and Bill Champlin have most of the song writing credits and lead/dual-vocals on this album, they have shown that they have kept intact the Chicago style later-day "love-song" formula. The four Chicago style pop-ballads are: "King of might have been", Why can't we", Love will come back" and "Long lost friend"; three written (in part) by Jason Scheff and one by Bill Champlin. The vocals and arrangements being top-notch; and although these songs will be familiar, with typical Chicago horns (arrangements by James Pankow), they are distinguishing enough with appearances by Shelly Fairchild on "Why can't we" and Rascal Flatts on "Love will come back".

Robert Lamm has written only two songs here, but his contributions seem to stand out in "90 degrees and freezing" and "Come to me, do"; being apparent with more integration of the pop-rock with horns/jazz than the other songs on the album.

Although the main single from XXX, "Feel", strangely had two versions (without horns and with horns, the better version being the one with horns), it is a very catchy and well performed tune. I guess it was Chicago XXX's attempt to expand their fan base to a younger generation.

Overall, this album deserves high marks for the mixture and quality of songs; also displaying the hard work and talent of Jason Scheff and Bill Champlin. For Chicago fans, this body of work is a 'Must Have'. The replay value is very high and the quality of recording is excellent with great imaging, separation of instruments and vocals centered & clear.
4365441
I've been anxious to get a review up for this album, but it's been hard to decide what I think. My first impressions were not good at all, but the best albums always take time to grow on me. And my, oh my, has this grown on me the last couple weeks. I don't know if I'd call it their best album, but it's definitely up there with the rest of them if you take a step back and realize it's a GOOD THING that they refuse to rehash the same old stuff on every album. Besides Korn's first album, I've listened to very little nu-metal, for obvious reasons. Reroute to Remain definately has a nu-metal edge to it, but they marry it perfectly with their signature Gothenburg sound. The result ranges from songs that are amazing ("Trigger"-what a chorus!) to non-memorable ("Dismis the Cynic", "Free Fall").
Nearly every song has a hard shell with a chewey middle: old-school structure, with harsh vocals sung during the verses, but the refrain is usually very melodic and super catchy. The opening track falls in that catagory perfectly. Other tracks like "System", "Transparent", and "Cloud Connected" go a little overboard on the emo-like vocal refrains. It borders on annoying at first, but after a few spins I realized it fits in OK. However, other tracks like "Minus" and "Ergonomic" are much better and will get stuck in your head. "Drifter" and "Dark Signs" are straight up old school In Flames with only a few new twists. "Dawn of a New Day" and "Metaphor" fall into the super mellow catagory: "Dawn of a New Day" is good (weird to think it's In Flames though...sounds like Linkin Park or one of those other radio bands), but the violin (or should I call it a fiddle) in "Metaphor" is out of place. It's a decent melodic tune otherwise. "Black and White" is a great ending to the album--almost power metal with a great epic-sounding chorus!
The production couldn't be any better, the songwriting is exceptional, the artwork is top-notch, and the overall sound is a completely unique blend of everything In Flames has evolved to be. I can understand the purists who question why In Flames would stray from previous efforts like this, but at the same time they're evolving and branching out into unparalleled and exciting new territory. I give my enthusiastic thumbs up.
503455
There are certainly some flaws that can be found on "Antics", but give it some time and you will see that it's actually a very good album. I hated it at first, but after several listens it's actually quite good (it's definitely better than the new Strokes album). The reason I didn't like it the first time was because A: the songs just weren't as amazing as on "Bright Lights", and B: all the songs sounded relatively the same. They're not bad songs at all, but they're just very similar to one another. The lyrics are also not as good as they were on "Bright Lights", but they aren't SO bad that you will care a lot about it. It all sounds very similar to their previous albums, but not as inspired. Singer Paul Banks' vocals aren't as inspired or memorable as they were on the previous album, but they're still good - you'll like them, I think. There are no "great" songs here, but all of them are good or very good. Interpol fans will be very satisfied with this CD if they give it some time to grow on them - I also think it has good appeal otherwise. All things aside, I would highly recommend this!

Highlights include:
"Next Exit"
"Evil"
"Narc"
"Slow Hands"
the rest are good, too
4797572
I just finished listening to the album and while it will take a while to fully sink in, here is my take on the album. By the way, it is a truly wonderful album. Powerful and beautiful yet not as immediately accessible as anything they've released before. This is a very mature album from the best band in the world today.

1. Life in Technicolor- Beautiful instrumental opening. Sets the tone for the glorious music that is to ensue. Gorgeous!

2. Cemetaries of London- This is a great, great, song. Interesting beats. Dark tones and mood. Great Buckland guitar. Atmospheric, delightful head candy. One of my favorite coldplay tracks ever and my most favorite off the new alsbum so far.

3. Lost!- Brilliant song. Rich and textured. This version is more funked out with a thick beat. Beautiful.

4.42-What an opening. Gorgeous and reminiscent of old-school Coldplay. The breakdown at 1:35 is wonderful. This is a song that has it all. Guitar and piano. It is ballady and rockin' and lush and glorious.

5. Lovers in Japan/Reign of Love- Better than the acoustic version I must say. Eno production is sparkling here. Faster beat, beautiful vocals, piano, the whole deal. Reign of Love was a soft delicate ballad but I was not blown away. It was good but not great.

6. Yes/Chinese Sleep Chant- Great opening strings. I think this song will grow on me. It is almost bluegrass sounding. I do love Martin's lower register on this track though.
Chinese Sleep Chant I liked more. Great guitar riff which martins vocals glide over. Gauzy, great reverb, great sound.

7. Viva La Vida- great song, we are all aware.

8. Violet Hill- ditto

9. Strawberry Swing- A real sweet treat this one is. Very different. Almost sounds like a country song meets Fleetwood Mac meets Coldplay's majesty. Reminds me of Eno's An Ending(Ascent) in chord structure. Great chord changes here. Definitely one of the standout songs for me. Chills the whole time. Wow.

Death and All His Friends/The Escapist- Beautiful ballad, one of their best ever, and I love the guitars towards the end. A worthy closing piece though Amsterdam will always be the king of Coldplay album closers. Still this track is gorgeous and the Escapist revisits the wonderful theme of Life in Technicolor while adding the vocals that would have been nice as opener. Granted, this is still a great track.

All in all this album is very solid and a definite 5 stars. Coldplay have progressed and did not go back to the same bag of tricks for this album. Not all fans will be pleased and again, this is an album that demands repeated plays to truly understand its greatness. This album comfortably stands in the ranks of Parachutes and Rush of Blood. I am glad that Coldplay sound as good as ever. We really are lucky to have such inspiring and beautiful music to get us through the long lazy Summer.