He's not the Pixies front man anymore
341475
When I first heard this album I was blown away!  I am a huge pixies fan, but the only album I've really listened to of his solo stuff is "Cult of Ray" (an experience in mediocrity).  I was wondering what this new band could do, well now I know Frank has the old magic back.  This is a collection of 14 excellent songs.  Frank Black could have gone in about 50 directions after the pixies, the sound he has chosen works.  Totally grounded in a rock sound he manages to get the energy and unique song writing that made the pixies so captivating to listen to.  Some of the standout tracks (hard to find when the whole album is so good) are "I Love Your Brain" "85 Weeks" "You're Such A Wire" and my personal favorite "So. Bay"  I can not say enough good things about this album, it is up there with his work as Black Francis in the pixies.  Get it as soon as possibile.
4022051
He could have edited this just a bit, but otherwise I think this is catchy in a kind of subtle way. I feel kind of sorry for George, because in some ways he was exactly what the Punks rebelled against - a holier-than-thou rock icon past his prime chrurning out lazy music about as exciting or relevant as last year's soap commercials. If you were able to get past all that, however, you'd notice that in his better moments George really did have a nice gift for melody.
655448
I have been a fan of Gavin's voice for years and years but have not always loved the production of his records. 'Chariot Stripped' was the album that showed me his potential, but he completely lost me when he released his self titled album 'Gavin Degraw'. My interest in his music halted and I didn't even bother to find out when he was releasing a new record. He has a voice that oooozzzzeeesss soul and I get right royally vexed when it sounds like it has been put through a synthisizer. I remember going to a concert of his with a friend, who on the strengh of the gig brought his album 'Chariot' but couldn't understand how he sounded so completely different (read: better) live in comparison to the CD.

I do not count myself as a musical snob that can't appreciate a good produced pop song - I can - but when the tone of a voice is lost and the production takes over, I just don't see the point for an artist like DeGraw. Tone of voice and innotation is one of the many things that attracts me to an artist and on this record I think Gavin gets a lot closer to the mark.

Based on the above, I am very late coming to this record. It was released in 2009 in the UK, and here I am half way through 2010 having only had the album for just under a month. That is how much I had distanced myself from him, and the fact I am bothering to write a review for amazon is how much he has drawn me back in.

I personally like the laid back, almost melancholic tone of the album. Lyrically I also think it is great but this is probably because he sings like he believes in the words. Get someone to sing the same thing without the passion and belief and I would think they were rubbish. That's the thing with lyrics - you need the right person to make them mean something and come alive.

'Mountains to Move' for me showcases his voice perfectly. He uses the lower tone of his range which I think he sometimes neglects.

Then, to totally contradict myself, 'Waterfall' is sung at the higher end of his register and sounds soooooo good. I think this is down to the simplicity of the recording and how close it comes to the sound he gets at concerts.

I'm not going to go through an analysis for each song but I will say that if you are in a kind of reflective mood, stick this album on and close your eyes. It really is a stunning showcase of what he is capable of. I think and am hopeful that this release will draw some additions to his fanbase and I know that many of my friends who have turned their nose up at him before, are now asking me to let them know when he will be touring here again.

To me, this album is such a HUGE step for Gavin and whilst I am not completely dissing some of his older songs (to the reviewer who claimed to sing 'Chariot' at the top of their lungs in the shower - I do it too and I bloomin' love it!), but I am dissing the recording of some of them and they do seem VERY mediocre now I can compare it to the sound of this record. That's what has always annoyed me about being a Gavin fan ... knowing just how talented his voice is but not having the recordings and production to showcase how it should be.

The only thing stopping me from going to his next UK concert whenever that may be is the constant screaming girls that punctuate ... constantly punctuate his music. Call me an old woman even if I am still in my mid 20's but I just ain't down with that and it kind of ruins the gig for me. Don't get me wrong, I all for a 'whoop' here and a 'hell yeah' there but peeps, this is a musical performance, not a strip show. I do not see however how on earth you can scream to the songs on this album, so maybe, just maybe, I'll shell out some pennies and make the trip.

Well, this has turned out to be more of a lyrical waxing about my musical relationship with DeGraw rather than the CD release itself, but I hope you will give it an unbiased listen and make up your own mind whether you are a non fan, lapsed fan, or completely new to his music.
270244
I bought - and enjoyed - Declan's debut album which he recorded at the tender age of 10.  I thought he had a beautiful, clear voice - somewhat reminiscent of Billy Gilman's before his voice changed.  Unfortunately, Amazon.com would not let me preview "Thank You" before I could buy it, so I had to listen to sample tracks through his website and iTunes.

I'm now rather glad I did, because -- even though I enjoyed some of the tracks (such as "David's Song" and "Song of the Unicorn") -- I found the album as a whole disappointing compared to his first one.  Even though the arrangements are beautiful, his voice was starting to change and, as a result, had a more flat and nasally  tone to it.  Still, he does some beautiful takes, including "House of the Rising Sun" and "Last Unicorn."  While the vocals "David's Song (Who'll Come With Me)" nearly sent chills up and down my spine, I do have to agree with another reviewer that the disembodied voice in the background detracted from those splendid vocals.

I would suggest holding off on this album and buying his next one, after his voice has had a chance to fully mature.
1052234
I don't like this as much as the Pixie version, but I do like it as an alternative with similar music. It has the same elements I like about the other version, but with it's own twist.
3675425
While this one is at least happier material, it does not contain the classic magic of Elton John and Bernie Taupin.  Elton recently announced his farewell tour and I think its time for him to focus on other things. The beauty of the lyrics is lost in his ability to enunciate---he yells more than he sings these days and his voice is often buried in the production.  I love Elton John and while this has some pleasant moments, its a far cry from what used to be. If you're a fan, check it out.  But its a long way from classic Elton. If you want to appreciate the lyrics, you'll just have to read the lyric sheet.
4956907
Many reviews are from fans who seemed devoted despite the outcome of what Manson churns out. Yet for me, Manson has lost his luster and like his previous two efforts this one feels directed toward his newer audience. Very polished, very straight forward, and way too cliche. Once I read on Wikipedia that he was taking a direction more influenced by death metal or Slayer I was psyched but the album dropped and this tiresome mundane effort was all we are left with. Like most musicians Manson has lost his hunger and his roots turning to what he think will sell. He joins a long list of sell-outs like Red Hot Chili Peppers, Metallica, Megadeth, NIN,and many more. I haven't found myself impressed with Manson since the GAOG (which was a head of it's time)album. I really wish he'd return to his roots of when he was with the Spooky Kids which was some of his more original work. Before you fanatics start ripping my post understand I love Anthichrist, Smells Like Children, Portrait, GAOG but his EP's were more unique. He needs to start listening to Fear Factory, KMFDM, Pantera and more to see how you can grow as a musician without selling out your fan base.
397358
I realized not so long ago that my album/CD collection is devoid of post-Beatles Paul McCartney music.  I was always more a fan of John Lennon and George Harrison.  But Paul wrote and sang so many of my favorite Beatles tunes that I figured perhaps I had been unfair to him .  I wasn't it turns out.  Something happened to Paul when the Beatles split  up all those years ago -- he lost his edge.  I have theories as to why this happened -- loss of a  competitive song writing cohort/rival such as John Lennon, married life, to name just a couple that come to mind.  This collection bored the heck out me excepting for just a few performances.
2335824
The Pixies were about as cool as it's possible for a band to be, and so it was at first difficult to stomach the invention of Frank Black, suddenly sounding like their dad.

For all the good things that can be said about the first (eponymous) solo album, it certainly invited those unfavourable comparisons by sticking too closely to the Pixies formula. Teenager of the Year, on the other hand, sounds happy to be flabby and uncool. He seems to have relaxed, forgotten about the Pixies, and just doing what he wants to do.

Consequently, there is a treacherous MOR quality to the record, and one can't help lamenting what he might have done with the same material had he recorded it five years previously. That said, the songs are some of his most accomplished ever: fun, writerly and irresistibly melodic.
The subject matter is as scattergun and predictable as ever-- UFOs, the joys of music, Pong, sci-fi television-- but it's nice to see the inclusion of a couple of mature yet idiosyncratic love songs. 'Sir Rockaby' will make you cry with a stupid smile on your face.
Seven years after its release, I cannot stop myself from bursting into song along with this record, and that's its real power. It's a sprawling songbook of utterly unique, goofball vignettes, stuffed full of inventiveness and performed with a straight face. Who else could rhyme 'potlach,' 'sasquatch' and 'mismatch' in three successive lines? And who hasn't heard this album without reaching for the dictionary?
All his classic vocal personae are out in force too. He shifts from his Ramones snarl ('Thallassocracy') to his plaintive Neil Young impression ('(I Want to Live on an) Abstract Plain') within the first five minutes. It's this constant change in vocal gear that supplies the emotional element missing from the songs themselves.
If there's a problem, it's in length. Judicious editing of the song-list from 22 to somewhere nearer 15 might make it a sharper, more satisfying experience. But then where do you cut? He wrote this album on a creative roll, and everybody I know would argue the toss for different songs. Which, I suppose, only goes to show the quality of the quantity.

Sadly, despite the occasional song to hit the mark, he's never bettered this album. But I know I'll be singing these songs for the rest of my life, and for a tenner, that seems like a real bargain.
2813121
These are definitely not the same singers and musicians that made the hits famous. Someone suggested that the band's history included many changes to the members. Clearly, this collection of individuals weren't as good as the ones that reached all of us during the eighties. So for those of you looking for the songs we heard and loved on the radio, THESE ain't them.
3753914
This album is a little different from all of his work up until this point. It is not bad, just different. I would recommend listening to a few tracks before getting the entire album.
2177287
Once a marvelous singer. Great Lee Hazelwood song. Now a boring tweeter. From recording artist to tweets. My! My!
3258870
I knew I was going to be disappointed when I saw the picture on the back of the case.  Crow looks way to clean shaven.  I was used to seeing the long haired lanky man reigning over his drum set.  This is a big difference compared to the power of Safari's cover.  Just like the picture, this is a much tamer version of the flat duo jets.  The songs just don't have the same energy as the earlier material.  And the many instruments and overdubs also detract from the overall quality.  It is still a decent record, but far from the jet's best work.  The raw edge which initially drew me to love Dex and Crow is completely gone here.
104226
I like this album.  There are a few great songs on here but I just don't think it measures up to the earlier albums.  I think the band sounds a little hollower without Isbell and would like to see him back.
1918181
I am not a big fan of his post retirement music. This CD is okay. Pleasant enough, but lacking in depth, although I am sure he wasn't going for depth. What I love about Miles the man is he was adventurous and risk taking, mostly before he retired. Miles was always a trend-setter and was not afraid to be outside musically or pop/contemporary. The picture on the back of the record jacket is framed and on my wall.
4809167
Well, I know people don't like him unanimously like back in the 60's but I had this album and lost it (kids grabbed it) so I bought another. He was the Hall of Fame Show and maybe there are no bad feelings any more. I don't really know. It's been many years ago he became 'unwanted' in the USA. The songs are all good on this album, however. ~
1372722
Someone introduced be to Billy Gilman's music several years ago.  Don't think he is recording now because his voice has changed but his early records are fantastic.