The Cranberries / Gold


The Cranberries are an Irish rock band formed in Limerick in 1989 by lead singer Niall Quinn, guitarist Noel Hogan, bassist Mike Hogan, and drummer Fergal Lawler. Quinn was replaced as lead singer by Dolores O’Riordan in 1990. Although widely associated with alternative rock, the band’s sound also incorporates indie poppost-punkIrish folk, and pop rock elements.

The Cranberries rose to international fame in the 1990s with their debut album, Everybody Else Is Doing It, So Why Can’t We?, which became a commercial success. The Cranberries have sold over 40 million records worldwide. The band achieved four top 20 albums on the Billboard 200 chart (Everybody Else Is Doing It, So Why Can’t We?No Need to ArgueTo the Faithful Departed and Bury the Hatchet) and eight top 20 singles on the Modern Rock Tracks chart (“Linger“, “Dreams“, “Zombie“, “Ode to My Family“, “Ridiculous Thoughts“, “Salvation“, “Free to Decide“, and “Promises“).

In early 2009, after a six-year hiatus, the Cranberries reunited and began a North American tour, followed by shows in Latin America and Europe. The band recorded their sixth album Roses in May 2011, and released it in February 2012. Something Else, an album covering earlier songs together with the Irish Chamber Orchestra, was released in April 2017.

On 15 January 2018, lead singer Dolores O’Riordan was found dead in a London hotel room. She had recently arrived in London for a recording session.

The Analysis—-

Disc One:

Dreams—-Perhaps THE track that helped to define the sound of The Cranberries, the remarkable combination of Irish tinged folk rock combined with an Alternative sound, allowed the band to be embraced by massive amounts of fans. The driving and wonderful vocal from Dolores is the key to all of these songs here. One of the defining vocalists of the 90’s, I never get tired of the magic found in here voice.

Sunday—-With a beautiful string based intro, the song puts you in a certain frame of mind from the very first notes. The swells of quiet music takes nothing away from the power of the band…instead it shows diversity and musical growth. This is a beautiful track…..when the track finally opens up you are at once comfortable and familiar with the sound. This is quite beautiful.

Pretty—-Again, the music is stark and empty at the onset….really carrying the 90’s Alternative torch with the feel of the song. Dolores sounds ghostly and haunted in her literally transports you places with the tone and the urgency. A poignant track considering the singer’s backstory.

How—-A fantastic almost tribal drum introduces the track. The voice is slight and quiet…but still manages to convey an urgency and demand to pay attention. As the song opens up further the vocal becomes louder and almost pleading in sound. This is quite wonderful….a voice like no other.

Not Sorry—-Consistent in sound, the guitars are a bit more pronounced and Alt in sound…truly reminding you of the 90’s Rock sound. Dolores is mystical and magical in tone. Not a favorite track…but it fits in with the collection really well.

Linger—-The opening guitar parts remind you immediately of the track you are listening to. As the flow of the song takes shape, it becomes more beautiful with every bar of sound. The vocal is just hear wrenching…Dolores had a remarkable range and phrasing that stood the test of time. This is a remarkable track…full of emotion and full of memories for me. I love this.


Liar—-A very distinct guitar sound ushers in a slight different sound for the band. This seems a bit out of place in the song placement but diversity is key…right? This sounds a bit auto biographical….Dolores sings with a bit of a punch underlying the upfront pleasant vocal. This is full of a great musical display by the rhythm section of the band…full bodied and instrumentally emotional.

Zombie—-Another massive hit for the band, it is hard to forget this track. Full of the fuzzy 90’s guitar sound from Seattle, this is energetic and poignant. Dolores is a vocal power house of this track…..making me almost lose my mind with the urgency and almost pleading style she sings with. The chorus is a masterpiece of power and fuzz…energy and heart break. This was a magical musical moment.


Ode To My Family—-Quite poppy and catchy, Dolores even sounds a bit relaxed vocally as the track begins. The almost whispered vocal at the onset is almost buried in the instrumentation. The double track voice gives the song that needed emotional punch in your gut. When the voice moves up front…you feel every single word she utters…a wonderful song.

I Can’t Be With You—-Surprisingly poppy in sound, the guitars are so understated on this track…the saving grace for me is when the chorus hits and opens the song wide open. The vocal…even understated is still full of a certain urgency and magic. this is brighter that I expected…but still has a punch in the chorus.

Empty—-This track….seems slight and starkly naked to me at times. The music is so understated and pushed to the back…you get no power chords at the onset. The magical vocal is very upfront and displays a range that is seldom heard from Dolores….rising and falling in tone and emotion. this is a bit to stripped down for me…but I love when the strings enter and give the song an almost magical quality.

Everything I Said—-So quiet and understated for me, I much prefer the band when the emit those huge power chords and energy. The ballad after ballad on this collection becomes a bit tiresome at times…but it is the catalog I suppose. This is quiet all the way around…even the vocal seems a bit less than inspired…but the words…if you pay attention…may just rip your heart out.

Ridiculous Thoughts—-Stark…I know I have used that word a lot here, musically this is so understated at the onset….and then SURPRISE….the track opens wide open and delivers a more powerful performance that goes back in the glory days of more 90’s inspired Alt-Rock. This is a welcome change after the last 6 tracks. The band sounds phenomenal…and Dolores sounds like a new breath was breathed into her….just wonderful.

Dreaming My Dreams—-Very quiet and delivered almost in a naked way, Dolores almost whispers her way through the song. The guitars are acoustic in sound and the drums are relegated to cymbals and a slight high hat. The cello…or strings lay the foundation of this very understated track.

Daffodil Lament—-Again…..the introduction sets the tone for more lament and regret….the guitars are missing…the piano seems to lead the song…then in the back drop…way removed…there is a magical noisy element to the song that makes me smile and brings me a joy. The song ebbs and flows with power and sadness…but still delivers a magic that I love about the band.

So Cold In Ireland—-Ending the first disc with yet another stripped down and melancholy tack that brings a sadness and haunted feel. The vocal is so full of that Irish brogue….I love the tone….but I need some energy at this point….and then the chorus hits and the song becomes muscular and driving….I love this song.

Disc Two:

Salvation—-Delivering an almost punk sound, this is full of energy and a certain magic the band had in the early days of the career. This is addictive…..energetic and damn entertaining. The instrumentation is driving and inspired…I never get tired of this. The vocal sounds inspired as well…..conveying an urgent message that needed to be heard by everyone. Wonderful.


Free To Decide—-Full of a magical melody from the very onset, the vocal seems to wrap around right in the music. the lyrics….seem even more important on this day for me. Dolores sounds amazing and convincing…like she was emerging from a darkness…that never really went away. I love this song so much….makes me really miss her.

When You’re Gone—-Such a sad song now….the thing that I love about this track…the guitar has a magical Johnny Marr sound to it….in fact the entire thing reminds me of The Smiths. The lyrical content is so sad to me….although I love the quasi-50’s feel to the song as well. This is a very favorite track of mine. So important now….


Hollywood—-Quiet for the first bar, then a barrage of sound smacks you in the face with a remarkable energy. Dolores sounds almost possessed at times with her driving vocal. This is a wonderfully fantastic song…the lyrics make you sit back and think about your life and the drama you might cause yourself. The huge wall of musical sound is extraordinary…..I love this.

Cordell—-Beautifully melodic and dense from the onset, the guitar is exquisite…even it it’s quiet form. Dolores delivers and understated but incredibly powerful vocal. You can feel the pain and the melancholy…the added double track vocal fills everything out….a rarely heard masterpiece of music.

Animal Instinct—-So full of a magical melody, this track is damn addictive…I listen to this over and over again. The blend of harmonious vocals suck you right into the sound. This is another magical track that does not get played enough….this was a band being so creative and working so well together. I really love this.

Promises—-A slow intro ushers in another magically muscular track that is full of energy and aggression. Dolores sounds driven to deliver her message…I love the huge sound of the music….it matches and at the same time compliments the vocal in a way that only this band could do. This is just fantastic.


You And Me—-Quiet and a bit introspective…but it fits my ears perfectly at this very moment. The stark quality of the song is wonderfully welcome and lifts me from my seat in a magical way. The voice literally wraps right around my cerebellum….giving me warmth and comfort. wonderful song placement.

Just My Imagination—-A bit hit and miss for me…..the poppy feel of the song confuses me a little bit. i love the double track vocal…the magical harmonies add a bit of depth to a fairly unforgettable song. That is just my opinion. I love the mood…there is a happy feel to the song…it is rather uplifting.

Never Grow Old—-Haunting and really sad at this current time. I never really listened to this so intently as I have today….it makes me tear up and feel a bit empty inside…I have lost so many personal heroes in these last few years….this is a sad lament…read into it as you will….for me there is a message.

Analyse—-Bombastic and magically aggressive from the very first note, this is a wonderful track. This has that same melody quality that drove certain songs to the top of the charts…I wonder why this was not far more heard on radio and by fans. This is just fantastic….fairly simple lyrically…the feel of the song says more to me than the words actually do…it you can understand that. This is a wonderful moment in time.

Time Is Ticking Out—-Another magically melodic track that is muscular in sound…you still poignant somehow. Dolores delivers a remarkable vocal…the chorus threatens to stay in your brain for days after just one listen….the Cranberry recipe was in full effect here. I love this song.

This Is The Day—-Sounding almost like a continuation from the previous track, this has many elements of songs that really propelled this band into the upper escalations of Modern Rock. Not only the vocal mind you, the music and the feel the band delivers was as important as the voice. This is a huge song…in sound and delivery. I love this.

New New York—-Aggressive and driving guitars literally create a wall of sound that threatens to drown out even the vocal. This track quiets a bit….but carries a true New York energy throughout the entire song….calling Lou Reed to mind. I love the energy of this song…..fantastic. Huge and Muscular.

Stars—-Rounding out this compilation with a nice melodic track that makes me relaxed…and allows me o look back on a beloved band… them and cherish that almost every song has a wonderful memory for me in my own personal history. Isn’t that what music is all about….memories…love…joy…sadness…..the humanness of life….thank you Dolores!!!

*****out of 5





The Restless Romantics / A SoundCloud Sampler

“The Reckless Romantics were a power trio based out of Los Angeles, CA and lead by Raphael Ascanio. Fueled by beer, whiskey, marijuana, and Raphael’s lament, the trio existed and performed improvised renditions of Raphael’s regrets, failures and lamentations. The band is currently on hiatus until the drummer is out of jail.”

The Analysis—-

Drinking About You—-Wonderfully constructed in the way the best 80’s synth pop was, this takes me back to the New romantic movement of that time. The disembodied vocal…full of a slight pain and loneliness still manages to sound suave and relaxed. A remarkable throwback sound that is at the same time, quite modern.


For Aurora—-Literally reeking of the classic Morrissey/Marr compilations of the mid 80’s, the slight and exquisite jangly guitar sound is fantastic. The higher tuned guitar seems to lay right on top of the vocal…creating a wonderful blanket of sound that makes you want to snuggle deep into. Masterfully delivered…this is fantastic.


Demo—-This live recording really catches the energy and the raw feel of the band. The style is classic Joy Division to my ears…the bass leads the song…but the crashing drums gives off a remarkable energy. The vocal sound is fantastic for a live demo…the deep baritone literally wraps around my head. This band has really captured me….I anxiously await more material from this up and coming band.


**** out of 5


Berlin / Best Of Berlin 1979-1988

Best of Berlin 1979-1988

Berlin is an American new wave band. The group was formed in Orange County in 1978 by John Crawford (bass guitar). Band members included Crawford, Terri Nunn (vocals), David Diamond (keyboards), Ric Olsen (guitar), Matt Reid (keyboards) and Rod Learned (drums). The band gained mainstream-commercial success in the early 1980s with singles including “The Metro“, “Sex (I’m A…)“, “No More Words” and then in the mid 1980s with the chart-topping single “Take My Breath Away” from the 1986 film Top Gun.

The Analysis—-

Blowin’ Sky High—-For me, Berlin was one of the under-rated and under appreciated bands of the early 80’s. The tight musicianship, combined with the strong and flexible voice of Nunn helped to create a landscape of material and helped the band become mainstays on MTV. Crawford had an unmistakable guitar style that ebbed and flowed around the vocal. This track, never a huge hit…which I don’t understand, has that rhythmic guitar song that drives it to great heights at the chorus aided by super strong drums. This is a standout track.

No More Words—-There is always a remarkable power and slight anger to be found with many of the songs from Berlin. Nunn delivers a huge vocal….full of an underlying rage and betrayal that makes it instantly approachable. The song…full of trademark 80’s synth sounds comes across now as a bit dated. But if you zero in on the vocal and all of the power from the band, you will find yourself hooked all over again. The ‘breaks’ in the song are classic.

Like Flames—-I have never understood the fickle ways of American pop music listeners! For me, this may be one of the best tracks the band ever produced…but it received little or no attention from fans and/or radio. The vocal is so full of emotion…the band plays with a renewed intensity…the hook of the song stays in your brain for days after just one listen. The galloping musical intro of the song is shattered with a ballsy yell from Nunn. The vocal that follows is so strong and filled with emotion…this is by far my favorite track from this band. It literally makes me want to jump up and down and lose control.


Take My Breath Away—-Taken from the blockbuster film Top Gun, this track is largely considered to be the reason for the demise of the band. A mega-hit all over the world, it moved from the traditional sound of the band into a sound the rest of the band was uncomfortable with. Berlin was never really known for the ‘love song component’ and this really did not fit the image the majority of the band had set for themselves. I can take or leave this became too huge, too overplayed and too worn out. The vocal is a bit to whispery for me…the arrangement robbed Nunn of that powerhouse alto she had become known for.

Sex [I’m A…]—-The single that primarily brought the band to the forefront of the New Wave movement in the early 80’s, this is laden with a synth line and effects that drive you to the dance floor. The trademark sounds of the song…full of everything that defined the time period, the song was just interesting enough in content to have us all paying attention. The two vocal delivery is really nice and seldom heard from the band. the synth line is straight out of the Moroder playbook. Still plays really well.

Now It’s My Turn—-Driving synth lines introduce the song and finds Nunn delivering another slight wispy vocal that takes a bit to grow on you. there is a strength in the subtle approach she uses, and the double track lay out gives a bit more bolster and power to the song. Not a favorite…but it plays really well with this release. The chorus is catchy and well delivered….combing a perfect mix of drums, guitars and synth lines.

Masquerade—-Another really favorite track of mine, I love the end of the song the most off all…when all the double tracks of the song play at once…giving it an irresistible hook appeal you can’t ever forget. Again, the band finds a brilliant middle ground that is able to deliver fantastic guitars and drums with the requisite 80’s synth sound. The vocal is at the very front of the mix…Nunn truly shines here. A remarkable testament that the band had a true direction and ability to deliver.


You Don’t Know—-As the track begins, there is a slight throwback sound to the 60’s style music….it seems to fall away as Nunn begins her vocal. This is a bit of a weak track for me. The sound is less power packed and seems a bit airy to me. I’m glad to have it, but I generally skip over this track.

Matter Of Time—-A nice jaunty synth line opens the track. as Nunn begins to sing in an almost robotic style vocal, it fits perfectly into the 80’s playbook of Pop/New Wave songs of the time. the guitars and drums are much more pronounced and up front in the mix. The chorus is a double track affair that sticks in your head and reminds me of something right off of a Josie Cotton record. This is superb.

The Metro—-Another track that allowed the band to continue stacking up hits and plays on MTV, this is a track that can be found on about every 80’s hits compilation. Recognizable from the very first note, the schizoid synth line is addictive as hell. Nunn delivers a mysterious sounding vocal that as the song progresses really shows the power that she is able to emit. This is addictive…it has that perfect recipe of lyrics…vocals and synth line that still sounds incredible today. A true classic.

Will I Ever Understand You—-Much more powerful and guitar based than the past few tracks, this was the kind of stuff that helped to propel the band past the ‘New Wave’ era of the early 80’s. You can’t listen to this and possibly deny the power packed vocal style that Nunn delivered later in the band’s career. There is such a subtle slight angry edge to her vocal….it is sublime but damn effective.

For All Tomorrow’s Lies—-A bit of a lackluster performance for me here. I much prefer the band when they have that more aggressive sound that attracted me to them in the beginning. This is sappy, syrupy sweet and laden with too much melancholy. The vocal is nice…but lacks a true emotion for me.

**** out of 5


The Smiths / The Queen Is Dead [Deluxe Edition]

The Queen Is Dead (Deluxe Edition)

The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s. Q magazine’s Simon Goddard argued in 2007 that the Smiths were “the one truly vital voice of the ’80s”, “the most influential British guitar group of the decade” and the “first indie outsiders to achieve mainstream success on their own terms”. The NME named the Smiths the “most influential artist ever” in a 2002 poll, over the Beatles.

Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986) and Strangeways, Here We Come (1987). Four of their albums (including three studio albums) appeared on Rolling Stone‘s list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-album singles. The Smiths had several singles reach the UK top 20 and all four of their studio albums reached the UK top 5, including one which hit #1. They won a significant following and remain cult favourites, although they had limited commercial success outside the UK while they were still together. The band broke up in 1987 due to internal tensions and have turned down several offers to reunite.

The band’s focus on a guitar, bass, and drum sound, and their fusion of 1960s rock and post-punk, were a repudiation of synthesiser-based contemporary dance-pop – the style popular in the 1980s. Marr’s guitar work, using a Rickenbacker, often had a jangle pop sound reminiscent of Roger McGuinn of the Byrdsand influenced later Manchester bands including the Stone Roses and Oasis. Morrissey’s complex, literate lyrics combined themes about ordinary people with mordant humour. In 2014 and 2015, they were nominated for induction into the Rock and Roll Hall of Fame.

During 1985 the band completed lengthy tours of the UK and the US while recording their next studio record, The Queen Is Dead. The album was released in June 1986, shortly after the single “Bigmouth Strikes Again“. The single again featured Marr’s strident acoustic guitar rhythms and lead melody guitar lines with wide leaps. The Queen Is Dead reached number two in the UK charts, and consisted of a mixture of mordant bleakness (e.g. “Never Had No One Ever”, which seemed to play up to stereotypes of the band), dry humour (e.g. “Frankly, Mr. Shankly”, allegedly a message to Rough Trade boss Geoff Travis disguised as a letter of resignation from a worker to his superior), and synthesis of both, such as in “There Is a Light That Never Goes Out” and “Cemetry Gates”.

The Analysis—-

Disc One: The Remaster

The Queen Is Dead—-Beginning with the trademark refrain of Dear Ole Blighty, I question what new I can add to the remarkable reviews of this record over numerous years. I have been a life-long fan of this band…reveling in the British humor, the disdain for the Monarchy and he subtle jabs at Prince Charles. Marr delivers such a fantastic melodic guitar on this track…the drums are a standout…all seeming to wrap around Morrissey’s golden throat…a pure masterpiece.

Frankly Mr. Shankly—-A classic track wrought in a subtle sense of British humor much like Girlfriend In A Coma, this has a tendency to land in your brain and stay there…even when you want to dismiss the beat that drives the song. Short, sweet and full of humor…I never tire of this.

I Know It’s Over—-From the very moment i heard this song, it became a favorite of mine on this release. It is sad..intense…described my feelings at the time perfectly and had a magical subtle 50’s feel to the entire thing. This was magical and I was so pleased to see it preformed live on what was to be the band’s last outing together. This song…huge and masterful, has left an indelible mark on my soul. Morrissey delivers a vocal that is heartbreaking and magical. My God….that voice is like velvet.

Never Had No One Ever—-Morrissey treads familiar ground on this track…full of self pity and the wrath of loneliness, any one is able to wrap themselves around the feel of the song. The sharp tones from Marr’s guitar are incredible…the slow plodding drums add to almost funeral feel of the song. This is magical.

Cemetery Gates—-The British accent really shines on this track does it not? I was pleased when Morrissey began to preform this song again on occasion during his live shows. The music is jaunty and brings to mind the mood of some of the material from Meat Is Murder. Morrissey calls to mind his heroes….Keats, Yates and of course Oscar Wilde. The sardonic and very dark humor of the song is exquisite. It hold the test of time very well.

Bigmouth Strikes Again—-The first proper single released from this record. This is full of a humor that is always underlying the bands songs. The masterful guitar sounds Marr produces are just incredible. You actually feel a bit of bass line on this track…and the drums although pushed to the back of the mix are so important to the feel of the song. Johnny literally makes his guitar sing as well as Morrissey. This is fantastic.


The Boy With The Thorn In His Side—-I would suppose Morrissey would fancy himself as the boy he warmly sings about on this track. The music that Marr produces conjures up a certain warmth and comfort…the song swells with a subtle beauty that is still wonderful in sound today. Another magical moment from the band that wanted to rule the world.

Vicar In A Tutu—-This song still conjures up in my brain some kind of silly clip from a black and white B-movie comedy. I’m sure the true meaning of the song probably sailed right over my head…I’m not much for British humor and entendres….it is still a wonderful snippet of hilarity in the history of the band.

There Is A Light That Never Goes Out—-Legend has it that this was a last minute addition to the record and really was not planned. The fact that it is still one of the most beloved Smiths compositions speaks to the genius of the band. This is so nice to hear now that Morrissey preforms it regularly in his solo outings. The music and the voice….manage to come together and create this magical moment that spoke to the kinship of these two genius minds. A beautiful, poignant moment in musical history.

Some Girls Are Bigger Than Others—-Another of those tracks I’m not sure whether to take seriously or not. The instrumentation of the song is what does it for me though. Marr delivers a shin, jangly guitar that drives the song. The lazy but important drum line is masterful…matching perfectly with the bass line. This is magical.

Disc Two: Demos and B-Sides

The Queen Is Dead/Full Version—-Omitting the intro of Dear Old Blighty, the classic huge drum intro opens the song and delivers a fairly true to form rendition of the actual recorded track. The guitars from Marr goes on a bit longer…giving a slight psychedelic feel to the song…but for the most part this what we got in the end.

Frankly Mr. Shankly/Demo—-Not really sure the purpose of the inclusion of these so called demos…..there is very little here that is different…it is just a redux of the material we all have. This seems wasteful and a rip-off when so man other things could have been included.

I Know It’s Over/Demo—-No blaring differences on this demo…there are some subtle word differences and it seems like the phrasing from Morrissey is a bit different than on the final cut. Still haunting and beautiful…amazing how good the demos actually were.

Never Had No One Ever/Demo—-Not much variance here..although the song does seem to move at a bit of a slower pace than the final version. The subtle differences are not worthy an entire disc…just my opinion. I do rather love the horns at the end of the song…competing with Morrissey for the spotlight. Very odd ending….I take back the need for necessity of inclusion here….I was surprised.

Cemetery Gates—-Crisp and clean despite being a demo…I notice the heavier bass line right at the onset. Marr seems to have a sound that was pushed back a bit…that would later change. It is an alternate version…that I quite like a bit.

Bigmouth Strikes Again/Demo—-This version sounds very muted and lacking of the crisp clean version that would become the single. Morrissey phrases a bit differently and the music has a darker tone….Marr would brighten up the final cut a bit. There are longer interludes between verses….it is interesting to hear.

Some Girls Are Bigger Than Others/Demo—-Offering a really crisp and alternative view into this track, I can’t ignore that bright and jangly guitar introduction that Marr delivers. This is a brilliant piece of music…crashing cymbals and a good minute before Morrissey is even present. Brilliant!

The Boy With The Thorn In His Side/Demo Mix—-Brilliant…but offering very little in variance from the original…..sounds like a redux of the same song.

There Is A Light That Never Goes Out/Take 1—-Again, this pretty much sounds like the track that landed on the original. This just all seems like unnecessary filler to me….are there no unreleased tracks from this band?

Rubber Ring/Single B-Side—-Jaunty and fun, this track really never got the attention that it deserved. I love the vocal delivery from Morrissey…when she delivers that lazy refrain as the chorus…it still brings a smile to my face. Again, I notice the drums and the crisp high notes from Marr…this is a masterpiece.

Asleep/Single B-Side—-Perhaps one of my favorite tracks from this band…it came at a time when my depression and desire to not be here anymore were at a was like Morrissey was speaking to me directly. This is a romantic look at leaving…but it is delivered with beauty and expertise.

Money Changes Everything/Single B-Side—-Bright and incredibly shiny, this showcases every element of the band in a well defined way. Of course you have Marr…who never made a misstep….but the bass line is huge on this instrumental….and you realize how important the drums were to the entire feel of the band. No wonder they wanted their 25%!!! This is fantastic.

Unloveable/Single B-Side—-Another under-rated track to spoke to the Morrissey persona in a magical way…this should have been front and center on a proper release. This is beautiful in feel…true to the direction of the band…and an important part of the Morrissey mystique. This is a classic and wonderful track.

Disc Three: Live In Boston

How Soon Is Now—-For me personally, this is the most important song The Smiths ever recorded. Meant to be a B-Side, who could imagine it would become a cornerstone in the band’s career. The layers and layers of emotional guitar are just as important as the pleading vocal from Morrissey. This is a moment in history…a perfect snapshot for many who instantly fell in love with the enigmatic Morrissey.

Hand In Glove—-Travelling back to the early days of the band and the magical almost rock-a-billy feel that greeted us with this very first single from the band. This was such a magical time for me as I discovered British bands and the alternative to Hair Metal that was so prevalent. This is triumphant.

I Want The One I Can’t Have—-There was a true part of my immature self that convinced me Morrissey sang this song just for me. Adolescence and young adulthood is full of wanton feelings that are never returned and this song spoke directly to me. Fuckin Brilliant!

Never Had No One Ever—-Playing very well live, the audience seems to lack a bit of a response…but at the time this was all brand new. Morrissey is able to perfectly reproduce record to live….a true plus for the band.

Stretch Out And Wait—-Besides the title track, this is perhaps my favorite track from Meat Is Murder. Again, considering the time and place the song ha a unique meaning to me…calling all of the loneliness and wanton lust from my very soul and making me feel like someone really understood.

The Boy With The Thorn In His Side—-Again. lacking a bit of audience response, the song plays very well live….Morrissey delivers a spot on vocal that is the best I have ever heard. This is brilliant.

Cemetery Gates—-Brilliant….Marr brings his jangle to the live setting with pure perfection. The drums in this live setting are perfect…maturity makes you pay attention to what is going on onstage…the band is playing so tight and masterful. This was a golden time.

Rubber Ring/What She Said/Rubber Ring—-With a slight lazy pace to the music, everything seems so relaxed and fun as the song begins…the bass guitar really standing out then the barrage of drums as What She Said begins to take shape. Delivered with a vocal urgency that makes me break out in goosebumps, this is perfect.

Is It Really So Strange?—-Never a favorite track of mine, it seems like these little tracks that were emerging were beginning to show the weather taking place inside of the band. This is an acceptable rendition…it still stands up well…I have always felt it was a bit uninspired.

There Is A Light That Never Goes Out—-Morrissey sounds literally pitch perfect as he delivers this track that would become so important to the legions of fans that embraced the band to this day. This is perfection in every way….Marr….the drums….the emotional voice….it’s truly a perfect storm.

That Joke Isn’t Funny Anymore—-Another classic track from the Meat Is Murder sessions, this plays so well live…the sentiment of the song..plays perfectly into the ‘Morrissey World’…..this live version is a bit different…slower and with a few different chords…but still masterful and as meaningful as ever.

The Queen Is Dead—-The huge drum intro gets a fantastic crowd response. Live this song travels much faster than the recorded version…Morrissey seems almost exhausted trying to keep up with the blistering pace. This is so much more muscular and powerful…I love this live rendition.

I Know It’s Over—-Ending this live performance in the best way possible, this allows for a gentle cool down for the audience and reminds us why we love the band so. I could not possibly conjure up a better ending for this show…masterful…beautiful and haunting.

*****out of 5





Pet Shop Boys / Fundamental: Further Listening 2005-2007 [2017 Remastered Version]

Fundamental: Further Listening 2005 - 2007 (2017 Remastered Version)

Fundamental is the ninth studio album by English synthpop duo Pet Shop Boys. It was released in May 2006 in the United Kingdom, Europe, Japan and Canada. It was released in late June 2006 in the United States. The album entered the UK Albums Chart at number five on 28 May 2006 (see 2006 in British music). In the US the album peaked at #150 selling 7,500 copies in its first week. As of April 2009 it had sold 46,000 copies in the US and 66,000 copies in the UK. Fundamental earned two Grammy nominations at the 2007 Grammy Awards for Best Dance/Electronic Album and Best Dance Recording with “I’m with Stupid”.

The album was produced by the Pet Shop Boys and Trevor Horn and it features eleven new Pet Shop Boys compositions, and “Numb”, written by Diane Warren (Neil Tennant and Chris Lowe originally planned to have “Numb” be one of two new tracks on PopArt, but opted instead for “Miracles” and “Flamboyant”).

The liner notes show that the album is dedicated to two executed Iranian gay teenagers, Mahmoud Asgari and Ayaz Marhoni, who were hanged on 19 July 2005. Some reports have suggested the two may have been executed for engaging in homosexual behaviour, though the official Iranian report was that they were hanged for raping a 13-year-old boy. The album was very well received by critics, some considering it to be their best album since Very, but its sales failed to improve much on the sales of their last two albums.

The Analysis—-

Disc One:

Psychological—-Of course, any fan can tell you that there is never a doubt when you hear the opening strains to a PSB track who they are….this is no exception. Lowe has his trademark sound and the vocal of Tennant can never be confused with anyone except perhaps Al Stewart. This track is magnificent….dark..and with a layer of eerie warning to it almost. But the brightness is there as well. This is wonderful.

The Sodom And Gomorrah Show—-Beginning a bit mundane, this track explodes into a huge stomper that sucks you in and encourages you to dance your ass off. The progression of the keyboard is remarkable…and the voice from Neil never seems to age. This is huge…an over-whelming chorus that elicits joy and wild abandon. A classic PSB track.


I Made My Excuses And Left—-Underneath all of the synth, the glam and the joyous dancing, there is always a sadness that lies underneath of the brilliance of PSB. For me…this brings it a bit more to the forefront. Neil delivers a vocal that gives me goosebumps…even still today. This has an intense lyrical line….a poignant and sad synth base….all adding up to an unforgettable journey of introspection. This is brilliant!!!

Minimal—-One of my favorite tracks on this release. I even have a software embeded single that allows you to make your own version of the song. I love the energy…the remarkable ability to match all the letters with the beats…lol. The message of the song…and the brilliant vocal…this is a standout. Such a joyful synth line.

Numb—-Penned by the famed Diane Warren, this was a perfect match for the brilliance of The Boys. This is so sad…intense…but has a joy to it I can’t explain. The huge orchestrated intro is just fantastic…..seemingly to be built around the vocal that Tennant would produce for the song. The gentle piano….not overdone…but present…adds to the sadness of the song. This is a magical moment for me in the career of The Boys….just as good if not better than October Symphony.

God Willing—-With that brilliant flowing synth line that just seems to meld right around Neil’s vocal cords, this is another song that literally defines the band, Rarely on any disc is there a single throw away track….although not lauded…..this track is phenomenal. The energy flows throughout the whole song….this is like a song from a huge soundtrack.

Luna Park—-Sounding to me, like a continuation of Numb, this is another one of those tracks that will make you sit back and reflect. The bass heavy synth line is missing…but the keyboard Orchestration guides you through the line after line of intense lyric. This is beautiful and brilliant.

I’m With Stupid—-The context of the song rumored to be about George W. and Tony Blair, you have to…at this point sit back and laugh at the British-ness of it all. Delivered with the same irony you would expect from Morrissey, this was wonderfully brilliant…still makes me chuckle.

Casanova In Hell—-Again….full of irony and classic British humor, I love this track…although I much prefer the live version on Concrete with Rupert Wainwright…..I still look back on this with fondness…just because it is so funny and so damn true!

Twentieth Century—-Returning to the classic sometimes creaking synth line of Lowe, Neil always seems to find a perfect balance for his sardonic lyric wrapped around the swirls of synths that Chris can’t help but provide. These two are a match made in heaven…this is sheer brilliance.

Indefinite Leave To Remain—-Another track that is maybe…provided to allow you another chance to look inside yourself and determine if everything is as it should be. This is a truly brilliant track….the songwriting…combined with the instrumentation…just reminds me what an unstoppable force these two are.

Integral—-An incredibly dark and timely song set to brilliant bright synth lines…just shows the contradiction of the band. Brilliant! Speaking….in my opinion of the nefarious actions that the Internet can bring…this is a very nice warning to the masses. A nice spoken word chorus that reminds me of Parinaro….this is just brilliant!

Disc Two:

Fugitive [Richard X Remix]—-I will never understand why this song was not issued on the original release or why it was not released as a single. The hyper-kinetic synth lines are fucking brilliant…everything about this track literally embodies the career of a band that has worked so hard. This is worth far ore than a B-side or casual listen…this is pure genius!

Ring Road [Demo]—-Almost an odd type of intro…the synth is almost noisy….but opens up a bit. the weird stringy style 80’s synth line does not gel with me. The bass overtakes things but Neil delivers a vocal that seems pushed to the back a bit. This is nice to own…but will never be a favorite!

The Performance Of My Life [Demo]—-Again, at the onset…I don’t gel with the off synth line…but Neil enters with a magical dead pan vocal that takes you on a magical journey. This develops a melody that is so addictive to belongs on a proper release as well. This is a magical moment…I would love to see how something like this comes together between the two of them.

One-Way Street [Demo]—-Brilliant…swirling synths from the very first note. Neil delivers a higher tone that still amazes me with the ease he performs. This has a low reverberation through the underbelly of the song that is key to the sound. The chorus part of the track will live in your brain for sometime…another brilliant effort.

Girls Don’t Cry—-This track has kicked around for some time. I still believe it belonged on a proper release as well. It must be hard to decide what tracks to ‘throw away’ from the structure of an actual release. The sound of the synth line is deep and dark…the vocal is magical and soars with a brilliance only Neil can deliver…this is fantastic.

The Resurrectionist—-Brilliant!!!! A true dance floor stomper that makes me want to get up and dance with abandon. The chorus is this gigantic huge affair that lifts even the lowest spirit This is brilliant….why is this not a single? People have no idea of the genius of this duo!! That synth melody line is brilliant!

The Sodom And Gomorrah Show [Demo]—-Quite a bit more stripped down and under developed, the basic idea of the song still shines through. I feel like this really does not offer that much new as to the development of the finalized song…really just filler to me…this is basically a more naked version of the final cut.

Dancing In The Dusk [Demo]—-A bit down-tempo….nut still magical. Anytime I get to hear a bit of an unheard track from the duo is for me an adventure and pleasure. Neil actually sings at times on this track…and the vocal overlays really don’t sound like a demo….this is nice.

After The Event—-An almost horror movie piano line introduces the song…with that trademark low hum in the background that seems to travel through every song. The ‘noise’ clears for the introduction of the vocal. The song is pleasant…the delivery is stellar…the lyrics are a story….the chorus is the KEY to the entire thing…..the huge sound of it sucks my brain right in. Another winner.

The Former Enfant Terrible—-This, for me , is very reminiscent of The Sound Of An Atom Splitting. I don’t think it really offers any thing new or interesting…I could do without this….but still it is The Boys.

No Times For Tears [Orchestral Mix]—-Beautifully constructed and delivered with a vocal that I will remember for quite sometime, this is a bit of a lackluster track for me…I will accept anything the band has to offer with little criticism…but this does fall a bit flat for me.

God Willing [Original Full-length Mix ]—-Very, very, very slow intro and beginning of the track. Eventually, the sun does seem to burst through the convoluted instrumentation and the track becomes a bit livelier…but it takes a very long, tedious time. This was terrible….

I’m With Stupid [PSB Ma[xi-Mix]—-A bit more energized with the requisite DJ break points throughout the song for even longer mixing, I do like this version. The instrumentation is lively and very 90’s in sound….as said before…there are nice mixing interludes but also a healthy dose of the original vocal…this works for me.

Answer The Phone [Ringtone]—–Ok…whatever…kind of humerous

Where Are You? [Ringtone]—-People pay for this right?

Water [Ringtone]—-Bizarre……not getting it….

Numb [Single Edit]—-Really…..these ‘edits’ don’t offer much new to the die hard fan. There is little unique about this version. The harmonies seem a bit more pronounced to me….but this is just wasted space to me….

One Night—-Really nice vocally…the irritating high pitch synth line that runs through the song graciously disappears as the beautifully constructed chorus pen up and then seems to re-appear…much to my chagrin. I like the song…but the instrumentation is obnoxious. The vocal is beautifully presented.

A Certain ‘Je ne sais quoi’—-Literally brilliant from the very first note, this takes me back to the glorious 90’s period when the Boys produced dance floor classic after dance floor classic. This is just wonderfully put together…the synth is magical and modernly retro….the vocal is classic…this is a wonderful track….also on the Winner CD 5.

Transfer [Visionaire Mix]—-This, for me, has a rather dark edge to it from the very first note. the synth delivered is a flat consistent feel that is not even interrupted by the entrance of the vocal. Some beats emerge…but this snip is sad.

Integral [PSB Perfect Immaculate 7″ Mix]—-Offering little new except an abbreviated version of a masterful track, I suppose it was included to fill space. This is nice….but still offers little new to what we already knew was genius.

Integral [PSB Perfect Immaculate Mix]—-Really a DJ mix of the song that includes lots of breaks and mixing opportunities, this is not much different than the original…although it is nice to own.

****3/4 out of 5






















































































R.E.M.—-Part Lies Part Heart Part Truth Part Garbage 1982-2011 [Pt. 2]

Part Lies, Part Heart, Part Truth, Part Garbage: 1982-2011 [Explicit]

The Analysis—-

Disc Two:

Everybody Hurts—-Continuing with a track that again brought worldwide attention to the band, Stipe sounds literally crushed in his vocal delivery. The heaviness of the song lyrics are matched perfectly with the understated style of guitar and gentle drums. A true favorite track of mine.

Man On The Moon—-Fun and a bit lighter than the previous track, I have always loved this song. he duel vocals are remarkable….raising Mills and his talents to a whole new level. This is brilliant….addictive and remarkably fresh for the time we are in now. I love this song.

Nightswimming—-Such an odd and rather ominous intro, Stipe enters with his melody heavy vocal that gives the song it’s very structure. This is a remarkable track…beautifully stark and full of an indescribable intensity and beauty. A true standout.

What’s The Frequency, Kenneth—-Such a joyous and noisy track. I remember falling in love with this the first time I heard it. The electricity from the instruments are just phenomenal. The driving guitar line is incredible….the tone of the song urgent and intense…..just fantastic.


New Test Leper—-Sedate and delivered with a beautiful understated acoustic guitar, Stipe sounds almost defeated and broken in his vocal delivery. This is a strong track…..truly accessible but very Indie at the same time.

Electrolite—-Really almost an extension of the previous track, this carries the same feeling over. The lyrics are intense…the music understated and the vocal delivery almost heavy with a certain sadness. he understated elements of the song make it even more powerful for me.

At My Most Beautiful—-Piano heavy and still understated in the instrumentation, this has an almost ghostly feel to it. The simple strains are powerful….the vocal pushed to the back of the mix making you feel a sadness and heavy emotional feel. This is dark but beautiful.

The Great Beyond—-I don’t really feel a familiarity with this track….it seems naked and uninspired to me….I’m left with an empty feeling from the starkness of the song. Not a throw a way……but not a favorite either.

Imitation Of Life—-Returning to a more familiar and accessible sound, this sounds like an invigorated band that decided to return to the sound the fans fell in love with. This is much more pleasant…sounds inspired and had an addictive chorus that is just brilliant.

Bad Day—-Electric and almost with a funk line in the underbelly, this sounds like a throwback to It’s The End Of The World….delivered in the same urgent feel and jerky jaunty guitar. Stipe sounds a bit hollow…like the freshness of the band really had left him.

Leaving New York—-Again sedate and delivered with an odd style vocal that really never resonated with me….like Stipe thinks he is in a stage play or something. This is not on my list of favorite tracks by any means. Only the chorus saves the song for me…..

Living Well Is The Best Revenge—-The electricity and urgency side of the band returns in a fiery display of guitars and drums. Stipe sound possessed as he delivers his lines fast as lightening and with a renewed purpose. This is a fantastic, noisy track.

Supernatural Superserious—-Perhaps one of the last truly meaningful and powerful tracks from the band before the demise, the electricity of the band is in full force. Mills returns on the backing vocals and fills out the song remarkably well. This is a huge track for me….I love Mills voice and the melodic quality of Stipe’s singing.

Uberlin—-With a nice throwback sound to the mid 90’s, this track sounds much better to me now listening back on it. The understated instrumentation seems to wrap itself around the emotional feel of the lyrics. Really a beautifully constructed song.

Oh My Heart—-This for me… just a mess. The attempt to deliver a Spanish style feel to the guitar falls flat. Stipe sounds like he is singing in another room. Even the addition of Mills can’t even come close to saving this song.

Alligator_Aviator_Autopilot_Antimatter—-A nice vigorous feel to the electric side of the band, the music has an urgency that is nice…but there is so much happening here that it all comes about as a musical mess full of chaos and incongruity. I really don’t like this. Even Kate could not save this.

A Month Of Saturdays—-Empty and uninspired. Naked and without form……a band that has lost direction…..Stipe sounds bored and tired.

We All Go Back To Where We Belong—-The swan song is a pretty but uninspired track that leaves me sad to see them go…but happy to know that they knew when the inspiration was gone. This is pretty…..but really does not resonate with me.

**** out of 5





R.E.M / Part Lies Part Heart Part Truth Part Garbage 1982-2011

Part Lies, Part Heart, Part Truth, Part Garbage: 1982-2011 [Explicit]

R.E.M. was an American rock band from Athens, Georgia, that was formed in 1980 by drummer Bill Berry, guitarist Peter Buck, bassist/backing vocalist Mike Mills, and lead vocalist Michael Stipe. One of the first alternative rock bands, R.E.M. was noted for Buck’s ringing, arpeggiated guitar style, Stipe’s particular vocal quality and obscure lyrics, and Mills’ melodic basslines and backing vocals. R.E.M. released its first single—”Radio Free Europe“—in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band’s first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single “The One I Love“. The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.

By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre. The band then released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band’s established sound and catapulted it to international fame. R.E.M.’s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members.

In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than its predecessors. The following year, Bill Berry left the band, while Stipe, Buck, and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world’s best-selling music artists of all time. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in their first year of eligibility. R.E.M. disbanded amicably in September 2011, announcing the split on its website.

Part Lies, Part Heart, Part Truth, Part Garbage 1982–2011 is a 2011 greatest hits album from alternative rock band R.E.M. Intended as a coda on their career, this is the first compilation album that features their early work on independent record label I.R.S. Records in addition to their 10 studio releases through Warner Bros. Records. The double-disc retrospective was released through Warner Bros. on November 11, 2011, and was compiled by the band members. The existence of the compilation was revealed simultaneously with the group’s announcement that they were disbanding on September 21, 2011.

The Analysis—-

Disc One:

Gardening At Night—-Beginning with the trademark style of guitar twang the band was know for in the early days,  the vocal from Stipe enters displaying his unintelligible vocal style that always lest everyone guessing as to the true lyrics and meanings of the songs back in the burgeoning days of the band. The jaunty feel of the song is addictive and instantly recognizable….still filling me with a joy and reminder of the beginning of what we all called Alternative.

Radio Free Europe—-Perhaps recognized as the first proper release from the band, this was a landmark recording for me. I instantly fell in love with the band and the mystery that surrounded the meaning of the songs. The energy of these early recordings still manage to bring a smile to my face…instantly making me appreciate the genius of the band and at the same time mourn the passing of true legends. This is addictive…accessible and damn pleasant to listen to…..when Mills joins in on the chorus….the song is unstoppable.


Talk About The Passion—-Beginning with the unmistakable guitar sound that the band always managed to deliver, Stipe enters with a melancholy vocal that always seems to wrap itself around my very soul. here were times in my youth when I was sure the man was constructing these emotional masterpieces designed for my dark and needy moods. a true wonderful memory of youth, sadness, struggle and an underlying joy.

Sitting Still—-A song I was not really familiar with my title alone, it is one of those songs that when you hear the beginning chords you say….ah yes…that one. Again, there are times when Mills enters on the vocal and rounds out the sound of the song. I love the urgency, the pleading feel of the vocal and the remarkable jangly feel of the music.

So. Central Rain—-Tracks like this….from perhaps my favorite R.E.M. release, remind me of a care-free, employment free, alcohol filled summer of complete abandon and a deepening dive into everything Alternative and out of the mainstream. Stipe still delivered lyrics that were open to interpretation and implication and just left enough of the dial to appeal to the youth of the day. Fantastic.

[Don’t Go Back ToRockville—-full of Country inspired guitar strumming, the song opens up further upon the chorus  and becomes a frenzied romp that is even pertinent these days. I love the lazy drawl that Stipe manages to deliver throughout the entire song. There is a deep underlying tone to the song that is magical….and then Mills starts to sing with Michael on the chorus and the song becomes a masterpiece.

Driver 8—-Driving and seemingly filled with a bass driven aggression, Stipe again delivers a slurred type of vocal that seems to dissolve during what could be the most important lyric. Mills takes a bigger part on the vocal on this track and really serves as foreshadowing of how important his vocal would become later in the band. This is a driving, bass filled angst ridden journey that I still love.

Life And How To Live It—-This is a nice example of the slow but steady evolution of the sound of the band. Although much of the lyrical content is still a mystery. the sharpness and ability of the band seems to improve with every song on this compilation. These were the finest days of a classic and brilliant band.

Begin The Begin—-This release started for me a progression that the band continued until it’s demise. The music was brighter and filled with messages for the listener to grab a hold of. The lyrics were clearer and the music was filled with an aggressive delivery that seemed to help the message be conveyed to the listener. This was a brilliant track.

Fall On Me—-With an almost Alt-Country intro, the band introduces a addictive mellow sound that propels your mind to struggle with the lyrics, draw your own conclusions and fall in love with the blended vocals from Stipe and Mills. A truly shining moment from the kinds of Alternative.

Finest Worksong—-I love the propulsive feel of the guitar on this song. The riff sounds like it is always progressing but manages to stay in one place. Again we get remarkable blended vocals and a huge masculine bass line that still sounds incredible now. I really consider this one of my favorite tracks from the band.


It’s The End Of The World As We Know It—-Jaunty and fun right from the onset, the song travels at an amazing pace. The lyrics come at you so fast and furious….it is hard to keep track of all he doom that is being delivered. Another track that still stands the test of time remarkably well.

The One I Love—-One of the songs responsible for propelling this beloved Indie band to world wide success, The band stayed true to their sound and message…I guess the time was just right for the band to burst from the underground, so to speak. Laid back and gentle until the heavier chorus guitar line, Stipe sounds remarkably fresh and driven…sincere and positive in delivering his message.

Stand—-For me this has always been a track that has a slight silly side to it. The lyrics and clear and simple…the guitar is basic and understated. The chorus is addictive and will live in your brain for a long time. Addictive and fun.

Pop Song 89—-Another track that for me at least, has a slight Alt-Country feel to the under belly of the melody line. The crisp clarity of the vocals are a big change from the early days. The message is quasi-political and the melody line damn pleasant.

Get Up—-Aggressive with sharp burst of guitars and great drumming, the mixed vocal brings an automatic smile to my face. Sometimes I prefer the Mills vocal over Stipe. This is a fine progression in sound and direction.

Orange Crush—-Another landmark release for me, this was a nice throwback in sound to the earlier days of the band…the duel vocals…the jangly guitar and the vocal urgency. This was also a period when I think Mills started adding vocals even more to the band’s songs…giving the sound a pleasant fuller sound. Remarkable still today.

Losing My Religion—-Another track that really pushed the band and sales into the upper reaches of the universe. The track is pleasant enough but at this pint suffers from overplay. I don’t have complaints about the song, I’m just tired of it.

Country Feedback—-Bringing the Country leanings of the band into the front of the sound, I love the talk delivery of the vocal… tends to give the song a haunting feel that still manages to give me goosebumps. This is wonderful to hear again.

Shiny Happy People—-The joining of vocals from Stipe and Kate Pierson was pure genius. The blend is perfect and created a magical musical moment in history. The jangly feel of the music is true to the sound of the band….but the elements of Stipe, Mills and Pierson makes this a masterpiece.

The Sidewinder Sleeps Tonight—-Never a true favorite of mine, I still love the basic elements of the song. The sound is true to form,,,Stipe sings with an urgency that is nice to hear….The range of vocal styles are great…the chorus falls flat for me though