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| Jackson still has IT!With the first listen, I really liked this album. The second and third time around, it just kept getting better. Insightful and thought provoking, but still musical, I really think this is one of the standout albums of 2008. "Where were you?" is so powerful and poignant. Going to Cuba, is a toe tapping mini-vacation. Each song stands on its own and together, they comprise a powerful and beautiful offering from one of the great poets of our time. You will not be disappointed, unless of course, you are John McCain.
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| The legend performs to his true statusWhat a wonderful late career tour d'force. So good to hear the King on songs he hasn't recorded before, supported by world beating production from T Bone Burnett and magnificent players like Dr John and Jim Kelter. Nathan East's acoustic bass is a special stand out.
This record is just a gem, the warmth of tone, understated playing and love of blues oozes out of every track.
If you love the blues, you'll loves this. Buy it, play it, recommend it.
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| The Cure is stuck in a rut, and I'm sadSo, I'm a big fan of the following, faith, head on the door, disintigration and, yes wild mood swings (I'll explain later).
Everything since wild mood swings has robert smith in a horrible rut, every song uses the same melodic structure and the inventiveness and creativity is (poof) gone. I'm seeing age set in.
Now, I like wild mood swings for the same reasons I liked head on the door, it was a dramatic break from "the cure sound" which people are far too enamored of.. it gave smith singing from a third person perspective, which has not happened before or since, so for the first time in his career he actually told some really unique stories. Musically, they experimented quite a bit more then they had since Kiss Me 3x. This cd was drubbed because it didn't have the 'cure sound'. People must get past this. All the cure's best work did not have that 'cure sound'.
RS has this repetitiveness that has lasted all of this decade. It is time for the cure to pack it in and call it a day. I like the cover art, though.
Too bad. I was really looking forward to this one. I've heard there were to be two versions, I'm skeptical.
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| Powerful vocals, meager instrumentation.Popular music thrives on melodrama, especially when it's expressed by a vocalist like Beth Gibbons. The stylized, hyper-magnified fragility of her performances is the biggest strength of Portishead's Third. In "Nylon Smile," she pleads, "I don't know what I've done to deserve you, and I don't know what I'll do without you," and her voice veritably quivers with hurt, you can easily imagine her as a poor wounded bird, plaintively lamenting her cruel fate. In many songs, she dwells with similar helplessness and sensitivity on feelings like, "hoping I might change a little, hoping that I might be someone I want to be," "tormented inside life, wounded and afraid," and "I'm just emotionally undone, I can't deny I can't be someone else."
That's the predominant tone of Third, but Gibbons also does a magnificently calm, distanced tone in "Machine Gun," and becomes a bit warmer in "Deep Water" and "The Rip." Eventually, the melodrama feels more like the style of an old silent film, or a story by Stefan Zweig, than like typical nineties-style angst. Gibbons' vocal style has always recalled old torch songs, and she has lost none of her touch in the eleven years that passed since the last Portishead album. If anything, she's spookier, more mysterious now.
However, the music on Third is obsessively, insistently rudimentary, even for a minimalist decade like the 2000s. It's not "repetitive" in the sense that, say, Ladytron are repetitive. Third is full of surprises and changes: the abrupt ending of "Silence," a fast keyboard line suddenly interrupting the slow pace of "Hunter," a loud crescendo in "Small," glitchy effects in "Plastic." But these surprises have no musical content whatsoever. The keyboard line in "Hunter" plays a very simple scale, up and down; the crescendo in "Small" is a one-note keyboard line. Many songs prominently feature a shrill drone -- not a "droning keyboard line," as one might write about a post-punk album, but a plain, unadorned beeping sound, either continuous or repeated. "Silence" begins with one (around 0:30). So does "Magic Doors." So does "We Carry On." These are not small, insignificant details; they actually form the musical core of the album. Things get a little more exciting with the rare appearance of a distorted electric guitar, at the end of "Silence" and "Small," but there, too, it plays basic chords, covered in reverb.
The issue is laid out starkly in "Machine Gun." The drum track is lifted from New Order's "Blue Monday." Okay, fine: steal from the best, everything old is new again, and so on. But New Order's song had about a dozen different unforgettable hooks apart from the drum track. "Machine Gun" not only has no other hooks, it has no other music, except for a short keyboard line (heavily reminiscent of nineties MOD music) in the end. But for most of its duration, Gibbons sings over just this drum track. To add variation, they produce the drum track in two ways -- a cold "industrial" sound and a louder, clanging pot-beating sound. They alternate. The end. If not for the striking, cold clarity of Gibbons' voice, there would be nothing to discuss.
Not that it's all bad, but the good parts generally occur when the music doesn't try to call attention to itself, and retreats into the background ("Hunter," "Threads," "Deep Water"). Occasionally it is used to sort of gently guide the tone of Gibbons' vocal performance. The best such moment is on "The Rip," perhaps the best song on the album, where a slight increase in tempo leads to a warm, dreamy climax. When the music is at the forefront, however, it can be quite frustrating to listen to.
This style can be traced back to Radiohead's Kid A, particularly "The National Anthem," which also simulated musical techniques using essentially non-musical stand-in sounds. Occasionally there are hints of Bjork's Homogenic (the drum track in "Plastic" would have felt at home there), except without the pop moments. Overall, though, the sound of Third is closer to Volta, another musical simulacrum, featuring a wide array of instruments (diligently noted by reviewers) that failed to play anything of any interest at all.
The minimalism of Third is anticlimactic. Exactly like Kid A, the careful pace and the jarring sound suggest an album that requires careful attention and repeated listening, but in the end, the music reveals much less than it promises. It remains to listen to Third for Gibbons' often-amazing vocals, and treat the music as an occasionally pleasant backdrop.
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| This CD is really awesome!!!This CD is really awesome and I like it every song on this CD is a really good song and it's Just an awesome CD I really like this album and there not a bad group at all I mean there other albums are probably really good but this one is one of the best CD's that they've ever come out with and I don't even think they are making music anymore but I could be wrong about that seriously I could be wrong about them not doing anymore albums but overall I would Reccomend this CD to anybody who's a fan of incubus and you could even send the group a friendrequest on www.Myspace.com I'm not going to add them as a friend because I've got enough bands on my friend space as it is and I may be adding more bands but as of right now I'm not sure if I'll be adding anymore bands as a friend on my Myspace but I probably will be later on though but as of right now I won't be adding anymore bands as a friend as a matter of fact I think this is one of there best albums yet and I really mean that my favorite song on this CD has to be Drive I don't know why but I Just absolutely love that song and I think it's one of the best songs on this CD as well as the other songs on this CD the whole CD is really good but Drive is the best song on this CD and as I said before I like the song and I'm actually looking forward to them doing another album and if they do I may buy the album I may not buy the album it all depends on if there's any good songs on there new album and that's if they even do another album but in a sense I'm hoping that they do decide to do another album and if they do I may buy there new album if they do another.
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Enjoy Incubus
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| What can I say? It's the WhoGood introducition to the band and probably the best compilation available to the casual fan. For a more complete collection of Who songs it would be better to buy some of their albums in addition to this one. Who's Next, Quadrophenia and Tommy are Essentials to any serious collector, but this collection will have pretty much all of the songs that anyone has heard on the radio. I'm not a fan of their 60's material, so that is the reason for the 4 stars. Otherwise, the Who made some great music. They have never been one of my favorite bands, but they were one of the biggest and most influential bands to come out of the 60's and into the 70's. Along with The Rolling Stones, Led Zepellin and Pink Floyd.
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