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Laz, have you heard her bonus tracks? While The Queen is my overall least favorite song on the album, Black Jesus/Amen Fashion and Fashion of His Love are stellar.

PeterPanfan wrote:Laz, have you heard her bonus tracks?

I was hesitant to even try them and so, I've only heard maybe 45 seconds of each. I remember her saying in an interview that the songs were cut from the album because she considered them weak and that they didn't fit. I should have reviewed them too but it actually (unlike Britney's album) took me several hours to write that review of Gaga's album.

@ Lazario (because I would feel bad for not replying to that amazing review of BTW):

When I first got the album, “Judas” and “Hair” were my favorite tracks. They’ve both went down my list since then (probably because I over-played them). A week or two ago, I got back into the album (like I said), and really started to love “Born This Way,” where I hated it before. I love the sound of it now (though it reminds me of “Party Like It‘s 1999,” among other things). “The Edge of Glory” is another one I fell in love with the second go round. I wish you had enjoyed that one more (though I feel the “with you”’s are the best part as well), but I just like the sensuality--I don’t think that’s the right word, but I don’t know how to explain--of it and “You and I” as the album enders.

Right now--and this time it’ll probably stay the same for a while--”Bad Kids” is my favorite song. I feel like it both satirizes parents who typecast their children as “brats, spoiled, monsters, etc.” whenever it’s convenient to excuse their own screw-ups in life--that line "I'm a bad kid under the stress/Give me your money or I'll hold my breath!" seems like sarcasm to me--along with children who rely on pity excuses like, “That’s the way that they raised me…” for their bad behavior. It could’ve easily just been a poke at authority, but it goes for both sides and I appreciated that. “Fashion of His Love” had originally been my favorite, but it’s a fairly traditional pop song (a la “Speechless”) and it kind of wore down. I still enjoy it though.

“Scheisse” is really popular, and I enjoy it more than I did before, but I’ve never got into it as much as others have. It’s too bad more people don’t like “Americano” (bizarrely, I didn’t even think of the pro-gay sentiment…:lol: ). Oh, and you’re right that “You and I” and “Brown Eyes” are similar. I had never noticed it before your review.

Overall, I can’t wait for Gaga to get another album out. She’s one of the few out right now that I’m constantly impatient to have more of. I only wish there hadn’t been such a huge backlash against this effort, but she still did decently well.

I think the album seems like it was made to polarize the fans as much as it is her way to being able to embody that Springsteen esque drink-pushing rocker when, instead, she resembles with PERFECTION Ben Stiller's parody of Bruce Springsteen:

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I wouldn't be surprised if this comparison raised a few eyebrows. But, look at how detached the character he's playing is. He's doing everything he's doing internally and as a result it looks like he's either aloof or in his own world. That has basically been Gaga throughout most of her videos, all her public appearences, and most of her videos. Whereas before, she used humor in arguments to provoke thinking over her repuation as an artist using sex (I'm thinking, I believe, of her Norwegian interviews that really almost seemed to criticize her right to her face) and in videos like "Bad Romance," she found so many different ways to connect her incredible energy, creativity, and characters to the audience. Even her smile in "Paparazzi" when she was fixing the boyfriend's cup of tea (coffee?) gave her more of a connection to us. She's really lost that with Born This Way. I assume because she wants the message and the songs to do all the talking for her.

I don't know if you're saying the fans are walking away from Born This Way more than the skeptics are pouncing on it. But I think we both know pretty well why this album is failing the most out of her prior projects. If they see Gaga as being in her own world, they see her as a dreamer. For whatever reason, people really hate that in others right now. It could be a kind of disapproval from the working class but nobody seems to value a dreamer anymore. And because of her past with club dance tracks, Gaga trying to sell us neighborhood-accessible rock of the people isn't working. It's not what made her special. This guy said it beautifully in his video (it's a short vid, so it's worth a few minutes):

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Beginning at 0:55 is where what he's saying took the words right out of my mouth. A lot of the album operates on this formula, whereas I think overall, the strongest material is in general her "deadest" ("Government Hooker" and "Heavy Metal Lover" - speaking of, I really forgot to include that song in my list of tracks worth / to consider purchasing). I think she made up for that lack of trademark Lady Gaga darkness (which I don't necessarily liken to being cold or depressing- rather we too often forget how soothing and inspiring darkness is) in the sound design on most of the songs (until you get something utterly boring and undercooked like "Bloody Mary"). But I'm looking forward to an album more like The Fame Monster so long as her "Speechless"s and "Teeth"s are more like "Highway Unicorn (Road to Love)" and "Americano".

Tracks

1. "Pon de Replay" -
Distinctive voice or not, we all know Rihanna was not a (very) good singer for the first few albums. That's this excellent club song's only flaw. 6 years later and it's still banging.

2. "Here I Go Again" -
Rihanna's style was really old-fashioned for the longest time. This song could easily have been released in '96. Again, her voice is strained and she can't climb up to the task of delivering. But it's a very pleasent song.

3. "If It's Lovin' That You Want" -
Also very 90's-tastic. But this is probably one of her best vocal performances on the album. And one of the catchiest songs on the CD.

4. "You Don't Love Me (No, No, No)" -
One of the slightly more modern songs on the album. At least at the beginning and the sections where the beat picks up / increases speed. Another relaxed vocal performance, Rihanna's best mode in the early part of her career.

5. "That La, La, La" -
If this album is like a historic tour of reggae-inspired trends in rnb / hip-hop from the 90's to 2005, than this song takes us into the future to around 2001. Second most modern-sounding song after "Pon de Replay." The production and Rihanna find a comfortable middle ground, I think she pulls this one off. Of course, it's also kind of dead-ended after it gets maybe half-way through.

6. "The Last Time" -
A decent ballad, except for Rihanna's monotone. Beautiful chorus and would be potentially heartbreaking if you could find any emotion in the singing.

7. "Willing to Wait" -
I think this song may be trying to rewind us back to the 80's. And influence-wise, we're in major Jackson territory. Somewhere between Michael's Thriller and Janet's "Let's Wait Awhile." Very unoriginal but pretty nonetheless. Good beat.

8. "Music of the Sun" -
Good beat but, apart from that, this song kinda sucks. You have "The Last Time"s guitar and... that's it.

9. "Let Me" -
Now, we're somewhere in the early 90's. Prime Janet '93 territory and the song sounds a perfect hybrid of "If" and "You Want This." The music is flawless (so an instrumental would be the best way to hear this) but Rihanna is no good here. Neither are the lyrics.

10. "Rush" -
Nothing special but it's effective.

11. "There's a Thug in My Life" -
Back to the mid-90's. Sort of a groove ballad, sort of a mushy love-song. Perfectly awful either way.

12. "Now I Know" -
Piano ballad. Why?

13. "Pon de Replay (Remix)" -
Mostly the same version of the earlier song but with terrible added raps in bad places. I cannot stress terrible enough.


In Conclusion
Starts off very well, with generally above-average reggae-inspired rnb but begins tanking halfway through until it just crashes and burns in the last 3 tracks. Ouch.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Pon de Replay"
"If It's Lovin' That You Want"

Tracks

1. "SOS" -
With a song this good, it's hard to do it justice with words. I'll just say Rihanna's bookending "la la la"s are likely the only flaw.

2. "Kisses Don't Lie" -
This song highlights one of my favorite things about Rihanna- she likes to experiment with genres. At least from this album 'til Talk That That, every album shows her doing kinds of music you just wouldn't expect from an rnb vocalist. And the rock band backing wasn't even done in the interest of making this a single.

3. "Unfaithful" -
A song that probably should have generated some controversy along with criticism of the story she's telling here. The music is stellar. It's even downright catchy for such a downbeat, tragically sappy song. The lyrics are interestingly morbid- another thing you might not have expected from a teenaged rnb singer who at the time had barely cracked public consciousness but if she'd registered as a presence, it would have been as a frosty techno-club pop goddess thanks to "SOS." The story here has a bit of a hole in it: we only have her side of it and we have to trust that the man she's singing about really would fall to pieces if she... well, the song doesn't exactly tell us how far things have gone. He "knows very well" according to her that she's cheating and he can't take it. So, he's already become suicidal? Needs more exposition.

4. "We Ride" -
Terrible chorus. But the rest of the production is flawless and Rihanna doesn't sound so bad. Very pleasent to the ears.

5. "Dem Haters" -
Just so we don't forget what kind of album Music of the Sun was, this song is the missing link. The chorus is pretty but nothing else about it is the slightest bit special. Her guest singer should probably be singing the bulk of this.

6. "Final Goodbye" -
Also a bit reminiscent of the guitar-driven ballads from Music of the Sun but Rihanna's singing here is greatly improved. The beat kick-up and band backing in the second half of the song makes it a better all-around formula than the last album's sappier offerings. The fact that it's only 3-minutes long is also likely helpful.

7. "Break It Off" -
The most modern song on both of her first albums. The production is literally perfect. Insanely catchy. And I don't like Sean Paul but he's okay here. She's the only problem. And for her album, she has no verses. Not a one.

8. "Crazy Little Thing Called Love" -
Good companion piece for "If It's Lovin' That You Want." Phenomenal chorus. Rihanna is still a little off, vocally.

9. "Selfish Girl" -
Another pointless "haven't I heard this done better somewhere else?", only with horns. Skip this and whip out the Xscape instead.

10. "P.S. (I'm Still Not Over You)" -
Bad ballad. Just... bad.

11. "A Girl Like Me" -
Finally, a ballad in this never-ending chain that actually has a little oomph to it. A lot, actually. This could work with a better singer and maybe ditch the guitar.

12. "A Million Miles Away" -
Okay, if Rihanna were a better singer- this would be a perfect song. That's redundant to say by this point. But this song is just that good.

13. "If It's Lovin' That You Want (Part 2)" -
An interestingly ominous interpretation of one of the better songs on Music of the Sun. Kinda pointless, other than the rap guest star who actually takes a section of the song since none of the music here is recgonizable. But this is really interesting. Why would someone think to do a remix of an ultra sunny song like "Lovin'" only to turn it into this. It's not seductive or erotic. It's downright weird.


In Conclusion
Easily superior to Rihanna's first album, A Girl Like Me has some go-then-stop problems but since everything is pretty much buy songs individually now, it's worth saying this provides a better selection.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"SOS"
"Crazy Little Thing Called Love"

Tracks to Consider Purchasing
"Kisses Don't Lie"
"Final Goodbye"
"Break It Off"

Tracks

1. "Umbrella" -
Musical masterpiece. One of the all-time greatest fusions of hip-hop / rnb and rock ever. Killer drums. Incredible lyrics. And Rihanna can sing this time.

2. "Push Up on Me" -
Compared to "Umbrella," this is a huge comedown. But... still, it's just plain catchy. Nearly impossible not to move or crank the volume up for.

3. "Don't Stop the Music" -
So close to being a club masterpiece on a level worthy of following up "Umbrella" but... oh, HELL NO: it doesn't just sample Michael Jackson's "Wanna Be Startin' Somethin'," it uses it as the actual background at several points. There are few words that can describe how hard it is to stay in the mood of the song's opening after you hear the producers here literally raping one of the most important forces in dance / pop music. Rihanna and company should have more respect.

4. "Breakin' Dishes" -
Nobody likes a fiery, angry woman anthem more than me and complete with domestic chaos imagery, this should have produced better returns. Maybe even a grinding metal guitar solo? I don't know, I think it could have worked here. Anyway, the lyrics just aren't good enough and, of course, the curse word curbing (censoring) is disappointing. It's good but not good enough.

5. "Shut Up and Drive" -
Most of Rihanna's rock tracks after "Umbrella" are rather sludgy. But this one is perky and rousing enough to continue holding the album's light weight up. I just find that I used to love this song (it was one of my top 3 favorites by Rihanna) and I don't anymore.

6. "I Hate That I Love You" -
It's okay. More background music than anything else. Ballads are usually not Rihanna's strongpoint and the more guitar infused lovey-dovey her rnb is, the more warm milky it is. Who likes warm milk?

7. "Say It" -
Another one of those unexpected surprises. Not album-shaking but grows more likable upon each re-listening.

8. "Sell Me Candy" -
Loud. Irritating. Stupid. Bad.

9. "Lemme Get That" -
Basically, this is what "Sell Me Candy" should have been. The catchiest non-single album track. Technically, it would irritate most people on the same level as Fergie / Black Eyed Peas but I think it's a lot of fun.

10. "Rehab" -
Slightly better than "Hate That I Love You." But has just about zero replay value.

11. "Question Existing" -
One of Rihanna's weaker vocal performances on this album but the music is moody and the lyrics are smart. There's a little depth here.

12. "Good Girl Gone Bad" -
Too close to being an exact replica of "Hate That I Love You." The subject matter is a little close to "G4L" from her next album, Rated R. And that song is easily superior to this one. Would be better if they dropped the guitar altogether.

13. "Disturbia" -
Auto-tune and curse word censoring hurt this slightly. As does the fact that the chorus just isn't very good. But it's catchy. And I do love the "release me from this curse I'm in" section. This is actually very similar to "S&M" from Loud, and again isn't quite as good.

14. "Take a Bow" -
Rihanna is a big fan of Madonna, I hear. Which is why it's worth mentioning that this is the first song where I noticed she was copying a title from her ("Skin" from Loud is another egregious steal). Anyway, fantastic song. And another atypically pretty darn good performance by Rihanna.


In Conclusion
One bad cheap hip-hip track and some ultra-sappy rock-lite rnb hybrids bring the album down but the rest of it is pretty sturdy and ages well. Cohesively her strongest early effort.


Overall Album Rating

(Not counting "If I Never See Your Face Again" since it's Maroon 5's song and she just guest'd on it)

Tracks Worth Purchasing (via-Digital Music Downloads):
"Umbrella"
"Take a Bow"

Tracks to Consider Purchasing
"Push Up on Me"
"Shut Up and Drive"
"Say It"
"Question Existing"
"Disturbia"

Tracks

1. "Madhouse" -
Short and sweet intro. The only disappointment is that the awesome groove doesn't extend beyond her "na na na"s. This would make a fantastic instrumental with just the revving groove.

2. "Wait Your Turn" -
Talk about maturity as an artist! Her voice is almost tough enough to slash someone's tires with a single whip of her tongue. There's definitely a backbone here which previous songs like "Shut Up and Drive" didn't have. The football analogy for love or just making an effort here is almost awkward but she pulls it off with her very strong attitude. The beat and production are just incredible, up and down.

3. "Hard" -
Can Rihanna get any tougher after "Wait Your Turn"? Well, she comes pretty close. She really pulls off her sing-rapping here and her verses are excellent. But her guest star, Jeezy, cannot keep up. His pudding verse is a signifcant flaw in the track ("like Obama nil"?!).

4. "Stupid in Love" -
This really comes close to working. I mean, it's obviously very personal but, sitting next to songs like "G4L," "Russian Roulette," and "Fire Bomb"... it's just weak. Especially the lyrics. "This is stupid / I'm not stupid / don't talk to me like I'm stupid"? Um... convenient way to get out trying to rhyme? Needs a re-write. But the music is quite good.

5. "Rockstar 101" -
Might need a little tinkering, lyrically, but musically and vocally- WOW! The rock is moody as hell and this presents competition for Rihanna to step up to the plate and prove herself moodier than the lowkey wasteland-esque arena atmosphere. She's the biggest thing here and, man does she kill that "I'm rockin' out" section!

6. "Russian Roulette" -
I don't have any problems with this song. I just find, even though it's perhaps her single strongest ballad, it has an extremely low replay value. Whenever I see it's about to come up on the disc, I usually press the skip button.

7. "Fire Bomb" -
Now, here's what "Stupid in Love" should have been. A deeply personal, deeply heartfelt hate turn for a love song. The kind of thing almost no mainstream pop artist has ever attempted or would even think to try. Imagine "Breakin' Dishes" only with cars and the outcome is not "fighting" a man, it's killing him. The lyrics are probably Rihanna's best. And her singing is strong again. She definitely means most of what she's saying and you feel it. Is there a flaw? Not really. It's just not a song you can replay unless you're pretty damn mad.

8. "Rude Boy" -
Along with "Umbrella," I believe this is Rihanna's best song. Period. Now, people can speculate what is up with all the positive / seeking references to rough sex on here and Loud's "S&M" but who's to say she wasn't into that before she hooked up with Chris? And who's to say being beaten up in a car and against a wall has anything to do with sex? A bad relationship is a bad relationship, there's no need to ruin sex for her just because this guy didn't treat her right in other ways. Too many people just don't get s&m. Either way, whether this is actually about hair-pulling, spanking roughplay or just a call for guys to deliver on their dirty street-shout pick-up lines, this song just plain works. And it works well!

9. "Photographs" -
I wish I had nicer things to say about this one. It's lovely but entirely inconsequential. It's pretty obvious that this is the "Question Existing" winding down point in the more club oriented era of Rihanna's career and "Question Existing" is just a lot better. Good beat and pretty chorus but that's pretty much it.

10. "G4L" -
Obviously, it's highly questionable that Rihanna can pull off gangsta comparisons. But, if you take the song as a role call for women to arm themselves for protection against men or attackers, etc(.), it works. And, in fact, for being so frozen and hard and even violent, it's worth noting that this is just a beautiful song. Full of heart, even though it's apt to come off as unnecessarily cold-blooded or survivalistic.

11. "Te Amo" -
Really telegraphs what Loud became, musically. So, it fits in better on that album. Here, it falls into "Unfaithful" territory: why is she so obsessed with Rihanna that she cries desperately and can't breathe when she leaves? Why does she even love her, how did this relationship come to this point? Did these women just meet on the dancefloor? And if Rihanna is upset that she crossed the line and has to remind her to stop grabbing her (etc.), why did she follow her to the beach? Why do all the lovers in Rihanna's devotion songs find themselves so smitten with her that they break down just at the thought of her not returning their affections? These questions need some form of addressing. But in the meantime, it's a catchy song and Rihanna's singing is pretty good.

12. "Cold Case Love" -
Clearly an experiment for Rihanna. And so it has likely a lot of personal relevance to her. But I find these kinds of songs are hard for me or many others to relate to. It's too long. And it's slow and doesn't really come to anything you can feel. Not even when the beat finally kicks in (3 and a half minutes in). There are some strings at the end- maybe they should have been brought up front for the start of the song. And the human beatbox is too low and soft. The song has no oomph.

13. "The Last Song" -
A replay of "Cold Case Love"?? Well, it has a much better start and Rihanna wakes up. Her singing is pure powerhouse here. So, even though it's too slow, it's easy enough to stay with her.


In Conclusion
Obviously, this is Rihanna's strongest album. And probably her only album where she made a serious effort to pack every song with feeling and meaning. This is also, get ready for a shock, one of only 2 albums to her name where she takes some creative credit for writing. Unfortunately, Talk That Talk is the other. This is one of maybe 2 albums that make any kind of argument that Rihanna is a true artist and not just a girl singing along to songs that other people have crafted for her. That's kind of sad. Because she was really onto something here. No one wants abuse and heartbreak to be an artist's claim to fame, but I don't see why one bad relationship had to be the only thing that could inspire her to do such good damn work.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Wait Your Turn"
"Hard"
"Rockstar 101"
"Russian Roulette"
"Fire Bomb"
"Rude Boy"
"G4L"

Tracks to Consider Purchasing
"The Last Song"

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Tracks

1. "S&M" -
Critics have pounced on Rihanna from all directions for this one. Why? Probably because, on the surface, it appears to be a loving tribute to sex with whips and chains. The video on the other hand tells us that that is so not what this is really about. When considered instead as a highly observant commentary on the relationship between media sensation and the media itself, all things questionable about the song fall into place. No, there isn't much to the lyrics but people still assume the song is about Rihanna getting whipped and beaten during sex by a lover. If you think of it about her volunteering to be abused by the media, even the "c'mon on, c'mon"s, "na-na-na"s, and "I like it, like it"s feel less lazy than they should. Besides, what sort of things would you say while you were being whipped? Would you recite the Gettysburg Address? I doubt it. The song is both kinky and subversive. And, musically, it's not just catchy- it hooks into your brain and you'll never forget it. I can still actually sit through it 4 times in a row, no problem.

2. "What's My Name?" -
What kind of song is this, exactly? Not a very convincing love song. The music is this really striking techno-floral thing and the perfect ode to her then-new hairstyle. But the lyrics and vocals don't quite deliver. Well, Rihanna is singing well but there's no connection between the singing and the music. Not to mention... well, this is just too Loud. It's downright monstrous. Turn it down - which it begs to be - and you'll start losing lyrics, etc. Likely, what this song needs is some more studio tinkering. Fix the levels. Almost works though. However, I give the star credit where it's due. Everyone is performing well but the balance / sound mixer.

3. "Cheers (Drink to That)" -
No getting around it: weak song. Weak single. Weak video. It's a little catchy and comes close to being well-produced. But it serves one purpose and I don't believe it's that important anyway. Sort of like the really, really skunky version of Foster the People's "Pumped Up Kicks." If this is a road trip / travel song like the video suggests, I fear for the people directly in front and behind Rihanna and her crew of party pals. (Another superior drinking crowd song: Leona Naess's "Leave Your Boyfriends Behind".)

4. "Fading" -
Another ultra-noisy song. But, unlike "What's My Name?," there's nothing here. Vocally, lyrically- it's just noise. Well, okay- the one moment where she goes "be gone, ta ta, so long" was adorable as all hell. But this is likely the album's weakest moment.

5. "Only Girl (in the World)" -
I'm not sure all the lyrics make all that much sense, but... who cares?! This song, while not Rihanna's best, is crack for the ears. Even Lady Gaga will have trouble matching this in terms of the rip-your-ear-off to-get-it-out variety of club stomper. Rihanna's catchiest song. Period.

6. "California King Bed" -
Another "Why?" for Rihanna. This thing is dangerously close to being Deep Blue Something 90's acoustic. It's very wimpy. And the lyrics need help, big time. What is "California Wishing" exactly? I had to spend some time thinking myself of an alternate lyric that would make a better fit and I admit it's hard. But this song's problems run deeper than that. Also, I feel like Rihanna's screaming choruses were building to a much bigger end that she delivered. I give it a 3 because it is a bit catchy. But, I doubt it's been hard for anyone to forget it when it does pop up.

7. "Man Down" -
"Fire Bomb" and "G4L" are probably the only serious subject songs where it really feels like Rihanna gave you enough explanation to know what you need to know. This is close to ending up another "Unfaithful" but, musically, it is the most powerful and dramatic song on the album if you're looking for another Rated R gem.

8. "Raining Men" -
Half another painfully loud and "what am I hearing" song, half catchy verse-whipping rap song along the lines of "Hard" with a little of "Rude Boy"s firehouse shooting. Nicki Minaj proves one of Rihanna's best guests. It's a real toss-up track. If you're in the mood for it, it's good in the background. But it feels like Rihanna's attempt to make her own "Video Phone" and... well, even with Nicki in tow, there's no way she can match that song's bass blasting or its' duo's full force showstopping.

9. "Complicated" -
I think this song's a little underrated. Not only is it one of the best tracks on the album, but it's even marginally better than Rated R's "Photographs." And, hey, Rihanna's screaming completely arrests the listener unlike on "California King Bed" and the music doesn't try to drown her out like it did on "Fading" and "What's My Name?"

10. "Skin" -
Needs work, lyrically, but... HOLY FRICK: this is an amazing song in every other regard. Another perfect mix of music and vocals. And furthermore, who produced this?! They're geniuses / a genius! Feels very 80's. But cinematic 80's. The closest artist / band I could think to compare it to is Duran Duran. But I've heard this compared to Sade and that's fair. Although, I'm not sure Sade had ever cultivated a tough or violent image at any point before doing one of her sexier songs. The best guitar work in a Rihanna song probably ever.

11. "Love the Way You Lie (Part II)" -
I never caught Part I but, except for the chorus, this sucks. God is Eminem overrated!


In Conclusion
Not a quality follow-up to Rated R. In many ways, it's a sizable fall. However, there are 2 really good filler songs and 3 fantastic singles. So, if we're back to regarding Rihanna as a pusher of digital downloads, Loud is a success. About as successful as Good Girl Gone Bad and A Girl Like Me were.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"S&M"
"Only Girl (in the World)"
"Man Down"
"Skin"

Tracks to Consider Purchasing
"Complicated"

Tracks

1. "You Da One" -
I think it's fair to say Rihanna has a new style. For the most part, it can be described as less original and unique to her actual talents. "You Da One" will be easily the most successful result of the genre switch. It's catchy. Very. And you'll be singing it shortly after first pressing play. But, what the HELL does "so I make sure I behave" mean? Is she starting to regret showing her harder side? Because it did a lot for her. And a lot of people supported her through those times, which weren't an easy ride with critics.

2. "Where Have You Been" -
I hate to say it, but, given how dramatic this song is in tone... what is driving this album forward? We know what Rated R and Loud were about. You could easily see this entire song performed with tear-stained face. But as the song titles will note, this album could be about love. Not love that's over but one that's either starting or started. And, of course, there's the drug-fueled orgy that is "We Found Love"s music video. Anyway, the song is well produced but disconnected. Nothing fits together. And the choice to try and stick these things together was a mistake. The song is entirely unglued.

3. "We Found Love" -
Back to Rihanna's new style: I don't really like it. It's like techno but techno that won't commit. So, for this song, I guess you could say Rihanna found something good in a genre she had no hope of mastering.

4. "Talk That Talk" -
Just what Rihanna needed: a weak replay of an already weak song ("Raining Men"). Jay-Z's verse sucks. Rihanna's chorus sucks. And her verses aren't much better. The music is an intriguingly stripped down version of "What's My Name?" with a little minimalist energy in it (and a little "Rude Boy"). It had promise but if the vocalists can't deliver, why bother?

5. "Cockiness (Love It)" -
Now we've fully transitioned from not very good techno into terrible party rap. A track like this would embarrass The Black Eyed Peas. It sounds like a reject from Christina Aguilera's Bionic (and wow did that album already have enough weak material on it). One pro, however (unless you count the fact that this gives me an insane hunger for Chinese food as a plus): this is some of Rihanna's best rapping. Her and Ke$ha really need to hook up. Or, moreover, perhaps Rihanna could borrow some of her producers. If anyone needs a Cannibal makeover right now, it's Rihanna. This isn't hip. It's just bad.

6. "Birthday Cake" -
It's 1-minute long. That should tell you something. Anyone who thought they suffered through "S&M"s minimal lyrics aren't tough enough to sit through 1 minute of "cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake cake." If they say otherwise, they're lying.

7. "We All Want Love" -
Another cruddy attempt at an acousticy ballad. I thought "Hate That I Love You" was bland. I thought "California King Bed" was wimpy. This song nearly clears both of all these charges. Terrible.

8. "Drunk on Love" -
Back to techno territory, and, did I ever miss it. This is one of the salvageable songs on the album. But, again, it's so damn dramatic. What's up with Rihanna? I don't have a clue what she's going through right now. Of one thing, however, I am sure: she should have taken a few more months to fix this mess of an album. And even though this is one of the best songs on it, it would actually be better served sliced into pieces and stuffed into the shallow spots of Loud's "What's My Name?"

9. "Roc Me Out" -
Boring. It has a little power to it but I'm sure the listener will do more work sitting through it than anyone did producing it.

10. "Watch n' Learn" -
One of the tracks from Talk That Talk on YouTube which I linked in the Rihanna fans thread about 3 days ago was a sped up version of this song. That version is better than this much slower version. However, it is a thoughtfully made song with an interesting performance by Rihanna. At least compared to most of the garbage on this album. "Raining Men" comes to mind again. And that would make this superior to that. Another good example of a blending that should have happened back when Loud was still under construction.

11. "Farewell" -
Techno ballad? Think a cross between "All the Things She Said" (better than this) and "Return to Innocence" (better) only with the lame, saccharine sentiment of Spice Girls' "Goodbye" (easily better) and Vitamin C's "Graduation" song. (And, yes, even that song is better than this.) Whatever Rihanna is saying goodbye to in this song, let's hope it involves the inspiration for this album.


In Conclusion
A terrible album. Easily Rihanna's worst moments in music not involving remixes. The wait was SO not worth it.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"You Da One"

Tracks to Consider Purchasing
"We Found Love"
"Watch n' Learn"

Deluxe Bonus Tracks

12. "Red Lipstick" -
Almost impossible to describe. And not much more pleasent to listen to. Rihanna drowns in bad middle-eastern flavored techno "pop." It sort of sounds like her trying to blend "Mad House" together with A Girl Like Me's slithery freakmix of "If It's Lovin' That You Want." But it's not sexy or defiant. Just off and yucky. And padded with some more of the strange "Cockiness" vulgar Lil' Kim-isms.

13. "Do Ya Thang" -
Now, this one has some promise. Vocally, it's a bit messy. But it's different. And that can't be bad, considering how bad the main album is. It's easily the best rock experiment on the album. It's also one of the better love themed songs. You just like Rihanna as a character more here. It's a bit cold so I don't know how catchy it'll be with listeners. But it's easy for me to groove to. Should've been on the main album.

14. "Fool in Love" -
Very interesting. It still has the same tonal identity crisis as the main album's "Drunk on Love" and "Where Have You Been." But if this is bad, it's the most upfront and honest about how bad it is. Rihanna just walks on top of the music before it's done anything, almost ignoring that this is meant to be a song rather than a confessional, and starts quivering. Her singing is terrible but she's letting it show so she can make her feelings clear. As a song, it's at least far superior to "Farewell." But, yes, the lyrics are so personal that they're confusing. She can't possibly still be singing about Chris. And, since she addresses her parents several times, is this another song about her public image? Again: what does she have to apologize for? One of the big problems with this album is that I'm not sure anyone will know what inspired it. Unless I'm just really out of the loop and she had another disastrous relationship that I wasn't aware of.


Overall Album Rating
Standard 11-track Version:
Deluxe 14-track Version:

Tracks to Consider Purchasing
"Do Ya Thang"

Laz, I would love if you'd review Bjork's albums! I just got into her and don't really know where to start.

Eric Church "Chief"


Eric Church is one of the most underrated and under heard country singers in a long time. While, Swift , controls the country music market, Church is bringing back the underground country outlaw music genre. His country is deep, emotional, and on the edge. Nashville has no control over his lyrics of revolution. He is like Johnny Cash, Bob Dylan, Waylon Jennings, and Willie Nelson rolled into one.

Every song is different, from the theme to the beat. Church doesn't play it safe and rely on cliches instead he takes country music back to the lawless outlaw era.

10/10

Okay. Let's start with Björk's 80's band, The Sugarcubes:


Life's Too Good (1988)

Tracks

1. "Traitor" -
Well, this is the 80's and I can't let a song like this go by without name-dropping Midnight Oil (and their desertscape epic, "Beds Are Burning"). Not sure they were an influence- especially since this is a less active song, lyrically. But thanks to Björk, not lacking vocal power in the slightest. The voices (she didn't front the band, she just took the lead in most of their songs) barely crack the foreground here. The song is very moody and the soundscape is wide open. Harsh and darkly beautiful, if you can picture yourself seeing the imagery of the song's opening lines ("sun rises") in the setting I did.

2. "Motorcrash" -
This one's fun because you can hear all the lyrics up front and center. And it's freaking weird. As far as I can tell, and there's a definite story- it's about a woman who gets a new bike and acquires a suspicious habit of turning up at the sites of horrible car crashes. Leading one of the singers in the song (shoot me but I don't have the band leader's name in my head right now; it's Icelandic, if that helps) to start putting 2 and 2 together. She then either has an injury of some sort or simply disguises herself after people start thinking she might be responsible for the crashes, takes a taxi back to her house, and introduces herself to her husband like they're meeting for the first time. He recognizes her, of course, and is shocked at her behavior.

3. "Birthday" -
To me, this song will always be more of a novelty rather than the true Björk pre-solo era masterpiece I'm sure many believe it is. I'm not saying I have a perfect ear (nor am I actually saying I am any kind of expert on the full history/scope of 80's radio trends) but the late 80's were making a few bands and artists based on indie and college radio airplay (The Pixies being the best example of that 80's infamy which could be gained through "obscure" waves). I wouldn't be surprised since some have already said that the late 80's was starting to really overheat major radio pop music, making it soupy (Kenny G, Debbie Gibson's later work, Richard Marx, Rod Stewart, etc). Compared to the sappier, more flaccid late 80's ballady pop, "Birthday" is certainly more muscular. But it doesn't quite fill me with soul (the same way, say, the Cocteau Twins have been known to). Good song, not great. In my opinion.

4. "Delicious Demon" -
It seems pretty sloppy, lyrically. Of course, Sugarcubes songs often feel that way. But it is fun. Especially all the "plow" lines. And hearing Björk really go wild on some of the verses (at times sounding like she's kung-fuing someone). Great guitar and drums.

5. "Mama" -
Recalls some of "Traitor"s cold atmosphere, only to me I get a distinct vibe of anything-but desert sun. This one is icier. With only the sting of that piercing guitar to warm you up. Björk's singing is touching here. Or, gorgeous and overpowering. Don't know if anything in this song is about her becoming a mother but I believe she had a child around this time. Big drums too, one of the great 80's touches that catapults a rock/pop song into that other level of excellence.

6. "Coldsweat" -
If Midnight Oil were an influence, this is definitely the track where they're trying to prove they can out-blast their guitars and drums. This one's loud and big. Very loud and big. Björk kills it, as usual. Okay, I had a minute so I just got the guy's name - Einar doesn't take any verses but does some grunt-talking here and I'm not sure this song in particular is better with him in it. I might say "Traitor" is superior to this slightly because it made better use of him.

7. "Blue Eyed Pop" -
Here is where Einar really takes the lead. I kinda like him even though he's very silly. But he does have a range of emotions, at least. This is him in full silly mode. I don't want to say that Björk is the one who doesn't fit in here but she certainly for me fades into the background (though she gets a verse). Overall, the song isn't great. The band got labeled post-punk and this is the song trying to be punk. Ehhhh....

8. "Deus" -
Björk gets beautiful verses, Einar gets great quirky lines and delivers them in an almost sullen tone. I don't know who the character here is nor does the song give us a large picture (other than referencing clouds) but this is a fascinating song. Fantastic lyrics. Sweet, resonant and heavenly tone.

9. "Sick for Toys" -
Trying for punk again. But darker than "Blue Eyed Pop." Einar and Björk are good at their pitches, getting a lot of emotion into spiked vocals. Unfortunately, I don't care for the music at all. Good drums. The guitar by this point is making me nauseous. It's merely repetitive of what you've already heard thus far on the album. Too cold, like sea sickness, and tonally complex. But I didn't like hearing it.

10. "Fucking in Rhythm & Sorrow" -
Perhaps an answer to the problem of "Sick for Toys," the album needs a quirky song. This one's not just quirky... it's... weird. Another insane "Motorcrash"-esque story. This one involves a naked man with a weird expression on his face who climbs out the window of a high rise apartment, forcng Björk to think he is intending to jump over the edge. Responding to his potential suicide attempt (the lyrics leave open the possibility that he might have been gallanty fighting someone or ... waxing the hair off himself- that part I couldn't hear clearly in the lyrics; no, I'm not Googling them), Björk offers him strawberry cake to cheer him up and tries to convince him that he should use "pain and sorrow to fill" him "up with power." Either way, this is as country as Björk or Sugarcubes would get here or elsewhere. The music's not great even if the lyrics are funky. It's okay. And, I know the music couldn't be harder than this. It's too lite but it's an amusing enough disposable, listen-once track.

11. "Take Some Petrol Darling" -
Something of an intermission / outro. Kinda just sounds like noise. For an album like ths, this is filler. Which it doesn't need.

(The next 4 songs are only SOMETIMES counted as bonus tracks.)

12. "Cowboy" -
Too sparse, musically. Sounds like a demo. Einar is fine enough (until he starts sounding like he's being tuned with a dial- he gives this his all and wears his own batteries down) and the lighter sections of the song are very good. The darker sections are simply not good. It sounds like a trainwreck at first but does build and get better as it goes along. (But someone needs to stop distorting it with that dial.)

13. "I Want..." -
It's a virtual copy of "Traitor" but with Icelandic lyrics (far as I can tell). It only has value as a bonus track and for collectors / completists only who are curious.

14. "Dragon" -
The guitar and drums are on a mission here (the first comparison point that comes to mind is Babes from Toyland's Fontanelle album; as for a song, either "Jungle Train" or "Bluebell"). Einar is terrible, Björk doesn't do very much. This might be ambitious for punk (and what kind of punk expert am I?) but as a song, it's just a chore to listen to. Good start but maybe 30-45 seconds into it, it's already time to press the Skip button.

15. "Cat" -
Rougher than the other bonus tracks but... somehow much more enjoyable. Downright Shonen Knife meets The Kinks. You'll be lucky to decifer any lyrics but it's a short and pleasing one-off. I thought I heard "turkey" and "kissy" at one point. Björk is a lot of fun here. Great drums.


In Conclusion
The 80's wasn't really renowned for its' artists' strength with concept albums. It was more a time when the singles were more important. There of course were a few exceptions, when artists did care about putting truly strong albums together. The Sugarcubes are one of them. The main album has few flaws, the bonus tracks are too rough overall. Spirit-wise, it's a complete success. Technically, I'd say it's a very good album.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Motorcrash"
"Mama"
"Deus"

Tracks to Consider Purchasing
"Traitor"
"Birthday"
"Delicious Demon"



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(1989)

Tracks

1. "Tidal Wave" -
Back to Einar being silly, Björk being passionate and wild. Unlike the first album, the mood set from the get-go here is tropical and lite. Not a strong song, but fun and likable enough. Great horns. I like this one.

2. "Regina" -
Easily my favorite Sugarcubes song. Continues the tropic-groove funk of "Tidal" with Björk going ALL OUT. Great lyrics. Killer guitar and drums. Even though it's trying for simple fun pop, Björk adds a real sky-blasting, Earth-shattering beauty to it. Einar is still being silly but I love his wacky lyrics here. His best. "I don't really like lobster." Apparently, this song's story has something to do with ordering sea food on a plane. A plane with white teeth.

3. "Speed is the Key" -
I'm claiming bias again but I freaking LOVE this song. Einar is more gritty here, with Björk trying to be lush and beautiful. Total tonal success. More great silly lyrics. As for the mood, it feels a little like an arcade video game. So if there's any kind of outer space travel meets Tron lasers vibe, it all works. A little sludgey guitar in the second half thrown in to compliment Einar's throaty grunting. Am I painting a picture here or confusing you further? It's all over the place but every place it goes- it works.

4. "Dream T.V." -
Okay, Einar is still being wacky. Um... maybe it's time for a switch of who gets to take the lead. The music isn't flattering either's talents. It could have been pretty but the chorus section is too crowded. Not just by the competing Einar-vs-Björk but the music is unloading every sound at once. Einar is grating here. No other way to say it. Crowded and noisy. But some of it is pretty. Just not enough.

5. "Nail" -
If we're still at the beach, we've made our way to the bar and this song is darting about inside a beer bottle. Björk finally takes over, vocally. The rocking is a good, pleasent thrust and Björk is lovely. Einar comes in mid-way and even though anyone listening should be getting tired of him, he's okay here. In a supporting-role capacity. It's a simple song. And it's okay. A nice ending too, where the two competing actually takes on the sound of a brother and sister bickering back and forth (then at the same time). Very amusing, I thought.

6. "Pump" -
Björk again is leading. It starts out well but MAN is it time for Einar to have a seat in the back. The music is very nice - especially when neither is singing - until Einar interrupts. Björk is trying a little too hard. Although I'm writing this remembering how extremely disruptive Einar was.

7. "Eat the Menu" -
As you can tell, I think the album was starting to sink by this point. This song is a real "Delicious Demon" save, though. Definitely a perfect combination of Björk and Einar. Great, strange lyrics. A lot of energy. The music really works. Björk especially soars here, in the second half too you get some more of that "Regina" cloud-level high with her screeching. Which I can only describe as wonderful. Screw anyone who doesn't think she is one of the greatest singers OF ALL TIME.

8. "The Bee" -
Percussion sounds are ecclectic here, drums share space with teeth plicking (wooden keys?) and sticks rattling upon what sounds a lot like plastic light shades (tiki lights?). It's another silly pop song. It's okay, nothing too great. Einar is more successful here than he was on tracks 4-6. This should have been his song but Björk is screeching again and like "Blue Eyed Pop" on the first album- she doesn't quite fit in.

9. "Dear Plastic" -
I don't exactly know how to describe this. Since I've mentioned several times thus far that this album is clearly inspired by tropical / beach (party) music, I think it's fair to say this song is like a nightmare version of Haircut 100's "Love Plus One." Einar eventually livens up the ugly mood, which almost works. Very messy. I can't tell what works. Luscious Jackson did this kind of peppy Good & Plenty-groove funk song MUCH better in the 90's, especially on their album Fever In, Fever Out. (Yes, Good & Plenty is in reference to the pill-like candy.)

10. "Shoot Him" -
Finally, the guitar decides to get serious. Einar sounds good with ripping, dark, sludgey guitars. Short and right to the point. What can I say but that it does exactly what it set out to? I've heard this album before and this song never stood out. Hearing it again, I think this is a lot better than I gave it credit for.

11. "Water" -
Sad and VERY pretty. The best song for Björk since "Regina" and one of her best performances on the album. Einar is quieter here, making this a more successful mix of the two. Although, I'm not sure we needed him at all. Except there might be a story going on, which would make his additional lyrics important. Although, the song is again so sad sounding, I'm not sure I'd care to know what the story might be.

12. "A Day Called Zero" -
Fast and somewhat short. But ultimately, except for the title sung repeatedly as the chorus, you won't remember anything about it. Another victim of too many instruments at once. Too crowded. The singing is also too fast, yet there's not much energy generated by anything you hear.

13. "Planet" -
Maybe I'm giving this more credit just because the album has a lot of weak spots but like "Water," it's achingly pretty. I believe this was a single and I'm not surprised. It's just plain nice. And somewhat unlike "Water," Einar fits perfectly here. Björk is perfect and the lyrics are lovely in every way. By the time we got to "Water," the album's setting seems to have gone deep underwater. This definitely has a mood of wonder and exploration.

14. "Hey" -
More tacky beach party / dance music. It's beyond silly- Einar is back to being plain annoying. Björk is trying to be funky. The music is successful. Even very nice to hear. But this would easily be better as an instrumental. Good to dance to as music but as a song, it's hopelessly clogged. Björk doesn't fit here either.

15. "Dark Disco" -
The only song so far that truly sounds like it belonged on the first album. Although... in this case, it's more like a rare example of filler for that album. Or like one of its' bonus tracks. The guitar is great. Nothing else is.

16. "Hot Meat" -
Ouch! A country twang cover of "Coldsweat" from the last album. If I'm not mistaken, the lyrics are exactly the same. Who really wants a cover of a song from the last album? Worse yet, Einar is plain awful. He sounds like he's channeling one of the Firey's from 1986's Labyrinth.


In Conclusion
The first album was much darker and worked more with dramatic themes. This album is purely an experiment in quirkiness. And... well, it needs a little of the first album's dark edge. There are rare moments where the punk spirit here meets (and one where it surpasses) the first album. Like the first album, there are moments where it becomes repetitive. But unlike the first album, there is easily more filler and several songs are poor or unmemorable. And there's less attempt to separate Björk and Einar. More songs means they should in fact do more separating. They do a lot less. So, their combining is less harmonious and feels like competition. Strangely. Björk can't do harsh, angry rock and Einar can't do heavenly siren singing. Yet, every song finds a way to make them clash. With only a precious couple making that formula a perfect match.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Regina"
"Speed is the Key"
"Shoot Him"
"Planet"

Tracks to Consider Purchasing
"Tidal Wave"
"Eat the Menu"
"Water"



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Stick Around for Joy (1992)

Tracks

1. "Gold" -
It has its' moments. In the second half, mostly. But it's not a strong or decent starter. Nothing much remarkable about Björk or Einar. Okay at best.

2. "Hit" -
Starts off flirting with potential rap record-scratching. Then moves into James Bond spy theme. Twangy guitars, hollow drums (they get stronger in certain passages). Not much going or it. Björk tries admirably to pretty it up but, much like "Gold," the whole thing just kinda sits there. Not much energy and Björk's passonate vocals are not supported by great music. It's trendy for its' time though. No argument there.

3. "Leash Called Love" -
Too processed. Björk is defnitely taking the lead but... you can barely hear her. For once, the band seem uniformly frozen. Not compellingly cold like on "Mama" or sweet like on "Deus." Just... blocklike. Loud drums, if you like that. Best described, since the original was aiming for James Bond theme music, as a very weak stylistic copy of The Eurythmics' "Would I Lie to You?"

4. "Lucky Night" -
More trendy rolling, clicky drums and strummy guitars. Yawn. Red Hot Chili Peppers did all that better. Einar has been quiet even when he has chimed in so far. His humor, at its' best, livened up dull songs on the Sugarcubes' previous albums but there's no hope of that here. The drums do not blend with him, they're trying to kick him out of the mix. Björk's doing very well here though. Things get better about halfway through, the energy level picks up tremendously. It's half a tolerable-at-best song and half a pretty decent song.

5. "Happy Nurse" -
More loud drums. God those things are repetitive here. Einar's trying something different to finally adjust to this overly processed new mix but he kinda sounds like he's copying Chili Peppers' Anthony Kiedis. And it's not working, though it almost sounds like it is at first.

6. "I'm Hungry" -
Starts off nice but has a very crowded pre-chorus section. The drums work better here than in most of the other songs. But, again they really try and bury the vocalists. This sort of sounds like live performances but recorded by someone who wanted to show off what the drummer could do. Björk rises above the clanging a few times and is really nice. Einar fares a lot better. Finally. When the drums decide to quiet down in the last 55-60 seconds.

7. "Walkabout" -
The fact that I believe this is actually the title of a Red Hot Chili Peppers' song makes the comparisons all the more awe-inspiring (RHCP did their version 3 years after this album though). There's no question they were heavily inspired by RHCP by the time this song comes up. I don't like the slivery guitar work here at all. The vocals are entirely unremarkable. Though Einar tries, and mostly succeeds (because he sounds like himself, and... subdued).

8. "Hetero Scum" -
More RHCP drums. Better guitars than most of the previous songs. But again, those dang drums are too loud. Shortest song on the album. But, in this case, it also means overall that the band isn't trying as hard. Except for Björk who gives one of her better performance of the album here.

9. "Vitamin" -
Finally, a little genuine energy. Björk lets loose with a stream of "wooooo"s. Both the guitars and drums are terrible at the start. A little tropical flavor and a lot of clapping snazz it up however. Halfway through, the guitars turn electric and completely wake everyone up. Not nearly on the level of "Speed is the Key" but the album really needed this song. Einar now sounds like he's channeling B-52s' Fred Schneider.

10. "Chihuahua" -
Well, the moral of this album is definitely: don't copy one band when you were a pretty darn good band yourself, back in your own heyday. This one is more lame-side-of RHCP. Although, to give it a little credit, it sounds like it just might have set trends for later hits such as Snoop Dogg's "Who Am I? (What's My Name?)" and Bis's "Detour."


In Conclusion
The album cover inescapably looks like it's invoking a Christmas vibe (and the sperm imagery works when you consider the holiday is a celebration of a birth). I can handle that. But a lot of Christmas music is plain filler. This album is okay for coasting or low-level cruising. But it has almost no energy. It's a hollow machine. And you will barely be able to tell one song from another, it's that repetitive.


Overall Album Rating


Tracks to Consider Purchasing (via-Digital Music Downloads):
"I'm Hungry"
"Vitamin"

808 State - ex:el (1991)

Tracks

4. "Qmart" -
Now I almost feel embarrassed about saying I'm not a classical and punk expert...: because I not a techno expert either. Anyway, Björk collaborated with 808 State on these two songs and this one is my favorite. As well as being an A+ collab, this is actually one of my favorite songs of all time. Like "Traitor," I'll try and describe the mood by saying it reminds me of a laser light show in the jungle playing over time lapse photography of skies with clouds that speed by like cars and sun / moon shadows which cloak and uncloak the grand canyon like a light switch flicking on and off. Use your imagination.

7. "Ooops" -
Fun lyrics. Very dramatic music but with the appropriate amount of passion. I might not know techno but I do remember this era of techno music. And I miss it a lot. Maybe I'm more attached to these songs than most people would be. I guess you could call them dated but they are potent mood-setters.


Overall Collaboration Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
both



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Family Tree (2002)

Tracks - Disc 1

1. "Sídasta Ég" -
Dreary guitar but a well-performed song. From the Debut era, a quiet and very direct alternative track to add to the very ecclectic batch of songs.

2. "Glóra" -
Another Debut b-side. No vocals. Just a lovely woodwind. At only a minute in length, it feels like an intermission / intro.

3. "Fuglar" -
A lost Sugarcubes track? Not sure. If that's Einar doing the screaming (yeah, that's him), he's being his usually annoying self. Good and moody. Very moody.

4. "Ammaeli (a and e joined together)" -
"Birthday" in Icelandic. Not really for me to rate this low but I've already given the original version (I assume to some extent, the English version was always the original) a high enough rating.

5. "Mamma" -
The exact same version of "Mama" from the Sugarcubes' first album. In English.


Tracks - Disc 2

1. "Immature" -
An alternate version of the LP version from Homogenic. This version has no techno backing and has different vocals. It's great to be able to say this but in some ways, I prefer this version to the album version. Actually, in most ways, I do. Hopefully, when I get to that album I'll be able to explain why but Homogenic was my least favorite of her albums for awhile even though most fans and listeners consider it to be her best.

2. "Cover Me" -
Alternate version of the LP version from Post. My favorite Björk album, so an alternate version of any track from that album has big shoes to fill. This one goes for a Carnival of Souls vibe. Which means it's creepy. The original version had more mystery and atmosphere to it. This one feels like an experiment of what would become the LP version of "All is Full of Love" on Homogenic, or "In the Musicals" from Selmasongs.

3. "Generous Palmstroke" -
Live version of the b-side from Vespertine. It's good because Björk is a rare incredible live performer while most artists just aren't. The studio version is easily superior in my eyes. However, the strings are pretty wacked here and the bass is trippy.

4. "Jóga (String & Vocal Mix)" -
Far as I can tell, it's the same vocal mix as the LP version but the final music mix is stripped (mostly) of the bubbling volcanic sound effects and pulsating techno beats. This is perhaps a bad example of how these mixes intend to purify Björk / make her more classical. You don't get a higher appreciation for the strings in this mix, in my opinion. They stood out more when they rose above the beats. The strings are pretty, though. So, it's a nice mix for awhile. But gets pretty boring before long. Unless you worship the performers on the strings rather than Björk and her producers.

5. "Mother Heroic" -
Another Vespertine b-side. And a good one. Fits in somewhere between "Harm of Will" and "Sun in My Mouth." Very short. So, I hesitate to say it's better than one of those two (but I never cared much for "Harm").


Tracks - Disc 3

1. "The Modern Things" -
Something of a demo of the LP version from Post. As I said, these alternate versions have big shoes to fill. However, this one FILLS THEM! Completely. It's not only ... WOW! (is the only thing I can say). But it's even better than the LP version in certain ways. It's certainly headier. You practically feel like you're swimming around in a lava lamp.

2. "Karvel" -
I already raved about this one last year when I posted it in the "Listening To Now" thread. With link. Unsurprisingly, it was a Post b-side on the "I Miss You" single. My favorite era of Björk's music, more energetic than either version of "The Modern Things" but every bit as intoxicating. Deep and bass heavy jungle-esque beats; perhaps my favorite original Björk b-side.

3. "I Go Humble" -
Another Post b-side. More perky than most of the songs from that album. But excellent beats and still retains that ethereal high.

4. "Nature is Ancient" -
A new song made for this boxset. Definitely well-placed in the Post era selections. Good beat but overall, just bass and bio-spiritual quirk. Nice for a minute but it's a little one-dimensional.


Tracks - Disc 4

1. "Unravel" -
Strings version of Homogenic's LP version. I guess I'm not much for this kind of thing. Maybe I just don't think strings-only mixes are right for Björk. Her voice just happens to be more adventurous and active than these strings seem to be.

2. "Cover Me" -
A very playful strings version of the Post LP version. Even Björk's having a lot of fun here, being creepier than the music. Points for how wild these guys were able to make a strings cover of this song.

3. "Possibly Maybe" -
Strings cover of the Post LP version. It's not good. Björk sounds boarish and impatient. And the original version was a masterpiece anyway.

4. "The Anchor Song" -
Finally, a beautiful and sweet strings cover (of Debut's LP version). This one is good. Björk's vocals are superior in the brass/sax studio version but this is a good alternate version to have. It's just beautiful. Even if, to me, it doesn't seem like Björk is quite on-form.

5. "Hunter" -
Another surprisingly good strings cover, though it's of one of Homogenic's best tracks. But a good strings cover is a good strings cover. The studio version is, of course, superior. But this is great: the strings are loud and ... well, they make more of an impression than Björk is which is what the "Possibly Maybe" cover needed. We also get some additional lyrics not on the LP version, which Björk puts her full heart and soul into.


Tracks - Disc 5

1. "All Neon Like" -
Björk seems REALLY off but the music is incredible. Nothing else to say, this sounds like a classical masterpiece to me (not that I know anything about classical).

2. "I've Seen it All" -
Fuller lyrically - with alternate lyrics - than the original soundtrack version (from Dancer in the Dark). And of course, no Thom Yorke. Another string cover. It tries to be quirky but the soundtrack version was broad enough. This just strikes me as unnecessary overkill. For what it's worth, Björk is AMAZING here. Maybe even more glass-shatteringly powerful than I've ever heard her.

3. "Bachelorette" -
There's no getting around it, I'll have to face the jury on this soon enough... "Bachelorette" is one of my least favorite Björk songs. Do I think this strings redo improves upon the album version or is it lousier? Not sure. I'm actually, like with this boxset's redo of "Immature," a big fan of a peeled down version and think the original version's volcano / geyser explosion was overkill. This redo is no less melodramatic (my opinion, remember) and maybe in this case, that's what it needed to be.

4. "Play Dead" -
The original version of this song (both a Debut bonus track and soundtrack offering to the Harvey Keitel flick The Young Americans) was a bit sour and might have been as melodramatic as "Bachelorette" for me if Björk hadn't been able to really sing above the dreariness. Though it's also a polarizing song for me, leaving me feeling one way one minute and a whole other the next. Anyway, this strings redo is too sweet but it really works. In a sense, it might even be as good as the original if not better.


In Conclusion
A boxset of b-sides, demo's, alternate versions, and other rarities, Family Tree can be summed up best as being for Björk's biggest fans. Almost exclusively. As for me, I just picked off a few tracks. There's quite a bit of overload here. Especially in the 6-disc packaging, 5 of which contain no more than 5 tracks a piece- each track under 6 minutes in length. And it's meant to be like a "finely selected" set rather than a fully selected set, especially where the b-sides are concerned. There's a lot missing and a preference shown toward string mixes. Almost none of which are better than the album / single versions. For what it is, it seems made to do as I did: pick it apart and take only what you will. Or make your own mix.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Immature" (Disc 2)
"The Modern Things" (Disc 3)
"Karvel" (Disc 3)
"Hunter" (Disc 4)

Tracks to Consider Purchasing
"Sídasta Ég" (Disc 1)
either version of "Cover Me" (Disc 2 & Disc 4)
"The Anchor Song" (Disc 4)
"Play Dead" (Disc 5)

NOTE: I didn't review / mention Disc 6 yet but I will when I get to the Greatest Hits compilation.

(This is the cover to the Telegram compilation CD but below are a lot of assorted b-sides, remixes, and soundtrack songs. From all over the place. But I'll stamp them, historically.)

Tracks

"Atlantic" (2:03) -
A b-side found on the "Human Behavior" single, from the Debut era. Sung entirely in Icelandic, as far as I can tell. Björk's singing is incredible here and the music is entirely wonderful. However, I've encountered elsewhere a remix with some more power to it (this one is a spritely flutey tune) which knocks this out of the park. This version is just immaculately performed even if I wanted a little more electronica this time.

"I Remember You" (4:13) -
This is my favorite version of this song, even though it's a real oldie and has been covered MANY times. So, I'm partial to the high rating. It's a real companion piece to "Like Someone in Love" from Debut and can be found on the single to "Venus As a Boy." As for which is better... this one has stuck out more in my mind over the years. But there's more going on, sonically, in "Someone."

"Sweet Intuition" (4:43) -
This one you'll find on the "Army of Me" single from the Post era. And what it is is really an alternate version of the song she wrote for Madonna's Bedtime Stories album (the title track, "Bedtime Story"). The lyrics are extremely similar "all you've learned, try to forget it," "and inside, we're all still wet." Although, the "fuck logic" bit is new. How good is it? Madonna's version is better even if Björk sounds more at home with the lyrics. It's the music. Which is nice but it's just barely a crawl compared to the leaps and bounds Post was really capable of.

"Charlene" (4:45) -
Found on the "Isobel" single, again from Post era. Semi reggae-inspired. Good experimentation for this era, driven more by the pleasent beat than by Björk though this changes toward the final 90 seconds. Good. Simple.

"My Spine" (2:33) -
This one's actually from Telegram, and the only song on Telegram that isn't a remix or single from Post. It doesn't really fit in on either Post or the tundratic epic Homogenic, which makes it a fun detour. Just some bells and Björk being quirky ("I adore back-of-necks, beautifully shaven"). When she sings something, she commits to it like no one else does or could. This is a great example of that talent.

"Sweet Sweet Intuition" (6:07) -
A stripped down version of the original "Sweet," found on the "It's Oh So Quiet" single (still in Post era). It has a certain power to it but not only is it unnecessary overkill after the original version but the music doesn't really evolve. It just sounds crabby or cramped and then someone gives it a massage and it evens out. But it's a long track and it doesn't improve upon the original version nor does it give us anything great by itself.

"Sod Off" (2:56) -
WOAH! Right out of the gate, power and passion and a sound that was nowhere to be found on Homogenic. And if I'm not mistaken, this is entirely string-oriented. Where a lot of the string mixes collected for Family Tree lacked punch, this one has it in spades! Beautiful. Angry. Lovely. Passionate. Wow. Found on some versions of the "Jóga" single.

"So Broken" (5:59) -
Another b-side from the "Jóga" single. Excellent guitars. They almost feel like percussion, the way they compliment Björk when she really gets going. However, the whole thing comes off like a novelty. It's a good showcase for the guitar player(s) but it lacks power. Or much of a point. It's also a long track, so, the effect of the whole thing's "okay, not very good" start gives it that "okay, you can end at any time now" feeling which I think isn't very good for music. Put it on in the background, it'd be fine.

"Scary" (2:34) -
This is from the "Bachelorette" single from the Homogenic-era. It's a weird little French aristocraticky upbeat ditty, which I love and can't figure out. But it doesn't matter- Björk is singing THE HELL out of this thing. Those "and tomorrow passed them by"s are downright tear-jerking for such a quirky song. Instrumentally, it has no percussion that I can hear but there's a lot of passion here.

"Verandi" (4:28) -
This one's tricky. It's extremely sweet right out of the box. Maybe too sweet. Which hits you as overwhelming. It retains this power but I'm not sure it works. If it does, it's masterful. And likely would have to be cranked up to a point. Then, it undergoes a robotic / sci-fi makeover it didn't need about halfway through. This hurts it tremendously. Thankfully, that's just a tunnel that the song drives through and goes back to being interesting. Tricky. Very worth hearing. Just for the listener to decide. It's unique, I'll give it that. It can be found on the "Hidden Place" single from the Vespertine era. This is also a sound the album might have benefitted from including to some extent, though the robo-sci section is best left in the ashes of Homogenic.

"Foot Soldier" (2:35) -
This one you'll find on the "Hidden Place" single from the Vespertine era. It's better and more playful than "Harm of Will" but if it had made the album, it would be among the weaker tracks. It's really short, so that makes the tappy techno beat a good listen for a couple minutes.

"Generous Palmstroke" (4:26) -
Also on "Hidden Place". And this is exactly what Vespertine was missing. A quick switch with "Harm of Will" (which I mentioned last time that I never liked) and the album would have been perfect. Björk also has an affinity for this song, but she likes to perform it as bare as she can get it. This studio version has some extra wratchet sound effect twists and choiral humming. It's just a good, emotionally intimate, beautiful song. And remarkable for how much it could have / should have been added to the album it was cut from.

"Domestica" (3:25) -
Found on the "Pagan Poetry" single, still in Vespertine country, there's just about nothing to say here. It's boring. It's a wind-down track swimming in some lukewarm leftover froth from far better tracks on the album. Yet another Vespertine b-side with Homogenic-envy. The drum beat is lame, the lyrics have almost no energy, and the added sound effects are... well, they're okay. Nothing special here. At all.

"Batabid" (2:26) -
Another b from "Pagan Poetry," this one an instrumental. It's short. It's nice. And repetitive- its' only flaw. But if you like it at the start, you'll love it the whole way through. Very picturesque.

"Synchronicity" (2:21) -
A tiny soundtrack contribution to, of all things, another artist's music video. No idea how it can be tracked down, but to be blunt- it's not worth the effort. It's quirky but it doesn't sound like Björk. It has no style, the audio bits are annoying, and it's just an entirely uninteresting novelty tune. The first 35 seconds are REALLY nice though.

"Work in Progress" -
Apparently, this was a b-side from Volta that was released exclusively to MySpace. It sounds like a video game and a very strange medley of songs and sounds from various Björk works. It's only 1 minute long but it's just... COOL. Should have been included on Volta as an intro or outro. Would have added a lot to the album! Though I suppose it could also be interpreted as a psych-out. Getting people excited for a much more energetic and quirky album than Volta turned out to be. Anyway, this track has so much energy, it's like pure crack. This is exactly what Björk should have been aiming for at the time of that album. Something faster, not something slower. And as a result of her hesitation to actually evolve sonically rather than conceptually, we ended up with 3 lackluster albums in 8 years. This track held a lot of promise.


Tracks Worth Purchasing (via-Digital Music Downloads):
I don't believe any of these tracks are currently available on reputable MP3 download sites. But, if they were or if they ever become so, I would recommend everything above which I gave 4.5 or 5 stars to.



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Greatest Hits (2002)

15. "It's In Our Hands" -
More than a little sappy lyrically and tonally. But, musically, it's just a damn good song. Never gets loud but it has both its' indescribably pretty spots and fascinating dark moments. Excellent example of the kind of quirky and interesting electronica that makes Björk one of the most important artists of her time. Is it worth purchasing? Yes.



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Being John Malkovich - original motion picture soundtrack (1999)

1. "Amphibian (Mark Bell Mix)" (2:48) -
As usual, when it comes to various mixes, there is only room in my heart for one version. And this is not the superior version. It's very nice, for what it is. Which is entirely different from the version you hear in the movie that plays during the end credits and set such a beautiful mood. Nothing else to say after that, really. Is it worth purchasing? No.

21. "Amphibian (Film Mix)" (4:36) -
Not as much bass here as I would have liked but it's exactly how the movie pinned it. A real drowning peacefully in the pool theme (the camera went diving and it was a good moment). The closest thing Björk would ever have herself to a James Bond theme. Which should tell you a lot right there. Is it worth purchasing? Yes.



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Alarm Call single

1. "Alarm Call (Radio Mix)" (3:22) -
Except for trying to branch out, sonically, and plug into a new sound that wasn't explored on the album, I will never get why so many electronic artists decide to use a non-album version of a song for a music video or "radio mix." They are almost always vastly inferior to the original versions. This version isn't bad. But it's not good either. It has a good beat but Björk's singing is horrendously chipmunked here. It does fit very well with the excellent video, however. But Björk is an artist for which power or strong experimentation is key and this has neither. Is it worth purchasing? No.



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Who Is It single

3. "Who Is It (Bell Choir Mix)" (3:50) -
Another album track edited for the video version. It's lyrically catchy but I have never liked either version of this song. There are other remixes on this single but I didn't gravitate toward them either. This one is at least different from the album version, which always to me felt like a really weak attempt to do another "Where Is the Line" which I think might have been a little underrated in the grand scheme of Björk's output. Of all 5 singles from Medulla, I think it's easily the best. And "Who Is It" was the weakest. So, I understand the desire to remix it. However, I'm now convinced that there's no way to make this track great. Is it worth purchasing? ...Ha; no.

Anyway, we're into the home stretch: her formal albums.



Debut (1993)

Tracks

1. "Human Behaviour" -
Björk albums are known for their strong openings. It soon becomes a question of which album has her strongest. For me, it's gotta be this one. It's not as aggressive as Post's "Army of Me" but it feels even darker. More complex. Somehow. Her voice is at its' most beautiful here. Sweet and bitter to compliment the song's harshness. Which also has its' lilting quality. Björk's music also is very adept at conjuring imagery. The accompanying music video took Björk into the wilderness during a dark, bizarre, and creepy night and mixed freak surreality with serene dreamlike sequences. It's a big song that does a lot sonically to bring the brief lyrical themes to life.

2. "Crying" -
This is the kind of song that is responsible for giving Björk a reputation with quirky lyrics. She also gets flack for being silly. I enjoy most of her parodies, because they're truly not that easy to do. But she's only an artist to take seriously. The power on display in even a song like this - which is pretty dated - from her vocal performance and the incredible passion she puts into the lyrics (especially the whole "ship would sail in" section) elevates the song from "okay" peppy techno-pop into elaborately evocative, futuristic territory.

3. "Venus As a Boy" -
You guess the theme here: romance? Flirtation? Steamy sex? Well, the song is one of Björk's greatest achievements. Categorized as dreampop because of those lilts this album has so many of, this song is much more lively. Steamy is a great word to describe it but it's not fogged up. It's really lush, picturesque, and breath-takingly alert.

4. "There's More to Life Than This" -
Apparently, this was something of a live performance. The album credits it as being recorded at the "Milk Bar Toilets." The music is very fun but the song is mostly experimental. Only Björk and a few sound effects can ever be heard clearly. So, the focus of the song is mainly the sound effects. Several times, it seems as though the music is coming from a boombox being carried through various rooms and when doors open or shut, you get the effect of the boombox having been left in the other room with the bass rattling the walls. But there's a great distorted techno club dance beat. Hard, rather than the light and peppy quality to "Crying." It would be nice to hear everything more clearly but this time Björk's SHATTERING vocals become more ethereal as though they were actively fading into the background like a siren. Different. Overall, it might have been better if we had been able to hear the music right up front and center but this mix still works. Very well.

5. "Like Someone in Love" -
Another song playing heavily with sound effects. There's a whole wooshing intro with bikes ringing, children laughing (which actually sound authentic), and people on the street just talking. Björk's singing is understated here and she usually knows exactly what she's doing. The harp music is not very moving here. Which is why it's best that the song is so overworked with its' sound effects. I mentioned this song when I talked about "I Remember You." I think "Remember" is likely superior. I just don't care for this song.

6. "Big Time Sensuality" -
I have never liked the "Fluke" remix of this song which was used for the single. But I know why they used it. There's a cutesy effect to the glue which melds Björk with the main dance beat here, which is wonderful, that slows it down. But, everything else about the song is stellar. And there's a sax. For the singles, 3 out of the 4 songs chosen were not really dance songs. The only slight flaw here is that it has wings to be a harder and wilder dance song but it's given little pop training wheels which hold it back from going all the way.

7. "One Day" -
Another one of Björk's most lush and touching tracks on the album. This starts with happy-baby sound effects and the lyrics could be seen as silly for its' growth metaphors but everything in the music is picture perfect! This song truly soars. The atmosphere of its' production is strong even if Björk isn't going as high as might have been expected. A deathknell for this kind of techno but also one of the best all around examples of it.

8. "Aeroplane" -
More sax. Even though there is a lot of tropical-ia in the sound mix, this is more a sturdy and woodsy love song. But one with a lot of significant emotion. It's truly astounding to see how many times Björk can hit the sky with her singing ability and never make you feel like she's given you all she's got. I have mentioned that she is one of the greatest singers who ever sang, haven't it? :D

9. "Come to Me" -
My favorite song on the album. And probably the album's least dated. There's almost nothing to say. It's just plain beautiful. Simply perfection. A little chilly but those notes only serve to deepen everything about the song.

10. "Violently Happy" -
A lot of imagery implanted here. The techno beat is great. But overall, the song is not as heady as it could have been. This time, it's got quirk training wheels. But shortly after the halfway point, there is one remarkable, perfect stretch of uninhibited techno.

11. "The Anchor Song" -
Just horns driving this one, musically. Very well-written and very quiet. But Björk gives it a little personality. The lyrics are the song's best feature. They're actually incredibly catchy by themselves.

-

12. "Play Dead" -
Included as a 12th track on all later releases, originally it was not on the album. It's a sour note to end the album on. As techno-pop, it's more than a little melodramatic. But the strings are very nice. Björk is wonderful but the horns are very unattractive and the beat is on the wrong side of downbeat. It's a wholly unpleasent song. But credit to everyone involved for commiting to making a song which appropriately fits its' title. They do and it does.


In Conclusion
As a pop album, it's fantastic because it's relentlessly adding new things to the fold. As a techno album, it is inhibited by a certain amount of quirkiness. And altogether, the album is populated by quite a bit of Björk's most dated material. But it was groundbreaking back in its' day and thanks to its' great production, it's still pretty good now.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Human Behaviour"
"Venus as a Boy"
"Big Time Sensuality"
"One Day"
"Come to Me"

Tracks to Consider Purchasing
"Crying"
"Aeroplane"
"Violently Happy"
"The Anchor Song"

Post (1995)

Tracks

1. "Army of Me" -
An absolute bulldozer in every way, shape, and form. Lays waste to all in its' path. Both one of techno AND industrial's finest offerings of the entire decade. Björk's vocal delivery is very cloaking. Throatier than usual too.

2. "Hyper-Ballad" -
Another example of perfection in its' field- this time bouncy, gummy techno and lavish dream-pop. The bass (which almost sounds kin to a spaceship landing) will tear your speakers apart, it always did mine. The lyrics are stunning, as of course, is Björk's performance.

3. "The Modern Things" -
Another of Björk's ultra-quirky songs, lyrically. The music is indescribable. I literally can't describe this to you. It's GLORIOUS! Even orgasmic. It must be heard.

4. "It's Oh So Quiet" -
Björk is a big fan of musicals and... I'm not. Even though I prefer later musical inspired tracks where she would put more techno into the mix (Selmasongs's "Cvalda" being a good example), for what it is- this song is perfect. The brass and horns are INCREDIBLE. Björk's screaming and screeching ("WHA-OW!! BAM!!!") here are also just so well-done. Even though I've never loved the song, it's too hard to fault it.

5. "Enjoy" -
Another song that is impossible to describe. Although, I could try: anyone remember C.H.U.D.? Well, mix that with a bit of Monkey Shines and Teenage Mutant Ninja Turtles, then give it a nasty fever, pour syrup on it (not Dimetapp- Maple), and run it through "Army of Me"s factory of mechanical sludge. Funky. No, really.

6. "You've Been Flirting Again" -
Too simple. Really an interlude to prepare for the album's second half. It's just nice, musically. Nothing more. Although the lyrics are pretty provocative.

7. "Isobel" -
Björk and co(.) tried several times to incorporate tropical and jungle styles into their incredible trip-Pop mixes on her 90's albums and this is easily the most successful of all their attempts. The strings here are SO sharp, they might make you cry. Another one of Björk's so-beautiful-it-aches songs. Retains some of "Enjoy"s feverish quality.

8. "Possibly Maybe" -
I'm running out of words to describe these songs fast. That or none of them can ever do these songs justice. Elegant. Cleanly focused. Perfect. Hear it for yourself. It's perfect.

9. "I Miss You" -
A rare example of a melodramatic Björk song that is perfect because the music is not playing anything up or down. It basically sounds like Björk is pouring her heart out to her lover on a soccer field with a game in full swing. I'm not kidding. The song is bouncy and clacky (DAMN, this album stands up as one of techno's best anythings ever produced). You get a little more of the leftover dirt from "Army of Me," mixed with some wicked bongo-meets-kettle drums, wild horns, and whistle-blowing sound effects. It's an insane song. And everything about it works. Another perfect track in the bag for this amazing album.

10. "Cover Me" -
Another incredibly short interlude-esque track. But this time, there's A LOT going on in the sound mix. There's a storm, wild animals, and some very strange nature howling off here. Very unique.

11. "Headphones" -
Another song that whips the hell out of your speakers. It's about as tribal as Björk gets but it's also very progressively futuristic for its' time. It's one of the longer songs on the album, so the fact that it's too sparse, a little too repetitive, and unsurprising are not good things. But it's appropriately soothing.


In Conclusion
This time, the tables are a bit turned. It can't be judged as a pop album because it's far too complex and amazing to be tied down by those restraints. As a techno album, when it's giving us a lot- it's really giving us EVERYTHING. But it attempts a few experiments that I wouldn't say hold up as well as the big songs. Apart from the quieter tracks, I would say this is one of the most powerful albums of its' genre and certainly of its' time.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Army of Me"
"Hyper-Ballad"
"The Modern Things"
"Isobel"
"Possibly Maybe"
"I Miss You"

Tracks to Consider Purchasing
"It's Oh So Quiet"
"Cover Me"

Homogenic (1997)

Tracks

1. "Hunter" -
Homogenic is a revolutionary Björk album when it comes to strings. But this song could hold the distinction of having the best beats on the album. Emotionally, this album (and this song) are Björk's strongest work and she really slides from the foreground into the background and from low to high like she's being poured. This song is one of the best on the album. Frosty but perfect.

2. "Jóga" -
This is also a difficult album for me to in any way review because it has to be experienced in a certain way. Having at least 4 speakers to play it at your disposal will reveal a lot more in the mix than my 2-speaker stereo usually does. Anyway, the techno is weaved intricately throughout most of the songs to bring the music to a higher sonic plateau. This song is remarkable for several reasons. In 4-speaker, you can tell how well the techno is applied- even though the strings have all the emotional impact. All the impact aside from Björk, that is. She's amazing, I hardly have to mention that. The important detail to mention with this song are the lyrics. Which are among her definitive: coinsidense makes sense only with you / you don't have to speak, I feel / emotional landscapes, they puzzle me." Although the entire album gets pegged as pretty icy, these lyrics are very warm.

3. "Unravel" -
More provocative lyrics. The deep, pendulum'ming beat and the organ at the very end are the song's best features. There's also some very elongated bagpipe-sounding notes and what I can only describe as chicken-pock blips beaming over the interior walls like a laser stream. It's unique for certain but the effect of the song is one I have never craved while listening to Björk. It's also hard for me to judge the album in being honest, some things about it I have never loved. This is one of them.

4. "Bachelorette" -
Here is another. For me, the strings here are kind of hideous. As are the menacing keys playing throughout the verses. You really have to listen to it closely multiple times in a row - which is as much a turn off for me as for most people - to catch how many layers it has. But then, it rocks back into savage waters. This is just a loud, impossibly harsh-sounding, scratchy, unpleasent, and intense song. I wouldn't take credit away from it for being ineffective, in fact- it probably couldn't be more effective, but there's little about it that I actually like. Forget love, I'm talking about even liking this song. Which I don't. Though I do like the Parisian accordian thing that slinkies out in the last 40 or so seconds.

5. "All Neon Like" -
This album deserves nothing but credit when it comes to how effective it is at extremes. When Björk sings a lyric like "luminous beams," that's exactly what the music gives us. This song is not one of Björk's most dramatic songs but it ends up being one of her most beautiful. Surprisingly pure. And completely genuine. Killer beat and astronomical waterglass type sounds (I have no clue what instrument is making them) drive this little 6-minute ball of light to glory.

6. "5 Years" -
In my opinion, this is a better mix of more-unconventional electronic instrument arrangements than "Unravel." But perhaps it works so well because it was lead into by a series of songs that included "Unravel." The scratching beat is fantastic and the strings do an amazing job of increasing the drama of the song. In this case, it's possible that the lyrics are the weak spot. I mean, I only remember one or two lines without actually Googling up the lyrics.

7. "Immature" -
Another jungle-esque song. I'm not crazy about the broken spring / clock-gear rolling around in a salt shaker tinkering sound that rattles throughout. But Björk is perfect here and the lyrics are pretty unforgettable. Overall, I plain don't like the music. But I'm not sure I can fault it.

8. "Alarm Call" -
Another case of a single that was remixed and were the album version was clearly superior. Though again I can see why it wa remixed. This doesn't sound the slightest bit commercial. The main beat is exceptional. But this song is a car that stops and sputters around quite a bit before it really gets going. It needs more gas and to be let out of its' harness. But Björk is really amazing, again, and if you take this song as being a kind of demented clock- the disembodied additional sound effects give it a little something extra.

9. "Pluto" -
Another very aggressive, loud, clattering track. But it's also a very sleek one that packs a hell of a beat and transforms into... something else. Something otherworldly. And amazing. Which involves more of Björk screaming. Really screaming. Cool.

10. "All is Full of Love" -
I'm a moderate fan at best of the remixed version of this song used for the single. It actually has a beat to it, which this one could probably have used. But, this version benefits from a real transformation. Into... yeah, these are always hard. There's a kind of tazered, electric swarm of insect dot particles that shoot out of your speakers. Best way I can think of to describe it. A very interesting sound. The song won't move you very much, but when it's over you'll still feel it on your skin.


In Conclusion
A very difficult album for me but most Björk fans regard it as her best work. It's definitely an album of extremes and every track is completely effective in being an extreme of one sort or another.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"Hunter"
"Jóga"
"All Neon Like"
"Pluto"

Tracks to Consider Purchasing
"5 Years"

Selmasongs (2000)

Tracks (#1 is the "Overture" from the movie Dancer in the Dark)

2. "Cvalda" -
An excellent beat is crafted at the start from machines clanging, gears whirring, and sparks flying. But Björk's attempt to relive "It's Oh So Quiet" with all her "racket, bang, thump, rattle, clang, crack, thud, whack, bam!"ing is not nearly as successful. But the track is extremely well-produced and Björk is such a divine presence that she just BLOWS away the format here. Could any other vocalist in a musical ever share the same stage with her? Probably not.

3. "I've Seen It All" -
Björk can't keep a clone of Thom Yorke wherever she goes, so she's had to perform this duet solo in every live performance to my knowledge. I think it goes without saying that he is a part of this song that is both essential and irreplaceable. The lyrics are brilliant. The music is, likely being composed by a cinematic score composer, extraordinary. Straight up classical with a hint of techno. In this case, a clanking train cart. A remarkable song. Maybe even historical, revolutionary, groundbreaking. Considering it was made for a full-length feature film, a techno artist and a musical score composer working together on a song for a film / soundtrack.

4. "Scatterheart" -
I still haven't seen Dancer in the Dark, but this track is remarkable for how much it more than any of the other tracks on the album doesn't sound like a showtune from a musical. In the slightest. Fans were quick to mention how much it sounded like it belonged on Homogenic. The musicbox opening is fantastic and the rest of the techno is minimal and builds over the very quiet but immense strings which pick up at the end. It's a lot more balanced as a finished song than "Bachelorette" but it also might just be a pinch too slow or be waiting a hair too long before launching into its' dramatic chorus.

5. "In the Musicals" -
This song on the other hand does sound just enough like a showtune. Which, again, I don't like. But there some very interesting potato peel slicing, chalk marking, sword swiping, shoe squeaking, and basketball dribbling sound effects that make it a fascinating play. Who thought about putting these things together?? Genius.

6. "107 Steps" -
Again, not having seen the movie can't be very helpful here. But there's really nothing to like here. It's literally just Björk, and another woman's voice in the background, counting. Set against classical music. Ick.

7. "New World" -
To me, this song (aside from the horns) is the most foreshadowing of Vespertine to come. Its' beat has an unfortunate similarity to "I've Seen It All" in that it feels quite a bit like that train still clacking, so it feels repetitive. And truth be told, Björk's singing is not so great here. But it brings the film's "Overture" back into the mix well so you don't have to listen to that track separately.


In Conclusion
Other than the fact that it's too brief to serve as a true Björk album, it's the most inconsistent album she had under her name up 'til that point. The good of it makes it worth a purchase as an album if you're a fan. But overall, it's not without significant blemish.


Overall Album Rating


Tracks Worth Purchasing (via-Digital Music Downloads):
"I've Seen It All"
"Scatterheart"

Tracks to Consider Purchasing
"Cvalda"
"In the Musicals"