Stereophonics

They have chosen all of my favorites that I've been collecting over the years from their multiple albums!

Stereophonics are one of those cynical and unenlightened bands, that leave you flabbergasted that they've achieved ANY success at all.
They have nothing about them.
They're from Wales for one thing, and there's not much you can point to on that woefully tiny country's honour's list during the last 50 years- in fact it's been a disaster. Lousy football team, dreary anthem, beautiful but dying language and in the face of all this, appalling rot dished up by futile nuggets like Tom Jones, the unbelievably talent-less Cerys Matthews, drab Funeral for a Friend, embarrassing Goldie Looking Chain and finally, at the top of the tree, overcast, bland, disinterested Stereophonics.
You know you're in trouble when 'A Decade in the Sun' is the best they can come up with by way of a greatest hits compilation, and, as sure as day follows night, it's completely worthless on every front. Banal, sub-Rod Stewart MOR, car music, (or at least, the nodding dog in the back window) cover versions, slow, untimely grinding; 'Have a Nice Day', 'Handbags and Gladrags', 'Mama Told Me Not To Come' (with Tom Jones, a genuine contender for the Worst Single Ever Released.) - petty, listless background tomfoolery. Synthetic, demoralizing and grey.
Their biggest problem is that there's no talent anywhere in the group. Basic song writing skills are sadly AWOL, no hooks to snag you, no witty or clever lyrics to engage you. They seem to get by using the well suspect, and monstrously overused deceit of the obscene 'Rock Anthem' - the last bombed-out refuge of pop 'musicians' who transparently have nothing at all to say. Mosh-pit diving, fist clenching standards - but even here, the last refuge of the truly non-descript, they dismayingly fail.
They're not even truly awful,(that'd be a blessing - it would make writing about them much easier) they're not really worth words, emotions, any depth of thought or argument. They're just sort of there, plant-pots to a man, peripatetically moseying around, solidly locked into the music genre cliches feared most.
Yes, black leather vests are back, clinging to the insignificant torso's of clueless, safe, Welsh rock-being's. With a conformist non-style that makes a nest of tables look dynamic and a sound thats almost cylindrical and definitely over-secure, Stereophonics are getting away with a heinous amount of cultural crime. They are the Norris Cole's of modern pop, the Vauxhall Vectra's of rock. They make the similarly perfidious Super Furry Animals (and I think I'm beginning to twig why they all have naff names...) sound like Oscar Wilde.
Ten years of these par-boiled leeks then - ten years of the orthodox and the ordinary.

Stereophonics have been churning out albums (and singles) pretty much like clockwork since their 1997 debut album: every 2 years fans get a new album, and after 6 studio albums (and one live album), the band finally gets the greatest hits treatment.

"Decade In the Sun: Best of Stereophonics" (20 tracks; 79 min.) brings the greatest hits of the band, and rightfully, this compilation focuses on the first 3 studio albums. The very promising 1997 debut "Word Gets Around" has 4 tracks on here (Local Boy in a Photograph; Thousand Trees; Traffic; More Life in a Tramps Vest). The band's best album ever, 1999's "Performance & Cocktails" also gets 4 tracks (Bartender and the Thief; Just Looking; Pick a Part that's New; I Wouldn't Believe Your Radio). And 2001's "Just Enough Education to Perform" also gets 4 tracks (Have a Nice Day; Mr. Writer; Step On My Old Size Nines; Vegas Two Times), plus this includes the non-album single from the same sessions, the Rod Stewart-cover "Handbags and Gladrags". The rest of is filled out by singles from the last 3 albums, with the 2005 "Language" album getting 3 tracks (including "Dakota", the band's biggest UK charting single ever). 2003's "You Gotta Go There To Come Back" is represented by "Maybe Tomorrow", and 2007's "Pull the Pin" features "It Means Nothing". There are also 2 new tracks, the so-so "My Own Worst Enemy" and the much better "You're My Star".

In all, this is a very generous serving of Stereophonics' greatest hits (and they've had plenty of hits in the UK). I don't like the sequencing of the tracks, to be honest. There is no rhyme or reason to it. A chronological sequencing would have served the listening experience better. While the band's output after "J.E.E.P." never equalled their first three albums, they did put out a lot of great music in the late 90s/early 2000s, and this compilation is proof of it. I had the good fortune of seeing the band live a couple of times on the "J.E.E.P." tour, and they were outstanding in those days.

Stereophonics have been churning out albums (and singles) pretty much like clockwork since their 1997 debut album: every 2 years fans get a new album, and after 6 studio albums (and one live album), the band finally gets the "greatest hits" treatment.

This is the deluxe version of "Decade In the Sun: Best of Stereophonics" (2CDs; 40 tracks; 158 min.). CD1 (20 tracks; 79 min.) brings the proper greatest hits of the band, and rightfully, this compilation focuses on the first 3 studio albums. The very promising 1997' debut "Word Gets Around" has 4 tracks on here (Local Boy in a Photograph; Thousand Trees; Traffic; More Life in a Tramps Vest). The band's best album ever, 1999's "Performance & Cocktails" also gets 4 tracks (Bartender and the Thief; Just Looking; Pick a Part that's New; I Wouldn't Belief Your Radio). And 2001's "Just Enough Education to Perform" also gets 4 tracks (Have a Nice Day; Mr. Writer; Step On My Old Size Nines; Vegas Two Times), plus this includes the non-album single from the same sessions, the Rod Stewart-cover "Handbags and Gladrags". The rest of CD1 is filled out by singles from the last 3 albums, with the 2005 "Language" album getting 3 tracks (including "Dakota", the band's biggest UK charting single ever). There are also 2 new tracks, the so-so "My My Own Worst Enemy" and the much better "You're My Star".

CD2 (20 tracks; 79 min.) brings a much greater hotch-potch, which I suppose is geared towards the more rabbit Stereophonics fan. "2003's so-so "You Gotta Go There To Come Back" gets a generous 4 tracks (it only got 1 track on CD1). 2007's "Pull the Pin", which also got only 1 track on CD1, gets 3 more (including the excellent Bank Holiday Monday). Rightly, the first 2 albums each get another 3 tracks. But the best of CD2 are the harder-to-find tracks like "Momma Told Me Not To Come Over" (recorded for/with Tom Jones for his "Reload" album), the excellent "Carrot Cake and Wine" (B-side of the "Thousand Trees" single, also featured on the 2006 "Live From Dakota" album), "Raymond's Shop" (B-side to the "More Life in an Tramp's Vest" single), and "First Time I Ever Saw Your Face" (the Roberts Flack cover, B-side to the "Handbags and Gladrads" single), and the 2004 non-album single "Moviestar". Despite the generous running time, several tracks are nevertheless missing, such as the 2000 non-album single "Clichés Are True".

In all, this is a very generous serving of Stereophonics. I don't like the sequencing of the tracks, to be honest. There is no rhyme or reason to it. Certainly for CD1, a chronological sequencing would have served the listening experience better. As to this 2CD "deluxe" version, it presents the same issue as the Radiohead "greatest hits" deluxe version: the casual fan will only want the single CD compilation, and the die-hard fan will have all of this already anyway, making me wonder for whom this is intended?

This is one of my all-time favorite movies and the soundtrack is just as good. I can listen to this no matter what mood I'm in and it will make me feel better.

After watching the movie "Crash", I told someone I didn't know which was better--the movie or the soundtrack. Very haunting and very moving music. Perfect background for the movie. Has jumped into my Top Ten list of CD's that I love to listen to. Has a great "New Age" feel to it.

I was disappointed. At the time of my purchase, my opinion was in the minority, but... This CD just doesn't do it.

...to a great movie. It's not as good as his soundtrack to "Afterglow" but a nice listen nonetheless. Without the great band members like Gary Burton & Charles Lloyd what can one expect?

Mark Isham is quickly becoming one of my favorite composers. His work on the indie film "The Cooler" introduced me to his talents and I enjoyed what I heard. It wasn't until "Crash" did I really start taking notice of his work. Mark's work on "Crash" is a mix of ambient and classical with a glimmer of Middle Eastern (like on the song "Flames"). A lot of film composers have a terrible habit of creating loud, bombastic music that simply overwhelms the film and the person watching the film. Mark avoids the bombastic trappings of Hans Zimmer and John Williams by creating a more lush, haunting, minimal score that will leave a profound, moving effect on the filmgoer. One of the best songs on the album is "Flames" a gorgeous Middle Eastern-influenced track with ethereal female vocals that reminded me of Azam Ali and Lisa Gerrard of Dead Can Dance. My other favorite song on the cd is "In the Deep" by Bird York. The song is a lovely folk/pop/jazz song that captures the emotional turmoil that occurs through out the film. I wasn't too wild about The Stereophonics track. It kinda killed the intimate sound Mark Isham created. At least Bird York's song had that same lush, intimate, atmospheric sound. While "Crash" wasn't perfect by all means, the music itself is perfect in every sense of the word at least to me it is. Too bad I can't say the same for his recent work for "The Black Dahlia".

Stereophonics are amazing! How this band continues to not be as popular in the US as they are in Great Britain completely baffles me. They have it all. Great song writing, soulful rock-ready vocals, tight musicianship, excellent catchy original melodies, and they rock with the best of them.
Pull The Pin further refines the approach they began on You Gotta Go There To Come Back (by far their most underrated album!!) and continued on Language Sex Violence Other, without compromising the sound they began with on their first three albums. Do yourself a favor... buy this album and their entire back-catalog. You will not be disappointed!!

I am a long-time fan of Stereophonics, going back to the great first three albums, 1997's "Words Get Around, 1999's "Performance and Cocktails" (still their best album), and 2001's "Just Enough Education to Perform". The band has religiously continued to release a new album every two years, and this album, originally released in Fall, 2007, is the latest installment.

"Pull the Pin" (12 tracks, 46 min.) starts of tremendously, with the 1-2 punch of the hard charging "Soldiers Make Good Targets" and "Pass the Buck", as good as anything the band has done. It is followed by the more mellow "It Means Nothing" (1st UK single), which is Ok. However, after another hard-charging "Bank Holiday Monday" (which was released as a free download before the album was released), the album starts a downward spiral with too many forgettable songs, on e of the exceptions being "My Friends" (2nd UK single, and incidentally the lowest charting single ever for the band). Frankly, the album would have benefited from a slightly shorter running time, cutting out a couple of the weaker filler songs.

The album was re-released in 2008 with a bonus DVD, which brings 4 songs (yes, regretfully just 4) from the album, recorded at London's Wembley Stadium (indeed the band is that popular in the UK). The DVD is enjoyable, with "Bank Holiday Monday" and "Pass the Buck" in particular showcasing the band, and singer-songwriter Kelly Jones, at it's best, but why not give us a whole bunch more than just 4 songs? In all, "Pull the Pin" is not a bad album, and certainly miles better than their two previous studio albums, but it's not at the same level than the "Performance" and "JEEP" albums.

If you don't have this, get it, TODAY!! You will be very happy. Possibly my favorite Stereophonics cd ever!

came way sooner than i thought it would. easy transaction and nice doin buisness with ya'll. thanx

There's some great stuff on this. Some of it's a little poppy, like Dakota, but for all out ball crunching rock, take a listen to Deadhead or Devil - Devil's just superb. Thought the band was heading down a more bluesy road until I heard this album. Terrific stuff.

On paper it doesn't bode well. Stuart Cable, the arse-bearing gonzoid party fiend who acted as the sole respite from the po-faced demeanour of the Stereophonics, was given the boot at the tail-end of fourth album You Gotta Go There To Come Back's promotional duties. The trio of Cable, drummer Richard Jones and commanding officer Kelly Jones had built up a massive UK following since humble Welsh beginnings in the 1990s, however it was only Cable's effervescent personality that made the group interesting music magazine fodder. While their albums - mighty debut Word Gets Around, Performance And Cocktails, Just Enough Education To Perform and You Gotta Go There To Come Back - sold like proverbial hotcakes in the UK (just like their Australian equivalent Powderfinger), it didn't always mean that their music sounded inspired or progressive (just like their Australian equivalent Powderfinger). Without joker Cable to fluff about unconventionally during recording, Kelly Jones - the pint-sized dictator of the Cwmaman group - has apparently now seized total control of Stereophonics, with the resulting Language. Sex. Volence. Other? being a new beast entirely. From the sneery opening sound of Superman (with its `You don't know what it's like' refrain baiting the media in a similar manner to former single Mr Writer), Jones takes his vocals to a higher plane than earlier works, with his guitar dipping into equal parts funk and fuzz. Such is Kelly's change in song delivery that on Brother - almost certainly a flimsily hidden diss directed at former pal Cable - his singing will surely have even long-time Stereophonics fans raising eyebrows in surprise. There's still the required tally of songs detailing birds, pubs and humdrum lifestyles, but Language. Sex. Violence. Other? finds tracks such as Dakota and Deadhead registering as their finest work since 1997's Local Boy In The Photograph saw them explode onto the international scene. When Kelly quotes Lock, Stock And Two Smoking Barrels' Big Chris in the sleeve note thank yous with the departing line `It's been emotional', odds are you'll believe him.

This album is just average. I don't feel there are any strong track on this album. I think this group has a very generic sound.

Although it's their fourth studio album, this just happened to be the first one that I scooped up. I was prompted to buy this because of how much I loved the track "Maybe Tomorrow", which I had discovered on the Wicker Park soundtrack. I'm really glad that I bought it. Although it's not my favorite Stereophonics album, it is excellently produced and shows them going in some new directions, that lead up to some of the experimental sounds that can be heard on Language, Sex, Violence, Other? Along with "Maybe Tomorrow", Jones and crew have put out some cool tracks here. "Help Me" is a rocker that really pushes some of their rawness to the test. "You Stole My Money Honey" is great in the fact that the alt-country flavor is there along side Jones' screeching vocals. Then there is the orchestrated "Rainbows and Pots of Gold", which shows that they as a band are willing to try out something that they really haven't done to this extent with the use of unconventional rock instruments. I'd have to say that my favorite though would have to be "I'm Alright"(You Gotta Go There to Come Back)" due to the fact that this is their most exploratory sound yet to date. The lyrics are seductive also. Great tune and all in all, great album.

the stereophonics have always made good acoustic rock sounding sounds on previous albums they were filtered in here and there espically on J.E.E.P but this is there next album and i must say i don't agree with most of what the other reviewers on amazon are saying "so what is they've mellowed out" if it's good who cares? this is a fantastic stripped album with great melodies and hooks [jones's playing and singing are superb]
check out "getaway" "nothin' precious at all" too excellent tracks that are up to the standards you would expect from the phonics...
the singles they chose to release from this album were good choices
madame helga" being the rockin' head twistin' stadium rocker
maybe tomorrow being the morning chorus dawn song that draws you in
"since i told you it was over" being the song for the lighters ablaze
this album starts with a ear grabbing song "help me[she's out of her mind]
and doesn't stop till the previous song and single i mentioned
the stereophonics surely buttered their bread with this album
and what i hear from their new album they went back too the "performances and cocktails" days of hard edged rock

the stereophonics are a fantastic band and their not just a band that does songs that go up to eleven..kelly jones can write beautiful melodies and witful words that makes you think of a summers afternoon with a glass of wine in your hand relaxing
PEEEEERFECT

and that stands as my favorite track on the album.

I very much enjoyed the whole "garage" feel to this album, and it's mellow energy... if that makes any sense. I think this album is best if you are relaxing and just looking for good entertaining music. I would buy another Stereophonics CD.

Reason I gave it a 4?

Because I want to leave room to give a better score for any future stereophonics albums.

This album is seriously amazing, especially the single "Maybe Tomorrow" which has to be one of the best driving-pensive-songs in recent history, yesterday it inspired me to just get in my car and drive, which I did, to Wisconsin. I just think they have something special, it's the perfect soundtrack song, and that's why it's on like 100 soundtracks! Great work from a great, prolific band.

I Absolutely loved Cocktails, Word Gets Around, and JEEP...especially JEEP! I was so excited about this band and for this album I actually ordered The Import before even available in the US!

Unfortunately, this album never really bears fruit. The songs are all over the map...they range from just noise, to bad 80's power rock (e.g. High as the Ceiling)...to feeble attempts at soul (e.g. Miss You Now). What happened to the great (and incredibly witty) songwriting of the earlier albums!? It's like they said "let's do something different...for the sake of doing something different..."

I was so disappointed in this album...I've yet to check out LSVO!

I know people think this is very mellow, but hey if they set out to make a mellow album then they did a dam good job! As a teen I try to keep up in the music scene with what is hot an what isn't, E.G. "Chili Peppers" good, "Pussycat Dolls" bad. I was worried that it would be a filler album because I had only heard their singles (which I loved to bits) Have a Nice Day, Mr Writer and Handbags and Gladrags. So I was very pleased when I found that there was only 1 song that I didn't like as much (but I didn't even disslike that one, "Everyday I Think of Money")

Vegas Two Times: Fantastic first song, one of the more rock orientated tracks. 8/10
Lying in the Sun: A very chilled track, some interesting lyrics. Perfect summer song. 7/10
Mr Writer: It took me a few listens to get into but could be one of the best songs on the cd. The fact that the song itself is quite different but still manages to impress. For ingenuity, 9/10
Step on My Old Size Nines: Another summery song with cheery lyrics, no glitches here that put me off. 7/10
Have a Nice Day: Brilliant song, one that you want to sing along to. It's more of an up-beat pop song than a summer track but genuine instruments, so no techno sounds (which you probably thought when i mentioned pop). 8/10
Nice To Be Out: Could be a filler but it's not, it only seems that way because it's surrounded by some very impressive tracks. This one is more mellow again, its a shorter track with another summer feel, so it's a good song that you should never tire of. 6.5/10
Handbags and Gladrags: Couled be a the best song on the album, it is a cover but it is very similar to the origional Rod Stuart creation. I love this track to bits because of the fantastic use of the oboe throughout and the brass section toward the end. 10/10
Watch Them Fly Sundays: Another rock orientated track similar to the "vegas" track. The verses are quite mellow but ones you can sing to, then the rock kicks in at the chorus. Enjoyable but you may think i've been here before. Nice track by no means a filler, just not different than what you've heard previously on this album. 6.5/10
Everyday I Think Of Money: The only track I tend to skip (unless i'm in the shower), it's by no means a bad song, it has a catchy beat and very simple lyrics, so it's a marmite song, you like it or you don't. I say i like it, it's just too different to be enjoyable. (my vote) 6/10
Maybe: Quiite a mellow, summer song, one that I found you can't sing along to just because there are a lot of lyrics and it's too much effort. Maybe a filler, but I don't think so. It's just another slice of the cake, it tastes the same but it's still good. :-)(I made that up!. clever me.) 6.5/10
Caravan Holiday: Chill song, singalong song. I like it, it's short and doesn't drag. 7/10
Rooftop: Good track, not at all a filler, a more of a rock approached track, ment to wake you up after the previous chilling tracks. Liking the singing in this one. Cool style. 7.5/10
Hidden Track (Attatched to the Rooftop track): A very nice rock track, only ment for this album. A very enjoyable song. I don't know why it's a hidden track but hey, at least it's there. 8/10

Average score: 7.5/10

So not amazing but i think it's worth paying watever price it has, unless it's like $100,000. (anything under $20 or around £12 for me). Very good album, as I said there is not one track that I disslike. Even if you are unsure, just buy it, it's going cheap. You won't be dissapointed.

Okay, maybe it's just me, but I don't think this is their best. the best tracks on here are probably "Vegas Two Times" "Mr. Writer" or "Step On My Old Size Nines". Lots of these tracks are very pensive, and it sounds like they really wanted to feature the acoustics. If you like their pensive stuff, get this. If you want their harder (in my opinon better) stuff, pick up the other ones

There's another song after "Rooftop", and it's terrific. Probably titled, fittingly enough, "Surprise." Don't miss it!

Perhaps it isn't surprising that this is Sterophonics weakest album, as Kelly Jones wrote most of this in his darkest hour. However, it is too inconsistent and downright chintzy in places to be truly enjoyable front to back. Cuts like Mr. Writer, Vegas Two Times, and Rooftop rock out like no ones business and are the highlights, as is the sunshine-pop of Have a Nice Day. However, there are dirges like Everyday I Think of Money and downright schmaltz like Caravan Holiday. A good album but certainly their worst.

Just because a band is successful and is reflecting on that success and the world they live in doesn't make this album any less enjoyable. This Stereophonics disc has beautiful melodies and reflective lyrics that I play over and over. It may be more polished than earlier discs but it maintains its own charm and beauty, and is well worth adding to your collection. The lyrics present an insightful look at the world and the melodies are truly beautiful. It's also the perfect poolside/beach disc.

While lately there hasn't been much competition in the stagnant music industry to create something good, this cd is better than anything Oasis has put out since Morning Glory, and infinitely more fun and poetic than anything Radiohead has put out since The Bends. When I was listening to "Too Many Sandwiches" at one point recently, I realized this band is not just a "poor man's Oasis", but may be better than a lot of Oasis altogether. Certainly the lyrics here are better than anything Noel Gallagher could write in a thousand years, and there's true rock n roll power to go with it. This is the kind of rock music I love, and while their later albums may not come close to the glories of "Local Boy In The Photograph" or "Same Size Feet", this is one of the best debuts around.

There's a joy and working class pride that's hard to find in bands these days, and that makes me love them all the more. If you like The Who you must own this, period.

Simply put the first time around for The Stereophonics was definately the best in their case. If you've read any of my other reviews, you'd know that I discovered these guys from the track Maybe Tomorrow, off Wicker Park. That made me buy the fourth album, "You Got to Go there to Come Back". I loved that album so I went out and bought their fifth and newest album at the time,"Language,Sex,Violence,Other". Loved that one too so I picked up "Live at Dakota". Loved it, especially some of the old songs that I had never heard before, especially A Thousand Trees and Too Many Sandwiches. This prompted me to get the album that those tracks were from, "Word Gets Around". All in all, this album is one that can be listened to and enjoyed in its entirety. All of the tracks, except for maybe More Life in a Tramps Vest are awesome. Including the great tracks mentioned before from "Live at Dakota", other stellar cuts include Local Boy in a Photograph,Check my Eyelids for Holes, and Goldfish Bowl. A tremendous performance both musically, and especially in Kelly's vocals, are heard on the beautiful Traffic. The best is saved for last with the title track. For such a sad song, it is the perfect ending for a nearly flawless album. Buy it.

The debut album from Stereophonics, Wales' answer to a hard-rockin' band. This album has the perfect balance of melody, rock sensibilities, and tight performances to make it stand out. Songs like Local Boy in the Photograph and A Thousand Trees get you musically and lyrically in ways that haven't been done in a while. While the album does sound rather generic after a while and has some weak numbers, overall this one was a great starting point for the band.

they suck they only have 1 good song and it is more life in a tramp's vest and that is the only good song out of all the songs on all of their cd's

I give this album a highly recommended 4 1/2 out of 5 (rounded up to 5) because even though you've heard this type of guitar-heavy pop band at least four times before, you've never heard it this good. The Stereophonics have perfected their genre and are sincerely amazing songwriters.

This Welsh band has been called the "Matchbox Twenty" of Britpop, which can be a good or bad thing depending on how avant garde you claim to be. Unfortunately, the innate talent of this band was overlooked by many critics, because like Matchbox Twenty of american alterative rock, the Stereophonics arrived after the britpop genre had already peaked artistically but record companies were still churning out several interchangeable bands. If you're looking for a band that knows how to construct quality pop songs that are catchy yet poignant, then they're the band for you. If you're looking for a band that sounds completely different than the pop status quo then perhaps you should look elsewhere.

The Stereophonics put together great songs, each with their own pervasive driving beat, and beefy guitar hooks. The raw vocals of Kelly Jones perfectly underscore their tragic, yet beautiful lyrics. Unlike some of their more idyllic contemporary songwriters, the Stereophonics have an uncanny sense of irony in portraying their song subjects. I doubt Matchbox Twenty or Northern Uproar could come up with the staggering metaphorical lyric from "A Thousand Trees" that describes a football coach torn down by rumors: "it takes one tree to make a thousand matches/only takes one match to burn a thousand trees." This first album catches them at their freshest and their songs capture the idealism of youth fading away as it approaches the harsh realities of the real world.

Songs such as "A Thousand Trees," "Looks Like Chaplin," the breathtaking "Traffic," and "Local Boy in the Photograph" all strive to capture the fleeting tragedies that often go unnoticed in small town life. "Last of the Big Time Drinkers" and "Goldfish Bowl" are both songs that lament and celebrate alcohol only as a self-defeating escape to a droll working class existence.

The surge of the Britpop in the mid 90s brought about many interchangeable bands, and the Stereophonics were classified among them. However, this album soars far above the Catatonia, Bows, or Feeder offerings from that same time period, when Britpop was sputtering out. Had the Stereophonics showed up in 1994 when Oasis did, Kelly Jones would be as revered as Noel Gallagher for his superior pop anthems. This is a great band, that is not to be missed. Their first two albums are necessities for connoisseurs of Britpop.

This was the last Stereophonics album that I purchased, and I wish that I had gotten it a lot sooner. Magnificent. All of the tracks are well mixed and the clarity of Kelly's vocals is crystal clear. What a sweet album, and by saying that I mean that I'm glad they chose to show some of their heart on it. Performance includes some of the most beautiful songs the group has ever put together in my opinion. Case in point being "Hurry Up and Wait". This song makes sense if you put it into context concerning the state of peoples beliefs in this day and age. I think they are saying be patient and the good things in life will come to you. In the same context is the track "Is Yesterday, Tommorrow, Today?". But I'm not saying that this album only has slow or mellow tracks. If you want to hear driving rock and roll, just listen to "Roll Up and Shine", "The Bartender and the Thief", and "T-Shirt Sun Tan". Excellent if you really want to get your head bobbing. However, the best two tracks on the album are of the slower variety. "I Stopped to Fill My Car Up" is beautiful in the fact that it's such a creepy tune. And the best has got to be "Just Looking". It's got great verses that build up to crashing choruses. Magical, just magical. This is definately one for anyone who likes great music and especially if they are fans of The Stereophonics.

This, the Stereophonics 2nd album, is leaps and bounds beyond its predecessor, Word Gets Around, in terms of production, songwriting, and performance. From the brutal opener of Roll Up and Shine to the storming rockers like The Bartender and The Thief, Half of the Lies You Tell Ain't True, and T-Shirt Sun Tan, to the pretty She Takes Her Clothes Off, I Wouldn't Believe Your Radio, and Plastic California, this album is rock-solid (pun intended!). The closer is a little long-winded and repetitive, and there are some limp ballads (Just Looking, Hurry Up and Wait) but overall, this is a solid album!

if you can get past the grating voice of the lead singer, you might find this album mildly enjoyable. The record is very schizophrenic and doesn't really put a stamp on what it's trying to do. The band is at their best when they ease off the pedal and put some rythum into their music. There are three great songs on this album - Hurry Up and Wait, A Minute Longer and I Stopped to Fill My Car Up - that exemplify the band's strength. But anytime they try and reach beyond their capabilities, the music falls apart. Having said that, the 3 great songs, along with 4 or 5 more decent ones, are worth the money. It's not the greatest album in the world, but it's not bad.

Grunge is just a memory now as the American masses go after Kid Rock. But bands like Stereophonics have been doing the great old punk/metal thing for a few years, and this new record was actually up for this year's Mercury Prize. Songs like "The Bartender and The Thief" and "T-shirt Sun Tan" are classic songs to get excited about. Also they are big on ballads, that show a softer side to the power trio from Wales. I saw them recently live, and they are entertaining, with singer Kelly Jones' head to the side approach, and the drummer Stuart Cable had as much energy as Keith Moon. Finally here's a band who can take the mantel from Oasis and Nirvana. A record for those who want to rock out!

(www.freewilliamsburg.com)

The Sterophonics' second album offers a refreshing offering of Brit Stomp Rock (except they are Welsh). What a great album, full of great guitar hooks and band leader Kelly Jones' personal views of life and relationships.

The album starts of with a rousing "Roll Up and Shine", as good an album opener as you will find. The next track "The Bartender and The Thief" (one of the album's highly succesful singles in the UK) is an up-uptempo rocker, just great. "Hurry Up and Wait" (another of the singles) is an accoustic-based slower song, contemplating the question of why we wanna hurry up all the time. "Half The Lies" is one of the album's best tracks, another stomp-along tracks, and the same can be said for the ironically titled "Is Yesterday, Today, Tomorrow", demonstrating Kelly Jones' smart lyrics. "I Wouldn't Believe Your Radio" (another single) stems from a dream Kelly had about "Ringo Starr and George Harrison singing in front of my parents' house", and while originally intended to be sung by drummer Stuart Cable (in the vein of Ringo Starr), in the end Kelly has lead vocals on this one.

This album was the break-through for the Stereophonics in the UK and it's easy to see why: great melodies, great guitar hooks, and interesting themes. The band has made some headway in the US this year (most recently opening for U2), but they deserve much better. BUY IT!

overlooked is underused here. A great CD. Buy it. 2 people did this?

Stereophonic Space Sound provides you with a soundtrack to the lifestyle you never got to have unless you are best known by three digits starting with 00. For the rest of us this is the perfect escape with music that runs the entire spectrum from scary to sleazy lounge. The result is a guilty pleasure of the instrumental variety.

Rarely does an album "grab" me the way this one did the first time I played it, right from start to finish. From Switzerland comes this unique band that uses "old-fashioned" electronics to produce powerful, exciting, mysterious, melodic and extremely catchy songs that create vivid movies inside your mind as you listen. Images of Harry Palmer, Bruce Lee, Boris Karloff's Im-Ho-Tep and others spring to life and won't go away! Positive proof that electric surf guitars aren't the only venue for highly-charged instro music! For more, check out SSSU's other albums, SSSU PLAY LOST TV THEMES and THE SPACESOUND EFFECT; but to my ears, this is their finest to date!

For more non-stop mind-blowing instro music, also seek out The Men From S.P.E.C.T.R.E.: WITH THE FINGER ON THE TRIGGER, The Space Cossacks' TSAR WARS, Enoch Light's PERSUASIVE PERCUSSION, Rick Wakeman's 2,000 A.D. INTO THE FUTURE and the debut album from LOS STRAITJACKETS !!

This album is well-conceived and well-executed, and very enjoyable. It would be perfectly suited for a multi-disk shuffle mix of lounge instrumentals if it weren't recorded at such an abnormally high level. These songs blare out so loudly that you might choke on your olive while enjoying the martini you no doubt would be drinking if you were the type of person who listens to this kind of music.

This is a very interesting CD with a very 'James Bond' approach to instrumental rock. All of these songs are from televisions shows from the sixties and seventies and while at first glance they seem similar, each song has a unique trademark to it