Oedipus Schmoedipus

Surprisingly OK, a bit weird but easy to listen to

Part of me doesn't get this but part of me kinda loves it. It's a bit weird but still sonically pleasant. Reading about Adamson, apparently all his albums are intended to be soundtracks to imaginary movies. I can't really make much sense of the plot from this but I can tell you I'd probably give the movie a watch.

why he moan so much

2.5

I actually like this a wee bit, especially the more eerie tracks. I'll definitely have to add "It's Business as Usual" to my Halloween Playlist definitely with that creepy phone call on it it just screams horror movie. I also really liked "Something Wicked This Way Comes" which is both kind of dark and funky, and the Classics IV "Stormy" interpolation made the track quite tasty. Most of this really isn't in my realm of appreciation but there was some things that I liked about it I could definitely be in the same room with it though I wouldn't call this essential.

Extremely boring filmatic music. 2.5 stars

Not the worst thing I've ever heard, but pretty boring and unnecessary as an entry on this list. Completely fine as background music for a film or something (which is mostly what Adamson was doing around this time), but missing any sort of special sauce you want in an album. Even the song with Nick Cave on vocals is like the least interesting thing Nick Cave was involved in around this time. Light 3 stars.

Avec Oedipus Schmoedipus sorti en 1996, Barry Adamson projette sur le mur de notre crâne la bande-son intégrale d’un film noir dont la pellicule n’a jamais existé. C’est une œuvre hallucinée, une escapade mentale vénéneuse et nocturne, une invitation au voyage dans les bas-fonds de la psyché humaine. Je lui colle sans hésiter un 4 sur 5, et croyez-moi, chaque quart de point est amplement mérité. Pour comprendre d’où surgit un tel monstre, il faut rappeler qui est ce bonhomme. Barry Adamson s’est forgé les doigts et l’esprit dans les tranchées les plus abrasives du post-punk britannique. Bassiste chez Magazine aux côtés de Howard Devoto, complice de la première heure de Nick Cave au sein des Bad Seeds, Adamson a passé les années quatre-vingt à inventer des lignes de basse tendues comme des câbles d’ascenseur au-dessus du vide. Quand il a décidé de s’émanciper en solitaire, il n’a pas cherché à surfer sur les modes du moment, et alors que le Royaume-Uni se vautrait au milieu des années quatre-vingt-dix dans les réjouissances patriotiques de la Britpop triomphante, Adamson a préféré s’enfermer avec ses fantômes et ses machines. Ce disque vient clore avec panache ce qu’il a lui-même conceptualisé comme sa trilogie de bandes-son pour thrillers psychologiques inconscients, inaugurée avec la noirceur urbaine de Moss Side Story en 1989 et poursuivie avec Soul Murder en 1992. On est en plein dans ce qu'on appelle la « cinematic soul », un carambolage délibéré entre les grandes heures de la pop culture et les recoins les plus inavouables de la mémoire collective. Le titre annonce d'ailleurs la couleur avec une ironie mordante : « Oedipus Schmoedipus », cette fameuse réplique yiddish réductrice qui se fout éperdument du complexe freudien, comme pour nous dire de ne pas trop prendre au sérieux le drame de la culpabilité tout en nous y plongeant jusqu’au cou. Ce qui est fascinant, c'est cette insolente capacité à faire naître des images sans caméra. À peine le diamant posé sur le sillon, ou le faisceau laser allumé, le décor se matérialise : un asphalte détrempé par une pluie d’orage, les reflets tremblotants des néons d'un club miteux, l'odeur du tabac froid mêlée aux effluves d'un parfum bon marché et l’écho lointain d'une sirène de police qui déchire le silence d'une métropole en décomposition. Adamson ne compose pas des refrains, il monte des séquences. Il découpe ses atmosphères au rasoir, superposant des nappes de cordes symphoniques grandioses, des cuivres rugissants et des rythmiques syncopées qui doivent autant au hip-hop qu'au trip-hop alors en pleine effervescence. Mais contrairement aux hordes d'imitateurs qui se contentaient alors de boucler paresseusement un vieux sample de jazz sous une voix éthérée pour passer dans les bars branchés, Adamson injecte une véritable tension dramatique, un sens du suspense digne d'un maître du cinéma à suspense. L'anecdote entourant ce chef-d'œuvre est d'ailleurs devenue légendaire et en dit long sur son pouvoir de fascination. David Lynch lui-même, en découvrant l'album, est resté scotché, l'écoutant en boucle pendant huit heures d'affilée avant de déclarer qu’il avait l’impression d’entendre un film d'Alfred Hitchcock projeté directement dans sa tête. Le cinéaste américain, qui sait reconnaître ses pairs dans l'art de dépeindre les cauchemars américains, ne s’y est pas trompé : il s'est empressé d'aller piocher le vénéneux « Something Wicked This Way Comes » pour en faire le cœur névralgique de la bande originale de Lost Highway, illustrant la fameuse scène de strip-tease magnétique et dérangeante. Rien que pour cette validation suprême, le bonhomme méritait une médaille, mais l'album ne s'arrête pas à cet éclair de génie. Tout au long des cinquante-cinq minutes de ce voyage sonore, Adamson orchestre une collision stylistique proprement vertigineuse. On passe sans crier gare du suspense orchestral sous haute tension hérité tout droit des partitions de Bernard Herrmann pour la Hammer ou Universal, aux fanfares majestueuses et insolentes de John Barry à l'époque où James Bond avait encore le droit de fumer des clopes et de boire du martini. L'artiste manie le jazz hard bop, les dérapages industriels et l'easy listening frelaté avec une jubilation communicative. Il ne s'agit pas d'un pastiche rétrograde ou d'un exercice de style pour nostalgiques en costard étriqué, mais d'une réappropriation furieusement moderne. Adamson vampirise les codes hollywoodiens pour les recracher sous la forme d'un cocktail toxique et euphorisant. Pour habiller cette fresque criminelle, l’homme sait aussi s’entourer. Il convie des complices de choix qui ne viennent pas faire de la figuration alimentaire, mais se fondre dans sa folie narrative. On y croise un Nick Cave impérial et sépulcral, venant poser sa voix d'outre-tombe sur une ballade à la beauté toxique, apportant cette gravité poétique et sudiste qui fait froid dans le dos. Un peu plus loin, c'est Jarvis Cocker, tout juste couronné prince de l'indie britannique avec Pulp, qui déboule avec son phrasé traînant, sarcastique et lubrique. Sur ce terrain de jeu pervers, le dandy de Sheffield s'en donne à cœur joie, distillant une sensualité poisseuse et ironique qui contraste à merveille avec l'austérité du décor sonore. Ces incursions vocales, loin de briser la cohérence du disque, agissent comme des apparitions spectrales au détour d'une ruelle sombre. Ce qui me plaît particulièrement dans ma traversée de Oedipus Schmoedipus, c'est cette absence totale de temps mort dans la construction de l'espace. On ne s’ennuie jamais parce que l'écoute est constamment active : l'oreille est sollicitée par un détail enfoui, un dialogue radiophonique lointain, un rire narquois étouffé sous un lit de réverbération, une stridence métallique soudaine ou un break de batterie ravageur. Adamson nous balade de New York à Londres en passant par des territoires purement oniriques où la raison vacille. On voyage au sens littéral du terme, on est assis à l’arrière d’une berline américaine aux vitres teintées, roulant à tombeau ouvert dans une nuit sans lune, sans trop savoir si l'homme qui tient le volant va nous sauver la mise ou nous balancer dans le ravin. Alors, pourquoi cette note de 4 sur 5 et pas la note maximale ? Tout simplement parce que l’ambition d’Adamson est parfois si démesurée qu’elle frôle par moments une forme de saturation baroque. À force de vouloir charger la barque en couches d'arrangements, en effets cinématographiques et en ruptures de ton, le disque peut donner à certains passages une sensation de trop-plein, un vertige presque étouffant où l'auditeur perd momentanément le fil de la dramaturgie. Quelques facilités lounge, parfaitement assumées mais parfois un brin datées avec le recul des années, viennent adoucir une noirceur qui aurait gagné à rester impitoyable de bout en bout. Mais ce sont là des peccadilles comparées à la maestria globale de l'édifice. Oedipus Schmoedipus reste une œuvre singulière, un jalon incontournable de cette époque bénie où des musiciens audacieux osaient faire exploser les frontières entre la musique savante de cinéma, le groove sauvage de la rue et l'avant-garde la plus décomplexée. Si vous cherchez un disque pour vous évader loin des formats calibrés des algorithmes modernes et réveiller le cinéphile névrosé qui sommeille en vous, vous savez désormais quel billet composter.

The lead track is working for me, even the Jarvis Cocker spoken word poem about coercing someone into sex. Something Wicked This Way Comes is like Nightmares on Wax or RJD2. There's kind of a Portishead feel to it. Anyway, I'm liking it so far. It's Business As Usual is more like a Nick Cave and the Bad Seeds song, which makes sense...but the spoken parts of all the songs feels like a gimmick that's going to wear thin very quickly. It's hard to know exactly what to make of this album. I don't dislike the jazzy songs, but it is not where I thought this was going when I started listening. This is another contender for alternate working music for Mad Men. Vermillion Kisses has lost me. This is just Weird Story Hour with some music behind it...it's like those stories on tape from the 80s for narcissistic adults. The Big Bamboozle sounds like something from a Bond soundtrack. Sometimes the movie dialogue works, sometimes it doesn't...this is actually one where it doesn't feel totally inappropriate.

Weird stuff here. At times wanted to quit, then it got ok. Felt like a soundtrack which I guess is what was intended, but not sure I needed to listen to it.

This not bad by any means, but this album was just not made for me.

This was a profoundly strange album as Adamson shifts genres on nearly every track, but somehow makes it work (most of the time). The musicianship on this album is impressive especially considering the number of styles employed. While there were a few big swings and misses, there were also a surprising number of hits considering the ambition of the project. If nothing else it kept me on my toes.

LOVED

vage trip dit

Meh

Joyous and inventive (except maybe the middle three tunes). I bet Barry is good fun at parties.

Probably between a 4 and a 5 but contains a ridiculous number of my reference points that I have to round up on general principles. The Nilsson nod in album title, Gainsbourg, Henry Mancini, John Barry, Barry John, the DSM-5, my favorite Miles track, Roy Ayers-ian vibes throughout.. Definitely think this was itself a big influence on the mood and feel of David Holmes seminal essential mix from a couple of years later.

Very surprised to discover that this wasn’t a 70s prog rock concept album. Better still, once my skepticism thawed after around 39 seconds, it turned out to be a rather good find! Looking forward to hearing his other album in the list.

This was a cool album that had its moments in the first half but ended up outstaying its welcome and just dragging towards the end.

One of the most confusing albums I've listened to. The genre changes so much from track to track that it was hard to anchor myself. I liked the fairy tale in "Vermillion Kisses." The music itself wasn't very good.

This is so weird. Normally, I would appreciate that, but it's not experimental just very uncomfortable.

A primeira faixa do álbum é asquerosa. Já disse sobre meu desdém com sons eróticos em canções. Mas, o resto do disco não causa a mesma reação pavorosa. O álbum possui vários instrumentais agradáveis, aquela pira meio trip hop comum na década de 90. Muitas junções de gêneros. Mas o álbum às vezes acrescenta alguns vocais bem desagradáveis aqui. Entendo o propósito, algo intrigante, curioso, enfim, mas o efeito não funciona tão bem para mim. Só me causa frustração. No final das contas, Oedipus Schmoedipus é um álbum confuso, intencionalmente. O desconforto é proposital. A disparidade sonora de uma faixa para outra também. E a experiência de ouvir esse álbum de capa a capa é simultaneamente irritante e estimulante. Mas ele consegue a proeza de manter a atenção por quase 1 hora. Álbum interessante. 3.5/5

Feels like we've covered the whole "soundtrack music for an imaginary film" genre pretty well. I'd say the results have been mixed, at best. Surprising that we haven't seen The Books' "Music For A French Elevator And Other Oddities" on this list.

Прикольно но занудно если не словить определенный вайб

Nice

Another interesting album from Barry Adamson although I think I slightly prefer the other one I had from him.

No, no thank you.

2/5

Equal parts fun and anxiety inducing. I can definitely see why Lynch might’ve enjoyed this one.

Not bad, but also nothing to write home about. ★★★

Stritter i alle mulige retninger. Skuffet. Skulle ikke have læst om hans samarbejder inden, troede det var mere min bolgade.

A couple of fine tunes, but overall the atmosphere feels kind of heavy and dark in a kind of a "twisted" way. I don't know, not my cup of tea.

Whoa. I went into this blind, heard about six bars, then went to read up what the hell I was listening to. After two songs, I immediately discarded the idea of it being a soundtrack to an imaginary movie, then by Business As Usual I was back on board. But then I realized it wasn't the soundtrack to an imaginary movie, it's a movie you were only getting a part of, and it is a fucked up movie because all of a sudden we get the toe tappin', finger snappin' Miles after being threatened with death AND THEN IT GOES TO ANOTHER FUCKED UP SONG! What kind of movie is this? And then you start paying attention to the song titles and realize they're telling a different part of the story, and then you realize as it goes on, that like much good literature, later parts recontextualize the earlier parts and what you thought was going on isn't really what's going on even though you won't ever really know what's going on and part of that is know what's going on. Musically I could take it or leave it: some 90s throwback sounds, some run-of-the-mill jazz, Nick Cave, some electronic fuzz, some spoken word, Jarvis Cocker being obliquely sexual in his way. It's fine, I guess. But as an art project, man I think this rewards repeated listening, even though going back to the start feels a bit intimidating.

This was weird

Completely baffling listen, I never knew what to expect next. It started off fine, bit cheesy, but nothing surprising. Then it gets to It’s Business As Usual, which was probably the most scared I’ve felt listening to a song. Then it goes between some nice jazz to horrific noise to a fairy tale to essentially anything that you wouldn’t anticipate. Absolute mixed bag of an album. Can’t say I was pleased listening all the way through, but I can respect what it’s doing.

(Light to decent 6/10) I'm not a movie buff, nor am I a film score enthusiast. I think that's why these albums don't click for me. Granted, this album has a lot more going for it than Moss Side Story did for me. I love the darkly disturbing sounds of "Business as Usual" and "Dirty Barry", and "Miles" sounds like something from the Spyro soundtrack. Everything after this; however, was extremely hit or miss. I really didn't care for the awkward Jarvis Cocker feature in the opening track, and Nick Cave's song was just OK. There were songs that didn't do much beyond paint an atmosphere, and songs that just coasted on by without as much of a memorable moment or hook or anything really. A lot of this album ended up sounding like musical wallpaper. Eh, at the end of the day I can see why the David Lynch's of the world would find this mesmerizing, just not me.

bom disco, trazendo texturas agradáveis tanto nos momentos dos temas de jazz quanto nos mais soturnos.

I need to be in a certain mood for haunting stuff like this, but I can dig it.

The concept is more interesting than the execution

OK, Mr. Adamson. That's how you make actual interesting music. The first few tracks set this album up to be better than whatever Moss Side Story was. Then it becomes unimpressive after Miles, but I still feel that it surpassing the other album was an achievement. What's next? (5/10, 2/5 on this scale)

For the second of the “Word Schmord “ series of assigned albums, and I have to assume the second of two, we are all over the map. Something was just missing. I respect the variety, but it felt a bit like soneone running repeating riffs and then just ending them, and nothing seems to go anywhere. In spite of one or two good tracks, overall this did not work for me.

Rather entertaining and much better than I was expecting based on the name. “Barry”

No

Oh, it's over? Oh thank the gods. This was like Austin Powers suffering from a hangover headache still drinking a flat martini in a black lit elevator.

this is insane. sometimes seems completely normal and fine and then its the creepiest psychological thriller of a track then groovy jazz what? Dirty Barry actually feels nice on my ears- asmr

This was one of the craziest musical journeys I've ever experienced. Whacko! Nuts! But great. 5

Sometimes it forgets to be acid jazz and is just regular jazz

Eine bunte Mischung aus Opo, Elektro, Jazz, Geräuschen. Ganz interessant, aber nichts was ich regelmäßig hören möchte. 3/5

more like a 1.75

Once you get past the first track, this turns into a very unique and interesting listen. It's very jazzy at time and takes some wild turns, so calling it acid jazz is very appropriate. I enjoyed this album for the most part, and I'll likely listen to it again in the future.

Really interesting atmosphere. Feels quite cinematic but the beats keep it moving.

Been a long time since I've received something I haven't heard of. Bonus star for that.

I don't really like this oppressive, suicidal type of sound, but it did keep my interest and wasn't unpleasant like a lot of experimental music is.

This is the first time I"m reviewing something completely new. Never heard of this dude or the album. It's got a nice jazzy, loungey vibe, and I can see it being a cool late night listen. But this has no business being on this list.

So excessively 90s, which almost by definition means self indulgent. Just made me think of the propellerheads.

Funny. Some Porno Rock how it should be done

Best Track - "Achieved In The Valley Of The Dolls"

The good: I like the album name If this was supposed to be a movie soundtrack then I don’t want to watch this movie the plot would probably be incomprehensible. Seriously what genre of movie would this even be? movies i think these songs can be in Set the controls: intro to cheesy action comedy Something wicked: gangster movie the vibes: campy murder mystery its business: horror movie about a stalker miles: romcom with a hardworking female lead dirty barry: the same movie as its business in a moment of clarity: whatever movie would also feature rhapsody in blue in the soundtrack Achieved: campy spy movie vermillion: yea idk the big bamboozle: a funny animated heist movie state of contraction: one with a sad introspective scene the sweetest: a musical about vampires set in the roaring 20's set the controls again: credits music to that cheesy action comedy the songs individually are good and do a lot of storytelling on their own, i just don't think it makes a good soundtrack for a single movie. If i lacked the context that this album was supposed to be a soundtrack then i would think this is a very discordant but good album. with context this album fails for me.

Weird af, but fairly compelling nonetheless. Like watching someone pick a psychological scab.

サブスクにないっぽいです。

The Big Bamboozle

Interesting. Couldn't stop listening, wanting to know what was next. 3,5 and will definitely listen again.

First thought: why does this guy have *two* albums here? As it turns out, he's from Magazine, which is a band I've heard of! Still don't need his soundtracks for movies that don't exist though, this one's maybe slightly better when he's being discount Tom Waits, but otherwise it feels not particularly worth my time

surely we didn't need two of these records. did we even need one?

is this what the dark web is like

Some good, some extremely tedious filler. New artist for me. Funny album title.

Never heard of this before. Read that Adamson refers to his music as "soundtracks to nonexistant films", which is a perfect description. Cool, jazzy, housey, kinda alt-rocky, kinda atmospheric all around.

A bit of a vanity project to slap together radically different styles and call it art. There wasn’t any connecting theme or point to this exercise in my opinion. Even if it was done with a wink, it was jarring and off putting. Vibraphone was nice though.

Wait what the fuck why have I never heard of this? This feels like the soundtrack to a lost David Lynch film (which tracks because Barry Adamson made some tracks for Lost Highway). Alternates between hilarious (Set the Controls For the Heart of the Pelvis, The Vibes Ain't Nothin' But the Vibes), great to listen to (Something Wicked This Way Comes, Miles, The Sweetest Embrace), and occasionally just straight-up terrifying (It's Business As Usual). Absolutely my shit in every way, loved it.

Pretentious

I just couldn't - hold music but also creepy. Did make me reflect on contemporary albums I like and how badly they have the potential to age

Better than the other album I listened to from this guy, it actually has some good moments. I just don’t like the half of the album where he’s either moaning or it sounds like a movie soundtrack

Y’all wtf is up with this nonsense background noise being on a list of must-listen albums? I’m over it

Sounds like music written by a serial killer

Experimental, funky and fun. Adamson plays with layers of sound, building textures that tickle the brain just right. I've never heard of Barry Adamson before, and I'm glad for the introduction. I don't think there was necessarily anything profound here, but it was such an enjoyable listening experience. This is one album I will definitely go back to again.

Really interesting listen

Deeply experimental

Something Wicked This Way Comes is one of those songs that you know but never knew the name of.

Is this the same Barry Adamson that did that faux movie soundtrack MOSS SIDE STORY that’s also (undeservedly) on this list? Hard pass… …and a 1-star review with extreme prejudice and long-simmering bitterness from having to listen to that other piece of shit. [ten minutes later, after reading the book entry] David Lynch liked this? FUCK. Now I have to listen to it.

The central concept of this (a soundtrack to a non-existent movie) was a bit goofy, then the execution was a bit goofy. Not without its nice moments, but ultimately not something I'd be excited to return to.

Fantastic! Love this. Sweetest Embrace is so clearly a Nick Cave song.

Was ist das für ein Psycho Gebrabbel auf den Tracks.... find ich kacke das Album

ziemliches Durcheinander. hab zwischendurch gedacht es handelt sich um ein anderes Album.

Anfang: Dreck Mitte: Okaye Backgroundmusik Ende: Weird

“Set the controls to the heart of the pelvis.” Pass.

I'll be back

Weird but creepy. I liked Miles, a lot of other stuff didn't really click for me. 3/5

Very strange but cool album. I just didn't like the talking, It's Business As Usual and Dirty Barry.

this is a wild listen. the whole time I was like okay this is a dance music record... or it's a jazz album... or it's kinda ambient tho... well there's some rock elements... and poetry and field recordings and alternate reality sound bites... and then it just ended up being all of the above and then some. tons of surprises around each corner. never knew where it was going next. definitely some moments that probably could have been edited out for the strength of the whole record, but just the variety and whole approach to sound on here kinda justifies the detours and excursions. was not familiar with Barry Adamson at all, but this one intrigues and makes me wonder what his other releases are like.

The vibe is the thing… I had so much fun listening to this.

h, one of the famous controversials. I am not an expert, but this feels akin to what they call library music, a compilation of tracks that ostensibly exists to be a backdrop to… something? Like a stock photo, but a song. Adamson, once of Magazine and the Bad Seeds, has a little of the latter's drama: Nick Cave could very well be haunting The Vibes Ain't Nothin’ but the Vibes, but there's also a tamed disco or light funk across these tracks, which is more surprising. It's not quite the club pastiches that folks like Fatboy Slim or Moby were subjecting us to during the mid 90s… it's more compelling, feels more organic and intentional… but it inhabits a similar world. It probably wouldn't sell cars, but it's sitting there, on record, happy to be the backdrop of something. It is possible that vibe, that Soundtrack in Search of an Author, is part of what makes this polarizing? Some of this is simply cotton candy, waiting to back a city pop singer or frame a hot 70s summer (while tracks like “It's Business as Usual” go the other route into creating the whole tense story for us). But that diversity makes this an appealing listen. There's a lot going on, and sure it is a hodgepodge, but it's interesting for its imperfections (and some is quite good at that). I'd happily spend another spin in this world. Tentative ⭐️⭐️⭐️⭐️

I hope the movie is better than the soundtrack.

A fundamentally odd album that has all sorts going on. Spoken word interludes, hotel music, experimental instrumental, it’s hard to keep track. It’s not heinous but I couldn’t really follow any particular strand. This was not a good album to listen to after a break!

It has orchestra, gospel, sampling, varying singular instruments, talking, looping jingles.  The atmosphere though is flat, and it then has that 90s Pulp esk moaning / gibber crap on top. Not sure who this is aimed at.  I don't fully get the film, the experience or shitty lounge this is designed for.  Overly bright brass hop dazzle and synthetic murk is how I describe it simply. I just kept thinking of things like blade runner or altered carbon.  They are deliberately trying to express a cyber punk style with a kind of urban decay and destruction of norms.  Interesting effects in a way but in isolation I am not sure I am buying it, and the overly heavy brightness as the padding and limited genuine atmosphere just keeps annoying me.  It's like I am missing the acting context, so the ups and downs are meaningless to me.

A strange, eclectic, hodgepodge of an album. I guess it's ostensibly a jazz album but there is also a lot of electronica in that "look how cool I am" nineties style. I think the issue is that this album is trying too hard. From the irreverent title to the mix of genres, it just stinks of someone trying to look edgy and subversive when hat he's created is music for hipster cafes and overpriced cocktail bars.

Such a weird ass album lmfao. Pretty much every genre you could think of is on this. Not bad tho. No replay value but still fun to listen to (sometimes)

One of the most inconsistent albums on this list. Just a hodge-podge of genres, which on their own are fine but make absolutely no sense packaged together like this. Won’t be returning.

Fine—seemed unremarkable as offbeat weirdo albums go.

This was a very different album then I've listened to before. Very unique and every song was different. Almost sounded like it a visual artist were to express something in music.

Straight out the gate, I liked the nod to Harry Nilsson in the album title. As for the album itself, it’s a really fun listen. It’s a bit weird but I like weird and it’s interesting throughout. The opening track, Set The Controls For The Heart Of The Pelvis is an absolute belter. Jarvis Cocker pops up in it and I’m always glad to hear him. A couple of the instrumental tracks didn’t do a massive amount for me but I never lost interest in the album. It was enough though that it was never going to get a five star. Top Track - The Sweetest Embrace