This is a very solid album from a group that I thought was good but maybe not a whole album good. A lot of catchy uptempo tunes that get a lot of radio airplay in Canada, which I don't mind at all - Help I'm Alive, Sick Muse, Satellite Mind, Gold Guns Girls, Stadium Love. Gimme Sympathy is a more mixed tempo song that rightly so still gets a lot of airplay. I didn't really know Front Row (uptempo) or Collect Call (a little slower) before, but they're sneaky good. Not a song I dislike on this album. Doesn't feel like a masterpiece but very solid.
Adam Green has such a prominent voice - it sticks out, a lot. Almost sucks up all the remaining air or sound in the room. There's some fun guitar plucking and piano playing on this album, but I just can't help feeling like his voice doesn't match the instruments. Reminded me of Presidents of the United States of America gone a little more folk - similar vocal registry and lots of attempts at humor (a little too much at times?). I didn't dislike the album, but I think I could've liked it more.
This is really right up there with other quintessential 80's rock acts - Bon Jovi, Def Leppard, The Cult. It can really rock, but it also feels so synthetic and formulated. Don't know what I mean? Listen to the start of Guns in the Sky with the synth beat, drum track, and Michael Hutchence's half-hearted attempt at energizing grunts. I can just imagine several producers playing around with the track or asking for one more take. Is it a bad song? No. But it feels like it doesn't have a soul. Still, does it rock? Somewhat, but other possibly soulless songs absolutely rock. This album didn't sell more than 10 million copies without having some bangers - New Sensation, Devil Inside, Need You Tonight all have an incredibly catchy guitar hook. The kind of hook that if you played it just once to an unsuspecting crowd, the cheers would blow the roof off and the underwear might come off too (including mine). Then of course there's the power ballad - Never Tear us Apart. Also a crowd pleaser and I don't know why-y-y-y-y-y. No wait, yes I do. The other 8 songs aren't nearly as good as these 4, but it was still a lot of fun. It's better than Slippery When Wet and not as good as Hysteria or Electric. 3.5 but I'll round up.
I still can't believe Weezer's Blue Album didn't make the 1,001 list - it started its own genre geek rock and it was an incredible album in its own right. Like many others, I didn't think Pinkerton was as good when I first heard it. But a friend encouraged me to really listen as he thought it was the superior album. I don't know if I'll go that far, but it is a dang good follow-up to their debut and worth more accolades than criticism. Rivers Cuomo basically poured his heart out, no matter how despairing it was, and people wanted it to be a nerd dramedy like the Blue album (so they didn't have to feel so bad about the losers) not pure young adult angst. Even though the songs repeat themes and chords a bit (Tired of Sex, Getchoo, and No Other One as an example), I give him a lot of respect for going this direction. The key thing that makes Pinkerton different than the Blue album is I can get sick of Pinkerton from time to time - I can wear it out with too many listens. But, I'd say I probably don't ever get sick of the middle of the album - Why Bother?, Across the Sea, The Good Life, and El Scorcho.
The first track It's Okay to Cry, which was very good, made me think of 80's synth but with a new millennium twist. Not quite Pet Shop Boys but something like that with a more grandiose, almost baroque synth style. But after that it was like Transformers meets music and I didn't love it. Too spastic, too experimental, too many loops or spliced cuts. Not Okay was a prime example. Ponyboy and Immaterial were other examples that were decent at times but then used too many odd scratches and sounds or too much unnecessary autotune. I could've done with more songs like Is it Cold in the Water? Still a bit manic, but more rhythmic.
I feel like I have listened to this album before but I honestly don't recall any of the tracks other than Afternoons & Coffeespoons and Mmm Mmm Mmm Mmm. The latter is their most well known, and it's solid, but the former is the best song on this album. Here I Stand Before Me sounds a bit like it, and I can't decide whether that's a plus or a minus. Overall, this album is fine and all, but not one I'll keep coming back to.
It's better than I thought it would be, but it's still very much white rap. Like Machine Gun Kelly. At times it sounds like what Dave Chapelle would sound like if he did a skit of a white rapper. All in all, clever lyrics that also made me chuckle at times, and some great samples or musical accompaniment, but a little too white washed. Like World War Blues - neat lyrics and nice, simple beat but sounded like something out of 22 Jump Street (literally, but also figuratively in the sense of intentionally taking the piss out of its rehashing style). Other songs I enjoyed for the riffs and beats were Here We Go Again (the best), Sieve, My Own Way, Metal Band (groovy), and Close to Me. Other songs I enjoyed for the lyrics were Dudes (the best) and Motherf%ckers. Didn't need a double album either - side one was fairly solid, side two was more repetitive and forgettable.
I was surprised this was late and not early 80's rock. Feels like popped up post-punk, or punked-up pop. Slightly heavier than the Go-Go's but not quite as good. Wendy James on vocals is great, and the lyrics are often funny in their brashness, but the rest of the band and their sound are hit or miss. Loved the energy of the first 2 songs, Trash City and I Want Your Love, and the next 2 weren't bad either - Sister Moon and Pyschosonic Cindy. But the rest of the album was a bit of a snoozefest except for Tell That Girl to Shut Up and maybe Revolution Baby. Lots of potential here, needs more polish (or ability).
I don't get what all the retrospective fuss is about. I'm not saying it's as bad as how it was first received, but if it feels fairly middle of the road. First three songs - largely forgettable. It wasn't until the familiar second half of Uncle Albert / Admiral Halsey that things started to turn for the better. Smile Away and Eat at Home were also fun even if the lyrics were a little head scratching. Not sure if or when I'd revisit this. If it wasn't Paul McCartney, I wonder if I would even give it a 3.
I was a big fan of Dallas Green (the non-screaming singer) when he broke out on his own with City and Colour. I didn't even realize how much he contributed to Alexisonfire prior to that - I thought they were pretty much all scream. I do like their sound aside from the vocals - post hardcore overall has some slick guitar/bass/drum work - and I don't mind when he and George Pettit (the screamer) blend more. This album moved in that direction, though I think their next album was even better in that regard. This album can grate a bit so it's probably not more than middle of the road for me, but if I had to pick, I'd say my favorite songs were Accidents (especially the latter half), Control, Side Walk When She Walks, White Devil (heavy screamo but the guitar riffs are awesome), and Happiness by the Kilowatt.
Love this album, though their follow-up Take Off Your Pants and Jacket might be even better. I know some people don't like Blink or think they watered down punk, but it's just as cleverly irreverent as classic punk and way more melodic. So why hate on pop punk? A weakness of classic punk is limited musicianship and flawed vocals, and that's not here. It is FUN as hell. Everybody knows the two big singles What's My Age Again and All the Small Things (stone cold classics), which are models of juvenile delinquency and/or pop punk simplicity, but Adam's Song shows their deeper lyrical and musical ability. Other great lighthearted songs are Dumpweed, Don't Leave Me, Dysentery Gary, The Party Song, Wendy Clear, while another great deeper song is Aliens Exist (still has goofy moments). This album was a watershed moment for pop punk - a genre that lasted just as long as other genres recognized on the 1,001 list - k and really should've been on the list.
Meh. First two songs were upbeat and a little spastic. By the third song Peace, he/they seemed to take the foot off the gas and cruise. I think I prefer the latter, but still a bit too chill for me. Background music and not much else.
I really like this album. A friend recommended it about a year ago; one I missed from the grunge/post-grunge years. I know it's looked upon as a pioneering work of emo but it is quite unique in my opinion. The guitars, bass, and drums are a lot heavier than typical emo even if it has some despairing vocals; really a beautiful medley of grunge alternative and post-grunge angst. It has hints of Fugazi and Deftones moreso than Jimmy Eat World. Easy album for me to play on repeat, in part because it starts and ends so strongly with Seven, In Circles, (the first two) and 8 and 9 (the closing bonus tracks). Also a big fan of most tracks in between - Song About an Angel and the Blankets Were the Stairs (ok, these are emo), Round (rocking like the openers), 47 (Pearl Jam feel), Shadows (cycles between sweet and energetic), 48 (pulsing), and Sometimes (downtuned softie). Only two songs I didn't mention and I didn't mind them either. Another hidden gem from 1994, the greatest year of rock since the 80s.
I didn't mind it, though it's kind of background guitar noise. Which is probably not what they want since they were really trying to experiment with those guitars. Still, Fugazi and Sonic Youth do it better. Songs 6-9 leave a lot to be desired relative to the rest; rough stretch of the album. Vibracobra, Sense of It, Well is Deep, and Duped are probably my favorites.
More background music. Nothing really stood out to me, other than sometimes the songs sounded really electronica (Golden Arrow, Freak Go Home) and sometimes the songs sounded more indie rock (Heart, Paper Trails). Didn't hate it, didn't love it.
I know the song Chocolate by these guys - fun, poppy tune. I'm not sure I could name another song by them but might recognize a few. Not sure any of them are on this album though. They sound very much like 80's pop with these grandiose production efforts and cheesy sounding strings and brass. Definitely a new age twist to them, but 80's familiar all the same. It is quintessential new age pop in the sense it's watered down and not all that deep. Ugh, new pop. No substance. But not the worst pop has to offer and catchy at times. I don't think I could listen to it too many times in a row, but I might have fun at a concert with friends if these guys bring the energy.
My first reaction when I saw an image of the group on Apple Music was "this is a female metal band? Cool". But no, they just sing and dance, which is all part of this J-pop meets metal genre. Disappointing. My second reaction when I heard the music was "this sounds like that Dragonforce band that appeared at the end of Guitar Hero 2". And yep, a couple of those guys are session musicians that make up the actual band. Overall, this album gets a bump for being part of a new genre, despite me finding it a bit soulless - a bunch of music execs pairing Japan Idol winners with a sound recorded by session musicians. And the musical sound isn't bad - it is thrash to the max. The cartoony vocals layered overtop don't help though - makes it sound like it was made for an anime show and not for serious music lovers. Long story short, it's a 3, with a bunch of pluses and minuses contributing to that.
Reminds me a bit of Fun Lovin Criminals, but not as good. I don't know, maybe I wasn't in the mood for it or maybe I was in need of something to really knock my socks off after some middling albums lately, but my patience was pretty thin on this one. I started advancing through songs and couldn't wait for the album to be over.
I did not know Danny Elfman was the leader of Oingo Boingo. I'll bet he's prouder of all his film/tv scores than this band. They're not bad, and the sound is a lot of fun. Lots of pomp and lots of brass and sax. But it's not all that different from other new wave sounds of the 80's. It'd definitely be a fun show to see these guys play, but not sure I want to listen to them all the time. Best songs (that I could listen to a few times over) are Stay and Help Me.
Strange but kind of sweet. Just a guy and his guitar, and his cassette recorder. Super lo-fi, which is not awesome. I mean, the Boss did it on Nebraska but it sounded better than this (not far away and so fuzzy). But just from the perspective of simple chords and clever lyrics, it sounded not bad. I could picture myself listening to this guy play at a bar and enjoying it. So yeah, if anyone asks, I have an example to share of a decent indie rock album that is super lo-fi. But I'm probably not running out to listen to more of his stuff.
Sometimes the music is just right for the situation. I took the train this morning and this ambient music was perfect for that early morning train ride. Not to mention we just got hit with a winter polar vortex, the first three songs Weather, Norther, and Easter seemed on point (polar vortex not the same as a Nor'Easter but close enough). This album is great background music and today it was more needed. I'm not going to go out and give it a 4 or 5 star rating, but I quite enjoyed it and they do a good job with what they do.
Not super well-versed in Pink Floyd but it seems like this album gets far less fanfare than their other big ones. But it is just as good. The lyrics are sharp as ever (very biting in this case) and the musical arrangements just hum. I mean, three 10+ minute songs and you don't even notice - each ebbs and flows beautifully within itself but also across them they fit seamlessly. Pigs is my favorite of the three. I also really enjoyed Pigs On the Wing Pts I and II - the acoustic guitar work is just as magical as Wish You Were Here. I wish each of those songs was longer than 90 seconds. Pink Floyd's 4 album sequence from Dark Side of the Moon through The Wall was incredible, and this one should've been on the 1,001 list alongside those two and Wish You Were Here. A masterpiece.
I know Sublime's hits well but not this album. I've probably listened to it a few times but I really enjoyed giving it a closer listen. The hits are all still awesome - What I Got (the reprise is the superior version), Wrong Way, April 29 1992, Santeria, Caress Me Down, and Doin Time. But some of the non-hits were excellent - Garden Grove (slacker reggae at its best), Same in the End (the ska opens up into a wicked rocker at every chorus), Jailhouse (more slacker reggae with some awesome guitar and bass licks), Burritos (classic ska punk sound), and Under My Voodoo (starts bluesy but turns into Hendrix-like rock). A couple other songs weren't as good but still solid - Seed (irreverent punk), Pawn Shop (they go real heavy a few times in this cover and it's cool), Get Ready (white reggae). If I have one gripe, it's that the album goes a little long. But there's not many songs that I don't like despite that. Maybe a 4.5 but rounding up to 5 because I don't think there's really any other album of this style (or styles) that does it so well. Lots of ska or skater/surfer punk but none as close to as good as this.
I am a big Powderfinger fan, for a non-fan, but the best album from any of them is Bernard Fanning's solo debut Tea & Sympathy. This album is good but has holes - even Fanning thinks a couple songs are so-so. The last 3 songs in particular drag and the opener Waiting for the Sun is sort of up and down. They nail melodic melancholy perfectly with the second song My Happiness (perhaps their most well-known), which feeds perfectly into The Metre and later My Kind of Scene and These Days. All beautiful tracks. Like a Dog is the one song that doesn't quite fit this album, being more rocking, but it's solid. I mean, the best songs are 5s but overall this album is closer to a 3.5. I'm rounding up to 4 because I do really like these guys.
I could not have disliked the opening track Horchata more. The xylophone or whatever it was - ugh. And the lyrics that try to cleverly put nonsensical word combinations together just to rhyme - pompous. That said, I found it impossible to dislike White Sky - channeling their inner Paul Simon & Graceland on that one. Really well done. And so goes the Jekyll and Hyde that is indie pop. I find it such a maddening genre - I think more often than not I turn my nose up at it, but it can be good. And Vampire Weekend is a decent band. I'm not sure I recognized any of their songs (maybe Holiday) so I don't know what that says about them or me. I thought I would enjoy this album more, but I didn't. I will recognize their ambitious sound and fusion of a lot of different instruments. But it doesn't make me want to listen to more of their stuff.
A friend of mine was big into these guys in the early 2000's, going to see them at Lollapalooza. I never quite got the allure. Like a Pavement, At the Drive In or Fugazi but not as good. I don't mind the album but there's something ironic about lo-fi decadence - like, I'm not going to be so pretentious as to layer in/studio-produce instruments or sounds but I am going to be so pretentious as to make you listen to my 7 minute songs with names and lyrics that try to be super clever and introspective. I'd appreciate a tighter package and delivery.
Frustrating. There's an art to fusion right? Fuse together a bunch of flavors and the meal may taste like crap. I once ate sushi with pop rocks on it - interesting, unique, but not exactly delicious cuisine. There's some decent individual pieces but altogether it's a dog's breakfast or a sh#t sandwich. I painfully let the album play because if I don't finish an album that's a 1 and I felt like that was too harsh. But I skipped to the end of a few songs.
Still not a jazz guy. This is classic jazz; you know, the kind that gets included in old cartoon tv and movies. That sort of beat that someone or some thing is creeping up on another, or planning schemes, or just lounging about. Louis Armstrong is what I think of when I think of a jazz voice - itself a bit cartoony. Still endearing. This collection isn't bad, but it's not for me. Could use a bit more variety in sound.
I decided to go to this soundtrack for some more spacey, ambient sounds after that Ex-Easter Island Head album. This is fine and all, but not as good as straight ambient music. I think the snippets of movie dialogue is a negative - it seems out of place here, even though the music might fit the movie well. Its tough to tell a story in an hour long soundtrack for a movie that is almost twice as long. The whole movie and music was ahead of its time, so kudos to that. A little abrupt on its own but still decent.
The first half of the album kicks serious ass, or in their words, "f*cks sh*t up". Robot Stop, Big Fig Wasp, Gamma Knife, People-Vultures. Chef's kiss. So, if this album truly is created to just run seamlessly from track to track (and then all over again from the start), the whole album should be a gem. Well, those songs I mentioned do it (impossible not to rock along). But something changed around the middle song, Mr. Beat. It was still kinda fun, with a beat that I could rock to. But the album lost its continuity - it slowed down a bit in that song, especially toward the end and then that didn't seem to fit with the start of the next track Evil Death Roll. But even that song seemed to ebb and flow from energetic to subdued, and so went the rest of the album. Not quite the same cohesiveness anymore. I will grant that the penultimate song Wah Wah bled well into the final song Road Train, and when I played the album on repeat that one rolled perfectly back into Robot Stop. Pretty f'n cool. You gotta play this album on repeat, it is such a trip when you realize how got back to the start. Truly seamless. All in all, a super cool album with a couple slight hiccups and an album I probably never would've found on my own. Great pick.
There was a Scott Walker album on the 1,001 list where I said his style must've inspired guys like Interpol and The Arctic Monkeys. I immediately thought of Walker when I heard the first song. I also thought of Richard Hawley's entry on the 1,001 list and Alex Turner's side project The Last Shadow Puppets. All of those other artists and bands were better than this though. Couldn't wait for the album to end and not going to listen again.
There's still some Talking Heads stylings to it but it's darker than I expected. Fitting of the mid-90's post-grunge rock. And in fact the darker tunes (with some subtle TH bebops) were better than the loungier or poppier songs like The King is Gone (with INXS' Michael Hutchence), Never Mind (with Television's Richard Hell), and Papersnow (with XTC's Andy Partridge). I thought the opening track Damage I've Done (with Concrete Blonde's Johnette Napolitano) was the best. No Big Bang (with Maria McKee), Indie Hair (with Live's Ed Kowalczyk), and Only the Lonely (with Violent Femmes' Gord Gano) were also quite good. Don't Take My Kindness for Weakness (with Happy Mondays' Shaun Ryder...ugh, not them/him again) was not good, but it did sound familiar so maybe I heard it when it was a single 3 decades ago. Overall, this album is a little too up and down.
Mt first thought was her voice isn't as bad as I've heard it is. I mean, not great but better than mine. Then I thought, it's not that different from Bjork - not the same, but that style of a certain level and then just letting it all hang out in an almost shriek or weird warbles. Even then, her voice isn't terrible - certainly no worse than Bjork when she shrieks. Lennon's guitar is pretty good, as are the other musicians and instruments. That said, it gets worse as she just repeats things or sounds over and over - looking at you Don't Worry Kyoko. Or as she records several 10+ minute songs - Mindtrain was ok for the first half of 16min but I was about done with it by the 22min title track on side four (after 10min and 9min tracks on side three). I did listen to a part of all tracks even if I skipped through other parts. Midsummer New York - that's the only song worth relistening to. I wrote a lot because maybe I was going to try convincing myself of a 2. The title track sealed this album's fate at 1.
Meh. 80's sound for the new millennium. The music isn't offensive, but I'm not overly wowed by this pop rock whatever. At some level it's probably not that different from Hall & Oates, and I find a lot of their songs classics. Maybe I need more nostalgia here? Moving on.
The music is really interesting. These guys are referred to as metal by some but it's not. Much more like shoegaze, except for the screaming vocals, which aligns with metalcore. Reminds me of Hum, or even Steven Wilson, but with the screaming. Blackgaze (black metal and shoegaze combined I guess) is also a term used and that seems more appropriate. I kinda dug the music - soaring and melodic.
60's psychedelia. No thanks. The song Air is everything I can't stand about that style - plodding, aimless vocals, unnecessary instruments even if unique (looking at you sitar). I liked it much better when they sounded more like a soul / blues band - Intro and perhaps Mother Writes. Looking for a Happy Life and Long Nights of Summer were a decent in between style.
I've always meant to listen to a full album of these guys - indie darlings who get a fair bit of radio airtime in Canada. Plus I have a few friends that are big fans. They kind of remind me of Arcade Fire but feature their female vocalist (Amy Milan) almost as prominently as their male vocalist (Torquil Campbell). It's a solid album - didn't knock me off my feet and I'd like a little more of Milan, but it kept me coming back for re-listens. I think it's because I was trying to figure out if it was just ok or something greater. So I can settle the debate for myself, truly great songs were Ageless Beauty (hands down best song on the album), What I'm Trying to Say (I love when they up the energy), The First Five Times, and Calendar Girl. At least ok songs (and maybe better than that) were Your Ex-Lover is Dead (I do love the back and forth vocals), the title track (great tempo fizzles a bit in the choruses), Reunion, maybe One More Night, and Soft Revolution. Feels like a 3.5 at best but not a 4.
As they ask in song 3 (Too Real), is it to real for ya? Well, if they're talking about the lead singer's vocals, the answer is yes. Sounds British not Irish but whatever the case I don't care for singing that sounds like talking...in a thick Irish accent. Very grating. Which is a shame because they've got some decent musical chops. Though Hurricane Laughter reminded me of Mark E. Smith and The Fall, and his voice and that group grew on me. And that song is excellent. The rest of the album not that good, but there's potential.
Didn't mind it, but it's nothing overly special. At times she sounded like a French Madonna, complete with cheesy 80's sounds and vocal narration. At times she sounded like early Celine Dion - not quite the same vocal ability though, but similar energy. A little boring though - got about 30min in and realized it was only half the songs. 10 songs and close to 6min each. This album could've been much tighter.
They've got an old school, Americana rock sound - like Springsteen or even Elvis Costello (I know, not American). But also The Replacements and even a bit of Husker Du, which maybe isn't surprising given their lead Craig Finn is from Minnesota. This genre (heartland rock?) seemed to have legs in the 2000's, though the band I think of first is Gaslight Anthem (similar sounding vocals). Stuck Between Stations sounded very familiar - good tune. These guys have solid lyrics (always telling a story) and solid rock stylings to accompany it. But the album kinda drags - feels a bit samesy from song to song. One of those albums where I find myself asking "is it still going?" when it hasn't been all that long. I do like it, I would be willing to throw it on if I needed something to listen to, but it wouldn't be what I reach for first.
I like some of Husker Du's stuff. I love Sugar's debut album Copper Blue. So I have a soft spot for Bob Mould, and I think anyone who does as well will like this album. Anyone who doesn't might scratch their head. It's not his best work but it's comfort alt rock. And he plays all the instruments so kudos to that. The lyrics and mood feel very personal, and sometimes that works. The opener Anymore Time Between is sort of soft and sweet; I didn't know what to think on first listen but it has grown on me. Alternatively, Next Time That You Leave and Thumbtack are other softer pieces but are just ok. I quite liked a few of the more uptempo rockers - Egoverride, Deep Karma Canyon, and Art Crisis. Whatever the tempo, as I said, this album feels like comfort rock. Not outstanding but I'll take it.
I know I don't love indie rock (or pop) and I feel like I tried to keep an open mind. But I found all the synth and video game be bopping irritating. I tried listening to this album a couple weeks ago and had to go to something else - couldn't deal with it. I finally came back to it, and same thing. I put the volume down real low so it was less in my face. It didn't help me enjoy what I was doing. I'll give a nod to Poplar St. Otherwise, I'm going to try and forget about this album.
If I recall, these guys got a song of theirs in one of the Guitar Hero games. Like a bonus playable track. I think that's why I recognize their name. I recognize their genre. Post hardcore or metalcore - very big in the early to mid 2000s. Already saw Alexisonfire. Such a tough genre to evaluate. The instrumental work is often very good - same here, as they go from melodic beats to thrash. But then the vocals go from singing to screaming. The former here is ok, but there's not a lot of it and the latter is often too much to handle. They do a better job of blending the vocals on later albums.
I tried to get into this album when everyone was getting into Jack Johnson and this album 20 years ago. One friend was a big fan and leant me the cd. I couldn't do it, at least not in heavy doses. Perhaps my generation's Jimmy Buffett with his light and fluffy folk/beach rock, I'm sure Johnson inspired many a douche bag to pick up an acoustic guitar and woo girls with his soft plucking and disarming, clap-along lyrics. Johnson was earnest (I think), but it almost feels too light and fluffy to be sincere. Maybe I am just in a mood. Lots of easy breezy listening and big singles. Just can't go above a 3.
Sounded like Elvis Costello but not quite as good. Apparently it made the Rolling Stone's greatest 500 album's list. Meh. Perhaps it's pioneering new wave work? Standard fare here.
I definitely didn't know what to make of the two King Crimson albums on the 1,001 list but I know how I feel about this one. Mostly bored. They play just fine but it was a little bland. Feels perfectly average.
Her debut album is outstanding and this album doesn't quite reach that level, but it's still pretty darn good. Maybe not as many massive highs in terms of songs and maybe a couple ho-hum songs. But the highs are still incredible. The soft yet deft piano-driven pieces - Pretty Good Year, Bells for Her, and Cloud on my Tongue. The energetic rockers with a mix of different instruments - Past the Mission, Cornflake Girl, and Space Dog. The in-betweens - The Waitress and Yes, Anastasia. Still a great piano player and lyricist on this album.
