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Post by thepowkid on Jul 15, 2007 12:43:10 GMT -5
hey andy that link isnt working could you post the review?
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Post by Modern Method. on Jul 15, 2007 13:09:22 GMT -5
hey andy that link isnt working could you post the review? umm thats strange! when i went back onto the page the site wouldnt load. probably taken down because it was such a shit review. Basically they said "Bad Boyfriend" was the best track on the collection and it ended with the stunning "Its All Over Bar the Crying". Sometimes people baffle me.
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Post by Garbage Addict on Jul 15, 2007 16:44:44 GMT -5
Indeed BB was not a single but very very pleased at a genuinely positive review. as for guardian - pleased they like early G but a little harsh over BG and BLM I feel...
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Post by Modern Method. on Jul 17, 2007 8:29:17 GMT -5
www.aversion.com/bands/reviews.cfm?f_id=3186If the first few waves of the alt-rock era featured idiosyncratic (They Might Be Giants) and blatantly non-commercial (Nirvana) acts stumbling into the spotlight, its final waves saw the style fall out of the hands of angry underground rockers and quirky musicians and into the clutches of professional, career-minded industry types. Of alt-rock's final wave, none was quite as successful as Garbage at playing the game: The band members, who were all seasoned studio hands, was better musicians, better in the studio and better connected than any normal folks could hope to be; with producer/drummer Butch Vig minding the shop, Garbage used its connections for all their worth, becoming the nearly undisputed king shit of the airwaves, soundtrack placement and MTV rotation. Every revolution eats its own, and when the act's self-titled debut struck Platinum in 1996, it was a sure sign that the balance of power shifted from the underground and back into hands of The Man. It was inevitable it'd happen once "Smells Like Teen Spirit" rattled the national conscious, and, really, it couldn't have happened to a better band than Garbage. Even more than a decade after its best songs were put to tape it's clear the act fused alt-rock conventions (big guitars and a knack for putting pop traditions on their ear) with pop stand-bys (sleek production and an ear to the Zeitgeist to capitalize on trends) better than near every band of its heyday. With a little distance between Garbage's stranglehold on America, it's a little easier to appreciate the band for what it was: An enterprising and cunning pop act. It's even a little fun to sink back into the familiar strains. Singer Shirley Manson takes a pre-ProTools electro-lurker and caps it with a delivery so sultry it should bear an R-rating in "#1 Crush." "Queer" and "Only Happy When it Rains" are still pure pop flash, with Manson's vocals and the band's sleek output readymade to melt ears at half a listen. Other radio staples ("Push It," "Stupid Girl," "Only Happy When it Rains") just reinforce it. Tracks from the band's later years aren't quite as compelling. "Bleed Like Me" is the only time the aged act found a glimmer of the magic of its charmed first couple releases, and it's a faint glimmer at that. "Tell Me Where it Hurts" and "Why Do You Love Me" seem to made the collection's final cut out of a hope to democratically represent all of Garbage's records equally instead of by merit. A bonus disc of remixes is tacked on, almost as an afterthought. With Garbage handing the reins to a who's who of underground producers -- Felix da Housecat, UNKLE, Timo Mass -- it's a chance to see Garbage get the dance-floor makeovers it never needed. Garbage was tailor-made to turn alt-rock conventions into world-conquering pop, and it succeeded in a big way. It also managed to make some of the most lasting pop tunes of its era -- no small feat considering its less-than-noble purpose in life. - Nick Loughery
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Post by Modern Method. on Jul 17, 2007 8:32:55 GMT -5
www.bloggernews.net/18682Crooned softly by Shirley Manson in the hit Milk, and backed up by the trip-pop sound of the band, these lyrics take on a greater meaning than could possibly be felt by just reading them. Encapsulating the image Manson portrays in music videos, songs, and on tour, these lyrics seem to define her persona. With her beautifully damaged voice revealing tormented pain and intense, hard-fought inner-strength, all of Garbage’s lyrics slowly entrance the listener into a sense of strange calm-before-the storm sensibility, all the while dangerously enticing the ears with a subtle vampiress-like affectation. After four albums and seven Grammy nominations, Garbage is finally releasing its first “best of” collection. This cd collection of their 18 greatest hits, Absolute Garbage, ties in nicely with the release of the DVD of the same title. The DVD includes 15 Garbage music videos and an hour of backstage, live, and interview footage. Playing through this 18-song collection is like revisiting old friends. Only these songs really aren’t that old. But with the popularity of the band peaking in the late 90’s with Garbage and Version 2.0 followed by the unfortunate post-9/11 (October 2, 2001) release of Beatifulgarbage and the disappointing sales of Bleed Like Me in 2005, Absolute Garbage almost feels like a reunion with a group that’s been MIA for longer than they actually have. With huge hits like Special, I Think I’m Paranoid, When I Grow Up, Stupid Girl, and the Bond theme The World is Not Enough this best of cd has condensed a four-album collection into the bare minimum for quality maximization. The dreamy sound loops and punctuated drum rhythms make the entire cd feel like one long, flowing song, with brief breaks in between each act. Like most best-of collections, any fan has heard this all before, except, obviously for the new addition album tantilizer Tell Me Where It Hurts (recorded in January of this year). Having all the hits on one album, though, does have its privileges, and until Garbage releases an entirely new album, Absolute Garbage is the next best thing.
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Post by Tornado on Jul 17, 2007 9:20:57 GMT -5
If the first few waves of the alt-rock era featured idiosyncratic (They Might Be Giants) and blatantly non-commercial (Nirvana) acts stumbling into the spotlight, its final waves saw the style fall out of the hands of angry underground rockers and quirky musicians and into the clutches of professional, career-minded industry types. Of alt-rock's final wave, none was quite as successful as Garbage at playing the game: The band members, who were all seasoned studio hands, was better musicians, better in the studio and better connected than any normal folks could hope to be; with producer/drummer Butch Vig minding the shop, Garbage used its connections for all their worth, becoming the nearly undisputed king $h!t of the airwaves, soundtrack placement and MTV rotation. Every revolution eats its own, and when the act's self-titled debut struck Platinum in 1996, it was a sure sign that the balance of power shifted from the underground and back into hands of The Man.
It was inevitable it'd happen once "Smells Like Teen Spirit" rattled the national conscious, and, really, it couldn't have happened to a better band than Garbage. Even more than a decade after its best songs were put to tape it's clear the act fused alt-rock conventions (big guitars and a knack for putting pop traditions on their ear) with pop stand-bys (sleek production and an ear to the Zeitgeist to capitalize on trends) better than near every band of its heyday.
With a little distance between Garbage's stranglehold on America, it's a little easier to appreciate the band for what it was: An enterprising and cunning pop act. It's even a little fun to sink back into the familiar strains. Singer Shirley Manson takes a pre-ProTools electro-lurker and caps it with a delivery so sultry it should bear an R-rating in "#1 Crush." "Queer" and "Only Happy When it Rains" are still pure pop flash, with Manson's vocals and the band's sleek output readymade to melt ears at half a listen. Other radio staples ("Push It," "Stupid Girl," "Only Happy When it Rains") just reinforce it. Tracks from the band's later years aren't quite as compelling. "Bleed Like Me" is the only time the aged act found a glimmer of the magic of its charmed first couple releases, and it's a faint glimmer at that. "Tell Me Where it Hurts" and "Why Do You Love Me" seem to made the collection's final cut out of a hope to democratically represent all of Garbage's records equally instead of by merit.
A bonus disc of remixes is tacked on, almost as an afterthought. With Garbage handing the reins to a who's who of underground producers -- Felix da Housecat, UNKLE, Timo Mass -- it's a chance to see Garbage get the dance-floor makeovers it never needed.
Garbage was tailor-made to turn alt-rock conventions into world-conquering pop, and it succeeded in a big way. It also managed to make some of the most lasting pop tunes of its era -- no small feat considering its less-than-noble purpose in life.
- Nick Loughery
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Post by Tornado on Jul 17, 2007 9:22:17 GMT -5
ABSOLUTE GARBAGE Shirley Manson and the boys unleash their ‘best of’ and remind us why everyone sat up and took notice back in 1995. All the corkers from their four albums are present and correct, Stupid Girl, Only Happy When It Rains and Queer, and probably a fair few you won’t have heard first time around – for good reason. Let’s face it, by the time Beautiful Garbage was released in 2001, most of their kooky edge had been sanded down. For this release, Garbage are going the whole hog and throwing in a bonus disc of remixes featuring the likes of Timo Maas, UNKLE and Massive Attack. On top of that, a DVD is also set for release, featuring backstage footage, interviews, live gigs and 15 of their videos. So all in all, it’s a trashy treat. They say: ‘Garbage's songs have always been referential, quoting stray lyrics and setting off every listener's name-that-tune reflex.’ Rollingstone.com We say: Thanks to Manson’s weighty vocals, Garbage will never wind up in the bargain bins. Best Tracks: Stupid Girl, Queer, Vow www.megastar.co.uk/music/news-single-view/article/2/-e88afff156.html
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Post by oscillations. on Jul 17, 2007 13:58:52 GMT -5
If the first few waves of the alt-rock era featured idiosyncratic (They Might Be Giants) and blatantly non-commercial (Nirvana) acts stumbling into the spotlight, its final waves saw the style fall out of the hands of angry underground rockers and quirky musicians and into the clutches of professional, career-minded industry types. Of alt-rock's final wave, none was quite as successful as Garbage at playing the game: The band members, who were all seasoned studio hands, was better musicians, better in the studio and better connected than any normal folks could hope to be; with producer/drummer Butch Vig minding the shop, Garbage used its connections for all their worth, becoming the nearly undisputed king $h!t of the airwaves, soundtrack placement and MTV rotation. Every revolution eats its own, and when the act's self-titled debut struck Platinum in 1996, it was a sure sign that the balance of power shifted from the underground and back into hands of The Man. It was inevitable it'd happen once "Smells Like Teen Spirit" rattled the national conscious, and, really, it couldn't have happened to a better band than Garbage. Even more than a decade after its best songs were put to tape it's clear the act fused alt-rock conventions (big guitars and a knack for putting pop traditions on their ear) with pop stand-bys (sleek production and an ear to the Zeitgeist to capitalize on trends) better than near every band of its heyday. With a little distance between Garbage's stranglehold on America, it's a little easier to appreciate the band for what it was: An enterprising and cunning pop act. It's even a little fun to sink back into the familiar strains. Singer Shirley Manson takes a pre-ProTools electro-lurker and caps it with a delivery so sultry it should bear an R-rating in "#1 Crush." "Queer" and "Only Happy When it Rains" are still pure pop flash, with Manson's vocals and the band's sleek output readymade to melt ears at half a listen. Other radio staples ("Push It," "Stupid Girl," "Only Happy When it Rains") just reinforce it. Tracks from the band's later years aren't quite as compelling. "Bleed Like Me" is the only time the aged act found a glimmer of the magic of its charmed first couple releases, and it's a faint glimmer at that. "Tell Me Where it Hurts" and "Why Do You Love Me" seem to made the collection's final cut out of a hope to democratically represent all of Garbage's records equally instead of by merit. A bonus disc of remixes is tacked on, almost as an afterthought. With Garbage handing the reins to a who's who of underground producers -- Felix da Housecat, UNKLE, Timo Mass -- it's a chance to see Garbage get the dance-floor makeovers it never needed. Garbage was tailor-made to turn alt-rock conventions into world-conquering pop, and it succeeded in a big way. It also managed to make some of the most lasting pop tunes of its era -- no small feat considering its less-than-noble purpose in life. - Nick Loughery www.aversion.com/bands/reviews.cfm?f_id=3186
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Post by ParanoidGirl89 on Jul 17, 2007 16:11:11 GMT -5
While it's good to see AG getting fair to good reviews I can't say I really give a damn. I nor anyone I know listens to music critics because their job couldn't possibly be any more subjective. Music is worse than movies in the sense that there are so many genres and so many styles that personal tastes are narrowed down to a head. Unfortunately if a band doesn't fall into that small section of preference then they are stomped on. Also it's difficult to respect a critics opinion since it's simply an opinion that requires no real expertise or intellegence, just taste. It's easy to criticize and I think that's why there are so many negative reviewers out there nowadays. People can't put aside their egos and admit when something is really good. Instead they tear it apart to make themselves feel more superior to artist. Unfortunately the sad truth is they will never be anywhere near the artist because they can't create something beautiful, they can only hope to rip it apart.
With that being said BG and BLM are always getting so much shit and I honestly don't think they deserve it. Every band trys to evolve in some way (though some prefer to keep the same act for a decade and we know how that winds up) and Garbage is no exception. I think people are uncomfortable with change because it is so unfamiliar. Yes Garbage was phenominal in the debut version 2.0 era, but how long could they keep that style up without being labeled stale and repeptative. They have done something that many bands are afraid and incapable of doing and that is bringing something new to the table every time. It may not always work, but they never let that stop them. This reminds me a lot of when Tool released 10,000 days after a 5 year break. Their style had evolved so much and while some fans loved it others hated it. Either way you can't help but notice a band trying to mature and evolve and that's exactly what I see with Garbage as well.
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Post by acereject on Jul 17, 2007 19:05:00 GMT -5
In wish everyone would leave beautifulgarbage alone. I love it. I've been a fan from day one and I adore that record. Loved it from the minute I heard it and still do. It's got its faults I agree but it's worked it's way into my heart in a way the other three records didn't quite manage, even though I love them all.
Secondly, according to teletext, TMWIH is between #20 and #40 in the midweeks but they didn't specify where.
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Post by Modern Method. on Jul 17, 2007 20:41:47 GMT -5
In wish everyone would leave beautifulgarbage alone. I love it. I've been a fan from day one and I adore that record. Loved it from the minute I heard it and still do. It's got its faults I agree but it's worked it's way into my heart in a way the other three records didn't quite manage, even though I love them all. Secondly, according to teletext, TMWIH is between #20 and #40 in the midweeks but they didn't specify where. I think thats quite good considering the amount of promo done for it.
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Post by oscillations. on Jul 18, 2007 11:37:31 GMT -5
this is laughable www.new-noise.net/album-reviews/garbage/absolute-garbage/garbage---absolute-garbage_2241.htmlapparently PUSH IT, ITIP, AND TMWIH ALL = THE SAME SONG. I "understand" that it's a matter of perception, but quite frankly, I'm concerned for this person's audio sensory capabilities if they cannot tell the differences between these 3 tracks. They are all markedly different styles & tempos & well, aren't really anything alike in any possible way, unless having a chorus counts as a recurring trait. Please. Some people just don't even listen to the songs at all. I'm really convinced they just jot something out to meet a deadline & publish it. Sad.
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Post by Perfectly Paranoid on Jul 18, 2007 12:20:03 GMT -5
I really do believe the tracklisting hasn't helped the situation. Each set of songs from each album are obviously going to draw similarities as they're from the same record. The tracklisting should've been jumbled up a bit:
01. Push It 02. Stupid Girl 03. Sex Is Not The Enemy 04. I Think I'm Paranoid 05. Queer 06. Tell Me Where It Hurts 07. When I Grow Up 08. Milk (Original Version) 09. Special 10. Why Do You Love Me 11. Cherry Lips (Go Baby Go!) 12. Only Happy When It Rains 13. You Look So Fine 14. Shut Your Mouth 15. The World Is Not Enough 17. Vow 18. Androgyny 19. Breaking Up The Girl 20. It's All Over But The Crying (Remix)
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Post by oscillations. on Jul 18, 2007 12:32:52 GMT -5
Actually, I rather like the chronological listing, although, as has been pointed out by fans & critics alike, the drop off in innovation post-1999 kind of stings. I actually never thought I'd say this, but I kind of prefer Androgyny to SYM now. SYM is arguably the weakest track on the collection. No two singles on the release sound remotely similar, though, so I don't think the grouping of the eras is problematic at all.
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Post by ParanoidGirl89 on Jul 18, 2007 15:23:05 GMT -5
Androgyny definitely should have been on there. I can't see why they took it off because out of the BG era it was one of the more successful.
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Post by aztalanturf on Jul 18, 2007 20:33:54 GMT -5
www.windycitymediagroup.com/gay/lesbian/news/ARTICLE.php?AID=15568Garbage’s retrospective, Absolute Garbage, has the prerequisite new songs such as Tell Me Where It Hurts and It’s All Over But The Crying, which may offer some insight to the band’s troubled history. The outfit fronted by Shirley Manson briefly called it quits prior to releasing its 2005 album Bleed Like Me; now, the group is indefinitely on hiatus. This hits collection is anything but yesterday’s trash, having favorites from the group’s four albums, in addition to the James Bond theme The World Is Not Enough and the ode to stalking #1 Crush, as remixed especially for the soundtrack to 1996’s William Shakespeare’s Romeo and Juliet. Lyrically, Garbage’s music touched outsiders as heard on cuts like Queer, Only Happy When It Rains, Special and Bleed Like Me. Diehards, be assured a limited edition double disc of Absolute Garbage will feature remixes by the likes of UNKLE, Todd Terry, Roger Sanchez and Felix da Housecat. Sadly, the white-hot reworking of Bleed Like Me and Victor Calderone’s club mixes of the singles from Version 2.0 are not included. Expect a companion DVD containing Garbage’s video clips, live performances and interviews to be out later this month. While Garbage’s days may be over for good, Manson is already working on her solo debut ( at her own pace ) . The rumored list of contributors includes Paul Buchanan from The Blue Nile, Jack White from The White Stripes and Billy Corgan from The Smashing Pumpkins.
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Post by oscillations. on Jul 18, 2007 20:53:51 GMT -5
Androgyny definitely should have been on there. I can't see why they took it off because out of the BG era it was one of the more successful. Sadly, I think they are operating under the misapprehension that SYM was bigger hit because it got that one magical week in the Top 20 (again, purely a hardcore fan feat!). Overall, though, Androgyny was much bigger and more memorable. People seemed to warm to that track over time, and many now count it as one of their favorite G singles. The initial shock had to wear off, I guess (which is also probably why SYM was generally preferred in the beginning, but seems to have worn off its appeal over time). All this being said, I'm not one to believe that an opinion in 2007 is worth more weight than one stated in 2001 (exactly the crime these myopic critics are guilty of!), so it's not like a final verdict has been reached yet (or ever will be). Opinions evolve over time, and people always believe their current one is the most correct. Androgyny is deserved of inclusion, that's all.
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Post by donteducateus on Jul 18, 2007 22:15:25 GMT -5
I'm actually shocked at how harsh some of these critics are being. I mean, I know critics make a living being assholes, but these people are just being cruel for the sake of shock value, it seems. It's just really odd.
At least that Windy City review was good. And that reviewer was actually knowledgeable, knowing #1 Crush is a remix, and that Victor Calderone remixed Push It. That pleasantly surprised me.
So it's like 1/10 positive reviews.
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Post by oscillations. on Jul 19, 2007 1:07:05 GMT -5
Yeah, the level of malice (& that's what it is) is shocking & discomfiting. It's almost like these critics have something personal against Garbage. It's rare to read reviews that seem so invested in destroying pedestals. Weird.
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Post by acereject on Jul 19, 2007 1:34:53 GMT -5
Yeah, the level of malice (& that's what it is) is shocking & discomfiting. It's almost like these critics have something personal against Garbage. It's rare to read reviews that seem so invested in destroying pedestals. Weird. It continues. NME gave AG 5/10, and attacked Push it for sounding dated. Kerrang! gave AG a 2/5 and attacked SYM for sounding dated.........
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