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Everything's Different Now Import


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Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


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Page Artiste 'Til Tuesday


Détails sur le produit

  • CD (25 octobre 1990)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B0000026HY
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 588.244 en Musique (Voir les 100 premiers en Musique)
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Amazon.com: HASH(0x90db1a14) étoiles sur 5 53 commentaires
36 internautes sur 40 ont trouvé ce commentaire utile 
HASH(0x90e003fc) étoiles sur 5 til tuesday's final studio album is their absolute best! 5 septembre 2001
Par Daniel J. Hamlow - Publié sur Amazon.com
Format: CD
Of the 80's bands, 'til tuesday was one of the most talented, thanks to Aimee Mann and Robert Holmes. Unfortunately, they fell into the trap of the sophomore slump and the tertiary collapse, after which they dissolved. Pity, really, since not only do I enjoy all three of their albums, but I consider this, their third and final album, released in 1988, to be their best accomplishment ever, even better than Aimee Mann's solo debut, Whatever. Call it a well-aged bottle of pleasing melancholy that keeps getting better.
The songs here are more wistful than downright sad as in Voices Carry, and have a more radio-friendly beat instead of a depressing dirge. No, it doesn't make one want to look for something sharp after listening to Type O Negative or Black Tape For A Blue Girl, but after listening to Everything's Different Now, you feel refreshed but want to take a nap to digest all that melancholy.
The title track, "Rip In Heaven," and "'J' For Jules" are prime examples of that bittersweet melancholy. Like popster Kim Wilde, Aimee Mann is a sage of lost love and times when things weren't so sad. Her voice is more polished here and the group more tight-knit, so there was no reason they couldn't have continued through the early 1990's, despite the explosion of the Seattle sound. Music buyers, thy name is fickle.
She is a great lyricist too. In "Rip In Heaven," she writes how fragile a creature optimism is: "optimistic feelings can't be/passed from hand to hand/You handle them/they tend to die." When she sings "We both know we had a past/but present must contain/a future where both of us can fit", she exemplifies the introspective rational who sees the present as an interval between past and present.
"'J' For Jules" is a song about her then-beau, music producer Jules Shear. She compares her relationship to a country. It's classic; it begins happy, there's that country beginning with 'J', then the bridge, where "there's no way a country could die/told me they drift away/but that's a lie" and the end of the country, which only exists in her heart.
It's magical when I pick up words and think, oh yes, that's the story of my life. The single "(Believed You Were) Lucky" begins with a guitar that preempts the hopelessness and resignation of the opening lines. When I hear, "So I guess I'll give it up/yeah I guess I will/What's the use in pushing/when it's all uphill", I hear a familiar soundtrack that's gone through my life. The chorus goes: "I wish you believed in life/believed in fate/believed you were lucky/and worth the wait/'cause life could be lovely/Life could be so great." Alas, this poor soul only wishes he did.
Another example are lines in "Long Gone (Buddy)": "Nobody wants to be happier more than I do/But happiness I must confess/I don't have" and "It's not that I'm frightened of being alone/It's just that I know what a burden this grief can be." Loneliness does carry freedom as a reward, but grief as a consequence.
My favorite song? "The Other End (Of The Telescope)", which features guest vocals by Elvis Costello. It could be sung in front of a campfire, but after a few beers, when the sad stage of being drunk sets in. But there are a whole lot of others that are nipping at its heels, like the other songs I have already mentioned.
There are many things I still wonder to this day. Why is life so painful sometimes, why did John Lennon, Kurt Cobain, Selena, and Aaliyah have to die young, and why wasn't Everything's Different Now more popular?
18 internautes sur 19 ont trouvé ce commentaire utile 
HASH(0x90dfdf9c) étoiles sur 5 This is the One 15 janvier 2000
Par Un client - Publié sur Amazon.com
Format: CD
Agreed with the reviewer below. If those of you who have been turned on to Aimee from Magnolia have found your way to this page. THIS is the Til Tuesday CD to get. The first two Til Tuesday are strictly amateur hour compared to this. Mann's songwriting is so hopelessly overwhelmed with truamatic heartbreak, it's almost painful to listen to some of the songs. For anyone who has ever had a broken heart...this is the music to identify with. That every song here is a pop masterpiece with melody lines on a level with Beatle-era McCartney makes the commercial failure of this album even more perplexing. Forget the first two TT CD's...get Magnolia, get Mann's two solo discs, and GET THIS!
10 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x90d78240) étoiles sur 5 The most underrated album of the 90's! 20 novembre 2004
Par Jon Nelson - Publié sur Amazon.com
Format: CD
Seriously, this has to be the most underrated album of the 1990's! It is incredible to see how this band (and especially Aimee Mann) matured from their catchy but safe pop hit Voices Carry to songs like Rip in Heaven, Long Gone Buddy, The Other End of the Telescope, and virtually every other song on this CD. This CD is a true treasure and as many other folks have noted, the songs are timeless. Aimee Mann's vocals are so heartfelt and the lyrics are so clever, it's clear that this CD was ahead of its time. Do yourself a favor and buy this CD- you won't regret it!
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x90d8006c) étoiles sur 5 An overlooked masterpiece 16 juin 1999
Par Un client - Publié sur Amazon.com
Format: CD
Til Tuesday are still best known for their 1985 hit single "Voices Carry." It was not a very interesting song, so naturally it was a big hit.
What followed that song and its debut album was far more compelling. The second album "Welcome Home" found the band coming into its own with much better songwriting, but it was this album, their third and final, that most deserves to be heard.
To put it bluntly, "Everything's Different Now" is one of the most intensely melodic albums ever made. A collection of ten love gone wrong songs, it is more than just another singer wearing his or her (in this case the later) hear on his her sleeve. The melodies are magnificent, the lyrics heartfelt, the vocals right on the mark.
Why this album was not a huge hit remains a mystery to this day. With Aimee Mann's solo career earning rave reviews (though as of yet not huge sales) it is time to discover this album if you have never heard it, or rediscover it if you have. Don't wait any longer.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x90e66438) étoiles sur 5 Looking for more Aimee Mann? Start here! 29 décembre 2000
Par Un client - Publié sur Amazon.com
Format: CD
For most people Til Tuesday are a one hit wonder. They remember the somber looking chick with the braided pigtail putting up with an obnoxious, self centered boyfriend, as she sang "hush, hush/keep it down, down/voices carry," in a ubiquitous video on MTV in 1985. Some folks liked the song, some folks didn't and before long the band faded from memory.
This is a real shame. Til Tuesday's second album "Welcome Home" was a real gem, and a big improvement over "Voices Carry" and the album of the same name. But it was this album, the band's third and final one, that planted them firmly in the melodic edgy pop world and quietly launched the solo career of "that chick with the braided pigtail" Aimme Mann.
"Everything's Different Now" took a lot at the pain of relationships, their sometimes joyous nature, and their ultimate demise. Each of these ten songs are wonderfully crafted, almost instantly hummable, and each seeps itself into you psyche and won't let go. "Rip in Heaven," "Why Must I," "J For Jules," "Wished You Were Lucky," "Limits to Love," "The Other End of the Telescope," and "How Can You Give Up," will all especially appeal to anyone who is a fan of Aimme Mann's solo work.
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