Squeeze released Ridiculous

Ridiculous Squeeze

Released: November 13, 1995 Peak: -- US, 50 UK Sales (in millions): -- Genre: new wave

Tracks: Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts. Electric Trains [4:03] (10/30/95, 44 UK) Heaven Knows [4:34] (5/27/96, 27 UK) Grouch of the Day [3:27] Walk Away [4:43] This Summer [3:39] (8/21/95, 32 UK) Got to Me (Wilkinson) [3:45] Long Face [4:31] I Want You [4:03] Daphne [3:44] Lost for Words [1:59] Great Escape [3:27] Temptation for Love [3:37] Sound Asleep [4:38] Fingertips [5:40] Songs written by Chris Difford and Glenn Tilbrook unless noted otherwise. Total Running Time: 55:59 The Players: Chris Difford (vocals, guitar) Glenn Tilbrook (vocals, guitar, keyboards) Keith Wilkinson (bass) Kevin Wilkinson (drums)

Rating: 3.033 out of 5.00 (average of 17 ratings) Quotable: ”Smart and stylish pop music for discerning listeners” – CdUniverse.com

About the Album: ”After nearly 20 years of recording, it would be easy to write Squeeze off as spent creative force – certainly their mosty recent albums have seemed like somewhat forced attempts to recapture the glory days.” AMG Ridiculous isn't an embarrassing attempt to rewrite previous hits, but rather, a natural progression executed with a dignified maturity rather than resignation.” AMG ”This…album came out to little fanfare in the States, though Squeeze continued to be a solid draw in their homeland England, with a back catalog justifiably revered by their following.” CDU Chris Difford and Glenn Tilbrook, “the only original members left and still the band's primary songwriters” AMG “offer up…smartly written and arranged odes to the ins and outs of life and love.” CDU The pair “seem content to have passed the Brit-pop torch on.” AMG ”The record is jammed with distorted guitars, fat bass lines, plodding electric organ lines, and echoey drums. They get totally carried away with shameless Baby Boomer pandering on the record's one obvious potential hit ("Electric Trains"), a relatively upbeat effort with an enthusiastic beat and groovy string and backing vocal arrangements.” JA ”This is smart and stylish pop music for discerning listeners. The hooks are subtle and yield their rewards slowly but unshakably.” CDU Electric Trains is a heartfelt reminiscence back to a boyhood transition from the hobby mentioned in the title to a guitar and a band.” CDU “Grouch of the Day is a moderately successful attempt at emulating [The Beatles’] Revolver [with it's] bouncy, reverby 12-string sound.” JA “Long Face is a moody, thoroughly modernized electronic dance number with a breathless, distorted Chris Difford lead vocal.” JA “I Want You gets a big bombastic string arrangement.” JA ”As the band are wont to do, the album's name shows up as simply a word in Daphne which has a chorus of ‘Daphne, don't be ridiculous’” CDU and “a warped country-western vibe that's a little amusing.” JA "Great Escape has a funky chorus worthy of Midnight Oil.” JA ”The gorgeous Temptation for Love finds Tilbrook dueting with one Cathy Denis whose parallel singing is like a soft drop shadow.” CDU “The very mellow love song…sounds much like early 70's Stevie Wonder.” JA When all is said and done, this album falls into the same pile as most of Squeeze’s output – a collection of well-written and sung shoulda-been hits that go nowhere fast. Then again, “catchy” isn’t enough to make an album a classic and while this album may be able to boast of catchiness, it can’t call itself a classic.

Resources and Related Links: DMDB encyclopedia entry for Squeeze AMG All Music Guide review by Chris Woodstra JA John Alroy, Wilson & Alroy’s Record Reviews CDU CdUniverse.com Other Related DMDB Pages: First posted 3/16/2006; last updated 2/7/2022.

Squeeze released Some Fantastic Place

Some Fantastic Place Squeeze

Released: September 13, 1993 Peak: 182 US, 26 UK, 65 CN Sales (in millions): -- Genre: new wave

Tracks: Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts. Everything in the World [4:30] (9/18/93, 9 MR) Some Fantastic Place [4:32] (8/30/93, 73 UK) Third Rail [3:39] (7/12/93, 39 UK) Loving You Tonight [4:49] (10/18/93, --) It’s Over [3:45] (2/28/94, 89 UK) Cold Shoulder [5:48] Talk to Him [3:46] Jolly Comes Home [5:00] Images of Loving [4:10] True Colours (The Storm) (Wilkinson) [3:39] Pinocchio [4:42] Songs written by Chris Difford and Glenn Tilbrook unless noted otherwise. Total Running Time: 48:17 The Players: Chris Difford (vocals, rhythm guitar) Glenn Tilbrook (vocals, lead guitar, keyboards) Paul Carrack (keyboards, vocals) Keith Wilkinson (bass) Pete Thomas (drums, percussion)

Rating: 3.435 out of 5.00 (average of 16 ratings) Quotable: “Another in a series of commercial sleepers, but definitely worth a listen” – Chris Woodstra, All Music Guide

About the Album: Paul Carrack, who’d previously made his name as a solo artist as well as stints with Ace, Mike + the Mechanics, and, back in ’81, with Squeeze on East Side Story, returns to the fold. Along with regular members Glenn Tilbrook and Chris Difford, he is joined by “drummer Pete Thomas [of] Elvis Costello & the Attractions.” AMG “The record's oddest aspect is Difford's near-absence; he doesn't play a note on several tracks and he takes none of the lead vocals.” JA Carrack’s vocal contribution, though, is the absolute “blue-eyed soul” AMG gem Loving You Tonight. It is one of the best vocals ever delivered by Carrack and, while it doesn’t feel like a Squeeze song, does take on that classic it’s-a-phenomenal-pop-song-but-won’t-go-anywhere-vibe that has so maddeningly plagued the band’s entire career. Once again, Squeeze shoot themselves in the foot with their choice of Third Rail as the first single, at least in the U.K. While a decent slice of “melodic power pop,” AMG it is nowhere close to the more obvious Everything in the World. That song is the album’s easiest listen; it jumps out and says “I’m a pop hit waiting to happen!” Then again, like most of Squeeze’s pop hits, it is still waiting to happen. The song was released in the U.S. and, not surprisingly, went nowhere. The title cut was a single as well and it fits better. This is a wonderfully crafted song that catches the listener’s attention with its smooth style and lyrics a cut above the average song. There’s also ”Keith Wilkinson’s surprise vocal spotlight” JA on True Colours (The Storm), a song that startling “turns out to be a reggae sendup.” JA Elsewhere on the album is the cleverly titled Pinocchio, which never mentions its namesake, but eludes to the famous puppet with one line: “I used to come home late and lie, lie, lie.” The album is peppered with a few more songs that the listener will tap or sway along with as the song plays (It’s Over, Cold Shoulder, and Jolly Comes Home), but fail to list as entries in the canon of Squeeze classics. Which pretty much sums up the album. This is hardly vital; it is, after all, “another in a series of commercial sleepers, but definitely worth a listen.” AMG

Resources and Related Links: DMDB encyclopedia entry for Squeeze AMG All Music Guide by Chris Woodstra JA John Alroy, Wilson & Alroy’s Record Reviews Other Related DMDB Pages: First posted 3/6/2008; last updated 2/7/2022.

 

Squeeze released Play

Play Squeeze

Released: July 23, 1991 Peak: -- US, 41 UK Sales (in millions): -- Genre: new wave

Tracks: Song Title [time] (date of single release, chart peaks) Click for codes to singles charts. Satisfied (5:10] (8/3/91, 3 MR, 47 CN) Crying in My Sleep (5:03] (10/26/91, 14 MR) Letting Go (5:01] The Day I Get Home (4:50] The Truth (4:12] House of Love (3:23] Cupid’s Toy (4:31] Gone to the Dogs (3:54] Walk a Straight Line (3:50] Sunday Street [4:16] (7/91, --) Wicked and Cruel (4:14] There Is a Voice (4:01] Songs written by Chris Difford and Glenn Tilbrook. Total Running Time: 52:25 The Players: Chris Difford (vocals, rhythm guitar) Glenn Tilbrook (vocals, lead guitar, keyboards) Keith Wilkinson (bass) Gilson Lavis (drums, percussion)

Rating: 3.299 out of 5.00 (average of 16 ratings) Quotable: “One of Squeeze’s most mature and thoughtful albums” – Stewart Mason, All Music Guide

About the Album: “Reduced to a quartet by Jools Holland's departure for a career as a BBC television presenter,” AMG ”keyboards are filled in by several people, including Berg, Matt Irving, and Steve Nieve. Bruce Hornsby shows up playing accordion (!), and Jerry Hey leads a horn section.” JA This gives “the group…a loose, R&B-inflected casualness,” AMG but “producer Tony Berg, unfortunately, occasionally obscures that character by drowning the songs in strings and mass backing vocals (including special appearances by Michael Penn, Wendie Colter, and Spinal Tap's Michael McKean and Christopher Guest!).” AMG Under Berg’s guidance, “the band retreat to its soporific mid-80's synth-heavy sound, and with the raw song material being weaker than usual, the result is a disappointment,” JA but the Difford/Tilbrook songs are mostly strong enough to withstand the onslaught.” AMG Play is “a bit pretentious in spots – the liner notes are written out as a theatre script, with the songs laid out as dialogue” Mason). It also masquerades as a concept album, albeit “loosely; this is less of a concept album than many reviews claimed at the time.” AMG A “loose” concept album isn’t particularly a good thing; if you’re going to do a concept album, then do a concept album. Still, this “simple and low-key collection of songs charting…the dissolution of a love affair” AMG makes for “one of Squeeze's most mature and thoughtful albums.” AMG While it might be easy to compare this to “the misguided experiments of Cosi Fan Tutti Frutti and the naked chart ambitions of Babylon and On” AMG and declare this one a winner, Play isn’t necessarily a better album, it just sounds like its supposed to be. Cosi Fan Tutti Frutti was one of Squeeze’s most consistent albums and Babylon and On, while over-reaching in its attempt at pure pop, is still a catchier listen. This is most on display from the very kick-off of the album. Satisfied, which is the obvious choice for the first single (although the U.K. baffling opted for Sunday Street instead), is the most memorable song on the album, but doesn’t come close to ranking with Squeeze’s best work. Other catchy songs include Crying in My Sleep, Letting Go, The Truth, and Wicked and Cruel. All are a cut above the average song, but they aren’t a cut above the average Squeeze song. Elsewhere on the album is the nice closing ballad There Is a Voice, but it is also largely pales when faced with superior efforts like “When the Hangover Strikes,” “Vanity Fair,” and even “Some Americans,” from previous albums.

Resources and Related Links: DMDB encyclopedia entry for Squeeze AMG All Music Guide review by Stewart Mason JA John Alroy, Wilson & Alroy’s Record Reviews Other Related DMDB Pages: First posted 3/16/2006; last updated 2/7/2022.

Squeeze released Frank

Frank Squeeze

Released: August 24, 1989 Peak: 113 US, 58 UK Sales (in millions): -- Genre: new wave

Tracks: Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts. Frank (no author – studio chatter) [0:15] If It’s Love [4:02] (9/89, 7 MR) Peyton Place [4:08] Rose, I Said [3:36] Slaughtered, Gutted and Heartbroken [4:37] This Could Be the Last Time [3:49] She Doesn’t Have to Shave [3:27] Love Circles [5:34] (1/15/90, --) Melody Motel [3:51] Can of Worms [4:47] Dr. Jazz (Holland) [4:04] Is It Too Late [3:12] Songs written by Chris Difford and Glenn Tilbrook unless noted otherwise. Total Running Time: 45:22 The Players: Chris Difford (vocals, rhythm guitar) Glenn Tilbrook (vocals, lead guitar) Jools Holland (keyboards) Keith Wilkinson (bass) Gilson Lavis (drums, percussion)

Rating: 3.089 out of 5.00 (average of 17 ratings) Quotable: “An unpretentious, classily produced album that’s packed with quality tunes” – John Alroy, Wilson & Alroy’s Record Reviews

About the Album: ”Though Babylon and On was hailed as a return to form, the unfairly overlooked follow-up, Frank, comes much closer to the sound of classic Squeeze.” AMG ”The band suddenly showed signs of life with an unpretentious, classily produced album that's packed with quality tunes and comes off as a true group effort.” JA “Wilkinson's ferociously melodic, Tilbrook's guitar parts are a tour de force, and, like everyone, Holland sounds like he's having the party of his life.” JA “Practically everything works, with crisp but complex arrangements, significant stylistic variety, and a genuine sense of humor…Several tunes are among their best ever.” JA “Mysteriously, the…singles completely bombed.” JA Then again, this should come as no surprise to anyone following their career. Squeeze can churn out pop masterpieces in their sleep and the charts will never give them a second glance. Both “If It's Love and the mesmerizingly harmonized Love Circles (hey, that's Difford in the lead) sound like Paul McCartney at his best.” JA "Peyton Place has great dynamics and a riveting chorus” JA while “the twisting rockers Rose I Said and (This Could Be) The Last Time are excellent examples of the group's debt to Elvis Costello and the early Beatles.” JA Dr. Jazz, Holland’s “boogie-woogie jazz tribute is endearingly odd.” JA He’s also “memorable on another of Difford's spotlights – the smooth, 40's small-combo jazz number Slaughtered, Gutted and Heartbroken,” JA the peak of the album. The most “Squeeze-like” song on the album is the “irresistible” AMG She Doesn’t Have to Shave. Complete with witty lyrics that make you chuckle and an understated pop hook, the song catches on after a few listens and never lets you go again after that. That song and Can of Worms fit the fairly standard “blue-eyed soul love songs,” JA but, as is often the case with Squeeze, they charm more than they detract. There are also the “good-natured musical sendups (country-western on Melody Motel; manic rockabilly on It's Too Late) [that] are so well-performed they're gems.” JA ”None of this pushes the band's limits, but such a minor shortcoming won't spoil your enjoyment in the slightest.” JA With Frank, Squeeze has churned out yet another inexplicably overlooked delight.

Resources and Related Links: DMDB encyclopedia entry for Squeeze AMG All Music Guide by Chris Woodstra JA John Alroy, Wilson & Alroy’s Record Reviews Other Related DMDB Pages: First posted 3/16/2006; last updated 2/7/2022.

Squeeze released Babylon and On

Babylon and On Squeeze

Released: September 15, 1987 Peak: 36 US, 14 UK, 95 CN, 84 AU Sales (in millions): -- Genre: new wave

Tracks: Song Title [time] (date of single release, chart peaks) Click for codes to singles charts. Hourglass [3:16] (7/87, 15 US, 13 RR, 45 AC, 22 AR, 3 CO, 16 UK, 23 CN, 90 AU) Footprints [3:49] (6/88, --) Tough Love [3:07] The Prisoner [4:06] 853-5937 [3:16] (12/19/87, 32 US, 27 RR, 37 AR, 6 CO, 91 UK, 50 CN) In Today's Room [3:28] Trust Me To Open My Mouth [3:12] (9/87, 50 AR, 25 CO, 72 UK) Striking Matches [3:02] Cigarette of a Single Man [3:29] Who Are You? [3:30] The Waiting Game [3:06] (11/87, --) Some Americans [4:40] Songs written by Chris Difford and Glenn Tilbrook. Total Running Time: 42:01 The Players: Chris Difford (vocals, rhythm guitar) Glenn Tilbrook (vocals, lead guitar) Jools Holland, Andy Metcalfe (keyboards) Keith Wilkinson (bass) Gilson Lavis (drums, percussion)

Rating: 3.413 out of 5.00 (average of 15 ratings) Quotable: “A fully engaging album” – Amazon.com

About the Album: For their seventh album, “Squeeze decided to return to the more straight-ahead pop of their classic period.” AMG Babylon and On strips back a bit and, although the return is a welcomed one AMG “with hooks that make sly demands on the attention of the listener,” AZ “much of the material misses the mark, and the move seems a little forced. Flaws aside, there are some moments of inspiration.” AMG With a tongue-twister lightning-speed chorus, Hourglass “became the band's biggest Stateside hit” AMG and “revels in Squeeze's signature sound: idiosyncratically structured choruses made inviting by the enthusiasm of multiple voices” AZ definitely has pop appeal, but it is sad to think that masterpieces like “Tempted,” “Up the Junction,” and “Black Coffee in Bed” were dwarfed by this “near-novelty” AMG song. Footprints and 853-5937 are two of Squeeze’s weaker singles releases. They aren’t entirely without witty lines or catchy hooks, but they pale in comparison to previous classics like “Cool for Cats” and “Pulling Mussels (From the Shell).” The first half of the album is also doomed with several filler songs. “Tough Love presents another one of their finely detailed little vignettes.” AZ While it may be lyrically interesting, it makes for one of the weak points of the album, along with The Prisoner and In Today’s Room. The second half of the album is much stronger. "Trust Me to Open My Mouth offers a narrator flawed in familiar way.” AZ ”It kicks butt all over the place, with a great harmony arrangement and a compelling bass line.” JA That song then launches into Striking Matches, a Difford-sung song that would have fit comfortably on previous album Cosi Fan Tutti Frutti, Squeeze’s welcome return after a three-year layoff. Things just keep kicking with Cigarette of a Single Man. This song fits comfortably into the role of a classic Squeeze song overshadowed by the album’s hit singles. With Argybargy, it was “Separate Beds;” on East Side Story it was a pair of songs with “Messed Around” and “Vanity Fair.” Here, “Cigarette” unnecessarily plays second fiddle to “Hourglass” and “Trust Me to Open My Mouth.” This is the kind of song that may not musically overwhelm you, but you’ll find yourself bopping along to it as you back up to play the song again to listen to the catchy lyrics. The album closes out with three strong songs that are still easy to overlook after the strong trifecta that they follow. Who Are You? is a decent toe-tapper, followed by a smooth ballad in The Waiting Game. Things wrap up with Some Americans, which hits on the familiar British perspective that Squeeze brings to many of their songs as they sing “about how they really don't understand Americans.” RC Chop out a few of the dead weight songs and replace them with that era’s B-side “Wedding Bells” and “What Have They Done,” from the When the Wind Blows and you have a perfect album. Even as is, though, ”Squeeze [have] fashioned a fully engaging album.” AZ Notes: The UK re-release added bonus tracks “Splitting into Three” and “Wedding Bells.”

Resources and Related Links: DMDB encyclopedia entry for Squeeze AMG All Music Guide review by Chris Woodstra JA John Alroy, Wilson & Alroy’s Record Reviews AZ Amazon.com RC Robert Christgau Other Related DMDB Pages: First posted 3/16/2006; last updated 2/7/2022.

 

Difford & Tilbrook charted with their self-titled album

Difford & Tilbrook Difford & Tilbrook

Released: June 1984 Charted: July 14, 1984 Peak: 55 US, 47 UK Sales (in millions): -- Genre: new wave

Tracks: Song Title [time] (date of single release, chart peaks) Click for codes to singles charts. Action Speaks Faster (4:50] Love’s Crashing Waves (3:08] (6/84, 32 CO, 57 UK) Picking Up the Pieces (3:18] On My Mind Tonight (4:08] Man for All Seasons (2:35] Hope Fell Down (4:22] (9/84, --) Wagon Train (3:36] You Can’t Hurt the Girl (3:01] Tears for Attention (4:50] The Apple Tree (4:24] Songs written by Chris Difford and Glenn Tilbrook. Total Running Time: 38:12 The Players: Chris Difford (vocals, rhythm guitar) Glenn Tilbrook (vocals, lead guitar) Keith Wilkinson (bass) Guy Fletcher (keyboards) Andy Duncan (drums, percussion) Larry Tollfree (percussion) Debbie Bishop (backing vocals)

Rating: 2.979 out of 5.00 (average of 15 ratings) Quotable: Difford & Tilbrook’s ”songwriting talents are as formidable as ever…but…[this] seems like a record without a center” – Christopher Connelly, Rolling Stone

About the Album: ”While Squeeze collapsed from physical and artistic exhaustion after Sweets from a Stranger, the band's songwriting duo soldiered on under the name Difford & Tilbrook for another release.” AMG “Song-wise [this] is a more consistent album than the schizophrenic Sweets from a Stranger.” AMG ”Chris Difford (guitar, lyrics) and Glenn Tilbrook (guitar, vocals, music) have spun ten widely varied pop songs, each one a showcase for Difford's warmhearted, wise-guy lyrics and Tilbrook’s fetching altar-boy tenor.” RS ”The addition of Keith Wilkinson's deep-bottomed bass and Debbie Bishop's snappy soprano backing vocals is a major improvement.” RS “There's also Andy Duncan (drums) [and] Guy Fletcher (keyboards).” JA They “set out to craft an '80s contemporary blue-eyed soul record, emulating all the requisite synth washes and drum machines from early-'80s Hall & Oates albums like H2O and Private Eyes…this was clearly meant as a shot at the big time…but the album tanked on the charts precisely because it still sounded like Squeeze.” AMG ”Difford and Tilbrook…shows that their songwriting talents are as formidable as ever,” RS but “characters, tones and themes seems to change from song to song on this record.” RS The album “seems like a record without a center, a surfeit of diversity with a dearth of direction.” RS Consequently “there's not quite enough urgency - or unity - to the songs here…No one's asking for an anthem…but songs with the spirit of ‘Another Nail in My Heart’ or the youthful wit of ‘Separate Beds’ would allow their more eclectic work to be that much more effective.” RS "Action Speaks Faster than words,’ declares the album's initial track, a fusion of British pop and American rap that would be more successful if Tilbrook's Anglo vowels (‘fah-stah’) didn't de-funk the enterprise. Given that song's message, it's ironic that the tune's charging, horn-fueled end…leads right into the ornate verbosity of the single, Love's Crashing Waves. Here, the talented Difford makes his cohort wrap his mouth around some tough lines: "Concocted rumours/By out-of-tuners/Are the must in love's concerto." Even the chorus' delightful zing can't quite redeem all of that verbiage.” RS “Difford & Tilbrook is chock full of Tilbrook's typically jaunty pop tunes. Picking Up the Pieces is one of his best; bright, enthusiastic and direct, the tune is enlivened all the more by a judiciously employed string section and by Bishop's chirping.” RS “Tilbrook has always evinced an affection for the husky, world-weary tones of the saloon singer, even though his voice is laden with fresh-faced innocence. For On My Mind Tonight, he adopts a tipsier tone - Paul McCartney at last call. The tune is almost a cocktail-lounge funk, and the singer languorously - and impotently - bemoans his lovelorn state: ‘The silence of the telephone doesn't bother me/But I wish that it would ring....I'm the man who would be king/The small hand’s on the five.’” RS “The LP lacks a track that would make a truly thrilling single, though…’Picking Up the Pieces’ and Hope Fell Down…come close.” RS The latter “reveals Difford's sassy wit: ‘Your ship came in/And your fanfare sunk it,’ he notes in a track that approximates the style of Squeeze's lone stateside hit, ‘Tempted.’” RS ”Difford displays his…facility for conjuring torrents of emotion - even the end of the world - in the jetsam of everyday life: the ash in the pages, the wax around the wick, the pen devoid of ink. In You Can’t Hurt the Girl, he weaves some intriguing ambiguity into a tale of an oft-heartbroken woman. ‘You can't hurt the girl,’ Tilbrook sings in the chorus, and it's not until the end that he adds a telling ‘...and not cry.’” RS ”The bounce” of the “Costello-ish foot-tapper” JA “Man for All Seasons will remind some of East Side Story’s ‘In Quintessence.’” RS “There are a couple of prettily harmonized love songs (You Can't Hurt the Girl; Tears for Attention)” JA “and it's nice to hear Difford's low buzz of a voice at the end of the uptempo throwaway Wagon Train.” RS “Difford's dexterous style works best on” RS the “fascinatingly creepy” JA “The Apple Tree, as he develops a series of harrowing images in a post-nuclear-holocaust scene: the abandoned house with the coffee still on, the fingernail scratches on the church door. ‘It's a silence you can see,’ he writes, ‘hearing shadows behind me.’ Musically, Tilbrook is equal to the challenge. His swirling, eerie arrangement - reminiscent of [The Beatles’] ‘A Day in the Life’ - skews the deceptively commonplace melody line and builds the track to its dramatic conclusion.” RS “Over time, Chris Difford and Glenn Tilbrook would prove to be the only constant members of Squeeze anyway, making Difford & Tilbrook the lost Squeeze album and the missing puzzle piece between Sweets from a Strangerand Cosi Fan Tutti Frutti. Despite being far from the duo's best work (and it's certainly the rarest), serious fans will want to seek this out.” AMG

Resources and Related Links: DMDB encyclopedia entry for Squeeze DMDB encyclopedia entry for Chris Difford DMDB encyclopedia entry for Glenn Tilbrook AMG All Music Guide review by Chris Woodstra JA John Alroy, Wilson & Alroy’s Record Reviews RS RollingStone.com review by Christopher Connelly, originally in print issue #424. Other Related DMDB Pages: First posted 7/23/2008; last updated 2/7/2022.