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| Review NOBODY'S DAUGHTER here: | |
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| Topic Started: Apr 18 2010, 11:49 AM (794 Views) | |
| Garbage Man | Apr 18 2010, 11:49 AM Post #1 |
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Holier Than Thou
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So I thought it would be good to give opinions / in depth reviews of the album somewhere else.
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| infinitemusic | Apr 18 2010, 03:45 PM Post #2 |
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Rock Star
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Good idea! I'll do this soon |
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| Drownsoda | Apr 18 2010, 05:54 PM Post #3 |
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Wizard Of Oz
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It'll be a few days before I write a full review but I gave it 67% or just a little less than 3 stars... |
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| Michael555 | Apr 18 2010, 06:00 PM Post #4 |
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Pristine Impurity
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ouch!
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| Drownsoda | Apr 18 2010, 09:27 PM Post #5 |
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Wizard Of Oz
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I don't think it's that bad of a waiting, I didn't include my bias side in rating it and done it solely on the music. If I had of included that it took five years, scrapping the album five times, reforming a band but actually just replacing members, lack of Eric and Courtney using the name Hole for just money - it would probably be about 2/100.
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| Michael555 | Apr 19 2010, 02:58 AM Post #6 |
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Pristine Impurity
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:lol: I have to say, I was sort of expecting shit fest with this album for awhile, but "Honey" is just amazing. The whole album could be shit, but I know "Honey" is going to be played by me for a LONG time. So that song alone is worth it. For me at least. |
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| grimgal22 | Apr 19 2010, 10:30 AM Post #7 |
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Microscopic
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I couldn't agree more. I was looking for a song with some power behind it and FINALLY I hear Honey. As for the whole album, it sounds just ok to me- her voice is definitely NOT as strong as before. Personally I wish she got a better drummer though, there's just not much more it adds except keeping time. |
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| Heartless | Apr 19 2010, 05:18 PM Post #8 |
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Beautiful As Malibu
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So does everyone recommend the album? I'm afraid I won't like what I hear and regret buying it... |
[align=center] "if you don't like it you can take a big fat piss" [/align]
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| infinitemusic | Apr 19 2010, 06:13 PM Post #9 |
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Rock Star
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It's OK. Most people who like Hole enough would like it no matter what she put out. I mean, some people here even like America's Sweetheart. If you can stand that album, this is definitely much better. |
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| .andrea. | Apr 19 2010, 06:28 PM Post #10 |
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Holier Than Thou
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I think AMERICA's SWEETHEART is a great album... and I don't understand why people here, who love so much Courtney and her music, downloaded the leaked Nobody's Daughter and maybe won't buy the cd...damn... 9$!!! |
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| Heartless | Apr 19 2010, 06:31 PM Post #11 |
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Beautiful As Malibu
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(is the QUOTE button gone for anyone else, or is it just me?) EDIT: it's back now lol @infinite AS was alright in a sense, I only liked about 4 songs on it, I guess I'll decide within the week @andrea I think most people who downloaded it purchased or plan on purchasing the album. |
[align=center] "if you don't like it you can take a big fat piss" [/align]
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| Bicest-80 | Apr 20 2010, 05:14 AM Post #12 |
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I Am Doll Parts
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Nobody’s Daughter: At first I just liked this track but over the last couple of days it has really turned into a standout for me. I love the message of survival and redemption in songs like this and Never Go Hungry. Skinny Little Bitch: I know this isn’t the most popular song but I love it. It’s a great flat out rock song and I also like the ambiguous idea that the SLB could just be Courtney reflecting on her past failures. Honey: Very moving. I find the “Wasn’t I good enough to save you from destruction” line so sad. I appreciate that a lot of the songs on this album are very honest and confessional. Pacific Coast Highway: Another standout for me. It’s nice to have some contrast with the louder songs. I can’t wait to go for a drive at night and have this song playing. Again very honest and reflective. Samantha: Didn’t care for this one when it originally came out a few weeks ago but it has grown on me a lot. It works a lot better in context with the rest of the album. Someone Else’s Bed: A lot of people seem to like this one and I can see why. I believe this song embodies a lot of the major themes of this album such as loneliness, redemption, and the passing of time. For Once in Your Life: I find this a major improvement over the original. It’s concise and has more of its own musical identity (I thought a lot of the early songs sounded very samey and blandly conventional in their arrangement). Letter to God: Sounds so much better then the earlier one we heard. This song is greatly improved with the cheesy piano deemphasised and more guitars. I get chills when she belts out “I feel nothing” at the end. Loser Dust: Okay this is where the album falls apart a bit. I find the lyrics juvenile and the music is boring and not very memorable. This sounds like a bad b-side from America’s Sweetheart which in a way is surprising because most of this album doesn’t sound anything like AS. This is better than the early version but that’s not saying much. How Dirty Girls Get Clean: Not bad, but it doesn’t sound quite right to me. There seems to have been a lot of versions of this song but I don’t think they ever got it right. Don’t get me wrong, it’s pretty good but after Loser Dust I wanted to hear an awesome song to pick the album up again. Never Go Hungry: Sounds very nice, especially in the final HQ mixed version which gives it more power then the leak. This is the perfect song to close the album and the lyrics are some of the best Courtney has ever written. I think this song is a great example for people to see what a talented songwriter Courtney is standing on her own. |
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| Michael555 | Apr 20 2010, 10:14 AM Post #13 |
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Pristine Impurity
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Nobody's Daughter: Very good opening track. I love the emotional urgency, especially during the "I wanna see you stretched out..." part. Skinny Little Bitch: Fun, dumb, and aggressive. I like it now, hated it at first. Honey: OKAY. HANDS DOWN. AMAZING SONG. Best song on the record by far. I get a "Sugar Coma" vibe from it. That's saying A LOT! Pacific Coast Highway: I've always loved this song, it's great in both incarnations. Samantha: I'm still disappointed by the dubbing instead of the screaming on the "people like..." part. Someone Else's Bed: Absolutely beautiful song. My second favorite. The guitar is gorgeous, Courtney's voice is in great form. For Once In Your Life: I like it, but I wish she didn't put "hungry lost girl" at the end, she should have just kept it the way it was before. Otherwise, it's good! Letter To God: The vocals are the same. The piano dropped. The drums shitty. I hate this song. It's a complete and total mess from beginning to end. The one from the photo-shoot should have been on the record, this is absolute shit and is seriously lacking. Loser Dust: Yes. It's cheesy. But you know what, her screaming is fucking awesome on this. I really enjoy it. VAST IMPROVEMENT! How Dirty Girls Get Clean: I love the lo-fi beginning and the BLAST of sudden energy. Love it, love it! Never Go Hungry: Blah. Same as the "demo". Car Crash or Sunset Marquis would've been a better choice then putting this on the album. *Bonus Track Reviews* 1. Codine: It's in the vein of Never Go Hungry...it's okay. Buffy St. Marie's version is so much better. 3.5/5 |
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| SBeakon | Apr 20 2010, 06:56 PM Post #14 |
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Microscopic
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My Review of Nobody's Daughter: A Novel Courtney Love's HOLE's WAY-anticipated, WAY-late new record, Nobody's Daughter, starts with both a bang and a whimper with its imaginatively titled opening track ("Nobody's Daughter"), as an archetypal assault of alt rock instrumentals is quickly eclipsed by Love's shaky vocals. And it's not just the cigarette-worn Marianne Faithfull-channeled croak that we notice right off, but also her odd phrasing and uncharacteristically dumb lyrics: "Made something better, he kept it for himself / I'm not that stupid, I just need a lot of help to understand how stupid you really are." However, once the shock of all this passes---which happens about halfway through the song---we find ourselves lured into Courtney's world, a place more despairing and histrionic than that of any other rock singer in the year of 2010. Unfortunately, whatever good juju was created by the album opener is quickly dismantled by the tasteless, immature first single from the album, "Skinny Little Bitch." It doesn't belong here or anywhere else on the album, and should frankly be skipped over to keep the album's consistency intact. What we'll focus on instead is the album's 3rd (2nd?) track, "Honey," which bears instant resemblance to---dare I say it?---one of America's Sweetheart's best tracks, "Hold On To Me." It's a monolithic powerballad made unique by Love's slightly-incoherent, slightly-meandering new vocal style---and though she may not be able to sing anymore, she can still scream with the best of 'em. The song's production makes full use of this fact with a treble-heavy vocal mix to ride the full bass and guitar sounds beneath it. The song itself, we can suppose, is about Love's late husband, Kurt Cobain, and its lyrics and melody are appropriately submerged in tragedy. The segue into "Pacific Coast Highway" is much more sensible than any we're treated to on the album's first three tracks, even if its acoustic strummed opening feels a tad redundant, and the song extends "Honey's" theme of tragic love. There's a weird forced optimism in the vocals this time around, but instead of feeling insincere it gives the song an unexpected edge, with the tone of the music contradicting the dismal lyrics ("I'm bloody and totally bound / I don't know what to do with my hands now"). The song's 180-degree powerpop outro is vaguely reminiscent of Fleetwood Mac's "Go Your Own Way," or anything by Material Issue, and despite surpassing the five minute mark (rock radio suicide), the song is an appropriate choice for a second single---even if it should have been the first. Track 5, "Samantha," is a weird mirror-image of the album's opener; whereas "Nobody's Daughter" starts off confused and finishes strong, this track opens brilliantly with a confident melody and sturdy lyrics---and then degrades at the halfway mark into a clunky, overworked mess. What's worse is the misguided reference to one of the best songs from HOLE's 90s heyday, "Miss World," the shouted "people like you fuck people like me" being the 2010 equivalent of "I made my bed, I'll lie in it." This only serves to show the difference in songwriting quality between then and now, which is immense. Back in 2006, Courtney said of Nobody's Daughter, "these are songs about disasters," and even though it wasn't penned until a few years later, "Someone Else's Bed" is the song on the album that most accurately fits this description. In it she says "I believe I've seen the end of it all," and we believe her. The simplicity of the structure here is refreshing compared to the track that precedes it, and the dramatic, larger-than-life chorus has SINGLE written all over it in big, bold, sloppy letters. Aaaaaaand then along comes "For Once In Your Life," the album's understated scene stealer. With acoustic guitars, piano, lilting strings, and warmly-mixed drums (that again remind us of Fleetwood Mac), it's a doozy. The lyrics here are perhaps the strongest on the album, with such gems as "I've pierced the last hole in my arm to gouge out the pieces of you" and "I know that I'm a hungry lost girl, but please stick around and I'll build you a world." The sincere nature of this folk pop-waltz makes us want for more of Miss Love putting aside her pissed-off-bitch persona and just making beautiful music... ...which we initially think she's going to do on the album's next track, "Letter To God," which Love has talked up and up and up since the album's inception, and is slated to be the big buzz single that will propel the album's release. Notable for being the only song on the album which Love had no part in writing (aside from the line "I never wanted to be some kind of comic relief"), this Linda Perry throwaway was shelved back in 2002 only to be resurrected as a painfully obvious song-of-redemption for the world's most hated rock singer. Its religious connotations brings to mind Love's public kiss-off to Marilyn Manson for tearing up bibles onstage back in 1999, which seemed like a phony pandering to mainstream culture at the time and still does; Courtney Love and god just don't mix. The song's bloated climax feels fatigued and contains unintentionally funny lyrics ("I'm sorry I'm so weak and I turned into a freak"). If "Honey" is reminiscent of "Hold On To Me" then "Loser Dust" brings to mind, well, basically everything else on America's Sweetheart---the good and the bad. The song itself has a lot of energy and some fairly clever lyrical turns, but the production uses too much compressor and Love's vocals are mixed too low (the whole track actually sounds quieter than the rest of the album), and we can't help but notice that some of said vocals are generously Pro-Tooled to be on-key, an America's Sweetheart staple that is gratefully missing from most of this album. But all-in-all, having a more "up" song at this later point in the album is a welcome pick-me-up. HOWEVER In this writer's opinion it was a mistake to follow with "How Dirty Girls Get Clean," which also has a faster tempo in addition to big wall-of-sound guitars that make it heavier than anything else on Nobody's Daughter. These two songs side by side make the whole (hole?) album feel weighed down at the end. This is not to say that "Dirty Girls" isn't a good song---it is uber-cryptic and fulfills that "songs about disasters" angle effectively. My only complaint (aside from its placement) is that after the blowout from the acoustic guitar-driven opening, the song lacks the dynamic range to counter its repetitive structure. Still, as a stand-alone track it remains one of the album's highlights. Touted by the CD's backside as a bonus track, "Never Go Hungry" is not so much a bonus as a necessary evil. It rounds out the album, and without it Nobody's Daughter would suffer. I'll be honest---I don't care for the song. But it makes sense here, and serves as a little hit of optimism in an otherwise brooding and pessimistic album. It also contains some great one-liners, i.e. "my wig's on crooked" and "it's time for me to be a man." Don't be TOO hard on yourself, Courtney---we love/hate you just the way you are. Overall rating: **1/2 out of ***** |
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| sonicboy | Apr 28 2010, 02:24 AM Post #15 |
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Microscopic
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First off, I have to say how much better the CD sounds than the iTunes download. I had pre-ordered Nobody's Daughter on iTunes mainly to get the bonus track but also just to have it on my iPod since I had intended to buy the vinyl edition instead of the CD. But after listening to the iTunes download when it became available last night I was surprised at how crappy it sounded for an official download...the volume was low and the mix sounded thin. At first I thought my stereo settings were off or something, so I compared it to some other songs I've downloaded from iTunes recently that are similar in genre and it wasn't my stereo at all. Maybe the songs just don't translate well to the MP4 format or the version on iTunes Canada is just poorly ripped. Has anyone else noticed this or am I the only one? In any case, since the vinyl edition hasn't arrived yet I decided to pick up the CD today hoping for some improvement in quality and I'm glad I did. It sounds SO much better!! I know CD's always sound better than digital downloads in general but the difference in quality is more noticeable with this album than any other new releases I've heard in a long time. In any case, here are my early thoughts on Nobody's Daughter... Nobody's Daughter: Was never crazy about the original demo and watching live footage of the new version didn't really do it justice for me. After hearing the studio version I've grown to like it a lot. Definitely much better than the early version and a great opening track. Skinny Little Bitch: Liked this song on first listen but thought its choice as lead single was questionable. In retrospect I can see why it was chosen - it's definitely the most "Hole" sounding song of the set. Honey: Another track that didn't really grab me watching the live performances but that I've grown to love after hearing the studio version. Pacific Coast Highway: The guitar riff is very "Boys On The Radio" and the overall vibe and lyrics are also reminiscent of "Malibu" and "Sunset Strip." Nothing new here but a solid track nonetheless. The new version is just as good as the demo, if not better. Samantha: Great song. At first I definitely preferred the demo but now that I've gotten used to the new version I can appreciate the variations. I still wish there was more emphasis on the bridge in the new version though...it's one of the best parts of the song and sounds a bit burried in the mix now. Someone Else's Bed: Absolutely LOVED this song the first time I heard it live. While the album version is great as well, it's one of the few new songs that I actually prefer live over the album version. Both the full band live and the AOL Sessions versions are amazing and her vocals almost sound better than on the album. In any case, it's still my favorite song on the album. Love it!!! For Once In Your Life: This was one of my favorites from the Linda Perry demos and I feel the new version sounds a bit rushed. I miss the raw emotion and intimacy of the demo. It also puts too much emphasis on the new (and somewhat uninspired) bridge instead of focusing on the strengths of the minimal and yet so melodic demo version. It doesn't ruin the song by any means but it doesn't do it any favours either. Needless to say, I still prefer the demo. Letter To God: As relevant as these well-intentioned lyrics might be to Courtney's legacy, overall the song lends itself to Nobody's Daughter in a similar way that Uncool did to America's Sweetheart. Neither are bad songs, but they sound a bit ill-fitted. This would have made a better b-side with Sunset Marquis taking its place on the album. Loser Dust: Even in demo form it has never been a standout track but I think it fits nicely on the album. After a string of ballads it's a welcomed shift. Car Crash is a better song I think, but it's certainly not as rocking and I do like this new version enough that I can appreciate its inclusion here. How Dirty Girls Get Clean: Great song! I like that it hasn't been radically reinvented from the Linda Perry demo but was just given a subtle facelift and a bit more oomph. Never Go Hungry: I do like this song, but when hearing it on Nobody's Daughter there's no disguising the fact that it was written for an entirely different album. When I first saw the tracklisting I was annoyed that they called it a "bonus track" when in my mind, it seemed to be just the last song on the album. Now I can see why they labelled it a bonus track...it doesn't really fit in with the sound of the album and truly sounds "tacked on" at the end. This song obviously means a lot to Courtney, as it should. But it would have been a much better fit for the originally planned, Linda Perry produced album that was intended to be Noboby's Daughter than it is on the released version. A reworked version of Happy Ending Story that sounds somewhere in between the demo and the bonus track version would have been a more fitting ending to this release. Overall, I'm much happier with Nobody's Daughter than I had expected to be. When I first started hearing the demos a few years ago I immediately thought they were some of her most interesting songs since Hole's peak period. It didn't sound like she was trying to do what was expected of her but was instead doing something different and perhaps closer to her heart. I was annoyed when she shelved the Linda Perry sessions and decided to work with Beinhorn again, not because I didn't like his work on Celebrity Skin (which I did overall), but because I thought she was overthinking things again and we were going to end up with another overproduced album like America's Sweetheart. I was partially right because some of Nobody's Daughter does sound overproduced when compared to the demos. Overall though it still works because the Perry/Corgan songs are strong enough to carry it and the new additions are equally worthy. Ideally, she should have released two albums. The first album would have come out as orginally planned, and a second album would have been comprised of the newer songs along with reworked versions of other tracks that didn't make it or didn't fit into the sound of the Linda Perry produced record. Instead we have a hybrid of the two which, while not the perfect scenario, ends up sounding better as a whole than I would have imagined. Is it perfect? No. Is it still a solid album? Yes.
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ouch!

