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Uh Huh Her
Format: Audio CD|Change
Price:£5.99+ Free shipping with Amazon Prime

on 3 September 2017
I absolutely love this Album, unfortunately it does not play properly on my In-Car Stereo, firstly it does not recognise the CD, if on the other hand it eventually does recognise it, it lists 15 tracks, for which Track 15 is a loud screeching horrendous noise, if i do manage to get this to play on Track 15, then i am lucky enough to listen to the other Tracks by flicking back through all of the Tracks until i reach Track 1, therefore i cannot Play this CD at my leisure!!
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on 24 June 2017
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on 10 April 2017
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on 31 October 2017
Love Polly's music

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on 6 June 2004
Uh Huh Her has been marked as a return to Polly's earlier albums. However approaching the album with this notion in mind proves rather misleading. Armed with Karen O's haircut and an abrasive guitar, Harvey launches into Who The Fuck? early on. Fans of Stories and earlier albums (Rid Of Me) will definitely appreciate this.
After this two minute offering though, it seems Harvey's aggression has been spent. Most of the album is minimalist, striking a balance between blues and folk, but the narrator is never content. Subversion, stolen innocence and poetic justice are all touched upon here (The Pocket Knife sees Harvey as a reluctant bride-to-be) Tracks such as You Come Through and one-minute instrumental The End also introduce a marine sound to her music (revisiting her youth perhaps), not forgetting Seagulls (a brief track of, well, seagull noises). The overall sound swings between delicate and dark, (It's You trembles under a crunchy guitar but the song never rises above a weary groan).
Harvey has created an album which touches upon moments from her entire career, and at the same time has managed to push her sound in a direction which offers the album its own individuality. Nowhere before the acoustic folk of The Desparate Kingdom of Love has Harvey sounded so learned. Johnny Cash would be proud.
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on 8 June 2004
i guess after mercury prize winner 'stories...'
this album will be a cause of great controversy
those who like 'big' production might find it boring
but those who love art to its purest and minimalest use of means are bound to love it
songwriting is personal and straight to the point
pj does almost everything by herself
that's why it's such a precious work of art.
a handmade jewel in times of corporate music hysteria...
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on 14 September 2014
Seriously underrated (& misunderstood by music critics - The Guardian being the worst) album by the most talented & disturbing artist for many years. She's up there with Britten & Vaughan Williams for me (though for different reasons). Apart from 'Cat On The Wall' all the tracks are effective at what she does best - communication; & intimate communication at that, which you'll only find in such a frank & honest form in a few other places.
Some comments about the tracks: if you view 'Who The ****' as being not about hairdressing, but dealing with concerns about 'dirty fingers' being in 'curls' not on her head, it makes a lot more sense. 'Pocket knife' keeps getting described as a murder ballad, but - since it's the 'white material will stain', I think suicide (or self-harm) ballad would be closer to the truth. Some critics find 'It's You' to be merely filler, but a more disturbing description of a mother-daughter relationship I've yet to hear. 'Mr. Badmouth' is as bitter as it gets, 'Shame' full of sadness & regret, 'The Letter' a wonderful description of the erotic possibilities of writing ('your blue eyes') conjuring up one's lover .... other tracks project different emotional states, all successfully.

Her best album? No. She doesn't have a 'best' album. It doesn't matter what she does, it doesn't matter whether I like it or not, she is beyond all that. I mentioned Britten before, & my feelings towards her are similar; I cannot understand all his work (& I hate the operatic form in general), but I can never deny his greatness as an artist. She's right up there with him.
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on 25 July 2004
I was only introduced to PJ Harvey roughly two weeks ago. A friend of mine spotted her giving a concert in the Brixton Academy and convinced me to come along. I must say I was literally blown away by her energy. But at the same time, despite her huge success, she seems to have stayed modest and honest.
Since the concert I have been listening to Uh Huh Her over and over again. Never heard such a pure, direct, powerful and agitating work of music. It keeps growing with every time I listen to it. The sometimes called "lo-fi" production of the album feels more authentic than the most high profile and technically overproduced works nowadays. Somehow the songs connect directly to you. Especially "The slow drug" and "The desperate kingdom of love" sound as if she sings directly next to you. The powerful "...Mr. Badmouth" and "Who the fuck?" are just amazing. The songs work perfectly together, but have also no problem to stand on their own.
I think I have become a fan for life. Just bought "Stories..." what also is a good album but by far not as pure as "Uh Huh Her". Can't wait to hear her other works.
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on 1 June 2004
Before hearing this album, I feared that P J Harvey might have made her first bad record. There was the problem of being the follow-up to the magnificent "Stories From The City...", only luke-warm reviews of the album in the press, and the threat of the "Mercury Award curse" - whereby winners' careers seem to go off the rails afterwards. Even after hearing some of the songs on the radio and internet, I was slightly disappointed that there weren't more heavy rockers on the album - some reports had compared "Uh Huh Her" with "Rid Of Me".
But we already have a "Rid Of Me", and Polly has never been one to tire us with remakes of albums. Most tracks sound uneasy at first, but give "Uh Huh Her" a few listens, and you'll find there's no other music you want to play.
The Life & Death Of Mr Badmouth is a slow but intense, growling rocker, and Polly sounds creepier than ever alongside a dirty guitar riff on It's You. Cat On The Wall and Who The F***? are delightfully black and rollicking but not in a way P J Harvey has been before. Pocket Knife is intriguingly understated and Shame is just amazingly involving. Even the more mellows tracks that I found difficult on first listens - The Slow Drug, The Darker Days Of Me And Him, and You Come Through - are completely captivating once they've taken hold.
Those that have all of P J Harvey's albums will know that they are vastly different from each other. "Uh Huh Her" follows suit but is no less genius. It's just understated genius.
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on 31 May 2004
I'm happy to see Polly back on familiar ground with this album. Although I enjoyed "Stories" as an album in its own right, I was unable to connect with it the way I had with that album's predecessors; most notably "To Bring". The majority of the pop sheen thrown over "Stories" is gone, to be replaced with the minimalistic brooding force of her earlier works. The bottom line here is that for fans who have been with Polly since her pre-"Stories" days should find this album to be one that sees heavy rotation in the disc changer. For those who jumped on PJ's gypsy band wagon during the "Stories" era, this may not be a palatable cup of tea. I plead with you, though. Give it time; it will grow on you. Better yet, revisit some of her earlier albums to prep yourself before giving "Uh Huh Her" a listen.
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