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on 16 November 2017
Good product
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on 14 August 2016
A1 album
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on 21 July 2017
Wery good
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on 18 April 2005
This album is great.
I've read previous reviews and I agree, P&C and WGA were awesome albums with excellent lyrics and catchy tunes. But I enjoyed JEEP and YGGTTCB as well. They weren't the same style and Language... is different again. But One thing that nobody can disagree with is that the 'Phonics have given their fans 5 good quality albums which cater for any mood you can be in.
Highlights on this album for me were Devil, Superman and obviously Dakota. I think this album should please current fans as it shows that Kelly etc are not getting stuck in a rut music wise, they are trying different styles and personally I think this one quite suits them. One thing's for certain, it shows up the manufactured pop that dominates today's chart for the rubbish it really is. This is music.
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on 18 July 2005
I lived in Wales for many years and I never really "got" the phonics! BUT this is a superb album and I will be looking back over their catalogue to see what I missed in my lesser informed days.
The reviews on here tend to be long time phonics fans saying this album rocks or "it sucks and they were far better back in the day when tv was black and white yadda yadda"
If you have no prior exposure to the band and want to know if this is any good if you aint a preformed fan then .... IT IS!
This album rocks, pure and simple. They may have made better albums and I will certainly be checking out their back catalogue but this album still rocks. Dakota is getting airtime now and I 1st heard it on tv, having got hold of the album there are a number of classic tracks - Rewind, Lolita, Feel and the winner Dakota. A thoroughly enjoyable ablum, has been playing non stop on my ipod for a week now, the sort of album that you can kill an hour with and not notice it pass.
For the people who claim to have hit the "next" button 11 times after 10 seconds of each track ..... well ok but thats hardly giving it a chance, the best albums I have ever heard have bitten me second or third play. if it hits you 1st time its usually disposable pop you will be sick of after half a dozen plays. This album has me hooked.
And if you happen to really hate it theres always ebay.
Highly recommended, by the way "deadhead" is superb also - playing now!!!!!
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on 10 March 2006
I'll be honest, I didnt like the Stereophonics before. There is odd good song like "Have a nice day", but they always seemed boring. So imagine my suprise when I hear "Dakota" on the radio. On the strength of that song I bought this album and I was not disapointed.
"Superman" is a laid back, swaggering song, full of confidence. Kelly Jones sings falsetto excellently. "Doorman" instantly explodes into life, probably the heaviest, most rocking track on the album. Guitarists (like me) will love the scorching solo at the end. "Brother" and "Devil" are both straight up rock songs, catchy and full of assurance.
"Dakota", the first single, is a fantastic song, with hooking melodies and strong lyrics. "Rewind" is a slower paced song that still fits on the album and is more listenable than anything (except Madame Helga) off the last album.
"Girl" is a short, explosive song, full of thrashy guitars and agression.
Now for a suprise. Dakota is not the best song on the album. The best is lurking at track 10 and is called "Deadhead" Man, this song is awesome! The intro, carried by this bass, is full of menace, hinting at whats to come. There are wailing distorted lead guitar moments everywhere. The verses are sharp and melodic and the chorus is superb, very catchy. It ends with a cool guitar solo and an extended chorus. This is definatly the best song the 'phonics have ever written.
So there are the highlights, but all the songs are good. Buy this album, it rocks!
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on 19 July 2006
Although I've never thought of the welsh radio-friendly nice guys the Stereophonics as truly that dull (US 'rock' bands such as Creed *shudder* take up that special spot), previous Kelly Jones albums for me have never truly inspired, bar the odd track or two (ie some of their more interesting singles, Mr Writer). This album is different to before, but its definately one that's going to split the hardcore fans down the middle because of it, as the material is alot harder and more downbeat than ever - yes, read: more passionate. Tracks such as Superman and Deadhead (one of the best on the album) even lend towards a U2 'Hold Me, Thrill Me, Kiss Me, Kill Me' era, or even Marilyn Manson-esque mood, with all distorted guitars and modified vocals. Thats not to say that all there is here is just pure attitude - songs such as the retro '80s electro rock sounding Dakota and Rewind give a nice reflective balance to this, making up a very solid and worthwhile album.
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on 8 June 2006
Language Sex Violence Other is one of the Stereophonics greatest albums and possibly the best album released in 2005.

Fans of the Stereophonics earlier works like Word Gets Around and Performance and Cocktails were disappointed with albums like Just Enough Education to perform where the Stereophonics stopped being a "rock band" for a while.

However this album proves once again that the Stereophonics are the greatest UK rock band so far in the 21st century.
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on 19 January 2011
In 2005, Stereophonics were a very different band to the one which exploded onto the rock scene eight years previously showcasing a canny talent for both singalong rock tunes and catchy yet meaningful acoustic numbers. Following two very impressive LP's the band veared off in another direction when they decided to explore their acoustic side and disregard their rock approach almost completely. The result was two very accomplished yet sleepy acoustic records and the band had become somewhat boring.

The quality of the material on both "J.E.E.P." (2001) and "You Gotta Go There To Come Back" (2003) is outstanding, however both records are massively hindered by the sheer lack of pace or change in mood. In the tour for the 2003 LP, drummer Stuart Cable quit the band after describing their sound as 'bland'. Many thought that was it for this once huge hope for british rock. It should have been. But what resulted is something of a rock stroke of genius.

What should have been a killer blow losing Stuart Cable (the band member widely considered to have the most lively personality of the bunch) actually turned out to be a blessing in disguise. They appointed Argentinian Javier Weyler, a close friend of the band and a complete newbie to the music scene. His infectious enthusiasm for his new found 'job' reminded Kelly Jones why they had strived so hard to be one of the biggest rock bands on the planet.

This move literally brought Kelly Jones back from the brink, he quickly ditched the acoustic sets and focussed purely on why he is regarded as one of the most naturally talented rock singers today: rock! His hacksaw voice sounds incredibly impressive given a backdrop of loud, punchy guitars and Stereophonics fans had been waiting a lifetime to hear him simply 'let rip' with one of his trademark wails. Sadly this opportunity never arose between 2000-2004 but I'm pleased to say on the resulting return to form "Language, Sex, Violence, Other?" (2005) they get their wish, and they get it in spades.

After two albums which featured some great acoustic material but sadly became dreary, dull affairs, the media were waiting in line to snipe this LP down upon first listen and the sheer shock of "Wow, they're back!" is something which nobody expected.

Stereophonics have received the kick up the backside they needed to pull them out of the stale, repetitive frame of mind they had slipped into. All of a sudden, they are once again effortlessly cool and their songs have returned to the kind of catchy rockers they became famous for back in the days of "A Thousand Trees". There are zero acoustic songs on this LP, which suggests that Jones has learned not to mix his passion for acoustics with his love for rock and he wisely released his batch of acoustic work as a solo record a year later.

Quite simple if there were the trademark Stereophonics acoustic numbers on this LP, as good as they are they would inevitably slow the LP down and really wouldn't fit with the mood. This is not just another album, it's a statement.

This is the sound of a band who have rediscovered the reason they fell in love with rock music. And that reason came from the most unexpected source; a young Argentinian drummer's wide-eyed enthusiasm at being thrust into the limelight which Jones had grown to take for granted.

We begin with the electrifying 'Superman', and any listener of older Stereophonics material will be instantly able to tell that the band have returned to make a statement via the newscast intro from a band reknowned for simple straightforward basic records. The track itself is one of their finest ever, with Jones' accapelo voice perfect for the verse. Again, longtime fans will have worried that the band were going to pull their now trademark trick of beginning an LP with a rock tune before filling up the rest of the disc with softer numbers... This worry is immediately bedded in emphatic style when the album's second track, 'Doorman', kicks into gear and sees Jones' loudest performance to date. He has a new found confidence in his voice here, one which has never before been displayed so cockily and it is great to hear.

The funky rock riffs which the band had previously toyed with on "Help Me" and "I'm Alright" (from 2003's "You Gotta Go There..." album) have served them well as they take it to the next level on this LP with the groove of "Brother" and the simple yet effective anthem "Pedalpusher" (a track about rockstars who merely 'go with the motions', coincidentally).

One thing which stands out incredibly well is the fact that this band have had a huge wake-up call.

"Devil" sees Jones taking an adventurous role, with each line of lyrics being a famous line from a movie and the track features one of the band's highly enjoyable punchalong choruses reminiscint of "Last Of The Big Time Drinkers", whilst also allowing for the band's now more dark, cynical sound. Stereophonics literally sound cooler than they have in six years.

"Rewind" is as close as we get to a slower pace here, and it's as if Jones has picked simply his best soft track from the time and used just that eliminating everything else from the record which he clearly wanted to be a rock LP. This is a wise move, as "Rewind" turns out to be one of the band's best efforts to date and perhaps the setting of a rock climate helps the listener to get into the track a lot more.

Tracks like the explosive "Girl" and the simply stunning "Deadhead" will have Stereophonics fans going wild as the band have not only returned to the type of music they became famous for but they have taken their ability to new heights, "Deadhead" in particular is up there with any other track the band have ever released. And then we get the now trademark of a twisted, darker track to close the album. This has been a feature on every 'phonics album barring 2003's "You Gotta Go There..." and on this record we receive "Feel", a track which demonstrates the powerful slow building nature first shown on "Not Upto You" from the band's debut and also "I Stopped To Fill My Car Up" from their second LP.

From this LP, we also got the single of the year. The Summer of 2005 will be remembered for one song; "Dakota". Stereophonics' music is deceptively modest, you rarely realize just how many of their songs you actually know well enough to be able to sing along to, such is the instantly catchy nature of the band when they get stuck into things. "Dakota" is one of the tunes which the band will be remembered for and is probably the standout track on this outstanding album,

2005 saw the re-arrival of the band which left us in 2000, the re-birth of a band which was considered dull or perhaps even dead, and it saw a little known Argentinian drummer help one of today's most recognized rock voices to rediscover his love for the music. "Language, Sex, Violence, Other?" is the album any longtime Stereophonics fan had been waiting an age for, and is undoubtedly the album of the year.
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on 18 March 2005
Ok, cards on the table, the first album was awe inspiring the second, was good, but the last two have been tired (save for a couple of exceptions), and lacking in ideas and songs. This new album however, is a different proposition...its really good. I would say nearly on a level with "Word...", and easily as good as "Performance.." . Gone are the Black Crowes-esque blues pub rockers and soul backing vocals and in come new ideas and good solid rock songs. Standout tracks for me are Superman (fast becoming a favourite - slightly behind Local Boy in Photograph), Pedalpusher and Dakota, plus special mention for the lovely guitar line in the chorus of Lolita.
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