Alone With Everybody [Import]

Editorial Reviews
Album Description
Japanese version of the former Verve frontman's solo debut with 2 bonus tracks 'Leave Me High' and 'XX YY'.

Tracks:

A Song For the Lovers
Get My Beat
Brave New World
New York
You on My Mind In My Sleep
Crazy World
On A Beach
Money To Burn
Slow Was My Heart
C'Mon People (We're Making It Now)
Everybody

Amazon.com

The bad news: Alone with Everybody, the first solo venture by the Verve's ex-lead singer Richard Ashcroft, is not as good as the Verve's pinnacle departure album, Urban Hymns. The good news: it's really, really close. Urban Hymns's elongated, psychedelic space jams and reflective, occasionally plaintive themes seeped osmotically into the listener's every cell, becoming gloriously inescapable. The melodies on Alone with Everybody remain within the parameters of the Verve's last album, carrying over the massive swells of orchestral strings; mellowed, trippy, blues-influenced guitar licks; and Chris Potter's dense production. Initially, the impact is slightly diminished because Verve fans will find it very familiar. But Alone is less cathartic and more resolute because Ashcroft has found real love. As you'd expect from such an adept and introspective songsmith, Ashcroft's love songs are not schmaltzy. This isn't the kind of love that can be expressed through the ear-splitting wail of a pop diva or the jangly chorus of a college-rock quartet. Songs like "You on My Mind in My Sleep," "Crazy World," and the heart-wrenching "On a Beach," reveal a love that is consuming, complex, fragile, and obtained at the conclusion of an exhausting, painful war with the self. The album sprawls in expansive contentment--a contradiction in terms understood perfectly by anyone who's ever loved so deeply, humbly, and unexpectedly that they've needed nothing else. --Beth Massa

Customer Reviews:

great solo album.......2007-03-07

I'm not too familiar with The Verve's sound. I was hooked on Richard since seeing him on Live 8 London during summer of '05. This album is worth getting. Richard uses a variety of sounds and instruments that only American country artists can pull off--yet he does a brilliant job. He'll have you soaring--and swaying--like his signature dance in no time! Beautiful work.

Musical Genious.......2005-11-16

Richard Ashcroft seamlessly moved from The Verve into his brilliant solo career and this album along with the others is fantastic. Richard is the best thing to come out of Britian and hopefully he will keep putting out new albums for years.

Dull melodies, insipid lyrics and self-indulgent all-around........2005-11-01

To all you fellow fans of the three strong albums released by The Verve: what are you hearing in Richard Ashcroft's first solo album that I'm not? After about five listenings, not one song sticks out (maybe "New York," which sort of reminds me of the U2 song of the same title), and the entire album leaves me cold. Almost every song goes on too long, and Ashcroft seemingly has forgotten how to write a rousing chorus, ala "Weeping Willow" or "Lucky Man." The absence of Verve guitarist extraordinaire, Nick McCabe, is especially missed.

Normally I review every album by a particular band in order of release, and, if you're interested, I reviewed the three Verve albums, awarding each four or five stars. However, even though people say that Ashcroft's second solo effort is better than his first, after spending too much time with "Alone With Everybody," there are just so many other albums I'd rather buy.

Maturity is a blessing and a curse.......2005-09-13

Now, don't let this statement turn you off, as I know that there are many of you that don't like hip-hop, and that the difference between gangsta rap (or any rap, for that matter) and the shoegazing wall of sound that the Verve produced is indeed a large one, but bear with me; I have a good point.
Eminem, one of my favorite artists, was at his best, in my opinion, better in the beginning, when he was raw, more energetic, and more willing to piss everyone off. But in the last two albums of his, he's become (sigh) more mature, more introspective, and his music's become samey, and not as thrilling or impactful as it was in those classic days when he could, lyrically, do just about anything.
The same is evident here, with Richard Ashcroft's solo debut. I was saddened to discover that the Verve had separated; indeed, they were second only to the Stone Roses in pioneering the shoegazing sound, taking it to a more experimental and spiritual place. "Bittersweet Symphony", the song that made the Verve's last album, Urban Hymns, a worldwide success, was indeed a stroke of genius, and Ashcroft, no longer having the power of his band behind him, has not matched it here. Of course, no one expected him to.
What Ashcroft does present here is his own incredible songwriting talents, and his formidable ability to craft a melody, which is largely present on the first half of this album.
Indeed, everything from the brilliant songcraft of "Song For The Lovers" and "I Get My Beat", to the introspection of "Brave New World" is brilliant. "You On My Mind In My Sleep" is one of the best love songs I've heard in a long time, and Ashcroft even manages to revisit some of that brilliant Verve-era psychedelia on "New York", probably my favorite track.
"Crazy World", another up-tempo one along the lines "Song For The Lovers", is also enjoyable, but it's not quite as well polished melodically, and it symbolizes a decline in the quality of the songs. The latter half of the album is a bit too stripped down for my tastes, mainly a largely acoustic affair, even experimenting in the twang-twang guitars so well known in country music (eww).
"Money To Burn" sees Rich tinkering with that fringe blues-country Zeppelin mastered on 3 & 4, with mixed results. "Slow Was My Heart", while lyrically strong, could just as easily be presented by Toby Keith. "C'mon People" is complete Georgia Satellites, or maybe even Billy Ray Cyrus (gag). Lastly, "Everybody", the closer, strays a bit from these country leanings (thank you, Christ), but still isn't up to caliber with one of Urban Hymn's less memorable slow-tunes.
The only song worthy of note in this latter half is "On A Beach", which is lyrically equal, or even superior to "You On My Mind".
All in all, I'm happy for Mr. Ashcroft. He's found love, he's cleaned up, and he sounds happier than he was in those days of Northern Soul. As a songwriter, he's grown up, but sadly, that's a double-edged sword, as growing up usually takes away all of the angst that makes music exciting. Here's hoping that the other members of the Verve can see past their differences, and show Coldplay and Keane, or whoever who's the boss.

A solo soul........2005-09-07

While this first solo album from Richard Ashcroft may not better any Verve albums, any fan of that band should easily enjoy this. It's what I would call almost as good. The majority of these tracks should please Verve fans who enjoy songs such as "History" or "The Drugs Don't Work". "A Song For The Lovers" is wonderful, catchy, and emotional, "New York" sounds like a leftover from "Urban Hymns", and the last half of the album gets even better. "On A Beach", "Slow Was My Heart", and "C'mon People (we're making it now)" are all great. By the time you hear "Everybody", you're moved and smiling at how much you liked the whole disc. "Alone With Everybody" is as good as I hoped it would be.

Average customer rating:

Patinkin Live
Sondheim recital
Also a very dissapointed fan
Adequate performance; poor entertainment
a very disappointed fan

Sings Sondheim
Mandy Patinkin
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music
Similar Items:

Dress Casual
Mandy Patinkin
Experiment
Oscar & Steve
Kidults

ASIN: B00006JP2C
Release Date: 2002-10-29

Tracks:

Opening
Lesson #8
Another Hundred People
When?
Someone Is Waiting
Johanna
Green Finch and Linnet Bird
Pretty Women
Finishing the Hat
If You Can Find Me, I'm Here
Live, Laugh, Love
Live Alone and Like It
Everybody Says Don't
Rich and Happy, Part 1
Our Time
Broadway Baby
Rich and Happy, Part 2
Uptown, Downtown
Liaisons
Send in the Clowns
Live, Laugh, Love (reprise)
You Could Drive a Person Crazy

Tracks:

Free
Company
Waiting For The Girls Upstairs
Pleasant Little Kingdom/Too Many Mornings
Not While I'm Around
All Things Bright and Beautiful
It Takes Two
In Someone's Eyes
Beautiful
Losing My Mind
Take the Moment
Sunday

Amazon.com

Recorded live at the Prince Music Theater in Philadelphia, this double CD is one heck of an extensive tribute to Stephen Sondheim. Backed only by Paul Ford on piano, Mandy Patinkin gets through nearly three dozen songs penned by the Broadway master. Some are obvious (excerpts from Sunday in the Park with George, in which the singer created the title role), others less so ("If You Can Find Me I'm Here" from Evening Primrose). Patinkin is often mocked for his shivering falsetto, but here, it's actually when his voice explores a lower register that it falters. What's more interesting is when he tackles songs usually sung by women, such as Follies' "Broadway Baby" and Company's "Another Hundred People" and "You Could Drive a Person Crazy"--the latter hammed up so much that you can hear the chewing of the scenery. A distinctively mannered interpreter, Patinkin remains an acquired taste, but fans of his will be in heaven with this set. --Elisabeth Vincentelli

Customer Reviews:

Patinkin Live.......2007-07-19

I am a huge Mandy Patinkin fan, and this is, without a doubt, one of the best CDs in my collection. The transitions between songs are excellent and seamless, plus the song selection was top-notch.

Sondheim recital.......2007-01-22

Probably the best way to approach these disks is to treat them like a recital in a concert hall. Rather as you would listen to a Schubert or Schumann song cycle. Taken together this way, we come to hear Sondheim as one of our finest composers, serious, comic, manic, depressive, always dead on target no matter what the subject matter. And Patinkin is perfect for these songs; he understands the meaning and value of every note and every word, just as a fine concert singer would do, and he makes his listeners understand, too. One of the most intriguing concept albums in recent memory, and a joy all the way through. Bob Finley, Palm Springs, CA.

Also a very dissapointed fan.......2003-08-22

I too LOVE Mandy and Stephen Sondheim and own just about everything both has ever made! I also have been to 6 of Mandy's live performances. This was truly a big dissapointment to me. Every concert I have seen Mandy in has been filled with emotion and his personality just grabs hold of you for an evening of wonderful escape-ism. This to me was very un-entertaining and I actually became irritated after awhile of listening to it. It seemed to drone on with out the wonderful feelings and emotions and soaring voice that Mandy typically puts into his music. I gave this as a gift too (since my friend and I had missed Mandy at his Sondheim review in DC last year) and felt badly that I had. There are so many other great recordings of Mandy...Kidults, Saturday in the Park with George, The Secret Garden, Mandy sings Rogers & Hammerstien and Sondheim. This one has just sat on my shelf after I played it through twice hoping to warm up to it...while my other recordings are very worn out with years of playing!

Adequate performance; poor entertainment.......2003-05-04

I received this disc the same day a "Philip Quast Live at the Donmar". The Quast disc has its own flaws (and I dont wish to compare the two performers) but it has been strung together in a more thoughtful manner, with witty imagination and using a more dangerous in the choice of songs, which is really where this disc fails. The songs here are generally enjoyable though rather standard, and the lack of cohesion (running the songs together doesnt count) means I just dip into the discs listening to a few favourites, rather than enjoying the whole show.

a very disappointed fan.......2003-02-05

I have every recording Patinkin appears on, even if he's only on one track; I adore his voice, his flair, his emotion, his ability to deliver a song.

But (much of) this recording is disappointing, mainly because Mr. Patinkin's voice in the lower range sounds muddled and forced, as though he's lost ability to control it (however, the more falsetto sounds are as clear and sharp as ever).

And I don't care for the format of this performance. Live recordings should have live audience reactions: one (often unrelated) song after another without applause had me wondering when--if ever--was the audience was going to be allowed to react.

Also, while I've never had the privilege of attending a Patinkin concert, I imagined that--above all-- he would be passionate. Perhaps he was. But what (mostly) comes across on the CD is a somber--almost technical--performance.