Don't even waste your time.

The music here is a great mix of artists and musical styles. FYI - the track by Sugar Ray is actually titled "Spinning Away," not "Spinning Mary."

The negative press that surrounded Pop at the time of its release had very little to do with the music that was on the album. In 1997, U2 had already reinvented themselves with 1991's Achtung Baby, as well as carrying the electronic aspect a bit further with 1993's Zooropa. So by the time Pop was released, the general public probably weren't sure what to expect from U2, seeing that their musical direction had went different places in the ten years since The Joshua Tree. It is probable that, after U2's early '90s output, which, along with 1995's Passengers soundtrack, differed greatly than the music they released early in their career, the public was probably expecting a "return to form" from U2. What they probably weren't expecting was a continuation of the new directions that U2 was already pursuing. So therefore, Pop's lack of success was partly due to the expectations of the buying public, and their disappointment that U2 did not release an album that pleased them or gave them what they hoped for.

What also hurt U2 was coming up with the monstrous "PopMart" tour that followed the album's release. Not that it was a bad tour per se - it just wasn't what the people were expecting. Unfortunately, that is often what happens in the music world.....fans lose faith in the artists that they love when they try to tread new ground musically (consider the "sophomore slump"). Many fans have a difficult time with change, and want their artists to stay the same throughout their careers. Some artists succeed in that, where they are comfortable in writing the same type of music album after album, thus pleasing their fans. Some artists, like U2, prefer to push their boundaries a little and do some exploring. It worked for them the first time around with Achtung Baby (partly due to the poor reception of Rattle And Hum), but while change may be good for some fans once in a while, for others it is not something they want again and again (which explains why U2's popularity declined a bit in the '90s). This also explains why 2000's All That You Can't Leave Behind was such a success - it was U2's "return to form" that fans had been craving for ten years prior.

All of this is why Pop did not receive the appreciation that it deserved. Granted, U2 may have erred by releasing "Discotheque" as the first single (one of the weakest tracks on the album), because public perception of the rest of the album was based upon their reaction to that song. Unfortunately, the public did not take the time to discover that Pop was NOT "Discotheque" + 11 more like it, but it was "Discotheque" + 11 more better. It is unfortunate that Pop did not do better than it did, because it really is a great album. Once you get past the misleading title ("Pop"), you find that the music on it is so much more than that. Granted, while U2 did continue their electronica streak with a few songs (e.g., "Discotheque," "Mofo," "Miami"), the rest of the album exhibits what makes the band timeless - well-written music, strong instrumentative performances, and lyrical prowess. Even though the band members themselves have shared their concerns about the record, the fact is that Pop is still a U2 record. It still comes from a band that we know will turn out great music, even if it may not sound like how we expect.

But that is what is great about a band like U2 - they are not afraid to push themselves musically, they are willing to take risks, and yet they are able to please the public in some way. The negative reactions to Pop were mainly based upon the last point, as the public was not really pleased with the continued direction, which is unfair. Luckily for the fans, they got what they wanted three years later with ATYCLB. Luckily for those who appreciate musical diversity and really take the time to listen, we got an album that shows U2 just as creative as they always had been; an album that truly does stand up as one of the best in their catalog.

Even though Catherine Wheel's 1992 debut was released during England's Shoegazing era, and traces of the Shoegazing musical styles are apparent (e.g., vocals buried under loud waves of guitar distortion), Ferment was never really meant by the band to be categorized as a "shoegazing" record. However, upon release, the album was deemed a product of its time, quickly labeled to be "shoegazing" due to the timing of release, the music, and the overall production. Not to discount Tim Friese-Greene's production work on the album, however, Ferment did not do justice to the musical merits of which Catherine Wheel were capable, as there was more to the band than Rob Dickinson's quiet vocals, Brian Futter's buzzsaw guitar, and Ferment's dreamy, clouded production (which the band clearly exhibited on their 1993 follow-up Chrome).

However.......Ferment still remains a very strong debut, regardless of its aforementioned technical demerits. The band's songcraft is impeccable, the musicianship is solid, and the consistently memorable songs make the album an enjoyable listen - certainly holding up nearly 15 years later. Ferment, despite its initial "shoegaze" label, does not sound dated. In addition, the album is one of the better debut albums of most other English bands of the time, as the musical strengths of the band members clearly show that Catherine Wheel had longevity, instead of disappearing in the blink of an instant like many early '90s British acts (EMF, anyone?).

As for the songs, "Black Metallic" and "Shallow" are standouts, along with the single "I Want To Touch You," but melodic gems begin to stand out as well upon repeated listens. "Indigo Is Blue" may start with a 40-second squall of guitar, but by the end, the melody is memorably apparent. "Bill And Ben" and "Flower To Hide" are similar as well, interspersing their melodic textures often throughout the songs. However, with any album, there are some dire moments ("She's My Friend," "Tumbledown, " and the uncharacteristically-poppy closing track "Balloon" to name a few). But as a whole, Ferment holds together quite well, making it as good of a "shoegazing" introduction as any non-"shoegazing" band can do.

Adorable's Against Perfection was criminally overlooked when it was released in the early '90s, mainly due to its timing. In 1993, as England was shifting from the "shoegazing" era to the birth of Britpop, Adorable released an album that took the best of each of those genres, along with some strong musical and lyrical chops, and created something new on their own (perhaps a little grunge thrown in for good measure as well?). While Adorable wear their influences lovingly on their sleeves, their music has longevity, as it still sounds new and fresh over a decade later. As for why that is true, give Adorable credit for not following any gimmickry, any trends, or any musical tricks that makes music sound dated. Granted, the chiming guitars in "I Know You Too Well" may scream "1988!", but the production is clear and concise, while not focusing on any particular member's strength, and the music flows seamlessly. The rest of the tracks, including the bookend bonus tracks "Sunshine Smile" and "I'll Be Your Saint," are surprisingly memorable, not throwaways - resulting in a comprehensively solid album.

Unfortunately, following their second release, 1994's Fake, Adorable ceased to exist. Fortunately, we are left with this diamond in the rough of early-'90s British pop/rock.