I'm going to try and keep this short, so I'll just start by saying that this is one of the best albums I own--and I own a lot. Whereas with "No Name Face" there were always tracks I could skip over to get to the better ones, such is simply not the case with "Simon Climbfall." The title track itself is all strange and blissful sadness, and when Jason Wade writes lyrics like "living just to make it through another day," it sticks with you. So many of us think that, and yet no one ever really says it, at least aloud. He's a wonderful songwriter.

Other standouts (must I pick?) are "Wash," "Just Another Name," "Take Me Away," and "Spin." The band is truly adept in writing music that is more an experience, rather than just clever wording or hooky bass riffs; I believe they accomplish this with actual MELODY and what must be a very good knowledge of composition, in order to turn in and around those beautiful resolutions the way they do.

While there's no mistaking that this music is the product of Lifehouse, I see growth and greater collaboration among the members themselves. When artists fail to grow with each album, they are accused of not doing anything different, not maturing. When they do mature, however, people will inevitably complain that "it's just not like their first one." I believe that artistic growth is much more important than the bottom line, and while I'm very disappointed that this album sold so relatively few copies, I'm glad there was little artistic sacrifice. Here's hoping they come out with their next one soon, and that the masses will rediscover how truly gifted and real these guys are.

...this could have been much better. Three years after the fact, I know many of us are in agreement that this sequel did not live up to the original, so instead of just bashing it, I thought I'd do a take on what NOT to do with a sequel:

1.) Do not sacrifice plot for action. After so many sequels that bombed because of this, the producers still fell for it anyway. Do you know what made "The Mummy" so awesome? The lure of all the ancient Egyptian lore and myth, which, when interspersed with action, brought the entire movie alive. We don't need more brawls and swordfights and self-consuming cities--we need more of the MAGIC.

2.) Don't reference the original more than twice. It's not as if we don't remember the books and the plagues and the happy romance. If anything, constant reflections insult us as an audience. It's another bad trap that sequel-makers fall into, and again, it happened here too.

3.) Don't wreck the memory of a beloved setting. Hamunaptra was chock-full of all that we as Americans want from ancient Egypt: vast treasures, sarcophogi, curses, booby traps, juicy mummies. And what did we see of it in the second film? Sand, teeming with people who couldn't even find it eight years before. Huge electric lights illuminating what once could only be seen by torchlight. Trucks, instead of camels! And some really strangely reincarnated Anck-su-namun. The moviemakers effectively ruined the magic of Hamunaptra, and they didn't have to. Shame!

4.) Never, ever, ever pull a stunt like a CGI Rock again. Could they not afford to pay him for the final scenes? Just imagine the heroic fight between Rick, Imhotep, and the Scorpion King--only all three are in the flesh! People would have been cheering in the theatre watching the Rock fight with Brendan Fraser and Arnold Vosloo. But noooo...let's pull CGI out of our butts for the eighty millionth time. Shame shame!

5.) Don't ruin the best moments of the film by shortening them. Were we too busy playing around with CGI Rock to choreograph a great fight scene between Anck and Evie? I think we might have been. I understand that having Anck shy away from fighting helped set up her not being brave enough in the end for other things, but even just extending the fight a little longer would have helped. Anck could have given her best in an extended fight but still lost, and then we could have watched her bravado melt away and become her undoing.

All that being said, there are some bright spots. The mummy himself, for one. And the character of Jonathan was as lively and funny as ever, thank goodness; Ardeth Bay (Oded Fehr) was even more campily serious and apocolyptic, and that was fun, too. Enough can't be said for Brendan Frasier, who IS the action hero of the the new millenium--handsome, funny, totally self-aware, and he puts his heart into everything completely.

I hope they make a third "Mummy." There's a lot left of ancient Egypt to explore, especially since in the time period of the movies not everything had been discovered yet. I think all the main characters would have to return, and that the plot with the most potential still remains that between Imhotep and Anck-su-namun. With all the money they have in Hollywood, the producers should be able to hire a team talented enough to write a movie as magical as the first.

This CD came out so unheralded that it was a pleasant surprise when I was able to buy it out of the blue. The thing I love about Alanis is that every CD after "Jagged Little Pill" showed growth (though sometimes just change, which is still good). I couldn't wait to see the direction she would take next.

Turns out this CD sounds on the surface a lot like "Under Rug Swept," but as always Alanis is, to me, keeping up with the times and giving her music more of the harder edge that popular music has been aquiring these days. "Eight Easy Steps" totally rocks, and I also think "Excuses" is a really solid track. The title track, "So-Called Chaos," is in my opinion the best track on the entire album. It's so dark and different from the rest, and I love it. (The crazy thing is, what she's talking about in the song--taking a break from mundane life--does NOT seem to fit the feel of the song; I like that, though.)

I see a pattern: every album has just one or two songs that present this darker side of Alanis; for example, "Forgiven," "Sympathetic Character," and "I Am a Man." "So-Called Chaos" continues in this vein, and I wish she would do much, much more with this kind of style.

The problems I do have with the song set is that so many are at about the same tempo that they start to sound the same. Plus, she's still doing the vocals where she harmonizes with herself with pitches usually a third up from the melody, and that also creates the feel of a rut. It's so patently Alanis that I feel she needs to break from that (the title track didn't do this, and that's part of what makes it great). And while I know she must be enamored with the way she pronounces words, I like her much better when she speaks normally and you can then understand her.

Overall, though, you can't deny the musical force of Alanis and you definitely can't stop her. I hope people take to this album. One more thing: I've always found numerous songs on each CD that somehow (scarily) parallel my own life to a T. I kept thinking, how does she do this? Are we twins or something? And then I realized, she's writing about experiences almost all of us have had, and it's this commonality in her music that makes it so personal and so worth listening to.

Wish I didn't have to wait another two years for the next one.

Admittedly, this is my second review of Clay's CD--not that I think my opinion is that awesome or anything, but there's just so much to say about it that I can't help myself. Bear with me?

As we all probably know already, this CD just grows and grows and grows on you. Reviewers have said it time and again: at first we're happy but a little disappointed, and then over time the pieces just fall into place and we realize what a gem it really is. The fact that it's such a widespread experience is very interesting. And yes, the songs are stuck in my head all day, and I love it. (It's way better than the musak that gets stuck in my head at work.) But I still need to put my spin on things that have been said in the reviews here (again, only my opinion...):

If you're wondering why some people think the album is overproduced, look to Clay singing BOTW the first time for a simple answer. When I went back to it last week, I was utterly enthralled by the way his voice sounded deeper, throatier, more raw, more free. They smoothed him over on the CD, and while his voice simply can't be killed, I would love it if they didn't tamper next time. I know their hands automatically reach for the buttons that make the other pop stars sound better, but Clay doesn't need it.

I will reiterate what many of us already know: his next CD needs more diversity. With some acoustic versions, a few more in the way of "Touch," and an a capella song (Clay? Can you hear me? SING A SONG A CAPELLA!!!), they could easily insert "Solitaire" onto the CD without messing with the flow of the tracks (which is why they did not include BOTW on this album).

And now, a divergence: I'm sorry, but I don't think Clay needs to be doing a CD full of songs from the '40s and '50s. I'll be honest; I want Clay to be accepted and not just by die-hard fans or AI fans. With just one CD full of oldies, he'll be pidgeon-holed forever (especially since it's too much like American Idol to begin with--singing classics). Perhaps I'm too caught up in mainstream things, and perhaps I'm naive to think Clay could ever be accepted by the literal masses. But that won't stop me from believing there's a better way to market his appeal.

Also, I've read numerous times that songs like "I Will Carry You," "Perfect Day," "No More Sad Song," and "Measure of a Man" are perfect for the radio and would be number one hits. Again, I don't think so. (Unless you mean, um...adult contemporary stations.) I may not love the radio, but I do know that there aren't many songs like that on there to begin with. It'd be great to see one of those songs be accepted, but I think the reality is that songs like "The Way," "Shine," and "Touch" have a better chance at survival.

All that being said, how about some happy thoughts? The aforementioned "Shine" is almost too incredible for words. In my other review I touted "Touch" as ingenious, but "Shine" sticks with you WAY after it's over and I cannot figure out why. It does sound Beatle-esque, which is an added bonus, so maybe that lends to it some timelessness. Also, "I Survived You" is awesome not only for its harmonically-potent chorus but the lyrics as well ("but you would have to have a conscience, baby/good luck, I wish you well"--such subtle sarcasm, delivered so well by our hero!).

Sometimes we forget that no matter how hard we try to make our appearance reflect who we are, there are some things that only our eyes, our voice, and our deeds can transmit. Clay is such an amazing example of that. No, he's not gorgeous. But he was given a voice and an expressiveness that are his outlet, and I think the reason so many people are taken with him is we know that what we're getting from Clay IS Clay. Not an impression, not a reflection, not a re-working, but the actual character that makes him an individual. He's real. What could be more appealing than that? I can't think of anything.

This is going to be a long review, but Clay deserves it. I'll just go track by track and then give you my thoughts at the end, mmkay? (Songs with an asterisk are ones that you should feel free to include on your next mix CD.)

*1. Invisible: solid, solid track with a very catchy chorus--the kind that gets stuck in your head for two hours and you don't mind at all. It makes great use of Clay's voice in reverbs and stylistic background additions (can there ever be too much of his voice?). This is one of the best tracks; I'm glad it's first.

2. I Will Carry You: another contagious chorus. This song was so hyped in articles on the Internet, though, that I kind of expected more from it. It contains "stock" lyrics (meaning you could buy them anywhere) but I like "when the stars go blind," haven't heard that before. The song grows on your after about three listens.

3. The Way: "There's somethin' 'bout the way you look tonight"--and then you can't resist continuing with "never seen you shine so bright..." which is a BAD thing. But the song has a lovely chorus which contains good use of harmonies. And--what the heck? Enrique Iglesias gets a writing credit? You just never know these days... I can see them trying to make this his next single (although I recommend track 12).

4. When You Say You Love Me: this song is country-flavored, which is a nice change and Clay is, after all, a country boy. However, it's still down there on my list of favorites. Religious lyrics: "if you wanna make God laugh, all you gotta do is tell him your plans"--it's a great line.

5. No More Sad Songs: a song with better lyrics overall than the previous four, especially lines like "you are formally rejected." "No more sad song" (which is actually supposed to be the title) imitates a spontaneous emotion, which is cool. This song's a little more edgy, I suppose, but Clay only really digs into it once or twice. This should be more memorable, but it's not.

6. Run To Me: not one of my favorites, and although there are more stock lyrics, I do like the story they tell. His voice sounds strained when he sings up high for some reason, and that really takes the song down a notch for me. Definitely one of the "power ballads" that critics were waiting to pounce on.

*7. Shine: one of the way better ones. Another religious lyric refers to "the sinner and the saint" who fight the battle within; I really enjoy the "church" chord that plays after he says that; little things like that make a song better. It sounds more like a contemporary pop song than most on this CD, which he CAN do whether or not he believes it. This is one of the few songs where his singing is understated.

8. I Survived You: again, much better lyrics in this song, especially in the chorus. But wait--Clay says "I'll be damned"!! What the--!

9. This is the Night: yup, we've said all we can say about this one.

10. Perfect Day: it's an ambitious song, trying to set a style with a heavy piano hook right in the middle of the chorus. But when he sings "it's gonna be a perfect day," he really nails it, and gives the song some extra spike.

11. Measure of a Man: again, his voice is a bit strained in the chorus, and I just can't fathom why. And again, low on that list. (I know, I know, he really wanted it on the CD, and that's cool and all...)

*12. Touch: the best song on the album; they saved a great surprise for last. NEEDS TO BE his next single. I know a lot of his fans don't like contemporary pop, but this song--with a great hook and extra-cool beats--needs to be the blueprint for his next album. Clay just totally pulls this song off, and I always suspected he could do this! David Eriksson, the song's producer, is a genuis, and I'm so glad he believed in Clay enough to do this. The chorus is again contagious, and reminiscent of Enrique Iglesias' "Rhythm Divine," only this song is not nearly as grandiose, which is great. When Clay fades away with "girl, 'cause your touch is so right," he really feels it and it doesn't sound strange at ALL. I know I'm going on and on, but this track is as near as it gets to groundbreaking.

So--on with the "not so good" stuff: there are too many songs showing off his upper range and not enough time spent making his great low range fuller and more resonant. The choruses are more memorable than the verses in almost all the songs, and it doesn't have to be that way--see Kelly Clarkson's "Low," Pink's "Just Like a Pill," Alanis's "Ironic."

The "good" stuff: Clay's voice alone makes it worth playing the whole CD through every time. He CAN do contemporary pop, as evidenced by "Invisible," "Shine," and "Touch" (see a pattern?). In terms of overall, it's as neatly put together and consistent as another great album, Daniel Bedingfield's "If You're Not the One." I really want the best for Clay, and I'm so glad that he's proven to me (if not the critics who yearn sexy cookies) that he can do more than we thought. Except rap. Never rap, Clay.

His next album: so, I already said that songs in the vein of "Touch" need greater play time next time around. I'm thinking--5 songs like "Touch" and "Invisible", 4 beautiful ballads, and 2 or 3 that experiment, like have him only accompanied by a guitar on one, and have him sing another song entirely a capella (that would just blow me away). Clay, the future can really "shine" if you let it.

Since it seems that the producers of American Idol are resisting selling the full seasons on DVD with unexpected ferocity, then CDs like this are worth the money if you want to remember the show. It took me a while to buy this one, but I'm really glad I did. Although there are a few rought spots, overall it's good for a lot of listenings.

First, the good points. I actually heard Karen Valby's rendition of "Superstar" for the first time a couple of weeks ago, and now I see that Clay's version was closer to the original; but, I really enjoy Ruben's nonetheless. It's totally R&B, not my favorite genre, but he is a real treat to listen to. "On the Wings of Love" is an understated rendition, actually, and I love the way Clay's vocals build through the song, starting off soft (and dare I say delicate) and moving through to his signature, soaring loveliness.

I was excited to hear "Killing Me Softly," and I love singing along to it. However, I wish that her vocals had sounded more like when she did her first audition, with "Superstitions." In the vein of Anastasia, but not as incredible, of course. Kimberly C. was actually one of my favorites. And, as we all know by now, Charles Grigsby is better than his second-to-last place finish, and "Overjoyed" is an excellent song. Except for one thing: the harmonic progression underneath the lyrics "I've come much too far for you now to say..." is what makes the song beautiful, and he kind of breaks it up with a melismatic turn that undermines it. Oh well. What can you do? A nice surprise for me was Ricky's song; he sounds so much like Bryan (sp.?) McKnight that you should try playing it for someone to see if you can fool them; I already have.

Now for the bad points: I'm mad at Carmen Rasmusen, first for hinting live on national television that there was something between her and Clay, and now for her completely soul-less rendition of a pretty good country-flavored song. Corey Clark got through because Paula Abdul loves Michael Jackson, and while strangely I'm not upset that he got so far, I think that he has the complete and total wrong voice for "Open Arms." And "What the World Needs Now is Love" is just a weird rendition for me. There were some strange, loud entrances by either Ruben or Ricky (can't tell) during the chorus and the drum set used actually sounds kind of cheap; not an expert on drums yet, but that's how I perceived it.

Overall, this CD is a great listen, and if there's someone who doubts the talent of the finalists then there are quite a few tracks to choose from to prove them wrong.

(One small treat: on "God Bless the U.S.A." if you listen closely, which actually isn't necessary, you can hear Clay quite well during the last repeat of the chorus. He can't help it. His voice is...just that good. A small treat.)

Honestly, until today, reading over other reviews of this music, I had no idea that so many people felt the way I do about The Neverending Story. Among one of my earliest memories is going to see it in the theatres with my dad and my brother, and I truly believe that it shaped a part of who I am today. The music is unbelievably beautiful, and the story is timeless. My one complaint is that the Theme of Sadness and the Ivory Tower are left off of this CD, and they are my favorite pieces. However, the new music is still gorgeous (and leaves me wondering why there are, musically, two versions of scenes like the flight to the Ivory Tower). But, I just ordered the other soundtrack, so I'm sure I'll be fine.

If you are a fan of beautiful music, then there is absolutely no way to do without this soundtrack. Whatever Klaus Doldinger is doing, I hope he plans on giving us more of his genius someday.

As a music major, it should be obvious that I cringe whenever I hear someone speak negatively of Clay Aiken. The man has sheer, unadulterated talent that takes us far beyond his appearance and into the realm of what music today should be all about. I give his voice five stars--no, make it seven--but I do have criticisms of the CD.
"Bridge Over Troubled Water"--to put it succinctly, "he was jammin'" when he sang this live on the last Tuesday night of the show. His voice shines through just as well on this track, but it does take repeated listenings to let it grow on you. Whereas live, Clay completely beamed, belting out the notes and letting his passion for the music show, that is pretty much lost on the recording. The choir is too loud, and you get the feel that whatever shadowy forces decide these things felt they needed to "doctor" the way he sang--a lot of words are too enunciated and lose the gritty feel of the live performance--I know, "Clay" and "gritty" don't go together naturally, but the grit was what kept me talking about the song for weeks. He still hits the notes and the wonderful quality of his voice when he sings out strong is still clearly there, but there's less gusto, maybe even less heart.
"This Is The Night"--I don't know why Randy "hated" this song, because I think it's lovely. I like this better than "Bridge" on the CD (and vice versa for the live show) because his voice just flows over the words, and the harmony he himself provided is spot-on. He takes some risks with the high notes, though, and that is my only complaint. What makes me love his voice is how strong and full it is without ever hitting the break, and the high notes toward the end are clearly straining how far he should be going with his voice at this stage in his life. If he's ever tired and has to perform this song, I shudder to think what would happen. Again, though, Clay is Clay, and I can't imagine anyone who hasn't yet heard his voice not sitting up in wonder when they finally hear it.
My wish for his full-length CD is that the producers play up the unique qualities of his voice without giving the young performer risks that should come later, when he's had more experience and training. I want it to be a CD that I can listen to from start to finish with a huge smile on my face--the same smile I've had since he sang "Always and Forever" for his very first audition. Although Clay doesn't sound like the average pop star, he does one better--he sounds like, and is, a REAL singer.