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Showing 1-10 of 24 reviews(1 star). Show all reviews
on December 21, 1999
Fans (especially long time fans) of Sarah should finally let her (and Nettwerk) that we've had enough of them milking us out of repeat material. No one can dispute that her songs are good we just need more new songs. We just shouldn't have to feel the need to buy the 4th version of "Ice Cream" (the acoustic/live/without Camille/Sarah playing a Takamine version).
There's no doubt that the record company (and perhaps Sarah) want to milk us out of the old material by redoing old songs to a quasi-album. That is Mirrorball, just like the Freedom Sessions. Sarah's becoming the Depeche Mode of folk exploitation-Depeche Mode would release 20 remixes of a song on 20 different CD singles and put die hard fans in the position of wanting to buy it.
Fans/consumers should let Sarah know with their pocketbooks that she needs to quit milking us.
If she wants to be a serious singer/songwriter, she needs to show us that she can develop a new tune not every presidency and don't insult us with putting out 4 Lilith Faire CDs, 1 live album, 1 acoustic album, 1 EP, 2 CD singles in between each album.
I've resolved to no longer buy any recycled material from her, saving the environment from excess waste.
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on August 9, 1999
I have been a fan of Sarah's since the release of FTE. And, like many of her longtime fans, I am sorely disappointed in this album. I have seen her live at the Lilith Fair, and I have to say she was absolutely wonderful. But this CD does not show her talent in creating that kind of atmosphere, which is the reason why her fans go to watch Sarah in the first place. If she was trying to market the CD as a "Freedom Sessions" type album, with different arrangements of her best music, there isn't much difference between these arrangements than those from her previous albums to make the album stand out.
I think most fans are disappointed in the half-assed job Sarah did with this album. With her first albums, even up to "Surfacing," Sarah has put in tremendous amounts of effort in her work. Even with "B-sides," as well as other songs she has covered, they were done with great originality. The Interactive part of the ECD was also usually done with great creativity. I guess many of us just felt that in the process of becoming such a success and making so much money, Sarah has compromised her talent in not only in her songwriting but the production of her work as well.
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on March 25, 2000
I'm amazed at all the glowing reviews below. This is one of the few times I agree with the press which has been pretty harsh on this tepid and genteel release from Sarah.
Understandably, she is now big in the US after being huge in Canada for a decade. But how long will she continue to milk her fanbase with in-between-studio-album releases instead of delivering the goods? While I appreciate her point that songs evolve over time with performance and hindsight -- how many versions of "Hold On" and "Ice Cream" does the world need?
Let's see . . . there's the "Hold On" from "No Alternative," the "Hold On" from "Fumbling," the "Hold On" from "Sessions," and now the "Hold On" from "Mirrorball." AUGH! A similar lineage can be said for "Ice Cream."
How about NEW songs instead of the same old stuff over and over and over again?
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on May 24, 2001
sarah mclachlan is probably the least prolific artist i know. it's not a bad thing, except that she enjoys releasing "filler" albums, like Live (1992), The Freedom Sessions (1994), Rarities, B-Sides, and Other Stuff (1996) and Mirrorball (1999). she is also releasing an album entitled Remixed later this year, though it will only be available in Canada. when i heard of a sarah mclachlan live album, i was excited. i wasn't, however, excited at the track list. how many times have we heard these songs? sarah mclachlan is nothing more than a marketing genius now. she hasn't had one new song since 1997 (excluding when she loved me) and she is just marketing her older songs to the point of nausea. i can honestly say i won't be buying her Remixed album and i am not so sure about her new record either. get touch, solace and fumbling towards ecstasy to hear the "real" sarah mclachlan.
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on March 19, 2000
Enough already! Fans of Sarah should finally say "Stop!" to the never-ending stream of repeat material from this fine artist. There's no question that she writes great songs, and there's no question that she has a great voice. But ever since "Solace" way back when, Sarah has followed up every album with a live album or a remix album or an alternate takes / demos album.
How many versions of "Ice Cream" are out there now? Four?
While the sound is pretty good on this album, the fade-in-fade-outs are annoying and none of the versions come close to their original forms. "I Will Remember You" was great four years ago when it first came out, and the studio version should have won a Grammy a long long time ago . . . so how is it the live version becomes a hit?
Sarah McLachlan and Netwerk are just trying to extory money from her fans.
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on July 27, 1999
I decided to get "Mirrorball" to see if I was still into Sarah McLachlan. Sadly, I am not. While "Fumbling Towards Ecstasy" was a total masterpiece, and "Surfacing" was okay, this is just a collection of her lifeless live performances. To be honest, I think her whole "Lilith Fair" thing killed it. I have heard all of these songs (with few exceptions) over and over again, and the become more dull every time I hear them. "Adia" and "I Will Remeber You" are long, boring, and without interest. Those unsure should simply stick with "Fumbling...". It is not a sign of quality if you have to force youself to listen to it. I returned it the next day.
In a nutshell: I don't like it.
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on September 3, 1999
First of all I would just like to say that I have been a devout fan of Sarah's since I first heard "Fumbling." Sarah is a beautiful person and the music is honest and poignant. Having made this clear, I have to say I was disappointed with "Mirrorball" -- not because it's bad, but because it doesn't offer much that isn't already out. I can barely note the difference between the original songs and "Mirrorball" versions. I was expecting a compilatoin along the lines of "The Freedom Sessions"/"Rarities&B-Sides" and got, well.... All you get with this CD is the same Sarah you hear on "Surfacing" and "Fumbling."
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on March 25, 2000
Don't get me wrong: I love Sarah's music . . . but if she releases ANOTHER one of these live/outakes/remix/alternate versions CDs I'm going to pack it in . . .
While this is being touted as a "gift" to fans, it's only a cheap way to direct money into her bank account.
Half-baked performances, way too many "WE LOVE YOU SARAH!"s from the audience . . . this is narcissism at its worse.
Just because the name "Sarah" is on the cover, doesn't mean it's good.
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on August 11, 1999
I was never a Sarah McLachlan fan, a friend of mine handed me this cd and said it's so deep. After listening to this I came to the conclusion that it was deep, wallowing deep in misery. Sarah takes her same old tired songs and does them live, giving her the ample opportunity to expand every nuance of the music making it seem almost unbearable. If you are a Sarh McLachlin fan stick to her older works, someone made the mistake of calling her a diva and she is taking it to the extreme.
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on February 18, 2000
I was very disappointed in this cd. I knew nothing about Sarah McLachlan, but I loved the song, "Angel". I read some of the reviews here and decided it would be a good purchase.
I was shocked, to put it mildly, with the vulgar language used in some of the lyrics. There should be a clear warning on everything containing offensive material.
Plus, the main song I was interested in was performed live, so it didn't sound as good as what I've heard on the radio.
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