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Our Lady Peace are a band that originally I'd gotten into from their WWF/WWE track "Whatever" which was done for Chris Benoit in the 1990's. After this thanks to illegal music downloads I'd managed to get a few of their other tracks, "Not Enough", "Somewhere out there" and I can't remember the third track, were enough to get my hooked. Sadly however, despite many attempts to to try and buy their CD's they appeared elusive until whilst on a school trip to Manchester I managed to find an HMV store with "Happiness is not a Fish That you Can Catch", so with out a second thought it was purchased there and then.
A few years later my mother got me "Gravity" for Christmas and by then it was obvious the band had changed (for the worse) between the album I had. It was obvious the change had lead from the falsetto of the lead singer Raine Maida had all but vanished on Gravity whilst it had been the driving force behind the wonderfully brilliant "Happiness...".
Though traipsing though a local market on the way to work I finally spotted the missing link, one of the most difficult OLP albums to get was sitting there on a second hand CD stall called "Fat Bobs". Spiritual Machine. The title was all that was needed, it would seem old Fatty was unaware of it's relative rarity as he sold me it for £3, about 75% than a shop would.
So OLP, for those of you who don't share my reverence towards the band are a Canadian alternative Rock band (who in recent years do seem to be heading more towards mainstream rock sadly), formed in Toronto in 1992, consisting of lead man Raine Maida, guitarist Mike Turner, bassist Chris Eacrett and Jim Newell on percussion. The line up has altered significantly since then, with Raine as the only mainstay in the band, with the current line up being Maida, Jeremy Taggart on percussion, Duncan Coutts with bass and backing vocals, and Steve Mazur with guitar and more backing vocals.
At the time of Spiritual Machines, the line up was Maida, Turner (who would leave the band as a full time member after the album), Taggart, Matt Cameron (who would fill in for Taggart on two tracks) and Coutts.
The album was to follow OLP's 3 previous studio albums, in Naveed (1995), Clumsy (1997) and Hapiness... (1999), with it's own release in 2001. The title is taken from a science fiction book "The age of Spiritual Machines" by Ray Kurzweil, who features in the album, the book was published in 1999. The books plot is based around the future of computing, relating the concepts of the author to the character of Molly who gets referenced in the album, the idea being that in the future humans and computers will be the same thing.
The book was purchased by Turner when the band were on tour and they were so wrapped up in it that they created the album and hired Kurzweil to read select passages throughout.
So now onto the actual album:
R.K Intro, is a mere 6 seconds excerpt from the book that is an intro, nothing else, musically it means nothing, and should perhaps be seen as a set up part by a narrator than as anything with any substantial meaning in the album's musical forewarding.
"Right Behind You (Mafia)" starts the musical proceedings off, with what was (then) a typical OLP track, a guitar laden track behind Maida's unique sounding vocals. For fans of the Happiness album (like myself) this was a welcome return to the familiar OLP sound that had gotten me so interested in the first place. The lyrics although complex in places are still easy enough for them to have a catchy hook in places, the chorus especially falling into this category. The track feels so full of energy and as a result makes the album sounds fresh and brilliant, despite it now being around 8 years old, it still sounds brand new, with the sort of electric energy of the once in a life time pop songs that come around every few summers like "mmm bop" did. Difference being this is a top rock tune, not a bubble gum pop song.
Another excerpt sandwiches the track with a slightly longer one this time, R.K. 2029 which is 14 seconds and relates back to the book, where it's started to take the computers as being almost equal to the humans that created them.
"In Repair" although not quite as musically aggressive as the previous musical track does again sound reminiscent of the brilliant Happiness album. The track features heavily on the percussion set, as well as Raines vocals which as they did back in this era of OLP, took the band high above many of the similar bands out there. The track is full of catchy lyrical pieces that also lead to the concept of robots and machines, with terms like "metal" and "wheels" being mentioned, as well as the obvious "repair" and "machine". The track seems to work a lot off Kurzweil's second spoken piece on the album, so it's inclusion seems fairly well placed. Like right behind you, the track was released as a single as well, so to was the following track.
"Life", the third musical track from the album, a much sadder song, with a deep undertone of loneliness and rejection in the lyrics, which Maida sings with such pure clarity that the audience can't miss out on the concept of how messed up life is, despite humans ability to adapt. The music is softer this time, and feels somewhat restrained in part to allow the vocals to carry the song, though when the music does erupt, it seems to die down quickly enough as to not take the song in a different direction than the one it seemingly was headed down. The hook near the end has been one of my favourite parts in OLP's music for a long time (I'm going to guess this was the third pirated song I got).
"Middle of Yesterday", seems to be more depressed than the previous song, and somewhat lost with the singer seemingly singing about a drink/drug problem (a hangover perhaps?) talking about problems and how things will turn out OK in the end. The song seems to also talk about the singers problems in relation to someone else and going out of control as well as making mistakes again furthering the idea of a drug addiction. Musically the song seems heavier and more rocky than the previous tracks, where Maida's vocals are challenged by a strong musical accompaniment that brings the track to the forefront of the album as one of the musical highlights of the album.
"Are you sad", back to the soft emotional sounds of "Life" the lyrics are relatively poetic and pretty, talking about Angels and Fire early on. The song although not the strongest is one of the most beautifully sung and interesting due to the restraint in the vocals of Maida and the solemn regretful sound of the track. The track (obviously) questioning the listener emotionally, would probably appear to play on the fact that "by now" in the concept, the computers have started to develop emotions equal to that of their human creators, which is put together with the previous song, could be an attempt to show that whilst man has gone crazy, the computers have started to take over. Another way to view it could well be that the "drug" addict has is on a come down. Alternatively I'm just reading too much into it.
However the song does seem to go on a bit too long and this is kinda a bit slow to be dragged out as long as it is.
R.K. 2029 pt 2, the excerpt mentions that it's now become legally questionable as to what is human and what is a computer.
"Made to Heal", a metallic guitar sound, perhaps playing to the computer based life of the book. The track seems to question morals and ethics early on, but ignoring the lyrics the song is one of my favourites on the album, the almost rushed sound of the music alongside the excellent vocals that just peak here, in the most creative song on the album. The chorus is exactly what you need to think of when you think of OLP at there best, the track. The track should remind many of the Naveed album with it's energy and all round loud sounding fast brilliant tracks that the album's title track nailed so well.
Another Kurzweil excerpt is read out in "R.K. 1949-97" which shows how far computers had come from the date of George Orwell's "1984" (written in 1949) to the day of the albums release in 1997 which was when "Deep Blue" beat Gary Kasprov in chess.
"Everyones a Junkie", a song almost seemingly about religious rebellion and a closure of life from the mainstream, as someone seems to hide behind their television. The song features the brilliant "Big green monkey, everyone's a Junkie". The song could lyrically be about the person questioning their individuality, whilst the computer has started living and searching for answers to questions that they don;t know, the advancement of knowledge being one of the keys to humans. Musically the song is brilliantly wide scoping, with multi-layered vocals on top of the musical backing, which envelope a wonderfully creative side of OLP even for this album. The track definitely has remnants of the previous album through out it with the musical side being relatively strong with Raines falsetto as usually running over the top.
"R.K. On Death" talks about the concept of death and how it's a necessity in society to make us value life and time. This (spoiler for the book) relates to how the AI of the future creates backups of it's self to form an immortal way to live.
"All my friends" The song seems to speaking about the characters friends not being "equipped", as if the upgrades of people to machine is taking place as the song takes place. Raines voice goes higher and more piercing than anywhere else in the album, where the upgrades seem to be taking during the song where his friends start to think "mechanical" thoughts in the second verse. By the third verse the implication of the character actually being upgraded painfully (with the screams of "no") is possibly a major turning point in the album. The sacrifice of death as spoken about in the previous excerpt may well be mention in song form in this track.
"If you believe", springs out at you like a typical OLP song from the heavy guitar and the vocals straight from the previous album. The song seems to indicate the people have now become a computerised stream as opposed to a physical being, and actually regrets it. Though musically the song is something special, and much like middle of tomorrow the song just sounds like a vast sonic sound scape of brilliance. Vocals that show Raine's variance between a screeching rip roaring vocal anger, to a falsetto set with emotional, the music ranges from the terrifyingly electrically charged to the restrained brilliance that allows the vocalist the true charge of the track.
"The Wonderful Future" is the final track on the album, and starts entirely differently to the vast part of the album. A lot softer start, with almost a poetic vocal styling and the lyrical relaxation of a"wonderful" nature. The song is arguably about the future that the book predicts where the blood and flesh of humans, live on an equal playing field with robotic AI, the singer seemingly being a human in a robots world. The long dragged out vocals with the soft musical backing work as always well together for the first 4 minutes or so of the song. The songs complete difference to the rest of the album in backing music sound is a bizarre movement, that finishes the album off nicely.
Well finishes it for a while after about 12 minutes of silence on the album, a hidden track is played, with Ray Kurzweil talking to Molly, the character from the book. The conversation seems to be self referential to the book and has Molly accepting that she's no longer a human in 2099, talking to Ray still in 1999. Molly references her kids from the book, who are now 90 and how the music of the futures AI cannot be understood by the humans from the 20th century. In the book, it turns out the "author's" predictions turn out to be right, whilst some sexual innuendo is played up on during the ending of the conversation, where Molly offers to be anything to the author.
The bizarre ending of the album shows the way in which OLP were being incessantly creative during the process of CD. Though by now means a successful (commercially speaking) the album does fill in some of the holes between "Happiness" and "Gravity" that I had, and it a must by buy for all OLP fans. I'd consider it as both the creative highlight and the end of the old OLP which were lyrically creative and allowed Raine's voice to do the talking. With their commercially mainstream follow up taking those away for a more default radio friendly sound.
The 4th studio album by Canadian alt rockers Our Lady Peace is in my humble opinion the bands finest output to date.
Combining the more commercial sheen of the bands early efforts, naveed and clumsy with the more effect laden guitars and proper song writing aproach of happiness.....is not a fish that you can catch the band have produced an album which is near pin prick pefect in it's selection of songs.
There is also a grater range of emotions on here than have shown up on the bands previous efforts. Going from the straight ahead alt rock aproach of 'middle of yesterday', the light pop bounce of first single 'life' and the tearjerking sadness of what i beleive to be the albums centre peace 'Are you sad'.
Raine Maida gives his finest vocal performance to date here using his impresive vocal range to great effect on nearly every track.
This is the sound of a band at the very hight of there creative prowis. I chalenge anyone not to like this album
Our Lady Peace, known by many as Canada's answer to the Stereophonics, are a band that have had limited success this side of the pond. It perhaps doesn't help that, up until their fourth studio album 'Spiritual Machines' was released, they revelled in the alternative music genre, with Raine Maida's vocals screeching up the air waves to create a far less melodic sound than some bands pride themselves on. Yet, their gimmick struck a chord with many followers of that field, with their three previous albums 'Naveed', 'Clumsy' and 'Happiness Is Not A Fish That You Can Catch' garnering respect amongst its listeners.
By the backend of 2000, the band were set to release 'Spiritual Machines', an album that was set to be a little more adventurous than the previous offerings; they had a very dark, rock edge to them which was palatable but got a little predictable by 'Happiness...'. However, this album followed a much different path, primarily because its idea was a little bit risqué and quirky.
Whilst on tour the previous year, one of the band members picked up a book called 'The Age of Spiritual Machines' by futurist author, Ray Kurzweil. I have yet to read the book although it's not for the want of trying; it's very hard going and requires a lot of brain power. Yet, the four piece from Toronto obviously took notice of the books message that one day, robots will rule over all. An interesting concept and one that should have steered the band further into the public eye; every once in a while, everybody loves a weird and kooky message thrown into the equation.
Or perhaps not.
'Spiritual Machines' is the bands worse selling album to date, which is a bit of a mystery in itself. It could - and possibly should - have been their 'Sgt. Pepper'; they took risks and on the surface, it added a totally new dimension to their sound. But, exerts from the book the entire album was based upon may put many listeners off, leaving you with only 10 tracks on this offering. Not exactly a good number for a band who were meant to be at their creative peak.
Consisting of 10 proper musical tracks and five spoken passages from 'The Age of Spiritual Machines', you already get the impressing that this album is an ode to the novel rather than being about the inspiration as such upon the groups music.
To be honest, commenting on all of the individual spoken tracks would be pointless; they all roughly sound the same because of Ray's monotonous voice! Thankfully, the only last for a couple of seconds but all in all, they were just added in to sell the book although, for the first couple of listens, they did intrigue me enough to do just that, ranging from the idea of robots being the new embodiment of human qualities to taking over the world.
Right Behind You
The album begins on a pretty high note; although the verses sound a little regrettable, musing about those who are trying to corrupt, it seems as if the main celebration is the same product of this; life. It seems as if it is somebody addressing a loved one, telling them that they need nobody else in life other than themselves. It's got a really strong, OLP vibe to it; lots of thrashing cymbals and roaring guitars that accumulate into a pretty solid track. Raine's vocals on this one aren't at their usual, paranoid state just yet which the song, in principal, might have benefited from but I don't think it necessarily needed it to be one of the albums best contenders.
Marks out of 10: 8.5 - an up beat opener which boasts a much more 'mainstream' sound than many of the other starter tracks on Our Lady Peace's albums. Although a bit odd and repetitive in places, I personally liked that quality about it.
Slowing the pace down quite considerable, although not at the depths of ballads just yet, 'In Repair' is an emotionally charged number about the perspective of two people, one on the receiving end of serious medical treatment, the other helplessly watching. Being a fan of Maida's wife, Chantal Kreviazuk's work, I think it could actually be a tribute to her days following trauma from a motorcycle accident which she was still receiving medical treatment for when she met her future husband. The song delves further into the idea of robots eventually controlling the way humans live; in fact, they'll be able to fix people medically in the future far more competently than ordinary doctors!
Marks out of 10: 8.5 - the music's firm back up of the lyrics make this one a fairly epic display. I do wonder why there are Christmas type bells ringing in the background towards the end of this one but it doesn't ruin the song overall at all.
This one to start with made me laugh a bit; I might be a bit cracked in the head but the lyrics instantly struck me as being corny and a little prophesy like. In spite of this, the song does carry a good message of standing up for your self in life, much like 'Right Behind You' in the respect that things will all work out in the end. Ok, but it still passes through several cheese factories along the way! Musically, it reinforces the lyrics quite well and like with the previous two, ventures into a fade out at the end which is a bit tedious. I can't say that the promotional video aided this one much; unlike 'In Repair' which was purely experimental in nature, this was a simple performance with various people and Chinese symbols in the background that just added to the naffness.
Marks out of 10: 7 - if you can get over the clichéd lyrics, it's an averagely good song. If you can't, this one will bore you to the bitter end. This one does set up for most of the follow up album of 'Gravity', particularly 'Innocent'.
Middle of Yesterday
Starting off in a much harder, rockier way, it almost sounds like the bands attempt at nu-metal. Then the lyrics come in and you realise it isn't as it's more of an apology track for being a bad lover. 'Middle of Yesterday' is perhaps the least adventurous musically on the album as it refers back to their earlier, much less pop orientated sound. However, it is perhaps the most interesting in this way; for some reason, the clash of the remorseful lyrics and grunge tune work and create a really memorable track on the album. My only one complaint is that the chorus is a bit boring, sounding like it could have been written by a million and one different artists.
Marks out of 10: 8 - Maida's vocals are at their best here, ranging from deep and concerned to his prize worthy Falsetto textures, with this one being perhaps the last of the fine examples of this technique.
Are You Sad?
This is the albums first real venture into obscurity, placed perfectly after such a high vibe track. 'Are You Sad?' starts of acoustically with Raine's voice sentimentally deep as a recognition of the songs background story; mentioned on their Live DVD and CD collection, he said this song was written about that person everyone will have in their life at some point who are desperately seeking alternative answers through depression. I liked the fact that it was from the outsider's perspective; many songs look at it the other way round, but I think that's one of the reasons why this one was so sad within itself.
Marks out of 10: 8.5 - like most of OLP's songs, it verges on melancholy before taking a much more optimistic road. Raine's vocals are at their most subtly impressive here, not really over the top in their paranoid presentation to make 'Are You Sad?' a real high point on 'Spiritual Machines'.
Made To Heal
After one of the albums emotional highest low points, 'Made To Heal' quite frankly sounds like a bit of a joke in contrast. It has that gorgonzola crust surrounding it like 'Life' when it comes to the chorus which is a shame as it ventures back to 'Middle Of Yesterday's' edgier sound. The verses are very good; the words fit well within the sphere of robots controlling the planets and the bass works well on this track, perhaps more so than on others. But I cannot abide the way in which the chorus is sung; its sounds ridiculously like a barn dance, which coming from a rock and roll band isn't really that hardcore or clever!
Marks out of 10: 7 - it's such a shame that the track was let down but the repetitive chorus. It is stupidly annoying but the break down at the middle eight is fantastic. A track that could have held its own better on the album if somebody had stepped in and reminded Our Lady Peace that they are NOT a Country and Western band!
Everyone's A Junkie
With the previous passage from Ray, it paints the sordid picture that Orwell did in 1984. The sound effects merge very well into this one; the creepy child's voice is quite chilling. Lyrically a simple number, it's a song that, very much like its predecessor, holms in on the questioning of science. It has a very arena like sound to it and the multiple backing vocals on the chorus only enhances this feeling and makes me believe it would be an excellent live track. After just one listen, I really couldn't get out of my head so you need to listen to more than once to appreciate all the wacky sound effects and textures that the music has to offer.
Marks out of 10: 8 - it doesn't get a higher rating because it does border on daftness once again, divulging into a much more middle-of-the-road type sound. This one would have been good for a singles release as it could be seen as a very ordinary, rock/pop radio song that you may have heard from any other artist as Raine's voice isn't wildly different here.
All My Friends
Now that all of the Kurzweil passages were over, the album was nearing its end. Up until this point, it had got a fairly average reception from me so I was interested in seeing whether anything new and exciting would be pulled out of the proverbial hat. Unfortunately, 'All My Friends' just didn't have that effect; to begin with, it sounds very atmospheric but could have done with a softer, more unclear vocal performance by Raine to reinforce this. It's one of the slower songs on the album but it lacks a magic to make it a very good attempt. It actually reminds me a bit of a My Chemical Romance track - not entirely sure why but it seems to have that kind of bleak feel to it!
Marks out of 10: 7.5 - the guitar portion in the middle is very well executed but the rest of the song can be viewed as a bit bland. You also get the sense that the band predicted it would be viewed as this and tried their hardest to put in a few more shrieking vocals. Alas, it just didn't make it any more powerful.
If You Believe
When I first pressed play on this one, it sounded a little Placebo-ish; the overall musical presentation was designed to create a certain amount of desperation before the story unravelled. I think it was meant to be another one of Our Lady Peace's encouragement tracks where they take a sad song and make it better by their positive outlook. I did like how the vocals were suspended for a while and very much reverted back to some on offer in the groups earlier days, specifically 'Superman's Dead' but it never amounted to anything as great as that.
Marks out of 10: 8 - not a bad track but I don't think it's ever going to win a Most Memorable Song of All Time Award! It is characteristically very much an OLP song; mainly through Raine's voice and song writing effort but the guitars and drums are a bit of an ode to other bands, it has to be said.
The Wonderful Future
The final track on here, 'The Wonderful Future' I think was a bit tongue in cheek, especially when you take into account the hidden book passage that follows it of a the books protagonist, Molly, changing into everything that Ray predicted at the beginning. However, the song itself is very much a calm number; not overly strenuous or overtly interesting to be honest. I don't think it ends the album on a very wonderful note - it steps over the threshold of being inventive to self indulging, with the vocals being the epitome of this. It doesn't really leave you with any lasting memories of the album, in which many songs previously would have done in a much more successful way.
Marks out of 10: 7 - quite a dull way to end the album. Not necessarily comforting that you have to wait for about 10 minutes to hear the most interesting chapter from 'The Era of Spiritual Machines' either.
The artwork was essential in many ways to spreading the meanings of both the book that 'Spiritual Machines' was based upon as well as the album itself. It's perhaps the most adventurous artwork that the band have ever used to capture their music but, considering that this one had a theme as opposed to just being their fourth offering, its understandable.
Featuring the bands resident cover personality, Sol Fox, both the inside and outside of the sleeve include connotations of hospitals and mechanics. Many of the drawings looked similar to those featured on the American TV show 'House's' introduction, with X-Rays and body parts fixed with pins and metal. The stick man on the disk is a bit funny in his bowler hat but the mixed images of photography, realistic and cartoon drawings work well in contrast to one another.
The song lyrics, scribbled across the pages, looked very incomplete but suited the mood of the rest of the presentation. They were definitely needed to clarify some of the 'wondrous, deep and meaningful' lyrics throughout this album.
PRICE AND AVAILABILITY
In spite of being the bands least appreciated album at this point, it is one of the records that it more widely accessible here in the UK. Many of their albums that I have are exports but you can purchase 'Spiritual Machines' from many internet shops over here with the following price tags:
Amazon.co.uk: £11.98 (eligible for free supersaver delivery)
Play.com: £11.99 (free delivery)
CDwow.com: £11.75 (free delivery)
DVD.co.uk: £13.43 (free delivery)
OVERALL AND COMPARISON TO OTHER OUR LADY PEACE ALBUMS
When I first listened to 'Spiritual Machines', I can't deny that I was excited; after the first taste of every Our Lady Peace album, I proclaimed it to be their best and most daring to date. I guess it was mainly the unique focus of robots and the roots back to the book that made me pay really close attention to this one in particular, but many of the tracks were - to me - unbelievable.
However, after the first couple of listens, my passion for the album did decrease somewhat; I had the annoying habit of playing it weekly, which possibly didn't help its cause. Only a few albums - and perhaps none being in my collection - could stand that kind of attention and, undeniably, it got a bit too over familiar and a little tedious after a while, something I don't think the album will ever recover from.
Yet, even back then, there were distinct differences in my feelings towards many of the tracks; although I adored 'In Repair' and 'Right Behind You', I'd always considered 'Life' to be a bit over done, boarder line pretentious, when I first saw the video, the same with 'The Wonderful Future'. To me, both of those tracks need to be listened to, and therefore appreciated, during euphoric moods and, if you aren't in that specific frame, they will undoubtedly pale in comparison to some of the others.
It was the last Our Lady Peace album before what many describe as catastrophic changes occurred not only within the band but with their music too. Their lead guitarist, beside Maida, left the band as a result of 'creative differences' (it's a lot easier than admitting to fans that you hate the other members guts!). Mike Turner, now a member of the equally as unknown Fair Ground band, left and it seems that Raine's wonderfully inimitable falsetto vocals took the exit with him. That's perhaps the biggest shame as usually, when it may seem as if many tracks on this album are about to head in a bit of a boring direction, his voice takes you to a different place which is wholly fascinating in itself.
'Spiritual Machine' although cited as being the album released at the groups peak was what I consider the transition record between their older, more controversial work and the commercial follow up, 'Gravity'. It's certainly a good buy but one that you shouldn't overplay too much or you'll get fed up with it rather quickly.
(Please note: Previously written and displayed on Ciao by myself, MizzMolko).
Once again, Our Lady Peace lives up to their reputation as one of the greatest rock bands to come out of Canada, serving up a hot mix of poetic lyrics and powerful music in their CD "Spiritual Machines". Lacking the angst and anger of "Naveed" and "Clumsy" and calmer than the eccentric "Happines Is Not A Fish That You Can Catch", "Spiritual Machines" reflects how the band has matured over the years. Ray Kurzweil adds his trailer-worthy voice to five tracks and the bonus track, providing a haunting, 1984-ish commentary on the evolution of computers from machines to sentient beings, a gorgeous symbol for the progression of human life. It ties the entire CD into a nice, tight little bundle of poetic bliss. Raine Maida, OLP frontman, is at his vocal best, whether belting out the lyrics to up-tempo "Made to Heal" or gently easing his way through the heart-breaking ballad "Are You Sad?". His new age, free-style writing talents are at the base of every song, providing us with the bio-mechanical symbols of "In Repair" - the first single off the album - and the loyalty-laden promises of "Right Behind You". Mike Turner, Duncan Coutts, and Jeremy Taggert are also at their spectacular best, blaring out the melodies, riffs, and bass beats like their lives depend on it. It's no surprise that OLP dominates the music scene with every single and album they release. So sit back, grab yourself a copy of this excellent CD, and immerse yourself in this glorious blend of everything that makes the grace and glory Our Lady Peace is famous for.
Our Lady Peace aren't really the type of music I normally listen to, but came reccomended from a friend so listened to 'Happiness is not a fish that you can catch', I liked it and then bought Spiritual Machines. I found this album good but at the same time somewhat wierd. Every Few tracks we get a speach by Ray Kurzweil on issues such as death, conspiricy of computers. Overall the tracks on the album are slow saddish songs, but dont really get you down which makes them good. There are 10 song tracks and 5 Ray Kurzweil tracks and also a very wierd hiddentrack. There are numerous good tracks such as - 'In Repair' of which there is also a video for on the CD' My favourite track is 'Life' - the sound and melody is just very good which appeals to me. This album is good but I feel the commnet tracks by Ray Kurzweil kind of ruin it- because there is only 10 tracks. A good addition though is a special Web based bonus thingy in which you must have the CD to be able to do.
Disc #1 Tracklisting
1 RK Intro
2 Right Behind You (Mafia)
3 RK 2029
4 In Repair
6 Middle Of Yesterday
7 Are You Sad
8 RK 2029
9 Made To Heal
10 RK 1949 To 97
11 Everyone's A Junkie
12 RK On Death
13 All My Friends
14 If You Believe
15 Wonderful Future