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Songs Of Mass Destruction

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Artist: Annie Lennox
Label: RCA Label Group
Category: Music

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Rating: 4.0 out of 5 stars

27 reviews
Sales Rank: 7616

Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5

UPC: 886971545227
EAN: 0886971545227
ASIN: B000V2NACC

Release Date: October 1, 2007
Availability: Usually dispatched within 1-2 business days

Tracks:

•	Dark Road
•	Love Is Blind
•	Smithereens
•	Ghosts In My Machine
•	Womankind
•	Through The Glass Darkly
•	Lost
•	Coloured Bedspread
•	Sing
•	Big Sky
•	Fingernail Moon

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Editorial Reviews:

Amazon.co.uk Review
Menacing as they sound, the songs of mass destruction gathered on Annie Lennox's fifth solo disc don't manage to so much as nick the gorgeous instrument she's built her career on. Weaving artfully as ever around the contours of songs that suggest the worst--Lennox is world-wise and therefore maybe inevitably world-weary--she imparts gravity and grace in a voice as cloudless and surface-smooth as just-brewed mint tea; from the tentative beginnings of the mournful "Dark Road" to the gospel-bottomed gorgeousness of "Ghosts in My Machine," she's in full command of her considerable vocal powers. And it's possible she's never used them to such moving effect on a single record. Earlier Lennox or Eurythmics albums might have succumbed here and there to slight-seeming experiments in style, but iSongs of Mass Destruction/i doesn't dilly-dally. All swerves, even playful ones (see "Love Is Blind" and "Coloured Bedspread," a synth-y song that wouldn't seem so out of place on a recent Madonna record), are on-message: "Womankind" busts wide open not only because it needs to (a voice this big can't be contained, it reminds us), but to demo empowerment, and the hopeful "Sing" signs off with a seconds-long African guest vocal. There's an upside to the destruction of cultural wellness that led Lennox to write this record, and it's artistic creation. Songs of Mass Destruction is a sterling, rock-solid, expert example. i--Tammy La Gorce/i

Customer Reviews:

Showing reviews 1-5 of 27

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Searingly emotional with a soaring voice October 26, 2007
Martin Milner (New Jersey, USA)
9 out of 9 found this review helpful

Songs of mass destruction br / br /Has it been a dark road that has carried Annie Lennox all the way from the new wave pop of the 80s Eurythmics to a stellar solo career? Well there may have been some somber moments and dark corners but Songs of Mass Destruction (SOMD) in spite of its somewhat depressing and prophetic title, offers a lot of variety, the whole encapsulated in Lennox's beautiful, soaring voice. Many commentators rightly state that this is the best instrument in the piece. br / br /SOMD opens with the single, Dark Road, which amply demonstrates Annie's range. It is dark but at the same time rich in tonal quality and provides the listener with an indication of the quality still to come. If you love Annie's voice, you will love Dark Road and Through the glass darkly. br / br /Next comes Love is Blind a joyous piece of pop that Annie belts out and which also includes a very enjoyable rap. br / br /Then, getting a little deeper into the tangled and powerful emotions that surround a breakup comes the slow burner "Smithereens." At first it seems like a less interesting track but then begins to grow on the listener with repeated listens. It is now a favourite. br / br /Ghosts in my machine kicks the tempo back up again and has an infectious chorus that the listener wants to sing along to, addresses imperfect humanity, which is a general theme of the album overall and leads to Womankind which flies the feminist banner high, again offers a slice of rap and is something that you will want to or can't help singing along to, whether man or woman! br / br /Through the glass darkly is a soaring ballad that underlines the pain of emotional despair and fully showcases Annie's wonderful voice. Many have said that the album is worth its price for this track alone. Lost is also powerfully sung and has become one of my favourites on the disc. I love the layered vocals and the high notes that Annie reaches. br / br /Sing is OK and is similar to a chant with African accents and an announcement at its start that the song has been created to support a charity trying to prevent Mother-Child transmission of AIDS/HIV, a worthwhile cause to support. Annie's voice outshines and outpowers the chorus of "equals." br / br /Big Sky is a big interesting ballad and Fingernail Moon rounds the set off in a reflective frame of mind having a very relaxing feel to it and adventuresome lyrics. br / br /Annie has done a good job in SOMD and I am looking forward to her next. br /

5 out of 5 stars

Some things just get better and better . . . October 1, 2007
Z Thinker (UK)
39 out of 46 found this review helpful

Upon seeing the video for Dark Road, I feared Annie had gone really middle of the road in a bland bid to court American approval at the expense of innovative and exciting experimental songwriting . . . but oh, I was wrong! br / br /Dark Road improves with each hearing, as does all of the album, and emerges rapidly as an excellent opener on all fronts. That said, it only hints at the gems that lie ahead. br / br /This album is undoubtedly Annie's most cohesive and enthralling solo outing. Upbeat songs such as Ghosts in My Machine and Love is Blind conjure the vibrant and enthusiastic multi-layered harmonies of the 'Oh Brother, Where Art Thou' soundtrack; a welcome blast of excitable blues which, rather than being mere pastiche, is nothing short of exhilarating. Yes the American influence is there, but goodness she makes it all her own. These tracks seem to pick up where 'Would I lie to you' left off, but with less angst and more joy. Such complex overlapping harmonies indeed characterised some of the finest Eurythmics moments, notably the Sweet Dreams album, for example (listen to the last minute or so of 'The Walk' or 'I Could Give You A Mirror' and you will see what I mean). br / br /It is a rare and precious thing to be able to say that on any Annie Lennox album, the finest instrument will always be her voice, and here it is put to exceptional use. New producer Ballard steered the project magnificently . . . Annie's voice blasts with more power at times, yet is somehow smoother and not once abrasive. While Lipson's previous productions hailed some fine moments, there was a slight lack of cohesion that could jar with some listeners as tracks changed. Here, production is so finely tuned that even when the tempo and style changes dramatically, it all falls into place and feels like it belongs. It's more confident and willing to take risks. Alive and kicking, actually! br / br /Elsewhere there are gentle moments. The song 'Lost' is beautiful indeed, pushing to the full heights of Annie's enchanting vocal range, particularly at the end. Imagine the classic Diva track 'Cold' being fused with her Two Towers song 'Into the West' and you will get an idea of the sophistication, intensity and range. One feels it is only a matter of time before it features in the programme of the same name in a moving montage, somehow. br / br /Smithereens is a good song, but on the first few plays seems to be the weakest on the disc - closest to middle of the road. It is dramatically outshone by the other ballads - Through a Glass Darkly, Big Sky (which boasts a verse vocal as brilliant as Shara Nelson in her finest hour, alongside a chorus that is reminescent of Texas) and the quietly intoxicating closer, Fingernail Moon. These showcase true mastery of the intimate ballad, and draw close to some of the tracks on the previous and often beautiful but less energetic 'Bare' CD (that disc's opener, 1000 Beautiful Things, announced a new playfulness in Annie's ballads). One has the sense that this artist has really refined her craft further, and the result is an effortless splendour which seems to gush forward from wherever the marvellous 'Why' originated. br / br /The most trumpeted song of this CD is bound to be the future single release, 'Sing'. In Live Aid style, it boasts a choir of leading female singers such as Madonna, Dido and even rising star Martha Wainwright - another great talent. All voices are unified by Lennox's harmonies but only Madonna gets a verse of her own. Perhaps easily dismissed on first hearing, the catchy chorus soon engages and is in great danger of being overplayed, particularly as it carries an important political message. br / br /Annie and former co-creator Dave Stewart have inevitably been haunted by pressure to create another 'Sweet Dreams' - the song that propelled Eurythmics into worldwide success. 'Coloured Bedspread' may be such a song, albeit of a more serene and ecstatic nature. From the outset, the synthesized aural landscape suggests something momentous, something that would set clubs alive. In this form, it isn't a dancefloor thumper, but it is liable to become so if given an ingenious remix or two. As it is, the track seduces like thick honey, with warming and intimate vocals which even surpass the legendary 'Why'. Like a mischievous lullaby, it lures you into its silken trance and you cannot help but smile, because not only is Annie back, she is on her best vocal form ever. The intense beauty of Annie's ethereal high notes often amazes in live performance, but probably have never been captured quite so well as on this beautiful song. To many, it could well be a revelation. br / br /This time around, it is so obvious that Annie knows her craft from the inside out and is ready to reclaim her place on top of the mountain. She has always delivered fascinating lyrics, but sometimes albums have veered awkwardly between styles and moods. Now it feels cohesive and utterly dynamic, glued with superb production and what feels like spontaneous joy in the creative process. Indeed, one has the feeling that La Lennox may well be laughing during those moments when she is really tearing into the song. It is just so free. br / br /Just when we thought she might have mellowed a little too much, Annie has stormed back with a better disc than ever - even reaching to a rap sequence on the catchy 'Womankind', a track that definitely improves with each hearing. br / br /I only have one complaint . . . The birth of a new CD is also the dawn of a new wait for the next gem. Still, those hours are going to be all the better with this disc to enjoy! br / br /I suspect the deceptively titled 'Songs of Mass Destruction' will attract a new army of fans and bewitch existing listeners as it scores on every level. Annie may have depicted herself as 'Little Bird' in the past, upon previous CD 'Bare' seeming naked and raw with scorched wings. Here though, we meet the Phoenix rising from the ashes, utterly inevitable. Utterly improved by a greater ability to have fun and experiment, yet also with accumulated knowledge and respect for the amazing instrument that is her voice.

5 out of 5 stars

Long wait is over... Annie only gets better! September 29, 2007
Jonathan (of the Sea)
14 out of 16 found this review helpful

Best thing Annie Lennox has done. (and I don't through that around easily, being a life long eurythmics fan) her performance on this new disc is transcendent, evolved, polished, clear and passionate, there is an emotion she invokes lyrically and vocally; a philosophy, an intense intimacy, penetrating and relatable, all encompassing and utterly personal simultaneously. Musically very energetic, full of soul (naturally), authentic, highly danceable to most tracks, especially Ghost in My Machine, Womankind, Coloured Bedspread, Sing... You can decide which songs are best, for they're all fantastic!

5 out of 5 stars

Exceptional song-writing December 12, 2007
Phil (Bristol, UK)
4 out of 4 found this review helpful

I'm surprised by some of the views expressed here. Maybe some reviewers listened to the album just once and gave up on it; it disappointed me, too, on first listening, but it quickly grew on me, as some of the best music does, and now I consider it one of the best albums I've ever heard. The music is rich and complex, with fantastic melodies, and I would say there's only one weak track ('Sing' - and even that has a good chorus). Lennox's voice gets better and better: the vocals on the eerily atmospheric Through The Glass Darkly (for me, the best track), Smithereens, Womankind, and Big Sky are just stupendously good. br / br /What distinguishes this from many other artists' work is the quality of the song-writing: the chord changes are so sophisticated, and there are many layers to every song, so that you hear something new each time you listen. (Rarely true of every single track on an album.) If you like your music raw and imperfect, you might find it over-produced, but in my view the production only enhances the quality. br / br /So would this album would appeal to you? Well, if you liked Lennox's previous solo albums, then probably it would; musically, it isn't a departure from the past. Like me, you might find it an album you're unlikely ever to tire of.

5 out of 5 stars

WOW September 16, 2007
A. W. Box (Norfolk UK)
26 out of 32 found this review helpful

Raw emotion and beautiful diction. Made me want to cry with the power of her voice.

Showing reviews 1-5 of 27

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