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Version 2.0

4.7 out of 5 stars 554 customer reviews

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$12.76 & FREE Shipping on orders over $49. Details Only 19 left in stock. Sold by cdgiveaways and Fulfilled by Amazon. Gift-wrap available.

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Editorial Reviews

Product Description

NEW Combo BLUWAVS CD and FLAC FILE

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It's not that Garbage is doing anything particularly new. At times, singer Shirley Manson borrows Chrissie Hynde's phrasing, Patti Smith's rock beat poetry, and Brian Wilson's chorus from "Don't Worry Baby." But producer Butch Vig provides a modern sheen to Version 2.0 that makes it sound fresh and distinctly modern. Purists may blanch--the album is a hybrid of rock guitars, dance rhythms, and pop choruses--but songs such as "I Think I'm Paranoid" (a rip of Elastica) and "The Trick Is to Keep Breathing" (Depeche Mode, without the chill) sound great no matter what they're called. --Keith Moerer
Song Title Time Popularity
1 4:36
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2 3:38
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3 3:24
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4 4:08
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5 3:43
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6 4:53
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7 4:02
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8 4:11
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9 3:50
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10 4:03
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11 3:42
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12 5:24
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Product Details

  • Audio CD (May 12, 1998)
  • Original Release Date: May 12, 1998
  • Number of Discs: 1
  • Label: Almo Sounds
  • ASIN: B000006NZV
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (554 customer reviews)
  • Amazon Best Sellers Rank: #17,879 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: Audio CD
I may not be as passionate about this group as I once was but they're still, and always will be, one of my all-time favorite rock bands. I've seen them in concert twice now and they're just as good, if not better, live, and I absolutely love listening to Shirley Manson breathlessly speak to the hyped up crowd with her heavy English accent after jumping around the stage while singing a familiar tune.
The self-titled debut album by Garbage was my first actual record (the "Queer" video beckoned me to follow) and I've been hooked ever since. Despite the less-than-cheery lyrics, their music helped me through some tough times in my life and kept me sane as my parents moved me from place to place in my early teens. I'm older now and can easily account for the fact that my tastes have broadened over the years (I've got a huge CD collection to prove it) but I always return to 'Version 2.0' when everything else becomes yesterday's news, so to speak. Their sophomore release passed the tragic curse so many groups befall after a successful beginning (or so I should think with all these 5 star reviews), and while their journey forward looks humble indeed, I'm certainly not the only one to think that they deserved the Grammy over Sheryl Crow for best Rock album a few years back. I'm still bitter over that undeserved loss but I'm grateful they were at least nominated for the prestigious award. I do not wish to dwell on the past though. I'm just so impressed with this record and believe it to be their best work to date.
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Format: Audio CD
Version 2.0 is easily one of the best albums of the past decade. The electronic rhythms blend seamlessly with Shirley Manson's voice. Possessing one of the sexiest voices in music today, Manson is a calculating seductress. In fact, Manson's vocals are the only thing that remains consistent from the band's self-titled debut. The sonic assault of the rest of Garbage is noticeably shiny and polished. This doesn't mean that they've lost their edge though. The songs on Version 2.0 are better than those of the debut, whereas the debut's seemed incomplete and inrealized, Verison 2.0's are complete and competent.

The album's best tracks happen to be the slower songs. "The Trick is to Keep Breathing" and "You Look So Fine" showcase Manson's voice at its most wistful, and quietly sexy. Somehow though, the listener gets the impression that she's hiding her freaky side on "You Look So Fine." For Garbage, the arrangement on "Medication" is relatively sparse, giving it a barren, desolate feel that suits Garbage well. Manson accents "Medication" with gut-wrenching vocals.

The faster numbers are absolute stunners. "Sleep Together" resonates with an intoxicating mix of electronic bleeps and guitars, but it still can't compete with the album's opener, "Temptation Waits," which starts with a wintery aura, and features a blisteringly cold chorus. One of the album's surprise highlights is "Hammering in My Head," with its whirlwind of sonic flourishes and breakneck pace, it also has an unrelenting and memorable guitar riff.

It goes without saying that the four singles from this album combine Garbage's rock-meets-electronic formula with fantastic results.
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Format: Audio CD
Garbage's self-titled debut was a critically hailed triumph. It was a combination of sleek neo-feminism, gothic undertones, and alt-pop rhythms. Vocalist Shirley Manson could do it all -- she was Debbie Harry of Blondie, Dolores O'Riordan of the Cranberries, she was Chrissy Hynde of the Pretenders -- but she was still a leather-clad skanking flirt with a mean growl and a playful attitude. Her familiar yet simultaneously unique personality helped usher in the new era of alt-rock that dominated the late 90s. Despite Manson's in-your-face affectations, their first effort, while remarkable and refreshing, wasn't altogether groundbreaking. After nearly 3 years of intense recording and polishing, Garbage returned with a newer, glossier, and more catty version of their former selves.
Sidelining -- although not totally adbandoning -- their grittier roots was a shrewd choice in the 90s, when a long attention span was hard to find. Garbage is still in all of their glory here -- the insane guitar riffs and acidic lyrics are intact. Here, it's just done better. They take the guitar riffs and skewer them until they're nearly indistinguishable, they take Manson's growl and strecth it out to elastic proportions. Such intense experimentation is usually suicidal -- here, it's more like a steroid shot to an ailing genre. Perhaps the most effective revelation on 2.0 was the full-on implementation of technopop. It's everywhere here -- in between the beats of the punk chorus in "I Think I'm Paranoid," backing the ingeniously distorted guitars of "Push It." Garbage didn't only write the book on crossover alternative pop/rock, they have it memorized and, for all intents and purposes, copywritten.
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