Everything's Different Now

'Til Tuesday

Product Details

• Audio CD (October 25, 1990)
• Original Release Date: November 1, 1988
• Number of Discs: 1
• Label: Sony
• ASIN: B0000026HY
• Also Available in: Audio Cassette  |  MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (47 customer reviews)
• Amazon.com Sales Rank: #91,832 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

25 of 27 people found the following review helpful:

5.0 out of 5 stars til tuesday's final studio album is their absolute best!, September 4, 2001

By	Daniel J. Hamlow (Narita, Japan) - See all my reviews (TOP 100 REVIEWER)    (REAL NAME)

Of the 80's bands, 'til tuesday was one of the most talented, thanks to Aimee Mann and Robert Holmes. Unfortunately, they fell into the trap of the sophomore slump and the tertiary collapse, after which they dissolved. Pity, really, since not only do I enjoy all three of their albums, but I consider this, their third and final album, released in 1988, to be their best accomplishment ever, even better than Aimee Mann's solo debut, Whatever. Call it a well-aged bottle of pleasing melancholy that keeps getting better.

The songs here are more wistful than downright sad as in Voices Carry, and have a more radio-friendly beat instead of a depressing dirge. No, it doesn't make one want to look for something sharp after listening to Type O Negative or Black Tape For A Blue Girl, but after listening to Everything's Different Now, you feel refreshed but want to take a nap to digest all that melancholy.

The title track, "Rip In Heaven," and "'J' For Jules" are prime examples of that bittersweet melancholy. Like popster Kim Wilde, Aimee Mann is a sage of lost love and times when things weren't so sad. Her voice is more polished here and the group more tight-knit, so there was no reason they couldn't have continued through the early 1990's, despite the explosion of the Seattle sound. Music buyers, thy name is fickle.

She is a great lyricist too. In "Rip In Heaven," she writes how fragile a creature optimism is: "optimistic feelings can't be/passed from hand to hand/You handle them/they tend to die." When she sings "We both know we had a past/but present must contain/a future where both of us can fit", she exemplifies the introspective rational who sees the present as an interval between past and present.

"'J' For Jules" is a song about her then-beau, music producer Jules Shear. She compares her relationship to a country. It's classic; it begins happy, there's that country beginning with 'J', then the bridge, where "there's no way a country could die/told me they drift away/but that's a lie" and the end of the country, which only exists in her heart.

It's magical when I pick up words and think, oh yes, that's the story of my life. The single "(Believed You Were) Lucky" begins with a guitar that preempts the hopelessness and resignation of the opening lines. When I hear, "So I guess I'll give it up/yeah I guess I will/What's the use in pushing/when it's all uphill", I hear a familiar soundtrack that's gone through my life. The chorus goes: "I wish you believed in life/believed in fate/believed you were lucky/and worth the wait/'cause life could be lovely/Life could be so great." Alas, this poor soul only wishes he did.

Another example are lines in "Long Gone (Buddy)": "Nobody wants to be happier more than I do/But happiness I must confess/I don't have" and "It's not that I'm frightened of being alone/It's just that I know what a burden this grief can be." Loneliness does carry freedom as a reward, but grief as a consequence.

My favorite song? "The Other End (Of The Telescope)", which features guest vocals by Elvis Costello. It could be sung in front of a campfire, but after a few beers, when the sad stage of being drunk sets in. But there are a whole lot of others that are nipping at its heels, like the other songs I have already mentioned.

There are many things I still wonder to this day. Why is life so painful sometimes, why did John Lennon, Kurt Cobain, Selena, and Aaliyah have to die young, and why wasn't Everything's Different Now more popular?

15 of 15 people found the following review helpful:

5.0 out of 5 stars This is the One, January 14, 2000

By A Customer

Agreed with the reviewer below. If those of you who have been turned on to Aimee from Magnolia have found your way to this page. THIS is the Til Tuesday CD to get. The first two Til Tuesday are strictly amateur hour compared to this. Mann's songwriting is so hopelessly overwhelmed with truamatic heartbreak, it's almost painful to listen to some of the songs. For anyone who has ever had a broken heart...this is the music to identify with. That every song here is a pop masterpiece with melody lines on a level with Beatle-era McCartney makes the commercial failure of this album even more perplexing. Forget the first two TT CD's...get Magnolia, get Mann's two solo discs, and GET THIS!

11 of 11 people found the following review helpful:

5.0 out of 5 stars I can't believe it took me so long to discover this gem!, August 7, 2003

By	eric_f (Boston, MA) - See all my reviews

I must confess that, until recently, I fell into the category of people who mainly knew Til Tuesday's music by their hit song "Voices Carry" and a few other songs including "Coming Up Close." I also own their second album Welcome Home and I'm familiar with a lot of Aimee Mann's solo work as well. I even met her last year at an autograph signing. So I almost feel ashamed that I never heard of Everything's Different Now until recently when I came across these reviews. After reading all the glowing praises I felt compelled to pick myself up a copy, and after several listens of the entire album I'm absolutely hooked! I can't understand how this album didn't get the recognition and promotion it deserved. Perhaps the greatest tragedy is that many casual fans of Til Tuesday will continue to not know about this album and judge their merits as a band based on their more well-known work (which is certainly good in its own right but doesn't come close to being as good as this superb album).

Everything's Different Now has become among the very few albums I own in which I can say that I love every song. My personal favorites are "Rip In Heaven," "Why Must I," "Long Gone (Buddy)" and "Crash And Burn." But every song is catchy and filled with oustanding melodies and harmonies. The music just "fits" together so well and the consistency flows so smoothly from one song to another. Upon the very first listen one can tell that a lot of thought and effort was put into this album. I suppose some might be put off a little by the main theme of loss and breakup, but the way the music comes across is far from dreary or depressing. In fact one could say that this album will make you feel good, not only because the music is so great but because it offers an outlet for themes that most of us can relate to in some form.

So if you're a fan of Til Tuesday and/or Aimee Mann, or if you're just a fan of great music for that matter, you owe it to yourself to get this album. It's mature, well presented, has great lyrics, and is basically a fantastic listen. Most highly recommended