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Product Details

  • Audio CD
  • Number of Discs: 1
  • Label: la.ou
  • ASIN: B000UC7U8S
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (5 customer reviews)

Customer Reviews

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By Anthony Vinciguerra on November 7, 2006
Format: Audio CD Verified Purchase
The hits on this album come early and often. The first three songs have the most radio appeal or pop-like sound. The first song ("Dance for Me") is dark, voyeuristic, and oddly, it's almost a ballad. Despite being so unique, it's a song I can listen to over and over.

What the next two songs ("The Truth About Cats and Dogs" and "Possible Harm") have in common is fun keyboard work by Laura Wills that coincides perfectly with the vocals. It's almost impossible to listen to these songs without bouncing your head side to side ala Snoopy when he dances.

The other three songs that make this album worth buying are "The Best Offence," "What's Free Is Yours," and "Pastime Endeavour." Even though these three songs are mellower than "The Truth About Cats and Dogs" and "Possible Harm," they feature excellent guitar work by Sarah Moundroukas and sultry vocals.

One major criticism of this album is that most of the 11 songs on this album sound too similar. If you like "Dance for Me" and "The Truth About Cats and Dogs," (listen to the samples on Amazon), you'll love this album. If you don't, you'll hate this album. Be sure to listen to "Possible Harm," which is my favorite song on the album because it cohesively blends the two song types.

Another criticism is that five of the songs on this album seem to lack the effort and creativity with which the other six songs drip. They sound almost a cappella because the drums, guitar and bass are grayed out from being mixed down so much.

Despite these flaws, I do recommend this album. (I wish I could rate it 3.5 stars, because I was torn between 3 and 4.) This talented group of women from Montreal put together six enjoyable songs that I'm enjoying while I wait for Pony Up's next release, which I'm hoping will be a more complete album.
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1 of 1 people found the following review helpful By pancake_repairman on April 7, 2007
Format: Audio CD
The choice of The Truth... as the first promo track lowered my expectations for the album, but after exploring the rest of the record it seems like the only motivation for choosing that song is to appeal to bland Death Cab fankids, because the rest of the album has a lot more to offer. Lyrically Only Feelgood is one of the very few songs ever with something to actually say, something totally relevent and real that I've never heard of being addressed in any song, movie, or book before, talking about how an inability to shake someone's perspective of you as a victim after you've been through something bad is frustrating, and (i'm extrapolating here) can suggest to you that you shouldn't have recovered from whatever it was. "when you draw me, you draw me crying, because all you'll ever see is what you did" "why can't you believe that i only feel good". It's actually phrased poetically, with the drawing metaphor, rather than just impentrably cryptic, like what most lyricists think being poetic is about. The fact that the girl who wrote this also doesn't feel a need to take herself seriously all the time, as evidenced by a lot of other Pony Up lyrics, just emphasizes what a multi-dimensional genius she is. The lyrical idea of Only Feelgood also emphasizes the fact that there are so many new things to be said about social humanity that the vast majority of writers, even highly intelligent ones, aren't addressing because their perspectives are so narrowly focussed on talking about established things because they're unable to see any significant new angles.
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2 of 3 people found the following review helpful By Collin Anderson on March 6, 2007
Format: Audio CD
Yet another band hailing from the indie Holy Land of Montreal, Pony Up! is an all-female group that meets the pressure to produce a worthy debut with a degree of modesty and five level heads. They demonstrate right off the bat what eventually feels like an inevitable pop songwriting sensibility. As the cliché goes, first impressions will stick, and for Pony Up! the foremost distinction is the slick, borderline-adult-contemporary production that comfortably plops acoustic guitars and pianos into every track. But these instruments hardly wander, though they twinkle: if anything, the clever manipulation of keyboard timbre and use of guitar pedals (for short, repeated hooks) more strongly associates them with the likes of indie-pop acts like the Magnetic Fields or early New Pornographers. It's an irrevocably cute and popular technique for cementing a song's identity without bizarre shenanigans or a bias in the eternal struggle of production versus songwriting.

Still, I'd be lying if I pretended this what the most gripping aspect of the album. In fact, the cake has to go to the band's rhythm section. Bassist Lisa Smith and drummer Lindsay Willis essentially carve a bowl to hold the nectar of the indie-pop hooks. Their muscular, multidimensional sound is not particularly unique, but for this album it substantiates even the schmaltzier moments and prevents the band from the all-too-common fate of getting lost in its own preciousness. The momentum is particularly valuable when repeated listens reveal the identifying hooks are more theoretical than definite; more often than not, the time-tried method is tweaked and compensated in the name of their decidedly inoffensive and utterly smooth melodies.
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