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The band perform many of the most popular tracks from their incredible career, including 'A Thousand Trees', 'Maybe Tomorrow', 'The Bartender and the Thief' and, of course, 'Dakota'.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Rarewaves","offers":[{"title":"Default Title","offer_id":32054714433633,"sku":"5033197380988","price":5.06,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0092\/7504\/8033\/products\/stand_1802515_0.jpg?v=1705479805"},{"product_id":"5033197219004-stereophonics-you-gotta-go-there-to-come-back","title":"You Gotta Go There to Come Back (Limited Edition)","description":"\u003cmeta content=\"text\/html; charset=utf-8\" http-equiv=\"Content-Type\"\u003e\u003cp\u003e\u003cspan\u003ePRODUCT DESCRIPTION \u003cbr\u003e England. \u003cbr\u003e\u003cbr\u003e AMAZON \u003cbr\u003e The seeds of You Gotta Go There to Come Back, the Stereophonics fourth album, can be found both in the band's love for 1970s rock (manifested in their increasingly ludicrous hairstyles--a grand metaphor of how out of touch with reality they've become) and the riff-laden, tuneless hulk of \"Vegas Two Times\", the last single released from previous album Just Enough Education to Perform. Despite its phenomenal success, Just Enough. was primarily known (and criticised) for its mellow, languid songs. If nothing else, You Gotta Go There. is both a partial antithesis of this and an ill-advised, nostalgia-fuelled revival of 70s riffage, but with none of the cool posturing or style of, say, the Datsuns. \u003cbr\u003e\u003cbr\u003e Foregoing the reliable staple of Bush and Birds' production, Kelly Jones somewhat audaciously takes the reins himself, which should set alarm bells off in anyone's head. Lead single \"Madame Helga\" is nothing but a dull foot-stomping rocker where it could have been an iron-clad \"Bartender and the Thief\" (Performance and Cocktails' blistering standout), and all six minutes of \"Help Me (She's Out of Her Mind)\" are laden with painfully slow, nasal proclamations. However, there is the sense that the band are trying to move on, as some of the more experimental sounds attest to (\"I'm Alright\", \"Maybe Tomorrow\"). The results are interesting, but they might have benefited from another producer to lead them into this new territory (Nigel Goodrich for instance). \u003cbr\u003e\u003cbr\u003e Tracks such as \"You Stole My Money Honey\" and \"Jealousy\" don't sound like they were written by Kelly Jones, the same man who brought us Word Gets Around's excellent \"Traffic\". This is nothing more than an exhumed corpse of something that was once great. 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Stereophonics double platinum selling 2003 album is re-issued featuring 14 tracks with the hit single 'Moviestar' added to the album tracklist. Also includes 'Maybe Tomorrow', 'Madame Helga', \u0026amp; 'Since I Told You It's Over'. V2. 2004. \u003cbr\u003e\u003cbr\u003e REVIEW \u003cbr\u003e Stereophonics have always inspired partisan feelings. Their detractors loathe their meat-and-potatoes attitude to making music, seeing them as little more than pub musicians who struck it lucky. Dedicated fans, on the other hand, take delight in the passionate songs of Kelly Jones. There's never been much of a middle ground.\u003cbr\u003e\u003cbr\u003eEvolution not revolution has always been Stereophonics modus operandi. Over the course of their career, they've never been ones to rock the boat, choosing instead to steadily refine their songs and production. They've also edged ever closer to American radio rock, presumably in a naked attempt to break that market.\u003cbr\u003e\u003cbr\u003eHowever, You Gotta Go There To Come Back, the band's fourth album, is being heralded by some to be as good as their debut Word Gets Around. And while it shares much of the intimate charm of that record, this is an altogether slicker affair.\u003cbr\u003e\u003cbr\u003eProduced by Kelly Jones, the album delves even further into his beloved 70s songbooks. In addition to the weather-worn AC\/DC signposts, there are nods to Stevie Wonder, Creedence Clearwater and The Isley Brothers. And, in the opening easy funk of \"Help Me (She's Out Of Her Mind)\", Jones achieves a rough approximation of Lennon's \"Cold Turkey\" vocals. 'Rough' clearly being the operative word there.\u003cbr\u003e\u003cbr\u003eFuture single \"Maybe Tomorrow\" follows, featuring the smooth guitar from the Isleys' Summer Breeze and melds it onto a gently driving radio-friendly rhythm.\u003cbr\u003e\u003cbr\u003eThe album's highpoint, however, is the closing \"Since I Told You It's Over\". A slightly countrified epic ballad that ends just a little too soon, by some stretch it's the best thing Stereophonics have done in years.\u003cbr\u003e\u003cbr\u003eStill, it's not all high notes in the Kelly Jones canon. Nobody in their right mind would want to listen more than once to the dreary \"I'm Alright (You Gotta Go There To Come Back)\" or \"I Miss You Now\". Likewise, \"You Stole My Money Honey\" is seemingly a bold attempt to string as many musical clichés as possible into one song. They do well with it.\u003cbr\u003e\u003cbr\u003eSimilarly, \"Climbing The Wall\" appears to be a sundrenched West Coast guitar ramble, of which the most remarkable thing is the couplet: 'I'm just standing here looking at myself again, I'm going blind\/I'm just sitting here playing with myself again - it's turning me on'. Really, Kelly, do we need to be told?\u003cbr\u003e\u003cbr\u003eWhile Stereophonics have never been the most musically adventurous band, thankfully, they seem to be moving away from the blandness they've always been slightly guilty of. Against the odds, You Gotta Go There To Come Back is a record that goes somewhere to finally justifying Stereophonics' success. It's a sturdy piece of work, one which will be lapped up by their fans. It might even make a few friends along the way too. 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