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Echoes is a double-CD collection of some of Pink Floyd's bestsongs. It's also a fascinating document of the band's history. They began lifeas Syd Barrett'sphantasmagoric plaything before clasping the wings of Icarus and ascendingtoward the sun on an epic space-rock odyssey, eventually turning left once theyreached the dark side of the moon and burning up on reentry, crash-landing onevery earthlings' home hi-fi. And it's all here--30 years of the Floyd's awesomeback catalog trimmed down to two handsome CDs. It's worth remembering that,despite a fondness for pyrotechnics, Pink Floyd were never a prog-rock band.Sure, some of their songs are a bit long, and they never released singles (atleast not for 11 years), but the same could be said for Led Zeppelin. Clinicallydevoid of the faux-classical overtures and vainglorious musicianship of thatera, Pink Floyd were a pole apart; Meddle's epic maritime tone poem"Echoes" remains the Floyd's apogee. But here, on this collection, "thealbatross" which "hangs motionless upon the air" has had its wings clipped--seven full minutes are missing, but you'd never be able to tell. The sonarbleeps, the screeching seagulls, the howling winds are all retained, and whoeverwielded the editorial axe, Eugene, did so carefully.

Interestingly, the album's nonchronological track listing works--thesummery, childhood enchantment of "See Emily Play" is right next to the schooldiscipline of "Happiest Days of Our Lives"--and at least this way no one willswitch off when material from A Momentary Lapse of Reason comes around.Despite the curious omission of "Atom Heart Mother," this really is the verybest of the Floyd--from the throbbing "One of These Days" to the pop operatic"Great Gig in the Sky" to the genius silvery fluidity of Dave Gilmour's guitarwork. This is timeless, as many members of Sigur Rós, Radiohead, and the Beta Band will attest. --Kevin Maidment ... Read more

Reviews (336)

A confused compilation
Compiling an anthology of the best of Pink Floyd is a fool's errand at best. Many of the band's best moments are just not as compelling when removed from the context of the albums that spawned them. Not to mention the fact that the band has had at least three seperate and distinct eras that don't necessarily compliment one another. The early days (pre-"Meddle" 1971) feature original leader Syd Barrett and his psycadelic influence even after he left the band. From 1971-1983, Floyd was a Roger Waters dominated concept album band. After Waters left in 1983, the band has been led by guitarist David Gilmour, and has been merely a shadow of its former self.

Though to be admired for liberally including songs from the early days, the album makes a tactical error in not being programmed chronilogically. For example, the previously unreleased track "When The Tigers Broke Free" appeared in the movie version of "Pink Floyd The Wall." It's a fine song, but standing alone outside of "The Wall's" story line it doesn't have the same impact.

Overall, there is nothing wrong with the music on this collection. Of course, it could also have included about a dozen more songs, but then it would be of unweildy size. Hardcore fans probably already own most, if not all, of the material. Those just getting to know Floyd would be better off purchasing the original albums, starting with "Dark Side of the Moon" and "The Wall."

Buy Floyd's albums, not songs
Although this album has some great songs, I recommend buying their albums, not their individual songs. The meaning is lost on songs from "The Wall" and "Animals," among others, because the entire album is more like one song, telling a story. Each song, like "Comfortably Numb" and "Mother," are only segments of these terrific pieces of art, so it appears that the songs have no meaning. And even if you disagree, where are other classic hits, like "Dogs?"

great stuff
I'm a 17 year old kid. Most of my life Ive listened to the same things that everyone my age listened to. Modern rock, some rap, you know what I mean. However just recently when going through the radio I happened to hear the song "Wish you were Here". I didnt know who sang it but I knew that I liked it. I hadd heard it a good three times (without ever gettin sick of it) on the radio before I found out that it was actually Pink Floyd who sang it. The song "Time" was the second of Pink Floyd's songs I heard on the radio and I began to think to myself, wow these guys are really good. So I purchased this album. I wanted a greatest hits compelation because I wanted to know their whole deal and not just one part of their recording career. After five minutes I knew that I knew that I had just bought something by one of the greatest bands I had ever heard in my life. This album is amazing. Despite what any of these other critics are saying. If you want a good way to know what these guys are all about buy this album. Amazingly the songs run together seamlessly, like a huge double album, so you can have a song from their album "Meddle" right next to something from "The Wall". All of the songs on this set are incredible but their are only a few that really truly stuck with me for days after I listened to this. "Hey You" being the first one that appeared on it. The entire selection from "The Dark Side of The Moon" album is brilliant although I do wish they had included "Brain Damage" in the place of maybe "Jugband Blues". The song that I like the most however is "Shine On You Crazy Diamnod". On the album "Wish you were Here" this song is seperated into two party, 1-4 and 5-7. On this album it is one huge song titled 1-7. And it works very well. Then of course there is "Wish you were Here" which at my heart is the one which started me off. And it truly is a great song, probobly the best piece of songwriting put out by Pink Floyd. This album is amazing. One of the best greatest hits sets I have ever had the privilage of purchasing.

BAAAAAAAAAAAAAAAAAAAAAD RECORD, YES IT IS BAD
THIS IS BAD. PERIOD. BAD BAD BAD.
REALLY REALLY BAD. OR WORSE. BUT IT IS BAD.
This music you are so hooked to call it is BAD. Period. Bad.
BAD BAD BAD. Period. BAD. PERIOD. BAD BAD BAD BAD BAD.
Unbearable to listen to. Yuk hippie slime. It will ruin your hunger and sleep. (...)

very interested
this double disc compilation is among my favourite compilations and i must played it to death by now and as i have said a million times over pink floyd are one of the greatest bands ever.buy this today ... Read more

Amazon.com essential recording

While they took their name from blues musicians Pink Anderson and Floyd Council when they started out as an R&B combo in the mid-60s, Pink Floyd's leader, guitarist Syd Barrett, soon began piloting the band through unprecedented sonic excursions typified by the title of their 1967 debut album's most celebrated track--the outsized instrumental "Interstellar Overdrive." Equally adept at composing catchy-sounding, Gothic-themed pop songs such as "See Emily Play," "The Scarecrow" and "The Gnome," Barrett seemed destined for greatness--that is, until psychedelic drugs got the best of him, and he abandoned the band to bassist Roger Waters and new guitarist David Gilmour. The rest, as they say, is history. --Billy Altman ... Read more

Reviews (278)

Things Cannot Be Destroyed Once and For All
Along with the first albums of Jimi Hendrix, Traffic, Led Zeppelin, Roxy Music, the Allman Brothers, the Velvet Underground, the Doors and a few others, Pink Floyd's THE PIPER AT THE GATES OF DAWN is one of the great debut albums in classic rock history. All the songs are great, and the album is just dripping with tone color, haunting imagery, inspired eclecticism and unforgettable, deceptively simple tunes. It is a masterpiece of psychedelia that even today sounds fresh, brashly experimental and beguilingly STRANGE. Nothing else in rock sounds quite like it. Along with UMMAGUMMA and ATOM HEART MOTHER, it is the most avant-garde-sounding album that Floyd ever produced, though whereas the former was uneven in its studio cuts (the other disk is one of the great live rock recordings) while the latter had a more "mainstream side" to balance out the experimentalism, PIPER is a full-blown, uncompromising masterpiece. And, while I don't think singer/songwriter/guitarist Syd Barrett -- or, for that matter, anyone else in rock history -- was a "genius," for my money rock doesn't get any better than this. In my opinion it should be included in the top-ten list of all-time great rock albums.

That said, PIPER isn't necessarily going to appeal to your average Pink Floyd fan because the group that recorded it was a different animal from the one that recorded DARK SIDE OF THE MOON, WISH YOU WERE HERE and ANIMALS, with a completely different esthetic agenda that is simply going to sound too radical (and too English) for certain ears to assimilate. However, I would still encourage all Floyd-heads to give it a few careful listens. Who knows, some of them might eventually come to love what they hear.

THE BIRTH OF PINK FLOYD!!
You could tell there was LSD involved in making Pink Floyd's first album Piper at the Gates of Dawn. PATGOD is filled with playful lyrics, chaotic instrumentals, hippie sound effects of the time like space travel, fantasy, and natural sounds, and British whim.

Syd Barrett, the main guitarist and vocalist, wrote the songs on PATGOD. A lot of people think today that if Syd Barrett hadn't had to leave Pink Floyd after PATGOD due to emotional breakdowns, that Pink Floyd would have been better off. I have to disagree. David Glmour was a great replacement to Barrett, who probably would have kept Pink Floyd from reaching it's popularity and Hard-Psychadelic Rock genre, instead keeping the band's Pop-Psychadelic Rock genre. But, there is no doubt that PATGOD is a very special and fantastic album.

"Astronomy Domine" begins with a crackling radio and builds up to a well played, crazy, sound effect-galore, outer space song. "Lucifer Sam" is a fun track with cool guitar riffs. "Flaming" is a childish song with obvious British whim. "Pow R. Toc H." is filled with odd vocal noises and percussion. "Take Up Thy Stethoscope and Walk", with funky guitar, is an undescribable highlight of PATGOD. "Interstellar Overdrive", my favorite track on Piper, is a crazy freak-out of a song. "The Gnome" is a short child song. "Chapter 24" is a nice relaxing song containing a lot of synthesizer. "The Scarecrow" is yet another child song. "Bike" rounds off Piper with magical sounds at the end of it.

This is not a must-have CD, but it makes a good element of your Pink Floyd collection if you have it. I have it and give it 4 stars.
-Tabucky

a fantastic debut album
piper at the gates of dwan was one of the greatest debut albums produced by any band which was equalled only by the debut albums of led zeppelin and black sabbath.songs likw astronomy domine,interstellar overdrive,matilda mother are great songs and among my favourite syd barret era songs.dont overlook this masterpiece if you like classic rock as this was the album which started the golden floydian era.highly recommended.

A Delicate Musical Tension
Before The Wall, before Wish You Were Here, before Dark Side Of The Moon, before Meddle, before David Gilmour, there was the magical, psychedelic masterpiece that was Piper At The Gates of Dawn. An album which captures Pink Floyd at its most experimental and challenging, Piper At The Gates of Dawn embraces the essence and pushes the limitations of the psychedelic sound. Written almost entirely by guitarist Syd Barret, whose penchant for wild and reckless experimentation extended far beyond the purely musical, Piper At The Gates Of Dawn takes on a life wholly independent of other Pink Floyd albums.

It is a difficult, almost feral, album filled with songs that project a view of the world that is almost childish in its naiivety, and yet, at the same time, maintains a very dark, menacing edginess. It is an album which manages, somehow a very delicate tension between the whimsical and the sinister, a tension which, perhaps, reflects the personal turmoil of Syd Barret himself.

Tough to say what might have transpired had Barret not lost the edge. Perhaps his psychological collapse (brought about by the over-use of psychotropic drugs), was necessitated by the nature of the art he created: a brilliance not made to last, like a star going nova. Conjecture aside, Piper At The Gates of Dawn remains a unique artistic statement, wholly unlike anything that would be produced by the subsequent incarnation of the group following Barret's departure. It is an album which captures, in a very real way, the nature and essence of psychedelic music, and may in fact be the best Pink Floyd album.

[NOTE: for the casual Floyd fan, the incarnation of the band present on Piper At The Gates Of Dawn is the Pink Floyd you know and love in title alone. Consequently, Piper At The Gates Of Dawn make take some getting used to, particularly for those either unfamiliar with late 60's psychedelic rock or those expecting a Darkside-esque album.]

The piper must have been smoking something funny in his pipe
I am a pink floyd fan but I do not like this album or any of pink floyd's early (experimental is I think the word used to describe their early music) albums including PATGOD, ASOS, AHM, UG. I only like pink floyd albums from Meddle onwards cause this was the stage when pink floyd must have sobered up or dtoxed or grew up because their early experimental albums sound like they were recorded when the band were drunk or stoned.

I watched the DVD pink floyd: the syd barrett story and they were portraying syd as a genius or a pioneer. I only thought why? Anybody could play the guitar rubbing objects along the stings and fret to produce wierd irritating noises and play out of beat and out of tune.

Don't get me wrong, it is sad that syd suffered the problems he had or still has but I don't really sympahize with people who willingly take experimental drugs.

If you really want to listen to good pink floyd then have a listen to albums like dark side of the moon, the wall, wish you were here, animals just to name a few. ... Read more

Amazon.com essential recording

For all that menacing, hatchet-happy growl at the beginning of Meddle's opener, "One of These Days," Pink Floyd really weren't about to "cut you into little pieces." Meddle did, however, show that the reigning British monarchs of 1970s-era psychedelia could rip into galloping jams. It also showed what its predecessor, Atom Heart Mother, promised--that the band could excel in long, breathtaking suites that revealed strains of late-classical music, Sun Ra-inspired space explorations, and a patchwork approach to colliding sounds that together took on acid-drenched proportions. And if all that isn't enough, "San Tropez" revealed a playful side of the band, playing footsy with loungy jazz and having good fun in the process. --Andrew Bartlett ... Read more

Reviews (271)

Echoes - the peak of symphonic rock
It's to say that the album has two very separate halfs. One is very early 70's sounding, with the heavy-rocker 'One of this Days' and the soft 'A Pillow of Winds' as highlights, really a very experimental and unique side, if not reaching the standards for a Pink Floyd's album side, and the other half.

This one contains an only track, 'Echoes' which is for me the biggest achievement from Pink Floyd as a track, maybe along with 'Shine on You Crazy Diamond'. Not only that, but maybe it's one of the long tracks that will have to be exhibited in the future to explain people what "was" symphonic rock. The theme starts with a submarine-radar sound lost in the immensity of the ocean's silence. Some sonsensy keyboards start to groove and a beautiful guitar from mister Gilmour draws a slow and sinuous melody, and the band starts playing over Nick Mason's lazy drum beating. So the vocal part appears with a nice and sensitive harmony between Gilmour and Wright. Everything develops to an almost pre-funky jam and after that the music starts disappearing under a scary and breathtaking sinfony of what is like underwater screaming creatures. That lasts for some minutes, and so a muted electric guitar leads the way gradually from silence to what is one of the most beautiful, energetic and full of emotion musical crescendos a band has ever achieved. Find out the rest of it for yourselves!!!

Great if you're in a relaxing mood, kinda boring otherwise
Having read many reviews about this CD recently, I was slightly disappointed when I bought it just a few days ago. But, let me tell you: if it's raining outside and you're just relaxing, then I wouldn't recommend any other album over Meddle. Overall, Meddle is a little more boring than Dark Side and very quiet, and the tunes aren't exactly the kind you'd hum in the shower (except maybe for Echoes). Here's my song-by-song analysis: 1. One of These Days - A bright, energetic spot on an otherwise dull first side of the album. This is a great instrumental piece, and great music for jogging, if you put in on repeat several times. The beat and energy is very similar to another Pink Floyd song, Sheep (found on Animals), which I'm also quite fond of. Rating: 4.5 (out of 5). 2. A Pillow of Winds - the best song on this album to listen to when it's raining, since it's about the coziness of home and bad weather and such. But, once again, not very entertaining otherwise. Rating: 3.5 3. Fearless - some people say this song has a great melody, but I don't quite see it. I think the vocals here are too soft compared to the drums, although the calm vocals and obstinate, determined lyrics match quite nicely. Rating: 3.5 4. San Tropez - this is actually a nice surprise - a "tropical paradise" song. It has a good, catchy tune, but still very quiet. Rating: 4 5. Seamus - Weird song which can be disregarded since it's only 2 minutes long, while the backing vocals are provided by a fairly talented dog. Rating: 2 6. Echoes - Instantly one of the best Pink Floyd songs, as soon as you hear it for the first time. So far, I've only listened to it four or five times, and I'm sure it'll grow on me. However, I still think that Time and Shine On You Crazy Diamond (parts 1-5) are better because they sound more, shall I say, assertive. I think the difference is that Gilmour's guitar is featured more prominently in those 2 songs. But, to its credit, Echoes is far from a drag and doesn't seem like it's 23 minutes long. In short, this is probably the closest that I've heard rock-'n-roll resemble good classical music, except using guitars and keyboards and other layered sounds instead of orchestral instruments. Rating: 5

Perhaps Pink Floyd's best pre-Dark Side album
Meddle was the Pink Floyd album were they seemed to have finally gotten rid of many of the '60s psychedelic gimmicks and started going for a more '70s progressive rock sound. Most of the first half of the album (side one if you own the LP) is like the second, more song-oriented half of Atom Heart Mother, although I felt the stuff on Meddle was definately better executed. Some of the more undesirable experiments of Atom Heart Mother (specifically "Alan's Psychedelic Breakfeast") had been luckily thrown out the window. The album starts off with "One of These Days", always been a favorite. It's a really heavy piece, with loud use of bass. I have always felt this was the closest to heavy metal the band ever did. "A Pillow of Windows" is an organ-dominated ballad with acoustic guitar with plenty of that '70s Pink Floyd trademark. Roger Waters' "St. Tropez" is a rather upbeat number, although the album does feature one one misstep and that was Wright's "Seamus". It was basically a misguided attempted at doing country blues complete with a howling dog. It sounds so un-Pink Floyd. I guess the band wanted to be less serious here. But I had always felt the album's other crowning achievement (aside from "One of These Days") was the 23 minute side-length epic "Echoes". A lot of the style which would make them famous with "Dark Side of the Moon" could be found here. The album starts off with Richard Wright's use piano. Here you get to hear David Gilmour use this spacy slide guitar, which became a Pink Floyd trademark. When the vocals come in, you hear many of the same vocals harmonies that you recognize on albums like "Dark Side of the Moon". In fact this part of "Echoes" sounds like a pre-cursor to "Time". Then the band starts going in to a lengthy instrumental passage which then fades in to some truly bizarre use of wind sounds and electronic seagulls. Eventually those wind and seagull sounds fade with just spooky organ from Richard Wright, then Waters comes in with his bass, then the whole band kicks in before the main vocal themes return. Eventually the song ends once again with those wind sounds. This had been always my favorite pre-Dark Side of the Moon Pink Floyd album. There is no doubt if you're in to this band, you need this album.

Experimental Floyd
I wouldn't recommend getting this as your first Floyd album just cause it might throw you off track. This is a great CD but not quite up to par with Dark Side or maybe Wish you were Here. But the closer "echoes" makes it a close call. It is an astonishing 23 minutes of great lyrics, musicianship and interesting soundscapes and moods. Another highlight is the sleepy "A Pillow of Winds" and "Fearless". Hell, every song on the album is great except for Seamus, which seems a little out of place.
But If you're a Floyd fan and dont own this album, do yourself a favor and buy it NOW.

this gets five stars
meddle was the fourth best floyd album in my opinion after the big triumvartate of the dark side of the moon,the wall and wish you were here mainly because of great songs like one of these days and the 23 minute opus echoes.very highly recommended. ... Read more

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A glimpse of the future, and not because of its huge influence and umpteen million sales. The poor-little-rich-boy protest "Out ta Get Me" intimates that Axl Rose's egotism and martyr complex were soon to grow bigger than his head; still, Appetite's night-train wreck of punk and metal sounds and sensibilities make it more than just an emblem of its time. Whether GN'R are dancing with Mr. Brownstone, penning a callow kiss-off letter to some chick named Michelle, or passing out on somebody else's sofa, this was and remains a savage journey to the heart of the American--or at least the Hollywood--dream. --Rickey Wright ... Read more

Reviews (478)

It *really* is a classic
It was the record that kick started the re-birth of hard rock in the late eighties. The orginial Guns N Roses line up of Axl Rose, Slash, Izzy Stradlin, Duff McKagan and Steven Adler only managed one actual full studio album before things started to fall apart and the personnell began to change. But what an album it was, and well over a decade since its release, it is still a bona fide classic.

Rose is not the greatest vocalist in the world, but it is clear that as a song-writer he pulls no punches. The almost-metal assualt of 'Welcome to the Jungle' and 'It's So Easy' are perfect showcases for what GnR are all about. Slash demonstrates why he was to become one of the most respected gutarists of his age while the Adler/McKagan/Stradlin combination give the lead guitarist a powerful rhythm to hang his memorable hooks on.

Even though they are raucous, there is a definite Stones/Aerosmith groove about GnR's music. 'Nightrain' is bluesy, 'Mr Brownstone' could almost makes you dance and 'Think About You' is a crooning rock classic.

When they do slow it down a little, the results are equally as memorable. 'Sweet Child O' Mine' with it's acoustic melody and seering lead licks is an all time classic, while 'Rocket Queen' successfully mixes a hybrid of styles before roaring off to a rocking conclusion.

'Out Ta Get Me' and 'You're Crazy' are fast and furious, 'My Michelle' and 'Anything Goes' fall into the more whimsical category of hard rock but are just as enjoyable as the rest of the album.

No turkeys, just twelve magical slices of rock music.

A classic of course, but...
For its impact alone this album deserves 5 stars. It had 3 major hits with "Sweet Child O' Mine", "Welcome To The Jungle", and "Paradise City" which actually cover every facet of big rock bands. The ballad, the hard rocker, and the bombastic anthem. What makes it a great album though is that "It's So Easy", "Night Train", "Mr. Brownstone", and "My Michelle" swagger with attitude and scenes of a seedy lifestyle and Axl Rose's ego. "Outta Get Me", "You're So Crazy" and "Rocket Queen" work well too, although they don't have quite the same strut. "Rocket Queen" is an especially strong track. "Anything Goes" is a toss-away about sex. But the thing I've always wondered is why "Think About You" is on the album. It has NONE of the standard Axl swagger or ego, and isn't even a self-obsessed dirge. It's simply a love song played really fast. It has none of the power of "Sweet Child" and quite honestly the only reason I can think of for it being on the album is that someone thought there should be 12 songs. Of course with CD players it's easy enough to avoid this one clunker. And with the rest you get the album that was THE tour de force of late 80's hard rock.

Appetite for Amazement
"Appetite for Destruction" is a CD in a league of it's own. It surpasses "Led Zeppelin IV" and "Back in Black" by far. It is the best CD's ever by one of the best bands ever. Guns N' Roses came into the spectrum at the height of hair metal band faz. Such as Def Leppard, Poison, and Motley Crue were all the rage. Not that these bands don't rock, it's just that GN'R does so much better at it than them. This CD is the third best selling rock CD in the nation (behind the 2 earlier mentioned), and it is hard to see why it isn't numero uno. It definitely is in my book.

First off, there is Saul Hudson (Slash) on lead guitar. The best guitarist of all time. He has his own distinct style and has the speed to keep up with Eddie Van Halen and Toni Iommi. Although he has had his problems with drugs (he was clinically dead for over 30 seconds), what Rock-star hasn't. Next there is the amazing frontman Axl Rose (Bill Baily). That is simply all you have to say about Axl. Amazing. Although he doesn't have the best voice in the buisness, he makes up for it in stage presence and attitude. He has to be one of the best frontmen of all time. While the other members of the band aren't as prominent as Axl and Slash, they still deserve to be mentioned. Izzy Stradlin (Jeffrey Isabel) on rythym guitar. Steven Adler on Drums. And Michael "Duff" Mckaegen.

These songs were instant classics. Who can resist that opening to "Welcome to the Jungle." Or the emotion behind "Sweet Child of Mine," (plus the best guitar solos ever). This debut CD for the band was all about their lives, the good and the bad. Such tracks as "Mr. Brownstone," "Paradise City," and "Rocket Queen," have obvious drug and partying references behind them, and rock just much as they should.

This is the CD that spawned millions of fan-clubs and websites all about the band. It is one of the essential rock CD's to have and of course I recomend it.

One of Rock n Roll's greatest debut albums!
In the time of hair metal, Guns N Roses came crashing onto the scene with their hard rocking, gritty debut album "Appetite for Destruction" bringing great Rock n Roll back to life in an era of techno crap and a lot of faceless pop/hair metal bands. Appetite starts with the feriocious opener Welcome to the Jungle, and runs through twelve classic tracks. Every song on this album is a winner, and at lease half of them are classic rock radio staples to this day;Sweet Child O'MIne, Paradise City, Mr.Brownstone,etc all sound great pumping out of the stereo.Instead of going to the music store for the newest radio hits, pick up "Appetite for Destruction" instead,you won't regret it.

Best Album Ever
Appetite For Destruction was the first album I ever got and amazingly it has always been my personal favorite. The entire thing is just plain stunning in its stylistic diversity (for a metal album), its raw energy and feeling and utter perfection throughout. Nothing more to say except that this is one of rock n roll's greatest albums and I recommend it to anyone. ... Read more

Reviews (117)

THE definitive Joel Collection
Billy Joel has always been better as a singles artist than he is at recording albums. By condensing the highlights from the best part of his career (1973-1985) onto two discs, it hightlights the reason for his massive popularity during that time period. The album starts out with a selection of his best pre stardom songs, including, of course, "Piano Man," but also other strong cuts like the teenage loser anthem "Captain Jack," "Say Goodbye to Hollywood," and "The Entertainer." Then comes a generous helping of songs from his 1977 breakthrough album, "The Stranger," including the massive hits "Just the Way You Are," and "She's Always a Woman." The second disc is then mostly a run through of Joel's succession of late 70s and early 80s hits, starting with the teenage independence ode "My Life" and ending with 1985's "You're Only Human."

All in all, this is the perfect collection of Joel's music for the casual fan who doesn't want to splurge for all of the original albums.

Covers this era exceptionally well!!!
This two-disc set is loaded with huge singles, but some of Joel's very best songs are album cuts which Casey Kasem never got to comment about. "Piano Man" is the all-time favorite of many Joel fans, but the lovely "New York State of Mind" is a strong ballad from his early days. "Captain Jack" is an eye-opening description of a Generation Xer from his generation, and it's powerful. His finest song might be "Scenes From An Italian Restaurant," however, and it's here, too--all of the aforementioned tracks are on Disc One.
Disc Two begins with hits from the "52nd Street" LP and continues through the mid 1980's. Highlights include the three tracks from "The Nylon Curtain"--"Goodnight Saigon" is a haunting reminder of Vietnam, and "Allentown" scored a bullseye in its description of steel mining woes in the northeast. Joel was a hit-making machine by this time, and although there was no drop in the content of his albums, Disc Two primarily concentrates on the hits. The final two songs were new at the time: "You're Only Human (Second Wind)" is a throwaway, but it was a substantial hit. "The Night Is Still Young" is a lost gem, however--this failed single is a soaring tale of hope and optimism and is one of his very best songs.
Nearly all of Joel's studio albums are worth owning, but this is an excellent starting point for the younger fan who isn't as familiar with his first decade of recording. And it's nice to hear these great songs after a fine remastering process.

Billy Joel Greatest Hits -- Vols. 1& 2 (enhanced)
The "enhanced" audio CD sucks. To listen to the music, it is necessary to load "Apple Quicktime" from the CD to your computer. It is not possible to load the CD into a computer and simply listen to the music. I wanted music on my computer, not clutter on my hard drive. Avoid buying the "enhanced" versions of Sony music CDs unless you want a lot of hassle.

First album I ever bought
Just buy it because you know all of the songs and can make your husband crazy singing them all out of tune in the car...

A great best of album
Billy Joel inspired my about 4 years ago at a young age of 17. My physics teacher would put him on during class and after a short time of listening I came to realize that Billy Joel is great. It is stereotypical to say that Billy Joel is not for the younger generation but anyone, no matter what age, who has an appreciation for good music would love Billy Joel. I am just about to turn 22 and graduate from college and Billy Joel is still cranked in my car and junky little apartment. ... Read more

Amazon.com essential recording

Fans of the Moody Blues hungry for the band's intoxicatingly rich arrangements and soaring melodies need look no further than this terrific compilation. What it lacks in depth this collection makes up for in breadth, spanning the band's 30-year history of hits from "Tuesday Afternoon (Forever Afternoon)" to "Your Wildest Dreams." Featuring some of Justin Hayward and John Lodge's best songwriting and packed with performances truly worthy of the superlative adjective greatest, this collection of hits delivers the goods. --L.A. Smith ... Read more

Reviews (40)

Great CD, worth every penny.
[One CD, with a running time of 78:22] This collection of Moody Blues hits would better be called, "The Moody Blues Through The Years." The songs run from their early Go Now (1964), through I Know You're Out There Somewhere (1988). Along the way, we get the touching Isn't Life Strange, the haunting Forever Autumn, the radiant The Voice, and many other great songs.

My one and only complaint is that Nights In White Satin is included without Graeme Edge's spellbinding poem Late Lament. I have always found that poem to be a fantastic epilogue to the song. But that's such a minor complaint. This is a great CD, and well worth the money.

By the way, the sleeve includes a one or two-sentence story of each song, and a conversation between John Reed and Justin Hayward, which tells the story of the band. Nice bonus!

A worthy introduction to a great band
The Moody Blues have been making fantastic music for more than 30 years, and this cd probably has everything of theirs you have ever heard on the radio. From the stunning epic "Nights in White Satin" to the rollicking "Ride My See-saw", the mermerizing "Story in Your Eyes", the sweeping "Voice" and the soaring "I Know You're Out There Somewhere"... with lots in between. There's even a couple of great Justin Hayward side projects, "Blue Guitar" and "Forever Autumn", thrown in for good measure.

It's not a perfect collection. For one thing, this collection came out more than ten years ago, so the two studio albums and two live albums they've released since then are not covered. For another, there are four excellent songwriters in the band (five during their classics period) and only two, Justin Hayward and John Lodge, have their works featured here. But, every single that the Moodies have ever put out has been penned by either Hayward or Lodge, so the compilation can hardly be faulted for that. Granted, the Hayward side projects (as much as I love them) don't really belong here, and "Go Now," which came out before Justin Hayward and John Lodge even joined the band, when they were a hack R&B group, is out of place. The elimination of these could have made room for some songs written and sung by other members of the band, such as "Legend of a Mind", a 1968 classic written and sung by flutist Ray Thomas which to this day is a quintessential part of their live show.

I am a die-hard Moodies fan who has in his collection all of their studio material and officially-released live material (which is a lot) as well as a multitude of solo albums from the band members (totalling nine albums.) My love affair with the Moodies started with a little now-out-of-print greatest hits package that was a lot like this one, only with less songs. And that one sure got me going! So this is a perfectly great collection to introduce oneself to their music, unless of course you want to spring for the comprehensive double-cd "Anthology."

Great Collection, but buy the Anthology
I am a devoted Moody Blues fan, and find that this is a great hits compilation. Having seen the Moodies recently in concert, I am reminded of how great they are, and I can confidentally give this CD 5 stars. The Moody Blues are on par with the Beatles, Stones and Who in my estimation. It is a disgrace and travesty that they are not in the Rock and Roll Hall of Fame, especially when so many lesser acts and one-hit wonders are. But to return the Very Best of The Moody Blues CD, I do not think it is their best compilation available; The 2-Disc Anthology, and the now out-of-print Legends of A Band: The Moody Blues Greatest Hits (1989), are each much better sets in my estimation. The latter does not have Go now, Blue Guitar or Forever Autumn, but it does have 12 of their best singles, and covers well the span of their career through the Sur La Mer CD. Go Now is okay, was a great single for 1964, but it pales in comparison of the material that the Moodies would be producing once Haywood and Lodge joined the team. Blue Guitar and Forever Autumn are great tunes, but they arise from solo projects, and I believe this set should stick to the group material. There is group material left off that is better, anyway. This set, the Very Best of the Moody Blues, would have been better with the same track listing as Legends of a Band, plus 3 out of these four titles: Driftwood, Blue World, Lean on Me, and English Sunset (English Sunset came out after this compilation, but should be the chronological finale in any future single disc Moody Blues CDs).

Overrated
Many times have I dreamily listened to "Nights in White Satin." I was intrigued enough to buy the album, but what followed was a gradual disappointment in the cd as each song progressed. I found myself cutting songs short in the vain hope that the next would redeem the album. No such luck. I'm not thrilled with their sound. If I want psychadelic rock, I'll listen to Pink Floyd. If I want mellow rock, I'll listen to Procol Harum. I shall NOT listen to the Moody Blues.

Better than "Your Wildest Dreams".
This is a cd I picked up expecting to know about three hits, and ended up knowing half the disc, well. Plus, what I didn't know, I also grew to like. Besides the big hits like "Nights In White Satin", "Tuesday Afternoon", and "Ride My See-Saw", this includes "I Know You're Out There Somewhere", "Voice", "Question", and "Your Wildest Dreams". All these songs most people will know, even if not by title. Yes, a few tracks are edited, but I doubt the casual fan will notice, or care. Overall, it's a great collection, that any level of fan should enjoy. ... Read more

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Bruce Springsteen followed his muse on this haunting 1995 release. Perhaps that's why it barely made a dent in the marketplace, even while it thrilled the faithful who were willing to take another dark, Nebraska-like journey with him. It's abundantly clear that Springsteen had been soaking himself in the work of John Steinbeck and Woody Guthrie during the writing of The Ghost of Tom Joad, but their combined influence is found on more than just the title track. It's all over these windblown songs (including the haunting "Dry Lightning" and "the seminal "Youngstown") and their hard-scrabble protagonists. Not the Boss's biggest record, but certainly one of his best. --Michael Ruby ... Read more

Reviews (83)

A Stunning American Classic
Don't get me wrong, I am primarily a maniacal fan of Bruce's rock 'n' roll masterpieces and his stupendous live shows, but his acoustic work shows equally important facets of his genius as a songwriter/musician/poet. These "Tom Joad" recordings have the haunting quality of Appalachian folk songs with the lyric depth of the poems of Federico Garcia Lorca or Dylan Thomas. I honestly can't think of another musical artist that has captured the heartbreak, complexity and hope of the American experience in the way that Springsteen has. "Galveston Bay" talks with quiet irony of way in which our nation of immigrants tends tragically to discriminate against each latest wave newcomers. And yet, by the end of the song, the antagonists finally relent and allow new blood to reinvigorate and replenish the American dream. "Across the Border" captures the mix of hope and illusion that draws so many to "El Norte." "Youngstown" speaks achingly of the betrayal of the American working man and woman. "Dry Lightening" paints a word picture of the itchy, discomforting freedom promised by true love and the unending horizons of western plains. I could go on and on. I never tire of this album. It still has the ability to change my life just a tiny bit for the better each time I hear it. If you don't love "Tom Joad" on first bounce, play it again and let its power seep into your soul. You'll never be sorry.

There won't ever be another CD like this
When 'The Rising' came out I went back and bought all of Springsteen's past collection. I came across 'The Ghost Of Tom Joad' and sat down to listen to it, not really knowing what is was about. It really blew me away, and for the first time I actually felt like I was pulled in to the album, thanks to Bruce's brilliant song writing. You listen to an album like this, which is so beautifully crafted, and then listen to basically any song from pop bands, you will be put into a new light. This is how music is suposed to sound, intimate, fun, and emotional. I can honestly say, if you buy this record you won't be sorry.

Out on a limb? It's artistic genius!
Bruce Springsteen's a reliable rocker. His lyrics aren't always the best, and his voice could use a little touchup, but people love him anyway. Why? He sings about the common man. And he's talented as hell.

On "The Ghost of Tom Joad," Springsteen finds himself at his peak--even if he had to leave the rock arena to do it. Sure, his electric guitar-fueled rockers are superb (find one rocker who's had a more lasting impression on various generations, past and present, than the Boss; and if you say McCartney, I'm gonna hit you). However, these gentle (mostly) acoustic numbers are sublime--graceful folk/country songs that sound the bells for the downtrodden (and Springsteen's multi-instrumental talent).

"Straight Time," for example, deals with a former criminal who can't seem to live a decent life; "Highway 29", about a fateful Bonnie and Clyde couple; "Youngstown," about a factory worker who needs a reprieve; "The Line," about a border guard who falls in love with a refugee; "My Best Was Never Good Enough," a darkly humorous tune about a man who just can't win, no matter what advice he's been given; and several other songs, most about immigrants and their troubles.

Yeah, it's a little opressing at first. Springsteen can be that way, when he's writing from his soul. And the album never really picks up, tempo-wise. It's not something you're gonna party to; but if you want good quality music, that'll make you think about yourself and the world, and shine a better light on your relations with others, then "The Ghost of Tom Joad" is your album.

A Masterpiece
As far as I am concerned, this is the best album Bruce has ever made. As I own practically every album he has released, I am speaking with some knowledge.

An amazing sequel to Nebraska
The Ghost of Tom Joad is one of the most haunting albums I have ever listened to. It was in fact listening to this album that I noticed the tremendous influence he has had on so many of our great singer/songwriters. The music on Ghost is tremendously affecting. It is Springsteen without his pop-enthusiasm. The songs are bare, and his tremendous talents as a songwriter really stand out for all to see. Ghost is a great album that showcases the considerable talents of one of our great songwriters. ... Read more

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Their first-ever album, raw and rough and still very rock & roll. Lennon and McCartney begin to flex their writing muscles and had already scored two UK hits when this appeared, but they still relied heavily on the cover material to see them through. Their insecurity about their own abilities seems curious in hindsight since they'd pulled the title song and "I Saw Her Standing There" (with thanks to Little Richard) out of their hats. But they were an unknown quantity, still to launch a million bands and take pop music to places it had never dreamed off. A small step for four men, a giant leap for music. --Chris Nickson ... Read more

Reviews (165)

BEATLEMANIA BEGINS RIGHT HERE
As a child of just 6 years old at the time, the music of The Beatles had a major impact on my life and continues to do so over 40 years later. Recorded in very short time - 12 hours "Please, Please Me" is a remarkable album that captures the spirit and vibrance of 4 working class guys just wanting to make music together. At the time Producer George Martin decided to record their stage act as it was then. Contrary to Tony Barrow's album liner notes at the time, Lennon-McCartney DIDN'T have enough songs tucked away to last till 1975! Hence the 8 cover versions of songs by artists (some obscure) that were major influences on the boys at the time...Motown, Girl Groups (Shirelles, Donays etc), Arthur Alexander and Isley Brothers among others. (Except for "A Hard Day's Night", they would continue to record covers up until the "Help!" album). Of The 6 originals, 4 tracks, the title song, "P.S. I Love You", "Ask Me Why" and "Love Me Do" had been released on the 2 previous singles though the last-mentioned song was remade for the album. The opener, "I Saw Her Standing There" still stands, over 40 years later, as one of music history's supreme rockers and sets the tone for the rest of the album. "Twist & Shout" is John Lennon's "one-take wonder". A remarkable performance, you can hear a flu-ridden John tear shreds off his voice as he puts everything into the lead vocal. It's little wonder they recorded this track last. The quality this first Beatles LP is all the more remarkable given the short recording time allowed...EMI still weren't prepared to invest too much time in a relatively new group despite the huge success of the "Please, Please Me" single in the UK. However that would soon change to the point that the band would start pushing the envelope and stretch what were once normal studio limitations. The best was yet to come...and then some!
This CD (and the next 3 albums) were remastered and released in Mono and it sounds all the better for it. The audio quality of all Beatles albums was never in question though thanks to George Martin. Remember stereo was pretty much an afterthought in 1963, mainly to be used on Classical and jazz recordings. As a starting point for new fans, I recommend this album as a wonderful testament to how joyful and exuberant music can be. It will also bring tears of joy to those that grew up with these guys and want to revisit the music of the Beatles.

The Birth Of The Beatles
1963's "Please Please Me" was the album that started it all for the world's most beloved band of all-time, The Beatles, and the music world would be forever changed. An outstanding 33 minutes of pure rock 'n' roll fun, the album was recorded in a single day, with John Lennon, Paul McCartney, George Harrison & Ringo Starr blasting through their live repertoire of originals & cover songs as quickly as producer George Martin could record them. Lennon/McCartney originals such as "I Saw Her Standing There," "Please Please Me," "Love Me Do," and "Do You Want To Know A Secret" are all immortal Beatles classics, but the group also had the magical gift of making anyone else's song they covered totally their own, such as "Anna (Go To Him)," "Boys" (featuring Ringo's debut lead vocal), "Baby It's You," and, last but definitely not least, the Fab Four's barnburning treatment of "Twist And Shout." Great songs, classic vocals & harmonising, Lennon & Harrison's jangly guitars, McCartney's strong bass-playing, and Ringo's slap-happy drumming, it's all here on "Please Please Me." Has it really been *40 years* since the Fab Four made this classic album? It hasn't aged one bit. I've always wondered what the music world would've been like had the Beatles never come around. Thank God they did with "Please Please Me."

Seeds of greatness
I was a young teenager when this was released. It's good to have a digitally enhanced version of this classic available; as much of a period piece (actually way beyond the times) as timeless talent. The harmonies, tight rhythm and bass, and just plain fun abound here. The "Taste of Honey" is haunting; "Boys" is raucous youth unleashed, Beatles style. Their maturity (for a first album) is also evident (c.g. "Anna"). Very good rock and roll (you know them). I'm glad that I was a teeny-bopper (never really grown to date) to experience this superior level of music.

yes, please
not quite as good as i thought it would be, but i figured it was something i needed. if nothing else, it's fun. just nowhere near the quality of, say, rubber soul.

"do you want to know a secret" is still one of my all-time favorite oldies, and i do believe that this version of "twist and shout" is not only the definitive version, but also one of the beatles' most successful vocal performances.

Under-rated classic
"Please Please Me" may be eclipsed by the Beatles later efforts, but their debut is a fine one. They had been gigging for a good few years with material, so it's no surprise they were confident and tight enough to blast out most of this album in less than ten hours. What this results in is a very energetic and consistent album. Due to this, it all flies by in an incredible rush that makes it easy to ignore just how great the music is. The covers are all very well chosen and perfectly sum up the group's influences, but what is most surprising is that their originals are just as good as anything the artists they covered could have cooked up. This results in a very smooth flow of consistently high-quality pop rock. "I Saw Her Standing There" is a great attention-getter, and I wouldn't be surprised if this is the track they opened their club gigs with (indeed, the "one two three four!" shout of Paul McCartney is one of the most recognizable album introductions ever). "Misery" and "Ask Me Why" recall their favorite girl groups, the title track could have been written for Roy Orbison, and "Twist and Shout" is a screaming end to the album. Oh, sure, some of the material has aged ("P.S. I Love You", for example), but with grace and charm. Even if the Beatles made many better records than this, it still stands its ground as a classic debut and a great, great pop album.
~ John Ballantyne ... Read more

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Although it seemed the Boss had put writing rock anthems behind him after Born in the U.S.A., his longtime fans knew if any artist could write anthems addressing September 11, 2001, and not make them sound jingoistic, it would be Bruce Springsteen. The numerous anthems on his much-anticipated first full-length album with the E Street Band in 18 years are subtler than those of the Born to Run era. But the elements are all there: the joyous rocking strains of "Countin' on a Miracle," "Mary's Place," and "Waitin' on a Sunny Day"; the dark overtones of "Further on Up the Road"; the stunning guitar solo that closes "Worlds Apart," a dramatic Arabic-tinged piece detailing star-crossed love between a Muslim and an "infidel." Although most of these songs deal with death and tragedy, they still inspire. But while the lyrics are intriguing, what's more remarkable is how well The Rising works as epic rock & roll as it draws from rockabilly, soul, doo-wop hard rock, country, and even industrial. To skewer a cliché, when The Rising is good, it's great. And even when it's not great, it's still awfully good. --Bill Holdship ... Read more

Reviews (539)

Everything's All Right
Bruce is one of only a few artists who could pull off a collection of songs inspired by 9/11 - and do it without draping himself in an American flag and shouting "We're number one!" (Bono is another who comes to mind- at least he put the American flag inside his jacket.)

What we have here, plain and simple, is a masterpiece. A soulful, soul-filled opus, which may very well be the defining work of Mr. Springsteen's career. On one level, it sounds great. Pop this baby in the car CD player, roll the top down and you're cruisin' - just like a real like rock album is supposed to do.
From the opening riffs of Lonesome Day, to the Li Li Li's of The Rising, the hip-hop beat of The Fuse, and the exuberance of Mary's Place, Bruce and his E-Streeters have re-created the lexicon of American rock music, paying homage to familiar sounds, while keeping it identifiably E Street.

I want to hear Van Morrison sing My City in Ruins, and Smokey Robinson do Let's be Friends - these songs seem to be written for them. On the other hand, Mary's Place could have been found from the missing tapes of the Born to Run sessions. The gospel revival choir of My City in Ruins, the Middle Eastern chants of Worlds Apart, the twangs of Into the Fire, - all rich chocolate candy for the ears. I wonder how much of the credit for this goes to Brendan O'Brien - a wise choice, Bruce.

And the lyrics... Bruce has masterfully found the delicate balance between standing face to face with the deep, desperate, ultimate despair that's still hanging in the air, and hoping that things can, and will, get better. "Things are bad," he is saying, "as bad as they have ever been." And he puts it right out there for us...

"Hell's brewin' dark sun's on the rise..."

"Sky falling, streaked with blood,"

"It's raining, but there ain't a cloud in the sky"

"Can't see nothin' in front of me, ... nothing coming up from behind..."

"Can hear the organ, but the congregation's gone"

What Bruce also does here, is get to the poignant specificity of personal loss...

"Coffee cups on the counter, jackets on the chair
paper's on the doorstep, but you're not there"

"I heard you calling me,
then you disappeared into the dust"

"Without you,
I'm workin' with the rain falling down"

Bruce is telling us it's OK to grieve, we have to grieve. He is helping wade through the darkness.

But there is hope. There is light. We will be alright...

"I'm gonna find my way
through this lonesome day"

"Meet me at Mary's Place,
We're gonna have a party"

"Let's take the good times as they go
and I'll meet you further on up the road"

You can here him lifting us up on his back...

"Come on up for the rising"

"Come on Rise up!
Come on RISE UP!"

In classic Bruce lyrical style, recurrent themes appear throughout the songs, a la Nebraska. Seems fascinating to me, though, that the song that sums it most up succinctly, My City in Ruins, is the one was written before the tragic
events that inspired the rest of the album. Not sure what that means - a testament to the genius of Bruce?

Hardly - just evidence that the themes that Bruce writes about are universal and iconic: Love, Hate, Despair, Fear, Grief, and Hope. But in the end, with a little Rock and Roll to help along the way, it's gonna be alright.

THE BOSS IS STILL A BOSS!!!
Bruce Springsteen is getting older...and what about his music? It's always the best! Just listen to "The Rising" and tell if I'm wrong...
As you hear this song for the first time, your attention will probably focus on the contrast between the cheerful melody and the sad events it talks about. It may be difficult to accepte the fact that the collapse of the Twin Towers, and the death of thousands people from all over the world, are sung on such an happy rhythm and with such "lalala"...
Nevertheless I think that Bruce Springsteen has found a very good way to talk seriuosly about a difficult situation, because he also manages to give hope and faith in a better future to his nation: That's his mission, his responsibility towards his nation! And that's why, like the fireman of the song, Springsteen wears "the cross of (his) calling", too.
The message of the song is a very positive one, also because it doesn't mention neither anger nor will to revenge. "The Boss" tell us that terrorists have not won, that America could "rise up" and overcome this tragedy if its people will be UNITED, if they will stay "together as one". Through the music and the lyrics of "The Rising", we can only perceive the amazement and the sorrow of a shocked nation, that has now the need to be encouraged.
Furthermore this text is an important tribute to many unknown heroes who have lost their lives to rescue other people: the firemen.
To sum up, "The Boss" has given us, with this song, a further demonstration of his ability. And I can only say, once again, that

„THE BOSS" IS STILL A BOSS!!!

It's great for young fans, but only good for old fans
The reason I say this is only great for young fans is because it's a typical rock and roll record that you can play in the car and sing along to. The likes of which we rarely see these days. But if youre an old fan and you were excited about The Boss bringing out new material (finally) then you could be disappointed by a couple of tracks. Y'see there isn't any room on an eagerly awaited album for 'filler tracks' yet 'The Rising' does have 'em. The title track is the strongest one on there and other favourites of mine are 'The Fuse' and 'Waiting On A Sunny Day.' You should buy it anyway, simply because I wouldn't be surprised if this isn't Springsteen's final record. He has the talent but just doesn't push himself. Sorry Bruce.

Born To Run.....................& HIDE!
There's a reason this CD is $1.00 right here on Amazon or maybe $0.25 on ebay; it's just not very good. In fact as we approach the summer of 2004 it will mark the 20th anniversary of Born In the USA and it's time to face the musical hard facts: For the past 20 years Springsteen's music has not improved. By all measures it has devolved into a downward spiral morass of meaningless political ideals and lightweight pseudo rock and roll. If this sounds harsh simply listen to everything from Greetings through Born in the USA and then listen to everything after that up until the Rising. If that's not deterioration I don't know what is. It will not be easy for fans to admit this because of the love affair we have with his live performances. However, if you are truthful you have to admit the thrill of seeing him isn't quite what it use to be. Because of age and his lackluster new material this is a trend that will continue on to his next album and tour. The early rumor is that his next CD will be an angry rant against conservatives, George W. Bush in particular. If that's true then Bruce is not getting the best possible advice. The idea that he or any other rock star will have a cultural impact in a concert hall to an audience that is predisposed to liking him is just foolishness. Think this through for a moment before getting steamed, isn't it the epitome of arrogance to preach socialism from a stage made possible from capitalist cash? What he's saying is that capitalism is okay for him, but the rest of us are too stupid to achieve success independently. I don't buy that and neither should you.

An Admirable Attempt that Could be Stronger
It's very difficult to write a commentary on tangible reflections of human tragedy without ruffling a few feathers. I live in PA, so while I wasn't directly hit by the 9/11 chaos, I wasn't too far removed from it and all of the ramifications. Soon comes Bruce with his legitimate offering to the American people of the best thing he has to offer: music.

Knowing that Bruce has close ties (to say the least) with the areas hit hard by the tragedy, combined with the experiences of seeing him perform these songs live on his subsequent tour, the first task is easy - that is to state definitively that "The Rising" was not merely a financial cash in, as some critics inevitably propose. The whole purpose of what Bruce Springsteen is all about can be simply summed up by one raspy snarl of his voice, or one look at his stretched and twisted face as he draws in a breath of passion at the mic. That purpose is one of the best, most honorable purposes there is: to reach out and connect and relate on an emotional level with other flesh and blood.

Look at some of these lyrics. "Into the Fire," "Nowhere Man," and "You're Missing" are all very sensitive, poignant, touching bits of poetry that function very well as writing alone. The problem comes in with Bruce The Musician. I suppose many who find this review disagreeable are those who have so much respect for the message, the simple chug-chug-chug-along chords The Boss employs on his guitar to accompany his anthems are only bonus feathers in the cap, and they find it satisfying enough. Don't get me wrong, I find the CONCEPT of what he has done worthy of the highest respect, but it can't hit a homerun in the execution department unless all elements are at a high level - and musically, The Rising is lacking.

So I guess I'd better start explaining myself - well, look no further than album opener "Lonesome Day." The message of hope is stirring, but it falls somewhat flat against the bland melodies and chord progressions. The music is directionless, and while all of the songs on this album have moments to shine, the main meat-and-potatoes of the songwriting is definitely lacking in creativity. This opening song plods along at a boring 4/4 tempo that sounds like minutes of monotony. If it weren't for the lyrics, I would think it completely not worth my time. Again, there are some interesting guitar climaxes and whatnot, but far from enough.

Later songs like "Waitin' on a Sunny Day" and "Let's Be Friends" continue the theme of Bruce strumming benign and repetitive guitar chords under heartfelt words. It's just off balance. This is further evidenced by the near absence of the E-Street Band. Where's the Big Man? Where's Roy Bittan? They're there, but horrendously underplayed and undermixed. There's nothing wrong with a violin, (which gets much more time than Clarence's Sax) but if the heart and soul of all of those talented players were more in the forefront, this album might project much more spirit.

That leads me perfectly to the next issue; the RECORDING. Produced by Brendan O'Brien, more from "alternative" fame than straight up rock and roll, the album tries unnecessarily to have the "sound" of a boyband record. Keep in mind - I'm not talking about the music here, but the actual mixing techniques. Don't believe me again? For a real obvious example of the butchering, go directly to the tacit parts in "The Fuse" (where it's only Bruce). Hear that? That's the result of Mr. Springsteen's mighty vocal cords being squashed through compressors and sounding dead and lifeless. Reverb was the trend of the 80's and now it's all about smacking the levels up as high as modern technology will take them without blowing up the console. A BIG no-no for an album that SHOULD be produced to stand the test of time.

Alright, you've been patient, so here's the exceptions to the dominant musical mediocrity of the album: "Worlds Apart" and "Further Up the Road." There's nothing to say other than that it's worth buying the album for these two songs alone. The groove, the drive, the heaviness - the latter which gives much more help to lyrics that are heavy themselves - it's all there. They rock as good rock should, and just make you explode with profound energy. I give some points to Bruce just for being as diverse as he is, or else we wouldn't have some of the truly remarkable moments he's given us over the years.

If a simple beat and simple melody is all you need to accompany your songs, you'll appreciate this album much more. In fact, I really wish I was like that as well, as I don't like having to criticize good intentions. But in a time where you're guaranteed to get millions sold and all the press attention you could want, why not put some more thought into that other half of songwriting - the music? ... Read more

Reviews (11)

A terrific collection for mild fans!
I have enjoyed Bonnie Raitt's work since I first heard her on the radio in 1990, but I have never been a HUGE fan. And I think this is a great CD for anyone who has even mildly enjoyed Raitt's music. It has all the great hits ("I Can't Make You Love Me," "Have A Heart," etc.), and it omits the ones of questionable integrity ("Rock Steady" and "You Got It").

The CD blends her best hits with some great lesser-known material, like the shocking but great "Spit Of Love" and the gorgeous, tear-jerking ballad "You." (My only complaint with this CD is that it left off "I Ain't Gonna Let you Break My Heart Again," which is my favorite Bonnie Raitt song. But the CD is still an extraordinary listening experience without taht song.)

I don't know what hardcore fans think about this collection, but I think it's one of the best "hits" albums I have heard in a long time. So if you've had a passing flirtation with Bonnie Raitt's infectous blend of blues and rock, pick this CD up. You won't be sorry. It's terrific!

Awesome collection!!

I picked this collection up when I saw it in the store, I have always been a 'kinda' Bonnie Raitt fan and this is a good way to get all the songs I like in one place, along with some I didn't know before. My favorites include the almost island vibe of "Have a Heart", the sassy "Something to Talk About" and the melancholy "I can't Make You Love Me". I have been playing this in my car non-stop and love it, love it!! There are so many emotions displayed throughout and Miss Raitt's longevity is nothing to sneeze at either. If you are a 'kinda' fan like I was, pick up this CD!!

Some of her best.
Overall this is a pretty good collection from "Bonnie Raitt". It's missing a few tracks of course, but most of the good stuff is here. The first 4 songs are off her huge "Nick Of Time" album, and are some of her best known. Plus this also includes "Something To Talk About" and "I Can't Make You Love Me", which is one of my favorites, as well as many other great, but lesser known songs. I really wish this also had "Cry On My Shoulder", but with 18 tracks it's hard to complain. This should please most casual fans of this redhead, and of soft rock/blues.

Please, no more!
I'm sorry, I know a lot of people love her, but some of her songs are the most unredeeming maudlin depressing garbage I've ever heard. Truly depressing! "love is gonna make you bleed"??
"i can't make you love me"? All sung in that lifeless prozac voice. I can't listen to it. She should just stick to old blues, the stuff she does best. Great guitar player, but keep the singer songwriter stuff to James Taylor... PLEASE!

A Pure Pleasure
Not only is Bonnie Raitt an attractive woman, she can play a mean guitar and her singing is nothing to sneeze at. This compilation is a great introduction to those who are interested in hearing more of her, and a great add to those who only have an album or two by her. The CD shows off her bluesy side, her rockabilly and her somber moods and the songs are perfect for showing off her talents. ... Read more

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After plundering the Yardbirds' legacy and Willie Dixon (among others) for their blues-riff-heavy first two albums, Jimmy Page and company surprised many listeners with the strong acoustic/folk sensibility displayed on III. Page aficionados shouldn't have been caught off guard; the guitarist had toyed with similar sensibilities and modalities during his brief tenure with the Yardbirds (most notably "White Summer" from the Little Games album). Ever the creative thieves, Zep kick off the album by nicking the riff from "Bali Ha'i" no less, with Robert Plant wailing it to punctuate the thundering FM warhorse "Immigrant Song." Even other electric rockers like "Celebration Day" and "Out on the Tiles" have an inventive, offbeat musicality to them that suggest the band was already wary of stereotyping. But it's the decidedly mellower acoustic groove of the album's latter half that's the news here, from the graceful beauty of "That's the Way" and "Tangerine" to the raw, folksy charm of "Bron-Y-Aur Stomp," "Hats Off (to Roy Harper)," and the traditional "Gallows Pole." --Jerry McCulley ... Read more

Reviews (170)

MY FAVORITE LED ZEPPELIN ALBUM
Well, this is the best zeppelin album for me. You get everything with this cd: rock, blues and traditionnal-folk songs. Things kicks off with the powerful classic 'Immigrant song'. What a great riff from Page and what an awsome bass part by Jones! Then comes 'Friends' which features excellent acoustic guitar melodies and strings arrangements. It's quite an unusual song. It's followed by a good driving rocker 'Celebration day'. Brilliant riffs and a fine-sounding guitar solo. Then Robert Plant shines on the C minor blues 'Since I've been loving you'. What a great vocal performance! It also features a moody organ part played by Jones.The multi-riffing 'Out on the tiles' close the first half. Then comes the Leadbelly number 'Gallows pole'. You have it all here; acoustic & electric guitars, mandolin, banjo, wonderful lyrics and vocals, pounding drums and bass. My favorite.Then, two beautiful, simple acoustic songs, 'Tangerine' and 'That's the way'. They both show talent and feel.

Then one of the funniest song I've ever heard 'Bron-y-aur stomp'. It's kind of an old style dancing country folk song. Watch your feet stomping and and shoulders swinging! The album closes with the gem of this album 'Hats off to Roy Harper'. It's actually an old blues song called 'Shake 'em on down', which was played by delta bluesmen like Bukka White. On the left side of the stereo, you hear Jimmy Page pounding the blues like crazy on his acoustic and on the right side, man, what an out-of-this-world vocal performance.Cool vibrato effect! 'Give my baby , a 20 dollar bill, if that don't gets her I'm sure my shot-shot-shotgun will, yeah...' Plant really shows his power and his feel on this one. Amazing.

Well, on this record, Jimmy Page, John Bonham, John Paul Jones and Robert Plant deliver diversity, passion, musicianship, pure talent and , of course, fantastic memorable songs. GREAT!

One of Led Zeppelin's top three
Now there's been a lot of negative reviews for this LP when it came out (see Rolling Stone) and ever since. Most complaints were related to the fact that after the first two hard-rockin' albums this one was a 80% acoustic piece, very much inspired by celtic folk sounds. Well, I consider it some of Page and Co's best work. LZ III is never quite what you expect and you never listen to it the same way twice. The record kicks off with blitzkrieg riffs of Immigrant Song and typically zeppellinesque Celebration day (let's not forget track 2 'Friends'). N.4 'Since I've been loving you' is one of the major gems on this record and in my opinion the most powerful Led Zep blues ever. The album is worth buying even if it was only for that song. But it gets better, unleashing Page's acoustic power with four classic Zep tracks: Gallows Pole, Tangerine, Bron-y-aur Stomp and That's The Way (recently on Cameron Crowe's 'Almost Famous' soundtrack). It would probably take me a thousand words each to describe these songs so my advice is go out and get it, whether you're starting a LZ collection or you just want to listen to some excellent acoustic rock.

Amazing
This is an amazing album. Some of my favorite songs are the "Immigrint Song" with the traditional rock sound, "Gallows Pole" and "Thats the Way" with a more bluesy sound, and "friends" which i dont know how to explain but is one of my favorites. Like the person above said this album did not get the appreciation it should of because people were still caught up with the first two albums which were also good. This album has a little of everthing and i think it has a little something that everyone will enjoy. This is a must buy for any Zepplin fan and even for people that arent in to Zepplin.

an underrated zeppelin masterpiece
led zeppelin was their masterpiece in a row after their hugely succesful debut and second albums.this album is great because of the presence od songs like immigrant song and a few folk rock hits.a must for your collection.very highly recommended.

Cover nice, that all
Cover of CD nice. It interesting. Music not good. First song sound like band trying to scare people. And man who sing songs, not understanding why people like him. He look a like a man, but he too much sound like woman. Pretty sure he a hippie too. It sound like they use cheap guitar on songs. Sound not clear, it just very loud. Maybe they make some money first and buy better guitar. Songs not very understanding either. Not good!! ... Read more

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Clapton caught the "unplugged" trend just at the right time, when the public was hungry to hear how well rock stars and their material can hold up when stripped of elaborate production values. Clapton himself seemed baffled by the phenomenon, especially when picking up the armload of Grammys Unplugged earned him, including Record and Song of the Year for "Tears in Heaven," the heart-rending elegy to his young son, Conor. That song and a reworked version of "Layla" got most of the attention, but the rest of the album has fine versions of acoustic blues numbers such as "Malted Milk," "Rollin' & Tumblin', and "Before You Accuse Me" that make it worth investigating further. --Daniel Durchholz ... Read more

Reviews (100)

Acoustic Slowhand
MTV's Unplugged series started out as a curiosity to viewers who tuned in to see artists play their songs in acoustic versions. Many artists rose to the challenge of unplugging and playing their songs in the barest of forms. In alot of cases, the results were not only entertaining, but inventive and groundbreaking. Eric Clapton's Unplugged appearance falls into that category. Stripping away many songs to their core and reinterpreting old blues numbers, Mr. Clapton. The most startling song is "Layla". The original is a classic rock staple, thanks in large part to one of the most memorable guitar solos and codas in rock history. Stripped down to a shuffling blues riff, the song takes on a new meaning. The original was about unrequited love and you could feel the singers pain through the music. The new version is more of a man begging for a second chance. The big hit from the album is the haunting and beautiful elegy to his son, "Tears In Heaven". The song became a huge hit peaking at number two and went on to win Grammies for Record & Song of the Year. Other standout tracks include "Running On Faith" that has some wicked dobro playing, a Layla and blues chestnut "Nobody Knows You When You're Down & Out", "Malted Milk", & "San Francisco Bay Blues". The album became his first top ten hit since 1981's Another Ticket and his first number one album since 1974's 461 Ocean Boulevard in addition to "Tears In Heaven's" Grammies, it won Album of the Year.

Unplugged above all unpluggeds
This album created a trend that wouldn't go away, at least for a couple of years. This is the finest work of Clapton, and one of the most mesmorizing performances ever. My sophmore year of high school I listened to this disc for the first time, and it still is quite captivating today.

All the tracks on here are worthy of listening to. They are wonderfully constructed pieces, and very easy to listen to. They defined what "unplugged" was supposed to be. And they made Eric Clapton thrust back into the limelight where he belonged. Among the discs best tracks are "Before You Accuse Me", the wonderful sad song about his son's death "Tears in Heaven", the slow version of "Layla" (this is the first version I actually heard so I am partial to this one instead of the