Reviews (4)

buy vol.2
Few selections good. If you love Loreena McKennitt
keep buying her work, skip this cd and buy vol.2 of this title.
Vol. 1 will not keep your ear interested for long.

Beautiful voices
This CD is a beautiful compilation of many of today's contemporary female Celtic artists. Loreena McKennitt singing Annachie Gorden is a perfect example of the beauty that can be found in this edition - almost as beautiful as Mother Eire herself. Marian Bradfield, Melanie O'Reilly and Aine Furey, all contributing tracks show the wide variety of singing styles and popularity of many of the artists including. The songs selected tend to be traditional, but with a new spin such as Rita Connolly singing Ripples in the Rockpools. All of the songs whether traditional or contemporary are all timeless classics.

new celtic woman cd
I was disappointed with this cd only because I had thought the music would be in a more traditional celtic style. Although the musical and recording quality is quite fine, most of these sections are in a pop/rock or folk sound. The selections that are more traditional celtic sound include only those by McKennitt and Ni Dhomhnaill. If you're looking for a contemporary vocal female sound in general, you will probably like this recording but the composers could be from a number of Western countries besides those of Celtic origin.

Great compilation of contemporary celtic music
This is a terrific album. Some compilation albums can be uneven, this is consistently good. Loreena McKennitt's Anachie Gordon is very good, from one of her earlier albums. I especially like the 4th track, Tonight Is Just For Us. This is a CD I'll listen to a lot.

I also like the fact that they published the lyrics in the liner notes.

With the explosion of celtic music, there is a lot available - good, bad, and mediocre, and of course a lot of it depends on personal taste. To gauge similar tastes, I also like Loreena McKennitt, Clannad/Maire Brennan, Sinead O'Connor, the Putamayo Celtic Women of the World 1 (but not 2), and the Women of Heart series. ... Read more

From Amazon.ca

Like a Great White North-ern version of Johnny Cash, Ian Tyson is a walking legend, the lines on his weathered face roadmaps to his historic life.Tyson started making indentations in the '60s as a folk musician (one half of Ian and Sylvia) whose music has been covered by everyone from Neil Young and Judy Collins to Suzy Bogguss and Gordon Lightfoot. Songs like "Four Strong Winds" and "You Were Always On My Mind" were among Ian's contributions to Canadian musical history. He also hosted his own TV show, won the Order of Canada, and temporarily quit the music industry, preferring to be a rancher and rodeo rider.

Tyson could've played it safe on Songs from the Gravel Road by bringing in straight-up country pickers, but he decided to shake things up with the inclusion of respected jazz musicians, including Guido Basso on trumpet and Phil Dwyer on sax. As a result, straight-ahead country melodies like "So No More" become jazz-backed twang. That cut leads straight into a traditional cover of "One Morning In May", a song made famous by James Taylor; the tune is high on charm, complete with an exemplary fiddle solo and whimsical delivery. Tyson's great players also breeze through a host of other tunes, everything from songs infused with Spanish undertones ("Silver Bell", "Always Saying Goodbye") to a reggae track, "Range Delivery". That song is the disc's most charming cut, attributed in part to the tune's co-vocalist, Cindy Church (one fourth of the country group Quartette).There is nothing out of left field on the album, just an hour of country-laden comfort from one of Canada's most enduring roots legends. --Denise Sheppard ... Read more

Reviews (51)

I'm sinking in the quicksand of my thought
Before the arrival of the Thin White Duke or Ziggy Stardust, there was Bowie, just before the Spiders were about to take England and the world by storm. Hunky Dory came out the year before and to me, was the best album he put out in the 1970's.

"Changes" is classic Bowie from opening note to the closing saxophone, done by Bowie himself. It's a hand-up to the younger generation who have problems from the old fogies who look down on them with contempt and pity.

I'm also partial to the sauntering piano and vocal of "Oh! You Pretty Things." which comes alive with Mick Woodmansey's drums mid-song. The mellowness continues with "Eight Line Poem."

"Life On Mars?" is one of the biggest justifications for Bowie's existence. Well, that and "Space Oddity." Oh then there's "Time Will Crawl" and then, ... well, the symphonic wall and piano surrounding the chorus that break in beginning with "Sailors fighting in the dance hall..." The line about "the Lawmen beating up the wrong guy" brings to mind Rodney King.

It would've been interesting to have the kind of parents on the light-hearted "Kooks." A click or so away from conventionality, it seems. Classic line: "And if the homework brings you down/Then we'll throw it on the fire." Equally light is "Fill Your Heart" a quick jazz-swingy number of freeing one's heart with love and forgetting one's mind. Apart from Sgt Peppers, the people of Pepperland might accept this song heartily.

The reflective "Quicksand" is the opposite and presents a gloomy, dark vision, having the guitar of "Space Oddity." The piano and strings come into play effectively as in "Life On Mars?" especially when juxtaposed with the apocalyptic "Don't believe in yourself/Don't deceive with belief/Knowledge comes with death's release."

Sound bites: The acoustic guitar is really strong on rhythm in "Andy Warhol" With Mick Ronson's snarling glam-rock guitar, "Queen B-tch" can be considered the first volley by the Spiders. Compare this to "Suffragette City." And finally, "Song For Bob Dylan" is exactly what it sounds like, a nod to one of if not America's greatest songwriter and storyteller.

To say that his recent album 'hours' was close to this misses the mark, although there are overtones. Alternately upbeat and melancholy, with not too many traces of the Spiders invasion that would suddenly come the following year.

Let Me Make it Plain: Gotta Make Way for the Homo Superior!
Hunky Dory (1971) is David Bowie's second album--released after The Man Who Sold the World and prior to The Rise and Fall of Ziggy Stardust. Hunky Dory is the most enjoyable and entertaining of all of Bowie's albums to me--unlike most, every song is very entertaining and pleasant here. If you don't know any other of his records, I certainly recommend that you start with this one. Albeit this is the most commercial of all his works, it still possesses that guaranteed Bowie "edge." Even though Ziggy Stardust--the supreme concept album of the 1970s--is more purposeful and focused, Hunky Dory is more musically amusing and accessible than that one. While most of the tracks are not incredibly intellectual or may not require deep analysis, when it comes to writing great pop songs, Bowie is a genius. Although he doesn't usually write cheesily or with cliché, he [along with Bob Dylan] is one of the few people who can successfully pull it off when he decides to--"Kooks" is one of the silliest and funniest songs ever written, and even though it is ridiculous, it's without a question my favorite. I also really like, of course, the fittingly mournful "Song for Bob Dylan"--it's quite possibly the best tribute ever written! "Changes," the hit of the album, along with "Fill Your Heart," both integrate well and embellish the rest of Hunky Dory's childish animation and hopefulness. Directly following the release of Ziggy Stardust, David Bowie publicly announced his bisexuality, and Hunky Dory certainly has more than a few hints of this budding flamboyance. Though many of the songs are very light, many of them also expound upon Bowie's frustration with his bland society, especially "Oh! You Pretty Things:" "What are we coming to? ...Homo sapiens have outgrown their use... Gotta make way for the Homo Superior!" Bowie's style changes from album to album, but the songs on Hunky Dory are upbeat and extravagant, yet still very simple [if that's possible]. I really don't have much else to say, except that this album is very good and very nice and you should hear it as soon as you can.

3.5 stars - Still finding his way
Hunky Dory (1971.) David Bowie's fourth album.

David Bowie had only been making music for about half a decade when the seventies came around, but he had already shifted his sound more times than most artists do in their entire careers. He'd gone from an oldies-pop sound to more of an acoustic-style folk rock one. And come the new decade, and he was about to shift his stylings once again, in more of a rock-style direction. With guitarist Mick Ronson, he recorded his third album, The Man Who Sold The World. One year later, he recorded his fourth LP, Hunky Dory, also featuring Ronson. Read on for my review.

Let me start by saying that this album is a step up from Bowie's previous albums (I feel each one of the first five David Bowie albums is an improvement over its predecessor), but he still hadn't found his voice as a rock star yet (that wouldn't happened until 1972's Ziggy Stardust.) Despite this, Bowie serves up a pretty good album. Changes would become one of Bowie's biggest hits, and why not? It's seventies-style pop rock at its very best. The other tracks are hit and miss, but there are a few gems here. Life On Mars would become a fairly popular track, and the favorite of many Bowie fans. It's not my favorite, but solid nonetheless. The acoustic stylings of Quicksand are also excellent - you've gotta love the lyrics here. Andy Warhol, Song For Bob Dylan, and Queen Bitch are also very good. In the end, this album seems like a definite improvement over its predecessors, but at the same time, it leaves a lot to be desired - some of the tracks are subpar.

Like with the other David Bowie remasters, the foreign Ryko versions have bonus tracks that can't be found on the American reissues. If you're a Bowie maniac, I suggest shelling out the extra cash and getting the remasters; you may enjoy the extra tracks. However, if you're just a typical Bowie fan, the American reissues will do just fine.

In the end, this is a good album, but I remain confident that it could have been done better. I really only recommend this album to David Bowie die-hards - It may give his casual fans the wrong idea about his music, and we sure as hell don't want that happening (getting the wrong first impression of a musical artist is NEVER a good thing - and David Bowie is no exception.)

Classic
(...)All I can say is that I'm glad I gave this time the propper amount of time to really seep in because now I'm a full blown David Bowie convert. As far as this album goes this is the one where David Bowie really finds his sound. If you hear Space Oddity first that one has it's moments but it doesn't resonate as well as the next 4 albums. Also, I'd just like to add that Queen Bitch is one of the most underrated songs and I just gotta say that song is one of my all time favorite Bowie songs.

Bowie at his Best!
I was not alive during the highlights of David Bowie's career. My mom is a huge Bowie fan though, and I often listen to her cds. Hunky Dory caught my attention because of its title, but I finally listened to it when looking for quotes to put in my paper about Andy Warhol. I couldn't stop listening. It's fantastic. No one song on this is bad, although some I like better than others. This is a must have for the Bowie fanatic or anybody just interested in an introduction to the amazin David Bowie. ... Read more

Amazon.com essential recording

Inevitably, when critics praise a new Dylan album, they label it the "best since Blood on the Tracks," and with good reason. Inspired by a crumbled marriage, and recorded after a tour with The Band had apparently re-ignited his creativity, Blood is among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers--"You're a Big Girl Now," the flawless blues "Meet Me in the Morning," and the sweetly devastating "Buckets of Rain." These are songs of "images and distorted facts," each expressed through tangled points of view, and all of them blue. --David Cantwell ... Read more

Reviews (43)

The best record I own
That's right.
I have a lot of CDs, enough for me to have lost count a long time ago, but this one I keep coming back to.
I'm not saying that this is necessarily my all-time favorite album, although it is certainly one of them. But I do believe that it is the best.

A quiet, understated album, "Blood On The Tracks" is dominated by strummed acoustic guitars, perhaps a piano, and once in a while a drummer playing a gentle rock shuffle.
The melodies, and the lyrics, too, are among the best things that Bob Dylan have ever written. Lovely and melancholy all at once, and production is superb.

And there is literally not a weak track on this entire album. It opens with the wonderful "Tangled Up In Blue", Dylan singing softly and pleasently, accompanied by a shuffling backbeat and gently ringing guitars, one picked, one strummed.
"Simple Twist Of Faith" is just a bass and two or three acoustic guitars, and a superb, slightly folkish tune, almost a ballad.
And the sparse, acoustic instuments work perfectly. These tunes are too beautiful to be buried beneath layers of electric guitars and pounding drums.

The slow, mellow "You're A Big Girl Now" starts of with an immediately catchy guitar intro, two acoustic guitars playing Spanish-style melodies, and sports a similarly Latin-tinged tune.
And then follows the eight-minute "Idiot Wind". Dylan sings without pause for seven minutes and three seconds with not a single instrumental break, accompanied by drums, organ and guitars (still acoustic). The chorus is lovely, superbly melodic, yet the lyrics are whithering:
"Idiot wind / blowing through the flowers on your tomb /
Blowing through the curtains in your room /
Idiot wind / blowing every time you move your teeth /
You're an idiot, babe /
It's a wonder that you still know how to breathe!"

"You're Gonna Make Me Lonesome When You Go" is a fast, country-like song with lots of harmonica, one of only two songs on the album less than four minutes long. It is followed by one of the few lesser-known songs off this album, "Meet Me In The Morning" (again, great job arranging those guitars), a genuine blues, A-A-B and everything. I mean, who doesn't love a slow, bluesy groove and an acoustic slide guitar?

"Lily, Rosemary And The Jack Of Hearts", an up-tempo folk rock song, goes on for sixteen verses and almost nine minutes. "If You See Her, Say Hello" is a gentle tale of lost love set to a simple, yet very pretty tune. Kudos again to the superb studio musicians who backed Dylan on "Blood On The Tracks", guitarists Charlie Brown, Barry Cornfield and Kevin Odegard among them.
And if you've only heard "Shelter From The Storm" played live, you'll be surprised how pleasant and melodious it sounds here, as does the closing number, the bluesy "Buckets Of Rain", which opens with a groovy bass riff and a clanging guitar figure.

All the tunes on this magnificent album, every single one of them, are musical and lyrical masterpieces. I have never heard a finer collection of songs than "Blood On The Tracks".

His Best?
in my mind BLOOD ON THE TRACKS and HIGHWAY 61 REVISITED are perfect albums.
i'd like to think of them as equal.

"tangled up in blue" is an undisputed masterpiece, and it's the perfect opening track for this album (5/5).
"simple twist of fate" is a slower song that is filled with knowing sorrow. like many of the songs on this album, dylan is blindly moaning in pain. no, he is collected and reflective, and this is what makes this song (like many of the songs on this album) so painful (5/5).
"you're a big girl now" has, perhaps, the most beautiful melody i've ever heard. the lyrics are also amazing; the "bird on the horizon" verse is especially magical (5/5).
"idiot wind" is something to behold. it's been said that it is in the same vein as "like a rolling stone," but "idiot wind" is much more bitter and sharp. whether it's actually better than "like a rolling stone" is impossible for me to decide, but the fact that it deserves to be mentioned alongside it should tell you something (5/5).
"you're gonna make me lonesome when you go" is one of the more playful tunes on the album. only dylan can be so profound and silly at the same time (5/5).
"meet me in the morning" is dylan singing the blues. one could easily argue that this is dylan's greatest blues song (5/5).
"lily, rosemary and the jack of hearts" is quite a tale. the only song on the album that doesn't seem like it is an almost direct reflections of dylan's personal life, this is nothing short of amazing (5/5).
"if you see her, say hello" is the most depressing piece of music i have ever heard. the line "she might think that i've forgotten her, don't tell her it isn't so." will make me cry under the right circumstances (5/5).
"shelter from the storm" is another undisputed masterpiece. one of those moments bigger than music that dylan is so known for creating (5/5).
"buckets of rain" is sad enough. the last verse is as reflective as other point on this album . . .

"Life is sad
Life is a bust
All ya can do is do what you must.
You do what you must do and ya do it well,
I'll do it for you, honey baby,
Can't you tell?"

amazing song (5/5).

pain has never been so beautiful.
BLOOD ON THE TRACKS is one of the top five greatest albums ever recorded.

A Lyrical Masterpiece
Few artists can match the impact that Dylan has had on the music industry and Blood On The Tracks is simply on of the best albums ever made. No one before or since has been able to match the passion and the brilliance that Dylan demonstrates on this record. "Idiot Wind" is one of the best written songs of all time and "If You See Her, Say Hello" still manages to stop me in my tracks whenever I hear it...possibly my favorite of all Dylan's songs. This record should be a cornerstone in every music lover's collection and is the perfect place to start for those who are new to Dylan. Quite simply the perfect album.

Amazing does not even begin to describe this....
My mother has always been a big fan of Dylan and I liked a few of his songs (i.e. Hurricane, Shelter from the Storm) but it wasn't until I heard the entirety of Blood on the Tracks that I truely appreciated Dylan's genuis. The album starts out with one of the most deeply moving and thoughtful ever. Tangled up in Blue is really food for the soul following a young man's on and off romance with a girl. The other excellent song is Idiot Wind. I must've played this songs more time than any other. It's amazing that a song could you keep your intrest for 7:50 minutes. Idiot Wind is a rant against the self obsessed but still makes you feel, and thus is a masterpiece. I have heard people complain that Bob Dylan's voice ruins what otherwise could've been a very good album. I have but one thing to say, no one else has felt what Dylan has felt and therefore no one could put the same emotion and passion in to his songs.
Buy this, you won't regret it.

One of Dylan's masterpieces.
Great great recording. I'd give it a 10 if possible. The best thing Dylan did in the 70s. ... Read more

Amazon.com essential recording

Cat Stevens tends to be lumped in with the early-'70s singer-songwriter school led by James Taylor and Carole King, but he actually fits in rather neatly with such wistful English contemporaries as Nick Drake, Syd Barrett, and Donovan. Tea for the Tillerman's "Wild World," "Into White," and "Longer Boats" indicate that he may have been a more gifted tunesmith than the lot of them. As with the best of the Brit folk-rockers, Stevens mixed melancholy with whimsy. Yes, he was prone to airy platitudes, but when he harnessed his eccentricities, as he did throughout this 1970 masterwork, you had something truly distinctive. A natural cult artist, à la Tim Buckley and Leonard Cohen, Stevens connected with record-buyers to the tune of 25 million units sold before he changed his name to Yusuf Islam, established an Islamic school, and raised a ruckus by supporting Ayatollah Khomeini's death decree against author Salman Rushdie. This remastered 2000 version of the 1970 recording, which was overseen by the artist, is a vast improvement over the earlier CD reissue.--Steve Stolder ... Read more

Reviews (48)

Classic Cat
In the early 70's Cat Stevens was recognized as a major talent by the likes of Time magazine, and his records sold very well. This was before he turned his back on Billboard, top 40 radio and the material world, and embraced the Islam religion.

The album starts with "Where Do The Children Play?", which was very politically correct, but soon turns to more timeless folk songs like "Hard Headed Woman", which every single guy should listen to before deciding to tie the knot. "Wild World", his top 40 hit, is followed by the slower ballads "Sad Lisa" and "Miles From Nowhere", two of my favorite tracks. "But I Might Die Tonight" returns to the Philosophy 101 brooding themes, with the calipso "Longer Boats" breaking the ice. "Into White" and "On The Road To Find Out" are breathtakingly georgeous.

The album closes off with the ode to generation gap angst "Father And Son", which reminds me of Lennon/McCartney's She's Leaving Home from Sgt. Pepper, and the brief ditty of "Tea For The Tillerman".

A toure d'force, an album for the ages. Long live the cat man.

A Definite Classic
I had previously reviewed this CD, but I'll have another shot at it, as I now feel that my previous review does not do this terrific album justice. So here is my new review for Cat Stevens' "Tea For The Tillerman":

Cat Stevens' "Tea For The Tillerman" is truly a classic album, and they don't come any classier than this. Stevens was a talented musician, and was not afraid to make music that came from the heart - a quality many musicians nowadays lack (see Limp Bizkit). Stevens had the ability to write memorable tunes and pen intelligent, thought-provoking lyrics, which made him the top of his game in the early 70's, and has gained him successions of new fans year after year, even if he isn't Cat Stevens anymore (I believe he is now known as Yusuf Islam). "Tea For The Tillerman" is in my opinion, Stevens' finest album, and one of the most perfect albums ever recorded. Although most people are only familiar with the albums' hit singles ("Wild World", "Father And Son" and "Where Do The Children Play") - each one a classic in its own right, the other eight songs on the album are equally as great. The songs are not overly produced, and comprise largely of acoustic guitar, bass, keyboards and drums, with the odd string arrangement here and there (arranged by Del Newman). The album kicks off with "Where Do The Children Play?" and although it may strike the average listener as a nice, simple tune, the lyrics present a social commentary that is as relevant today as it was almost thirty years ago (in a world dominated by materialism, technology and want, is there any room for children to play and carry on with their simple untinctured lives?). "Hard Headed Women" is another simple tune, floating mainly on acoustic guitar and strings, but the lyrics about needing a serious woman rather than superficial "fancy dancers" are lyrics that quite alot of men (including myself) can relate to. "Wild World", the song that "broke" Cat Stevens in America remains a timeless pop tune. "Sad Lisa", with its plaintive piano and string arrangement is one of Stevens' overlooked masterpieces. Stevens' singing of wanting to comfort a girl when she is sad is touching, and the violin solo never ceases to send shivers up my spine. "Miles from Nowhere" is a terrific rocker, and from the lyrics, we can sense that Stevens is one a spiritual quest of some sort (and we all know where this quest would lead him, don't we?). "But I Might Die Tonight" is another great rock song, and one of my favourite Cat Stevens' songs. The song is quite short but almost everyone can relate to its lyrics about the monotony of everyday life. "Longer Boats" is quite a weird one, with some really strange lyrics (I suspect the song is about UFOs - but this is just a personal observation), but its a good song nonetheless. "Into White" has a more traditional folk sound. Its psychedelic lyrical content reminds me alot of the Beatles' "Lucy In The Sky With Diamonds". In the 5 minute-long "On The Road To Find Out", Stevens tells us more about his spiritual voyage. The tune may not be as catchy as "Miles from Nowhere", but it is by no means a bad song. The classic "Father And Son", a moving commentary on the generation gap of Stevens' generation is still relevant today, as not all parents and children get on well with each other. "Tea For The Tillerman" sees a return to the themes explored in "Where Do The Children Play" and Stevens reminds us that "while the sinners sin the children play" - that innocence will forever exist in a monotonous material world.

Well, there you have it. Keeping in mind the thought-provoking lyrics and the catchy tunes, it is no wonder that "Tea For The Tillerman" has become a staple in folk and rock record collections since the day it was released. Stevens was a true master and this album is a testament to his genius.

gotta love it
Most people my age (15-20) dont even know who cat stevens is. I bought this CD after first hearing "Wild World". Over time i came to love the entire CD. The lyrics are awesome and can be used for any occasion. People any age can enjoy and appreciate this CD.

Touching
This album is really amazing. You can listen to this music and you don't feel alone. THis music has an air of spirituality with it. It's sought of listening to someone's soul. Not only do the lyrics which contain many references, create this image, but also the stripped down sound and soft strumming of the acoustic guitar. THe themes are universal, mostly, though I do have my doubts about 'Miles from nowhere' and 'But I might die tonight' though I understand the idea in the second one. My favourites are 'Where do the children play?' 'Sad Lisa' 'Into White' 'Longer Boats' 'Father and son' 'Hard-headed woman' and 'Wild World'

Never could I rate it any less
To me, I feel so close to Cat Stevens as I listen to his peaceful music. I listen to the words he sings, and I can't help but feel like I've known him my whole life- I almost feel as close to his music as I do to my own father.

Now I understand if your reaction to all of that is, "What the hell? Who is this psycho-chick?". Get to know this album well; buy it, listen to it, listen to it again, listen to it again, and so on until you can memorize a bit of the lyrics. Then[say that with emphasis] read what I have to say about Cat Stevens over. By the end of this assignment, being that you dared to take it on, you will feel completely nourished. Word. ... Read more

Amazon.com essential recording

Prine's 1971 self-titled debut set the tone for the rest of his career. A critical smash and a commercial disappointment, the record contains many of his best known compositions. Proving himself capable of tackling folk balladry, country, and rock with ease, Prine seems to spring into being as a fully formed singer-songwriter at age 24. Lyrically diverse,Prine offers topical songs such as "Sam Stone," the tale of a drug addicted Vietnam vet, achingly sad songs, such as the oft-covered "Angel from Montgomery," and, of course, his trademark wit gets ample time in the spotlight. Produced by the legendary Arif Mardin (Aretha Franklin, the Modern Jazz Quartet, Hall and Oates), the record is understated, letting Prine's comfy voice drive things. When needed, the famoushouse band at American Recording Studios in Memphis kicks in tasteful backing. --Ian Landau ... Read more

Reviews (32)

Give John His Due!!!!!
Here is how brilliant John Prine is. Bette Midler covered Hello in There" and it still comes off well!!! I remember seeing this album in a stack of vinyl when there was only vinyl. It was the era where flag decals were given with copies of Reader's Digest. I remember hearing the song "Flag Decal" and thinking how awesome it wass that I understood the song. Last year I bought the tape of John Prine for my car. I hadn't heard it in twenty five years...but it seems as relevant today as it was twenty five years ago. Songs laced with pathos, sardonic humor, and most importantly.,heartbeats of the human condition, John Prine is a treasure still, managing to be both a time capsule, a record of the time is was written in and a current event lesson. I listen to alot of music and am not a John Prine head, nor am I a John Prine groupie. I have this album, and this one only...but it is an exceptional one. I say hooray to all kinds of music, but let's give folkies like John Prine his due. Here is one fabulous songwriter that deserves a listen

One of the greatest, if immensely unheralded, debuts ever!
When one thinks of Paul Anka, they immediately get visions of the bright lights and sequined costumes of Las Vegas. This may be the prevailing image, but little do people know that if it wasn't for Anka, we wouldn't get the tremendous talent of John Prine. Until Warren Zevon came along, Prine would be the lone voice of quirkiness among the singer-songwriter movement of the 1970s. But while Zevon's music bordered on the mean-spirited, they were no dark sides to Prine's humor, and whenever he got dark, it was deeply honest. JOHN PRINE was released when he was only 24, a time when some artists are barely finding their feet as creative people. But his first album is the work of a fully-formed, young but not precocious talent. The songs on here are some of the first that come to mind when one thinks of Prine: "Illegal Smile" (the closing seconds are some of the most humorous ever recorded), "Hello In There" (sad-but-true account of aging), "Sam Stone" (an anti-Vietnam War anthem which will have new recruits thinking twice about their enlisting), "Angel From Montgomery" (Bonnie Raitt's theme song it seems), and "Donald & Lydia" (a heartwarming tale of young love, and soon-to-be romance). Songs like this make JOHN PRINE every bit of an unofficial greatest hits album, and one of the rare first albums that new fans ought to buy the first time out. Unlike another folkie favorite of mine, Joni Mitchell (whose albums would always be quite consistent), John Prine's catalog is not exactly perfect and would occasionally slip up a time or two in his career. But this early, Prine could hardly do any wrong with this debut that probably contains more soon-to-be-covered songs than any I can think of. Thumbs up to Paul Anka for bringing us this wonderful artist.

Heck of a strong debut from 1971...
I bought this LP when it was first released, and I've heard a heck of lot of John Prine tracks in the past 33 years. I still think this is his most successful album overall. His voice here is young and full of raw vigor, and his songs mix humor and tragedy in a balanced fashion. In recent years John has moved closer to traditional country material, and he does it well. This one, however, is the folk/protest/social commentary record that pretty much capped the '60's for me. If you like John's later work but have not heard this, you are missing some of his finest writing and singing.

John Prine "John Prine"
"Illegal Smile" 5/5
"Spanish Pipedream" 3/5
"Hello In There" 5/5
"Sam Stone" 5/5
"Paradise" 4/5
"Pretty Good" 4/5
"Your Flag Decal Won't Get You Into Heaven Anymore" 4/5
"Far From Me" 3/5
"Angel From Montgomery" 4/5
"Quiet Man" 4/5
"Donald And Lydia" 5/5
"Six O'Clock News" 4/5
"Flashback Blues" 4/5

The amazing self titled debut by the father of Americana, John Prine. Features timeless songs like "Hello In There" and "Sam Stone." There are no real flaws on this album.

Overall rating: Four stars

Where have you been all my life?
My great musical regret is that I somehow missed this album growing up in the 1970s. It might have changed my life. Prine can be witty, moving, or irreverent, and never patronizing. Some of the most intelligent music I've ever heard, and his understated delivery will have you tapping your toes. A true gem and original. ... Read more

Amazon.com's Best of 2001

The considerable promise carried forth on Gillian Welch's first two albums is thoroughly fulfilled on Time (The Revelator). Welch has traded the guidance of her previous producer, T Bone Burnett, for the sympathetic studio skills of her longtime guitarist-harmony singer David Rawlings, who loosens the reins just enough to allow moments of spontaneity to sparkle within the duo's spare, eloquent playing. "Revelator" is an instant classic, perhaps the first great folk song of the 21st century. "I Want to Sing That Rock and Roll" is three minutes of Louvins/Everlys-style bliss. "April the 14th, Part 1" haunts its historical context with an achingly melancholy melody. It all leads up to the epic 14-minute "I Dream a Highway," one of the finest closing tracks ever put on record. --Peter Blackstock ... Read more

Reviews (96)

Simple and beautiful...who needs a band?
This is the best new releases I've heard in a while.

On one end of the musical spectrum, you have all the stuff that comes out today sounding really over-produced and over-edited. Sometimes it's hard to tell whether the artist you're listening to really sounds like how they're portrayed on the CD you buy. "Can she really sing like that, does his guitar really sound like that, or are those studio 'tricks of the trade' I'm hearing?"

On the other end of the spectrum, you have Gillian Welch and David Rawlings, both on guitar and vocals. No effects...not even any electric instruments. True "roots" music. It doesn't get much simpler than that. The whole CD is so sparse and desolate sounding. You can just tell it's all real. Gillian's vocals (as well as her lyrics) leave you with this haunting feeling, particularly "Revelator," "Dear Someone," "Elvis Presley Blues," and the long and driven out (maybe a bit *too* long) "I Dream a Highway."

I'll definately be checking out her other works soon; I like this style.

Beatuful, sparkling music!
Gillian and Dave have done it again! They have created an album of simple, early American style folk music, and churned out an album, timeless in quality and as attention grabbing as an album can be.

First, all 10 songs here are arranged for the duo of two accoutsit guitars (the second track, "My First Lover" substituting a banjo for a guitar). There are no effects (or so it sounds like) and a few tracks sound as if they don't even have windscreens on the microphones; all of these tracks, it is safe to guess, werer recorded with no overdubs. (Of course, track 6, "I want to sing that rock & Roll was recorded live at the Grand Ole Opry on what sounds like one and only one stage microphone).

All of this, on another record, could add up to real crap, but on a Gillian Welch record, I could imagine it no other way. It sounds as if the two are literally playing these in your living room and when you think of that possibility, your heart breaks because you wish they truly were.

And what about substantially? My favorites are "My First Lover", a strange mix of appalachian banjo-like bluegrass and 70's rock sensibility; "My Dear Someone", a complete and sparkling throwback to the old country ballads a la Patsy Cline; "Everything is Free Now", a more modern folk tune with bobbing-and-weaving lyrics that I suspect are about napster; and last but not least "I Want to Sing that Rock & Roll", which appeared in a studio version on the CD of music inspired by "Oh Brother, Where Art Thou".

A favorite of most listeners is the 14 minute ending track called "I Dream a Highway". It consists, really, of one chord progression with lyrics that gradually and sweetly unfold to reveal a Dylan-like landscape (almost a story but not quite). While it is a great track that can easily put you in a achingly sweet trance, it is not quite a favorite of mine, particularly as its already slow pulse gets periodically slower as the track was recorded without a click-track. If that makes me snobby, my apologies.

In conclusion, I first heard the album last week and have yet to get most of the songs out of my head for any more than an hour at a time.

Hold your breath...
This is a gorgeous album. Like many people, I first learned about Welch & Rawlings through their work on "O Brother Where Art Thou" and "Down by the Mountain." Despite having little previous interest in bluegrass, I was instantly hooked. I finished collecting their albums this year, and was delighted to find out that "Time (The Revelator)" was the best of a very good body of work.

I'm especially fond of the eerie title track, "Revelator," a contemplation of Welch's own success. The songwriter successfully walks a fine line between invective and self-pity, and her refrain -- "Time's the revelator" -- is at once fierce yet chilling. Rawlings's guitar accompaniment is equally fantastic; he's an astonishing musician. Together, they make the song into a small masterpiece.

(Incidentally, I saw the two of them play this at a venue in Atlanta several months ago. When they got to a particular four-letter word towards the end of the song, the seemingly grave audience cheered with delight).

Other highlights:
The sweetly seductive "Elvis Presley Blues" will get to you even if you've never cared for Elvis. It seems like pure heartland at first, but has a touch of Lou Reed-like suggestiveness.
"I Want to Sing That Rock And Roll" was the first Welch/Rawlings tune I ever loved, and it's still a good one. Like other reviewers, I wish they had re-recorded the track for this album; the ovation at the end is a little disconcerting.
"My First Lover" is the album's most leisurely and enjoyable song; thudding power chords recall a lazy, stupefying roll in the hay.
"I Dream a Highway" is the album's other masterpiece, a 14 minute ballad with a narcotic, haunting intensity. Despite its length and repetitive melody, it never gets boring; instead, it invokes an eternal road trip through loneliness and revelation. It's a great song -- the thrillingly slow finish to a marvelous album.

instant melancholia / addictive, haunting poetry and music
Welch's voice and Rawlings' guitar sound as intense, beneficent and honest as music can get. I enjoy an extremely addictive mixture here of haunting poetry and music that comes straight from the heart, in an American country/folklike-style that reverberates and finds refuge in my soul immediately. A music of 'instant melancholia', or, if I may borrow some of Welch's own beautiful lyrics here- a music that's like '(..) morphine' that 'will be the death of me'. Very impressive and highly recommended!

Gillian Welch is vvvvvvvvvvvvvs!
Hearing her music is like hearing the calls of an extinct bird, or the passionate cries and moans and laughs of the men and women who inhabited the old lands, the wild frontiers, the shotgun shacks of the hill countries, who lived on the back of Ford pick up trucks chasing the seasons round the country, like a bunch of people sitting round a campfire in a desolate wilderness, yet it has a modern day twist which makes it sound relevant in today's world that has moved on in leaps and bounds from those early days, which makes it sound like she's singing about today's troubles the same as yesterday's troubles the same as last year's troubles the same as the troubles of all men and women who came before and will come after. Gillian Welch taps into all that, yer. ... Read more

Amazon.com essential recording

Painter-turned-folksinger Joni Mitchell had slipped stark saxophone solos into her prior album, For the Roses, and her singing had often hinted at a capacity for bluesier fare than her guitar- and piano-framed confessional ballads offered.None of those hints prepared fans for this sudden, expansive shift toward a much larger canvas--a sleeker, orchestrated pop style pulsing with jazz elements. Court & Spark found Mitchell casting aside her earth mother affectations and revealing herself as the thoroughly modern, thoroughly complicated woman she is; the songs sustained familiar preoccupations with relationships but replaced courtly settings and naturalistic imagery with recognizably modern locales. Deeply romantic, constantly questioning, classic tracks like the title song, "Help Me," "Free Man in Paris," "Same Situation," and "Raised on Robbery" display a more liberated Mitchell, ready to rumble with unbridled electric guitars (guest Robbie Robertson on "...Robbery"), even willing to poke fun at her own oh-so-sensitive rep with a hip cover of Annie Ross's hilarious "Twisted." --Sam Sutherland ... Read more

Reviews (82)

essential Joni
Despite the many accolades by current artists that I admire, until recently I didn't give Joni Mitchell much thought. Her biggest commercial success was during the 70s when I was a child and if she registered at all on my radar, it was as an earnest guitar strumming folk singer in the Judy Collins mode.

One day, I was in the supermarket of all places when Help Me came on over the loudspeaker. I remembered the song from my childhood but some reason on that day, the song's vocal and instrumental arrangements had me totally entranced. I actually avoided getting in line until it was over. Soon after, I had to buy Court and Spark even though it had been probably 30 years since its initial release.

Ever since, this CD has stayed on regular rotation. The songs have aged well. My favorites are Help Me and Free Man In Paris, a song to which I can relate even though I'm not a music mogul a la David Geffen. Other favorites include Court and Spark, People's Parties and Twisted.

Mitchell's storytelling is strong and her musical intuition is sharp. In retrospect, one can hear her jazz leanings and understand that she was already headed toward a more experimental phase in her later recordings.

If you can't understand why baby boomers complain that music is not what it used to be, pick up Court and Spark to see what they're talking about.

Court and Spark; Strike and Spare
This album is rich with the poetic sensibility that infuses so much of what Ms. Mitchell does routinely. She is undeniably talented and this album (er, CD) stands proudly at the end of the run of five great albums in a row. But in this one you see the signs of genius becoming aware of itself. The album reaches for a breadth uncommon to its predecessors. The real bright diamonds in this set are the two pop hits, "Help Me" and "Free Man In Paris." "Car On A Hill," more than any other song on it,
sets this album soundly into the period and movement of which its predecessors were so demonstrative. The song reminds one of a song or two off of John Mayall's under-rated Blues from Laural Canyon, and of George Harrison's drifty "Blue Jay Way." "Twisted" is the most non sequitur piece on the album. A strange choice because it can only serve to show that, with all her jazz intentions, Joni Mitchell is no Annie Ross. The song comes off instead almost as a novelty piece like Janis Joplin's "Lord, Won't You Buy Me a Mercedes-Benz?" Still no one should miss this album. Ms. Mitchell's abilities are considerable and not to be denied. And, who knows, maybe she chose to have a novelty song on her album.

Joni sells out
Pretty provocative title, eh? Well, Joni did sell out, but she was one of the last to do so, and when she did the whole hippie thing had been over for some time anyway. But no doubt when this album arrived in 1974, it was the death nell for many hangers-on (except Neil Young) that the revolution, the counterculture movement, the attempt to get ourselves back to the garden, was certifiably defunct.

In retrospect the tracks seem more innocent, but in the lyrics Mitchell herself alludes to a change that has come. From 'Free Man In Paris' we have the disappointment and pessimism of "The way I see it, he said, you just can't win it, everyone's in it for their own gain, you can't please them all", from 'Down To You', "Everything comes and goes, marked by lovers and styles of clothes, things that you held high, and told yourself were true, lost or changing as the days come down to you", and from 'Just Like This Train', "I went looking for a cause, or a strong cat without claws, or any reason to resume, and I found this empty seat, in this crowded waiting room". Joni wasn't moving on without having a last say.

Couple such lyrics together with a musical style that not only sounded commercial, but produced commercial success like Mitchell had never known, and you are left with a landmark, transitional LP. Some resented that Mitchell had abandoned her more stripped down folk and blues numbers in favor of polished productions featuring the likes of Tom Scott's brassy L.A. Express, bold background vocals from David Crosby and Graham Nash, Susan Webb, and even Cheech Marin and Tommy Chong. Robbie Robertson, Joe Sample, Jose Feliciano and Larry Carlton make instrumental contributions as well. Whatever your reaction to the changing landscape, it was hard to argue with the Top 100 success of 'Raised On Robbery' (#65), 'Free Man In Paris' (#22), and 'Help Me' (#7). The artist who had spent so much energy trying to change the world seemed to have been changed by the world.

All that being said, 'Court and Spark' is, in my opinion, only a marginal Joni Mitchell album. Aside from the single releases, only a few songs on the album are truly distinctive, and most, such as the title track, 'People's Parties', 'The Same Situation', 'Car On the Hill', 'Down To You' and 'Just Like This Train' sound more like traditional Joni than transitional Joni. Only 'Trouble Child' strikes a distinctive chord, and in a rarity Mitchell concludes the LP by recording a composition not penned by herself, Ross and Grey's 'Twisted'. You can certainly speculate on the choice, as it puts a light and humorous spin on the introspection and self-consciousness Mitchell had often explored in previous works.

'Court and Spark' is by no means a poor album, but it certainly acts as a divider between the early focus of Mitchell's work and where she was heading as she moved into her jazz-influenced albums of the mid-1970's. It has some great songs, though most were thoroughly overplayed, and contains more mediocre songs than you might expect on the album that some would say is Mitchell's finest. Lyrics are included, though any other liner notes are sparse.

wistical
This music was the soundtrack for an all-too-brief courtship in northern Arkansas in 1975-76. I have evolved beyond the person I was then but not beyond this timeless music or beyond the influence of the woman I met on the Norfork Lake ferry. That love sparked a string of serendipities and synchronicities that continue three decades later. "Court and Spark" could not have been equalled by any other music for the poetic commentary it provided to that interlude and my second birthing.

It's Springtime Again!!
I just got reading a eulogy for drummer John Guerin, who was the drummer on this masterpiece by Joni Mitchell. No song in the world makes me think of spring more than "Help Me." John Guerin's amazing drumming make this the perfect, floating out-of-body-experience song. I have heard this song thousands of times in my lifetime, but every single time I do, I marvel at its breeziness, as if I'm hearing it for the first time. So the next time you have a second to relax, put on "Court and Spark" and drink a toast to John, for this masterpiece he contributed to. It will make you feel better, trust me!! ... Read more

Amazon.com

Here are the original monsters of rock in all their epic, bombastic glory. The Who may have had more decibels (a dubious distinction), but no band took hard rock higher into the stratosphere than the Zep did with their cosmic mixture of deep blues, gothic melodrama, and the supernatural chops of Page, Plant, Bonham, and Jones. For listeners new to the Zep canon, there's no better primer of the band's range and power than this 4 CD box set, compiled and remixed in 1990 by Page himself. All the obvious song choices are here. But even if you've already heard "Black Dog" once too often on the car radio, this set wisely spotlights several overlooked gems, including their ultimate blues lament "I'm Gonna Crawl." It's a blueprint that later generations of head-bangers tragically failed to follow. --Steve Appleford ... Read more

Reviews (128)

Zeppelin..can it get any better?
Well certainly. If you get this box set. The only way to come close would be to purchase all ten studio albums, but this box set will save you some cash and give you the best of the best.

Naturally Robert Plant sound great, Jimmy Page's guitar smokes and wails, John Paul Jones' bass thumps with rhythm and John Bonham sets the pace and pounds on the drums.

Disc 1 rockets you right into "Whole Lotta Love" and on to "Heartbreaker" (one of my favorites), a lot of great tracks on this one. "Communication Breakdown", "Dazed and Confused", well, you get the picture. Also included is "Travelling Riverside Blues", almost worth the price of the box set by itself.

Disc 2 starts opens with the unmistakable sound of "Black Dog", the churning "Immigrant Song", the lovely "Tangerine", the psychedelic "Misty Mountain Hop", and then closing it all out, "Stairway to Heaven". Sure it's been played to death on the radio but it's an awesome song and rightfully deserves all the attention it gets.

Disc 3 starts with "Kashmir". A classic with the driving drums of Bonham and the string arrangements. "Trampled Under Foot" is great, as is "No Quarter". "When the Levee Breaks" is propelled once again by Bonham on the drums, providing a sampler's frenzy (just ask the Beastie Boys). Then there's the ten minute longer, smoker, "In My Time of Dying".

Disc 4 is where the radio Zepp fan might not be familiar. Most of the songs are from the later albums. No filler here though, just more greatness. "Candy Store Rock, "The Ocean", and "The Wanton Song" have to be heard to believed. "Fool in the Rain" is beautiful, as is "All My Love". Providing a fitting ending to this collection.

I've listened to the CDs in this box set tens, if not hundreds, of times, and they get better with every listen. It's classic Zeppelin and you can't go wrong with that. Enjoy.

Heavy Metal Heaven
This was the first compilation of Zeppelin to be released, and it still remains the best. Excellent sound quality, and a very generous amount of music for the hefty investment--the five hours of tunes covers more than half of the band's recorded output.
Zeppelin's studio albums were all excellent, especially the first half dozen. Therefore, it's very difficult in detemining what deserves its place here and what doesn't. Jimmy Page handled the sequencing of these songs, and he deserves a great deal of credit--they sound as if they came from one big album instead of being compiled from nearly ten.
As a devoted fan of the band, there's simply no way to knock Discs One and Two at all. They are letter-perfect, covering the very best tracks from the first four LP's. Only Disc Four shows any signs of letdown, with tracks from "Presence," "In Through the Out Door" and "Coda." A pair of previously unreleased tracks were also offered, including "Hey, Hey, What Can I Do."
A companion box set was released a couple of years later, offering the remaining tracks not covered on this one. Not surprisingly, it doesn't hit quite as hard, although Zeppelin's lesser moments were often superior to what was generated by their competitors. This one has all the goods, though. If you're just discovering Led Zeppelin--or if you're interested in hearing these classics after a great remastering job--take the plunge. It's truly an excellent box set.

Great Set from the Greatest Band
Before this set, I was a fan of Zeppelin, but not a huge listener. Sinec buying these 4 cd's, I am a hardcore Zeppelin fan, and at least one of these cd's can be found in my cd player at all times. There are some songs that were missed that I felt should have been added (livin lovin) but all in all, this covers all you need, and the reading material that accompanies the set is a valuable addition.

GREAT BOXED SET
I am someone who thinks Zeppelin is the greatest band of all time, and happen to have most of their stuff: Zeppelin 1-3, ZOFO, House Of The Holy, Physical Grafitti, The Song Remains The Same, BBC Sessions, How The West Was Won, Early And Later Days, and BOTH this and the later 2 CD set. I happen to think this is a great set and well worth the money. I think that this set is for someone who is a Zeppelin fan, but not yet a completist. When I got the set (Then the second boxed set), I decided that after listening more than once, I should finish the collection (And I will later this year). As for the negative comments here, I cannot believe ANYONE who really knows Zeppelin can put them down (Unless of course, they are nothing but trolls out to cause trouble).I cannot overstate how good this set really is, so you should get it for your collection: You will love it, it really is a great boxed set.

All boxed up... and ready for the dump
Comes with four discs, which make excellent brake rotors for your car. ... Read more

Album Description

Reissue of the late British folk icon's 1969 debut album.Ten tracks. Island. ... Read more

Reviews (57)

Autumnal Beauty
Looking for an album to go with your favorite sunset? Nick Drake's debut encapsulates a mood of tragically transient beauty. The acoustic guitar style drifts between folk, country blues and Celtic flavored finger picking (I'm not much of a musician, so that's kind of a guess-ta-mite), with accompanying instruments that are simple and subtle: piano riffs, conga drums, and the occasional bass. On several tracks chamber music string sections and various wind instruments add a surprisingly effective and eerie compliment. Mostly, however, the album's mood and tone is created and sustained by Drake's ethereal voice. Only several notches louder than a whisper, it sounds as if it comes from a half remembered dream or a nineteenth century opium haze. "Three Hours" and "The Cello Song" are particularly haunting. A playful piano part belies the uncomfortable lyrics of "The Man In The Shed" that sting of the depression that would eventually consume him (he committed suicide in 1974). Drake released only three studio albums, his second "Bryter Later" contains a number of good songs, but many of the jazzy arrangements don't work as well. On his third, "Pink Moon", he is alone with his guitar; it's an excellent album, but his vocals take on a harsher more pained edge, which can be a little uncomfortable considering his previously mentioned exit. On "Five Leaves Left" all the elements come together in a gorgeous sonic whorl. Percy Bysshe Shelley would have dug this album.

"Time has told me you're a rare, rare find.."
Whether you know it or not, you've heard Nick Drake before. Maybe it's from his other albums, maybe it's from that VW commercial, maybe it's just the sound of that quiet bleakness we all feel when sadness comes to the door and doesn't want to leave. This music lives with all of us. It exists in quiet lonely nights, chilly autumn evenings, and the muted grey of the world when it's been raining all day. During his too-short musical career, Nick used music to look at those little feelings we all have and give them an exquisitely beautiful voice.

Ok, fine, I'll start talking like a normal person now. I realize those comments seem a little silly. It's easy enough to describe how this music sounds, but it's not as easy to convey the emotional impact it might have. Everything about this 40-minute jewel is beautifully composed, elegantly performed and topped off with Nick's simple understated lyrics, which read as well as poetry. His voice and guitar (pretty tricky guitar work, too) are backed up by changing accompaniments: some electric guitar and bass at times, some flute, some quiet conga percussion at others, and most often a smooth string section providing just the right bittersweet background. It's quiet folk melancholy with an addicting quality that can't really be explained. Not everything here is quite as sad as "Way to Blue" or the eerily prophetic "Fruit Tree," either. "Saturday Sun" adds some relatively upbeat jazzy piano, although it remains low-key to the end. "Time Has Told Me" is uplifting in its timeless simplicity. "Man in a Shed" is a wistful boy-girl tune, but the theme is as un-cliched and downright humble as I've ever heard it.

Five Leaves Left was Nick's first album, and overall the most realized - he took over a year putting it together after all. If you don't like the sound of strings and flutes you'll probably want to hear the later Pink Moon instead, which is basically just Nick and his guitar. Either way, just make sure you check him out somehow. Any Drake offering is a treasure not to be missed.

boy this guy could write a song
A lot has been said about Nick Drake. I recall a Rolling Stone quote calling him "The saddest songwriter ever" or something to that effect. I think the fact that he died so young, possibly by suicide, tends to make people comment on how sad he was and how dark his music is. Well, some of his music may be dark, like Three Hours or Black Eyed Dog, but much of it is light. So don't expect this to be a depressing album.

With that said, this is an incredible album, although I feel it pales slightly in comparison to Pink Moon. While some people have said the strings hurt the album, I have a feeling they are only looking for a guitar shred-fest. While Drake was an excellent guitarist, his music was not based on technique and thank God for that. Most of his best stuff (on Pink Moon) was a lot simpler, guitar-wise. I for one think that the string arrangements really help some of the songs.

The words perfect, beauty, and sadness weaved into song.
This is one of three albums by the best musician, in my opinion, to ever step within this world of confusion, rushing, and absence of relaxation. Nick Drake may have made this album in the 1960's but the sounds have not aged at all, and will remain forever in my mind as the most beautiful songs ever recorded. This would go perfect for sitting alone at night, relaxing in light afternoon sun, or watching the hazy colors of a sunset replaced by the black calm of night. Get this CD, my friend, you will not regret it.

First of too few leaves...
...in the book of Nick Drake, "Five Leaves Left" is one of two fairly lush (by folk standards) records he committed to the listening public - such as it was, for him, at the time - before (as legend has it) mounting depression over his lack of commercial success played its role in the creation of the bare-bones guitar beauty "Pink Moon," his final record before dying of an overdose of antidepressants in 1974 at age 26.

My first Drake record was "Pink Moon." Within a few days, and about 35 listens, I'd rushed back to the store to liberate this record, "Bryter Later," and the just-released "Made to Love Magic." Such is the power of Drake's melancholy grip on the dynamics of wispy voice, intricate guitar, wrenching lyric and mood-perfect accompaniment. I'm still listening - I've heard every record at least twice - but the jury is no longer is out in my mind: the world overlooked a genius here, just as he predicted it would in this record's second-to-last cut, "Fruit Tree." He wasn't, one thinks, singing of himself, although he did that almost too well. But he might as well have been: "Safe in your place deep in the earth/That's when they'll know what you're truly worth.../They'll all know/That you were here when you're gone".

"Five Leaves Left" has painful, hopeful, joyful (too few), and despairing bolts like this all through it. "Time Has Told Me," the opener, celebrates a great love while already lamenting its future loss, Drake's and Richard Thompson's guitars weaving a beautiful country atmosphere: "Time has told me/Not to ask for more/For someday our ocean/will find its shore." The second song, "River Man," is apparently overproduced for many, but I found the background strings but a natural extension of the emotional strain Drake's voice always seems just too slight to hold. It's too easy to confuse his vocal treatments with lack of emotional commitment, I guess; it's the only way I can explain the rare such accusation I've heard. I simply consider it the best voice at conveying soul-empty ache bound up with wonder that I ever heard on a record. At the end of "Cello Song," he does an almost-perfect vocal duet with the title instrument, such that I at first couldn't tell one from the other. I could go on; you could read most of the rest of the day. I haven't come up with favorites yet. I thought I was about to, then every one I didn't get on first listen suddenly started striking home. Nick Drake is like that, at least he is when you didn't fall in love with the song on first listen. Which seems to happen less than half the time. Given that I'd consider this far from "easy" listening, that's nothing short of remarkable. His stuff draws you in; it seems to fit the mood. Play this record, wherever you are, and it will work to draw out the best - and the most beautifully painful - of wherever you are and whatever you are doing. I don't tear up often when listening to music. I am happy, really, to say that Nick is making this a rather common occurrence. The pain you hear in his records, you've felt many, many times. It just never had a soundtrack before.

You just have to hear it. You just have to hear this record, the next and last two he made - in short, all the Drake you can lay your hands on. (There's so little that your excuse just got eliminated.) I don't think anyone came closer to creating a complete record collection with so few albums. Nick Drake is that good. ... Read more

Amazon.com

Stephen Collins Foster is sometimes called America's first great songwriter, but you could make the case that he was also the country's first real pop star. Writing songs such as "Camptown Races" and "Oh! Susanna," Foster, a college dropout, was self-destructive, couldn't keep a marriage together, and ended tragically. Living on the Bowery, he gashed his throat in a fatal fall in 1864 at age 37, dying with only 38 cents in his pocket. The idea of a Foster tribute record may seem staid and archaic, particularly as his lesser known tunes are parlor and stylized minstrel songs. But minstrelsy was a lot like rock & roll, and the Pittsburgh native left behind an impressive body of work that draws upon the diverse branches of music brought to America by settlers and slaves from Europe and Africa. Beautiful Dreamer, on which 22 artists celebrate 18 of his compositions, surprises with its breadth of subject matter, tempo, and interpretation, including the use of the glass armonica and santour.Most of all, the album is uncommonly soulful--Mavis Staples's dignified but heartbreaking performance of "Hard Times Come Again No More," David Ball's elegiac "Old Folks at Home (Swanee River)," and the feathery rendition of "Slumber, My Darling" by Alison Krauss, Yo-Yo Ma, Edgar Meyer, and Mark O'Connor resonate in both the heart and the head. If Foster, the pop star, were alive today, he'd likely sit at the piano in shades and gelled-up hair. But he'd be playing these same songs, timeless and achingly poignant. --Alanna Nash ... Read more

Amazon.com essential recording

The success of her first international hit, Watermark, confirmedEnya as less a singer or songwriter than a sonic architect: working withproducer Nicky Ryan and his wife, lyricist Roma Ryan, the classically-trainedpianist built vaulting cathedrals of sound, framed by luminous piano, shimmeringsynthesizer orchestrations, and, above all, the seemingly infinite layers ofvocal harmonies she plied on every song. The deeply romantic Celtic pop on its1991 successor, Shepherd Moons, sustains the same spectrum of hushedreverie and surging, rhapsodic releases, as well as its mix of ballads, floatingmidtempo pieces, and forays into Celtic and Latin--and it's every bit asseductive.The terminally hip will sneer, but it's no accident that"Caribbean Blue," the best known song here, managed to sneak ontomodern rock, top 40, "adult alternative" and public radio playlists.--Sam Sutherland ... Read more

Reviews (120)

Wonderful Music As Always, But...
I've been a great fan of Enya for the past few years and it was only recently that I came across this album of hers produced in 1991 (shame on me!). As always, she's a great musician and vocalist and captures wonderfully a night under Shepard Moons. However, you kinda get bored of the whole CD after a while - not all of them really capture your attention, like tunes from her later albums and '88 tour de force "Watermark". Still, most of the songs are truly magnificant. If you get this CD, listen out for "Ebudae", "Marble Halls", "Carribean Blue", "Afer Ventus" and, especially, "Smaointe". It took her great effort to write this 6-minute song of hers (it's her longest song yet!), and great skill, for its ambience surprisingly carries you through the song rather well! Yup, definitely worth looking out for nonetheless - if you're an avid Enya fan, buy this CD still. But if you've never heard her music, this wouldn't give you a very good initial impression of her; try her other records like "Watermark", "The Celts (a must-hear)" or "The Memory of Trees". Once you think you're prepared for the power of her true music, GRAB, BEG OR STEAL "Paint the Sky with Stars"! Enjoy!

Great Music As Always, But...
I've been a great fan of Enya for the past few years and it was only recently that I came across this album of hers produced in 1991 (shame on me!). As always, she's a great musician and vocalist and captures wonderfully a night under Shepard Moons. However, you kinda get bored of the whole CD after a while - not all of them really capture your attention, like tunes from her later albums and '88 tour de force "Watermark". Still, most of the songs are truly magnificant. If you get this CD, listen out for "Ebudae", "Marble Halls", "Carribean Blue", "Afer Ventus" and, especially, "Smaointe". It took her great effort to write this 6-minute song of hers (it's her longest song yet!), and great skill, for its ambience surprisingly carries you through the song rather well! Yup, definitely worth looking out for nonetheless - if you're an avid Enya fan, buy this CD still. But if you've never heard her music, this wouldn't give you a very good initial impression of her; try her other records like "Watermark", "The Celts (a must-hear)" or "The Memory of Trees". Once you think you're prepared for the power of her true music, GRAB, BEG OR STEAL "Paint the Sky with Stars"! Enjoy!

Music from Above
When I first heard her first single "Orinocho Flow", I wasn't crazy about the song, and am still not. But over a decade later I borrowed several Enya CD's from a friend and was blown away. The most emotional and beautiful track on this CD is "Evacuee".

Though not every track is equal to the next, many of her songs are incredible, on this CD and her others...they touch your soul like no other songs can. If Heaven has music, then this would be it.

Another World
Shepherd Moons is unlike any other Enya CD. It plays songs to make you feel as if you are in another world. This easy listening CD includes 12 amazingly done songs. Only four of them are instrumental; Shepherd Moon, No Holly for Miss Quin, Lorthlorien, and Afer Ventus. The other 8 include the voice of Enya with lyrics. Instruments used are like no other. I find myself either just enjoying the instrumental pieces, or singing along. This CD also includes the song included in the credits of the movie, "Far and Away" with Tom Cruise and Nicole Kidman. This song is called, Book of Days is track number 7.

Overall, this is a must buy! If you're looking for music to sing along to, easy listening, or some New Age music this one should definitely be considered. If you are an Enya fan and prefer her instrumental music instead of lyrical music, The Celts by Enya is the one to go with. But if you are looking for the majority of the music to be lyrical with that fantasy feel, look no further!

Lyrics from Track # 2: Caribbean Blue

So the world goes round and round,
With all you ever knew,
They say the sky, high above
Is Caribbean Blue

If every man says all he can
If every man is true
Do I believe, the sky above
Is Caribbean Blue?

If all you told was turned to gold
If all you dreamed was new
Imagine sky, high above
In Caribbean Blue

This song is an example of her starry and earthy themes to her music, particularly to this CD. It is melodic and poetic. Another addition to this CD is the song, "How Can I Keep from Singing" track number 3. This is an old Quaker Hymn, sometimes song even in church, but Enya sings it with her own unique style. I think the song in itself is appropriate for this CD.

Everything is simply amazing.

the celtic beauty
i have had this cd since it came out, before enya was known. it is still one of my favorites along with "Watermark".talent rules and endures. ... Read more

Reviews (62)

Amazing Tribute to George!
If you are a fan of George this is a must-buy CD. Every cut on side two is awesome. Best cuts: Tom Petty and the Heartbreakers cover of "I Need You," complete with a jangly Rickenbacker sound; Paul's ukulele version of "Something," with Eric Clapton taking over in the middle; Petty, Jeff Lynne and George's son Dhani singing "Handle With Care" (where was Bob Dylan?); and Ringo's "Photograph." Side one is interesting--if you recall the Concert For Bangladesh and George's facination with Indian music (ie: Inner Light) you'll give it a play or two. Thanks to all the musicians for putting together such a wonderful tribute to a great individual!

In Loving Memory Of George
When George Harrison tragically passed away from cancer in November 2001, and all the tributes started pouring in from George's musical peers, I was very surprised to not read or see any tribute from one of George's closest friends---Eric Clapton. But then, later in 2002, I saw that Clapton organized an all-star tribute concert in George's memory on the one-year anniversary of his death. I was very touched to hear about it, but I was even more touched to finally *hear* it. Recorded live at the Royal Albert Hall on Nov. 29, 2002, "The Concert For George" is a marvelously heartfelt tribute to the late, great George Harrison. George loved the music of India, and Disc One of this 2-CD set contains the Indian music part of the show, featuring Ravi & Anoushka Shankar, as well as a cameo from Jeff Lynne on "The Inner Light." It's very, very beautiful. Disc Two is the main concert featuring Harrison's songs, both his Beatles and solo compositions, and it's full of mostly outstanding performances, including Clapton's rendering of "If I Needed Someone," Jeff Lynne's "Give Me Love (Give Me Peace On Earth)," Joe Brown's "Here Comes The Sun," Billy Preston's "Isn't It A Pity" and "My Sweet Lord," Ringo Starr's "Photograph," and Paul McCartney's "For You Blue," and McCartney's duets with Clapton on "Something," and "While My Guitar Gently Weeps." Also appreciated is Procol Harum's Gary Brooker on "Old Brown Shoe," and Joe Brown's heartfelt ukelele finale that's guaranteed to bring a tear to your eye, "I'll See You In My Dreams." Unfortunately, there are a few debits. Tom Petty's thin, nasal voice doesn't quite cut it on "Taxman" and "I Need You," though he certainly tries (and I do acknowledge that he was a friend & fellow "Traveling Wilbury" of Harrison's, so I suppose he had a right to be on the stage that night). Also disappointing is the ommission of comic performances by the members of Monty Python (whom Harrison was a huge fan of), and Sam Brown's performance of "Horse To Water," which was reportedly a major highlight of the evening (I have not yet seen the DVD version of the concert, but I definitely plan to). But overall, this double live CD is as excellent a memorial to a great music legend as one could possibly ask for. "The Concert For George" is an absolutely touching, beautiful celebration of the life and music of George Harrison, a truly great artist who blessed the world with his great musical gifts.

4.5 stars - GREAT concert, HORRIBLE transfer to CD!
On November 29, 2001, the legendary former Beatles guitarist George Harrison finally died from brain cancer he had been battling for quite some time. All the world over, his death was viewed as a tragedy. But, one year following his passing, an all-star line-up of musicians got together to honor the legacy that George left behind. And another year later the concert has finally been released! Read on for my review of Concert For George.

PROS:
-The best thing about this concert is the all-star cast of musicans that have gotten together to honor the memory of George. George's former Beatles comrades Paul McCartney and Ringo starr are here, as are his former Traveling Wilburys companions Jeff Lynne and Tom Petty. Also appearing are the legendary Eric Clapton, the great pianist Billy Preston, and George's son Dhani.
-For the most part, these are excellent renditions of George's songs. Tom Petty's version of I Need You even ties the original in terms of quality! Eric Clapton's version of While My Guitar Gently Weeps, Jeff Lynne's version of I Want To Tell You, Billy Preston's version of My Sweet Lord, Ringo Starr's version of Photograph, and Paul McCartney's version of For You Blue are also noteworthy performances.
-Ravi Shankar, the sitar legend who taught George how to play that instrument, also makes an appearance here. In fact, he even plays a new composition that he has written in George's honor. Ravi also brings new light to George's Beatles-era tune, The Inner Light.

CONS:
-This is a five-star concert, no questions asked, but this transfer of the concert to CD is just plain horrible! The "between-track" editing could not have been worse. What should be the introductions to most tracks are "tacked-on" to the ends of the previous tracks! Likewise, the Monty Python tracks and Jools Holland's cover of Horse To The Water are missing! I can live without the Python stuff, but the omission of Horse To The Water CAN NOT be forgiven. Because of the poor transfer to CD, I am forced to subtract half a star from the compilation's overall grade.
-Some of the song choices aren't that great. Where are Savoy Truffle, I Me Mine, What Is Life, Dark Horse, Cheer Down, and Cockamamie Business? Surely, the all-star line-up of musicians could have performed excellent renditions of these songs. Likewise, I agree with Ringo's