Amazon.com

In an age when the old-timey soundtrack to O Brother, Where Art Thou? sells 5 million copies, it's hard to imagine how revolutionary Will the Circle Be Unbroken seemed upon its release 30 years ago. The triple album (now rereleased as a two-CD set) paired many of Nashville's venerable country and bluegrass performers (Roy Acuff, Mother Maybelle Carter, Earl Scruggs, Doc Watson, Merle Travis, Jimmy Martin, Vassar Clements) with the Nitty Gritty Dirt Band, or as Acuff called them, "a bunch of long-haired West Coast boys." The idea seemed nearly as foreign as Martians setting down in Tennessee, but the Dirt Band were Colorado hippies steeped in the genre, so there was no disputing the authenticity of the music, or its earthy appeal. Aside from the sheer joy of the performances (listen to Jimmy Martin's "whoop" on "Sunny Side of the Mountain"), there's great fun in hearing Roy Acuff give the boys a lesson in doing a song right the first time (and using the word hell before launching into a religious number). And Mother Maybelle wafts through like a benevolent ghost, or at least a patron saint. One caveat: The boast of four previously unreleased tracks is balderdash, since three are really between-track conversations and rehearsals, and only "Foggy Mountain Breakdown" qualifies as a real song. But that's nitpicking. Buy it. Love it. Wallow in it. O brother, that's country music! --Alanna Nash ... Read more

Reviews (27)

you are there....
As Will the Circle Be Unbroken came together I was living the dream of a young picker: getting to play with the people who created the form of music I had grown to love and yearned to emulate. The story on how this came about is available, but the result is what counts here. It was one of the best experiences in my life, and captured a young band at its best, shining our spotlight at the time on our heroes. And boy, did they shine back.
Vassar set the benchmark for fiddlers to aspire to with his hot inspired approach.. Earl as always defined the 5 string banjo ... Roy sang great and his performances stand as some of his best work. Travis and his songs bring you in to a different branch of the country folk world with his genius guitar style matched by his wise words written from his Kentucky background. Doc shares with everyone his joy of hot music, and makes everyone feel at home. (The first time meeting between Doc and Merle helped us out, as when we saw it happening we realized we were in a group of great people who were all truly fans of each other as much as we were of them.) Jimmy Martin demonstrated to us between cuts that he knew what his music should sound like, and cordially let us in on the secrets. He is one of the best bluegrass/country singers, and here shows why that is said. Maybelle was like an angel and, never realizing her impact on music in general, just wanted to do her songs in a way that would 'please everyone... the more the merrier.. ' She would laid down the spirit of the whole project . This was not something she could teach, but from her we learned.

This is a great album, and I say this not because I am a part of it. I do not listen to a lot of albums. I rarely listen to other Dirt Band music, although I like it. And, I play it live. But, after I remastered this from the original masters, and having heard it over the years, it seems like I would have had enough. I have listened to this probably 50 times since remastering, and look forward to the next flight where I can take a trip back to a time that was in a space where we all are frozen in the moment.

Circle represents much of the best of American music, songs, picking, singing, writing... and still draws me to it. I am sure anyone who likes acoustic music of the Americana type will find themselves drawn to it also. Circle becomes a welcome part of your life.
Thanks to the 96/24 mastering, it sounds better than ever, too.

The new pieces I put in are all equally important to me. I am proud that the Washington Post's great review mistakenly said Earl played Foggy Mt. Breakdown. The talking cuts showcase Jimmy Martin and his way of getting to the point, and gives us further insight to the true bluegrass great: funny, natural, strange.. and a definite opinion of exactly where he wants his music. And he is right.

The piece around Sunny Side is there to show all who have asked over the years "what was it like?" It captures the true spontaneity of the sessions; the constant chatter of all the players, uncertain of who was going to play where, how it starts, if one should wear picks or not... and it all of a sudden blends in to the start of such a touching piece of great music that now obviously comes from real people who are creating it from the heart.

The perfect closing song for this remastered work I found in the hours of the constant running tape, the bit of song where Doc asks us to "Remember Me when the twilight begins to fall.." and seems to speak for everyone. As I sat in the control room on the third day of running the tapes I said to the engineer "I hope today we come across the perfect closer for this" and it was the next piece of music.

So here it is - this journey back in time we were so very fortunate to make and be a part of - Will the Circle Be Unbroken in time I believe we will find to be as well known in American culture as has Wizard of Oz, Dark Side of the Moon, The Music Man, Citizen Kane, The Tonight Show, The Grand Ole Opry, and ...

A Bluegrass work of art!
In 1971, the boys of the Nitty Gritty Dirt Band got together with some of the all-time greats of Country music (including Earl Scruggs, Mother Maybelle Carter, Merle Travis, Roy Acuff and others), and produced a three record album that was one of the greatest Bluegrass Country music albums ever made. Some thirty years later, this album has been re-released on two CDs, with four bonus tracks (three are dialogue and the other is the Bluegrass classic, Foggy Mountain Breakdown).

This is a great CD collection. The music is absolutely wonderful to listen to, a real work of art, sure to be enjoyed by any Bluegrass fan. Though the title might suggest that this is a collection of religious songs, in fact only a few are overtly religious, while most are simply Bluegrass tunes played by real experts. I loved listening to this album, and highly recommend it to you!

The Circle Will Never Be Broken
Before there was "O Brother, Where Art Thou," there was "Will the Circle Be Unbroken," the time the masters taught the long-haired boys how to make music. Now 30 years after its original release we have this marvelous album remastered for CD. Like wine and friends, these songs just get better with age. The great country/bluegrass musicians are all here-- Maybelle Carter, Doc Watson, Roy Acuff, Jimmy Martin, Earl Scruggs et al. I had forgotten that wonderful improvizational feel of this live album. If you close your eyes, these musicians appear to be "pickin" and "sangin" in your living room. The original album closed with a beautiful guitar solo by Randy Scruggs of Joni Mitchell's "Both Side Now." I'm not sure much is gained in this version by adding the four previously unreleased tracks. The producers should have left well enough alone. With that minor gripe, I know of no better country music CD than this one. It ought to be placed into a time capsule for future generations.

Just bought my third copy!
I loved this album when it came out, and it's one of the few recordings from that period in my life that I still listen to as Good Music, not just an exercise in nostalgia. Growing up in San Jose, CA, 50-plus years ago, I cut my teeth on this music (my father moonlighted as a drummer in a country-western band), so the album made me feel right at home. But the quality of the performances is outstanding, the give-and-take between the musicians is fun to listen to, and the warmth and rapport in the studio comes through on every track. (I'm especially fond of "Soldier's Joy," which makes "Dueling Banjos" sound like a pallid imitation, but there literally isn't a single bad track on the whole album.) I wore out copies on 8-track tape and vinyl, so I'm delighted that a new, remastered version is now available on CD. (Note: Two versions are available, a CD/DVD combo including live studio action, and a 2-CD set with just music. The latter, which I bought, includes four previously unpublished bonus tracks, mostly conversations between the musicians, but John McEuen's breakneck rendition of "Foggy Mountain Breakdown" is pretty impressive.)

perfect
This album is as good as it gets for more reasons than I care to iterate. If you care at all for classic blue grass performed at an unsurpassed level of perfection, get it. ... Read more

Amazon.com essential recording

Never mind that Van Morrison is one of the most indelible songwriters of the 20th century--take each album on its own terms. On 1968's seminal Astral Weeks, a twentysomething Van Morrison can be found belting his gospelly, bluesy vocals in just as fine a form as he would be 20 years hence. In the sociopolitical context of the times, the album cried out about such ubiquitous '60s themes as cultural oppression and social upheaval. But it is Morrison's vocal dexterity and passion that maintains such timeless appeal. Take tracks like "Madame George" or "Cyprus Avenue" and you'll find such beautiful mourning, it'll be clear why modern songwriter Sinéad O'Connor once publicly exclaimed: "Van Morrison should be friggin' canonized." --Nick Heil ... Read more

Reviews (175)

Look at the reviews:
If popular sentiment means anything to you, 62+ people have written reviews for this CD. They tout it as the greatest, sweetest, best album of all time. My opinion echoes this. I love this album and everything about it. I love the sloppy offbeat harpsichord. I love the fact that "Madame George" is 12 minutes of the same three chords. I love Van's garbled rants of love and life. The album sways from folk to jazz in a seamless Van Morrison style. I have come across people who haven't liked this album or Van Morrison in general. Their reasons are that most of the songs don't have a beat and they can't understand what Van is saying. It's true most songs don't even have percussion and "Beside You" barely holds to any tempo at all. And how many times did you have to listen to Madame George to understand the lyrics? But, the album isn't really about having a great dance beat or easily accessible lyrics. I take this album as a more personal statement. For the most part, it isn't radio friendly. But if your only criteria for a good ablum are dancable beats and catchy generalizations as lyrics, them I wouldn't recommend this album anyway. "Astral Weeks" is timeless. It has a pureness to it that a lot of people have identified with. It is probably one of the most perfect albums ever written because of its rough edges. And to think that it was done in a week...

Childlike Visions Leaping Into View
This is probably my favorite album of all time. I've listened to it countless times, and it never gets old. Those other reviewers who don't "get it" make a few valid points:

1) It isn't perfectly played.
2) The songs aren't polished.
3) It isn't Van's strongest collection of songs.

First of all, it isn't necessary for great music to be note-perfect. ASTRAL WEEKS is about the magic of improvisation-- the suspended thrill of playing (and listening) on the cusp of discovery. In that way, the album is a perfect marriage of music and lyrics, as Van bends and twists the language in an effort to TRANSCEND the earthly significance of his words, to conjure a piece of heaven out of the frustration and pain that wracks his existence. Like Ray Charles did 15 years prior, Van fuses gospel and blues, the sacred and the profane.

For those of you hear only hippy-dippy (...), you're obviously missing the unbearable heartache that haunts these songs. Cypress Avenue deals with unrequited, perhaps forbidden love. Madame George captures the mixture of joy and sadness that comes with lost innocence, getting on "the train" that takes one away from a place of safety and comfort. Ballerina is a burst of effusive passion, but the object of the singer's affection is separate from him, a spectral fantasy that he can only gaze on with paralyzed amazement. Thank god these rough gems weren't polished for radio consumption-- their unique, spontaneous quality would have been ruined.

I concede that this isn't Van's strongest collection of songs, but it's hard to think of these tracks as "songs" in the conventional sense-- impressionistic sketches, maybe, but they hardly lose any artistic merit because of that. ASTRAL WEEKS is not a jazz album, but it certainly brandishes a jazz mentality-- the triumph of feel over form, emotional release over craftsmanship. If that's not your cup of tea, then proceed directly to MOONDANCE. But if you're searching for a true musical journey-- in the truest sense of the word-- then ASTRAL WEEKS is the apogee.

Eternal
I have only recently got into Van Morrison, I have to say, so this review is coming from a 23 year old from Belfast, who is only beginning to realise the impact Van's music has had. I must also admit that I had a strange bias against Van, for only a few years ago when playing his (and my) hometown he turned his back to the audience for his entire performance... While I was not there, that arrogance and ignorance really put me off the man, and unfortunately, that little portion of his music that I had heard...

So now, having given this album a chance; my friend recommended it as one of his favourites of all time; I have to admit that, no matter what stories I have heard of this artist, his music is something absolutely eternal and mesmerising.

From the stunning opening chords to the title track, through the absolutely seminal "Cyprus Avenue", "Madame George", "Ballerina" and "Sweet Thing", I have found an album with such undeniable heart and warmth that I know it will stay with me forever as one of the very few albums to have changed my perception of music.

Perhaps it is the unbelievable vocal talents of the man, the jazzy and superb musicianship or just maybe the fact that I can (100%) identify with the visions this man is painting through his lyrics... It is not something I have experienced before whereby a lyric such as "Down on Cyprus Avenue" or "Sandy Row" can conjur such vivid and mesmerising images to my mind... I live just 5 minutes from the lovely Cyprus Avenue and I know it well. Thankfully I do not know Sandy Row too well; a scummy, horrible area of Belfast these days, I am proud never to have ventured deep into it. I do also know the house where Van grew up however, my father having taken me and my friends many times passed the house (which is now adorned with a brass plaque with his name) in east Belfast, just around the corner from my own house. It is maybe these insider views of the area I know that Van grew up in that help the pictures become clearler and more poignant... But his voice and passion can never be denied... It is truly something to behold, whether it be the vast epic of "Madame George" or the fiery jazz bombast of "The Way Young Lovers Do", you can never deny this man doesn't hold perhaps the most original, impressive voice in music... ever.

This album, it must be said, seems (to me at least) to be his absolute masterpiece... Moondance is an album I have always heard since I was growing up... I never listened to it specifically, but it was always on in the kitchen when I was a kid...and, while I have yet to hear much of his later work, it is a journey I am going to fully enjoy and cherish. A man, a genius and an absolute legend. Beautiful album.

Van gets lengthy and ambitious
All of Van's stuff from this era is brilliant. Astral Weeks is considered to be his masterpiece. It is very good. But, do we really want to hear Van break into one of ethereal chants for five minutes? The songs are great but they suffer from this kind of self indulgence that the other albums don't have. Van' really at his best when he's to the point. He can still manage the whole zen thing if he wants to, just tone it down. "Warm love" is perfect on this one.

The best Van album, so good it's spiritual
I must admit that I haven't heard every single Van album (I missed hearing alot of his earlier albums), but this is the best I heard--better than Moondance, Wavelength, and all his newer stuff--by far. A few years ago I picked up Astral and Moon at the same time and Moon hardly gets spun.

There are some quality issues with the recording where some sonic distortion appears, but I never really noticed it after the first listen. I actually kind of like it, it's so unlike today's over-produced stuff. Van went into the studio, laid down the album in 2-3 days, and it was done...and the magic comes through. ... Read more

Amazon.com

Once cited by Bob Dylan as the first performer he'd want to sign to his own label, Leon Redbone instead made his 1976 recording debut with Warner Brothers. On the Track carries a "very special thanks" to Jelly Roll Morton and Jimmie Rodgers, and indeed sounds like the offspring of the pioneering jazzman and the early hillbilly blues singer, with perhaps a bit of Bing Crosby tossed in. Aided by a small horn section (including a prominent tuba) and violinist Joe Venuti, among others, the disc is a gorgeous, affectionate tribute to pre-World War II vernacular music. Redbone croons and growls his way through a repertoire that includes Rodgers, Fats Waller, Irving Berlin, and "Polly Wolly Doodle," the last of which inspired album-cover artist Chuck Jones to include "a grasshopper sittin' on the railroad track... pickin' his teeth with a carpet tack." Redbone and crew rise to peak after peak (hear Venuti's finessed high-wire act on "Some of These Days"), resulting in a record that makes for perfect Saturday night and Sunday morning listening. --Rickey Wright ... Read more

Reviews (7)

the best of the best
leon redbone. what to say? the man that no one can even believe is white! from his four saturday night live appearances to several tonight show appearances (both of which have turned unsuspecting audience members into fans), leon redbone is somewhat of a mystery in the world of showbusiness. in concert he blows bubbles and takes pictures of the crowd while he lets his ragtime pianist 'take it away.' his record company doesn't even know his home address or his real name. in fact, no one knows his real name, age, or anything. some people believe even the voice he sings with is not his natural singing voice, but rather the perfect voice to accompany his style and stage presence. at one of the concerts i attended, he insisted on being called "baron."

i'm a huge, huge fan of leon. i've seen him in concert twice; i own all his cds that i know of (12) and 4 lps. needless to say, he's just the best. and, most importantly, this is HIS best. the slow, mumbling, growling vocals (these are the least precise vocals of all of his albums) fit perfectly with anything from ragtime to country to blues. this cd contains everything from a wonderful version of "ain't misbehavin" to "polly wolly doodle" with more lesser known songs being some of the best tracks presented (big chief buffalo nickel, lulu's back in town). this is the best of the best--no doubt about it.

I Never Tire of This One
I've had this one for many, many years and I never get tired of it. Not a clinker in the bunch (I even like Polly Wolly). Leon has a sort of irreverent, off beat approach to these old jazz classics that is just plain fun to listen to. He'll improvise horn fanfare with just his lips, or mix words around to his liking that in no way diminishes the tune (as it usually does with other artists). Plus, he surrounds himself with real talent. His version of Ain't Misbehavin' would make Al Jolson himself beam with pride. I can't say enough good about this one. It's a keeper!

Whimsical and Excellent
This album is an excellent collection of music from the 1920s and 30s, brought back to life by a talented and eccentric artist. Some of the songs you'll recognize, such as "Ain't Misbehavin'", while some will be charmingly new. My favorite is "Walking Stick", with its sly sexual reference to "the thing that makes [him] glad on Lover's Lane". There's no attempt to modernize these songs, as artists in past decades have been wont to do. Instead, Leon keeps true to the old style, the Dixie, Delta blues and ragtime jazz that made these songs so popular to begin with. I recommend this album with my whole heart.

Thank God I found this CD!!
I bought the record when it first came out. My expensive stylii finally wore it out. I've never played a record till it wore away so thank God I found this CD today. Rum pum pum.... :-)

Leon's jazzy, ragtime music is ice cream for the ears!
On the Track is a fantastic album filled with songs that make you feel like you've been time warped back to the roaring twenties and the whole family is sitting next to the radio after supper. I've never heard a man's voice reach such deep tones. His music makes me smile. ... Read more

Amazon.com's Best of 1998

Elliott Smith's fourth solo album and major-label debut, XO, brings narrative detail and a wide range of emotion to an indie meld of '60s-style rock and folk-pop. Whether in the broken stateliness of "Waltz #2 (XO)," the Sgt. Pepper tribute of "Baby Britain," or the explosions of "Amity" and "Everybody Cares, Everybody Understands," Smith's melodic and arrangement senses give his vulnerable vocals and brilliant wordcraft the maximum effectiveness. XO is a watershed in singer/songwriter rock. --Rickey Wright ... Read more

Reviews (120)

Truly Remarkable
I've never written a review, but...

This is such an amazing album, my review will surely fail to render a complete picture of it's brilliance. Having crafted a moving soundtrack for Good Will Hunting (with mostly pieces of either/or), he shows amazing range with this, his next project. Frank lyrics, acoustic-based arrangements and moving harmonies are the background for this album that continues to reveal new, subtle beauty. Smith reworks the waltz twice into current, beautiful ballads. More upbeat songs like Question Mark and Bled White still manage to convey a longing, restless energy that moves though these songs. The guitar work is solid--from a George Harrison inspired weeping solo on Oh Well, Okay, to the furious acoustic tempo of Tomorrow, Tomorrow, the album retains a certain calmness, but never bores. It is an absolute masterpiece and an album that will never get old! Truly sublime!

The most tragically under-rated musician ever
I listen to all the music that's popular now and it makes me sick to my stomach. How can people be listening to Simple Plan and Good Charlotte and other such horrible bands like them, when there is something as beautiful and as meaningful as this? Elliot Smith was a genius plain and simple. Every single song on this album is beautifully arranged and beautifully sung. I listen to this album almost every day and it just keeps getting better. Over all, this is Elliot's happiest sounding record in my opinion. He is joyful, almost jubilant at several moments. Lines that stand out to me are "I may not seem quite right, but I'm not f***ed not quite" and "Bottle up and go, I can make it outside, I'll get through" Which are just a cruel irony in light that he plunged a butcher knife into his heart. Several songs on here, however are almost unbearablely sad. Oh Well, Okay and Waltz #1 come to mind. One of Elliot's most valuable assets was his voice. He sounded like an angel. His is one of the few voices that can move me to tears no matter what he's saying. This album will change your life. Don't waste your time on the meaningless music you hear on the radio. Buy this.

Excellent
This is music at it's best. Elliott Smith is possibly the best songwriter ever, and XO a piece of evidence for this claim. Every song on this album was well written and played to perfection. I can't wait for his last release.

beautiful and honest. genius
I have never written a review online before but I have become so obsessed with this album that I feel complused to share it with everyone. This urge has recently grown to not only include my friends and aquaintences, but people I have never and will never meet. I want to run up to strangers on the street and tell them about it. Every song on the album is beautiful, and some if you are a sensitive type, will probobly make you cry. I'm not a sensitive type and some of these songs make me cry. It's that good. Honest, personal, simple and complex at the same time, beautifully composed, arranged, and sung. This is definitly my favorite album by Elliott Smith, though I really love figure 8 too. Basically you'll have to listen to it yourself, though like most good music, it takes a few times playing it before you'll really get into it.

Entrancing...
I first heard of Elliott Smith through my wonderful and talented friend who just so happened to be playing "Waltz # 1". At first I thought she and her awesome acoustic guitar playing sister wrote it but she recommended I check him out and I loved it. He is absolutely amazing and everyone needs to hear at least one of his songs before they die lol. ... Read more

Amazon.com

Appalachian Stomp is an ideal starter disc for those just beginning to explore bluegrass. Mostly this is because its 18 selections are so immediately accessible. The "classics" here, in other words, are usually those infrequent bluegrass cuts to have gained radio recognition beyond a core bluegrass audience. That explains why along with timeless standards such as Flatt & Scruggs' "Foggy Mountain Breakdown" and the Osborne Brothers' "Rocky Top" we also get "Dueling Banjos" from the film Deliverance, a cut that is to classic bluegrass what Walter Murphy is to Beethoven. There are less immediately obvious choices too, though. If your previous exposure to bluegrass doesn't go beyond the Holy Trinity of Bill Monroe, Flatt & Scruggs, and the Stanley Brothers--for example, if you've never heard J.D. Crowe & the New South's stellar example of progressive bluegrass, "Old Home Place," or experienced Jimmy Martin lay down the law on his rousing "You Don't Know My Mind"--then you're in for a high-lonesome surprise. --David Cantwell ... Read more

Reviews (9)

The grass is always bluer on the sunny side of the hill
To my way of thinking, bluegrass music is doing its job when it gets your hands and feet to moving and puts your mind on simple, bygone things you recollect, if you're lucky, or must pine for in vain, if you were born too late (like me). Leave it to Rhino Records to come out with a bluegrass sampler that fits the bill to a Model T, mixing bluegrass tunes that have found a fond place in our collective psyche with less familiar (to newbies, anyway) archetypes of the form. Unlike another bluegrass sampler I own, the dreary and redundant "Bluegrass Essentials," "Appalachian Stomp" is as happy and carefree as your best-ever barefoot-summer day. I mean, only a person that's six feet under wouldn't be beguiled by The Osborne Brothers' catchier than poison ivy "Rocky Top" and Sonny Osborne's astounding, mile-high vocal.

"Stomp's" appetizer tray of songs familiar from movies ("Foggy Mountain Breakdown," "Dueling Banjos") and TV ("Dooley," "The Ballad of Jed Clampett") will prime your palate for the main meal, a heaping helping of hard-core high lonesomeness by bluegrass immortals Bill Monroe, Jimmy Martin, The Stanley Brothers, Del McCoury, et al. All the old-timey stuff is plumb dee-licious. Sampling more recent vintages, J.D. Crowe and The New South's cover of The Dillards' "Old Home Place" is pretty good (although the original is superior), but I'm still trying to puzzle out the appeal of bluegrass darling Alison Krauss ("Love You in Vain"). She's cute as a button and sure-fire talented, I'll give her that, and she sounds an awful lot like Dolly Parton. You can work that last observation into a compliment, too, if you'd like.

The collection's most (in)famous cut may well be "Dueling Banjos," by Eric Weissberg and Steve Mandell, from the 1972 film "Deliverance." For better or worse, Weissberg and Mandell's calculatedly commercial, radio-friendly guitar vs. banjo arrangement remains the best known one in the song's storied history. The tune has been around, in various forms, since 1889, when it was known as "Banjo Reel." By the 1950s, the tune had metamorphosed into "Feudin' Banjos" (a dual banjo duel between Don Reno and Arthur Smith) and Carl Story's "Mockin' Banjo." An exceptional banjo vs. MANDOLIN version of the song, "Duelin' Banjo," appeared on 1963's "Back Porch Bluegrass," The Dillards' debut album, and later became the basis of a frivolous lawsuit by Arthur Smith, who claimed the band had ripped off "his" song.

Great introduction to traditional bluegrass
Bluegrass music has seen an upsurge in popularity recently. Dolly Parton, Alison Krauss, Steve Earle, the O brother soundtrack and the various O sister compilations have all contributed. However, while some of that music is traditional, much of it is a modernised form of the music. Nothing wrong with that, of course - bluegrass, like every other form of music, must modernise or die, and some of it is pure magic - but this compilation draws on the roots of bluegrass, containing many old classics, especially from the fifties, sixties and seventies.

Bill Monroe invented bluegrass and his original version of Uncle Pen opens this set. It was later covered by Ricky Skaggs, himself represented by Little cabin home on the hill, a cover of another Bill Monroe song. Bill puts in another appearance here with his version of Blue moon of Kentucky - a song that was covered by Elvis.

Foggy mountain breakdown became famous after its use in the 1968 movie, Bonnie and Clyde. Flatt and Scruggs originally recorded it in 1949 and it is that original version that is on this set.

The Ballad of Jed Clampett was used as the theme for a TV series, The Beverly hillbillies. When released as a single, it topped the country charts.

Rocky top was written by Felice and Boudleaux Bryant, famous as songwriters for the Everly brothers (who eventually recorded the song for their Pass the chicken and listen album). It was a country hit for both Lynn Anderson and the Osborne brothers. Lynn's version was the more successful, but it is the Osborne version that is included here - rightly, as this is a bluegrass collection.

Duelling banjos was a huge American pop hit after its use in the movie Deliverance. Other bluegrass classics here include Orange blossom special and Roll in my sweet baby's arms.

This is an excellent collection of bluegrass music, ideal as a sampler of what bluegrass used to be like. If you enjoy modern bluegrass and you're not familiar with the oldies, this is the best way to find out. And just to provide you with something familiar, an early Alison Krauss track is included right at the end.

Wonderful Mix of Bluegrass Songs
I just received the CD this week and I'm already addicted.

The liner notes give an excellent overview of the history of bluegrass, relating the songs on the album to the various stages of the development of the genre.

If I could give it more stars, I would!
This is a great collection of Bluegrass if you want some of the most famous pieces. It has a good collection of artists, and is just simply wonderful! I also recommend the second CD in the series, which does not have as many of the "famous" pieces, but includes some real classics for folks who have listened to a good deal of bluegrass. I grew up listening to this music, and had not had many CDs of it, just records-so I was ecstatic to stumble across this. Buy it if you can, it is an excellent price and an outstanding CD!!

A Great Collection of Bluegrass Tunes AAA+++
Hey bluegrass fans, this is a must have for your music collection. I liked every song on it, in fact every time I play it, I have to go get my mandolin and play along. It's a fun upbeat recording thats guaranteed to make you tap your toe! ... Read more

Amazon.com

For a band with such an overarching legacy, the official record of Led Zeppelin's legendary--and unpredictable--live act has heretofore been poorly represented by the disappointing, scattershot soundtrack to The Song Remains the Same. But this triple-disc live set (culled from 1972 Long Beach/LA shows in advance of Houses of the Holy) addresses history with a vengeance, if a few decades late. These shows have rightfully assumed cult status in the bootleg market, showcasing a band at the peak of its creative and performing powers. Zep faithful will welcome the belated release as evidence for enduring loyalty, but younger fans may find its diversity and dynamics even more enlightening--indeed, whole careers have since been built on the musical ideas Jimmy Page and company toss off here as decorative filler. Crucially rooted in the amped-and-hammered American blues of the guitarist's former band, the Yardbirds, the marathon workouts of"Dazed and Confused" and "Whole Lotta Love" (which consume nearly an hour all by themselves) somehow encompass Ricky Nelson, Morocco, James Brown, Holst,Elvis Presley, and Muddy Waters amidst their trademark sturm und drang, while the acoustic set that closes out disc one showcases the band's--and particularly Robert Plant's--good-natured, crypto-Celtic folk appeal with energetic aplomb. Bigger and brasher than just about any rock act that followed in its historic wake, yet ever fan-loyal to its myriad influences, Led Zeppelin's live juggernaut finally gets the monument it deserves. --Jerry McCulley ... Read more

Reviews (322)

A LIVE CLASSIC
The Who had LIVE AT LEEDS and The Stones had GET YER YA YA'S OUT. LED ZEPPELIN has released the ultimate live recording, HOW THE WEST WAS WON. The three disc set starts with LA DRONE and 14 seconds later IMMIGRANT SONG blasts from the speakers followed immediately by HEARTBREAKER and BLACK DOG. ROBERT PLANT introduces OVER THE HILL AND FAR AWAY and PAGE begins to play the delicate beginnings of the song. JOHN BONHAM'S drums have never sounded more powerful and lift each song to another level. SINCE I'VE BEEN LOVING sounds strong but the real highlights on disc one(in my opinion)are STAIRWAY TO HEAVEN and GOING TO CALIFORNIA. Disc one closes with THAT'S THE WAY and BROY-YR-AUR STOMP. Disc two starts with A 25 minute version of DAZED AND CONFUSED and then into excellent versions of WHAT IS AND WHAT SHOULD NEVER BE and DANCING DAYS. Disc 2 closes with a 19 minute version of MOBY DICK with JOHN BONHAM in top form. JOHN BONHAM'S drum sound like thunder throughout the three disc set. Disc 3 begins with WHOLE LOTTA LOVE and then into ROCK AND ROLL and THE OCEAM. BRING IT ON HOME closes disc 3. The music sounds great, the musicianship is top notch with PLANT and PAGE in great form. JOHN PAUL JONES is an excellent musician as well and adds mandolin, keyboards and bass to the mix. I heard JIMMY PAGE live in 1977 with LED ZEPPELIN and again in 1986 with THE FIRM. Hearing his guitar on the three disc set brought back memories of those concerts I saw in Oklahoma City. My only complaint is the packaging. There is no booklet and no photos, just a brief statement from JIMMY PAGE about HOW THE WEST WAS WON. I highly recommend this
three CD set. I will be purchasing the DVD in the very near future.

Bootlegs aside - this is Led Zeppelin's best live recording
No comparison. "How The West Was Won" released by Atlantic in 2002 puts "The Song Remains The Same" (1976) to shame. Page, Plant, Jones & Bonham are all in top form.

WHAT YOU GET: 17 songs on 3 discs - that probably could have fit on 2 discs - recorded in 1972 from shows at California's LA Forum and Long Beach Arena. OK - there are really 18 tracks listed, but I'm not including the 14 second waste of an opening track "LA Drone". 17 songs compared to "Ths Song Remains The Same" and it's 9 tracks. Better, tho not superior sound quality (remember this is 1972). Great song selection tho I must say that only one song ("Dazed & Confused") is featured from Led Zep's brilliant 1st album; 5 songs from Led Zep II; 4 songs from Led Zep III; 4 songs from Led Zep IV; and tho not released yet, 3 songs ("The Ocean", "Over The Hills & Far Away" and "Dancing Days") are featured from their soon to be released "Houses Of The Holy". Anyone else notice how quiet the audience was after these songs ended? You get 4 marathon songs with "Moby Dick", "Whole Lotta Love", "Bring It On Home" and "Dazed & Confused"... each containing some medleys within (assorted early rock covers, blues, and a small taste of "The Crunge").

WHAT YOU DON'T GET: No expansive liner notes (what they give you is the bare minimum here), no history or roots of the band, no booklet with cool pictures. The song selection is top notch, but for me personally I miss some of the stuff from Zep's debut (even the really short songs like "Good Times Bad Times", or "Communication Breakdown" would have been cool), as well as from Zep's second "Ramble On" or "Thank you". The ONLY song I miss from "The Song Remains The Same" is "Celebration Day" - this was probably my favorite song from this one.

Overall a great recording and a definite must-buy for even the slightest of Led Zeppelin fans and any rock & roll fan who grew up in the 1970's. Essential? Hell yes.

"The Best Live Recording"
This is Led Zeppelin's Long Beach/LA performences at describes Jimmy Page their peek of their career doing their best. You hear a variety of songs that everyone just loves. I like hearing Dancing Days, and The Ocean live as well as the twenty minute Dazed And Confused. This is the best live recording out their. This has been bootlegged for so many years being a crappy recording until this three disc set came out this crappy recording turned out to be a masterpiece. This is the best live recording Led Zeppelin had...... worth 100 stars.

You Can't Get Any Better Than This
First off, I have no beef with The Song Remains The Same, so don't throw your copy of it away (contrary to what one reviewer said). But the title of my review basically says it, this 3-disc set and the 2 DVD set are the greatest Led Zeppelin releases ever, outside of the albums of course. Both HTWWW and the DVD set capture Led Zeppelin at their finest. Any Zep fan would love this collection beacuse you've got all of the classics (before 1973) here, and you get to hear versions of songs from their fifth straight great album (Houses of the Holy) before they were put on tape. Now I think I need to address a few issues that other reviewers have brought up. First of all, "Dazed and Confused" is NOT too long, the problem is that you all who say that have been raised in a world of 3 to 5 minute songs that are so full of hooks that there's no real music. As a result, your attention spans aren't long enough to tolerate improvisation. Same with "Moby Dick", you all just can't handle a song more than 5 minutes long. Also, I see many comments that Jimmy Page's guitar playing was really sloppy. Being a guitar player, I'd have to disagree. It takes a lot of technical ability to play the guitar parts to Zeppelin songs (try looking at the tabs). The audio quality is also pretty good considering its over 30 years old and the mixing is pretty good, there's nobody that's invisible in the mix. As for my favorites, probably "Heartbreaker", "Black Dog", "Over The Hills...", "Since I've Been Loving You", "Stairway To Heaven", "That's The Way", "Dazed and Confused", "Moby Dick", "Whole Lotta Love" (gotta love the good old rock standards), and "Bring It On Home." I'm also happy to see that they've credited Willie Dixon on "Whole Lotta Love" and "Bring It On Home" (although I wasn't too upset that they didn't on the original album). The great thing about this album is that it captures the sheer power of Zeppelin on stage. If you haven't already...BUY THIS! And while we're at it...BUY THE DVD!!

On a side note, someone said that Zeppelin made "arena rock" famous. The problem is, Zeppelin wasn't arena rock. Sure they played in big arenas, but arena rock was made by the likes of Genesis, Journey, Peter Frampton, all those people, whose music and lyrics were incredibly generic and had no real depth to them. Can't say that about LZ, can you?

Can't go wrong with live LZ
This is what a live abum should be. The playing is excellent and most of the songs are performed at least a little bit different from the studio versions. Who wants the same thing you can get from a studio album when a studio album desn't have the applause, and doesn't suffer from the lesser sonic quality inherent in a live set? Actually the remastering is excellent. Jimmy Page pumped up the bass here like he did on Coda so you can better hear the drummer John Bonham, here in his prime. Several of the songs are here extended into fuller forms. Dazed and Confused, Moby Dick, and Whole Lotta Love all are about 20 minutes. The guitar solo in Heartbreaker is drawn out to the point of improvisation and the performace of Stairway to Heaven is truly breathtaking (though I prefer the version included on the self titled DVD). First timers to live Led Zeppelin will be a little put-off by the tone the 12 string electric guitar gives to the beginning of Stairway to Heaven, though (changing from an acoustic 12 string to an electric 6 string apparently took too much time for it to be feasable on stage in the middle of a song, dang). This is actually a compilation of the best from two separate concerts. Discs 1 and 2 are filled about to the 70 minute mark, while disc 3 is filled to the 50 minute mark to avoid repeating songs from the other show is my guess. My only complaint is the track arrangement. Discs 2 and 3 both have 4 tracks but if you want to skip either of the 20 minute Dazed and Cofused, Moby Dick or Whole Lotta Love, you only have a few minutes left of shorter songs. I would have preferred an arrangement of the 3 longer tracks on disc 2 and the 5 shorter tracks on disc 3. It would have a better playability. ... Read more

Amazon.com

Ben Harper makes elegant leaps from reggae to rock to folk to funk and back in his fifth studio album. The rootsy singer-songwriter with the silken tenor isn't merely genuflecting at the altar of his musical heroes, as here he shows more quirky imagination and inventive musicianship than on any of his earlier efforts. That said, "Diamonds on the Inside" is painted with the same brush that Bob Dylan used on "I Shall Be Released," but Harper adds his own Biblical aphorisms to make the song his own. Most of the songs display Harper's growth as a poet, as he ponders the dualities of life and love in tunes like the disturbing "Touch from Your Lust" and the disquietingly lyrical "Amen Omen." Harper is compelled to sing what is in his heart and to do what he can to make the world a better place. Witness the Marley-like "With My Own Two Hands." The only misstep on the whole disc is the overly humid orchestration of "When She Believes." --Jaan Uhelszki ... Read more

Reviews (115)

"When it's good it's oh so good.."
Soul, rock, funk, reggae, blues - Ben Harper's always basically stuck to the roots, but somehow made them sound fresh and vital all along. With Diamonds on the Inside he's branching out more than before, and even though there's basically nothing here we haven't all heard before, it's one tasty mix nonetheless. "Everything" and the title track are basically pop, as cheery and upbeat as you'd ever want to hear. "Touch From Your Lust" is the greasiest, sexiest R&B groove I've heard in a good long time. "When It's Good" and "Temporary Remedy" are burning grungy blues (of the acoustic and electric varieties respectively), while "Brown Eyed Blues" isn't; it's sunny reggae-fied funk instead, which gets topped only by (surprise surprise) "Bring The Funk" itself.

Lyrically this disc is filled with one predictable cliche after another, but that's probably not the point. Ben doesn't mind sharing his thoughts on making the world a better place, and you certainly don't need to wonder whether he loves Jesus, but if you don't mind such thoughts in small doses the lyrics here shouldn't become overbearing. What's clear throughout is that he's writing and singing straight from the heart. Countless people have sung about helping the world as Harper does on the opening track, but his performance is no less sincere because of it. Combine that with a set of strong songs as we have here and you've got a solid disc that'll appeal to all kinds of music fans across the board.

Occasionally the sound does seem a little well-trodden, which is why I leave off the fifth star. "With My Own Two Hands" is the kind of simple beat that's been used by every reggae artist since the dawn of time, and "Picture of Jesus" is buoyed by a beautiful African chant.. which I would have liked a lot more if it didn't seem lifted almost as-is from Paul Simon's "Homeless." But these are small quibbles, and Ben's virtuosity with a guitar (particularly when he's playing acoustic with a slide) makes for some wonderful moments throughout.

Many artists don't pull off this kind of variety in a decade, let alone an album, but Harper does; and for all the scope this disc covers, everything is still pulled off remarkably well. Roots rockers, don't hesitate to pick up Diamonds on the Inside if you're curious about the man (though not at the expense of Live From Mars). Whether you consider it essential or not, it's still a whole lotta fun.

Ben Harper does it again
I will start of by saying that this album is probably his third best, behind Fight For Your Mind and Will To Live. However, I consider those two albums to be among the best in my collection, so that 3rd place ranking doesn't really mean anything negative. The variety of genres that this album reaches, shows the amazing musicianship that Ben Harper and The Innocent Criminals have. Lyrically this is yet another amazing piece of work by Ben. Bob Dylan and Paul Simon are the two best lyricists I have ever hear, but Ben Harper is in my top five. This album has a lot of songs dealing with spirituality/religion, as well as a love motif running throughout. People say that this is a more mainstream album when compare to Ben's other albums. I wouldn't say that it is more mainstream than Burn To Shine, in fact, it is less 'pop'. And, if this is the direction mainstream music is headed, then I'm all for the change. Peace.

Diamonds on every tune
Thank God for Mr. Harper. He keeps getting better and better and stronger and stronger. From the Reggae anthem of the first song, to the sheer beauty of the final song, everything on this album is brilliant. What a great, great band he has. They jam out and transition to acoustic so superbly. Harper is a complex, genius of a songwriter who weaves wonderful tapestries throughout.
His politics, his religion, his insights sparkle like the diamonds he mentions.
The world is a better place with Ben Harper in the musical firmament.

Ben Harper is on a higher plane.
Ben Harper is that unusual artist who is a kick-ass musician and also has an important message to impart. He never shies away from deep and difficult issues. And as far as I am concerned Ben is the only real rocker out there today. Few things feel as exhilarating as the end of a Harper & IC show when everyone has left the stage but Ben's steel guitar sits in the spotlight screaming and hollering like Hendrix on a good day. Gives me goose bumps thinking about it!

So that sets me up to say that I recommend this album because it is by Ben Harper which automatically puts it in the "must have" category.

But it's not my favorite Harper release. I can't get it out of my head that Ben has made a remake of an old Paul Simon release. "Diamonds on the inside" reminds me of "Diamonds on the soles of her shoes" and Ben even takes it to the point of using Ladysmith for backup vocals. The subject of diamonds and Africa is still as poignant as it was 20 years ago, even more so. Our happy diamonds are covered in the blood of African people. But I wish Ben had not followed so closely Simon's effort. Paul Simon is the king of insipidity while Harper is as eloquent as a really eloquent thing.

My rating of 3 stars is only relative to other Ben Harper releases. Measured against most recorded music today this CD would rate 9 out of 10 stars. Ben Harper is on a higher plane.

Mostly good stuff, worth the buy
This release is not as good of some of his old ones (Fight for your mind, burn to shine), but its worth whatever they expect you to pay for it. Here's the my rating for each song:

1) With My Own Two Hands- 8/10: Very reggae-ish. I usually don't like singles that much, but this one is pretty good. Down point- once you play it more than 5 times you will get sick of it.

2) When It's Good- 7/10: This one is average with a southern type feel to it (as much as Ben Harper could do at least). Nice tune that just might stick to your mind.

3) Diamonds on the Inside- 9/10: Again, I don't like singles that much, but I think this one is my favorite. Nice lyrics and a good beat.

4) Touch From Your Lust- 7/10: More of a slower rock one. I like the lyrics, very poetic.

5) When She Believes- 7/10: Slow with guitar- Average.

6) Brown Eyed Blues- 7/10: This one is a mix of blues and funk (as it might imply). This one is simply average, ok lyrics, ok beat.

7) Bring the Funk- 8/10: As you guessed, this one is funky. Somewhat reminds me of Prince, but this one will get stuck on your mind with those beats (although the lyrics are pathetic).

8) Everything- 10/10: I really do like this song because it's sort of empowering. It is acoustic with a nice strong beat.

9) Amen Omen- 11/10: This is the best song on the album. It is a has a nice guitar rhythym and awesome lyrics, but when they are put together it makes a perfect song.

10) Temporary Remedy- 9/10: This one of two rock songs on this album, and this is the more classic rock type. Great song.

11) So High So Low- 7/10: I don't like this song that much, but this is a perfect example of what a rock song by Ben should sound like.

12) Blessed to be a Witness- 10/10: A slower song again, but it is a beautiful song. The lyrics will make you feel what he feels when you hear this song.

13) Picture of Jesus- 7/10: The background lyrics kind of sound is african singing (at first it kind of sounded like the lion king to me, but not in a corny way). This song does grow on you though, and it's pretty good.

14) She's Only Happy in the Sun- 9/10: Mostly just a guitar and Ben in this one(theres a little drums). It is a nice simplistic song that is nice to listen to. ... Read more

Amazon.com

Although there's only one new original on Iris DeMent's first release in eight years, the music throughout ranks with the most personal she has made. DeMent's quavering vocals invest this collection of traditional spirituals with an unwavering conviction. "This is my story," she sings on "Blessed Assurance," written more than 130 years ago. "This is my song." In her liner notes, the Arkansas-raised artist explains how these were the first songs she remembers hearing, and that this music has always provided comfort during hard times, a comfort that isn't necessarily (or at least not narrowly) religious. On "Sweet Hour of Prayer" and "God Walks the Dark Hills," DeMent accompanies herself on stately solo piano, and the emotion is as pure as the arrangement is unadorned. On other tracks, DeMent and co-producer Jim Rooney enlist homespun support from kindred spirits such as guitarists Mark Howard and Bo Ramsey and a call-and-response chorus of harmonizers including Stuart Duncan. The self-penned composition, "He Reached Down," is a folkish recasting of the Biblical "Good Samaritan" parable. Even listeners who don't share the faith expressed in these songs will have trouble resisting the unflinching intimacy of the performances. --Don McLeese ... Read more

Reviews (7)

Good Stuff
I'm not a music expert by any means, but Franz Ferdinand strike me as a cross between The Clash and The Cure, with more modern Interpol-esque elements thrown in.What results is a highly (re)listenable, original, catchy sound that'll satisfy that need to listen to some "Good Stuff".

A friend of mine suggested I listen to Interpol, so I ordered a couple of their albums off of Amazon and thought they were decent, although it seemed something was missing.Amazon always lists similar artists underneath any given CD, and I saw that Franz Ferdinand was listing.Having never heard of them, I offhandedly read a couple reviews and promptly forgot about them... until a few months later when I saw their CD combined with a bonus CD at a local "City" of the "Circuit" variety during their bi-annual $9.99 CD sale.I picked it up not expecting anything, but I gotta tell you -- I love it!

The bonus CD is really the deal-maker, with a faster-tempo'd rerecording of This Fire (it's entitled This Fffire on the bonus CD) that's much catchier than the great, original version (it makes me think of "That Thing You Do", which started out as a slow song until Guy sped it up; some songs were born to be fast... "That Thing You Do" and "This Fire" are two of them)."Van Tango" is fun and one of the better songs on the two-CD album, along with "All For You, Sophia", which is currently my favorite Franz Ferdinand Song."Words So Leisured", while not their best work, is interesting as sort of a "respin" of "Darts of Pleasure", track number 8 on the main CD.

The main album, also, isn't lacking great songs.I've greatly enjoyed "Take Me Out", an instanly recognizable song (after the 45-second introduction), even if you've never heard it before. "This Fire", of course, is excellent, and "Auf Achse" will have you pressing the repeat button a few times.

The rest of the songs are all good; some may like the others even more than the ones I've suggested, proving that there's something good for everyone here.

Franz Ferdinand is Incredible
What more can be said about this band than to look at their meteoric rise from obscurity in just one year. This album (along with the bonus CD) are only a hint of things to come. They are truly talented musicians and have incredible presence onstage (I've seen them in Atlanta and Chicago). Yes, their music is very retro but they make it seamlessly their own. It is melodic, danceable, joyful, humorous, intelligent, and literate without pomp or circumstance. Franz Ferdinand, both the band and the album, are incredible.

SCOTLAND HAS SHOWN ITS SUPREMACY AGAIN!!
AT FIRST IT SOUNDED LIKE THE KILLERS. no way... IT ISNT. 1000% BETTER. ITS ALOT MORE LIVELY AND IT GIVES U A FEALING TO RUN.. (IF U WANT MAJOR WEIGHT LOSS, LISTEN TO THIS) I EXERSIZE WITH THIS FOR HOCKEY AND I DROPPED 5 LBS.. GREAT STUFF FOR PARTIES, REALLY GETS YOU GOING

Best CD of 2004
Franz Ferdinand's debut cd is one of the best post-punk cds to be released in the last decade, plus its just so damn groovy and catchy as hell!!! My new favourite band!!!

Cute
I was originally going to give this album four stars, but then I listened to the bonus disc.Believe me, the material on the bonus disc is better than much of the album material.It's less produced and more raw, and gives you a better feel for the actual talents of the band.
The album itself is a cute and fun collection of some of the best pop music I've heard in a long time.It's got a unique sound, it's got a beat and you can dance to it.Yes, the album does sound like it is one really long song, but it's a good song.
Stand-out tracks are "Auf Achse", "Darts of Pleasure", "40'" and of course the singles.
But really, the album doesn't do this band justice.It's good, but the bonus material really makes you believe they're more than just a shallow pop band.And I personally think they are. ... Read more

Amazon.com

In many ways, Ryan personifies Irish-America, a far-flung tribe who love their country yet were born into what their immigrant forebears perceived as exile. Generations later, they still cherish the music, literature and history of their ancestral homeland. Ryan's eloquent soprano keens and soars as her context shifts between ancient peat fires, long ago Appalachian spring-times and the bittersweet romanticism of a modern singer-songwriter. Her heartbreaking duet with Galway native Sean Keane, "What Will You Do, Love?", describes the plight of a loving couple facing separation. On the final track, she breathes new life into "Home Sweet Home?", a ballad which has long and unfairly been consigned to the chestnut barrel. Accompanied by a parlor piano, squeeze-box and a lonely-sounding whistle, frosted with delicately ironic vocal dissonances, the song speaks eloquently of those who feel displaced, even on their own doorsteps. Producer/fiddler John McCusker and team are perfectly in synch with the bandleader¹s haunting vocals. --Christina Roden ... Read more

Reviews (2)

SUCH A VOICE
If there is a more engrossing and beautiful album out this year, I'd be amazed.No naval-gazing song writing, no fascination with unhappiness. Cathie Ryan has an Irish/American voice to die for - perfectly suited for her own lovely compositions and for doing full justice to traditional songs from Ireland, Scotland and England.After two great records as lead singer with Cherish the Ladies, she has just come out with her fourth solo cd.THE FARTHEST WAVE is the second produced by the great John McCusker and both are beautifully buoyed by the many talents of the Rusby clan-John is the husband of the peerless Kate Rusby-and all those at the aptly named Pure Records in Yorkshire.Cathie seems unable to utter anything but the most lovely phrasing when she sings.That would be enough to please any listener.But, here she has forces aplenty assisting her.The guitar work is matchless throughout-especially John Doyle's and Kris Drever's.The multi-instrumental John McCusker brings that beautiful work he's displayed to such great effect on all of Kate Rusby's cds: fiddle, whistles, and cittern.He's also written a great jig and a smashing reel for this collection.Phil Cunningham's accordion has a personality all its own and appears throughout.Backing vocals are splendid-especially Karine Polwart's. The songs are so good that it's difficult to pick favorites-I won't try.Notable, however, is the traditional ROUGH AND ROCKY which Cathie heard originally on Emmylou Harris's great early album, BLUE KENTUCKY GIRL.If you can imagine one of the most beautiful voices in the world singing the following verse from the traditional (and by Dermot Henry), "As the Evening Declines," you may get the idea how great this work is:

You can have all your gold, the high king of all metals
With soft talk and kisses we'll never want better
And the west of a ditch is the best of all settles
Glory o, glory, glory when the evening declines
Glory o, glory, glory as the evening declines

A Very Captivating Experience
From the extended instrumental introduction to the opening song, "What's Closest to the Heart", to the four-part harmony of the final number, "Home Sweet Home", you will be transported by the music on this CD. While each of her "solo" effort CDs continues to top my list of favorite music, this one is the cream of the crop. As always, her singing is distinctive, and expressive; a perfect fit for each song. The arrangements and instrumental work are flawless. It would be difficult to match the number of "goosebump" moments produced by this album. You may want to listen to this CD in the car on the way to or from work, but you might miss some of the beautiful, intricate instrumentation. You may be tempted to listen to it as background music, but you will miss the touching lyrics. No, the best way to listen to this music is in quiet, with someone you love, and a cup of tea or a glass of wine, and let yourselves be completely taken in by the experience. ... Read more

Amazon.com essential recording

If you buy Great Days: The John Prine Anthology, you may live to regret it. He's probably the best American folk-song lyricist of his generation, mixing low-key poignancy and deadpan humor in perfect proportions. His musical limitations serve to reinforce the understated nature of his art, and his short, plain-spoken lines (written in the offhand conversational style of his Midwestern and Appalachian characters) sneak through the back door of your imagination and won't leave.So where does the regret come in? Well, as you listen to the 41 songs arranged chronologically on these two CDs, you're going to ask yourself, "If someone can write 41 songs as good as these, isn't there a good chance he wrote more than 41?" After hearing the anthology's six songs from Prine's 1971 debut album, for example, you may decide to go out and buy that album itself. After you hear songs as delightful as "Pretty Good" and "Your Flag Decal," which didn't find their way into the collection, you may soon find yourself hunting down all 10 of Prine's original studio albums. Then you may regret having bought Great Days. --Geoffrey Himes ... Read more

Reviews (28)

The earliest material is the most memorable...
There are lots of selections in this compilation, but the songs from John's first album are the clear standouts. "Illegal Smile" and "Spanish Pipedream" and "Hello in There", along with "Sam Stone", "Paradise" and "Donald and Lydia" have never really been equalled in the 30 years since. I am glad John is still performing, and I loved his recent album of country duets "In Spite of Ourselves", but this collection shows that after his first self-titled record in 1972, John had a hard time. There are about 28 other titles in this two-volume set, and only a few are truly distinctive. None, of course, are horrible, because we are talking about John Prine, but the MAGIC was there on his debut, and has not quite been there for any one release since.

A Whole Lotta Prine
Checking in at 41 songs, "Great Days" is a generous anthology to say the least. As such it exposes one truth about John Prine, namely that while he is at times a very gifted folk rock songwriter, his output of first rate songs is not that prolific. Nevertheless, the album touches on all phases of Prine's career, from his hippie influened early days ("Illegal Smile") to his whimsical middle period ("Fish and Whistle") to his 1990 "comeback" ("Sins of Memphisto"). Along the way, the only notable exclusions are "Your Flag Decal Won't Get You Into Heaven Anymore" from his debut album and maybe a couple of more selections from his excellent 1990 indie album "The Missing Years." There are plenty of great tunes here, but unless you are a big Prine fan, you will probably find listening to the entire collection at once a bit taxing. Prine at his best is a songwriting force to be reckoned with, but throughout his three decade recording career he has been at his best only fitfully.

Oveerall, a tad overlong anthology that neatly sums up the career of this vital American folk rock artist.

Side 2 is underrated
The first CD has may of Prine's most well known songs, which makes for a very strong CD. When I first listened to the second CD, though, I was initially disappointed thinking that it wasn't as strong as the material on the first CD.

Multiple listens, though, convinced me otherwise. It's just that John Prine mellowed and the second CD is calmer and perhaps sadder than the first CD, but the work is no less powerful. So buy it for the great songs on side one or the underrated songs on Side 2. Either way it's a good investment.

OHHH, SO GOOD
I love this guy. I only got turned onto his music about a year ago, and I'm sure that I have a lot more to learn about his music. I heard a little tune called "your flag decal" and another one called "take a look at my heart". I consider those two tunes to be some of the best songs I have ever heard. Even though, neither of those are here, I was convinced to by this two-disc anthology, and I'm So glad I did. I've had this collection for about six months and one of my favorite things to do is to play this whole thing from front to back when I decide to stay home all day.

I really don't know how to describe his music or his voice. The only thing that comes to mind is "greatness". His voice has a soothing charm and the lyrics stay with you. It is so rare for a compilation of this size not to have one bad song. In fact, I can't think of another one. Every single tune is just awesome and (like the editorial said) you WILL want to go and track down his whole catalog.

That's really all I can say about this great guy and his music. There are fun songs and there are some not-so-fun songs. They're all great. Just wonderful.

Great
That's the way that the World goes round, best rendition of the classic song. John will be in our ears and hearts forever. ... Read more

Amazon.com

For their 10th album, the veteran Irish ensemble has gathered 13 traditional and newly composed tunes. These are transformed via singer/fiddler Mairéad ní Mhaonaigh¹s Gaelic-speaking Donegal birthright and gussied up by the group¹s modern yet reassuringly earthy acoustic arrangements. The set list includes several of the jaunty dance tunes that are the soul of Irish music; Is the Big Man Within/Tilly Finn¹s Reel is an especially fine example. But Ní Mhaonaigh¹s fragile, girlish soprano creates many of the album¹s most memorable moments, Adieu My Lovely Nancy and a lullaby, Dun Do Shuil linger in the heart and ear. She and her husband, accordionist Dermot Byrne, own a pub in a small village called Teelin and it must be a great place for musicians to swap songs and tell tales. Indeed, the entire album has home-town warmth to it, a sense of achieved heritage that is at once soothing and invigorating. --Christina Roden ... Read more

Reviews (5)

Altan -- timeless celtic soul music
Not having heard Altan before, I took a chance on LOCAL GROUND, convinced by those who said this was one of theirbest, and I'm certainly glad I did -- the format is songs with lovely vocals by Maread Ni Mhaonaigh, who also plays fantastic fiddle, alternating with instrumentals, lively toe-tapping jigs and medleys of reels.I listen to all sorts of music, I'm not immersed in this style, and so I lack the knowledge to compare this album to other traditional Irish music.I do know Altan has the reputation of being the finest of its kind in the world, and based on LOCAL GROUND I can see why.Absolutely timeless, this is music that humans might have made from the beginning of time and might be making until the end of time, with joy, sorrow, love, regret, nostalgia, longing, and sheer celebration of being alive another day!

Round the House and Mind the Dresser
Nobody does Irish-traditional better than Altan, though they seemed to have lost some of their edge and authenticity since leaving the marvelous Green Linnet label.All that has changed with the release of this CD, perhaps their best since "Harvest Storm". The joy has returned to their jigs and reels (and nowhere in the genre can you hear tighter ensemble playing), and they will indeed make you dance around the house.They've gone back to some numbers from earlier in their career, like "Tommy Peoples", but they've also brought some "new" ones with unusual time changes.In contrast, their ballads and songs have a deeper ache, thanks to the fragile soprano of fiddler Mairead Ni Mhaonaigh, who seems to get better with each album.It's interesting to reflect on the history of some of the songs here.For instance, the band learned "Adieu, My Lovely Nancy" from an American friend, who learned it from a woman from the Ozarks, who in turn learned it from her Irish-immigrant grandfather. So the song seems to have come full circle."The Wind and the Rain" is a revelation too:it's a story of a young woman's murder of her sister, and her sister's unusual vengeance.It's been told in several versions, including "The Bonny Swans", popularized not long ago by Loreena McKennitt.And Bob Dylan "borrowed" elements of the lyrics and melody for an early work of his, "Percy's Song".But history aside, there's no question this band is heir apparent to the Chieftains, as they expertly carry Irish Celtic music into the next generation.They found the spark again, and Frankie Kennedy must be smiling down on them.

Native Song
Well, anyone fanatical enough to be interested in making fine distinctions between Altan's albums surely realizes Harvest Storm and Island Angel were miraculous.It brings to mind -- to my mind, anyway -- Yavanna's lament (she who created the Two Trees of Valinor): "Even for those who are mightiest under Iluvatar there is some work that they may accomplish once, and once only."It doesn't seem right to judge this album less than five stars just because those others were off the end of the scale.

Local Ground is similar to their earlier albums, in contrast to certain of the more recent ones, which were throwing out signs of drifting into popground, at least in matter of the song selection (which is my chief interest).One of those (which shall remain nameless) was drifting pretty far, and for some reason had a concentration of English songs (some of them being a bit slow and somewhat unmelodic) that obscured the whole Gaelic aura of the thing.Although I might not have noticed this had I not listened to it every day for three years (I told you I was a fanatic).

I'm not sure I agree with the official reviewlet, above, claiming Mairead has a girlish soprano -- whatever that is.This comes across like an offhand and harmless remark by someone who doesn't know any better.A beautiful voice is more like it.I tell you what, sit in the third row sometime; it might happen that she'll sing "Uncle Rat."There is nothing girlish about it.What might be more to the point is that she is a native speaker of Donegal Gaelic, and so she renders the songs therefore with precision and authority (also the English ones).Most languages sound better sung (especially by a woman or a female chorus) than they do spoken, but there is a peculiar indescribable magic to the Gaelic songs, deriving largely, as it seems to me, from the language itself.

Altan is sitting on a treasure: Irish music in general but in particularly song.Liam O'Conor and the late Derek Bell, in their book Traditional Songs of the North of Ireland, put it like this: "The Gaelic Songs are incomparable."Typical laconic Irish understatement.But there is not much to be added to that observation other than to say it is most certainly true.And here, in Local Ground, we find more treasure brought out into the open.The track most interesting (and which is not a song) is perhaps "Sport," composed by Peadar O'Riada, of Cuil Aodha (Cork gaeltacht, I believe).The modern musicians can still turn out a tune, if that is an issue here.Perhaps it caught my eye because I've been to Cuil Aodha.I heard Cliar deliver "Si do Mhaimeo I."There were three of them singing, and it was overpowering.Though there is nothing so massive on this album, yet overall it is energetic, lyrical, and memorable.It is reminiscent of Blackwater; it might be considered a little brother to Blackwater.And it includes an alternate version of one of the songs earlier appearing there (I love alternate versions, both the idea and the execution).Of course there is fiddling, too: the fiddles "sing," so to speak.They always do.Nor is that all; Altan has a very rich sound, as they are all virtuosos who play extremely well together.A lullaby concludes the album, one that is beautiful, beautiful, done with a mother soprano, with an echo of the Otherworld.

Thank God for Altan.

A Rejuvenated Altan:lively jigs,reels and gorgeous vocals!
They're back!The lovely Queen Mairead of Irish traditional music is back! She is truly one of the larger than life personalities for her beautific voice, easy smile and laughter, and her whole sense of musical enjoyment.This is a new album, new material and renewed energy. Altan has been with us since the 80's and have been easy to take for granted as Irish traditional music history after a "best of album," a "finest" album and a gap of time. Just when we are ready to bid a fond farewell, they are rejuvenated and back with the inspiration of yesteryear. Mairead's beautiful voice, and spirited fiddle playing, teaming up with her husband, Dermot Byrne playing button accordian, are a grand picture of marital and musical harmony.Ciaran Tourish is back with very spirited lead fiddle.Then there is the solid foundation of Altan music, the excellent bouzouki (deep voiced, large mandolin) playing of Ciaran Curran. He has been one of the real pioneers of this instrument. He teams up with the excellent veteran guitar player, Daithe Sproule.If all lead instruments were muted, this two person team accounting for more than a 60 years of experience between the two of them would be astounding. Jim Higgins is back again on bodhran and provides an extra snap to the faster pieces to get your toes tapping.Taken as a whole, this album repeats a previous Altan formula of playing lively, music and then changing the pace with gorgeous vocals from Mairead. This is a must have for any Irish Traditional Music collection.

Their Best Post-Frankie CD
Absolutely understand that it is not in Altan to turn out a bad record, even if they came perilously close to becoming the baby-boomer Chieftains (venerable, but hardly exciting), what with the tour with the faux-Mairead (to paraphrase Joan Cusack, 'sure you're blond and can play the fiddle, but that doesn't make you Mairead.') and the parade of guests on recent CDs. But it seems rather convincingly that what drove Altan all through the Green Linnet years has resurfaced, resulting in what is the best CD since ISLAND ANGEL. There is a root sensibility to this that always infused the early records but was becoming lost in the move to a big label. What had been authentic was teetering on cliche in the Virgin-Narada releases of the past years. None of that is the case here.
Instead, Mairead seems more in charge of the proceedings than ever and Dermot Byrne has found an urgency to go with his fleet command of the button accordion, kinda like a Belfast flautist I remember from some years back. It was never just the technique, but the fire within. Dermot's playing is quantitatively and qualitatively different and that pushes this band in ways it hasn't been pushed since the 90's. At the risk of committing heresy, the attack on the second set of reels, leading off with "Tommy People's" ( a reel covered on the Ceol Aduaidh CD) packs a dynamic that actually transcends the earlier take from Frankie, Mairead and the inimitable Ciarn Curran. And while we're on the subject of Curran, I haven't heard him this fired up outside of a live set ever, and it is a joy, in fact one of the reel seminal joys of Irish music to hear Ciaran Curran lit up and playing like his life depended on it. The most unsung hero of the Irish bouzouki ever asserts himself, balls forward, and Altan is the better for it.
There is a terrific take on all the songs. "Adieu, Sweet Lovely Nancy," otherwise a chestnut, verging on party-piece, is given just enough of a countertempo to put a little something in the trunk. That is true throughout the disc, courtesy of unofficial seventh member, percussionist Jimmy Higgins. Steve Cooney drops in for a bit of even heavier bass, though not quite as slap driven as Manus Lunny in Capercaillie. Carlos Nunez appears twice with his earthy gaita playing, and it all serves less to highlight what neat friends they have, and more to underscore what great musicians can do when they surrender to the confidence of Music.
Any complaints? Quibbles only: the reverb is a little too Clannad on "Amhran Pheadar Bhreathnaigh". And why on earth is it necessary to put an FBI warning on a nice bit of graphics. I suspect mairead gave some thought to the artwork selected. Is it really necessary to put a legal threat overlaid upon it? The only other element I continue to ponder is the under-utilization of the voice of Daithi Sproule. In addition to being one of the exceptional guitarists in any discipline, Daithi's Derry accent brings a bittersweetness that is the absolutely perfect compliment to Mairead's unique pipes. In Concert, the man who is essentially at this point the George Harrison of Irish music, gets his couple of tunes, and his backing harmonies give a dimension to the songs they so desperately need. Yet, on CD, you'd have a good night's fun picking out his contribution. Don't quite get that. Lennon and McCartney never quite got it either. There's likely a Derry seige on ALL THINGS MUST PASS somewhere in the pipeline. Let's hope it arrives in the context of his work with Altan.
All in all, though, 5 stars. Altan has recovered the ground, to analogize Heidegger. This is the Truth. Listen. ... Read more