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Whereas Nickel Creek'sdebut album established theyoung California trio at the progressive vanguard of traditional bluegrass, thisambitious, risky follow-up finds their acoustic artistry straying far afield.Mandolin player ChrisThile and the Watkins siblings--guitarist Sean and fiddler Sara--continue toimpress with their intuitive instrumental interplay and lush vocal harmonies.Sean Watkins's title cutachieves the sprightliest blend of traditional bluegrass instrumentation andcontemporary pop craft, while the ruminative melancholy of "Hanging by a Thread"and "Green and Gray" sound as though Thile has been listening to a lot ofElliott Smith (andreading the published poetry of Jewel). The album also featuresPavement's "Spit on aStranger," CarrieNewcomer's "Should've Known Better," and a traditional British ballad,"House Carpenter." However, much of the collection's original material lacks thematurity to match the trio's musical gifts, as songs incorporating influencesranging from neo-psychedelia to alt pop often suffer from self-consciousness.Kindred-spirit producerAlison Krauss plainlygave the project a long leash, and the results can be viewed as either sophomoreslump or creative growth spurt--or perhaps both. --Don McLeese ... Read more

Reviews (186)

Well, now...
I bought the first Nickel Creek album (self-titled) immediately after I heard "When You Come Back Down" for the first time. I was immediately drawn in by the skilled performances, the complex melodies, and the group's unique sound. "This Side" definitely surpasses "Nickel Creek" in the uniqueness category. It contains more vocal tracks (only one of the thirteen is instrumental), which both disappointed me (I love the instrumentals from the last album, as well as Chris Thile's newest album), but also pleased me, as I love hearing these guys sing.
Now, onto the tracks. "Smoothie Song" is an awesome instrumental. I really liked it. "Spit on a Stranger" is sung by Chris Thile, and it is a fun song. Another one of my instant favorites is "House Carpenter", a variation of a traditional Scottish song. "Young", "Brand New Sidewalk", and "Green and Gray" are a couple more I really like. I'm still sitting on a couple ("Sabra Girl", "Beauty and the Mess", "Seven Wonders"), but they'll probably grow on me. Incidentally, those all feature Sara Watkins as the lead vocalist, but that's nothing against her.
Overall, if you're not willing to be very open to this album, I doubt you'll like it. It's definitely different than their debut, and, at least for me, is taking a bit of time to sink in (if you buy it, you'll know what I mean.)
If you're in for something new, fun, unique, DIFFERENT... Definitely buy this album. I really like it. If not... Don't buy it, and then come on here to whine about it.

I do not mind experiments, but I hate bad singing
One thing I loved about the first Nickel Creek CD was the great vocals. Of course the playing, lyrics, and song writting were great too, but not many groups out there can actually sing. Maybe I am to used to the precise vocals North Indian classical music where a vocalist warbles between quarter tones on purpose or can hold any note without vibrato. Most vocal music, including western classical, suffers from whinning, squeeling, weezing, grunting, etc. I especially hate the "constipated lead vocalist" approach (see U2). Guess what? This album suffers from nasty vocals like most pop music. I do not mind experiments or groups changing directions. I do not care that this is a non-bluegrass album. I do care that the quality has diminished (not the playing). I have not purchased this CD because every sample I have heard has terrible vocals. Everyone says "Green and Gray" so beautiful. Well, I heard such miserable singing there is no way I could enjoy it. I will still anxiously await thier third album, but in the meantime I am still searching for good vocalists to add to my mostly instrumental collection.

Awesome Follow-Up Album
I've listened to this album numerous times and i find something new i like about it everytime. A total 180 from their 1st project (another classic), but still maintains the same quality that their self-titled debut introduced us too. 5 STARS!!!

I'm Very Disappointed With This Album
Nickel Creek are a fantastic neo-bluegrass group. Each member has a unique contributions to each songs that they create. Their individual talents I'm afraid got the better of them on this sophomore album. The songs are lacking the melody and energy of their self-titled release. I know many people will say "Oh well they are just trying something differnt," which hey is fine, but just because you go in a new direction doesn't mean you have to abandon the sound, which you've already established. You're merely adding more. I think they were trying something different just for the sake of it. I do, however, like some of the songs off this album, and those would be "Smoothie Song" and "Seven Wonders." Those are the only songs that had the band's prior sound, and even those songs sound different in many ways.

This album was a big disappointment. As far as individual talent goes within this band, check out Nickel Creek guitarist Sean Watkins' 2001 solo release called "Let It Fall." You should also definitely check out Chris Thile's 2001 solo release called "Not All Who Wander Are Lost." Very cool instrumental album.

I'm looking forward to Nickel Creek's next album, but I hope they don't move in totally different direction, because I really enjoyed the first album.

Creativity?
I am reading a lot of reviewers saying they are creative, which is driving me crazy. How many covers are on this album? What is really pissing me off is that their Pavement cover sucks. Pavement is so much better and then Nickel Creek comes is having trouble making their own material for their next album so they steal songs from people that are better than them. Nickel Creek does get some credit, however, for having some good taste in music. They obviously like Radiohead (The Greatest?) and probably Pavement (THE Greatest)too because they did that cover. ... Read more

Amazon.com essential recording

After the expanded instrumental scale and sonic experimentation of Court & Spark and The Hissing of Summer Lawns[EJM2], Joni Mitchell reverses that flow for the more intimate, interior music on Hejira, which retracts the arranging style to focus on Mitchell's distinctive acoustic guitar and piano, and the brilliant, lyrical bass fantasias of fretless bass innovator Jaco Pastorius.Known for his furious, sometimes rococo figures beneath the music of Weather Report, Pastorius is tamed by Mitchell's cooler, more deliberate ballads: these meditations coax a far gentler, subdued lyricism from Pastorius, whose intricate bass counterpoints Mitchell's coolly elegant singing, especially on the sublime "Amelia," which transforms the mystery of Amelia Earheart into a parable of both feminism and romantic self-discovery.This isn't Mitchell at her most obviously ambitious, yet the depth of feeling, poetic reach, and musical confidence make this among the finest works in a very fine canon. --Sam Sutherland ... Read more

Reviews (73)

"Shine on your witness, taking refuge in the roads..."
This album, released in 1976, is largely considered to be Joni's best. Joni alienated a lot of people with her previous album, 1975's "The Hissing of Summer Lawns." That album was lambasted by critics, leaving her very bitter. "Hejira" was very experimental but a bit more controlled. Here is a sound that is indigenous to Joni, you will never hear another album that sounds like this. The sound was described as being "as open and free as the Canadian prairies that spawned her." Joni herself says it has an "introspective, Buddhist quality." In late 1975, early 1976, Joni was driving alone from California to New York. Every time she stopped somewhere for the night, she would sit down and write a song. This is a song cycle about traveling, and the tales of the strange and not-so-strange people she met on the road, and also of different thoughts that came to mind. I'll tell you right now, you can sit down and listen to this album and appreciate the talent of the musicians, the beauty of Joni's lyrics, melodies, and arrangements, and the brilliance of her wild, out-there guitar tunings. But in order to really "get" this album, you have to travel a great distance along an unfamiliar route, by yourself, with this record playing. I've done this, and I can honestly say that I now appreciate the album on a great many levels. All of these thoughts really do come into your head. And I'll tell you, I lived parts of "Refuge of the Roads." Read along with the lyrics; I met a guy who drank and womanized but had some smart things to say. I also met a few drifters in a beach town (but I didn't wind up fixing dinner for them and Boston Jim). The title itself is pronounced hee-ZHEER-uh. It is an English word with Arabic roots meaning "leaving the dream no blame." Joni said that she was looking for a word that means the equivalent of "running away with honor." She joked "Exodus was taken, that belongs to Israel," and she found "hejira" while perusing the dictionary. And if you ask me, the album cover itself perfectly suits the album's content. Joni standing alone on an open stretch of land, cigarette in hand. It suits the introspective, solitary, brooding tone of the album. And the image of the road superimposed on her form means this to me: it seems to be Joni saying "You can say the miles I've traveled just by looking at me." Sorry to go on and on like this, but my love for this album knows no bounds. So in short, go buy it. Favorite tracks: "Coyote," "Amelia," "Hejira," "Refuge of the Raods."

Joni Mitchell - in a class by herself
I bought this album because I play bass and I learned that Jaco Pastorius played on it (I also got "Mingus" - "Don Juan's..." and "Shadows and Light" are on my wish list). Mr.Pastorius is a powerful presence on the songs he plays on, his melodic sense really empowers the music. But, I could not help but fall in love with Joni as an artist. Her songs most of the time seem to have no beat - the music seems to be floating around you. You almost feel like she is improvising a story right along with her guitar. I imagine her sitting by a campfire with her guitar, singing her stories all through the night. This aspect is to me, musically speaking, the one that really sets her apart. This is not verse/chorus/verse/chorus/guitar solo/chorus music. Joni takes you by the hand and guides you through the twists and turns of love, fate, loss, and the structure of the music (or apparent lack of it) reflects that perfectly.Of course, her voice itself is absolutely beautiful and evocative. Joni is one of the greatest musical talents of the XX century, and I don't think she has gotten all the recognition she deserves. Joni Mitchell is in a class by herself, and this album proves it beyond the shadow of a doubt.

Incredible then and now.
I've never written a review here, but just have to say something about this album. If you like rock and/or have liked any jazz you've heard, you will never regret giving this cd a try. Especially if you like people such as Kate Bush, Peter Gabriel, the Pat Metheny Group, Modesky Martin and Wood, Beth Orton, EBTG, Lucinda Williams, Suzanne Vega, or the shoegazers you'll love this, but that doesn't mean it sounds like them. Actually, their music was probably informed by having listened to it, but Hejira transcends categories. Each song is wonderful on its own, but the album almost requires being listened to as a whole. The lyrics are eloquent, clear-headed looks at herself and people around her, and alone are worth getting the album. The music's spareness, freshness and cohesive beauty is absolutely breathtaking. And by the way, what Jaco Pastorius did with the bass on this has to be some of his best work; if you like jazz bass you pretty much have to listen to this. Anyway, enough gushing. Just get this--but look out; if you play it in the car on a solo road trip it'll both haunt and change you.

Wonderful!!
Isn't it interesting that Joni Mitchell, a folk-turned jazz singer-songwriter earned the respect of the likes of Prince and Led Zeppelin while also influencing the music of others like Rickie Lee Jones and Suzanne Vega? Mitchell is the consummate musical artist, and the greatest lyricist in pop music over the last 50 years. This is one of her many masterpieces, fully the equal of Blue, Court and Spark and For the Roses. Buy it, you'll fall in love with it.

Timeless...
Thanks to "The Loft" on XM Satellite, I've reawakened to Joni Mitchell. I heard the title cut to Hejira the other day and her phrasing of "we're only particles of change I know, I know" caught my attention. I went out and bought the album last weekend and have been listening to it over and over like a mental patient. In high school I liked "Court and Spark" and later enjoyed "Blue" but this one's much better in my opinion, and after reading some of the other reviews, I don't think I'm alone. Although it sounds as if she hadn't sung "Cyotte" enough to really pace the words yet (compared to the live version on Shadows and Light), her performance of Hejira is worth the price of admission alone. This is a beautifully written and performed song that ranks up there with the very best pop music ever done. I'm happy to be a fan once again, Joni. ... Read more

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Dan Zanes, lead singer of the 1980s roots-rock band the Del Fuegos, didn't need to enlist the high-profile help of pals Sheryl Crow and Suzanne Vega to produce a crowd-pleasing kids' record, but he got it anyway. On Rocket Ship Beach, where traditional tunes such as "Polly Wolly Doodle" (with Crow) and "Erie Canal" (with Vega) mingle in loosey-goosey, just-for-the-fun-of-it fashion with originals such as the plucky "All My Friends Live in the Woods" (written by Bad Company buddy Simon Kirke), Zanes exhibits the same plugged-in exuberance that gave his former band its unpredictable zing. Besides the no-amateurs instrumentation, which includes Zanes on guitar, lap steel, banjo-mandolin, and studiophone, and G.E. Smith on banjo-mandolin and guitar as part of a kickin' string band that performs the classic "King Kong Kitchie," plus a cluster of others, what stands out most about this 17-track funfest is its draw-you-in friendliness. Pitching in with the pros (who also include dancehall rapper Rankin' Don--he delivers the gruff stuff on "Father Goose" and "Sunny Side of the Street") are family friends such as the gang of West Indian babysitters turned vocal group the Sandy Girls, who give it up to impressive, get-you-boogying effect on "Emmanuel Road," and a kindergarten class that contributes, adorably, to "Sidewalks of New York." All told, this is way hipper than most kids' records and it also razzle-dazzles with its packaging--Rocket Ship Beach arrives in a chunky, colorful board-book illustrated with sweet, fantasy-fueled beachside scenes by banjo player and Zanes's brother-in-law, Donald Saaf. --Tammy La Gorce ... Read more

Reviews (34)

Not Just For Kids
My wife, son, and I were given this CD as a gift. I was skeptical because I feel many new efforts geared towards kids are either too Smurfy or too preachy. I was very pleasantly surprised. This CD is now not only one of my son's favorites, it is also a favorite of his parents.

Zanes has put together a collection of songs that keep you tapping your feet the 70th time you listen to them. I stay at home with my son and this music has saved me many times when he has been too cranky to eat, or hang out by himself while I get a few things done. After a little dancing to "Polly Wally Doodle" or "Erie Canal" he is bright and cheery.

I knew many of these songs before I heard the CD - - but not all of them. And even though I knew the tunes, Zanes has produced them in fresh new ways sure to surprise even the most jaded parent.

It was fun to hear artists I had heard previously singing songs for kids. I especially like the efforts of Sheryl Crow, Suzanne Vega, and Barbara Brousal - - all of whom sing with the same clarity and spirit their fans love them for on their own CDs.

I can't recommend this CD highly enough. If you have kids you owe it to yourself to buy this and share it with them. If you don't have kids I recommend it as a charming, happy, intelligent collection of cherished songs by a group of talented musicians.

Can't say enough...
I honestly can't say enough...I recently went on a mad search for "listenable" children's music and fortunately Rocket Ship Beach was recommended. I purchased about 10 other children's CDs at the time and this one is the definite favorite! My 2 1/2 year old requests "Goodbye Old Paint" at least once a day and it hasn't even started to drive me crazy. Every track is great! I'm thankful for Dan Zanes and company daily. I bought "Family Dance" (his 2nd CD) as well, and while it's good, "Rocket Ship Beach" gets more air time. I would buy them both, but if you need a place to start go with "Rocket Ship Beach".

Baby Music you can Actually enjoy
My husband and I listen to different children's cd's in the car with our children almost every day, and in the kitchen while making dinner. This one beats them all as we all enjoy the laid back feel it brings to us, the folksy rhythm, the swanky voices. A must for parents who are tired of singing their ABC's.

Kids and Adults will enjoy this music
My husband recently purchased this for our 17 month old daughter. It is music that we both enjoy. We catch her in the back seat bobbing her head to the beat of the music and 'chair dancing' in her car seat. This is a wonderful collection of children's music that adults can enjoy as well. It is not the same old boring nursery songs or the classical music that is more appropriate for wind down time. This music is great for the car or during play time. A must for parents. I wish we would have known about it sooner. Now all my friends are getting it for gifts.

I just love this guy...
We just took our little guy to see him, and he met everybody after the show...He had a toddler mosh pit. It was awesome. And this album is great. ... Read more

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Eva Cassidy fans surely feel something akin to relief when another cache of tapes is opened for release. The singer's 1996 death at the age of 33, after all, rendered her output finite in the saddest and most frustrating way. American Tune's modus operandi is similar to previous Cassidy CDs in its mix of standard repertoire (here, everything from "Yesterday" to "God Bless the Child" and Ray Charles's "Hallelujah I Love [Him] So" rubs shoulders) and fine, less obvious choices (Joe Simon's early-'70s soul hit "Drowning in the Sea of Love"). The sometimes pedestrian backing does little to spoil the pleasure of Cassidy's pure tone and the surprises she's able to wring from the material--on the Charles tune, she even suggests a distaff Lyle Lovett. She'd no doubt be pleased to know that tracks uncovered at this point now sound like, well, notes from a missed, much-loved friend. --Rickey Wright ... Read more

Reviews (47)

Brilliant, but not the masterpiece of "Live at Blues Alley"
New music from the Eva estate. This album will be a huge seller, and may outdo "Songbird". I will say this though, nothing to date surpasses "Live At Blues Alley" (the true Eva CD). Nevertheless, this is still a fantastic album.

"American Tune" is a collection of 10 songs featuring covers of some very humble tracks including Cyndi Lauper's "True Colours" and The Beatles "Yesterday". The title track of course being a Paul Simon cover..

Included on this album is another version of "God Bless the Child" which she did as a duet on her album with Chuck Brown titled "The Other Side".

The highlights on the album are "The Water is Wide" and "You Take me Breath Away" - so beautiful they will bring tears to your eyes.

This may be the last of Eva's recordings, so grab yourself a copy and disappear for awhile.

Eva's amazing voice overcomes all limitations
According to the liner notes, these tracks are from rehearsal tapes and live recordings, yet Eva's remarkable singing is at the same high level as on many of her other excellent recordings. Her voice soars as she sings such familiar songs as "True Colors" and "Yesterday." Her soulful version of "The Water Is Wide" may be the best-sung I've heard heard, possibly only 2nd to James Taylor's. It's all about Eva's vocals, as the backing band is merely adequate, often sounding like a pick-up band at some club. (If you disagree with me, listen to the uninspired support for Eva on "Hallelujah I Love Him So.") Of course some of that is to be expected with the raw nature of the recordings.

One suggestion I have for the Cassidy Clan is to hire an actual professional artist or art company to do the CD covers. The cover for this new CD is yet another amateurish work like something you or I could do with publishing software at home. It's "pick a photo, pick a font, you've got the cover!" The weak CD covers do Eva a disservice.

Eva and Genie make great chill out music - American Tune
I got this CD at the same time as some other Eva and the Wildflowers love songs by Genie. They were recommended together and what a great recommendation - they are both great in their own ways. I splurged but it was way worth it!

The Wildflowers Love Songs CD by Genie is slower and more peaceful. It's like the softer parts of Molly and Yesterday, before Eva gets loud.

I use the Genie Wildflowers CD for resting and dreaming, and I use Eva for a little variety when i've played Genie's about a million times. It's all good. Great music is great music - nothing else in the world can make me feel so good.

Such a beautiful voice...
Her interpretations of these songs highlight her gorgeous pitch perfect singing voice. Get this record. Get all of her records.

Eva is a must
With soulful phrasing, and a haunting voice, Eva is one of the best american singers to date. True, however, she is unknown to many, Eva Cassidy is one singer no one should be without. She is to vocal music as Monet was to paint. Her coupling of notes is much like that of an the painter, coungering up images and thoughts, leaving even the most burdened heart left with an uplifting embrace. She was one of a kind, and will serverly and sadly be missed. ... Read more

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Leonard Cohen must be the envy of countless singer-songwriters. Who else has been cozily buffered from the ravages of pop music than this eminent but never particularly prominent Canadian wordsmith? Nearing four decades as a recording artist, Cohen has never left his original label, despite failing to ever register anything resembling a commercial hit. Long ago shed of the "new Dylan" trappings that greeted his first recordings, Cohen now cushions his carefully wrought lyrics in smooth keyboard-and-vocal-heavy arrangements that owe far more to MOR pop and cabaret then folk-rock. His words and delivery have become more nuanced and playful as he's grayed. Listen to the sexy self-deprecation of "Because of" ("Because of a few songs/ Wherein I spoke of their mystery/ Women have been/ Exceptionally kind in my old age") or the weary resolve of his 9-11 statement, "On That Day" ("Did you go crazy or did you report/ On that day…they wounded New York?"). Dear Heather, likes its creator, is at once new and old, familiar and fresh. --Steven Stolder ... Read more

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Imagine songs in the populist, topical tradition of Woody Guthrie and Pete Seeger set to the soundscapes of Moby-style electronica. Not all of Ellis Paul's first album in three years offers such an aural adventure, but the opening track, "Blacktop Train," combines propulsive syncopation, synthesized punctuation, and an ethereal female vocal that take the music far from folk convention, while "Kiss the Sun (A Song for Pat Tillman)" sets acoustic guitar to a digital pulse. In the centerpiece that passes for a title track, the veteran New England troubadour asks for a jukebox instead of a headstone on his grave, evoking a litany of inspirations that extend from Hank Williams and George Jones to Marvin Gaye and Joni Mitchell. Though Paul's reedy vocal remains relentlessly earnest, and his lyrics can get a little precious ("Time is a bird that can't be caged"; "I want to paint your world like Marc Chagall"), the inventive arrangements and buoyant melodies help lighten the artistic load. --Don McLeese ... Read more

Reviews (2)

Imagination and skill results in a polished & fanciful album
Playing Time - 55:06 -- From the stock of Maine potato farmers, Ellis Paul moved to Boston, studied music, connected with the roots of the folk genre, then proceeded to develop a signature singer/songwriter sound that now incorporates pop, rock and contemporary sensibilities. Ellis Paul's wise perceptiveness and charisma have built him a strong fan base. He's also a hardworking, resilient touring artist who has garnered numerous awards for ten album releases andmusic, some of which has been featured in soundtracks for the films, Shallow Hal and Me, Myself, & Irene.

"American Jukebox Fables" is Ellis' first solo CD since 2002's "The Speed of Trees." I immediately noticed that his voice has much character, and his songs understand the bond between land, life, heart and soul. The CD begins on an up-tempo note, but Ellis can also create an intimate and familiar feeling with songs like "Time" and "Goodbye Hollywood." Keyboards and percussion provide the primary instrumental excitement that serve to increase the emotional impact of his material. I did feel, however, that some selections could have included more vocal harmony. Produced in Boston by Flynn (see flynnmusic.com), "American Jukebox Fables" also had the able support of Rachael Davis.

Ellis possesses all the fundamental elements for success as a singer/songwriter.His messages are profound, and they make us think. "Bad, Bad Blood" is a hard-hitting tale about a life of being addicted to money and love. "Home" is a lover's tribute with Ellis singing "this house is just an address, you're my home.""Jukebox on my Grave" leaves us with his simple wish to mark the music man's ultimate resting place. His jukebox songs also reference some of his influences - Bob Dylan, Joni Mitchell, Marvin Gaye, Johnny Cash, George Jones, Rolling Stones, Hank Williams, Buddy Holly, and others. It takes a lot of imagination and skill to be both polished and fanciful all in one. Ellis Paul shows us how to do it in a distinctive, erudite and masterful fashion. (Joe Ross)

"folk storytelling and compelling lyrics ~ Ellis Paul"
Philo and Rounder Records present the latest contemporary folk album "American Jukebox Fables", featuring Boston's own Ellis Paul on Guild D-100 high string and a Santa Cruz 6 string acoustic...along with Ellis we have Flynn who brought up the rear on everything under the sun, plus Rachael Davis vocals on background and various parts and Keith Reid sitting in on a strident piano on two tracks.

All songs composed by Ellis Paul and in alphabetical order:

ALICE'S CHAMPAGNE PALACE
BAD, BAD BLOOD
BLACKTOP TRAIN
CLARITY
GOODBYE HOLLYWOOD
HOME
JUKEBOX ON MY GRAVE
KISS THE SUN (A SONG FOR PAT TILLMAN)
MARC CHACALL
MYSTIFIED
SHE WAS
TAKE ALL THE SKY YOU NEED
TIME

Paul's stories told through his lyrics are sometimes overpowering...his signature is folk with blends of rock arrangements...creative settings utilize both his way with acoustic and background sentimentality...entire album is amazing, instantly grabs you...very beautiful and haunting can't get enough of "JUKEBOX ON MY GRAVE", with lyrics like "my friends when they drop by can drop a quarter down, as flood of memories come wave by wave"...and the rest is "you can hear Hank Williams, George Jones, Beatles song, Dylan, Rolling Stones, Joni Mitchell, Marvin Gaye and Johnny Cash singing "Ring of Fire" upon my grave", the point is well taken, fits the times and events that have gone on decades before.

Many highlights on this album, but listen to "ALICE'S CHAMPAGNE PALACE", "I guess sometimes you gotta go to the end of the earth just to turn yourself around"...Ellis poetry is brilliant as you become completely engulfed in his melodies with heartfelt lyrics...open the jewel case, put on the CD and sit back in your car or at home, forget about what else is happening around you...just relax you can feel the music and are transported into another world...just the way it should be!

Total Time: 55:00 on 13 Tracks ~ Philo/Pgd 711246 ~ (4/05/2005) ... Read more

Reviews (43)

I wish he was back!!
I wish Cat Stevens was back... I miss his talent and his creative genius. Our loss is Islam's gain. At least I can stick this CD in and enjoy the likes of "Peace Train," "Oh Very Young" and "Father & Son." ...and, I am glad to say that my personal favorite "Morning Has Broken" is present and accounted for! Every time I listen to Cat Stevens's music I am transported back to the mid '70's laying on my bunk in the barracks listening to this wonderful music on my KOSS head phones! Take it from a LONG-time fan -- Buy this CD you will not regret it!

Excellent cat stevens greatest hits CD!
This collection has all of his very best in one great music compilation ever with most of Stevens popular hits from the seventies. The songs on here are really good classics like "Wild World", "Two Fine People", "Oh Very Young", "Peace Train" and "Moonshadow"!

The artist formerly known as Cat
Before devoting himself to Islam and retiring from the music scene, the former Cat Stevens produced an impressive body of folk rock employing inventive acoustic arrangements and his own expressive, gruff-yet-tender voice. This compilation does not include all of his hits and obviously none of his fine songs that did not become radio hits, but it is an enjoyable overview of some of his most popular work. Very impressive. "Oh Very Young" has always been a particular favorite of mine.

What a wonderful album!!
These are classics that will live for centuries to come.
One has to wonder why Stevens has virtually gone into hiding nowadays. He has a lot of talent to offer.

Uniquely mature artist
The thing about Cat Stevens' songs is that the guy was just 22 years old when he became a star. To hear the lyrics of songs like "Oh Very Young," "Hard Headed Woman," "Father & Son," and "Sitting," it's amazing to think that his peak of popularity was only five years along when the set was released in mid 1975. While almost every other singer-songwriter of that time was whining about their personal troubles or griping about the political arena, Stevens was treasuring humanity.

"Oh Very Young"
Oh very young, what will you leave us this time?
You're only dancing on this earth for a short time.
And though your dreams may toss and turn you now,
They will vanish away like your daddy's best jeans
Denim Blue fading up to the sky.

"Sitting"
Life is like a maze of doors, and they all open from the side you're on.
Just keep on pushing hard, boy, try as you may,
You're gonna wind up where you started from.

"Hard Headed Woman"
I'm looking for a hard headed woman,
One who will make me do my best,
And if I find my hard headed woman
I know the rest of my life will be blessed -- yes, yes, yes.
I know a lot of fancy dancers,
people who can glide you on a floor,
They move so smooth but have no answers.

"Father & Son" is a delicate and unbelievably mature and touching song detailing a conversation between two men, Stevens singing both parts, as the father tries to give his son a simple instruction on how to handle a current life-changing situation while the younger one expresses frustration at how he can't talk to his father although he wants to.

Father:
I was once like you are now, and I know that it's not easy,
To be calm when you've found something going on.
But take your time, think a lot,
Why, think of everything you've got.
For you will still be here tomorrow, but your dreams may not.

Son:
How can I try to explain, when I do he turns away again.
It's always been the same, same old story.

From the moment I could talk I was ordered to listen.
Now there's a way and I know that I have to go away.

That's special. If you're not very familiar with this artist but enjoy gentle music with a real heart, you've got to check this one out. ... Read more

Reviews (17)

The Freewheelin' Bob Dylan (1963, Columbia)
Bob Dylan remains one of the best songwriters, poets and storytellers of this time in American music history. Even after listening to "Another Side of Bob Dylan", "Bringing it All Back Home", the ever-lasting "Highway 61 Revisited" and "Blonde on Blonde"... "The Freewheelin' Bob Dylan" happens to be my most personal favorite Bob Dylan project.

Bob Dylan once said that "Poets don't drive cars"... (notice on the song "Bob Dylan's Blues" he says "I don't have no sports car and I don't even care to have one. I can walk anytime around the block...)"

Right before the dissappointing "The Times Are A-Changin'", Bob Dylan was only about 21 when he had made this album and he had known and claimed to have witnessed a lot of wars and he spoke of the natural fact that older people should know better (but some still do not). Dylan recorded the masterpiece "Masters of War" that is required listening in honor of people who have died in wars and especially the recent 9/11 attacks and how our President George W. Bush is handling the situation. It was very strong to hear how Dylan wishes someone would die in this song (and even the pitiful "You ain't worth the blood that runs in your veins). Unfortunately, not every one could have made a song like this without souding self-absorbed and orthodoxed (11 years later, Stevie Wonder [who had done a remake of Dylan's "Blowing in the Wind" in his pre-teenage years] had made a song entitled "You Haven't Done Nothing", attacking President Nixon... although that was a great song, I do not believe it was as strong as "Masters of War").

Just like "Another Side of Bob Dylan" which was filled with folk love songs, this album has a few folky love songs that are quiet, yet passionate. "The Freewheelin' Bob Dylan" is an album that I have heard recently that is a God-send to me, that I've loved all the way through and that has influenced me a lot. Although I avoid comparison in many aspects, this album is ten times better than the over-rated Bruce Springsteen album "Born to Run".

The remastered version contains rare photos of Bob Dylan with remastered sound and great Digipak packaging that's very polished.

ESSENTIAL TRACKS: All of them!

Still Relevant After All These Years
This is Bob Dylan's second album, a folk record of some of the best songs he's ever done, and he was so young. On this CD you'll find "Masters of War," a song as timely now as it was way back in 1963 and a song Dylan has revisited time and again throughout his career. "A Hard Rain's A-Gonna Fall" is on this album as well. It's my personal favorite, especially the way he performed it during the Concert for Bangla Desh with George Harrison at Madison Square Garden in 1971. If that isn't enough, Dylan performs the sweetest version of "Corina, Corina" you'll ever hear. And, of course, I have to mention, "Blowing in the Wind," perhaps the greatest protest song ever written. This CD is one you must own, though if you don't have an SACD player, stick with the original version.

Reviewed by Stephanie Sane

A great album, even for non-Dylan fans
I am not a Dylan fan. But I've got an SACD player, and whenever I notice a retailer selling off their SACD stock cheaply, I tend to hoover it up.

I've always felt a bit guilty about not liking Dylan, given that he has had millions of fans, and was, at least until his motorbike accident in 1966, as big as Elvis and the Beatles. I think the problem is that I was born a decade too late, and music has always been much more important to me than lyrics. It may be heretical to say this but, as a teenager in the 1970s, I found the music of bands like Steely Dan and the Doobie Brothers more catchy than Dylan (great though the 'Desire' LP was).

But Dylan doesn't go away, and he's now one of the few popular artists to have much of his output available on SACD. THE FREEWHEELIN' BOB DYLAN was one of the key visual references in the recent Cameron Crowe movie VANILLA SKY.

I think you have to have lived through the era to really appreciate the impact of what Dylan was doing. Coming late to the era, it matters little to a new fan that 'Highway 61 Revisited' was the first electric folk rock album. There are now hundreds, if not thousands, of electric folk rock albums to choose from, and if anything, the later ones are likely to smoothe off the rough edges of the first.

But now I have a wad of Dylan SACDs and the opportunity to wade through them in chronological sequence. And I keep coming back to THE FREEWHEELIN' BOB DYLAN because it possesses a great purity and enthusiasm. As other reviewers have said, it's just the man, his mouth organ and his guitar (apart from on 'Corrina, Corrina'). SACD captures the simplicity of his performance superbly. NB This is SACD Stereo -- not Surround Sound, nor Dolby 5.1.

The music is part folk, part blues. Yes, it's slightly repetitive in that it lacks the diversity and creative input you could get from a wider group setting. But for me, this is solo Dylan at the top of his game, bristling with confidence that an enormous audience would take to the album. To enjoy this CD, you don't need to organise a sit-in, protest march or late-night coffee with a few student friends. It really is OK to listen to this in the car or while exercising or even (heaven forbid!) as background music while working or giving a dinner party. Dylan probably foresaw none of these uses for his music, and I suspect the only protest at such abuse would come from his diehard folk fans -- the same ones who protested about his later transition to electric instruments. Me, I just love it because it's so uncluttered. (And normally I don't like folk music!)

Before the break.
His best "folk" period (accoustic) recording and possible his most individual creation to this point.

First glimpse of Dylan the songwriter
The public was exposed to the genius of Dylan's early folk writings in this album, and the results are phenomenal. It's hard to imagine the 60's without this album, as many cuts became classics. If you are intersted in Dylan's folk phase, start here. ... Read more

Amazon.com essential recording

Emmylou Harris's formula has been to match a crack crew of left-of-center country players with an assortment of tasteful tunes and head into the studio with a nonintrusive producer. Now and then (most notably the 1980 bluegrass collection Roses in the Snow), she tampers with her basic blueprint and comes up with something exceptional. Wrecking Ball is one of those. Daniel Lanois's radiant production no longer seems as fresh as it did on albums by U2, Peter Gabriel, and Bob Dylan, but here its hum enfolds Harris like an electric blanket. Lanois's usual recruits, including U2 drummer Larry Mullen Jr., and New Orleans regulars Malcolm Burn, Brian Blade, and Daryl Johnson, lay down a solid base for Harris's weary vocals and Lanois's buzzing guitar. At its core, Wrecking Ball seems almost too finely calculated. Hot producer plus sought-after songwriters plus venerated performer frequently totals to deadly bore. Here, however, all that calculation adds up to something. --Steven Stolder ... Read more

Reviews (94)

Astonishing
It's a pity how many fans want to confine artists they like in to little, narrow boxes. In their minds their favorite artists should repeat the same style over and over, in some cases virtually recording the same album time and time again.

Granted, such a formula may be tempting at times. As the old cliche goes "if it ain't broke, don't fix it," and few things can be more painful then an artist trying a new approach and failing miserably.

Fortunately that is NOT the case with Emmylou Harris and her superb album "Wrecking Ball" which will easily be near the very top of many "best Albums of the 90's" list.

The atmospherics of Daniel Lanois' production are the first thing that gets noticed, as they are radically different from the production that has been used on any other Emmylou album. It haunts. It intrigues. It buries itself inside your memory and is not easily shake.

The songs are largely the type that Emmylou has recorded before. Some outside covers from the likes of Kate and Anna McGarrigle, Neil Young, Steve Earle, Bob Dylan, Lucinda Williams and Gillian Welch etc. A few by some lesser known writers. An original collaborations, etc. There are also some Lanois penned tunes that are a bit different from Emmylou, and the whole project hangs together flawlessly and opens up exciting new possibilities for Emmylou who, despite the wishes of some, continues to grow and flourish as an artist.

THE BEST ALL-ROUND ALBUM IN MY COLLECTION
I was first re-introduced to Emmylou Harris' music after buying "Cowgirl's Prayer"-drawn by the rock "High powered Love". I instantly fell in love with the record, the emotion, and the voice. Then came "Wrecking Ball" which just blew my mind--the haunting "Where Will I Be" sends shivers down my spine every time I hear it. "Goodbye" is almost too powerful to listen to. "All my Tears" is an instant classic--(check it out on SPYBOY-her live version of it is even better). "Goin' Back to Harlan" is an emotional journey. "Every Grain of Sand" just makes you appreciate the simple wonders of life. Most heartbreaking but sweet is the soulful "Sweet Old World" a song about suicide. Finally "Waltz Accross Texas" leaves you wanting more. Emmylou is one of the best all round recording artists of all time. She delivers every song with great emotion that reaches deep in your soul and touches you greatly. Don't deny yourself from this one...

MOODY, EXPERIMENTAL ALT ROCK CAMEO FROM HARRIS
No CD collection is complete without this marvellous venture by Harris, which includes breathtaking covers of numbers by stalwarts such as Neil Young, Jimi Hendrix, Bob Dylan and Lucinda Williams among others. Giving the album its dark ambience and its almost primal percussions is Daniel Lanois, better known for his work with U2 or Peter Gabriel. And it shows.

I thought of Harris as primarily a country/folk singer, but here she breaks free from the conventions of cheatin', hurtin', pickup trucks and what not; her song-selection addresses real issues here. I highly recommend picking up Wrecking Ball, a work of exceptional grace, depth, and beauty. Noteworthy number: "Deeper Well".

Can't Understand the Lyrics
I bought this album based on glowing reviews, but it was a little disappointing. Emmylou Harris never really disappoints, as she has such a lovely and haunting voice and I applaud her efforts at doing something a little different here than her previous efforts. The instrumentation is nice and as I said her voice is beautiful. The problem is that I can't understand a lot of the lyrics on some of the songs. She mumbles some of the words and trails off at the end of lines. I challenge anyone to figure out even 50% of what she is singing on the first listen, unless listening very, very closely. To me, music is for relaxation and I don't want to listen intently just to pick up what is being sung about. I like singers who sing clearly and ennunciate well, so you know what is being sung. The best example I can think of is Janie Fricke. There is no guessing about her lyrics, as there is here. Could partly be the poor quality of my computer speakers, but that's not the entire problem. The title song "Wrecking Ball" is very nice, but again the ends of lines are gone. For example, she sings: "I'll wear something pretty and white". You can barely hear the "and white". I had to look up the lyrics to find out what she was saying. Could be poor mastering too or she may just have lost some of the power she had in her voice when she was younger. The sound is clear on the song "Deeper Well", unlike some of the songs. If you are a fan, you'll want to get this album to complete your collection and because it is different than a lot of Emmylou's stuff. If not a fan, don't buy this album, as it may be a disappointment. For an intro to Emmylou, I would suggest: Blue Kentucky Girl. Evangeline and Luxury Liner are also very good albums, as is the collaboration album she did with Dolly Parton and Linda Rondstadt called Trio.

So Much Emotion!
This CD is fantastic. I first heard "Orphan Girl" on a cd compilation a friend made me. I was very moved by that song. I'm not a fan of country, and I hadn't really heard Emmy before that song. She sings with so much emotion that I had to hear more! And this CD, was my first purchase of her music, and I loved it all. My favorite remains "Orphan Girl" but I can't find a bad song on this whole CD. ... Read more

Reviews (32)

A remarkable collection of underappreciated songs
I was busy learning how to breathe and walk about the time this second Greatest Hits album was released in 1971, so this period of Bob Dylan's career was quite unknown to me when I became a fan as a teenager. I was familiar with early classics such as Blowin' in the Wind and Like a Rolling Stone, but the songs featured on this Greatest Hits Volume 2 package have been somewhat overlooked over the years. What few Dylan songs I would hear on the radio were the early wonders featured on the original Greatest Hits album. Thus, this 2-CD set of songs has helped fill a real void in my musical knowledge and experience. Dylan's remarkable versatility and diverse means of delivering his message are revealed in this collection of songs hand-picked by the man himself. There is great variety here, from up-tempo tracks such as Maggie's Farm and The Mighty Quinn to slow, romantic ballads like Tonight I'll Be Staying Here With You and If Not For You to long, story-telling songs such as Just Like Tom Thumb's Blues and A Hard Rain's A-Gonna Fall which bear traces of stream-of-consciousness revelatory wonder. What strikes me the most here, though, is the dramatic difference in Dylan's vocal delivery. Tunes such as Lay, Lady, Lay and Tonight I'll Be Staying Here With You feature a rather smooth, even refined voice that bears only a slight resemblance to the gritty vocals of Dylan's youth and the gravelly potency of his later releases.

The very notion of "greatest hits" almost seems beneath Dylan's standards. A Dylan "hit" is not necessarily a song that topped the charts; each of these songs is a hit because of the incredible writing and singing that gave it life. Some of these tracks weren't even popularized by Bob Dylan: All Along the Watchtower, for example, immediately brings to mind Jimi Hendrix. Notwithstanding this, each of these 21 tracks belong heart and soul to the man who wrote them and performed them in his unmatched, unique way. The most significant of these tracks, in my opinion, are Stuck Inside of Mobile With the Memphis Blues Again, My Back Pages, Just Like Tom Thumb's Blues, A Hard Rain's A-Gonna Fall, and It's All Over Now, Baby Blue. Perhaps the most wonderful thing about this compilation, though, is its inclusion of the powerful, previously unreleased recordings Watching the River Flow, Tomorrow Is a Long Time (a live version from 1963, no less), the incredible When I Paint My Masterpiece, I Shall Be Released, You Ain't Goin' Nowhere, and Down in the Flood.

I think a person needs to have a degree of appreciation of Bob Dylan before introducing himself to the songs on this second volume of his greatest hits. Start with his early classics and/or his critically acclaimed albums of the late 90s and early twenty-first century. Once you are properly grounded in Dylanology, you will marvel at the talent and power displayed on the somewhat neglected and definitely underappreciated tracks featured on this Greatest Hits Volume 2 compilation.

Bob's Best "Greatest"
"Bob Dylan's Greatest Hits Volume II" is as close to perfection as two compact discs can get. Dylan's first Greatest Hits collection gathered most of his most well know songs from the 1960s, while this volume scoops up the rest. A number of these songs were big hits for other artists, including "All I Really Want to Do" (The Byrds), "All Along the Watchtower" (Jimi Hendrix) and "The Mighty Quinn" (Manfred Mann). Selected from Dylan's incredible run of top notch 60's albums, this collection features both accoustic and electric tracks. There are sentimental romantic ballads ("Lay Lady Lay," "Tonight I'll Be Staying Here With You") and verbose tounge twisting rants ("Just Like Tom Thumb's Blues," ""It's All Over Now, Baby Blue"). There are angry political rants ("Maggie's Farm," "A Hard Rain's A-Gonna Fall") and spiritually uplifting songs ("I Shall Be Released," "When I Paint My Masterpiece"). Bob shows both his folkie side and his rock and roll side and he's never been in better (uh) voice.

This is the definitive collection from Bob Dylan's classic period and is essential for any rock fan who does not own the original Dylan albums.

This is "the" one
There are many brilliant albums by Bob Dylan. So it utimately comes to a matter of personal choice. You really can't go wrong with any of them. However, in the catagory of collections and greatest hits, this is outstanding, even for Bob. The second disc is especially good because there are some of the more obscure tracks. And for me, Dylan really shines on lesser known stuff, like Quinn the Eskimo and Down in the flood. Don't bother with the first Greatest Hits and head straight for the golden volume 2.

Great New Stuff on The One
Because there were only four albums between "Greatest Hits, Vol. 2" and "Greatest Hits" a lot of people didn't think there was enough 'hit' material for another record, but they were wrong, almost every song on "Highway 61" and "Bringing it all Back Home" are so called 'hit material. However, the folks at Colombia and Mr. D himself were aware of the criticizism they might get, so they included enough new stuff to keep his fans happy, such as three new recordings Dylan did with banjo player Happy Traum "Crash on the Levee (Down in the Flood)," "I Shall Be Released," and "You Ain't Going Nowhere." Also this is the only album where you'll find, the two songs Leon Russell produced for Dylan, "When I Paint My Master Piece," and "Watching the River Flow" and then there is that haunting version of "Tomorrow is a Long Time," recorded live. This is a must have five star record.

Reviewed by Stephanie Sane

It Has A Great Flow
This is an excellent start for someone interested in the music of Bob Dylan. This two CD set flows nicely from acoustic to rock to country and a few oddball tracks in between. Watching The River Flow is a great opener with some awesome guitar and keyboard playing. Dylan had the good sense to emply some top musicians on many of his tracks.

Then of course there is the long winded but strong lyrical epic Stuck Inside A Mobile With The Memphis Blues Again. Gosh even that title is long. But the words are so so cool with Bobby Boy getting his eyelids smoked and cigarette punched.

So many other gems on this near masterpiece. How about When I Paint My Masterpiece with searing vocals. Down In The Flood is another tune loaded with spunk and verve. The key to the value of this recording is balance as one can surely get a picture of Bob Dylan's vivid imagery.

Like I said before, this is a good place to start for newbies. However, established fans of the man who want a extensive summary of his quality years can do little wrong with this collection. ... Read more

Amazon.com

Harmonies highlight this studio debut by Sarah Lee Guthrie and Johnny Irion, the wife-and-husband duo who previously released albums of their own. As the daughter of Arlo Guthrie and granddaughter of Woody, Sarah Lee has deep bloodlines in the folk tradition, while Johnny was a Carolina indie-rocker with Dillon Fence. With coproduction and guitar by the Jayhawks' Gary Louris and musicianship that draws from that band and Son Volt, the album matches organic arrangements to material that shows a social conscience while celebrating domestic bliss. Highlights range from a performance of Pete Seeger's previously unreleased "Dr. King" to the poppier propulsion of Guthrie's "Holdin' Back," which could pass as a Stevie Nicks/Fleetwood Mac outtake. Eric Heywood's steel guitar brings a lilt to Irion's album-opening "In Lieu of Flowers," and Dave Boquist's banjo drives "Gotta Prove" into a footstomping finale. In between, much of the music has the easy feel of a front-porch rocking chair. --Don McLeese ... Read more

Reviews (2)

Classic Americana.
Wow! , what a discovery.
This wonderful album sounds like a cross between seventies era Fleetwood Mac and "tommorow the green grass" jayhawks period. Sarah lee sounds like a combination of stevie nicks and bobbie gentry.
The album was produced by jayhawks genius gary louris and the musicians are Alt-country fan's heaven. You hear louris touch in every aspect of this album , the production is open and airy and the harmonies are just wonderful (think Gram/Emmylou), The songs are all excellent, songwriting of the highest order.
If your'e a fan of high quality music similiar in the spirit to the jayhawks than you owe yourself this album.
Simply wonderful.

The best new cd I've heard in years.
There's something about this cd that really grabs you. There is quite a mix of songs, styles and arrangements and they're all good. The vocal harmonies really stand out.Sarah Lee and Johnny each sound great by themselves and even better together.I'd recommend this cd to anyone with a soul. ... Read more

Amazon.com

One of rock's most overlooked masterpieces, this third album by the L.A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968. With David Angel's atmospheric string and horn arrangements giving the work a conceptual underpinning, Lee explores mainstream America's penchant for paranoia ("The Red Telephone") and violence ("A House Is Not a Motel") with songs that are as sonically subtle and lilting as they are lyrically blunt and harrowing. Add two gems by Love's secret weapon, second guitarist Bryan MacLean ("Alone Again Or" and "Old Man"), and you've got one of the truly perfect albums in rock history. Rhino's deluxe reissue serves up seven bonus tracks, including outtakes, alternates, and the "Your Mind and We Belong Together"/"Laughing Stock" single. --Billy Altman ... Read more

Reviews (87)

The breath of genius...
When this album was first released in late 1967 (Elektra), it seemed way beyond the pale, as though it had been produced in an alternate rock universe. But just mention it to those lucky fans who were aware of it at the time and their eyes widen, their voices drop into hushed tones of awe. "Forever Changes" was the breath of genius. With time, more and more rock critics have come to share that view. Even if you already own this album in another format, buy this CD.

The first CD version of this classic (Elektra/Asylum 1987) was typically nothing special in the audio department. The next version, presented in full on the two-CD boxed set, "Love Story 1966-1972" (Rhino 1995), was dramatically better sonically - everything brought forward, especially the bass, with lots more detail. However, although all the songs on "Forever Changes" were included (in indication of how highly regarded the album was), they were split between the two CDs. The new, intact re-master is a real joy. Although it may be hard for most listeners to detect any obvious sonic improvement over the "Love Story" boxed set (meaning only that Rhino did a great job on the boxed set), with a good sound system and a careful listen you can indeed hear greater detail. Actually, it's one of the most impeccable sonic presentations I've heard on any CD. The bonus tracks are a really nice addition, same high sonic quality, rounding out our appreciation for the original Love's final, brilliant recording sessions, from which "Forever Changes" was born. The 24-page CD booklet is also quite nice, with lots of text detailing the history of Love and frontman Arthur Lee, and the genesis and production of "Forever Changes", track by track. Thanks, Rhino, for giving this masterpiece everything it has so long deserved.

beauty and dread
Okay, so the Beatles developed a perfect mix of experimentalism and melody for Sgt. Peppers and Magical Mystery Tour, Nick Drake had incredible string arrangements backing his intimate performances on Five Leaves Left (even better than this album- you may not agree but give "River Man" a listen) and Tim Buckley's vocals, however understated, always achieved devestating power on Goodbye and Hello and Happy Sad (Love from Room 109 at the Islander is one of the best songs ever recorded- You didn't like it? Much too long and slow? No, listen again and let its atmosphere envelope you - there's a reason I said best song ever recorded and not written).

For moments of stunning beauty, however, moments where you just can't help going "Ooh, i really, really like the way that sounds", look to Forever Changes. The unbelievable bridge in "The Red Telephone", where Lee sings "I don't know if the third's the fourth or if the/the fifth's to fix" over a swelling string arrangement. Or the second part of "You set the Scene", where Lee's voice absolutely soars over the breathtaking orchestra("This is the time of life that I am living/ and I'll face each day with a smile"- Lee's delivery is so powerful, the verse compels and resonates like some exquisitely melodic call-to-arms). The shimmering acoustic guitar at the core of "Live and Live and Let Live". The orchestral fluctuation as Lee sings "Hummingbirds hum, why do they hum-" in "the Good Humour Man-". The eerie moment in "The Daily Planet" when Lee sings "I feel shivers in my spine/ when the iceman, yes his ice is melting-"

Bryan Maclean contributes two songs that are perfect to the second- "Alone again Or" and "Old Man". Both are achingly beautful.

Forever Changes is the 60's psychedelic equivalent to a Broadway Musical. It can be corny at times, but overall, the emotional payoff is enormous. A quote on the back of the outside covering of the album sums it up best: "1967. Nothing caught the strangeness of those days, or captured the combination of beauty and dread they contained, quite like Love's masterpiece Forever Changes."

stupid music this is horrible
STUPID TITLES STUPID VOCALS LIKE SOMEONE ON DOPE STUPID MUSIC THE GUITARRIST AKTS AS IF A CRAZY FOOL THE DRUMMER IS LIKE A LOONY - I CAN'T SAY HOW BAD THIS DUMB MUSIC IS EVEN THE LIRRICS ARE DUMB, ZERO STARS SEE YA

It's like a dream every time you listen to it
I barely got into Love about summer of last year, getting some mp3's. I bought it earlier this year, but I have to say, this is a perfect summer record, especially if you live in the South, or somewhere very hot and very sunny.
The significance of this is that Love are one of few bands that I think effectively and enjoyably create an atmosphere. The guitar playing here is excellent, even though an electric guitar is used in only two songs (three if you count the extra songs). Love create a warm feeling with the guitar often slowly creating a mood or feeling for a song. They create these complex melodies and rhythms that just overwhelm you. And the horns; they really give the record a southern style feel. And the strings: they're not just dressing, pumping up emotion on songs. They're used smartly (see "You Set the Scene", which shows everything awesome about Love: the great horns, strings, guitar playing) so that they're as much an instrument in the band as a guitar. Even the liner notes state this. One of Love's biggest attributes is just the talent all members play their instruments: it's impressive but not in a show-off way, not in a self-indulgent way.
Arthur Lee was more than eccentric. He almost lived on another plane of existence. Convinced he was going to die, this album was supposed to be his final words. The songs are classic: kind of cryptic and often the meaning of the songs are hidden. It takes a little deciphering to find out what they're about, and there is nothing wrong with that. At all.
Bryan Maclean is underrated, as well: "Andmoreagain" has one of the sweetest melodies and vocal performances I have ever heard. See "Old Man" as well. A shame that he doesn't show up more often. Not that there's anything wrong with Lee, or his smooth voice (easily could've been a soul singer). Listen to "Maybe the People would Be the Times..." or "The Good Humor Man" for proof. He's capable of truly singing but not sounding overwrought, or cheesy, or out of tune. The centerpiece (in my opinion) of the album is "The Red Telephone". It's more than pseudo-hippy paranoia; if this album really was Arthur Lee's goodbye to the world, and then when seen from that perspective it's pretty chilling. Not to mention the "sha-la-la-las" about 2:30 in, and the amazing strings here. It's a flawless song.
As for the extras, "Hummingbirds" is an acoustic guitar only (no strings or horns or singing) playing the melody of "The Good Humor Man". Nice but not really worth repeat listens. "Wonder People" is excellent, I think even the liner notes (a long and informative biography of the band itself) state that the song could've been inserted into Forever Changes. The tracking sessions track is a lot of talking and a rough (but still great) cut of "Your Mind and We Belong Together". Another great song ("that guitar solo was out of sight"), and so is "Laughingstock". The alternate mixes are great but not essential.
This is Love at their (unfortunately) brief best. Everything here works: the singing, the songwriting, the instrumentation. It creates a feeling of atmosphere and cohesion few other albums can. I hate saying things like "an underrated rock and roll masterpiece" but it is.

every listen is a new experience
there are a few albums i can listen to over and over and hear somthing new with each subsequent listen.zeppelins psyical graffiti,pink floyds piper at the gates of dawn,the beatles white album,porno for pyros good gods urge and loves forever changes.This album has it all mood, atmosphere and great music,from soft acustic numbers to rockers.there are strings and horns which are usually a turn off but in lee's capable hands only add to the elegant psychedelia and stylistic consistency of the album.In my opion this album conveys the aura of the 1960's better than any other.my highest possible recomendation. ... Read more

Amazon.com

Opening with the methodical, hard-rocking "Cinnamon Girl"--still one of the singer-songwriter's most-hollered requests in concert--Young's second solo album introduces the cockeyed harmonies and sloppy, chiming guitars of Crazy Horse. His wide swings from soft-spoken country-folk ("Round & Round [It Won't Be Long]") to menacing metal (the punch line to "Down by the River" is "I shot my baby") indicate the multiple personalities in Young's future. His second album of 1969 broadcasts a sincere passion for the peace-and-love '60s (dig the long guitar solos) but also predicts the dark introspection of "Tonight's the Night." --Steve Knopper ... Read more

Reviews (57)

Where It's At
Everybody Knows This Is Nowhere was Neil Young's second album and the first with his seminal backing band, Crazy Horse. In his work with Buffalo Springfield and on his first solo album, Mr. Young played music that was acoustic in base and had flares of country and folk. Crazy Horse added a hard, electric edge to his music and it is noticeable from the start on the high octane "Cinnamon Girl". The song has ringing guitars and a feedback coda that shows why Mr. Young is the godfather of grunge. "Down By The River" and "Cowgirl In The Sand" are lengthy cuts. The former is almost a blues dirge with a piercing guitar sound and murderous lyrics while the latter is more upbeat, but no less impressive. "Round & Round" is a soft and lamenting, country flavored song that is unfortunately overlooked. It is a great song and deserves alot more attention than it gets. Everybody Knows This Is Nowhere is a major leap by Mr. Young taking him into the upper stratosphere of musicians.

Sends Me Away
I feel the same way about this album as I do about AFTER THE GOLD RUSH. Three decades (and change) ago, this would've gotten a 5-star rating from me. But some songs don't endure, they don't stand the test of time, and smack of hippie self-indulgence. In particular, "The Losing End" is tedious. And "Round and Round" is, for me, an audio sedative.

But three tunes are standard bearers of classic rock radio: "Cowgirl in the Sand", "Down by the River", and "Cinnamon Girl". And for good reason--they ARE classics in the sense that their intensity and creativity set an example for later singer/songwriters, rock bands, and lead guitarists.

This was Young's first album with Crazy Horse, and the tightness of the playing, the way the band highlights Young, and Young highlights them leaves little wonder why these guys play and record together to this day (except for Crazy Horse's Danny Whitten who entered overdose heaven 30 years ago). While some reviewers have stated that they find "Cowgirl in the Sand" and "Down by the River" as being too long, I would counter, a la Mozart in "Amadeus", with "Which notes do you think should've been left out?" If anything, I think "Cinnamon Girl" is too short. In fact on Young's LIVE RUST (recorded ten years after this album) he repeated the final part ("Pa, send me money now...") and added a final guitar line. I recommend this album highly, in spite of the above-mentioned accoustic tunes. This is an album that will drag you "over the rainbows".

One of the best ever - one of those that changed music
I love many othe Neil Young albums ...... but not like this one, the classic of classics.

It is sooooo "rusty" and "raw" emotionally and musically and so "pure" from the heart.

The band is so tight, Neil;s voice on this still gives me goose bumps. The rawness that just cuts you up.

Cinnamon Girl - Opens up the album with those wonderous guitar. Tremendous power in them licks, from the gut. I can hear that song 1000 times in a row.

Then we have this country, folk stuff added with Cowgirl and Down By The River. Cowgirl my favorite and after years and years, never board of that long solo that kills with that unique power, passion and "roughness" of that solo tat is so interesting. So much emotional punch in that one.

This one must be up with those other albums that are the best of an era.

Yet, that sunofagun seems to be more appreciated now and more popular now than he was.

The Loosing end, that is about as good as Neil as ever Sounded.
It's so hard for me now
But I'll make it somehow,
Though I know I'll never be the same.
Won't you ever change your ways,
It's so hard to make love pay
When you're on the losing end,
And I feel that way again.

I love, love when the last part of the song when Neil get louder and end with a wonderful finishing "rough" country lick.

Round and Round, is to listen to late when camping in front of a fire. Those souful harmonies. Great words, great stuff.

There are not too many left of the great ledgends who are still out there creating. Everyone MUST here Alvin Lee in Tennesee and here the guitar master doing rockabilly with the guys that started it in Nashville. Best album of the year, so far. Actually Alvin is peaking now that he is playing with superior musicians and doesn't have his old backup group to hold back his creatvity.
There is Clapton, I think Johnny Winter is hanging on, OF course BB and Buddy Guy.

Jon

Hello Neil Young in the sand...
This is a magnificent work by Neil Young. His best album ever.
The songs sound very catchy and very fun to listen.
The title song is really cool and there are more highlights in the lenghty Down By the River(an early metal song?) and the incredible Cowgirl in the Sand with great chorus and excellent solos and bass.
NI!

I love this cd
I give this and "After the gold rush" four stars. They are Young's best albums and among my favorites in the classic rock category. "Cowgirl in the sand" and "Down by the river" are landmark songs that would create a new sound for rock & roll. "Cinnamon Girl" is a staple of classic rock in itself. My personal favorite songs on this album are "Everybody knows..." and "The losing end." Neil Young is a great songwriter and performer. Any fan of classic rock has an incomplete collection without this cd and "After the gold rush." ... Read more

Amazon.com essential recording

For decades, Leo Kottke would inspire generations of fingerpicking acoustic guitarists (and help pave the way for New Age and contemporary instrumental music), but this 1969 album is the one that started it all. Kottke's brilliant debut was released, fittingly, on John Fahey's Takoma label. Showing the influence of Fahey himself (and Takoma labelmate Robbie Basho), Kottke performs impossibly difficult solo compositions that meld blues, bluegrass, and jazz techniques. Whether surefooted and quick ("The Driving of the Year Nail," "Jack Fig," "The Fisherman") or slow and reflective ("Ojo," "Jesu, Joy of Man's Desiring"), Kottke's instrumental work is simply awe-inspiring. He'd forge an entire career out of this music and eventually incorporate singing onto his albums, but this gem is Kottke at his very best. Essential. --Jason Verlinde ... Read more

Reviews (38)

The seminal steel-string guitar album
I have no wish to duplicate my fellow Kottke admirers' reviews of this particular album, only to lend my own impressions of it. I was a young lad, jamming my foot into the door of the local 'underground' FM station in 1970; the station was getting all kinds of albums that year; it was a very busy time in pop music. I recall one of the DJs reading part of the liner notes out loud, and laughung; Kottke's first 12-string, a 'Mexican cheapie with a nail behind the 12th fret', and of course, the legendary, infamous, iconic remark about Kottke's voice resembling fowl flatulence on a muggy day. Then we listened to the album...and listened...and heard. My jaw dropped, literally; for years, "Busted Bicycle" was one of my favorite tunes from any genre, instrument, artist, etc., etc. I had never heard anything like this; nor had most of us. The sound of Kottke's finger-picks (he used them on that album) hammering the steel strings; his seemingly impossible skill with his fret hand; the slide work, especially on "Vaseline Machine Gun", and "Watermelon", where, when he slams that slide onto the strings, it sounds as if someone just dumped a box of clocksprings onto some taut metal cables...well, you get the audio image, I hope. There aren't any new adjectives to describe Kottke's talent, skill, and elegance; and I am even stealing this from some other reviewer: there are two levels in the world of finger-picking steel-string guitar: Leo Kottke...and everyone else. '6- and 12-String Guitar', though early in his recording career, remains a best-seller and even today ranks amongs his best efforts. You sit there listening, stunned, and wonder 'How the hell can he DO that'? Never mind how; just enjoy!

Really good, but really rough
This is Leo Kottke's first album on a major label, and it sounds like it too. Kottke, not yet in his mid 20's at the time, recorded this album in a single eight-hour work day. The tone of 6 & 12 String Guitar is of a young gun who is playing way fast because either 1) he's young and hasn't quite matured as a musician, or 2) he can