Amazon.com

Tom Jones all but invented saucy power pop back before the sixties even started to swing when his second single "It's Not Unusual" rocketed up the UK charts in 1965. After that initial triumph the singer never looked back, tying his hair back with a thin black ribbon and putting some rather expressive body English into his stage moves, which assured that the stage floor would be routinely pelted with various undergarments pitched by enthusiastic fans. Almost four decades later both Jones and his audience are no less fervent as Wales' second-most famous export runs through his extensive and varied songbook, still imbuing his old chestnuts like "What's New Pussycat?" and "Delilah" with a sense of naughty fun and irony. But Jones is at his best while giving the latest generation of rockers a run for their money, as he pairs up with the likes of Wyclef Jean, the Sterophonics, Art of Noise, the Cardigans, and Mousse T; as he overhauls staid tired standards like "Mama Told Me (Not To Come)" or "Baby It's Cold Outside" with his arch humor and gutsy delivery. Prince's "Kiss" crackles with an inner light that even the great Minneapolis savant didn’t intend, while his duet with Portishead is as cold and disturbing as a grave. A must have album. --Jaan Uhelszki ... Read more

Reviews (13)

Tom Jones proves he still has it!
This is a wonderful cd and a must have for all Tom Jones fans.It
includes some of Tom's older songs with the perfect blend of his
newer ones.Sexbomb and Kiss are both destined to become Tom Jones classics.My husband and I had the pleasure of seeing Tom in
Las Vegas a couple of years ago.Trust me,Tom is still "Burning
Down the House"

The voice, the man, the power...
Okay, I'm not a long-time Tom Jones fan. In fact, I like country music (which is why I absolutely loved "Green, Green Grass of Home," by the way). However, Tom Jones is one of those guys who transcends genres. And I'm living proof that even a country boy knows how to get it on!

Okay, after that corny statement (I'm not too sure what it means, either), let me tell you about the music of this CD. If you're a Tom Jones fan, this review is probably pointless; you know the quality of the music you're going to get, and you're anxious to get it. If you're new, like me, then you might want to read on.

The album's three best (in my opinion) are: "It's Not Unusual" (of course), "Kiss" (a little pop, but hey, he's versitile), and "Sometimes We Cry" (a duet with Van Morrison, a stellar performance from both men).

Okay. I won't go into each song by detail; there's 19 of them, and that could take a while. Let me just describe to you the range of styles this man has: from the classics "She's a Lady" and "What's New Pussycat," to the pop "Kiss," to the rockers "Mama Told Me Not To Come" and "Burning Down the House," to the hiphop of "Tom Jones International" and "Black Betty," to the country of "Green Green Grass of Home" and "Without Love," to the blues of "Motherless Child." He even gets a little spy action with the theme to "Thunderball."

Quite a guy.

Except for the Van Morrison duet, Jones is best when he's on his own. Still, you should enjoy these songs; they're timeless, they're priceless, and they are truly classics. Tom Jones: one heck of a performer, one heck of a guy, one dandy album.

Something about a nearly 60 year old singing Sex Bomb...
is a little weird. He's now 60, but almost was when he recorded that song. It works. This album is full of great tunes that showcase his unique voice. The duets that he features here from his album "Reloaded" were hits in the UK, and sound great. I like the old stuff here. "She's A Lady" sounds great today as it ever did.

Tom Jones is truly living legend.
We loved this album. The duets were wonderful and when Tom and Van Morrison get going there is nothing better..

GREAT STUFF!!!!!!!!
Tom Jones has one of the best voices of the last 40 years. I wish he had done a duet with his pal Elvis Presley!Great cd! ... Read more

Amazon.com essential recording

Considered an unprecedented magnum opus when it arrived on two records in May of 1966 (1997's Time out of Mind is actually only about a minute shorter), Blonde on Blonde featured Dylan continuing to demonstrate remarkable powers over the course of 14 new numbers. Working in Nashville with session men and a few conscripted recruits (Al Kooper, Robbie Robertson), Dylan continued to bend minds with his warped lyrics and phrasing. Even dashed-off numbers such as "Obviously 5 Believers" and "Rainy Day Women #12 & 35" contribute to the crazed, fun-house ambiance. Dylan will never be this wild again. --Steven Stolder ... Read more

Reviews (41)

Just 1 Question...
I saw another reviewer post that having 2 cds (needlessly based on track length) makes it like having the vinyl. How? This album had 4 sides, not 2! When CDs first came out Hendrix's Electric Ladyland was on 2 discs, as were Kiss' Alive albums. This is pointless. It is NOT fully re-creating the feel of the original. All it accomplishes is to:
1) Increase the price
2) Make this album take up 2 spaces instead of 1 in my car's CD-changer
The Rolling Stones didn't do this, Kiss and Hendrix releases have subsequently addressed this matter. After all Dylan recorded this as a piece of work. Yes, sides were programmed, but larlgely due to formatting limitations of the time. The only cases in which 2 CDs should be acceptable for a double album are when it truly will not fit on one (The Beatles' "White Album", Lynyrd Skynurd's One More From the Road - itself shamelessly trimmed to fit on one disc on initial CD release).

Dylan and his fans deserves better than this. Still, at the end of the day it is a classic album, worthy (after quite some time) of being taken to new formats. It's better this is getting onto SACD than say, Backstreet Boys or some of the Dylan knock-offs. One star off for the multi-CD lunacy...

Buy Again?
We all know about this album as being a classic. The great musicianship of Al kooper and Robbie Robertson coupled with Dylan's songwriting make this and Highway 61 among Dylan's best albums. A majority of buyers doubtless own this already and are pondering jumping on the reissue wagon again. The packaging of the reissue is well done compared to the barebones earlier issue. I am probably in the minority, but I always thought the previous cd issue of this particular album (though not some of the other dylan discs) sounded pretty good. I have grown so used to it that the reissue somehow does'nt sound right in comparison. I got the re-release partly based on the recommendations posted here. I use a cd player only, and as a cd I found the reissue not as enjoyable to listen to. True there are a few more details on the new mix, from an analytical standpoint it may be "better". I put on the reissue and did'nt really find myself enjoying the music. I then played the original disc and found it to be more relaxed and enjoyable. One thing I noticed is Al Koopers organ on "Visions of Johanna" is underneath the mix on the reissue, coming through thin and faintly. Kooper's musicianship is more readily appreciated on the original disc. The vocals on all the tunes sound a bit warmer and natural on the original disc too, though they might not be as "clear" as the reissue. The guitars, especially Dylan's acoustic, sound better with less clarity on the original disc, the reissue brings them out a little more, while this initially may seem "better", eventually it is not, bringing out more of a tin sound. I'm not sure that greater clarity and resolution always make old rock recordings more enjoyable. I did find "Blood on the Tracks" to be superior to the previous cd version, being consistantly more musical. Overall I can't say the same for the "Blonde on Blonde" reissue, which is more ambiguous... neither version is anything to write home about from a strictly sonic standpoint- collector's may want this one for the variation of content though. If you want to hear the best recording available from this period of Dylan's voice, guitar, and harmonica in emotionally moving performances, play the acoustic set disc one of "live 1966".

A classic and favorite, but what about the remastering?
"Blonde On Blonde" is one of Dylan's three best albums, along with "Highway 61 Revisited" and "Bringing It All Back Home." This is widely agreed, and I won't write yet another review of this classic -- suffice it to say that if you have not yet heard it, you have quite an experience to look forward to. (See my "Memphis Blues Again" list of Dylan's 10 best.)

My review is for those considering an upgrade. I had it on wax for years (since 1974), and then the original CD. I was wary about the long-awaited remasters, given limited time and money and the amount of music yet unheard they are competing with -- I finally decided that if there was one Dylan album I would most like to hear with state-of-the-art sound, it was "Blonde On Blonde." Hoping to be astounded by the difference when listening to the original CD and the new remastered one back-to-back, I was disappointed. Yes, there are places where there is more detail, but on balance, my conclusion is that the slight improvement does not justify the expense. So my recommendation is, unless you have expensive enough equipment to maximize the SACD format, the old CD sounds just fine.

One of the greats.
Possible his best recording. It has to be, along with the Beatles' Sargent Pepper's..., the most influenial recording from the 60s. I'd give it a 10 if possible. Still works for me.

One of Dylan's Most Misjudged Albums
with a few exceptions, this is a lighthearted album.
i've heard people call it a pop album, and i wouldn't go that far, but it definitely isn't his "deepest" album on the whole.
having said this, dylan accomplishes what he set out to accomplish in stunning fashion.

"rainy day women #12 & 35" is a bar song. and while the lyrics are simple for obvious reasons, this is as fun a song as you will hear. one of the greatest sing along songs ever, right up there with "don't let me down" and "alabama song" (5/5).
"pledging my time" is a blues song. dylan vocals are amazing, and for a simple song, the lyrics are quite good (5/5).
"visions of johanna" is the albums first true masterpiece, and one of only a few true poetic masterpieces on tis album. this song is somber and beatiful and perhaps dylan's most underrated song of all (5/5).
"one of us must know (sooner or later)" has one of my favorite melodies on the entire album, and though it's fairly simple "it's nobody's fault" break up song, dylan crafts the song and the lyrics like only dylan can (5/5).
"i want you" is another poetic masterpiece. and the tune is so jovial and intricate, i could listen to it all day (5/5).
"stuck inside of mobile with the memphis blues again" is my favorite song on this album. the cryptic lyrics make for, perhaps, the best written song on the album, dylan's smokey vocals are as good as any song on the album, and the guitar is enough to make you knees buckle (5/5).
"leopard-skin pill-box hat" is the funniest song on the album. it has a real bluesy vibe, and dylan spews out timeless phrases (5/5).
"just like a woman" is as somber as any song on the album. dylan executes the song very well, but i don't (and i know i'm in the face of heavy opposition here) think that it's executed as well as the majority of the album. it is still a great song, but i think that it's not as great as most of this album (4.5/5).

"most likely you go your way and i'll go mine" is a fun upbeat song with clever lyrics. i imagine that it'd be great to see live (4.5/5).
"temporary like achilles" is my least favorite song on the album. it's a very good song, but it drags on a bit, and the lyrics aren't as consistant as most dylan songs (4/5).
"absolutely sweet marie" is a magical song. dylan's rusty voice drags over the fast tempo beat beautifully, and the refrain is amazing (5/5).
"4th time around" is reminiscent of "norwegian wood," but it's still a great song. the melody is completely different as absolutely beautiful, and the lyrics are vrey interesting (4.75/5 i'll knock a quarter point off for sounding like "norwegian wood").
"obviously 5 believers" is in the same vein as "absolutely sweet marie," and it's just as amazing (5/5).
"sad eyed lady of the lowlands" is an interesting song to talk about poetically. it is sonically amazing, but poetically debatable. some people would say that dylan is just spewing abstract rubbish, but i would say that it's a very personal song that i'm assuming he's using analogies for. i love it (5/5).

this album is a true masterpiece, and while i don't put it in the same league as HIGHWAY 61 REVISITED, BLOOD ON THE TRACKS, or BRINGING IT ALL BACK HOME, it is amazing for what it is.
this is a fun rock album with a few poetic masterpieces on it;
don't take it for anything more than that, and you'll find yourself enjoying this immensely. ... Read more

Amazon.com essential recording

The third album Cat Stevens put out in a 15-month burst that began in the summer of 1970 with Mona Bone Jakon, Teaser and the Firecat is where the enigmatic folk-pop idol crested commercially, if not artistically. Its immediate predecessor, Tea for the Tillerman, possesses an air of mystery and unforced whimsy that proved impossible for Stevens to replicate. That said, the singer-songwriter had it in him to pull together a captivating collection that boasted two of the biggest hits of his meteoric, if self-inhibited, career--"Peace Train" and the sublime hymn "Morning Has Broken." "The Wind," "If I Laugh," and "Moonshadow" are every bit as tuneful and appealing as the hits, while "Rubylove," "How Can I Tell You," and "Bitterblue" would be standouts on Stevens's less accomplished later albums. In fact, only the bellicose social statements "Changes IV" and "Tuesday's Dead" ring hollow. --Steven Stolder ... Read more

Reviews (32)

Stevens teases with his songcraft and melodies
Cat Stevens. Most folks remember him today for "soft rock", his devotion to the Muslim religion and little else. Which is sad. Stevens at his peak was one of the finest singer-songwriters to emerge during the 70's. He had his pretentious moments (Foreigner Suite from Foreigner) and his intellectually challenged songs as well (anything from Izitso)but most of his material has aged gracefully.

Teaser along with Mona Bone Jakon, Catch Bull and Tea for the Tillerman is among his best gems. Although it misses the whismical undercurrent of Tea and Mona, Teaser more than makes up for it with sharply constructed songs. The melodies throughout are rich and when the words get in the way (as happens on a couple of tunes), the rich production and music more than make up for it.

So how's the sound quality? Quite an improvement over the previously issued edition but not a huge difference from the last couple of anthologies that were issued. The sound quality is stunning with plenty of sonic detail. The remastering by the ubiquitious and talented Ted Jensen manages to capture both the warmth and depth missing from the previous version. Jensen doesn't sacrifice anything to achieve a better sounding CD.

The packaging varies a bit as there is a limited (numbered) edition with tries to duplicate the original LP art(which will probably be around for at least a little while). Then there is the standard CD version with the booklet. It doesn't really matter which one you get as they're about the same.

This reminds us about the life Cat Stevens had before he changed his name and gave up pop music. He moved on at the right time as he was pretty much a spent force musically by the time of Buddah & The Chocolate Box. Teaser has aged well and still charms with its percolating rhythms and rolling acoustic guitar sound.

Highly recommended.

Almost Tea for the Tillerman
Let me begin by saying that I think Cat Stevens was an amazing songwriter and he is truly a musical inspiration in my life. I don't care whatever his personal beliefs are in present day... his music speaks to me.

Teaser and the Firecat is no exception as it contains some of Cat's best songs: "Morning Has Broken", "Moonshadow", and perhaps the best song he ever recorded: "The Wind".

As a whole album though, this one is just slightly worse than the classic "Tea for the Tillerman" which was recorded one year prior. Tillerman seemed to be the peak in his career that he just couldn't top (Teaser being the first in the decline). Some tracks on this cd are somewhat weak and the structure of the album seems incohesive when compared to Tea for the Tillerman.

Tillerman had an ongoing theme of youth vs. adulthood and this one just seems to ramble about, similar to "Mona Bone Jakon", which is also a very good cd. These three albums are considered his best and I agree with that. But for my money, Tillerman is the very best.

Don't pass this album up though! And don't buy his greatest hits album.... You must buy Mona Bone Jakon, Tea for the Tillerman, and Teaser and the Firecat or else you will be missing some wonderful gems from one of rock's greatest artists.

Memories 1973
I can still remember laying in bed almost all day long with my girlfriend Gayle, in the upstairs room in Chico, CA, listening to Cat Stevens play over and over on our old phonograph. Do you remember those days, being young and in love, laying in darkened bedrooms while the sun shone so brightly and hopefully outside?

Later I remember standing on a beach near Marbella, Spain on the Costa del Sol. I was 19, hitchhiking alone through Western Europe. I was so lonely one night, I walked to the beach. I stood by the tide pools singing "Moonshadow" while I watched the moon slowly rise over the beautiful Mediterranean Sea.

Thank you, Cat, for some wonderful moments. And I finally found my hard-headed women. I hope you found yours.

An OK CD
Quintessential 70s music. If that's what you like, then this is the album for you. Unfortunately, it's NOT what I like. Thus my two star rating. Of the 10 tracks on the CD, I rate two of them as Good, four as OK, and the remaining four as Bad (I use Media Player's five star rating system where two stars (not three stars) rates as OK). My specific track ratings are:

1. The Wind -- 1 Star
2. Rubylove -- 2 Stars
3. If I Laugh -- 1 Star
4. Changes IV -- 1 Star
5. How Can I Tell You -- 2 Stars
6. Tuesday's Dead -- 2 Stars
7. Morning Has Broken -- 3 Stars
8. Bitterblue -- 1 Star
9. Moonshadow -- 3 Stars
10. Peace Train -- 2 Stars

Fantastic
Cat Stevens was one of the most popular singer and songwriters of 1970's. Almost every album he relesed between 1970 and 1975 went to the top of charts and even had a string of #1 songs including "Peace Train" which is included on this album. I love "Teaser and The Firecat" it is one of my favorites albums from this very talented and gifted performer who retired way too early from the music industry and converted himself into a buddist who I believe now lives somwhere in the Middle East. "If I Laugh" and "Bitterblue" are two of my favorite songs on this album and "Changes" is very good also. This is was a landmark album in Cat Stevens brief but successful career, come to think of it I think is one of his best albums ever next to another great one called "Tea For The Tillerman" I love the covers on both these albums. I don't know about "Tea For The Tillerman" but I do know that he thought of the concept and actually drew the cover for "Teaser and The Firecat". A man of many talents he was not only a fine musician but a very good artist as well. This album is FANTASTIC and I'm glad I found it on CD. ... Read more

Album Description

As the eight-piece Brooklyn collective Hem releases their second full-length album, Eveningland, their reputation precedes them as one of the most distinctive and emotionally rewarding bands in American music. Hem’s homespun blend of vintage Americana, country/folk and chamber music made its 2002 independently released debut Rabbit Songs a critical success, inviting musical and lyrical comparisons to everyone from Dusty Springfield to Randy Newman to Aaron Copland. On Eveningland, recorded during their brief tenure with the ill-fated Dreamworks label, the band shows how deeply they’ve matured as musicians and songwriters.Eveningland, produced by Messé and guitarist Gary Maurer, updates the rustic charm of Rabbit Songs as references to bygone folk tunes give way to sonic touchstones from another classic era."These songs have more of a relationship to the ‘60s and early ‘70s. We’re all in love with that Countrypolitan sound," Messé says reverently referring to!classics like Ray Charles’ Modern Sounds In Country And Western Music, and albums by Glen Campbell and even the Carpenters. Produced by Gary Maurer and Dan Messe. ... Read more

Amazon.com's Best of 2001

"I know an island where the people are kind / And the rest ofthe world seems far away / Maybe it's only in the back of my mind / ButI know when I go that's where I'll stay." One could not wish a betterend result for the late Kirsty MacColl, whose last album opens withthis prediction. Tropical Brainstorm serves as a sunny andjoyous bookend on a career cut tragically short. Musically, it is a bitof a departure, favoring vibrant Latin-flavored flourishes over theslightly darker jangle of earlier material. There is, however, nomistaking the album's creator from a lyrical perspective. "Treachery"giddily turns the star-fan scenario on its head, imagining MacCollstalking a fan who has abandoned her for the musical flavor of themonth. "Here Comes That Man Again" is a decidedly naughty and wisesurvey of cyberculture's impact on modern romance. In "Us Amazonians,"a hearty romp that's easily as good as anything off of Paul Simon'sThe Rhythm of theSaints, the narrator punches out her true love to show himwhat's truly important in life. These are not your ordinary pop songs,and that's a fitting way for things to end, if they had to. MacCollalways held a singular place in Anglo-pop. She was equal parts Morrissey as aless self-obsessed heterosexual woman and Flannery O'Connor as popstar. In other words, unique, and an incredibly precious resource formusic to lose. --Bob Michaels ... Read more

Reviews (46)

A Grabber from the Get-Go
I don't know if you've ever had an album absolutely infiltrate you the moment you heard it, but that's what "Tropical Brainstorm" did to me. I took it out of the library on a whim because I had read a few passing things about Ms. MacColl and knew she was a critic's darling, etc., so I took it home. I'm usually resistant to unfamiliar music, but this CD immediately filled me up, it hit all the right spots, it was about the most enchanting thing I've ever heard. I rushed out to buy it a few weeks ago, and it hasn't left my CD player yet. The lush and punchy Cuban beats elevate tunes like "Mambo de la Luna" and "Treachery" to a euphoric high. Some are just so thrillingly beautiful, like "Us Amazonians" (a woman's anthem) that you experience joy just listening to the song unfold. After I got past the wonderful musical arrangements and started paying more attention to the lyrics, the album truly earned its 5 star rating. "Autumngirlsoup," for example, parallels being carved up by an ill-fated affair with being the contents of a pot of soup in one of the CD's most poignant moments. Kirsty MacColl was obviously one gutsy, funny and gifted lady whose deliciously cynical wit and unflinching vulnerability produced some great moments on this CD. It is with such bittersweet feelings that I submit this review, grateful as I am for the joy of discovering this artist and this music, I am equally saddened by the fact that her light has left this world.

A jubilant, memorable coda to a great artist's career
Two years after my first listen, I'm still amazed by the range and depth of this CD. From the tropical exuberance of the Cuban-influenced "Mambo de la Luna," the Brasilian-tinged "Celestine," and the tango-esque "Treachery," to the humour of "England 2 Colombia 0" and "In These Shoes," the spare, understated emotion of "Head" and "Golden Heart," and the touching directness of "Things Happen," this work confounds the boundries between musical genres (jazz, pop, salsa, samba, etc), stylistic influences and inspirations. Above all, the work is richly infused with Kirsty's love for Latin/Brasilian music, culture, and perspective. The standouts include the haunting "Autumngirlsoup," the hilariously camp "In These Shoes," and the amazing subtlety and warmth--and the delicacy with which adolescent obsession is handled--in "Things Happen." The album is a fitting tribute to the life and talent of one of the most sensitive, intelligent, and interesting singer-songwriters of our time. In a musical landscape dominated with hype and image, its singers often devoid of any true talent, the voice of Kirsty MacColl is needed more now than ever. We miss you so much, Kirsty.

A politically incorrect opinion...
The cynical side of me has to wonder: Would "Tropical Brainstorm" be as highly praised as it is now if Kirsty hadn't been so tragically killed just shortly after its release?

I say this not as a reactionary curmudgeon, but as a longtime fan of Kirsty. From the very first time I heard her backing vocals on the Smiths "Ask" and "Golden Lights", to the first time I managed to track down and imbibe every second of her fantabuloustic 1989 LP, "Kite", I've always thought of Kirsty in the same way that I think of Dylan, Elvis (Costello, that is), and Lennon. Pretentious as that might seem, it's an undeniable truth that Kirsty was one of the most gifted songwriters this trite world has ever known. The horrific tragedy that was her death (killed by a speedboat, right in full view of her children) and fact that she will never sing another beautiful note of music is utterly heartbreaking to me.

But I still can't let all these gushy feelings about Kirsty taint my true opinion of "Tropical Brainstorm", which is that it represents her weakest and most musically shallow work since her 1981 LP, "Desperate Character".

Wow, someone hand this man a bulletproof vest! I understand that many "Tropical Brainstorm" devotees will be highly offended, but all I can do is hope that they take an opportunity to lock themselves in a room with "Kite" or "Titanic Days" (or even "Galore") for several weeks, and then see if they come out bearing the same conclusion about this album that I did.

My biggest problem with the album, not surprisingly, is the awkward pastiche of Cuban and Latin influences in many of the songs that everyone else seems to be going absolutely ape$*!# over. Opening the album with "Mambo de la Luna", "In These Shoes?" and "Treachery", back to back, leaves you with the unsettling impression that you are supposed to be taking this seriously as a mature fusion of Latin and Pop. The only problem is, I can't.

It's not that I dislike Latin music--I am actually quite fond of it--it's just that when I hear a native British pop singer like Kirsty trying to perform it, two harrowing words enter my mind: Gloria Estefan. It's Latin-lite for the masses, which is fine, but a superly-duperly talented musician like Kirsty should not be the one doing it. Yes, it was cute when she did it as a novel one-off ("My Affair", from 1991's "Electric Landlady" LP) but when stretched out over the duration of a 55 minute album, it becomes embarassingly superficial and unbearably corny.

This isn't to say, however, that this belongs in the same section of the record store that holds multiple lonely copies of "Van Halen III". Far from it, in fact. It contains enough genuine moments of brilliance to make it worth your coin. When Kirsty uses Latin influences as a springboard to originality (and not just a watered down carbon copy of said "influences"),"Brainstorm" really shines. "England 2, Colombia 0", where Kirsty is at her usual sarcastically bitter lyrical-self, is a perfect example of the good that can come about by assimilation rather than imitation.

The other stunning highlight is the hauntingly ethereal and pathetically emotional "Autumngirlsoup", which is probably the album's best song, and would have fit perfectly on her solemn "Titanic Days" LP. If Kirsty's emotional, audible gasping in between its verses (and especially her plaintive sigh at the very end of the track) doesn't send a reverbrating chill up your spine, then you simply don't deserve the gift of life.

Conversely, the cybersex confessional of "Here Comes that Man Again", is spectacularly awful, and represents some of Kirsty's absolute worst lyrics ever...I've heard better lyrics than that in a Massengil commercial.

I'll grant you (and every other latecomer to the Church of Kirsty) that overall, Brainstorm is indeed a "fun" album. And I am fully aware of Kirsty's newfound obsession with Cuban culture in the years before recording Tropical Brainstorm. I just think it's sad that Kirsty will forever be remembered by the unwashed masses mostly for her "novelty" tracks (i.e., "There's a Guy Works Down the Chip Shop Swears He's Elvis", "They Don't Know", "My Affair" and "Fairytale of New York"), and not for the huge collection of intelligent and sincere songs she has written that can easily match unassailable classics like The miths "The Queen Is Dead" in sheer artistic timelessness.

The way "Tropical Brainstorm" is presented--especially in the choice of "In These Shoes?" as the album's big hit single--does little to change this notion, and further paints Kirsty into the minds of the general public as simply "that British singer who writes those cute, catchy little tunes". And as much as many of us don't want to admit it, "Brainstorm" wouldn't have been nearly the critical success that it enjoys now, had Kirsty not died. A harsh statement? Maybe. But do I really need to pull out the names of Kurt Cobain, Selena, Aaliyah, Jimi Hendrix and Sid Vicious, et. al., in order to prove my point?

A Treasure of Sound
I had heard the track "In These Shoes" on the radio. But I never expected the rest of the tracks on this CD to be so wonderful and lush to listen to as well. A definite "must-have" in any collection; I highly recommend it. And please, do enjoy!

A winning and satisfying farewell
Less than a week after I bought 1995's Galore: The Best Of..., I picked up this album, as it was the only other one of Kirsty's I could find in the racks. I know there's no way Ms. MacColl could have known that this would be her last album (unlike George Harrison on 2002's Brainwashed), but this 2001 posthumous release feels like a small masterpiece just the same. The Latin-pop sound of her 1991 gem "My Affair" can be heard in at least 9 of these 16 tracks, and her interest in Spanish seems utterly sincere (a la Richman's 1994 CD Jonathan Te Vas A Emocionar) rather than like jumping on some bandwagon.

Kirsty's lyrics are funnier and more biting than ever as she sings about "stalking a fan" ("Treachery," possibly my favorite track), cybersex ("Here Comes That Man Again"), the lives of the Amazons ("Us Amazonians"), a single mother returning to the dating scene and dealing with a "serial liar" ("England 2, Columbia 0"), and the "happy little bubblehead" lifestyle of her ex and his new wife ("Designer Life"). "In These Shoes?" (covered by Bette Midler in 2000), "Alegria," "Mambo de la Luna," and "Celestine" are fun dance tracks, but that's not to say that this is a slight effort.

Genial delivery and mostly upbeat tunes aside, MacColl wrote these songs from a mature woman's perspective, with all the pain, wisdom, and resilience that experience brings. In "Nao Esperando," a girl quits waiting around for her man and moves on with her life; in "Autumngirlsoup," Kirsty uses cooking metaphors to describe a sexual relationship and the need for an emotional connection; the heartbreaking "Wrong Again" is the vulnerable flip-side to the witty "England 2...," as she really gets at the pain of being deceived by the man she loves. In songs like "Head" and "Here Comes That Man Again," she writes honestly about sex without resorting to crudeness or being too coy. It's a shame that this had to be MacColl's last album, but at least she went out with a satisfying winner. Oh, and here's a tip: Don't dwell on whether or not she ever would have been able to top this -- just enjoy the music. ... Read more

Amazon.com

The party line on most Windham Hill products seems to be that it's either the greatest stuff since wave machines, or that it all sounds alike. On a Starry Night, with its collection of world songs and reputable artists such as Flora Purim, Airto Moreira, the Turtle Island String Quartet, and others, does lean toward a seamlessly understated, homogeneous quality that is broken only occasionally by Bobby McFerrin's piece and a couple of others. That said, there can hardly be a more mellow or sonorous album of kid's music anywhere. Starry Night could calm a nursery with no nurses; why, it could even soothe the pained yelps at the dog pound--and turn a freeway full of bumper-to-bumper sour pusses into pussycats. Effective? You've heard of mind control, haven't you? --Martin Keller ... Read more

Reviews (29)

gentle music for children and adults
I believe that music is a powerful and innate force in our lives, so I bought a number of CDs geared toward children when I gave birth. Most were harmless enough, many became tiresome after a while .... this CD still gets played regularly at our house after three years.

International artists play and sing old favorites as well as songs new to us, but even the old favorites (Rock-a-bye-baby, Brahms Lullaby) are performed in engaging ways which renew their interest. Heaven knows, I am not one to seek out Kumbaya, but I even like that song here! Seventeen songs are presented from the US, Japan, Indonesia, Brazil, Ireland, Congo, Ghana, Cuba, Iceland, Israel, England, Russia and Germany. Some are sung, most are instrumental. All are very beautiful and soothing. The CD booklet contains a paragraph about each song with performance credits, original words and translation.

A remarkably soothing collection of lullabies.

Will definitely become one of your favorites!!
This CD is beautiful and so soothing. It really does give you a dreamy effect. It's good for the soul! We use it for bedtime music for our 4yr old, and not only does she love it, but we love it. I am so glad I found this CD. It raises the standard of what good lullaby compilations should sound like. First Class music, indeed. Don't hesitate if you're looking for good music for nightime or even a relaxing break in the day for your little ones-this is an excellent choice.

Soothing, dreamy music!
I just had to write a review of this cd. It was recommended to me by another mother, and I tried it and love it! We like to listen to it in the living room as nap time approaches, nursing with the lights dimmed. With the fan going and this cd on quietly, both momma and baby start drifting off to sleep. It's absolutely wonderful, and I recommend it to anyone who needs some instant R&R.

Your Baby Will Love This CD
We were given "Starry Night" as a gift when our son was born 21 months ago. It is one of the best gifts we have received as he has been sleeping to this CD from day one. The minute we turn the CD on and dim the lights he knows that it's time to sleep - whether it's for a nap in the afternoon or after a long day of running around.

We love this CD so much that both sets of in-laws bought it for our son...

Most relaxing compilation of music I've ever heard
This CD is a must-have! My 9-month-old puts her head on my shoulder to drift off to sleep as soon as she hears the first tune - no matter the time of day. She is always asleep before the end of the second track (the delicate, almost haunting Japanese Music Box) and I'm consistently teary by the end of the third (in English it's known as "Go to Sleep" - the lyrics will make any parent's heart ache with love for your child). It even gets the three- and four-year-olds to sleep in my older daughter's preschool class. What would really be great is if massage therapists would play this CD instead of that babbling brook, new age stuff - now THAT would be worth $100. ... Read more

Album Description

Whimsy and preciousness is an integral part of 'If You'reFeeling Sinister', along with clever wit and gentle,intricate arrangements - a wonderful blend of the Smithsand Simon & Garfunkel, to be reductive. A Matador Recordsrelease. ... Read more

Reviews (144)

The best album ever?
This one definitely ranks among the best albums I've ever heard. Each song is perfect pop, each with its own story to tell. "The Stars of Track and Field" is an epic, shimmery opener, "Seeing Other People," propelled by its rollicking Guaraldi-esque piano riff, shows lead singer Stuart Murdoch's clever lyrical wordplay. The real winners on SINISTER, however, are its middle tracks, "Like Dylan in the Movies," "The Fox in the Snow," and "Get Me Away from Here, I'm Dying." These 3 songs are so beautiful, with great messages to boot. I guess the best advice I can give is to believe the hype and buy the album. Unless your idea of good music is Britney Spears or Limp Bizkit, SINISTER will easily rank among your favorites.

Mellow, hard, delicate, a wolf in sheeps clothing.....
I first heard this album from a now ex-friend of mine. I was just sitting there in her room for about an hour when I suddenly noticed how lovely the music in the bacground was. Since then I've bought both this album and 'The boy with the arab strap' which is the follow up. The singer, Stuart Murdoch has a sublime and striking voice, the tunes are classic as well as being extremely original and the sheer number of parts in the band means you get songs which constantly reveal new surprises as well. If you're wondering about the title of this review, the lyrics and social commentary that the songs contain are more than enough to punch out from the smooth sounds and the soft singing and makes you think 'these guys are onto something'. They fully deserve the awards they are given, and frankly they deserve many more too. the reason I haven't given this album five stars is because nothings perfect is it? But this album, in its genre, comes pretty close.

Outstanding
This was the first B&S album that I bought and I love it. Tracks 1-7 are flawless and some of the best music you'll get to hear anywhere. Songs 8 and 9 aren't bad songs they just dont stick in your head like the previous do. The last track picks up where the first seven left off. All in all this album is fantastic and very fun to listen to. If you just like good music and great songwriting then pick this one up. There are a variety of intruments used and every song is worthwhile. If you're new to B&S this is THE place to start. ENJOY!

Donovan from the 60's
Anyone remeber Donovan? He had a few hits back in the 60's. Belle and Sebastian sound like today's Donovan. Pretentious! Maybe it is Donovan? Whatever happened to him? He could be doing this stuff today? He was doing this stuff 30 years ago.
I would pass on this, unless you liked Donovan. Well then buy some Donovan...

Pazz

One of the best albums of the past ten years
I had never heard too much about Belle & Sebastian other than a good word and the occasional rave review and didn't give them much thought. I heard 'Like Dylan In The Movies' at a friend's house and had to hear more. This album completely exceeded all of my expectations and made me a permanent fan of the group.

Musically, the album is very folkish, with most acoustic guitars, or clean electric guitars. On some songs ('Seeing Other People', 'The Fox In The Snow') the piano is the dominant instrument. Many of the tracks are also augmented with trumpet melodies ('The Stars Of Track And Field') and gentle string arrangements ('Like Dylan In The Movies', 'The Boy Done Wrong Again'). The lyrics are another high point to this album, they are absolutely fabulous. Sometimes dark, sometimes thoughtful or introspective, and always interesting.

Despite what a few reviews say, this album is not esoteric or difficult. It's actually quite catchy and melodic, even easy on the ears. It's very quirky and has that very Anglo European kinda feel to it. The music is very tonal and really quite simple and pleasing. It's not an album that "scenesters" have to pretend to like, because it easily gets by on its own merits. If you've heard good things about this group, please buy this album, it's well worth it. ... Read more

Amazon.com

Joni Mitchell's third album offers a bridge between the artful but sometimes dour meditations of her earlier work and the more mature, confessional revelations of the classics that would follow. Voice and guitar still hew to the pretty filigree of a folk poet, but there's the giggling rush of rock & roll freedom in "Big Yellow Taxi," and the formal metaphor of her older songs ("The Circle Game," already oft-covered by the time of this recording) yields to the more impressionistic images of the new ones ("Woodstock"). The dark lyricism of her earliest ballads is intact (on "For Free" and "Rainy Night House"), yet there's a prevailing idealism here that sounds poignant alongside the warier, more mature songs to come on Blue and Court And Spark. --Sam Sutherland ... Read more

Reviews (31)

A carousel of time
If I could only have one Joni Mitchell album (a terrible dilemma), this would be it. While there may be more cohesive and mature albums in her collection, Ladies perhaps came closest to capturing the very essence of Joni's musical and lyrical magic.

Ladies Of The Canyon is an album of bright summer mornings and rainy afternoons, throughout which Joni's voice and piano are at their purest and most exquisite. Morning Morgantown, Conversation and Ladies Of The Canyon itself have a freshness and a mystique that an incredible 32 years have failed to diminish in any way.

The tour de force of the album is still Circle Game, which is a bitter-sweet song about individual life unfoldment, reincarnation and the eternal cycles of the Universe.

While Blue, For The Roses, Court, Lawns, you name it, are all truly brilliant albums, I feel that only her classic 'live' album Miles Of Aisles comes close to equalling the sheer magic of Ladies Of The Canyon.

Whatever it is that makes Joni Mitchell the divine enchantress she has always been is fully captured here on Ladies Of The Canyon and on Miles Of Aisles.

An outstanding album that will never fade.

Contains some of her best songs
Fans of the free-spirited Joni Mitchell - a TRUE artist with a rather simple voice - will all want to have this CD in their collection. It's one of the very best.

As a work of art, it isn't actually as brilliantly constructed as BLUE. But some of the individual songs are the best she's ever done. And a couple of them are pretty famous.

FOR FREE is an incredible tribute to street musicians. The modesty of the lyrics is quintessential Joni. The words say plainly that "successful" musicians like herself aren't always any better than somebody who plays "for free". It's that earthy modesty, and gentle thoughtfulness toward others that often comes across in her lyrics and makes listening fans feel like best friends with this artist.

WOODSTOCK is of course a very famous song. So is THE CIRCLE GAME and BIG YELLOW TAXI.

But I particularly like CONVERSATION - the simple and feisty professions of a woman who's tired of the man she loves coming to her, asking advice about his current girlfriend. When SHE wants to be his girlfriend!

This is a peppy album that folk-music-lovers can bop around to a little in the car. It definitely has an upbeat tone, interrupted by only the occasional long, soft ballad like WOODSTOCK.

It may be that serious fans will point to other albums as being cohesively more brilliant in some way. But no one can deny that this is a "must-have" album and that some of the songs are among her very best.

LADIES OF THE CANYON
Apart from BLUE, most of the people who know the music of Joni Mitchell appreciate, above all, COURT AND SPARK (1974) and HEJIRA (1976). I won't blame it on them - those are beautiful, elegant albums. Nevertheless, I consider the trilogy formed by LADIES OF THE CANYON (1970), BLUE (1971) and FOR THE ROSES (1972), one of the finest works in pop music. The first chapter, released in April of 1970, is a group of songs written between 1966 and 1969. It is for this reason that the LP is like a summary, a compound of the best pieces she has written up to then. The lyrics go from the intimistic tone to protest and accuse, to just simply storytelling. "Willy" forewarns the tones of BLUE - it's a beautiful song about inadequacy in a relationship, in which is clearly perceptible a sense of impotence even in front of an immense love that makes her feel "like a shiny light breaking in a storm". Or "Conversation", in which she plays the part of someone's lover's lover and she's so in love that makes you feel in love too. On the other hand, songs like "The Arrangement" and "Big Yellow Taxi" develope a clear accuse against modern life abuses and consumer mentality. Together with these are some lyrics that remind the ones belonging to her first two albums, such as "Morning Morgantown" - which is obviously connected with "Chelsea Morning", in CLOUDS (1969).
For what the music is concerned, it's a great step forward in Mitchell's growth as a musician; while her first two albums were based quite exclusively on acoustic guitar, for the first time here we can hear not only the piano - an instrumet which Joni wouldn't play for a long time - but also percussions, a jazzy clarinet (on the final notes of "For Free"), a sax, a flute and a cello.
So, to conclude, Joni paints stories and personal feelings with a taste of free innocence. Maybe the best thing about this album is just that it is open, free. It represents the most sincere and deep expression of her thoughts. Hence, the reason why I consider LADIES OF THE CANYON her best album is because there's a variety of themes and tones that you can't find in her other works, neither in BLUE, nor in COURT AND SPARK, nor in HEJIRA.

Joni is a goddess of music
This, along with Blue and Clouds, is my favorite Joni album. She ranks up with Bob Dylan as far as her lyrics are concerned, and technically, has a much prettier voice, though I adore Dylan's voice because it goes with his music so well. The best tracks are For Free, Rainy Night House, Arrangement . . . oh hell they all rock. This is a must buy. I absolutely adore it.

Early Joni for the Ages
I first heard this album when I bought a tape deck (reel-to-reel) from my brother in the early 70's when I was in my early teens. A recording of this was included. I knew who it was, but didn't know the name of the album for a long time as the box was unlabelled. I remember being struck with how clean it was, and enjoyed the standards on it (Circle Game, For Free, Big Yellow Taxi), but didnt' think too much about it. I rediscovered the album as a heartbroken 21 year old, and was stunned at the words that Joni had penned. They spoke to me so directly and with such insight, she'd been where I was.

This album comes in and out of my life, much like some people do, close friends who you may only connect with now and then, the time with them is so intense, you almost can't do it on a regular basis, but they are so valuble to you. This and most of Ms. Mitchell's other mid-period work are like that with me, when I'm in a time loss or reflection, they come out.

Anyway, can't add too much musically to the already written reviews, except that I hope people really listen to the words (and read them to get them all) because she is saying some amazing things here. ... Read more

Amazon.com essential recording

Despite denied claims that it's about marijuana, "Puff the Magic Dragon" now ranks as one of the finest children's songs in musical history. It's sung around campfires and in nursery schools to this very day (while still occasionally taking a tug at adults' heartstrings as well). So, it only made sense when Peter, Paul & Mary released this "kiddies" LP in 1969, beginning a trend they've returned to throughout their career. Mary Travers had indeed recently become a "mommy," and the trio celebrate here not only with a new version of their classic tune and the traditional "Mockingbird," but clever children's songs from the likes of Tom Paxton, Gilbert & Sullivan, and Shel Silverstein. --Bill Holdship ... Read more

Reviews (23)

A magnificent children¿s album
This is everything that a children's album should be. It has songs with obvious appeal to children, but sung in the normal style of the singers, so adults can also enjoy it.

Recorded as a result of their success with Puff the magic dragon, the last track here, it also includes another of their classic songs, Day is done, as well as covers of two great Tom Paxton songs, The marvellous toy and Going to the zoo.

Boa constrictor is a silly song that only Shel Silverstein could have written. I first heard it on Johnny Cash's less than serious album, Everybody loves a nut. Mockingbird has been well covered down the years and is ideal for this album. I didn't recognise It's raining from the title but as soon as I heard it's pouring, the old man is snoring, I remembered it.

Fans of Peter Paul and Mary's other music need have no fears about this album. If you enjoy Puff the magic dragon, you will enjoy the rest of this album.

Classic Children's Songs for Each New Generation
I've been singing for children since I was a teenager in the late 1960s, when I began entertaining my nieces and nephews at family gatherings. Many of the songs on this album became a standard part of my repertoire, not only with the family, but as I eventually became a music teacher and also in my involvement in many camps, and now as a school librarian. At the drop of a hat you can still get me to pull out my guitar and sing "The Marvleous Toy," "Goin' to the Zoo," "The Boa Constrictor" and my favorite, "Puff, the Magic Dragon." (Incidentally, most people don't know that "Puff," was inspired by "Custard the Dragon," a silly poem for kids written by Ogden Nash. It was written years before Peter Yarrow knew what marijuana was. I often introduce the poem before singing the song in my library.)

This album captures the intimacy and simplicity of folk music at its best. It sounds as good today as the day it was recorded. Some recordings are timeless, and this is one of them.

Let's pass these great songs on to yet another generation. My nieces and nephews already have!

This is so great!
I hadn't thought about this album in over 30 years. My mom had the 8-track (yellow) when I was little and I loved it. I recently bought it for my 6 month old daughter, (so happy to find it on CD) and every word to every song came back to me as if I had heard it yesterday! I just love it and so does she.
Just like they sing it The Marvelous Toy, "She loves it just like me..."
Buy it for every child you love!

An essential for anybody
I remember when I was little and all I had was my little red tape player that I would play this tape over and over again. I eventually lost or broke it, I can't remember which, but it was always my favorite PP&M recording. I just ordered the CD because as I have become more acquainted with the world of music, I just keep ending up back here.

My favorite track is "I Have a Song to Sing, O!" For those of you who don't know, the song is actually an old Gilbert and Sullivan pattersong from "The Yeoman of the Guard".

Everyone should have a copy of this album.

timeless
I've enjoyed this albumn since I was young; sharing it with younger brothers & sisters, my own children, & now grandchildren. The songs are timeless, and the memories are priceless. My oldest grandchild is a boy of 14, and the youngest girl is 5 months. The songs are something that we all share together regardless of age. I recommend this albumn for any family, young or old. I've hunted down & bought several copies over the decades. I want each of my children to be able to share this with their own children and build their own treasury of memories. ... Read more

Reviews (32)

Just a stone throw from infinity
Trying to explain Jane Siberry is like lecturing a sixth grader in calculus: it's futile. Lyrically, there are three persons in each of Jane's songs. There's the narrator (Jane), the subject (Jane) and the narrator's thoughts (Jane). And just how does this perplexing triple Jane point-of-view work? I don't have the faintest idea, but somehow it does.

The music of 'When I Was A Boy' is light years beyond standard pop stuff. This is a synthesized sea of sound, space and heartache. Also, as if Jane's work wasn't weird enough in its own right, she enlists the godfather of avant garde (Brain Eno) to assist with production. 'Calling All Angels,' 'Love Is Everything,' 'Sweet Incarnadine,' 'The Gospel According To Darkness' and the final 'Love Is Everything (Reprise)' are bittersweet melodic voyages on the ship of love and loss. 'Sweet Incarnadine' gets as perilously close to Heaven as any mortal should attempt.

Unfortunately, all of 'When I Was A Boy' is not so enchanting. 'All The Candles In The World,' 'An Angel Stepped Down' and 'The Vigil' exceed the prudent limits of experimentation. The compositions do not have a melody or rhythm strong enough to carry them forward. Ambiguous and incoherent.

'When I Was A Boy' is a bold musical undertaking. When it succeeds (and it usually does) it will transport you to a place which is just a stone throw from infinity.

Extraordinarily difficult, but impressive.
This record has always captivated me since I bought in in 1996 even though it is an extraordinarily difficult listen for anyone, especially in a country like Australia, where its autumnal tone is so antithetical to a culture obsessed with the beach and ridiculously hot weather.
However, Siberry is a highly expressive singer and this album was positively beautiful and lushly expressive. Her lyrics, in contrast to the worldy themes of previous albums, were focused on spirituality and coping with darkness. Indeed, occasionally ("All The Candles In The World") the lyrics are almost religious, yet Siberry shows she can rival Kate Bush as "The Sophia of popular music", especially on "Temple", "The Gospel According To Darkness" and the k.d. lang duet "Calling All Angels", all of which stand out as beautifully moving pieces after many listens, aided by the melodic viola and cello fighures that complement Siberry's songs to great effect.
The standout songs were the opener "Temple" on which Siberry expressed with wonderful internsity the pain of unrequitted love, "The Gospel According To Darkness" a beautiful and lush anthem about not finding love, the danceable "All The Candles In The World" and "An Angel Stepped Down", and "Sail Across The Water" a highly melodic tune about loss of wisdom of remarkable beauty. On these songs, Siberry sung with a beauty approaching that of Karen Peris, yet at times her voice had the depth of a gospel choir. Despite her intense spiritual focus, she did not give up her ability to depict the everyday observations of nature that she had concentrated on during the 1980s, as shown on "At The Beginning of Time".
However, many of the longer songs are just so difficult to get into that even years of listening does not permit them to be easily appreciated. The album also contains an unnecessary mix of the underproduced "Love Is Everything", which certainly needed more atmosphere for Siberry's voice to function at its best.
This is a fine companion for a fan of Kate Bush or Karen Peris, despite the fact that it takes almost n listens to appreciate.

Deeply Sensuous
This music is at times almost cunningly dissonant and yet it builds into an almost sensual invocation in "Temple."

"Calling All Angels" is far more likeable than the first selection and you feel drawn into listening to the rest of the songs because this sound is rather original in some regards.

"Love is Everything" gets a bit introspective.

"Sail Across the Water" is more an explanation of love that takes a while to take off and then is actually quite beautiful. A conversation with love and about love.

"All the Candles in the World" is probably one of the most unique songs I've ever heard. This is music that is going to a place that is ancient and modern all at once. Most confusing. LOL First I'm drawn into the sensuousness of the rhythm and then seduced by the angelic voices drifting off into eternity. Is there an escape? I fear not...I continue listening.

"Sweet Incarnadine" - almost like a hymn mixed with a wedding song.

"The Gospel According to Darkness" deals with security issues and being worthy to be loved.

"An Angel Stepped Down" is rather funky in comparison to the rest of the songs. Be prepared to be jolted into a entirely new world of sound. Voices and sounds mingle in a pause and take off fashion. This song can't decide whether it should stop or start or finish.

"The Vigil" More poetic thoughts in a song that will help you develop patience waiting for each word.

"10 Bells" is Exactly that. Finally, I understand this music.

"At the Beginning of Time" is an imaginary wandering of thoughts about what it was like before the world was created. This was actually a bit comical at times.

Difficult to listen to at times because the pace changes in not so subtle ways. More of a conversation set to sound because Jane Siberry almost seems to set her own rules. This can at times create subtle beauty or ethereal and delicate.

A thing of beauty -- Siberry's best
On When I was a Boy, Jane Siberry crafts some of the best music of her career -- with a little help from her friends.

Among the high-profile talent that appears on Siberry's sixth CD are veteran producer Brian Eno (U2, Talking Heads), and fellow Canadians k.d. lang and Holly Cole. The ensuing CD is nowhere near the stylistic mismatch that one might expect. Maybe that's because Siberry's music and poetry are so strong that no amount of outside talent can upstage them.

From the disc's opening "Gimme" on "Temple", Siberry's lyrics impart previously unrevealed assertiveness and sensuality (just listen to "Waitress" on her second CD "No Borders Here" for a stark comparison). Siberry who, on her earlier records, mourned lost love and loneliness is succeeded by one who dumps her lover on "Love is Everything" because she "can't wait 'til you make the whole kingdom come."

The sensual (and sexual) imagery continues over the expanse of the CD. On "An Angel Stepped Down", Siberry urges, "Come on baby come on give me" and the aggressive vocal on "Temple" implores, "Come on come on/Let me into your temple." Is it getting hot in here?

As always, Siberry's music is a thing of beauty, especially in the moving "Love is Everything", the CD's first single. Her high and broken-hearted vocal floats above the sparse instrumentation and it's nothing less than magic.

Overall, there isn't one misstep on When I Was a Boy. The songwriting, musicianship, and production make it a CD that is well worth owning, and one that seems to get better with each listen.

Jane at her best.
Jane Siberry really hit her stride with this album. Even better than "Bound by the Beauty" in my book. She should have released "Temple" as the first single though. Beautiful melodies and poignant words make for a first rate experience. ... Read more

Reviews (26)

Classic 1978 Record That Makes Me Think of Summer :)
I think it's because of Gerry's deep, silky-smooth vocals and the uptempo music that makes me think of summer days when I was a kid. Of course, everybody who grew up through that time knows "Baker Street" (which was one of the few non-Bee Gee's songs to go #1 that year-- and it held that top spot for about 6 weeks!). Although it IS a 1978 classic, there are other reasons to own this great album on CD. There's the pretty (but not mushy) love song "Right Down The Line" and my favorite track, the wonderful "Home and Dry." What a great, inspiring, upbeat track that just makes you feel good all over!! Gerry Rafferty made me a fan for life with it. :) Overall, this is a VERY good CD which is well worth picking up and reliving "the good old days." :)

One of the best albums of the 70's (maybe of all time?)
"City to City" is a great collection of Gerry Rafferty's most compelling songs. Everyone is familiar with the mega-hit "Baker Street", but this CD is so much more than that, "Stealin' Time" is a terrific ballad that really shows off Gerry's voice, and "The Ark", "Right Down the Line", and "Mattie's Rag" are great songs in their own right. I have this CD on my "Must have if stranded on a desert Island" list, and have had it there for at least twenty years. The songs on this CD don't get old, they age like fine wine. As you can no doubt tell, I highly recommend this CD to anyone who truly enjoys listening to great music.

Top 20 '70s Album
Of all the immortal albums in rock 'n roll history, this one just HAD to be recorded in the 70s, the most confused decade in the genre's history. For an era that was pumping out acts like Alice Cooper and The Clash alongside a seemingly endless barrage of disco trash and some of the most mawkishly produced pop music ever to soil the ears of man, calling it "confused" is an act of extreme courtesy. Yet this seems precisely the thing that designates "City To City" a masterpiece. Despite the album's love affair with the flowery, post-psychedelia production that turned pop music into a pageant of circus cast-offs by 1978, the strength of Rafferty's songwriting stands firm. The album's most amazing moments come at times when Rafferty seems to have sent his producer out on another take-out run for the band. Good clean tracks like the stirringly intimate "Whatever's Written in Your Heart" and the flawlessly composed "Right Down The Line" attest to the power Rafferty can command when left to his own devices, while the hysterical onslaught of bells, cymbals and keyboards that usher in "Baker Street," Rafferty's most famous single, sound like the start of some 25-year-old Perillo Tours ad. Yet the songs themselves endure: Baker Street soon clears the clutter and slides effortlessly into a gorgeous ballad with that unmistakable sax riff cutting a backbone through the song, rivaled only by Rafferty's stinging guitar work. "The Ark," a beautifully understated ballad brought to fruition by a particularly moving vocal performance, is as successful an opening track as there has ever been. Only the title track and the album's last two songs seem incapable of overcoming the desperate production that threatens to derail the album throughout but, thankfully, never manages to do so. It is this tension between indulgence and tact that makes for one incredible listening experience. That Rafferty essentially abandoned his talents soon after is just as tragic as "City To City" is miraculous.

Forget the "classic oldie" label, this is just plain classic
Like a lot of the reviewers, I first heard this album when it came out and of course, the magical, mythic megahit, "Baker Street," was what prompted me to buy the album.

After opening with "The Ark," followed by "Baker Street" and "Right Down the Line," the rest of the song lineup -- which has the tunes placed in perfect sequence, by the way -- is great all the way through.

Everyone who loves the album has their own memories and mine began with the anthemic sax intro of "Baker Street" as I drove through southern Idaho on my way to Colorado on a blistering hot day in 1978. The Idaho AM radio stations must've played that song every hour as I drove along I-80N as it was known then.

The lyrics resonated with me then and still do to this day. I always like to play it when I'm driving on remote, lonely roads in the West -- I always get that old vibe time after time. In fact, I never get tired of hearing "Baker Street," or the rest of the tunes on the album -- which is a pretty rare thing, considering that I've listened to consistently for 26 years!

Why Gerry Rafferty didn't become a superstar is kind of a mystery to me, but this album will always stand out as one of the very best rock albums recorded. A desert island disc for sure.

Five stars plus.

An absolute classic
I remember splashing around in the pool as a kid in the summer with the sun beating down and hearing "Baker Street" over the radio. There aren't many memories better than that. This record always gets played on the first sunny, warm, deep-blue-sky day of the year. ... Read more

Amazon.com essential recording

Before Joan Baez, the closest thing to a white female folksinger was Jo Stafford. Baez made her professional debut in 1959 at the Newport Folk Festival and started recording for Vanguard the next year. Her early association with Bob Dylan and performances of his songs did him no harm. The material in this CD comes from later in her career, when she had left Vanguard for A&M. Listeners who enjoy this CD will probably want to hear her earlier work. She is among the classic American voices. --Stanley Booth ... Read more

Reviews (16)

A Wonderful Collection - but.......
This selection of prime cuts contains all of Joan Baez's best works, but some of the recordings are live. Warning: these songs are just as good, but you may have a preference of studio over 'live'.

"The Night They Drove Old Dixie Down" is a live recording, but misses none of the mood or flair of the single. "Please Come To Boston" is nearly better than the original and Joan captures the tenuous love longings with her voice. "Oh Happy Day" is given the justice and respect it deserves and "Never Dreamed You'd Leave In Summer" is still heartbreaking.

"Diamonds And Rust" is the first cut and with reason. It has to be her best written song/recording to date. Faded memories, lasting longings, the broken heart; ah, Joan Baez is truly gifted.

The remaining songs are her classics from over the years. If you have any misgivings about this album, listen to some of the clips to decide if these versions are the ones you want.

AMAZING JOAN
It's amazing the degree of versatility Joan Baez has demonstrated in her long, illustrious career. She is known, of course, mainly for her political stance, and some of her music certainly speaks clearly on her convictions. However, good music is good music, and Joan has delivered more than her share over the years. Her voice is crystal clear and she possesses a phenomenal range in its use.

"Diamonds and Rust," is one of her most impressive songs, a haunting, dark, yet romantic look at love and its' repercussions. She also does an outstanding job on Janis Ian's "Jesse," Stevie Wonder's undiscovered gem, "Never Dreamed You'd Leave in Summer," and Dave Loggins' "Please Come to Boston."

"Forever Young" is a touching and beautiful offering that stands the test of time.

That's what amazing about this collection. These are good songs, and except for the two live versions of her most recognized hits ("Night They Drove Old Dixie Down" and "Amazing Grace"), this is an outstanding representation of her unique career.

Look elsewhere for these songs
I was very disappointed with this CD. Firstly the remaster is not digital. The sound is flat. Then some of the cuts are from concerts. Amazing Grace, one of her most beautiful songs, is done with audience participation. To make matters worse, she rapidly speaks the words to each verse before singing it to that the audience can participate. This breaks the mood of the song.

I really feel that I wasted my money.

ok
This album isn't great, and she always sounds the same through different songs. I do like the song she made a tribute to Janis though.

Greatest Music Ur Ever Listen To
I love this cd and I highly recommend it to anyone who loves 60-70's music.
Joan Baez is a true legend in her own time. ... Read more

Reviews (26)

Not that different from other offerings
From the opening notes of "It's Only Fear," you know exactly what you're going to get from Alexi Murdoch's debut EP, simply entitled Four Songs: simple acoustic (with some minor accompaniment) songs with oh-so-earnest lyrics of self-discovery. Exactly the kind of thing that I'm getting really burned out on--especially since I became a music reviewer and everybody that owns a guitar is releasing an album these days.

I'm sorry, but am I the only person that thinks that "Orange Sky" is getting way too overplayed on independent radio? Now, I don't mind the occasional long song (I am a fan of progressive rock, after all), but at least say something interesting or have some amazing music--either moody ambience or rocking solos. But "Orange Sky" takes over six minutes to get to its point, mostly because Murdoch continually repeats his one-line chorus over and over again--and that's not to mention how the verses all start with the same repetitious two lines. Unfortunately, in the end, all I get is out of it all is that he loves his siblings. Well, great, but he could have said that is one line in another song. An example of "show, don't tell," I guess.

"Blue Mind" is nice, especially that strumming and patting of the guitar rhythm. There is some banjo that peeks in occasionally, and Murdoch's Scottish lilt comes into play a little bit, even though I think he's trying to hide it most of the time. "Song for You" is probably the best song here. The genuineness that grates on the other tracks is delivered here with a smoothness that belies its origins. Also, the level of instrumentation increases throughout to make it more intense throughout its relatively short (for this record) running time. It's really a sweet song that I respond to emotionally.

Despite all the negativity, I do truly admire Murdoch for sticking to his guns of independence in the face of having loads of money flashed before his eyes in the form of studio record contracts. He has decided to his preferred method of distribution for Four Songs and is steadily at work on a full-length LP that, I'm sure, will satisfy everyone who loves this album so much.

Best "find" of 2003
Heard "Orange Sky" on KMTT (local Seattle Radio) and both times I heard it it stopped me in my tracks. Saw Alexi live twice and he was great. The songs are beautiful and quiet and simple. Alexi gives you time to listen and reflect on the music. It will take your breath away. I can't wait for the next songs! BUY THIS CD - you will like it.

PS: Some compare Alexi Murdoch to the late British singer-songwriter Nick Drake.

Hurry With Another CD!
This CD is just beautiful and I just can't get enough. I hope he is writing more songs even as I write this because I can barely wait for his next work. I have never written a TV show but I wrote "The Ellen DeGeneres Show." and told her she should get him on. That's how wonderful I think Alexi Murdock is.

Stick with Nick Drake
Don't waste your time with this. Yes, Murdoch bears a superficial resemblence to Nick Drake. But the mimicry rings false & hollow. Not to mention that the 4 songs in question aren't even close to the quality of Drake's leftovers.

Perfect EP
I first heard Orange Sky on the OC soundtrack and the song stopped me in my tracks. I had to have the ep and to say the least I was not let down. This is a tie for album of the year with Damien Rice's O. ... Read more

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Though Ray Wylie Hubbard ran with the rowdiest in progressive country through the 1970s, when he fronted the Cowboy Twinkies and wrote "(Up Against the W