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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 (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

Reviews (15)

Folk at its most pristine
These sixteen tracks encompass all of Judy Collins' most popular and familiar songs and make for delightful listening. There are covers of songs by The Byrds (Turn! Turn! Turn!), Leonard Cohen (Suzanne), Dylan (Just Like Tom Thumb's Blues) and Joni Mitchell (Both Sides Now) and Judy transforms them all with her beautiful voice. It's hard to pick favourites, but I love her version of Who Knows Where The Time Goes and Send In The Clowns more than any other versions. This graceful album concludes with her stunning a cappella rendition of Amazing Grace, a song that amazingly made the UK Top 20 in 1971. Once you've heard these songs, you'll want to investigate further and you won't be disappointed since Collins had a prolific output, all of which is good, most of which is great.

Strong set of singer's standard hits...
I was a Judy fan from her debut, but really got into her work with her third LP. I stayed involved until about 1975, when she left my favorite folk/protest stuff behind. Since then, she has been a bit artsy for my taste, with her voice going higher and higher, her notes lasting longer, the songs seeming slower and slower. But this collection goes from that beloved "Judy Collins #3" through 1975's "Judith." I saw Judy in concert three times in the '60's, and each time she did fewer bold folk songs and more and more "literary ballads." This collection has some of both forms on it, and it is very listenable. Her strengths are as well-showcased as her (to me) weaknesses are. Even the songs and performances I don't personally love are well-crafted. For one disc, covering her 12 years of highest fame, this one is a good job. My favorites on here are "So Early, Early in the Spring" and "Suzanne" and "Both Sides Now" and "Someday Soon" and "Chelsea Morning" and "Farewell to Tarwathie" and "Cook With Honey." But I cannot argue against the other songs I like a little less.They are still fine. I would have liked "Hey Nelly Nelly" and "Come Away Melinda" and "Simple Gifts" added on, and there is probably just enough room. But the hour-plus this gives you is a good value.

ruby throated sparrow
Judy Collins is the conservative's Joni Mitchell. She arrived on the music scene a bit early to be fully indoctrinated into the countercultural movement, cutting her first recordings with Electra Records in 1961. Blessed with a golden voice, she represented a key voice in the mainstream of traditional folk music from the mid-1960's into the mid-1970's.

Sweet Judy had a string of hits from 1968 through 1979, but none charted better than her remake of Mitchell's 'Both Sides Now', which rose to number eight nationally. She tapped Mitchell's songwriting talents a second time in the following year, bringing 'Chelsea Morning' to number 78. The hits continued with 1970's 'Amazing Grace' (#15), 1971's 'Open the Door' (#90), 1973's 'Cook With Honey (#32), 'Send In the Clowns' which charted in both 1975 (#36) and 1977 (#19), and finally in 1979 'Hard Time For Lovers' reached number 66. All seven songs, and 9 others comprise this somewhat limited compilation.

While Collins is best known for her signature vocal gifts, and is often pegged as a cover artist, this collection does demonstrate her capacity as a composer as well. Several fine songs from the disc, 'Since You've Asked', 'Albatross', 'My Father' and 'Open the Door' are all Collins compositions. But certainly her greatest success has involved covering the work of reknown composers such as Bob Dylan ('Just Like Tom Thumb's Blues'), Leonard Cohen ('Suzanne'), Ian Tyson ('Someday Soon'), Stephen Sondheim ('Send In the Clowns'), and Pete Seeger ('Turn! Turn! Turn!', which features Byrd Roger McGuinn lending his trademark 12-string guitar to Collins' rendition).

Collin's special talents have brought other reknown artists into the studio as well. Most notable is Stephen Stills, who was so deeply involved in a personal relationship with Collins that he penned perhaps his greatest work 'Suite: Judy Blue Eyes' for her, contributed lead and bass guitar work for her 'Who Knows Where the Time Goes' album. Three tracks from that disc, which also features Derek and the Dominos drummer Jim Gordon, are offered on this disc.

While Collins work is exemplary, and certainly difficult to be critical of, I find myself still preferring the original artists renditions of the tracks she is covering here, and of her own original recordings I find a lack of boldness in the mix. While there is a place for light and soft, it needs to be reinforced with some dark and tough. When 'Who Knows Where the Time Goes' is as rugged as you get, you better be in the mood for some smooth sailing.

Truth in Advertising
This really is truth in advertising; few Best Of albums necessarily are, and I have always preferred actual albums, but this particular "Best Of" plays like a real album. I suppose I date myself, because I remember when you couldn't delete tracks from a playlist, or rearrange the songs, and I still have a taste for playing albums straight through, which I do with this one. I even have two copies of it, so I can keep one in the car, and one in the house.

That said, I'll admit I would probably listen to Judy Collins sing "Close to You" or "The Best of the Brady Bunch." She has of one those rarely beautiful voices that is a national treasure. I hope she will take her vitamins, button up her coat in the winter, and avoid driving in the rain, to make sure she is around for a long time to come.

One thing I will say for CD players is that I can loop this album to play over and over, and the grooves don't wear deep so that I have to replace it from time to time, which would be the case if I had this on vinyl.

I'd recommend this to any Judy Collins fan, but especially to people who don't know her music well, and need to be acquainted with her. Which is everyone.

Lived my life by it
Thank you Judy Collins for recording this song. I have lived most of my life humming this song by you. I plan to have it played at my funeral(100 years from now)as everyone who knows me knows how much I have always loved it. My Son, Brett, who was killed seven years ago, bought me everything that pertained to your song. To me you are the only-one who can really sing it. Thank you. ... Read more

Amazon.com essential recording

Recorded mildly better than his debut (Roman Candle on Cavity Search), the self-titled second solo album is one of the most understated and incredible albums to emerge from the indie-rock scene in the 1990s. With his nimble picking fingers behind him, Smith writes sad, little songs about drugs and romantic codependence that border on the obsessed. "Needle in the Hay" and "The White Lady Loves You More" are exemplary tunes that fuse the Beatles' pop sense with Neil Young's sense of doom. Lying in his own burned out basement, Smith can rough up the gentlest love song with a few salty words of choice. --Rob O'Connor ... Read more

Reviews (54)

Geronimo
It's PINK MOON with a needle in it's arm. Or imagine the whispery sordiness of "Sunday Morning" Lou Reed, only all on a lonely acoustic guitar. It even touches on the maudlin side of BIG STAR. And all without coming across as derivative. If you're a fan of any of the aformentioned, ELLIOTT SMITH is the perfect fix.

After hearing all his other albums, "Needle in the Hay" remains Smith at his haunting best. Lines like, "drink yourself into slo-mo/ made an angel in the snow" should make "Clementine" an all time favorite(as well as bring a smile to your kiss-less lips). Drug references abound & "The White Lady Loves You More" has to be one of the most heartbreaking songs about chemical dependency I've hever heard. "The Biggest Lie" is enough to make you play the whole thing over again. While not my first introduction to Elliott Smith, this one certainly left me with a lasting impression. Melancholy to say the least, but not enough to make you want to hang yourself in a garrett. A tourniquet for the soul, so to speak.

Elliott's Best
While Amazon[.com]'s reviews don't do the following statment justice, the self-titled "Elliott Smith" rarely gets the praise its successor "Either/Or" does. Strange, considering many of the followers of Mr. Smith prefer the dark and unique tone of Elliott, best embodied on this sophomore, (NOT SOPHOMORIC), solo release. A brilliant album, this record has what is unquestioningly the best in fingerpicking the accoustic-Elliott has to offer. Songs like "Southern Belle" and "Christian Brothers" are Elliott's finest in arangement, instrumentation and melody as Elliott finger-picks his way to musical ingeniousness. Intense, accoustic tracks and driving, serious lyrics are the halmark of this brilliant LP that often overshadow the amazing if tangential melodies it has to offer. Fans of other Elliott records of course must indulge in the record, and Elliott beginners won't fail if they start here.
Among Elliott's first 3 records, which fall largely under the "accoustic" label", here is the best one. Unfortunately, its lack of stand-out song and overall genius has relegated it to its weakest of Elliott LP's designation, (among "fans"). Believe not what you hear: those opinions stem from a well-guided but confused populous. Buy and enjoy "Elliott Smith."

Excellent!
This is pure Elliott Smith! I highly recommend this.

the most private album i've ever heard
it really is like elliott is playing just for you. on this album in particular, smith's voice is so warm and affecting you feel him holding your hand and so cool and hurt you WANT to hold his hand.

i love this record. i have for sometime. elliott smith was a fine musician and, from what i understand, a very fine, though lonely, person. either/or is his masterpiece, but every recording of his is something you want to hold on to as all your own. you'll love it with a ridiculous passion.

sleep well, elliott, your listeners miss you dearly.

Elliot Smith
If he had lived, his music would have just kept getting better. Some people call Either/Or Elliott Smith's best, but I must dissagree. This just might be the most wonderful thing I have ever heard. Every single song is great and wonderful. His voice is so soft and peaceful, I feel as if he is sitting next to me, and playing his guitar in a mini-private concert, just for me. I really love Elliott's music. Buy this album before you buy anything else by him. Rest In Peace, Man. ... Read more

Reviews (12)

Grows on you every time you hear it...
A friend bought me this CD and the lyrics are fantastic and remind me of some of Ani DiFranco's, but the music is a little punkier, which I like. Impossible (as a girl who dates, but doesn't plan on ever getting married) to not love lyrics that include lines like 'Well I don't think we have to be like this forever
there's more to life than love and being together'.

My favorite song, though, is a love ballad of sorts..."Underwater". It's one those charmingly hard look at love:

"Underwater I wrote drowning
I use to be such good good swimmer
but for now my head is in the clouds
I'm a silly love song
a twisted elbow crush song..."

All in all a great album...definitely worth picking up. If you like Ani DiFranco or Melissa Ferrick, I'm pretty sure you'll love this CD.

I Love It!
The first song I heard from this album was ' I Hear Noises'. I saw the video for it on MuchMusic and was completely unimpressed. The first thing I thought was "what's wrong with this girl's voice?" Now however, I can't get enough of this talented duo. I decided to give 'I Hear Noises' another try. I downloaded it and, after hearing it the second time, I got hooked. I immediatly went out and picked up the album. The thing which first turned me off Tegan and Sara is now the reason I love them so much. I can't get enough of the vocals. I'll be honest, I like listening to sigers like Celine Dion and Mariah Carey, but if that was all I listened to I'd be completely bored out of my mind. Tegan and Sara mix awesome lyrics, with amazing beats, and funky vocals. The best tracks are 'Time Running', 'City Girl', 'I Hear Noises', 'Living Room', and 'Don't Confess (This Thing That Breaks My Heart)'. It's near impossible not to get some of the tracks from 'If It Was You' stuck in your head (namely 'Monday Monday Monday') and once you do, the only way to get them out seems to be singing another one of their songs instead! It's such a shame Tegan and Sara arn't given more attention. In an industry full of manufactured, over-produced fluff, these girls are definitely a breath of fresh air. I would most definitely recommend this album, it's one of my favorites!

Teagn and Sara are a breath of fresh air!
I bought this cd wondering if I really would like it that much. I am always interested in hearing something new so Tegan and Sara intrigued me. What a pleasant surprise it was to find out that they are awesome. I found myself within the first week of my purchase, listening to the cd everywhere, at home, at work, and in the car. My favorite songs are "Don't Confess", "Living Room" (the banjo was in my opinion an inspired choice of instrument in this song, it gives the song a slight rustic feel), and "Monday, Monday, Monday". So if you're intrested in folk music, and canadian chicks that rock, definitely pick up this cd!

T & S rock!
Tegan and Sara are rock stars. Their lyrics are awesome, their music is addictive, their voices are their own. It's a shame they're not plastered on the cover of every big music magazine out there. It's a shame their video's aren't playing on MTV every 2 minutes. It's a shame they haven't sold out...oh wait...
Here's a band that's sold a ton of records not because their faces are everywhere on magazines and television, but because their music is unlike anything you've ever heard before. They're a group unlike any other and they rock. They're just about the music. They kick @$$ and you're missing out on something great if you haven't added them to your cd collection yet.

You'll be hooked
Tegan and Sara's "If it was You" kept popping up on my amazon.com recommendation list, so I listened to the short clips provided on the site. I wasn't much impressed until I downloaded live, unplugged mp3's of Tegan and Sara via KPSU, a radio station out of Portland. I'm glad I gave this duo a second chance!

I'm now officially a Tegan and Sara fan and have since purchased two of their records and am waiting impatiently for thier third CD and tour.

If It Was You is a strong album, filled with catchy hooks, impressive lyrics and vocal styles that compliment each other very well. There's not a dud on the record, but best songs include: Monday Monday Monday, You Went Away, Not Tonight, I Hear Noises and Living Room. ... Read more

Amazon.com

Loss and resilience figure heavily in A New Day at Midnight, David Gray's follow-up to his massively popular breakthrough, White Ladder, in 1999. Gray cloaks his painful subject in the kind of impressive songcraft that has marked his work since 1993's A Century Ends. Still, both Ladder and Midnight add a layer of flash to his dependable formula, as dashes of studio trickery and understated electronics (helped along by songwriting partner Clune) give Gray's wistful lyrics and bittersweet, emotive voice a tough-to-resist freshness. Midnight exploits Gray's singing for maximal effect, as songs like the opener, "Dead in the Water," mask sad words with bright reminders of catharsis and faith. At times, Gray could use a little more faith in simplicity. Some songs--"Freedom," for one--could stand just fine with only Gray's voice and a guitar. More often than not, though, Gray's natural, amiable phrasing and ability to create a mood show off his continued growth while staying firmly in the groove that's made him a star. --Matthew Cooke ... Read more

Reviews (107)

David Gray Outdoes Himself Again
White ladder is one of my favourite albums of the last five years, and I was awaiting this album with as much apprehension as excitement. But I've been stunned to discover that this album is even better than White Ladder. A new day at midnight presents a more cohesive sound without sacrificing itself to excessive polish or over-production. It covers a larger emotional range than White Ladder. Here still are the beautiful sad songs, the introspective pondering songs, and the more upbeat songs like "Babylon" before them. "(Meet me on) the Other Side" is one of the most moving songs about death to be produced in a decade - while Peter Gabriel's recent meditation on the same subject, "I Grieve", is a powerful Baroque effort of eerie and subtle textures and layers of sound, Gray achieves an even more emotive effect as his raspy voice quivers over a ringing piano. It is a truly gorgeous way to end an album.

But there are some songs on this album that really ROCK. "Caroline" and "Real Love", while love songs, are melodic and thoughtful, but they capture the same spirit of Sheryl Crow's "Steve McQueen". "Caroline" is the first effective attempt at electronic country I have ever heard, and it is fantastic, helped along by some incredible pedal steel playing by B.J. Cole. Although Gray stacks the songs in a rather strange order on the album, cramming the more morose songs into the middle and packing the more upbeat songs onto the two ends, this album is more than worth the wait. It is a modern rock masterpiece.

An Extraordinary Recording
Please buy this album. If you like thoughtful, heartwrenching yet uplifting lyrics, you must hear this record. If you like classic folk music blended with subtle, modern electronic flourishes, you will love this album. If you liked "White Ladder," run, do not walk, to your local record store.

I think musicians like David Gray are sorely, sorely missing from the pop charts of today. He is a singer-songwriter who bears his soul yet never loses his integrity. His songs of longing and loss are strangely celebratory in spirit, and ultimately a testament to the strength of the human soul. He is an Everyman with a talent for translating his feelings into song. Relatable, enjoyable, beautiful: all are the heart of "A New Day At Midnight." (Even the title is celebratory, despite its somber hue.) Please buy this album. I personally would like to encourage David Gray to keep making music for a long, long time to come.

Pretty grood...
I only really liked 6 songs on this, and considering there are only 12 anyway, it's not a great amount. They were Dead in the water, Freedom, Real Love, Be mine, Easy way to cry and The Other side. As i said in the title, it's pretty grood (good, but not great) and if you're gonna get a David Grey album, buy White Ladder. Happy shopping!

Listenable Substance
Great music coupled with lyrics that say something...I hate to use comparisons but Dylan comes to mind. "Time out on the running boards..we're running through a world that's lost its meaning." There is something in this music that speaks to all of us in our time. That line kind of sums up the pitiful state we find ourselves in today...in a world of "Brittany kisses Madonna "..."Janet's exposed skin"--the symbol of style over substance/cheap stunt over real talent..."in a world that's lost its meaning." Sadly kind of sums it up doesn't it? Kind of depressing--but there is also a little bird of hope in this music. Gray is THAT rare bird who does have some talent and deserves to be heard.

1 Year Later
Nearly one year later, the disc still makes its way into my car CD Player. I have been accused of "still listening" to it. This album is soulful and uplifting, melancholy and promising. The Amazon critic, M. Cooke, referred to the track, Freedom, in that this song is better served acoustically. I was fortunate enough to see David Gray perform this song close to that and agree that a song with this much force doesn't need much to drive its meaning. It has become my favorite song in the album, followed by Easy Way to Cry, Dead... and Real Love, after initially enjoying the "pop" sounds of Be Mine and Caroline. I hope never to grow tired of this CD. Great stuff. And, stocking stuffer... ... 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

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 experie